Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1986's Little Shop of Horrors

Transcript

1986's Little Shop of Horrors · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave movie
• 0:06
  talk show Reach Week. One of us takes a movie off our
• 0:08
  shelf, presents it to the other and discuss it at length.
• 0:19
  This week we've got Coming off of my shelf, 1986's Little Shop
• 0:22
  of Horrors, directed by Frank Oz, written by Howard Ashman and
• 0:26
  Alan Menken, starring Rick Moranis, Alan Green, Steve
• 0:30
  Martin, Bill Murray, Jim Belushi, of course, in a star
• 0:34
  making role. David, here we are back on the
• 0:38
  couch. Welcome.
• 0:39
  How are you doing this week? And of course, what are your
• 0:41
  initial thoughts on the movie? I am fantastic because I started
• 0:45
  watching according to Jim. Oh, you're really you're on
• 0:48
  board. Yeah, you know who's Co star
• 0:50
  that Courtney. Courtney Thorne Smith.
• 0:52
  There you go. Melrose.
• 0:54
  Yeah, that's it. Revenge of the Nerds Part 2 and
• 0:58
  Chairman of the Board. BORAD, Chairman of the Board.
• 1:02
  Let's get back to how I'm doing. OK, As I mentioned, I'm doing
• 1:05
  really well, thank you. And my initial thoughts on the
• 1:10
  film are as follows. I haven't seen it before.
• 1:13
  Yeah, OK. I just assumed.
• 1:16
  I actually watched the wrong movie.
• 1:18
  I thought you got on board with parody porn and watched Little
• 1:21
  Shop of Horrors and then you just mentioned 1986 and this was
• 1:26
  from last year. 4K Great film. Yeah, yeah, genius.
• 1:35
  But yeah, it was fun to go to 86.
• 1:37
  Yeah, OK. You know how much I love the
• 1:40
  80s? Yes, and the 90s and sometimes
• 1:42
  the hits of today, not as much. No Richard Dean Anderson in
• 1:46
  this, no Seinfeld necessarily. Maybe I don't want to.
• 1:49
  There's the gun, but there's. One and I'll get to it when it
• 1:51
  comes. And believe me, it won't take
• 1:53
  long. Pretty quick.
• 1:54
  Pretty quick, I'd say wait till the end.
• 1:57
  So the listener will wait till the end of the show, but I'll
• 2:00
  have something else but I'll have to wait till the end so we
• 2:03
  have the full listen. That's what they do on those
• 2:04
  videos. Wait till the end if it says
• 2:06
  that. For it, wait for it.
• 2:08
  I purposely I'm out. I will not watch it.
• 2:10
  If you tell me to watch it, leave it up to me.
• 2:12
  I will decide. I will decide.
• 2:14
  I've decided how I feel about this film.
• 2:16
  Great. It's mixed.
• 2:18
  It's a mixed feeling. Classic day of response.
• 2:21
  I watched it, I watched it twice go great.
• 2:24
  And after the first viewing I'm like, I was pretty bored.
• 2:29
  No, no, I was bored. OK.
• 2:31
  The last little bit I'm like, I was it was really hard for me to
• 2:35
  to. See it?
• 2:36
  Yeah. All right.
• 2:37
  Watch it a second time and for certain reasons which you'll
• 2:40
  have to wait till the end. Of course I'm wait, I will be
• 2:42
  here. I get.
• 2:43
  It was a slightly better experience, so we can go through
• 2:47
  that. I'm more curious to know your
• 2:49
  history is of the movie and why did you select such film now?
• 2:54
  Sounds like Christopher Guest. What a strange and interesting
• 2:57
  plan. I don't know why I love this
• 3:00
  movie as much as I do, but man, I watch this movie a lot.
• 3:04
  I was hoping you'd say as much as you did, which would imply
• 3:06
  you didn't like it this time, but Oh well.
• 3:08
  Change it up. Maybe next time.
• 3:09
  Yeah. We'll get there, I'm sure.
• 3:11
  UHF. Yeah.
• 3:13
  This is a movie that I watched a lot when I was younger.
• 3:15
  I was on cable. It was sort of in and around and
• 3:20
  I just, I always like the songs. As you know, I grew up as a big
• 3:23
  horror movie fan and that practical effects and the Toms
• 3:28
  of Edie's of the world, that kind of practical physical like
• 3:32
  The Thing and so forth. And Friday the 13th, you raved
• 3:34
  about that death scene. How did they do it?
• 3:38
  Right. And watching this movie at a
• 3:39
  young age, I was just mesmerized by the puppetry, the miniature
• 3:42
  work. The back lot is that, you know,
• 3:44
  you sort of know that it's not real New York, but it's set up
• 3:47
  in such a way. What?
• 3:49
  And I did the theatricality of it in some level.
• 3:52
  I really, really dug it. And I grew up and I was always a
• 3:54
  fan of musicals. So it really just hit all of
• 3:57
  the, yeah, this is the marking perfect blend for you.
• 3:59
  And I loved Rick Moran and I love Steve Martin, like, just
• 4:02
  like all the SCTV guys. It was just everything about
• 4:05
  this. Was half SNL, half SCTV.
• 4:07
  Yeah, like a. Nice blending.
• 4:09
  Exactly. And so there was just so many
• 4:11
  elements of this movie that I really dug as a child.
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  And I had recently watched a YouTube video, sort of
• 4:18
  documentary about the creation of the show on Broadway.
• 4:22
  And when I was in New York a couple years ago, it was on
• 4:24
  Broadway, and it was really tough ticket to get.
• 4:26
  So it's been in the sphere of short list, if you will.
• 4:29
  OK. And I thought, you know,
• 4:30
  frankly, it's been a little too long since we did a musical.
• 4:33
  I would disagree. Yeah.
• 4:34
  And I knew you would, which is why I thought, well, I'm just
• 4:36
  going to give it to you anyway. Yeah, well, I mean that's we
• 4:38
  don't care. Yeah, we don't care.
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  And perhaps more importantly, it's just not a Big 5 movie.
• 4:43
  And I know that the last, the last few times we've done these
• 4:46
  sort of big totemic, whether it's Shawshank Cuckoo's Nest,
• 4:49
  Silence of the Lambs. Yeah, this did not win the Big
• 4:52
  5. Yeah, it's just a smaller
• 4:55
  imprint of a film. And so I thought that would be
• 4:57
  fun too, to unearth. Well, on earth we will, we
• 5:00
  shall. It was pleasant to see a few
• 5:03
  faces that I wasn't expecting. Like Jim Belushi.
• 5:06
  Well, that's one Steve Martin. Bill Murray.
• 5:10
  Christopher. Yeah, sure.
• 5:10
  Christopher Guest. I realize he is the guy buying
• 5:14
  flowers. I believe that's right.
• 5:15
  Yeah. All I knew was Rick Moranis.
• 5:18
  Sure. I barely knew that you alluded
• 5:20
  to Maranis. I did.
• 5:22
  I had brought him up. I don't know why I would bring
• 5:24
  him up. He must have touched on
• 5:25
  Ghostbusters or something, because we haven't talked about
• 5:28
  Honey, I Shrunk the Kids. Not yet.
• 5:32
  But this is what you meant when it was becoming soon,
• 5:35
  Absolutely. To a couch near me suddenly.
• 5:37
  It would be coming. Yeah, suddenly Susan, also a
• 5:39
  very good show as well. That's right.
• 5:41
  Brooke Shields. Yeah, Talented.
• 5:45
  Now, of course, I am aware of who Frank Oz is, the director of
• 5:50
  this film and the puppeteer of Yoda, The voice of Yoda as well.
• 5:53
  I want to give proper credit. He appreciates it.
• 5:56
  We're probably not going to get a lot of opportunity in the
• 5:59
  future to talk about them. That's what you think.
• 6:01
  That's what you think. That's what I hope.
• 6:04
  I respect the work that he does. I don't want any confusion here.
• 6:08
  Love The Muppets. I think he was involved in that
• 6:10
  of. Course, Yeah, and Jim Henson for
• 6:12
  sure. Yeah, Very close to those guys,
• 6:13
  very close. But Phil, tell me, and maybe
• 6:16
  those listening that don't know necessarily, what is he?
• 6:20
  Directed. Well, he directed.
• 6:22
  Not everything Take Manhattan, right?
• 6:25
  But he did. We've done a Frank Oz movie
• 6:27
  before. We did Dirty Rotten Scoundrels
• 6:29
  if you recall, Also a Steve Martin movie.
• 6:33
  What about Bob? Yeah, the Dreyfus Dreyfus.
• 6:36
  Bill Murray. He did House Sitter, which is a
• 6:37
  movie I really liked. Also with Steve Martin.
• 6:40
  OK in and out. Bowfinger, which is one of my
• 6:42
  all time favorite comedies. Sounds like he has a type he
• 6:44
  likes to work with. Yeah, and he did the score,
• 6:46
  which is, if you recall, De Niro De Niro and Marlon Brando and
• 6:51
  Edward Norton and Montreal about really.
• 6:54
  Yeah, the heist movie. Cool.
• 6:56
  So. You know, he's got, he's
• 6:58
  dabbled. Yeah, he's got some chops,
• 7:00
  though, because obviously, if you recall, we both adored, I
• 7:03
  think is the word you used Dirty Rotten Scoundrels.
• 7:07
  It was a pleasant surprise, like the tape.
• 7:09
  I think that was the beginning. It might have been Trains Planes
• 7:13
  of me turning around on Steve Martin and State of the End, and
• 7:18
  we'll find out if I've come full circle.
• 7:20
  OK, that's just hang tight dropping, dropping hints here.
• 7:24
  But yeah, so it's just a guy that doesn't really, I mean,
• 7:26
  obviously has got the the puppetry and working with with
• 7:30
  Henson's he's. Mastered that if he's.
• 7:32
  Right. So as a director, he doesn't
• 7:34
  really have a particular style. He's not a guy that you're like,
• 7:36
  Oh yeah, this is a Frank Oz movie.
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  But the stuff he does, particularly when he's working
• 7:40
  with Steve Martin, I think he delivers.
• 7:43
  This is a a Geffen. Oh, sure.
• 7:44
  Yeah. David Geffen.
• 7:45
  Is it David Geffen? Yeah, music producer.
• 7:48
  OK. I sort of like recognize it, but
• 7:50
  I feel like this is the first time I've seen us do it.
• 7:52
  A Geffen production. Yeah, he's not a name that I
• 7:55
  would recognize specifically as a Geffen film.
• 7:59
  OK, I want to say we may have covered him in Beetlejuice was
• 8:03
  one of his. Production.
• 8:05
  Oh, possibly. Yeah.
• 8:06
  Yeah. But beyond the music thing, he
• 8:08
  was the G in DreamWorks SKG when that launched in 2000.
• 8:13
  I didn't even realize there was an SKG at the end.
• 8:16
  Yeah, Spielberg and Katzenberg and Geffen were the sort of
• 8:19
  three magnates that became DreamWorks.
• 8:21
  It was Katzenberg. Jeffrey Katzenberg was Disney.
• 8:25
  Yeah. He left Disney just after The
• 8:26
  Lion King was a sort of like big production thing and he ended up
• 8:29
  producing Shrek in 2000, which kind of was making fun of some
• 8:32
  of the Disney Fantasy epic. Yeah.
• 8:36
  Fairy tales, Yeah. Good.
• 8:37
  Someone's got to do it. Someone has to do it, right?
• 8:39
  I'm not going to do it. No, it's not us who I know.
• 8:42
  I love them. So, yeah.
• 8:44
  So it's definitely got some pedigree.
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  And obviously this is a musical. It's going to release the
• 8:47
  record. There's probably some elements
• 8:49
  of that that kind of come from Geffen's interest perhaps.
• 8:52
  Yeah, that makes sense. So as a musical, this was on
• 8:55
  Broadway. It probably should have stayed
• 8:57
  there. There we go.
• 8:58
  All right, all right. Not a hot take.
• 9:01
  I've been thinking about it all morning.
• 9:03
  Thinking about it all morning. Some truth to it, but not full
• 9:05
  truth. Sure, nothing but the truth.
• 9:08
  You can't handle the Truth so it was originally a 1950s black and
• 9:13
  white film starring Speaking of You Can't Handle the Truth
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  starring Jack Nicholson. There you go.
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  And many years later became a musical written by again Howard
• 9:21
  Ashman and Alan Mankin, who won Oscars for Little Mermaid the
• 9:25
  The Music. I've heard of that.
• 9:27
  I haven't seen it. Aladdin and Aladeen.
• 9:30
  I believe it's. That's Aladeen.
• 9:32
  That's right. Great meat pies.
• 9:33
  Great meat pies. Actually, to interject, this is
• 9:37
  a play I remembered that was done in our high school.
• 9:40
  Oh, that's not. Yeah.
• 9:40
  There you go. That's my only real history of
• 9:44
  the movie outside of the watching it yesterday and the
• 9:47
  day before. So I wasn't in it.
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  I didn't make the cut unfortunately.
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  Didn't make the. Cut.
• 9:54
  Make the cut. I wanted to be an actor and I
• 9:56
  was on the original cast and I couldn't, well, I couldn't cut
• 10:00
  it. What did you what did you
• 10:02
  audition? For I don't remember, this is
• 10:04
  grade 3. OK.
• 10:06
  Long time ago and actually I might be getting mixed up which
• 10:09
  play it was, but I know I watched this on stage at.
• 10:12
  So you may not have auditioned for it, but it was definitely.
• 10:14
  Presented. I auditioned for something and I
• 10:15
  got cut. I was in it.
• 10:17
  I was so bad. I'm out of it.
• 10:18
  Wow, you got the part and then they took it back.
• 10:21
  What's that do to a grade 3? Kid Well, obviously it LED you
• 10:25
  on a path of alcoholism. Yeah.
• 10:27
  Nine years old, Mr. Cooper. You son of a bitch my.
• 10:29
  Mom didn't like him either. No, I hope he's listening.
• 10:31
  I hope he knows I'm. Sure he is I.
• 10:33
  Hope he knows what damage he's wrought.
• 10:36
  In the world, nonetheless. I recall enjoying it.
• 10:38
  I was in the 15th row that I do remember Elvaro dead center.
• 10:44
  I was never a part of any stage musicals at school.
• 10:47
  That's probably for the best. Yeah.
• 10:49
  No offense. No, you have gifts in other
• 10:51
  areas. But yeah, I know I do not have a
• 10:53
  singing voice, but I love watching musicals, love watching
• 10:56
  plays and so forth. If you're.
• 10:58
  Not a giver means you might be a receiver like you're on one end
• 11:00
  of the spectrum and you're just happened to be ingesting it,
• 11:04
  enjoying it, not giving it out. You're ingesting you ingest
• 11:08
  movies. Come on, open up your mind.
• 11:12
  I've been known to ingest a movie or two.
• 11:13
  You're right, yes. So yeah, so that's the sort of
• 11:18
  brief little history of it. Again, making an Ashman won
• 11:20
  Oscars and work on Beauty and the Beast and so forth.
• 11:22
  So the pedigree of the movie and the story is very well solid and
• 11:28
  healthy, let's say. Unlike the plant at the
• 11:31
  beginning. That's right, not doing so well.
• 11:32
  So let's get into the movie. But before I do.
• 11:36
  Are you going to give us a little synopsis?
• 11:38
  We're going to get a little synopsis.
• 11:39
  I'd appreciate it. I want you to know that I do,
• 11:43
  Old Faithful. If I can get you an IMDb, I'm
• 11:45
  happy. There it is.
• 11:47
  So here we've got as IMDb will tell you, a nerdy florist finds
• 11:50
  his chance for success and romance with the help of a giant
• 11:53
  man eating plant who demands to be fed.
• 11:56
  That's it. That's not that's it's not
• 11:57
  wrong. It's.
• 11:58
  Not wrong, it's pretty concise it.
• 11:59
  Doesn't mention anything about Jim Belushi, it's true.
• 12:02
  Or the. Or the singers.
• 12:04
  Yeah, there's more. Complexity to it, but yeah, I
• 12:06
  think in layman's terms, that's what's happening generally,
• 12:08
  yeah. Well, let's get into the movie
• 12:15
  here. David love to I.
• 12:17
  Don't think you do, but you're you're not a musical fan.
• 12:20
  Did you know going in that this was a musical?
• 12:21
  Like before they obviously started singing?
• 12:23
  I had an inkling. OK.
• 12:25
  Yeah. Well, here it is.
• 12:27
  We've got. Yeah, I think the the best way
• 12:29
  to discuss the film is we can kind of go over the song choices
• 12:33
  along the way. Now it opens obviously with a,
• 12:36
  with a prologue and we got the title song.
• 12:39
  Yeah. How great is this song?
• 12:42
  Well. Well, I will say it's one of the
• 12:44
  best ones in the movie. OK, it's pretty darn catchy as
• 12:47
  well. It's catchy and you know how I
• 12:50
  feel about that. Yes, I haven't sung it a lot.
• 12:54
  You've been humming it a lot. I think you've been humming.
• 12:56
  It the whole right over the whole right over, but get this
• 13:00
  fill up. I went in with an open mind.
• 13:02
  Doubtful. But no, I didn't say I put my
• 13:05
  phone away. I put it on the big screen TV,
• 13:07
  which was probably a mistake. It did not translate well to 65
• 13:11
  inches. Well, it was on a big screen in
• 13:13
  86 so. That's a different screen.
• 13:15
  OK, If you want to listen to our screen talk, you can revisit one
• 13:18
  of our older episodes where we talk about screens.
• 13:21
  I think it's in the archives somewhere.
• 13:23
  Just keep watching or keep listening.
• 13:25
  Yeah, you'll find it eventually, but right away, Phillip, I
• 13:30
  recognize somebody. Oh, interesting.
• 13:33
  The six second rule. The middle woman.
• 13:38
  OK, Crystal or Chiffon or? Cherelle, are you talking about
• 13:42
  the real name? No the name of the.
• 13:44
  Movie The middle one. Let's leave it at the middle.
• 13:46
  One all right. They're named all after girl
• 13:49
  group bands. Do what?
• 13:50
  Bands from the 50s. Oh that's wonderful.
• 13:52
  Instantly recognized her, knew exactly what episode she was in.
• 13:57
  A Fresh Prince of Bel Air Wow Played Will's love interest in
• 14:00
  the earthquake episode. Really.
• 14:03
  I double checked it later just, but I didn't have to.
• 14:05
  You knew I knew. It lined up right away.
• 14:08
  It's strange. Boom, this is 86. 91 was the
• 14:11
  episode Okay five years. Five years later and she's
• 14:14
  dating a high school kid. She had fake.
• 14:17
  That's that girl. That's that girl.
• 14:19
  That's the best. I love that joke.
• 14:20
  I love that that was the hair. Everything.
• 14:23
  Everything. That was her.
• 14:24
  That's great. See, now you understand.
• 14:26
  Now this useful gift I have. Yeah, it's a gift and sure.
• 14:30
  Yeah. Yeah, I got the useful part.
• 14:32
  Yeah, yeah, yeah. It's a gift.
• 14:33
  And I I do remember that episode though, pretty funny.
• 14:36
  I mean, it's a pretty memorable one, yeah.
• 14:38
  Great series. Great series.
• 14:40
  I was a big fan because I love 50s music.
• 14:43
  This was like a great opening song to me.
• 14:46
  I like that it sets the scene. We kind of get a tour of the of
• 14:48
  the neighborhood that they're in, which, again, has just the
• 14:51
  right amount of fakery. Yeah.
• 14:53
  I love looking at a back lot like we've talked about with
• 14:55
  Gremlins, Gremlins, where it's like, this is so clearly, and
• 14:58
  I've been on this back lot. This is the Warner lot.
• 14:59
  Oh, yeah. The surreality of it is almost
• 15:02
  what makes it so good. Yeah, the fact that it looks
• 15:05
  cheap or that it looks you want to commit to what your your
• 15:08
  look. It's not trying to be realistic.
• 15:11
  It's it's trying to kind of play with it, which I like.
• 15:13
  And I also got a kick out of again, the girls names are based
• 15:16
  on 50s do off. The I'm too you wouldn't.
• 15:18
  Well, I'm thinking about the earthquake episode.
• 15:19
  That's right. Yeah.
• 15:20
  And then we kind of have the introduction of our lead
• 15:23
  characters. We got Seymour, Rick Moran.
• 15:25
  It's kind of tripping and stumbling and.
• 15:27
  He's your klutzy character. That's it.
• 15:29
  Classic klutz. The boss is the hard nosed style
• 15:32
  boss. Mush Nick not very happy in
• 15:34
  love. You look like John Goodman.
• 15:36
  Are you with me? From Wish, Yeah.
• 15:39
  From Wish, that's your go to John Goodman, Yeah.
• 15:43
  King Ralph buddy No, from like from the website wish which is
• 15:46
  like knock off stuff. Oh come on, you heard that wish.
• 15:49
  No, you can choose. Team move on.
• 15:52
  If you had said team I would have understood.
• 15:53
  I don't know wish. I wasn't sure which one to go.
• 15:55
  With I don't understand. Clearly, I picked the wrong one.
• 15:57
  Yeah, and we have a woman. Ellen Green.
• 16:01
  Ellen Green. Here's a big question.
• 16:04
  I wonder what your comfort level is with Ellen Green?
• 16:07
  My comfort level. Yeah.
• 16:08
  She has already won the Francis Award for the year.
• 16:12
  Yeah. And we have three months left.
• 16:14
  I'm like, I'm giving it to her. It's over.
• 16:16
  No one's going to top it. Now you did say the likely
• 16:18
  candidate, the winner even was going to be Brad Dourif, if you
• 16:22
  recall, from Cuckoo. From Cuckoo.
• 16:24
  Well, have we? Have we surprised?
• 16:26
  Oh yeah, he's been pushed aside. He doesn't.
• 16:28
  She's on the screen way too, too, too much.
• 16:32
  And I think she's such a Francis candidate that I have to remind
• 16:36
  people who are listening who have not heard one of those
• 16:40
  references before. It's about the 12th time.
• 16:42
  Yes, sure. A Francis candidate originated
• 16:45
  from the Swiss Family Robinson episode Because you found the
• 16:47
  kid really annoying. Francis being Francis, being the
• 16:50
  name, most annoying person I've ever seen in the movie.
• 16:52
  So anyone who's in a movie that we choose who's extremely
• 16:55
  annoying enough where I got up and almost turned it off.
• 16:59
  Wow, so close. I would never do that.
• 17:01
  I'm just kidding. Previous winners.
• 17:03
  Those, of course, are the entire cast of Daylight Do.
• 17:07
  We minus. George, yeah, George doesn't
• 17:08
  count. George obviously slide doesn't
• 17:10
  count, but every all the supported casts for daylight one
• 17:13
  Yeah, we have to revisit who we chose over the last like four or
• 17:16
  five years. But yeah, definitely a shoe in.
• 17:18
  I knew that that was going to be a stretch for you.
• 17:20
  Glad you knew and I is. There a problem for you at all?
• 17:23
  It rolls my eyes, you know, once you commit to it, much like we
• 17:27
  just talked about, if you're accepting the fact that this is
• 17:29
  the reality that you're living in, it doesn't really bother me.
• 17:32
  I accept it. I just found her voice is really
• 17:34
  annoying. Yeah, that's it.
• 17:35
  I accept her character. Well, sure, but the voice is
• 17:38
  part of that character. Yeah.
• 17:39
  I just. You either have to accept that
• 17:40
  that's that character or not. I might visually accepted it,
• 17:43
  sure. Of course it is.
• 17:45
  But my ears. Just shrill.
• 17:48
  Couldn't handle it. It was just rough.
• 17:50
  Yeah. Now was it the singing voice or
• 17:51
  the? Or the speaking about the
• 17:52
  singing voice. No real issue with that.
• 17:55
  The singing voices were all relatively done well, which they
• 17:57
  usually are because, well, it's a musical.
• 17:59
  You want to have good singing voices, they don't want you.
• 18:01
  Sure, but I will say that occasionally, as in the case
• 18:04
  with Tommy, which will get off the shelf at some point.
• 18:07
  Again, no rush, this is your one of the year.
• 18:11
  You know, they have Jack Nicholson in that role in that
• 18:12
  movie, and he Can't Sing at all. So sometimes if you're just a
• 18:15
  star, it's enough to be in the movie.
• 18:17
  Like, I wouldn't say Rick Moranis has a particularly great
• 18:19
  singing voice. I.
• 18:21
  Hold your horses there, buddy. I think it's perfectly
• 18:23
  reasonable. It's just I wouldn't put it in
• 18:24
  the echelon, if you will. Whereas Ellen Green has the
• 18:28
  chops, let's say, to do the job. Yeah.
• 18:30
  Who? Also who has the chops, I
• 18:32
  suppose, are these three women? Yeah.
• 18:34
  They handle like, kind of Greek chorus part.
• 18:36
  They're sort of doing a little narration here and there.
• 18:39
  And they kick off Skid Row, which to me early on is a song
• 18:44
  that I adore. Skid Row.
• 18:47
  Skid Row. Do you like the band?
• 18:49
  Yeah, not bad. What is a Skid Row?
• 18:51
  It's off to the skid, it's off to the side.
• 18:53
  It's a degenerate, it's dilapidated.
• 18:55
  It's. Got the general idea, but I just
• 18:57
  want to know if there's anything I'm missing.
• 18:59
  If you remember from Rocky, right, that's where they put his
• 19:02
  locker. They put his locker on Skid Row.
• 19:04
  What do you mean? It's because he's no longer a
• 19:07
  prized asset. He's off to the side, OK.
• 19:10
  Good enough? And that's what these people
• 19:11
  are. They're off to the side.
• 19:12
  I know skid marks. Oh, I bet you do Let.
• 19:15
  Me tell you a lot of history. There.
• 19:18
  So talk to me about this song. What are your thoughts on this?
• 19:20
  The other one is all preamble to set you up and set the scene.
• 19:23
  I find this is like the first one of your in the movie,
• 19:26
  choreographed basical. It's a big one.
• 19:29
  It's a, it's a showcase one. It's one of the meteor ones.
• 19:32
  I'd say it goes on for fair period of time.
• 19:36
  One thing I do like about it is the transitions of who's
• 19:40
  singing. Like it's just random people and
• 19:42
  you have a baritone just, you know, like, so I like the
• 19:46
  variety of it. When it comes to musicals, how
• 19:50
  memorable are they? Do they stick in your head?
• 19:52
  This is probably one of the better ones.
• 19:55
  I think this movie comes out strong.
• 19:57
  OK. I want to say open, open,
• 19:58
  strong. OK, Yeah.
• 19:59
  I didn't not dislike the whole movie.
• 20:01
  I want to make that absolutely 100% clear.
• 20:05
  For everyone. Great.
• 20:06
  And I also found that this had a lot of movement.
• 20:09
  Sure. Yeah, exactly.
• 20:10
  It's like I said, it's the first kind of choreographed.
• 20:12
  They're all kind of doing their things.
• 20:13
  The whole town sort of involved in it, so I get on board with
• 20:16
  that. And you kind of get the
• 20:17
  impression everybody wants out of Skid Row, right?
• 20:19
  That's the whole. That's what I was thinking.
• 20:20
  That's the whole. Thing, so you're seeing the
• 20:22
  derelict people homeless, so on. That's the impression I got.
• 20:25
  That's right. So I like that part.
• 20:27
  And of course, the song eventually slows.
• 20:28
  Down and comes to an end, similar to the business there at
• 20:32
  the flower shop, very slow. Very slow way down.
• 20:35
  Way down so we get a real change of energy tone.
• 20:39
  Yes, absolutely. I'm not sure why you have that
• 20:42
  many employees. I don't know why he's upset that
• 20:46
  she's late. No one's.
• 20:48
  I mean, no one's coming. You don't have to pay her.
• 20:50
  Yeah, right. Just checked in.
• 20:52
  Just clocked in. Swipe.
• 20:56
  But it gives us like, some quick cuts of them just looking at
• 20:59
  you're killing time. They're just it's over.
• 21:00
  Yeah. I got the sense the flower shop
• 21:02
  in the town was a little busier. At least they at least they had
• 21:06
  a side hustle. They got a side hustle.
• 21:07
  Give her a little taste. But he was ready to basically
• 21:10
  shut it down. He's basically calling it quits,
• 21:11
  yeah. He's go home.
• 21:12
  Don't come in tomorrow. Forget it.
• 21:14
  Yeah, luckily, Christopher Guest is there to save the day.
• 21:17
  Yeah, Well, yeah, that's Christopher Guest.
• 21:22
  He's a guy. Yeah, from Spinal Tap.
• 21:24
  Yeah, and Princess Bride and SNL for a year.
• 21:28
  I don't think that was his real voice.
• 21:30
  I don't know. No, what I love about it, what
• 21:32
  sticks out to me. So funny.
• 21:33
  And it happens two or three times more in the movie.
• 21:36
  Oh yeah, it's it's again so heightened 50s silly surreal
• 21:42
  movie that him walking in projecting in that voice that is
• 21:46
  so fake, Yeah, that it sort of becomes endearing, right.
• 21:50
  Like it's again, it's embracing its fakery, its silliness, fully
• 21:53
  committed. Yeah.
• 21:54
  And I really love that. I love any movie that kind of is
• 21:56
  willing to do that. What I find challenging when
• 21:58
  movies that we've talked about has been movies that want to be
• 22:02
  something else and fail. This wants to be what it is and
• 22:05
  succeeds. It gets to just be as silly as.
• 22:07
  We can't take it too serious when you have a talking plant.
• 22:09
  Yeah, acknowledgement exactly that, that that's the point.
• 22:12
  Right, you're all in on the on the silliness, of course.
• 22:15
  Yes, as you know, I'm Mr. Mr. Silly.
• 22:17
  What's funny though is I had $100 bill.
• 22:20
  Yeah, and I was just buying a bag of rice.
• 22:22
  OK, interesting. I assumed I was going to have to
• 22:25
  use my debit or credit. Uh huh.
• 22:27
  And then he rang up the price and this is a big bag.
• 22:30
  Oh, OK, it was about 80 bucks OK, so.
• 22:34
  And he said, well, if I pay cash, it's.
• 22:36
  No tax man whatever. Sure.
• 22:39
  So yeah, 65 bucks for a big bag of rice.
• 22:41
  Yeah, I guess that's good. I don't.
• 22:42
  Know, I assume it's not as good as it used to be sure, but I was
• 22:46
  really happy to break that hundred.
• 22:47
  Yeah, I bet now I have some meat pie money that I can get from
• 22:49
  Aladeen's Very good cash only. I love having $100 bills in my
• 22:53
  pocket because it means I can go to the casino.
• 22:55
  Yeah, that's a good thing. Yeah.
• 22:57
  Can't beat the house. No, that's true.
• 23:01
  So Christopher Guest comes in and he sees this wild crazy cool
• 23:03
  plant and has 100 bucks and wants to spend it.
• 23:07
  Why not buy roses? Why not buy $100 worth of Rose
• 23:10
  Which? Is probably a lot back then.
• 23:11
  Totally. They're all like losing their
• 23:13
  minds. She they're just like, Oh my
• 23:14
  gosh, it's happening. And he gets to tell the story of
• 23:17
  this plant. Yeah, how it came upon.
• 23:18
  How it came about and what I thought was interesting is if
• 23:22
  you remember the crawl for this movie, it's late September.
• 23:27
  That's pretty much where this movie's going to drop.
• 23:29
  Yeah. You're good with that.
• 23:30
  Yeah. Unlike me.
• 23:31
  Yeah. We just dropped Naked Gun, and
• 23:33
  it's been. It's already on video.
• 23:35
  That's right. That's right.
• 23:36
  But I like that the girls provide this sort of
• 23:37
  counterpoint. As he's telling the story, he's
• 23:39
  just talking it. But then they're like Audrey,
• 23:42
  too, and like, little bits along the way, little chorus.
• 23:45
  I think it's really clever. They have their moments, yeah.
• 23:48
  I don't mind them. I think they're great.
• 23:49
  I love them throughout. Actually I.
• 23:50
  Think great's a little strong? Good.
• 23:52
  You're fool. They're good.
• 23:53
  That's the best you're going to get out of me, All right?
• 23:56
  All right, but what's not good is Audrey, right?
• 23:58
  So we had this situation where this this plant as young as she
• 24:02
  is, isn't thriving. Wait, are you talking about
• 24:05
  Audrey one or Audrey 2? Audrey two?
• 24:08
  I thought you just said Audrey because she she wasn't doing too
• 24:10
  great either. That's true.
• 24:11
  What's the rating on this movie, by the way?
• 24:13
  PG. OK, well, just, you know,
• 24:16
  pushing the PG. Yeah, let's get some adult
• 24:18
  themes. Sure, it was probably around the
• 24:21
  same time as the PG13 and so forth kind of introduction.
• 24:24
  Maybe This is why it's. Introduced that was Indiana
• 24:28
  Jones Temple of Doom. Yeah, that was the Ramblins.
• 24:31
  Both were the. Iffy 2 Amblin movies.
• 24:34
  Yeah, well, he's pushing the envelope so Audrey too, right.
• 24:36
  That's. What?
• 24:37
  We're talking Audrey too, Yes, She's not doing well.
• 24:39
  I think it's a he. It's Audrey, too.
• 24:41
  Audrey's a female name. Well, I think he may have
• 24:44
  misnamed it. Really.
• 24:45
  Well, we'll get there. OK, stay to the end.
• 24:49
  Yeah, not doing so well. And it does give us a song.
• 24:53
  I wrote down the Sunshine song. Like, I don't know the titles of
• 24:56
  the songs. You probably do.
• 24:58
  Grow for me. Grow for me.
• 25:00
  Yeah, I like. That it's it's Rick Moranis his
• 25:02
  first time to really share his lyrical.
• 25:06
  Yeah, I really belt it out. Yeah, he has a softer voice,
• 25:09
  obviously. Sure.
• 25:10
  I love the song. It's another one that's really
• 25:11
  catchy, kind of hummable, and I like lyrics.
• 25:14
  I like the way the word play. I think it has lyrics in this I
• 25:17
  think are fantastic, really clever, and they play off each
• 25:19
  other well. And they hit the genre of that
• 25:21
  sort of 50s musical I think really well.
• 25:25
  And combined with the sort of 80s take on it, there's
• 25:28
  something about this symbiotic relationship between the music
• 25:30
  and the visual in this that I think it really hits.
• 25:32
  I think I enjoyed the lyrics more second time.
• 25:36
  No, just in general more than the tune.
• 25:39
  Oh, OK, yeah, it's soft, it's fine, but I didn't find it
• 25:41
  incredibly memorable. Sure, but I just think like
• 25:44
  lines like you know, do I have to open up a vein?
• 25:46
  That's clever. I like that the vein line
• 25:47
  specifically actually stood out. Yeah, that's right.
• 25:50
  So things like that, I think elevate would, lyrically anyway,
• 25:54
  elevate the movie to a different standard.
• 25:56
  And that looked like real blood. On the I believe it was.
• 25:58
  I didn't check the the end but it didn't say no.
• 26:01
  Humans were hurt during the making of this film, so I think
• 26:03
  there might be an argument. To say it took one for the team
• 26:05
  there by Rick, Yep, Yep. But seemingly this plant is
• 26:09
  something it's special. That's right.
• 26:12
  Kind of looks like a Venus flytrap, yeah.
• 26:13
  I think that's. Which is a great character from
• 26:15
  WKRP in Cincinnati. Absolutely.
• 26:18
  Tim Reed. Jeez.
• 26:19
  Good for you. Yeah, he's good for.
• 26:21
  You. It's not Lonnie Anderson.
• 26:22
  I don't know who you are. She just died recently.
• 26:24
  She did, yeah. And my dad was very upset.
• 26:26
  He was a big fan, sure. Yeah, but we're also big fans of
• 26:30
  John Candy. Absolutely.
• 26:32
  Yeah. Yeah.
• 26:32
  New movie, a new documentary released at TIF this year.
• 26:35
  I heard Reynolds kind of running the show there.
• 26:38
  Colin Hanks. Yes.
• 26:39
  Lovely man. I heard you met him.
• 26:41
  I did. That was a great story.
• 26:42
  That beats my Brett Butt story. Yeah.
• 26:44
  He came to Rideau Center and I tried to joke with him and it
• 26:47
  went right over his head. He was just looking for the
• 26:48
  Apple Store. That was it.
• 26:50
  But your. Your Hank story was.
• 26:51
  Sent to the grocery store instead, you got farm boys
• 26:54
  downstairs. Yeah, but it's nice when you
• 26:56
  talk to somebody and you're like, I like your work and you
• 26:59
  can reference it. We respect that.
• 27:01
  Yeah, it was great. It was a nice little moment at
• 27:03
  the airport. Lovely guy.
• 27:04
  Yeah, seems like a nice guy. Cool.
• 27:06
  But yeah, Tiff, that's going on in to right now or was was was I
• 27:10
  was. Supposed to go.
• 27:11
  Interesting. Yeah, we just didn't get to
• 27:13
  organized enough because we have a little gang that does the
• 27:15
  hosting stuff and one of the volunteers there always goes
• 27:19
  Yeah, and we're gonna do it this year, but people get busy.
• 27:22
  And well, yeah, I mean, you're so busy with work and
• 27:24
  everything, I can see how well. You know, I got my hands full,
• 27:26
  do a lot of editing. I got I posted my new show.
• 27:29
  Oh fantastic, great night about this. 9 minutes of it.
• 27:32
  Pure entertainment. But nonetheless, we have John
• 27:36
  Candy as a radio host. That's right.
• 27:39
  I look up to that when I think of John Candy.
• 27:41
  The word that comes to me is weird.
• 27:44
  You ever have that? Not not recently or only
• 27:48
  recently. And I didn't realize John Canny
• 27:51
  was even in the movie, like I said at the beginning.
• 27:54
  So I'm like, that was a nice treat.
• 27:56
  Yep. I I love John.
• 27:58
  Of course, a lot of people do. Playing apparently another one.
• 28:02
  Yeah. I mean, good enough to get at
• 28:03
  this film. Sure about him.
• 28:05
  His name The name of the. Doc is I like me.
• 28:07
  Yeah, and I, I love everyone involved in it, like Eugene
• 28:09
  Levy, of course, Bill Murray, of course.
• 28:12
  Reynolds, not so much. But he's nice enough.
• 28:14
  He's fine. He's fine.
• 28:16
  It's Canadian. It's fun.
• 28:17
  Yeah. Now, I don't think this was one
• 28:19
  of his best roles. It's not meant to be.
• 28:21
  Again, it's not meant to be. Let me like I'm in your movie.
• 28:24
  Let's have a little bit of fun. I'll do a day's work.
• 28:26
  I'll be kind of silly and goofy and move on.
• 28:27
  Right. This isn't like a starring
• 28:29
  vehicle, You know? It's not Uncle Buck.
• 28:30
  Exactly. Yeah.
• 28:31
  Where you're asking him to carry the whole movie on your
• 28:33
  shoulders. You know, it's.
• 28:34
  I thought he was great in this little.
• 28:36
  That's OK. I mean, if you're going to
• 28:37
  compare it to some other characters, it's probably one of
• 28:40
  my laser favorite appearances, I would say.
• 28:43
  Yeah. OK.
• 28:44
  It's not as grand. I think you know who I'm
• 28:46
  alluding to coming soon, but it does give Miranda's character,
• 28:52
  Seymour a chance to get on the radio.
• 28:54
  He's really good. Give him the address.
• 28:57
  Yeah, give. Him the address.
• 28:58
  Yeah, I wish could have been there.
• 29:00
  What I do love is that he he goes to introduce the same story
• 29:05
  or tell the same story that he told Christopher Guest earlier.
• 29:08
  And instead of going back he just says remember that clips a
• 29:11
  couple of days ago and then just cuts to the next scene like we
• 29:14
  already know. I like, it's smart, it's good
• 29:16
  film making. I think so.
• 29:17
  It's also kind of funny, yeah. Kind of a clever little bit.
• 29:19
  I thought it was just. Good film making.
• 29:21
  I think it's funny. All right, well, your sense of
• 29:23
  humor sucks. Now.
• 29:25
  Speaking of kind of big performances, I would suggest
• 29:28
  that Ellen Green does a broad Now.
• 29:31
  I again, if you buy into it, I, I don't mind it, but even when I
• 29:34
  was younger, it was a pill to swallow.
• 29:36
  I've over the years kind of mellowed out to it.
• 29:38
  And you don't like pills? Not a pill guy.
• 29:40
  You're not a pill guy. A pill guy, yes, but not a pill.
• 29:42
  You're a pill. That's right.
• 29:44
  But yeah, so I do understand and appreciate a certain level of
• 29:46
  like, oh, this is a tough one, which is why I kind of
• 29:49
  anticipated your, your, your feelings about it.
• 29:52
  However, I think her performance, if you take away
• 29:54
  the voice, let's say, or whatever I think is really funny
• 29:57
  and the way in which she reacts to Seymour when she's talking
• 30:01
  about getting handcuffed. You weren't tied up, were you?
• 30:04
  She's like, no, just a little handcuffs, you know, kinky.
• 30:06
  Yeah, yeah, you're into that. I just like that she's so
• 30:09
  feminine and so like fragile in her voice.
• 30:13
  Dainty. Yeah, right.
• 30:14
  And then obviously. Can I say that?
• 30:15
  Yeah. I think so that is obviously in
• 30:18
  a position that, you know, there's probably some abuse
• 30:20
  going on. And what I thought about when I
• 30:22
  was seeing this was the Perks of being a Wallflower, right?
• 30:25
  We accept the love we think we deserve.
• 30:27
  The movie is not interested in that, right?
• 30:29
  It's not preaching. It obviously just needs to be
• 30:31
  part of that story to tell. That's part of the story.
• 30:33
  However, in 2025 eyes and having read and seen the story in that
• 30:37
  book and stuff, it matters. When you're watching that,
• 30:40
  you're like, yeah, you know what?
• 30:41
  You just have no self worth. Yeah, at all.
• 30:43
  That's the. Probably cut from a play and in
• 30:46
  grade 3 and has been nursing that pain ever since.
• 30:50
  Yeah, got on a different stage. That's right.
• 30:52
  Different kind of stage. That's right.
• 30:54
  And and we find out that she cooks like Betty Crocker or
• 30:57
  wants to, wants to. Yep, it looks like Donna Reed.
• 31:00
  Yeah, Donna Reed, we know you know Donna.
• 31:02
  Reed, I know the name. It's a wonderful life.
• 31:05
  OK, All right, That's who that is.
• 31:08
  OK. Yeah, I forgot.
• 31:10
  Have you ever put plastic on any furniture?
• 31:12
  Never, in fact. Yeah, no, for sure.
• 31:15
  I know a couple of people that do towels on their couch, but
• 31:19
  they're never a plastic. I've never seen a plastic
• 31:20
  situation. Have you seen a plastic in the
• 31:22
  country? Do you even get plastic out?
• 31:23
  There. No, we don't.
• 31:25
  No, no, no, no plastic. But we did have Tupperware
• 31:29
  parties. Very good.
• 31:31
  We did have those. I think my mom still has the
• 31:34
  same Tupperware. That's the beauty of the
• 31:35
  Tupperware. It lasts forever.
• 31:37
  I'm sure I've got a piece or two.
• 31:39
  Piece of massing tape with the last name on it.
• 31:41
  That's all you need. Upgrade to a label maker one
• 31:43
  day, but eventually we'll see. What I love about this song,
• 31:46
  somewhere that's green, it's what would be called in a
• 31:48
  musical, the Want song. Yeah.
• 31:51
  OK. Right.
• 31:52
  So we have that moment in the movie or the show or whatever
• 31:54
  where the lead character gets to explain what their goals are,
• 31:59
  their purposes are, their hope is the stakes.
• 32:01
  The stakes to a certain extent, this one song.
• 32:03
  So in Little Mermaid, if you recall, that's like part of your
• 32:06
  world, right? So she's looking out and she's
• 32:08
  like, this is what I want to see and do and be in my life.
• 32:11
  And in this movie, it's something similar.
• 32:12
  I want somewhere that's great. I want peace and quiet.
• 32:15
  I want to be a housewife. I want to live in this Adila
• 32:17
  kind of world. Great.
• 32:19
  And I think this song I think is beautiful.
• 32:21
  And again, her voice, if you're willing to accept it, I think is
• 32:25
  beautiful in this. Again, back to the playful words
• 32:28
  right where she's talking about dating a sadist.
• 32:31
  Yes, they're very clever rhyming schemes and looking for this
• 32:35
  idyllic life coming out of what great Skid Row and whatever else
• 32:38
  now I thought you might appreciate in this moment.
• 32:39
  I'm not sure if you caught it, but they're hoping to watch the
• 32:42
  movies on the big ginormous 12 inch.
• 32:45
  Screen. Oh yeah, yeah.
• 32:52
  Do we have a bit of a shift change of of music?
• 32:55
  Sure. And the movie kind of pivots.
• 32:57
  Yeah. I know you like that word,
• 32:59
  buddy. I love it.
• 33:00
  We get the ladies. Yes.
• 33:01
  On a rooftop. That's right, we go now to third
• 33:03
  person perspective. As opposed to Audrey and Rick
• 33:07
  Moranis talking your Seymour singing in first person wants
• 33:10
  and desires. Now we have the omnipresent
• 33:12
  third person singing. I like to be able to change
• 33:14
  between the two in a in a video game.
• 33:16
  There you go. I like that option like to
• 33:18
  switch it up a little bit. Yeah, they're bringing some
• 33:20
  really nice red dresses. Sure they're.
• 33:22
  Why not? They're having some fun now.
• 33:24
  And we get the plant sucking on Seymour's finger.
• 33:28
  Yeah, you like that, eh? It remind me of a James Bond
• 33:31
  movie we did recently. The shower scene.
• 33:34
  The finger sucker, Sure. Absolutely.
• 33:35
  There you go. There's some connected tissue
• 33:37
  for you. Slightly different context.
• 33:39
  A little bit, yeah, Yeah. Dig deep enough.
• 33:43
  Keeping up connecting there. Meanwhile, business is good.
• 33:46
  Sure, it's booming. Audrey's getting bigger.
• 33:48
  Yeah, the plan is blooming as well because of the blood.
• 33:52
  And Seymour is getting forgetful and anemic.
• 33:55
  Yeah, I love that. The joke of it is that he's
• 33:57
  absent minded. He's fumbling around, he's got
• 34:00
  no memory or whatever else because he's literally being
• 34:02
  blood. Dried I remember the time that
• 34:03
  you gave blood just a couple weeks ago there and you're.
• 34:06
  Go for a little bit there. Nearly nearly fell into the
• 34:09
  traffic and bad scene. Speaking of traffic, we have a
• 34:15
  motorcycle. Yes, that's right, the
• 34:18
  introduction, yeah. This is big.
• 34:20
  This is a big moment of the showcase.
• 34:22
  It's 30 minutes in and it is a showcase for sure.
• 34:25
  It's recognized as such a good song that they put it back in at
• 34:27
  the end, like in the credits. So that's how you know it's one
• 34:30
  of the good ones. Yeah sure, cuz we're not all
• 34:31
  good, but this was good. This is a good one.
• 34:33
  This is a good one. We get Steve Martin with black
• 34:36
  hair. Yeah.
• 34:36
  What are your thoughts on that? I thought that.
• 34:38
  Wow, nice thought, I mean. Nice change.
• 34:40
  Yeah, he's been. Silver hair as long as I can
• 34:42
  remember. I didn't think he'd do it.
• 34:43
  I didn't think he'd do that for a role.
• 34:45
  But he did. He committed to the role.
• 34:47
  That's it. Respect the hell out of that.
• 34:49
  And he sings about shooting puppies, poisoning guppies and
• 34:53
  bashing the heads of cats. Yep.
• 34:55
  I bet you you connect to this. You're not a big pet lover.
• 34:59
  I don't love pets now I don't want them.
• 35:01
  OK, murdered. OK, that's good.
• 35:02
  But I don't want to ever own one.
• 35:04
  Yeah. Even though you practically do
• 35:08
  in law, it's a dog in law. Paperwork to trace me.
• 35:12
  It's like in heat, I can leave this within 30 seconds.
• 35:14
  But I love the story, and I love his love for his mom.
• 35:20
  And then he walks into the room and he's a dentist.
• 35:22
  Yeah. I think that's pretty cool.
• 35:24
  Yeah. I think it's a great
• 35:25
  introduction of a character. It's a great song.
• 35:28
  And I love what's happening underneath it, the
• 35:31
  undercurrents. Yeah.
• 35:31
  The. Viciousness of what he's going
• 35:33
  through and how much he enjoys it.
• 35:35
  Oh my God. And that's so funny.
• 35:37
  It gets a thrill when he drills A bicuspid.
• 35:39
  It's just genius lyrics. I don't even care if this is
• 35:41
  your favorite scene, it's mine. Wow, a Steve Martin scene is
• 35:45
  your favorite? Scene.
• 35:46
  I know we are. I hear it.
• 35:48
  It's happening. We've come full circle.
• 35:50
  And Steve Martin more or less makes this movie for me.
• 35:54
  And I absolutely love everything about the dentist stuff.
• 35:58
  Yeah, every choice they make, like everything.
• 36:00
  Absolutely. It's just good stuff.
• 36:03
  Say ah, right, like just genius, just.
• 36:05
  When he goes in their mouth with a big tool, like he just, he's
• 36:07
  all into it. Like he really gives it a full
• 36:09
  performance. And he also likes nitrous oxide.
• 36:13
  That's right. And I like his look.
• 36:14
  I like the 50s greaser look, Right, Like the wild one or
• 36:17
  whatever else. The wild Brando stuff.
• 36:20
  Yeah, it is definitely a showcase and it definitely
• 36:22
  elevates the movie. It takes up the energy if I
• 36:25
  don't, I didn't need it like I thought.
• 36:27
  The movie is still plugging along, but it brings it to a
• 36:29
  new. Level yeah, I think the movie is
• 36:30
  doing fine. I think it's slowly amping up
• 36:33
  and this I think is a. Peak.
• 36:34
  It's definitely, it's definitely peaking for sure now for me,
• 36:37
  what's great about it is it crests with this sort of next
• 36:42
  big song that I love and really shows off some of my favorite
• 36:46
  stuff in the movie, which. Is, of course, yeah.
• 36:49
  When we're hearing Feed Me Seymour and watching the plant
• 36:54
  sing and almost dance pretty close is pretty impressive work
• 36:59
  for me. And to watch the puppetry of
• 37:01
  that and the use of force, perspective and depth and how
• 37:04
  you film that is. Incredible.
• 37:07
  It's incredible masterpiece in that sense.
• 37:09
  Just say I didn't like the movie at all.
• 37:12
  You just pretend, yeah, hypothetically speaking, you
• 37:15
  cannot argue that aspect of the movie is fantastic and
• 37:18
  award-winning work. Yeah, yeah.
• 37:20
  It's staggeringly high quality that I think does hold up even
• 37:23
  on a 65 inch television. Also, it's now setting real
• 37:27
  stakes and sets the plot in motion.
• 37:29
  The plant is to basically to be credited with the success of the
• 37:34
  flower shop. So we have now it's not wrong,
• 37:38
  that's it, but but we don't know that and Seymour doesn't know
• 37:40
  that necessarily, right? So he gets to call out.
• 37:44
  I'm making things happen. The plant is pulling the
• 37:46
  strings, however that's going to happen.
• 37:48
  How is that? Secondary, but the laying it out
• 37:50
  like that, I think in the in a form of a really catchy song, I
• 37:54
  think goes a long way. After I watched it the first
• 37:56
  time, I normally would have said that it starts to come down
• 38:00
  right after Martin. OK, that that scene, but I will
• 38:04
  agree with you that watching it a second time that it's still at
• 38:07
  the mountain top peak. Yeah, sure.
• 38:09
  Yeah, Yeah, I get it. I don't know.
• 38:10
  Sometimes you don't get it. Sometimes you don't get it.
• 38:12
  You don't think I can get it? Mountain top and peak.
• 38:14
  You don't think I can put those two things together?
• 38:16
  Pretty sophisticated. Did you put together that the
• 38:20
  plant was hinting at killing? Yes.
• 38:23
  The Dentist. Yeah, I love that.
• 38:24
  Yeah, I love that they're making this pact.
• 38:26
  Like there's this sort of tacit understanding and agreement.
• 38:29
  I love the way this movie in particular, like you're saying,
• 38:31
  I love the songs, but I really enjoy the way that the plotting
• 38:35
  hits from basically what we're talking about from the Dentist,
• 38:38
  particularly when the tone shifts, to Seymour just dropping
• 38:41
  a couple of pints of blood or drops of blood to kind of keep
• 38:44
  it going, to the stakes getting higher and higher, of course.
• 38:47
  And now all of a sudden, that's movie making.
• 38:50
  Yeah. And now we need a victim.
• 38:52
  And it's not just does it have to be human?
• 38:54
  Does it have to be mine? Right.
• 38:56
  Like there's all these questions, and then he's like,
• 38:57
  wink, wink. We got an option over here.
• 38:59
  Don't we know somebody that you could mean?
• 39:02
  Checks the checks a lot of boxes.
• 39:04
  Yeah, it's pretty great. But before that, we have what is
• 39:06
  ultimately probably one of my favorite scenes.
• 39:09
  OK, well we did mine. I guess we can do yours it
• 39:11
  doesn't it? It also involves the dentist.
• 39:13
  Of course it does. But here we have If it didn't
• 39:16
  Bill Murray, and this scene just knocks me out.
• 39:19
  I just loved it even way, way back.
• 39:21
  The manic energy of it. I love the idea and the
• 39:24
  cleverness again of putting a sadist with a masochist and how
• 39:28
  disappointed sadist would be. He's pretty upset.
• 39:31
  And meanwhile the masochist is so excited, Bill Murray, that
• 39:36
  he's like, I went to a dentist on Thursday and then the guy on
• 39:38
  Friday told me I couldn't even see the guy till Sunday.
• 39:40
  So I had to go to a different guy on Saturday and he's putting
• 39:42
  cotton balls in his mouth already.
• 39:44
  My favorite line or my favorite moment is off screen when you
• 39:49
  just hear all the machinations of a dentist and you hear Bill
• 39:52
  Murray. Oh, you're something special.
• 39:55
  You're something special. That's a moment that does live
• 39:58
  with me ever since I saw this movie.
• 40:00
  In hindsight, what I liked about the scene is that it kept Martin
• 40:04
  in the movie a little bit longer.
• 40:05
  Sure. Yeah.
• 40:06
  And. Gives him another moment.
• 40:07
  Yeah, exactly. And I think that's important.
• 40:09
  And I think having Bill Murray there as basically the opposite.
• 40:12
  Like you said, nice combination. There's no real reason for this.
• 40:16
  Just for having fun. Yeah, exactly.
• 40:18
  But I think because it keeps Martin in the movie longer, it
• 40:21
  does serve a purpose in that sense.
• 40:22
  I also think it's really hilarious.
• 40:24
  So that helps you get another funny scene in a movie like we
• 40:26
  did last week. It's just funny sometimes for
• 40:28
  the sake of just being funny. That's right.
• 40:30
  Why not? Exactly.
• 40:32
  It's Rusty. Now Speaking of Rusty, now I
• 40:35
  don't know if you had the same image, but.
• 40:37
  When I saw Martin put the gas mask on, what did you think?
• 40:42
  Because I thought Mad Max. I can see that.
• 40:45
  I was like, this guy looks like Hemotep or whatever.
• 40:48
  Yeah, I didn't think of that, but I now that you mentioned it,
• 40:50
  yeah, I'll give it to you. That image looked very, very
• 40:52
  familiar too. I just thought it was an
• 40:54
  hilarious. But that too.
• 40:55
  Sure. It was just the whole thing.
• 40:57
  Yeah, it was silly. And I think it's just silly that
• 40:59
  because of his experience with Bill Murray, he needs that extra
• 41:03
  high. Yeah.
• 41:04
  To work on Seymour. Yep.
• 41:06
  So he can enjoy it. That's right.
• 41:07
  He needs to be on the gas. Needs to get elevated.
• 41:10
  Yeah. And coincidentally, what I like
• 41:12
  about it as well is it's you get Seymour gets to accomplish his
• 41:15
  mission without having to. Pull the trigger.
• 41:17
  Pull the trigger. I know you require a likable
• 41:22
  protagonist, you know, So the fact that he doesn't have to
• 41:26
  kill him officially, does that give him some points or he used
• 41:29
  to hold? It against him.
• 41:30
  I, I, I understand that I'm not going to be on anybody rooting
• 41:34
  for anybody here. Wow Seymour, such a sweet guy.
• 41:36
  I don't like him. OK, He'll make some poor choices
• 41:40
  along the way. All.
• 41:41
  Right. Yeah, especially.
• 41:42
  If you look at the alternate ending, that's fair.
• 41:46
  That's fair. You know who doesn't appreciate
• 41:48
  though is mush neck because he ends up seeing.
• 41:51
  Yeah, like a silhouette. Yeah.
• 41:53
  Doesn't see it. See it?
• 41:54
  Nobody knows. He gets it.
• 41:56
  Yeah. Now my question to you, Phil,
• 41:57
  and again, a bit of an issue here with, you know, keeping
• 42:00
  this movie grounded because I know that's what it's trying to
• 42:02
  do. Yeah, exactly.
• 42:03
  Realism. Would you feed all the body
• 42:06
  parts or would you save a leg for later?
• 42:08
  I would definitely do my best to spread it out.
• 42:10
  Yeah, I get a couple weeks. My worry is that this plant has
• 42:13
  got. Needs.
• 42:15
  Yeah, it's. Insatiable.
• 42:16
  And so my worry is that you think that you're setting aside
• 42:19
  a leg, but once they know the leg is there, you're not, it
• 42:22
  could be trouble, you're not going to make it.
• 42:24
  I was thinking, why doesn't he just eat Seymour, but then I
• 42:27
  realized he's feeding it kind of got to keep.
• 42:29
  So that checks out. I thought it was a bit of a plot
• 42:31
  hole there, but no, it's it's this movie's tight.
• 42:34
  This is a tight. Movie, this is your gravy train.
• 42:37
  Yeah, you know, exactly. Don't bite the hand that feeds
• 42:40
  you. Exactly.
• 42:41
  Literally, literally, literally the situation.
• 42:43
  Yes, you've mentioned before you're not a fan of Ellen
• 42:47
  Green's performance, her voice in particular.
• 42:50
  That's it. Just the voice, buddy.
• 42:51
  What? This is her moment now.
• 42:53
  So she's getting a song suddenly, Seymour.
• 42:56
  Yeah, let's give her a song and. Here she's realizing she's free.
• 43:01
  She's free from the shackles, if you will.
• 43:05
  Yes, I won't. I won't of the dentist is now
• 43:08
  he's. Missing.
• 43:09
  Well, she doesn't know. That that's right.
• 43:11
  But so she's feeling liberation on some level.
• 43:15
  On some level. You see a stripper, apparently,
• 43:16
  what she sees in that. Exactly.
• 43:19
  Yeah, She's known to be liberated.
• 43:21
  But what she sees in her future is Seymour.
• 43:24
  And suddenly Seymour is there, which I kind of like, you know,
• 43:26
  he's right in front of me. Great name for a song.
• 43:29
  Great name for a song. It's not a bad one.
• 43:31
  It's pretty catchy. It's.
• 43:32
  Kind of like the big song of the movie or one of the big ones of
• 43:34
  the movie, because it comes back exactly.
• 43:36
  And it's a little their love stories, their love song and so
• 43:38
  forth. I I think the song is a really,
• 43:40
  really kind of powerful 1 And I think her voice, your singing
• 43:44
  voice anyway, is just bang her in this.
• 43:46
  I think she just nails this particular song.
• 43:49
  It's adequate. Okay, gave her that humbler
• 43:51
  returns. Yeah, that's right.
• 43:54
  I'm just happy they kiss. Yeah, kiss, you know.
• 43:58
  But I think it's great. I think that they're sort of
• 43:59
  envisioning this other world. You don't need makeup Which.
• 44:02
  Which is not true. For a person myself who's just
• 44:05
  never enjoyed makeup, well, you don't eat it on others on
• 44:09
  others, but I like it. It's a real showcase for Ellen
• 44:12
  Green, for Audrey and I, I think it really delivers on that.
• 44:15
  And the benefit of that is we have Seymour now finally being
• 44:20
  in love. While I for what he just did, I
• 44:23
  mean, you want a bit of a payoff.
• 44:24
  That's right. I mean, I know he didn't kill
• 44:26
  him per SE, but he did feed him. He did, you know, chop him up.
• 44:29
  That's right. That takes a certain kind of
• 44:31
  person to do that. Totally.
• 44:32
  Just saying. Yeah, so he's willing to take
• 44:34
  that on. But you know, for the for the
• 44:36
  reward, I think it's worth it. I don't think cost benefit
• 44:38
  analysis. Yeah, listen that.
• 44:40
  Voice the rest of your life kidding me.
• 44:42
  I chopped myself. Up.
• 44:43
  She used to be a dancer. Yeah, there's other things too.
• 44:46
  I play here. Feed me, I'll feed myself.
• 44:50
  Well, Speaking of, feed me. It's supper time.
• 44:53
  It's supper time, supper time. And Goodman wish, wish.
• 44:58
  Good. Mush Nick.
• 45:00
  Sorry, Mush Nick. He's his proper name.
• 45:02
  That's right. He deserves.
• 45:03
  Give a name, give us some. Credit confronts.
• 45:06
  Yeah. Our friend Seymour.
• 45:08
  Yeah. About the what he may think of
• 45:10
  murder. That's right.
• 45:11
  He has. No, I don't think he knows.
• 45:12
  He doesn't know. But he gives him an out.
• 45:14
  Yeah. Tell me.
• 45:15
  Tell me the tricks of the trade here, and I won't turn you in.
• 45:18
  And you can go to Alaska or somewhere.
• 45:20
  And anywhere you want, just just let me.
• 45:22
  Have it. Yeah.
• 45:23
  And we get the old switcheroo. Yeah, yes, we do the old.
• 45:27
  Russian roundabout where normally the person who's the
• 45:31
  aggressor is pushing the other one forward, but Mushnik is
• 45:35
  slowly getting pushed closer and closer and closer.
• 45:39
  To the plant. Audrey too.
• 45:41
  Audrey too. Yeah.
• 45:42
  Yeah, the official unofficial name.
• 45:45
  I love the song, I like how dark it is.
• 45:47
  It is kind of dark. It's a.
• 45:48
  Really slow, mellow like. PG13.
• 45:54
  And I love that the backing vocals are on point.
• 45:56
  I just think it's a really great scene.
• 45:58
  But certainly you have Mush Nick in a perilous position and
• 46:04
  Seymour doesn't really do anything wrong, but he just
• 46:08
  doesn't save. It's like you doesn't kill but
• 46:12
  doesn't save. Yeah.
• 46:14
  That's it. Yeah, I think it's fine, but
• 46:16
  motion it getting eaten by the plan is I think one of a great
• 46:19
  scene. That's why you were never a very
• 46:20
  good medic in battlefield. You know, you never res me.
• 46:23
  It's like you didn't you didn't kill me.
• 46:24
  No, but you wouldn't pick me up either.
• 46:26
  The. Choice not to see.
• 46:27
  Yeah, you just keep running and gunning, buddy.
• 46:30
  Yeah, it's a good scene. And again, I think it goes a
• 46:32
  long way to show the puppetry, yes.
• 46:36
  And it just gets better and better.
• 46:38
  It's one of the actually few highlights of the movie that,
• 46:41
  for me anyways, in the last half hour, is the puppetry.
• 46:45
  Oh yeah, certainly as it gets to the tail end of the movie, it's
• 46:47
  it's on like on. Fire.
• 46:49
  Yeah, exactly. Not literally.
• 46:51
  No, not literally, but yeah. He ingests Goodman.
• 46:55
  Yeah, absolutely. Fishnick, Yeah.
• 46:57
  That's it for him. That's it for him.
• 46:59
  And who's famous now? That's the thing, it's kind of
• 47:01
  like, again, the plant makes this agreement with Seymour,
• 47:04
  right? I am in charge, I can make
• 47:05
  things happen. I have been making things
• 47:07
  happen. And if we stop, then so too does
• 47:10
  everything. And he thinks Seymour does that.
• 47:13
  The only reason he has any value at all is the success he's got
• 47:16
  from TV and whatever. Talk about the poor choices.
• 47:18
  But he gets to be on the cover of Life magazine.
• 47:20
  I know you've always wanted that.
• 47:22
  I wish I could have accomplished that in my days.
• 47:24
  Not too late. Yeah, I don't even know if life
• 47:26
  is even a magazine anymore, frankly.
• 47:29
  Time. Time maybe, certainly, but that
• 47:32
  it is a thing and we're dealing with two broken people.
• 47:35
  Seymour and Audrey so belong together.
• 47:38
  He also doesn't know what his value or worth is, so he thinks
• 47:40
  that she loves him or could love him because of his success.
• 47:44
  And meanwhile, she's already sung somewhere that's green.
• 47:48
  She already has the dream. It's a toxic relationship
• 47:50
  though, not going to last. No, no, none of this is worth
• 47:52
  it. Audrey too, will will make sure
• 47:54
  of that. And relationship may not last,
• 47:56
  but it's not going to stop him from proposing.
• 47:58
  Yeah, that's right. We sometimes you don't know how
• 48:01
  long those relationships are going to last.
• 48:02
  When you ask that question. You just don't.
• 48:04
  You just don't. But you know who's going to stop
• 48:08
  and make every effort to make sure it doesn't go anywhere?
• 48:11
  Tough titty, Tough titty, tough titty.
• 48:14
  So this plan is obviously his own or her own understanding of
• 48:17
  what the next phase is going to. Be.
• 48:20
  And starts really implementing a plan, yes.
• 48:23
  Now what are your thoughts on this?
• 48:24
  Because it used to be just a plant looking to manipulate a
• 48:26
  situation or two. Now it's making.
• 48:28
  Phone calls. Now it's making phone calls.
• 48:29
  Yeah, I enjoyed that. I I enjoyed that scene,
• 48:33
  especially the second time around.
• 48:35
  It's a highlight just watching, I don't want to say tentacles,
• 48:39
  but, you know, basically, sure, Yeah.
• 48:41
  But, you know, putting the cord in and The funny thing.
• 48:44
  And again, if you're looking at your phone, which I did a little
• 48:46
  bit the second time, which is probably why I enjoyed it more,
• 48:50
  it goes to see if there's any change, goes to check.
• 48:52
  That's a. Subtle thing.
• 48:54
  It's always funny no matter what.
• 48:55
  Yeah. So it's it's great.
• 48:57
  It's great show and. I love the film making because
• 48:59
  you also see Audrey's apartment. Yeah through the window.
• 49:03
  So the plant is like aware and it has awareness.
• 49:07
  Yeah, there's, I don't know, we've already obviously seen it
• 49:09
  do those things. But there's something a way that
• 49:11
  with that shot is and how kind of menacing the plant feels now,
• 49:16
  even though up until now it's been doing nothing but eat and
• 49:19
  so forth. For some reason it never felt
• 49:21
  dangerous in a weird way. Eating and singing.
• 49:23
  Yeah, but in that moment, the menace, the shot just feels
• 49:27
  like, oh, now you're we like her, right?
• 49:31
  Like, so far, Mushnik is kind of an asshole sometimes.
• 49:35
  The dentist, clearly. Yeah, that's a monster, right.
• 49:38
  So the fact that he's going after Audrey, you're like, oh,
• 49:40
  wait, no, no. Yeah, he's slow down.
• 49:42
  Yeah, we like her. Well, you do.
• 49:44
  Yeah, exactly. I'm fine with that.
• 49:45
  Yeah, you're fine. You're putting her up on that.
• 49:47
  I wish this had happened. She had left earlier.
• 49:50
  Like had she gotten eaten instead of the dentist, that
• 49:53
  would have been better for me. Give me more Martin, less green.
• 49:57
  Don't say it. We're at a bit of a fork in the
• 50:03
  row. We'll talk about the movie, the
• 50:05
  theatrical version, and we'll kind of maybe go retroactive
• 50:08
  from there. I would love that.
• 50:10
  But for now, Audrey follows suit and shows up at the plant store
• 50:16
  and doesn't really do much except she gets eaten.
• 50:19
  Well, I mean, she doesn't know what to expect.
• 50:21
  How could you You? You don't know, but luckily
• 50:24
  Seymour gets there in time. She's half in there, I guess.
• 50:29
  Halfway digested. Yeah, but saves the day.
• 50:32
  Yeah. Seymour luckily kind of comes in
• 50:34
  just the right time. Plant didn't like that.
• 50:36
  No, no, no, no, no, no, no. Which is great because then we
• 50:39
  get to have a moment with. Belushi, Jim.
• 50:41
  Belushi comes in to save the day.
• 50:43
  Yeah. Now, this is a moment that I
• 50:45
  really kind of get a kick out of because like you just said, just
• 50:48
  dancing and singing or just eating and singing is all this
• 50:50
  Plant is doing. And he calls it out right away.
• 50:52
  If I could just interrupt you singing just for one minute.
• 50:55
  Yeah, I've got this proposal. Franchises, it's not a bad idea.
• 50:59
  It turns out it actually is a bad.
• 51:01
  Actually, it may be a terrible idea.
• 51:03
  Maybe. Definitely a bad idea.
• 51:05
  Maybe ruinous to the entire population.
• 51:07
  Do you like Jim Belushi? No.
• 51:09
  OK, I was never a big fan of John Belushi.
• 51:11
  I didn't like John Belushi, but I was kind of too young to.
• 51:14
  He's the wish, John Belushi, I would say, to use your parlance.
• 51:18
  But you know, I love sitcoms and according to Jim was, I want to
• 51:22
  say early 2000s where sitcoms are still OK before we get into
• 51:26
  the Netflix and the laugh tracks and all that.
• 51:28
  The laugh tracks have been around sitcoms since.
• 51:29
  Yeah, but they did them a lot better.
• 51:31
  Like today. It's just a so forced.
• 51:33
  The dialogue is so bad. It's the writing really.
• 51:36
  This is where the writing is still good.
• 51:39
  It doesn't have to be. You're saying that according to
• 51:41
  Jim, is the is where the writing was still good?
• 51:44
  It's good, it's wholesome all right.
• 51:46
  It was wholesome. It didn't it felt organic.
• 51:48
  It felt like lived in nonetheless, and he's sorry I
• 51:51
  had to talk about a little bit of.
• 51:52
  There's always got to be TV in there.
• 51:54
  Exactly, and I appreciate you. Doing that.
• 51:57
  So his plan is to is to produce Audrey, too.
• 52:00
  Basically, around the world wants to license it out.
• 52:02
  Yeah. And Seymour doesn't want to do
• 52:05
  it. He knows if they just leave,
• 52:06
  which is the plan, that she and he and Audrey are just going to
• 52:09
  go get out, that there's potential danger.
• 52:12
  Yeah. So he's got to confront Audrey,
• 52:14
  too. Yeah, I wrote this down as the
• 52:16
  final confrontation. Yeah.
• 52:18
  Yeah, yeah, yeah. It's a it's a great scene and it
• 52:21
  reminded me of Tremors. Yes, I see.
• 52:24
  That towards the the end, it just kind of escalates
• 52:27
  throughout. I mean, he's just doing
• 52:30
  everything and they show everything.
• 52:32
  He puts the tentacle through the phone.
• 52:35
  Yeah. Through his crotch.
• 52:37
  Yeah, yeah. And he?
• 52:39
  Moves himself at some point too, doesn't he?
• 52:41
  There's some more. Movement yeah, he's taking it up
• 52:43
  to the next and it's. Huge now, right?
• 52:45
  It's got so many different tendrils and like all these
• 52:47
  different. It's big, it's breathtaking.
• 52:49
  It's really an astonishing piece of work.
• 52:51
  When I see this scene, it's like we talked to showcase moments
• 52:54
  for singers and showcase moments for plotting.
• 52:57
  This is it's everything that's amazing about way in which you
• 53:01
  can manipulate an inanimate object that way.
• 53:04
  Yeah, when you're watching it and the force perspective, the
• 53:07
  manner in which this thing is delivering mean green mother
• 53:10
  from outer space. Catchy.
• 53:12
  It's staggering. It is a catchy tune.
• 53:14
  I just think it's brilliant. And I love the song.
• 53:16
  It's toe Tapper, but my gosh, the the special effects of it.
• 53:19
  Yeah, definitely are. Phenomenal, yeah.
• 53:21
  So were you tapping actually tapping your?
• 53:23
  Toe you're tapping right now just thinking about it.
• 53:25
  Just thinking about it a little side piece of story or
• 53:28
  information is I have only one time won a jackpot in Vegas.
• 53:35
  Of all those. Times I've won a lot of money
• 53:37
  here and there but never like a a jackpot and the one jackpot I
• 53:41
  got was I hit all Seymour on the little shop slot machine there
• 53:46
  you go it was $503.00 US of course in Vegas and while you're
• 53:51
  paying out they just play being green mother over and over again
• 53:55
  and the different. Keeps you coming back.
• 53:57
  The different bonuses are different songs from the movie,
• 54:01
  so I'm in heaven. So I was happy to play and nice
• 54:04
  little moment. Happy you won.
• 54:05
  And the main screen, as you put more money in, Audrey too, just
• 54:09
  gets bigger and bigger and bigger until it kind of
• 54:11
  overtakes the entire screen. It's a really cool, cool slot
• 54:14
  machine. Is there a jaws two slot
• 54:16
  machine? No, I didn't ever found there is
• 54:19
  a Jaws one like a Jaws one. It's obviously that I found way,
• 54:23
  way back, but it only had the name.
• 54:25
  It didn't have any of the likeness.
• 54:26
  The music didn't bother. It was a complete waste of time.
• 54:29
  Don't bother. So not not pleasant.
• 54:31
  We can see why I brought up Jaws too.
• 54:33
  Of course. This is the original ending, the
• 54:38
  theatrical ending. Yeah, I wouldn't.
• 54:39
  Say it's the original. You're right, I don't know which
• 54:42
  one came first. And let me tell you,
• 54:46
  underwhelming. Yeah, I don't mind the effect
• 54:48
  because it's that kind of appropriate cheesy.
• 54:51
  Yeah, that's fine. But I agree it's a bit of a let
• 54:53
  down. The ending sucks.
• 54:54
  Yeah, talk to me. Sucks I was, you know.
• 55:00
  I'll keep this from my final thoughts, of course, but the
• 55:02
  movie, The first time I watched it, lost a lot of steam once
• 55:05
  Martin had been dispatched. And then a little bit after
• 55:09
  that, it just the last 20 minutes.
• 55:11
  I did appreciate that moment of the destruction, but I was, I
• 55:15
  was bored really. I don't know what it was.
• 55:17
  It's a 91 minute movie. I'm surprised.
• 55:19
  Exactly, and I thank you for that.
• 55:21
  That's just a good thing. But I just didn't find like the
• 55:26
  music I liked a little bit better as I sunk in a little bit
• 55:29
  the second time. But when you've brought off
• 55:31
  Jesus Christ Superstar, that bars pretty high.
• 55:34
  Of course it's one of the all time greats.
• 55:35
  That's your fault. That's on you.
• 55:38
  Fair. And it was just, I don't know,
• 55:39
  it just felt like it was dragging for me.
• 55:41
  I don't know. I don't know what it was.
• 55:42
  Now I'm locked in like I have no distractions.
• 55:44
  Sure. So and I'm on the big screen and
• 55:46
  just the last 2020 minutes, half hour really.
• 55:48
  And then the ending, It might be just mostly the ending.
• 55:51
  I just did not like where this movie went.
• 55:54
  Seymour kind of rises, saves her.
• 55:57
  The electrocution doesn't do much.
• 55:58
  Did you like the kind of wink and a nod at the end?
• 56:00
  Did you catch the Yeah, I saw the plant.
• 56:02
  Little plant Audio 3 is going to take care of.
• 56:05
  No, No, I I think that in the moment I didn't mind the ending
• 56:08
  when I first saw it, but you didn't.
• 56:09
  Know there was a better one, but I.
• 56:10
  Didn't know there was a better one out there.
• 56:12
  And I think years later when the director sort of version, let's
• 56:15
  say got got released on DVD and became more ubiquitous, that was
• 56:20
  to me for sure a a better ending.
• 56:22
  I it's a lot bleaker, frankly. I can see why it isn't the
• 56:26
  ending, right? Because you're killing Audrey,
• 56:28
  you're killing Seymour, and you're ultimately taking over
• 56:30
  the entire world. It's a tough sell, right?
• 56:32
  I think if you're trying to sell to audiences in 8680. 80.
• 56:35
  Maybe I don't want and you're a guy, you want to like people,
• 56:38
  right? So this is that thing where
• 56:39
  you're like, you can't kill this movie can't work.
• 56:42
  I think good ending Trump's. Happy ending, do you think if
• 56:45
  you had seen the director's ending which is alluded to?
• 56:48
  Before anything, you would like this movie, or do you think you
• 56:51
  would feel cheapened by the fact that everybody dies?
• 56:53
  When we watched it together, the alternate ending, I'm like, this
• 56:56
  is good, especially on a small screen.
• 56:58
  Of course, it just looks crisper, right?
• 57:00
  Sure. This is the reality of those
• 57:01
  older movies and I said to myself that I probably would
• 57:07
  have enjoyed the entirety of this film had that been the
• 57:11
  actual ending. Had I watched it originally.
• 57:14
  Had that been your, my level enjoyment would have been
• 57:16
  increased. I.
• 57:17
  Find that interesting because I personally think that that 12
• 57:20
  minute or so ending drags a bit Well, and I, I don't think, I
• 57:24
  don't think it's bad, but it goes on and on for a while, so
• 57:27
  I'm wondering. That's a good point.
• 57:28
  I only watched it like of course by itself exact 12 minutes.
• 57:31
  But if you're feeling already bored ish by the end of.
• 57:33
  The second-half I OK, let me let me recalibrate that ending, but
• 57:40
  tightened up a little bit. Sure, yeah.
• 57:42
  Shave a couple minutes off here. And there, yeah, make it next
• 57:44
  6-7 minutes, but have it be a. Destruction of the end of the
• 57:47
  world, basically. 100% and that scene in the alternate ending of
• 57:52
  of him taking in Moranis, just the speed of that, it's just
• 57:56
  really good. Like that has a finishing.
• 57:59
  I think it's really tense. Yeah.
• 58:01
  Like is he going to eat them? Is he not like, Oh my God, he
• 58:02
  does. I mean, that's cool.
• 58:04
  I think it would have left a better, ironically better taste
• 58:07
  in my mouth then the the really really fake.
• 58:12
  Yeah. Country home.
• 58:14
  Yeah. I mean, I don't mind that this
• 58:16
  movie has a lot of cachet with me, so I'm fine either way.
• 58:19
  But I do agree that I really like the nihilistic ending and I
• 58:22
  just from a guy that appreciates the puppetry and the miniature
• 58:25
  at work and all the other kind of movie tricks that that
• 58:28
  produces. Watching those plants overtake
• 58:31
  the world, using a War of the Worlds kind of scene on the
• 58:34
  television, taking over New York City, the bridges kind of going
• 58:39
  all the way down, that scene with the with the train, Yeah,
• 58:41
  that's really funny. And also just in terms of the
• 58:44
  technical side, yeah, yeah, Really big production, really
• 58:46
  big production. So it doesn't hurt the ending
• 58:49
  that it has, but I definitely think the other ending is better
• 58:53
  and. More if you're OK just watching
• 58:54
  it like as a side piece. Yeah, that's the thing.
• 58:57
  Like I don't necessarily need it now.
• 58:58
  There is a version that has it cut back together.
• 59:00
  For our purpose, I could do that.
• 59:01
  For you, we just wanted in a couple weeks you could.
• 59:06
  Yeah, I got. I'm busy man.
• 59:08
  But there is a version of this is all cut together.
• 59:10
  But I really like this movie. I was a big fan back in the day.
• 59:13
  Now I don't know if it's still, you know, one of my all time
• 59:17
  favorite musicals, but in watching it this time, it's been
• 59:19
  at least 20 years since I've seen this movie.
• 59:22
  And I I really dug it. I really find that music, most
• 59:26
  of the music to be really catchy and good enough to listen
• 59:30
  separate from, but I wouldn't listen to this actually suddenly
• 59:33
  Susan, but Skid Row is on my phone, so there's certain songs
• 59:36
  that I would do it and not necessarily like somewhere
• 59:39
  that's green probably wouldn't listen to on its.
• 59:40
  Own Would you watch Suddenly Susan, though, that's the real
• 59:44
  question. Or would you watch according to
• 59:46
  Jim, if you had to pick? Wow.
• 59:47
  If I had to. For the rest of your life, you.
• 59:50
  Have to watch one of those shows, probably Susan.
• 59:53
  You're an idiot. That's.
• 59:54
  The dumbest thing I I enjoy Brooke Shields more than like
• 59:56
  Jim Belushi. Although I did watch Curly Sue
• 59:58
  once. And I thought that was OK when I
• 1:00:01
  was 6. Wonderful. 7.
• 1:00:02
  It's great, yeah. Maybe 10?
• 1:00:04
  You want to hear my final? Thoughts.
• 1:00:05
  I do indeed. The audience has been waiting.
• 1:00:08
  You've teased it all movie long. To the end, I watched the movie
• 1:00:11
  twice. Like I said, my first experience
• 1:00:14
  left me didn't really like it. Big screen TVI don't know, I
• 1:00:22
  mean, I I just didn't like anything after Steve Martin.
• 1:00:26
  I think he was really the life of the movie.
• 1:00:29
  I think it. He's only ended for like 10
• 1:00:30
  minutes from introduction to the but it ends.
• 1:00:32
  Up to that, sure. Absolutely.
• 1:00:34
  And I felt like after the Bill Murray scene, I, you know, I
• 1:00:37
  should say it after that showcase scene, basically after,
• 1:00:40
  after he's dead, after he's dead.
• 1:00:42
  I don't know. It just sucked the life out of
• 1:00:43
  the movie for me. Interesting.
• 1:00:45
  Yeah. It was a weird thing because
• 1:00:46
  then I watched it again the next day.
• 1:00:48
  Honestly. On a smaller screen, like on a
• 1:00:50
  laptop size screen, the fact that it looked crisper, I kind
• 1:00:54
  of knew what to expect. I would hope so I could go on my
• 1:00:57
  phone every once in a while. Sure.
• 1:00:59
  Quick check though, I I found myself pretty in tune with the
• 1:01:01
  movie. So it went by a little breezier
• 1:01:04
  and I thought, OK, you know, it's not that bad.
• 1:01:07
  It's it's, it's decent. I don't think I would watch it
• 1:01:09
  again necessarily. But All in all, I can see why
• 1:01:12
  other people are like yourself, like, and I can see more of the
• 1:01:15
  appeal. I think the puppetry is amazing.
• 1:01:18
  I think really why I couldn't connect to it as much as some
• 1:01:21
  others is JCS like what's the buzz like?
• 1:01:26
  There is no what's the buzz song like.
• 1:01:28
  The intro song is good. There's a couple OK songs but
• 1:01:31
  nothing truly memorable. And in my opinion now having
• 1:01:35
  watched the other ending, the appreciation goes up maybe a
• 1:01:39
  notch. Brings it from A from A6 to a 7
• 1:01:42
  by 7. You know how I like to give it
• 1:01:43
  A? Seven, you love the seven, you
• 1:01:45
  love the sevens. You know, I mean, I didn't feel
• 1:01:49
  like I wasted my time. That's watching it, so it wasn't
• 1:01:51
  a bad experience. I think the movie is better than
• 1:01:54
  you're saying, but I recognize that it is not certainly at the
• 1:01:56
  sort of pedigree of a JCS. And it's a musical, so I already
• 1:02:00
  knew there was a bit of a hump to get in.
• 1:02:02
  But I found most of it to be pretty enjoyable.
• 1:02:05
  And the stuff that I didn't, particularly the songs, always
• 1:02:07
  comes down to the songs to me that don't really live up to the
• 1:02:11
  rest. Luckily, there's few of them
• 1:02:13
  because for every grow for me, let's say which this song That's
• 1:02:17
  fine. There's a mean green mother,
• 1:02:19
  right? And you're like, well, shit,
• 1:02:20
  this is great or or Skid Row, which is great, or little shop
• 1:02:22
  the the title song. So.
• 1:02:24
  They were all good in JCS. That's fair.
• 1:02:26
  I believe me. I there's a reason why I love
• 1:02:28
  that one too. I think at the end this year
• 1:02:30
  we're almost ready to compile a list of the best musicals.
• 1:02:33
  We're we're one closer. We can't do it every year,
• 1:02:36
  obviously, thank God, because you only have one to pick from
• 1:02:39
  because usually it's just one. Yeah, I try and spare you a
• 1:02:41
  little bit, but. Now we've done, you know.
• 1:02:43
  There's a couple on the horizon that I I think, yeah, next year
• 1:02:46
  I would say I got a couple that are on deck.
• 1:02:49
  All right. Looking forward to it.
• 1:02:51
  Thanks folks. We look forward to enjoying your
• 1:02:53
  company on the Facebook page. Obviously join us there.
• 1:02:56
  Please rate the podcast 5 stars and your pod catcher of choice.
• 1:03:00
  Please subscribe so you never miss an episode and please of
• 1:03:02
  course share it with any anyone you know in and around Skid.
• 1:03:04
  Row, please do. Yeah, that's it.
• 1:03:07
  That's it. All right.
• 1:03:08
  Good night, talk to you next week.