Latest / Critically Acclaimed Network / Critically Acclaimed #346 | Predator: Badlands, Sentimental Value, Bugonia, Nuremberg, Die My Love, Ballad of a Small Player, In Your Dreams, Christy

Transcript

Critically Acclaimed #346 | Predator: Badlands, Sentimental Value, Bugonia, Nuremberg, Die My Love, Ballad of a Small Player, In Your Dreams, Christy · Critically Acclaimed Network

• 0:11
  [SPEAKER_02]: Greetings friends.
• 0:12
  [SPEAKER_02]: Welcome back to critically acclaimed the film review podcast where we use sound effects sometimes.
• 0:18
  [SPEAKER_02]: Very good.
• 0:20
  [SPEAKER_02]: My name is Whitney Sibold.
• 0:21
  [SPEAKER_02]: I am a contributor to the website slash film film critic.
• 0:26
  [SPEAKER_02]: with me, as always, is my far more intelligent, scintillating, and better watched co-host.
• 0:30
  [SPEAKER_02]: William, why don't you introduce yourself?
• 0:32
  [SPEAKER_00]: I'm just as good at watching things as you.
• 0:35
  [SPEAKER_00]: My name is William Bibbiani.
• 0:37
  [SPEAKER_00]: Well, gosh, darned it.
• 0:37
  [SPEAKER_00]: I'm a film critic, everybody calls me bibs.
• 0:40
  [SPEAKER_00]: And I write for the rap.
• 0:41
  [SPEAKER_00]: Yeah, so that's what it is.
• 0:43
  [SPEAKER_00]: Funny, funny thing about that.
• 0:45
  [SPEAKER_00]: And read us for our newsletter.
• 0:47
  [SPEAKER_00]: uh... might know having a chance mention on the podcast yet i'm also an award nominated that's right critic for the rap which is weird
• 0:56
  [SPEAKER_00]: It's not weird, it's well deserved.
• 0:59
  [SPEAKER_00]: Well, for me, I've never been nominated for an award for Film Criticism before.
• 1:03
  [SPEAKER_02]: Again, it's about dang time.
• 1:05
  [SPEAKER_00]: Well, I'm very, thank you.
• 1:08
  [SPEAKER_00]: I was recently nominated for the National Arts and Entertainment Journalism Award for Best Film Critic Under a Thousand Words.
• 1:18
  [SPEAKER_00]: Okay.
• 1:18
  [SPEAKER_00]: there's a separate category for over a thousand and you're in that category was some like respected go back and have a hitters and people who I admire and respect people like Katie Walsh Katie Walsh was marvelous one of a person one of human being one of the critic peanut to bruise
• 1:37
  [SPEAKER_00]: Peter Fogs, Moriety, Carlos Agalar, both Carlos Agalar and Katie Walsha from Los Angeles, and Carlos Agalar is fantastic.
• 1:44
  [SPEAKER_00]: And I know all of these people in their wonderful human beings.
• 1:46
  [SPEAKER_00]: I do not know personally the other nominee, Sid Dant, I need to bless as Adlaka from also from Variety.
• 1:54
  [SPEAKER_00]: Of course, they're work.
• 1:54
  [SPEAKER_00]: They're very talented.
• 1:55
  [SPEAKER_00]: I haven't met them.
• 1:58
  [SPEAKER_00]: I haven't met them, but it is illustrious company.
• 2:03
  [SPEAKER_00]: And I am genuinely, and I, when I was a kid, I would watch the Oscars, and he'll tell you it's an honor to be nominated, and I thought they were just being polite, because seriously backstage all just stabbing each other with knives, like she's just like, ah, you can't win if you're dead, dead-neal-day-luis.
• 2:22
  [SPEAKER_00]: But it actually is.
• 2:24
  [SPEAKER_00]: It's an enormous honor just to be, you know, with some really wonderful people.
• 2:28
  [SPEAKER_02]: And I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never, I've never
• 2:43
  [SPEAKER_00]: you you you you you you should be not able to Oh, it's bullshit.
• 2:47
  [SPEAKER_00]: No, it's bullshit that you're not.
• 2:48
  [SPEAKER_00]: No, I mean, I I it's it's it's nice But I really do feel like it's it's It bothers me that you aren't getting recognition too because I couldn't do what I do without you
• 3:01
  [SPEAKER_00]: You make me a better critic, you make me a better critic, you make me a better person and I'm incredibly grateful to have you in my life And I tell people this all the time.
• 3:11
  [SPEAKER_00]: I do not say what my side-world is a great critic because I co-host a podcast with him I co-host a podcast with Whitney side-world because he's a great critic.
• 3:20
  [SPEAKER_00]: Oh, bitch.
• 3:21
  [SPEAKER_00]: Yes
• 3:22
  [SPEAKER_02]: Oh, push along.
• 3:23
  [SPEAKER_00]: Yes, and is that clever word play?
• 3:25
  [SPEAKER_00]: That makes you, and I'll start to make.
• 3:27
  [SPEAKER_00]: But seriously, it's really cool, it's an honor, and it's just the elephant on the room.
• 3:32
  [SPEAKER_00]: I wanted to get that out of the way.
• 3:33
  [SPEAKER_00]: But we're not here for that.
• 3:36
  [SPEAKER_02]: We're not here.
• 3:36
  [SPEAKER_00]: You're crazy.
• 3:37
  [SPEAKER_02]: You know, we're here to praise movies that we like.
• 3:39
  [SPEAKER_00]: And we're so elicized.
• 3:41
  [SPEAKER_02]: Or lambass movies.
• 3:42
  [SPEAKER_02]: We just like.
• 3:43
  [SPEAKER_00]: And we a lot on this particular episode of critically claimed, we are going to be reviewing the new Predator movie.
• 3:50
  [SPEAKER_00]: It's a Predator Badlands.
• 3:51
  [SPEAKER_00]: Predator 9.
• 3:52
  [SPEAKER_00]: Yeah.
• 3:54
  [SPEAKER_00]: I had prepared a joke.
• 3:57
  [SPEAKER_00]: And I cannot do it now because I just kind of breeze through.
• 4:01
  [SPEAKER_00]: I was going to say we're going to be reviewing the long-awaited prequel to Data Badlands.
• 4:08
  [SPEAKER_00]: To what?
• 4:09
  [SPEAKER_00]: Data Badlands.
• 4:10
  [SPEAKER_00]: It's a predator Badlands.
• 4:12
  [SPEAKER_02]: I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't, I don't
• 4:36
  [SPEAKER_02]: Yes, but, but they just, they couldn't get CC space act back, of course.
• 4:39
  [SPEAKER_02]: But we do have CC space act this week because she's in the new Lynn Ramsey film.
• 4:43
  [SPEAKER_00]: That's right, real fast.
• 4:44
  [SPEAKER_00]: The other news that we're reviewing, we're going to be reviewing the latest Joaquim Treeer film, Sentimental Value, Lynn Ramsey's, Die My Love, starring Jennifer Lawrence and Robert Pattinson.
• 4:56
  [SPEAKER_00]: Uh, Bagonia, the latest Yorgos Lantimos joint.
• 4:59
  [SPEAKER_00]: Yes.
• 5:00
  [SPEAKER_00]: Uh, Nuremberg, the latest Nuremberg joint.
• 5:05
  [SPEAKER_00]: Russell Crowe, Romney Malik, and Michael Shannon.
• 5:08
  [SPEAKER_00]: We've got ballad of a small player starring Colin Farrell.
• 5:13
  [SPEAKER_00]: That's the new Edward Burger phone, the same guy did, uh, Conclave last year.
• 5:17
  [SPEAKER_00]: We're gonna be reviewing the new Netflix animated movie in your dreams.
• 5:23
  [SPEAKER_00]: No, we're going to be reviewing it actually, but it happens to be called in your dreams.
• 5:26
  [SPEAKER_00]: Yes.
• 5:27
  [SPEAKER_00]: And lastly, we're going to be reviewing the new Sydney Swainey Biopic Christy, which is odd, because that is not Sydney Swainey's name.
• 5:35
  [SPEAKER_00]: It's about Christy Martin, the boxer.
• 5:38
  [SPEAKER_00]: So Christy Martin plays Sydney Swainey.
• 5:40
  [SPEAKER_00]: Sure.
• 5:41
  [SPEAKER_00]: Okay.
• 5:43
  [SPEAKER_00]: Let's just get on with it, shall we?
• 5:46
  [SPEAKER_02]: In enough of this whimsy, let's get to the... Too much remedy.
• 5:49
  [SPEAKER_00]: Let's, let's, let's, let's dried up.
• 5:51
  [SPEAKER_00]: It's sandblast.
• 5:53
  [SPEAKER_00]: This, this, we're going to start with Predator Badlands.
• 5:57
  [SPEAKER_00]: It is, as you said, at least it's the ninth Predator.
• 5:59
  [SPEAKER_00]: So it's Predator, Predator, Predator, Predator, Predator, Predator... No, we skip to Predator.
• 6:04
  [SPEAKER_00]: Alien vs Predator.
• 6:04
  [SPEAKER_00]: AVP Recreem, the Alien vs.
• 6:07
  [SPEAKER_00]: Predator Recreem, Recreem, and then we read it.
• 6:11
  [SPEAKER_00]: Predators, then the Predator, and then we had, and then we had, earlier this year, Predator Killer of Killers, and now boom, Predator Badlands.
• 6:22
  [SPEAKER_00]: Every Predator movie we've had, two date.
• 6:27
  [SPEAKER_00]: has treated the predator like a movie monster.
• 6:31
  [SPEAKER_00]: There are certain films in which the predator because we lump predator and alien in together because there was a cute Easter egg and predator two where we saw the predator's trophy room and there was a Xenomorph skull in there.
• 6:42
  [SPEAKER_00]: And that started a whole line of comic books and video games and then she got to movies out of that.
• 6:47
  [SPEAKER_02]: That comes first into the comics, because dark horse comics,
• 6:51
  [SPEAKER_02]: Their bread and butter was licensing movie properties for comic books.
• 6:56
  [SPEAKER_02]: Yeah, Terminator vs. Robo Cop, that kind of thing.
• 6:58
  [SPEAKER_02]: Yeah, Batman vs. also Predator in a lot of regard.
• 7:01
  [SPEAKER_00]: I believe Predator 2 came first, but if you want to look that up, you're more than welcome too.
• 7:06
  [SPEAKER_00]: But every movie has had the Predator as the monster, but unlike the aliens in the alien one, two and five.
• 7:15
  [SPEAKER_00]: The Predator has a culture.
• 7:20
  [SPEAKER_00]: The alien is basically just a big old insect creature.
• 7:23
  [SPEAKER_00]: It's got a hierarchy because there's a queen and they're like, treat it like a queen bee, but that's the meaning of that.
• 7:29
  [SPEAKER_02]: They have no human intelligence.
• 7:31
  [SPEAKER_00]: Yeah, they don't have values.
• 7:33
  [SPEAKER_00]: They don't have principles.
• 7:35
  [SPEAKER_00]: And what became clear early on is that the predators come to Earth to hunt human beings for sport, which is admittedly a dick move.
• 7:45
  [SPEAKER_00]: I do not approve.
• 7:46
  [SPEAKER_02]: But that was the original title of Predator.
• 7:47
  [SPEAKER_02]: It was going to be called dick move.
• 7:50
  [SPEAKER_00]: But they come here in, well, a physical considering, like, how Catholic and Macho that first movie is, it's not even entirely impossible.
• 7:57
  [SPEAKER_02]: What I love is that the alien and the predator, and this has been pointed out plenty of times, those two creatures have been paired up.
• 8:05
  [SPEAKER_02]: Even though they're both just movie monsters, we've got to see a mojel on each other.
• 8:09
  [SPEAKER_02]: And many have pointed out that alien is a movie about a woman who's fighting this gigantic, phallic monster.
• 8:16
  [SPEAKER_02]: It's essentially a penis with teeth.
• 8:18
  [SPEAKER_02]: and Predator is a bunch of these like macho assholes with machine guns fighting something with a very vaginal face.
• 8:25
  [SPEAKER_00]: Yes, they're based on that.
• 8:26
  [SPEAKER_00]: They're based on that.
• 8:26
  [SPEAKER_00]: They're based on that.
• 8:27
  [SPEAKER_00]: They're based on that.
• 8:30
  [SPEAKER_00]: But yeah, they come to Earth.
• 8:31
  [SPEAKER_00]: They fly spaceships to Earth and we learn over the course of the first few movies that the Predators are here as a sort of a matter of principle, a matter of pride.
• 8:41
  [SPEAKER_00]: They don't want to kill something just because there's no sport in it.
• 8:45
  [SPEAKER_00]: If they kill something, that's like defenseless.
• 8:48
  [SPEAKER_00]: They have, I'm not saying that they're complicated.
• 8:51
  [SPEAKER_00]: I'm just saying that they do have something resembling a code of conduct, which means that they have, at some point, in their backstory, a culture or a book or something, where they write this stuff down, or at least, they're vaguely speaking, they're kind of like,
• 9:18
  [SPEAKER_02]: All of that is vaguely sketched out in like the first few predator movies I think it's for seven predators Yeah, that's good Yeah, but it's weird We've never been to predator world It's not briefly like there was like a shot It plays it Requiem or predators are one of those There aren't like extended scenes of predators on predator world
• 9:38
  [SPEAKER_00]: But we do know that they're sentient, they're their intelligent life forms, they'll just happen again to be digs.
• 9:44
  [SPEAKER_00]: And over the course of the movies, although in like the Alien versus Predator movies, they had sort of uneasy alliances with humans, because you have the common goal of killing Zeta Morse.
• 9:56
  [SPEAKER_00]: They're the back guy.
• 9:57
  [SPEAKER_00]: Yeah.
• 9:57
  [SPEAKER_00]: They've always been the back guy pretty much every time or at the very least they've been the anti-hero.
• 10:02
  [SPEAKER_00]: You'll, honestly, it's not a good movie, it's kind of fun, but it's not a good movie.
• 10:06
  [SPEAKER_00]: Alien vs Predator had one of the best taglines ever, whoever wins, we lose.
• 10:11
  [SPEAKER_00]: Genius.
• 10:12
  [SPEAKER_00]: Honestly, more thought went into that than went into the movie.
• 10:16
  [SPEAKER_02]: Well, the movie itself is, and we did a commentary track for Alien vs Predator on our Patreon page.
• 10:24
  [SPEAKER_02]: And that's it's not a terrible movie.
• 10:26
  [SPEAKER_02]: It's just not a very ambitious movie.
• 10:28
  [SPEAKER_02]: It's a it's like sort of a Saturday matinee monster mash where we just want to see these creatures fighting and the movie provides on that level and I think as a sort of a lighthearted monster mash movie it's fine.
• 10:42
  [SPEAKER_02]: Weirdly a lot of people expected a lot more from these movies.
• 10:46
  [SPEAKER_02]: The problem with both alien and with predator is that there isn't a deep well of mythology to draw from.
• 10:52
  [SPEAKER_02]: we don't know a lot about the creatures in either case because they don't have like rich inner lives.
• 10:57
  [SPEAKER_02]: But they're not complicated and they don't have a very complex backstory.
• 11:01
  [SPEAKER_02]: I feel like Prometheus tried to enrich the alien backstory a little bit.
• 11:06
  [SPEAKER_02]: No way, I thought was effective, but I know a lot of people don't like that.
• 11:08
  [SPEAKER_00]: But it enrich the universe, but it necessarily enrich the characters of the alien.
• 11:12
  [SPEAKER_00]: Alien and Predator had two different tax.
• 11:14
  [SPEAKER_00]: And I mentioned this when we talked about
• 11:18
  [SPEAKER_00]: Black on two that there are when you're doing a sequel, especially a horror sequel, monsters, etc.
• 11:23
  [SPEAKER_00]: You have a choice of in the sequels following the protagonist or following the villain.
• 11:28
  [SPEAKER_00]: Yeah.
• 11:28
  [SPEAKER_00]: The alien movies mostly follow the protagonist.
• 11:31
  [SPEAKER_00]: They follow Ripley, which meant that it kind of just kept happening to her over and over again together.
• 11:36
  [SPEAKER_00]: All right, repetitive, but regardless, we didn't send a lot of time with those aliens, so we didn't get to know him terribly well, but they don't think they again have a culture.
• 11:45
  [SPEAKER_00]: Predator, we always follow the villain.
• 11:48
  [SPEAKER_00]: We always follow the monster, and then they're always new protagonists every time.
• 11:53
  [SPEAKER_00]: So every time, every Predator movie was pretty much just, people going about their business.
• 11:59
  [SPEAKER_00]: Oh, no, there's a Predator.
• 12:01
  [SPEAKER_00]: Yeah, and oh shit, we should fight that Predator.
• 12:03
  [SPEAKER_02]: In the first two Predator movies, the best you could glean was that Predators didn't just hunt for the sake of it.
• 12:16
  [SPEAKER_02]: Yeah, in the first one, it was like kind of a war center.
• 12:18
  [SPEAKER_02]: It was an unnamed country, if I recall.
• 12:20
  [SPEAKER_00]: I want to say it was Valverde, which is like a fictional country.
• 12:23
  [SPEAKER_00]: All right, Central American Country, where a lot of like command out to place their parts of it.
• 12:27
  [SPEAKER_02]: Yeah, and it was these mean American soldiers being shipped to these like mercenaries, being shipped off to this fictional Central American country, too.
• 12:36
  [SPEAKER_02]: swing their dicks around essentially and it calls so much violence that the predator was sort of drawn to like oh that's the situation these guys are worth hunting yeah whether or not they're worth hunting it's just something about being surrounded by combat sort of like manifesting this agent of violence
• 12:56
  [SPEAKER_00]: Your cause and effect is a little off in there because the predator was already there It wasn't already like a war talking country.
• 13:02
  [SPEAKER_00]: I'm just it's thematically saying sometimes we get letters Okay, where it's just like these guys don't know what they're talking about we know we're skimming Okay, we're just skimming to get the get ahead and then then then predator to that took place in the near future I think in LA Yeah, there's Los Angeles and like the late 90s
• 13:19
  [SPEAKER_02]: and the movie came out in the late 80s.
• 13:21
  [SPEAKER_00]: So, it was like, like, ninety ninety-one.
• 13:23
  [SPEAKER_02]: Okay, yeah, yes.
• 13:24
  [SPEAKER_02]: It was a few years in the future.
• 13:25
  [SPEAKER_02]: And crime had gotten so bad in Los Angeles that essentially resembled a war zone.
• 13:31
  [SPEAKER_02]: And I thought that was like the one comment we were getting out of predator too.
• 13:34
  [SPEAKER_00]: There was also a slight climate change a message in there because the predators always showed up in the heat wave.
• 13:40
  [SPEAKER_02]: Oh, that's real.
• 13:41
  [SPEAKER_00]: Yeah, which particular one.
• 13:42
  [SPEAKER_00]: Only the predator ever actually made a thing out of that, but we don't talk about it.
• 13:46
  [SPEAKER_02]: There's some of those sequels were good, some of them were bad, but we're finally up to part nine in the series and we're up to predator badlands, which is the third film by filmmaker Dan Traktenberg, he obviously did prey and he co-directed predator killer of killers earlier this year.
• 14:01
  [SPEAKER_00]: Pray was a film that finally for the first time in a really long time gave the predator franchise a proper win.
• 14:09
  [SPEAKER_00]: It's not like, oh, it's kind of fun.
• 14:11
  [SPEAKER_00]: It's like, no.
• 14:12
  [SPEAKER_00]: Pray was actually like a really good muscle movie.
• 14:14
  [SPEAKER_00]: And if it was the first predator movie, it would have been good enough to launch a franchise.
• 14:18
  [SPEAKER_02]: Well, and what I like is that because the mythology is so thin, Dan Trattonburg is sort of trying to do interesting things with this dynamic, space alien creature, comes to Earth to hunt human beings.
• 14:31
  [SPEAKER_02]: And he set prey in the early 18th century, I believe.
• 14:38
  [SPEAKER_02]: Some around there, yeah.
• 14:40
  [SPEAKER_02]: Among first nation people, which I thought was really great.
• 14:43
  [SPEAKER_00]: Yeah, and mid-thunder was not allowed to be hunter in her culture, and wouldn't you know a chance of hunting the ultimate hunter, which is great.
• 14:52
  [SPEAKER_00]: I have come to the conclusion after watching all the predator movies multiple times.
• 14:56
  [SPEAKER_00]: I'm a fan that the formula for a predator movie isn't
• 15:01
  [SPEAKER_00]: the hundred becomes the hunted.
• 15:03
  [SPEAKER_00]: It's these are macho movies.
• 15:06
  [SPEAKER_00]: These are macho movies about why machismo is stupid.
• 15:09
  [SPEAKER_00]: The first one for sure.
• 15:10
  [SPEAKER_00]: First one definitely.
• 15:11
  [SPEAKER_00]: Because it's like all these tough guy tropes that we take for granted.
• 15:16
  [SPEAKER_00]: We're going to slaughter those guys.
• 15:17
  [SPEAKER_00]: That first move is this thing.
• 15:18
  [SPEAKER_00]: I wasn't the first one who said it.
• 15:20
  [SPEAKER_00]: It's a slash in movie where all the victims are jocks.
• 15:23
  [SPEAKER_00]: Yeah.
• 15:23
  [SPEAKER_00]: And all the other.
• 15:25
  [SPEAKER_00]: Kind of the point of that.
• 15:26
  [SPEAKER_00]: Yeah.
• 15:26
  [SPEAKER_00]: Well, I think it's sort of predator in general.
• 15:28
  [SPEAKER_00]: It fights the tough guys.
• 15:30
  [SPEAKER_00]: Pray a novel premise sending it further in the past making it the our protagonist doesn't have the kind of weapons Yeah, that might be useful against the sci-fi alien opponent Just do change the setting give us like maybe one or two interesting human characters
• 15:45
  [SPEAKER_02]: and give us some fun science fiction ideas and I'm going to be okay with whatever you choose.
• 15:49
  [SPEAKER_00]: And there's a little bit of commentary in there as well about sexism, about the treatment of the first nation.
• 15:53
  [SPEAKER_00]: People call it a big part.
• 15:55
  [SPEAKER_00]: What is a predator if not a, you know, coming into our, through our, to the land and just killing everything.
• 16:01
  [SPEAKER_00]: I mean, think of all like the Westerners who would just take pot shots at buffalo from the train and never just leave it there.
• 16:06
  [SPEAKER_00]: Yeah.
• 16:07
  [SPEAKER_00]: You know, that's basically what a predator is doing.
• 16:11
  [SPEAKER_00]: That was great.
• 16:11
  [SPEAKER_00]: That movie kicks ass.
• 16:12
  [SPEAKER_00]: Earlier this year, we had Predator Killer of Killers, which was an animated movie that Dan Tracks and Burke co-directed, and I want to give credit when credit is due, so I'm going to make sure I get that name right.
• 16:23
  [SPEAKER_00]: But that was an animated anthology film that was directed by Dan Tracks and Burke and Joshua Wassung.
• 16:34
  [SPEAKER_00]: And that followed kind of the prey formula we're going to go back into the past and see predator encounters in different timelines Yeah, we saw predators versus Viking versus Viking predator versus Semarai Predator and this was the novel one predator world war two dog fight edition.
• 16:51
  [SPEAKER_00]: Yeah, that was cool.
• 16:52
  [SPEAKER_00]: That was pretty fun
• 16:52
  [SPEAKER_00]: Like the first two are a little repetitive, they're okay, we've seen it before.
• 16:56
  [SPEAKER_00]: Hadn't seen the dog fight one, that one made me happy, and then all kind of came together at the end for like a big kind of gladiator thing, and how did ended better than it began?
• 17:06
  [SPEAKER_02]: But it started really insufferable, it was all these like high-fledged speeches about honor and killing people and going to war, it's like shut up, just a little tiresome, but the second half of the time, by the time they kind of, the film started to come together and you realize what was going on, it became a little bit more interesting.
• 17:32
  [SPEAKER_02]: This is just about aliens and androids on a distant planet fight monsters.
• 17:39
  [SPEAKER_00]: Yes, and unlike all the other Predator movies, this one has a Predator or a Yamcha.
• 17:51
  [SPEAKER_00]: Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y
• 17:55
  [SPEAKER_00]: the predator is the protagonist.
• 17:57
  [SPEAKER_00]: And not like in like kind of like a predator, alien versus predator, record him kind of way.
• 18:02
  [SPEAKER_00]: Like...
• 18:04
  [SPEAKER_00]: He talks and we have subtitles.
• 18:06
  [SPEAKER_00]: We learn stuff about predator culture, not much, but we learn stuff.
• 18:11
  [SPEAKER_00]: But we learn more than we learn about most Star Wars species.
• 18:15
  [SPEAKER_00]: Yes, but so.
• 18:15
  [SPEAKER_00]: We learn about as much as we learn about any of the major Star Trek species in their first couple of appearances, which is to say, we get a sense of them.
• 18:26
  [SPEAKER_00]: Yeah.
• 18:27
  [SPEAKER_00]: Our protagonist is named Deck.
• 18:29
  [SPEAKER_00]: deck is the runt of the litter, and in predator culture, much like the movie 300, that means you guys should get killed.
• 18:38
  [SPEAKER_00]: That's a matter of course.
• 18:40
  [SPEAKER_02]: Yeah, but they believe in physical strength and size and prowess and combat.
• 18:45
  [SPEAKER_02]: And if you are small, that gives you a natural disadvantage to all those things.
• 18:50
  [SPEAKER_02]: Deck is the little brother who needs to be defended by his big predator brother against their evil predator father.
• 18:56
  [SPEAKER_00]: Yeah, predator dad wants to kill Deck and he orders his other predator son to kill Deck.
• 19:03
  [SPEAKER_00]: And
• 19:04
  [SPEAKER_00]: and a what could only be described in predator culture as an extreme example of weakness.
• 19:11
  [SPEAKER_00]: The older brother saves deck sends them out of spaceship and sends them off on his coming of age hunt and the hopes that if he doesn't just complete his hunt and proves that he's a warrior.
• 19:23
  [SPEAKER_00]: uh... you're a man now son that kind of bullshit uh... but he also has to kill an unkillable monster yes called the caliske so he goes to a planet where this giant unkillable monster lives and it turns out everything on the planet is deadly in once to kill you the caterpillars are grenades
• 19:46
  [SPEAKER_00]: That's one of the first things we learn.
• 19:48
  [SPEAKER_00]: The caterpillars are grenades.
• 19:50
  [SPEAKER_00]: It's kind of that.
• 19:51
  [SPEAKER_02]: There's exploding caterpillars, there's porcupine quills, shoot-and-blans, there's acid-spitting eels, even the grass is made of knives.
• 19:59
  [SPEAKER_02]: Like it's pretty, pretty wild, and as this deck character, and the predators, by the way, they do have these like monster faces.
• 20:08
  [SPEAKER_02]: And so they use some pretty neat prosthetics combined with CG to make the deck's face sort of readable
• 20:16
  [SPEAKER_00]: A little bit more expressive, but it still looks very practical.
• 20:19
  [SPEAKER_00]: A lot of it doesn't look, I mean there's a lot of CG in it, but it doesn't have that kind of CG fakeness, it feels like they really wanted to make it feel really lived in.
• 20:30
  [SPEAKER_02]: And while searching around, deck finds the top half of an android, it had been ripped apart by a local monster, and wrapped up in some tree vines.
• 20:41
  [SPEAKER_02]: This is Thea.
• 20:42
  [SPEAKER_02]: She's played by L fanning, and she says, take me with you.
• 20:46
  [SPEAKER_02]: I can explain things to you, and he's like, you know, he's like, bullies and strength.
• 20:50
  [SPEAKER_02]: You know, good to me, you have no legs.
• 20:52
  [SPEAKER_00]: Yeah.
• 20:52
  [SPEAKER_00]: Also, predators aren't allowed to have help on their hunt.
• 20:55
  [SPEAKER_00]: They're not allowed to have friends.
• 20:57
  [SPEAKER_00]: They're not allowed to have, and he's trying to prove that he's like his father, even though he's trying to mentally not.
• 21:04
  [SPEAKER_00]: And this Amdroid, who is trying to, the, the callisc, that she's trying to lead him to callisc.
• 21:10
  [SPEAKER_00]: Is a callisc or callisc?
• 21:11
  [SPEAKER_00]: Callisc?
• 21:11
  [SPEAKER_00]: Is a callisc?
• 21:12
  [SPEAKER_00]: Is a callisc?
• 21:13
  [SPEAKER_00]: Yeah.
• 21:13
  [SPEAKER_00]: Whatever.
• 21:15
  [SPEAKER_00]: They need up the word.
• 21:17
  [SPEAKER_00]: The Caliske is also what tore her in half, and she's trying to get her legs back.
• 21:23
  [SPEAKER_00]: So she says, you carry me around like a tote bag, and I will help guide you through the terrain to defeat this thing, and it's okay because I'm an Android, and you're allowed to use tools.
• 21:35
  [SPEAKER_00]: And that's like, that's a loophole I can live with.
• 21:38
  [SPEAKER_00]: And keeps referring to her as tool.
• 21:40
  [SPEAKER_02]: Yeah, come with me tool and go in the predator language.
• 21:44
  [SPEAKER_02]: And there's like a hand wave you line of dialogue.
• 21:46
  [SPEAKER_02]: Oh, I have a universal translator now.
• 21:47
  [SPEAKER_02]: We can understand each other.
• 21:48
  [SPEAKER_00]: Anyone listening to me will hear their own language.
• 21:50
  [SPEAKER_00]: And she might as well just look at the audience ago.
• 21:54
  [SPEAKER_00]: We're gonna let this slide.
• 21:55
  [SPEAKER_00]: Okay, you know what?
• 21:56
  [SPEAKER_00]: We all want to hear not predator in this movie.
• 22:00
  [SPEAKER_00]: You want to hear your own language.
• 22:01
  [SPEAKER_00]: It's gonna be okay.
• 22:02
  [SPEAKER_00]: We're gonna hand wave the shit away for the safety of convenience.
• 22:05
  [SPEAKER_00]: Nobody wants to do a lot of reading and a predator movie.
• 22:09
  [SPEAKER_02]: The predator is very taciturn and offer talkative and explains things in very basic terms.
• 22:14
  [SPEAKER_02]: I love the dialogue for the predator that we don't get into like
• 22:18
  [SPEAKER_02]: explaining certain kinds of mythology that would make this all gumb-dop.
• 22:22
  [SPEAKER_02]: Yeah, instead it's this essentially a buddy picture.
• 22:26
  [SPEAKER_02]: Yeah.
• 22:26
  [SPEAKER_02]: Between this taciturn alien and the top half of this android, they accumulate an indestructible 8-it-one point.
• 22:36
  [SPEAKER_02]: It's like they're cute little animal sidekick that starts like imitating and we even though it's not an expressive faced creature we do start to feel that a change is happening in these characters Yes, there's a good story, like deck is becoming a little bit more sophisticated understanding How a group dynamic actually operates where the question is culture, but not in a way There is just like I am going to become a piece stronger.
• 23:00
  [SPEAKER_00]: It's actually like no wait a minute if I have friends I can kill better
• 23:05
  [SPEAKER_00]: Yeah, maybe we're the killing is great.
• 23:09
  [SPEAKER_00]: Don't get me wrong, but I could kill differently, and that's okay.
• 23:12
  [SPEAKER_00]: And I love that he's able to change without completely changing his world view.
• 23:16
  [SPEAKER_00]: Yeah.
• 23:16
  [SPEAKER_00]: He's able to evolve a little.
• 23:17
  [SPEAKER_00]: Meanwhile, Elfanny, who is glorious on this movie.
• 23:22
  [SPEAKER_00]: She has to carry so much of the movie, which is ironic, because she's the one being
• 23:29
  [SPEAKER_00]: She's incredibly naive, the idea is that they made her and enjoyed incredibly sensitive so that she could understand the wildlife better and have more of a genuine interest in it.
• 23:40
  [SPEAKER_00]: And so she's just extremely happy to be on an adventure.
• 23:44
  [SPEAKER_00]: Yes.
• 23:44
  [SPEAKER_00]: And gradually as deck starts to gain a heart, she starts to lose her a little bit.
• 23:50
  [SPEAKER_00]: And she actually starts to realize that like, you know, things are not what she thought they were either.
• 23:55
  [SPEAKER_00]: So they're kind of both going to meet in the middle.
• 23:57
  [SPEAKER_00]: But she's also an android.
• 23:58
  [SPEAKER_02]: So what we see is actually her taking on like more more human qualities.
• 24:02
  [SPEAKER_02]: Yeah.
• 24:03
  [SPEAKER_02]: Um, elf ending plays two roles.
• 24:04
  [SPEAKER_02]: She plays it also another model of the same android later in the film.
• 24:09
  [SPEAKER_02]: Um, Tessa.
• 24:10
  [SPEAKER_02]: Tessa is the other character's name, and Tessa and Fia who is her first anderate are very different characters.
• 24:16
  [SPEAKER_00]: Yes, but they, but they, they actually seem to have some kind of emotional regard for each other, which the embraces and Tessa rejects.
• 24:26
  [SPEAKER_00]: All of these characters are in many respects, basically, a bullet point, these are not like we're not going to get huge salilic ways from everybody, but every single one of them is portrayed with nuance, so that
• 24:42
  [SPEAKER_00]: You know, this is an indifference to concern movie as my screenwriter, my screenwriting teacher would have called it, you know, it's like as good as it gets.
• 24:48
  [SPEAKER_00]: He's indifferent at the beginning.
• 24:50
  [SPEAKER_00]: He's concerned at the end.
• 24:51
  [SPEAKER_00]: That's the whole fucking movie.
• 24:53
  [SPEAKER_00]: Everything else is gravy.
• 24:54
  [SPEAKER_02]: That's a big change.
• 24:55
  [SPEAKER_00]: It's a big change.
• 24:55
  [SPEAKER_00]: It's a big change.
• 24:56
  [SPEAKER_00]: It's a big change.
• 24:57
  [SPEAKER_00]: It's a big change.
• 24:58
  [SPEAKER_00]: It's a big change.
• 24:58
  [SPEAKER_00]: It's a big change.
• 24:59
  [SPEAKER_00]: It's a big change.
• 25:01
  [SPEAKER_00]: It's a big change.
• 25:02
  [SPEAKER_00]: It's a big change.
• 25:03
  [SPEAKER_00]: It's a big change.
• 25:05
  [SPEAKER_00]: It's a big change.
• 25:06
  [SPEAKER_00]: It's a big change.
• 25:07
  [SPEAKER_00]: It's a big change.
• 25:07
  [SPEAKER_00]: It's a big change.
• 25:08
  [SPEAKER_00]: It's a big change.
• 25:11
  [SPEAKER_00]: This is a very simple storyline in many ways, but they earn it so well through incredible acting, through incredible visual effects, all the information that is revealed about this planet and what the androids are really up to, are parceled off and just a perfectly laid-out line, so that you learn something and when it is important, 40 minutes later, you go, nah.
• 25:31
  [SPEAKER_00]: Yes, set that up, that's fair.
• 25:32
  [SPEAKER_00]: And sometimes it's like,
• 25:33
  [SPEAKER_00]: Just when you figure it out a plot point, like, oh, wait a minute, this is this.
• 25:38
  [SPEAKER_00]: That's exactly when the character's figure it out too, so you're never far ahead of the movie.
• 25:42
  [SPEAKER_00]: This is difficult to do, especially in a movie with ultimately rather little conversation.
• 25:47
  [SPEAKER_02]: It feels like the kind of thing that should be, like a science fiction film's birthright.
• 25:54
  [SPEAKER_02]: The idea that all of films should just sort of function like this.
• 25:58
  [SPEAKER_02]: The fact that Dan Tractionberg nailed it so hard, just highlights how infrequent that happens.
• 26:04
  [SPEAKER_02]: Yeah.
• 26:04
  [SPEAKER_00]: I was reminded of the enemy mine.
• 26:05
  [SPEAKER_02]: It's going to remind you of the enemy mine.
• 26:08
  [SPEAKER_02]: In terms of the fact that it is humanless is marvelous.
• 26:13
  [SPEAKER_02]: Yeah.
• 26:13
  [SPEAKER_02]: It reminded me of like certain Boris E. A.O.
• 26:17
  [SPEAKER_02]: style paintings that you would see on like a 1980s.
• 26:20
  [SPEAKER_02]: pulp novel cover.
• 26:22
  [SPEAKER_00]: Yeah, yeah, this is a pulp novel.
• 26:25
  [SPEAKER_00]: Yeah, it just happened to be a bad guy.
• 26:26
  [SPEAKER_02]: You see a monster carrying like half of an android across its back in this alien landscape and there's monsters in the background.
• 26:32
  [SPEAKER_02]: It's like I'm buying that book I'm gonna get this book.
• 26:34
  [SPEAKER_02]: This looks great.
• 26:35
  [SPEAKER_00]: Yeah, it doesn't have to be predator like you change the the species and you remove the fact that the Androids were made by Whale and you don't eat this does not need to be a predator or an alien related thing at all.
• 26:46
  [SPEAKER_02]: Yeah
• 26:47
  [SPEAKER_00]: It's just a good fucking sci-fi monster adventure movie.
• 26:51
  [SPEAKER_02]: It's fan-tat.
• 26:51
  [SPEAKER_02]: It's one of the best of the year.
• 26:53
  [SPEAKER_02]: It really is.
• 26:54
  [SPEAKER_02]: It just in terms of how tight it is, how well the screenplay comes together, how expressive and creative it is within science fiction conceits.
• 27:01
  [SPEAKER_02]: I like a good science fiction movie that has big ideas in it.
• 27:04
  [SPEAKER_02]: This isn't complex, but it has cool monsters.
• 27:08
  [SPEAKER_02]: It has a world I feel like I'm living on it, it has alien and Android characters that I can kind of understand, even though they're not human.
• 27:15
  [SPEAKER_00]: No, they're actually incredibly relatable.
• 27:16
  [SPEAKER_00]: More so than a lot of human characters and other blockbusters, I felt something for the predator and even even the bad guy Android in this movie, I felt more for them than I did about any one of the most recent Jurassic World movie.
• 27:30
  [SPEAKER_00]: Yeah, they're just full of points.
• 27:31
  [SPEAKER_00]: They didn't meant nothing to me.
• 27:32
  [SPEAKER_00]: If they all died, it would have been like, no, okay, like, there's, there's, um,
• 27:40
  [SPEAKER_00]: There's an animal in this movie that ends up being very useful later in the movie.
• 27:46
  [SPEAKER_00]: I'm not going to tell you how because that's a fun reveal.
• 27:49
  [SPEAKER_00]: And then when something bad happens to that animal, I was, it was like old yellow to me.
• 27:54
  [SPEAKER_00]: Like, no!
• 27:56
  [SPEAKER_00]: They really liked that guy.
• 27:58
  [SPEAKER_02]: I liked that thing up there.
• 28:00
  [SPEAKER_00]: And that's the other thing.
• 28:00
  [SPEAKER_00]: And I want to be vague about this because it's new.
• 28:03
  [SPEAKER_00]: But like, this movie is not afraid to be weird.
• 28:08
  [SPEAKER_00]: It's got a conventional structure.
• 28:10
  [SPEAKER_00]: You can hang your hat on it.
• 28:11
  [SPEAKER_00]: It's got a familiar kind of storytelling, but a lot of the incidental details are bizarre and in particular the climactic fight has like severed legs attacking people and then high-fiving someone and I'm like
• 28:27
  [SPEAKER_00]: Yes, make it weird.
• 28:30
  [SPEAKER_00]: Why are we not making it weird all the time?
• 28:32
  [SPEAKER_00]: You have to start blanche to make it weird.
• 28:34
  [SPEAKER_02]: It's not that, because part of the badlands actually isn't like a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a,
• 28:43
  [SPEAKER_02]: Takes its scenario and rings it for all its imagination.
• 28:47
  [SPEAKER_02]: It's actually creative, which is not something you've seen a lot of science fiction movies.
• 28:51
  [SPEAKER_02]: I was complaining earlier this year about the opportunity's miss in a film like Superman.
• 28:57
  [SPEAKER_02]: Superman has god-like powers.
• 29:00
  [SPEAKER_02]: We've learned that he can stop wars.
• 29:02
  [SPEAKER_02]: Do some creative with that.
• 29:03
  [SPEAKER_02]: Take that to a logical extreme.
• 29:05
  [SPEAKER_02]: Tell the kind of story you can with that kind of
• 29:07
  [SPEAKER_02]: character.
• 29:08
  [SPEAKER_01]: Yeah, and I can only tell that.
• 29:10
  [SPEAKER_02]: I can only.
• 29:10
  [SPEAKER_02]: Yeah, and don't don't keep him relegated to these like tiresome
• 29:14
  [SPEAKER_02]: inter personal bantery super power superhero tropes.
• 29:19
  [SPEAKER_02]: I don't need to see that anymore.
• 29:20
  [SPEAKER_02]: I've seen that enough.
• 29:20
  [SPEAKER_02]: I want to see something really where it stretches the premise.
• 29:24
  [SPEAKER_02]: If you're going to have a science fiction movie about aliens and androids on a distant planet fighting monsters, do all bits.
• 29:30
  [SPEAKER_02]: Do that.
• 29:32
  [SPEAKER_02]: What is it like for these creatures?
• 29:34
  [SPEAKER_02]: How did these creatures operate?
• 29:35
  [SPEAKER_02]: We're given just enough information.
• 29:38
  [SPEAKER_02]: And this is not like Star Trek, we're given like
• 29:40
  [SPEAKER_02]: complicated biology.
• 29:42
  [SPEAKER_02]: We don't need eyes are all that stuff.
• 29:44
  [SPEAKER_02]: We don't know.
• 29:44
  [SPEAKER_00]: We're giving anything.
• 29:45
  [SPEAKER_02]: We're going to face information and understand how things operate.
• 29:48
  [SPEAKER_02]: And it plays by all those rules perfectly.
• 29:49
  [SPEAKER_02]: Yeah.
• 29:50
  [SPEAKER_02]: And it feels really imaginative.
• 29:52
  [SPEAKER_02]: Okay.
• 29:52
  [SPEAKER_02]: And Andrew gets ripped in half.
• 29:54
  [SPEAKER_02]: Okay.
• 29:54
  [SPEAKER_02]: So the top half can communicate.
• 29:56
  [SPEAKER_02]: The legs can also operate.
• 29:57
  [SPEAKER_02]: They're powered.
• 29:58
  [SPEAKER_01]: Yeah.
• 29:59
  [SPEAKER_02]: I don't need to know like what their power source is.
• 30:01
  [SPEAKER_01]: But
• 30:01
  [SPEAKER_00]: play with that you know fun yeah okay now you have a character in two halves what can you do they're not they're not taking they're taking the material seriously from a character perspective but they're not taking it so seriously that they can't do something ridiculous just because it's cool yeah and they do that and I last know because I there's not like we don't need to go on forever on this one but I was thinking about this and it's like this is a it's one of the best
• 30:31
  [SPEAKER_00]: It's one of the best movies of the year.
• 30:32
  [SPEAKER_00]: I agree with you.
• 30:33
  [SPEAKER_00]: I love November because I can finally start saying that about something like No, I've seen most of them.
• 30:37
  [SPEAKER_00]: This is up there.
• 30:38
  [SPEAKER_02]: No, this is a fantastic week because we got at least three of the best movies of the year this week according to what But That was that saying.
• 30:47
  [SPEAKER_00]: Oh, but yeah, but you know what it's also it's also like realize we only have a couple of good Conan movies
• 30:53
  [SPEAKER_00]: This is a Conan movie, basically, it is, like if you change the, if you recently did, if there's a world of wizards, this could have been Conan 3 made in 1987, which is a few superficial changes to like what species things are.
• 31:08
  [SPEAKER_00]: Like instead of an android, it's like a magical troll that can be ripped in half.
• 31:12
  [SPEAKER_00]: A great pulp adventure, and it's just so exquisitely told.
• 31:17
  [SPEAKER_00]: that it's coming to say it elevates the genre it's not it's just the pinnacle of it this is just this is this done this good I am nominated for an award
• 31:31
  [SPEAKER_00]: And I used sentences like that.
• 31:33
  [SPEAKER_00]: No, it just doesn't get much better than that.
• 31:35
  [SPEAKER_00]: It doesn't.
• 31:37
  [SPEAKER_00]: And it's PG-13 Disney.
• 31:40
  [SPEAKER_02]: It's like Disney, yeah.
• 31:41
  [SPEAKER_02]: You know?
• 31:42
  [SPEAKER_02]: I've seen two films that really took me off guard and they're all, and they both belong to two science fiction films this year that is, that belong to like long running entertainment franchises.
• 31:54
  [SPEAKER_02]: And I'm not a big fan of those big commercial franchises.
• 31:57
  [SPEAKER_02]: I don't care if things only go up to previous movies.
• 32:00
  [SPEAKER_00]: Unless if it's not Star Trek, you don't get excited just because it's a franchise.
• 32:03
  [SPEAKER_02]: And I don't get excited by Star Trek.
• 32:05
  [SPEAKER_00]: Can you get excited by Star Trek?
• 32:06
  [SPEAKER_02]: If it sucks, I don't.
• 32:08
  [SPEAKER_02]: No, true, but you're a little bit more enthusiastic.
• 32:11
  [SPEAKER_02]: I'm kind of like locked in.
• 32:13
  [SPEAKER_02]: Unfortunately on Star Trek, I've all watched all of these shows, even if I don't like them.
• 32:18
  [SPEAKER_02]: All right.
• 32:19
  [SPEAKER_02]: But there was this one, which was really creative science fiction story, and there was the fantastic four first steps Which I also thought was a very creative science fiction story Fantastic four was a much bigger story It was essentially about Humanity using the sciences to rid the earth of God God wanted a human sacrifice and they said no fuck you We're gonna build a portal and kick God off the planet physically
• 32:46
  [SPEAKER_00]: I mean, it's a better movie when you look at it through that perspective.
• 32:49
  [SPEAKER_02]: There's a lot of fun stuff going on in that way.
• 32:52
  [SPEAKER_00]: I do.
• 32:53
  [SPEAKER_00]: You actually liked it more than I did, which is not usually the case.
• 32:56
  [SPEAKER_00]: No.
• 32:57
  [SPEAKER_02]: I was just really stoked to watch the Fantastic Four.
• 33:00
  [SPEAKER_02]: And I like underbolts as well.
• 33:03
  [SPEAKER_02]: And I like Superman a lot more than you.
• 33:05
  [SPEAKER_02]: I did yeah, I did not like Superman.
• 33:07
  [SPEAKER_02]: I don't know.
• 33:08
  [SPEAKER_02]: I like fantasy for a lot And I think it's because These are filmmakers who are on a phrase to tell good sci-fi stories Science fiction gets swallowed up by action too often
• 33:19
  [SPEAKER_02]: And sure predator does have a lot of action.
• 33:21
  [SPEAKER_02]: There's a lot of fighting in it.
• 33:22
  [SPEAKER_02]: There's a lot of violence in it.
• 33:25
  [SPEAKER_02]: But there's just as much wandering in an alien landscape.
• 33:29
  [SPEAKER_02]: There's just as much mystery and intrigue and character work as there.
• 33:33
  [SPEAKER_02]: There's much more of that than just the action.
• 33:35
  [SPEAKER_02]: I'm not here for the action.
• 33:37
  [SPEAKER_02]: Okay, they smash up some machines at the end.
• 33:40
  [SPEAKER_02]: They break open some stuff and monsters run around and stuff.
• 33:43
  [SPEAKER_02]: There's some tropes.
• 33:44
  [SPEAKER_02]: That's not as much fun as everything that came before it because they were establishing all of that and setting it all up and that's really exciting
• 33:51
  [SPEAKER_00]: And we're gonna move on in a second, but I just wanna say once again, I honestly think that in a perfect world, when we talk about like a word season, there would be space for work like what Elfanyng is doing in this movie.
• 34:05
  [SPEAKER_00]: This movie does not work if Elfanyng wasn't like firing all fucking cylinders, giving this material everything it needs to be, acting opposite nothing most of the time, acting without half of her body, like just,
• 34:19
  [SPEAKER_00]: Absolutely killing it.
• 34:20
  [SPEAKER_00]: I always thought she was an excellent performer, but she gives two fucking brilliant performances this week
• 34:29
  [SPEAKER_00]: Three, in two movies, technically true, yeah, because he's twice in a predator.
• 34:34
  [SPEAKER_00]: But she's in this, and she's also the fourth lead in sentimental value, which is a new film from Joaquin Trier.
• 34:43
  [SPEAKER_00]: He did the worst person in the world.
• 34:46
  [SPEAKER_00]: He did that horror movie, most people like more than I do, Thelma, which is sort of the coming of age.
• 34:52
  [SPEAKER_00]: It kind of like his take on Kerry.
• 34:55
  [SPEAKER_02]: I didn't see film.
• 34:56
  [SPEAKER_02]: But I just see the worst person in the world and I loved that.
• 34:58
  [SPEAKER_00]: Great movie, great movie.
• 34:59
  [SPEAKER_00]: That movie started with not a rindsva and she is a brilliant actor.
• 35:05
  [SPEAKER_00]: And they have retained for a film in which she plays, get this, a brilliant actor, who's father.
• 35:14
  [SPEAKER_02]: She plays a rindsva, a rindsva.
• 35:16
  [SPEAKER_00]: Yeah, we're not a rindsva plays a brilliant actor.
• 35:18
  [SPEAKER_00]: And her father is played by Stone Scar's garden.
• 35:20
  [SPEAKER_00]: He is a famous filmmaker who hasn't made a movie in 15 years.
• 35:24
  [SPEAKER_02]: Stone Skars start as giving a career best performance.
• 35:27
  [SPEAKER_00]: And that's saying something.
• 35:28
  [SPEAKER_00]: We don't give Stone Skars card enough credit, I think, is he he he he he he he he'll do anything like he'll just pop up in thore to and just kind of humiliated himself and it's fine, but like he he'll show up he's one of those actors, it like a very distinguished international actor who is sort of swallowed up by like a major American franchise.
• 35:49
  [SPEAKER_02]: So he's in the Marvel movies.
• 35:51
  [SPEAKER_00]: Yeah.
• 35:51
  [SPEAKER_00]: He's also an amdor, which is Star Wars thing.
• 35:55
  [SPEAKER_00]: He's one of the best performances in the history of Star Wars.
• 35:59
  [SPEAKER_00]: That is 100% true.
• 36:00
  [SPEAKER_00]: He gives one of the best performances in the entire history of Star Wars.
• 36:04
  [SPEAKER_00]: Now, I realize what you're thinking.
• 36:06
  [SPEAKER_00]: Yeah, but I'm talking like top two, okay?
• 36:09
  [SPEAKER_00]: He's fucking phenomenal in Star Wars.
• 36:13
  [SPEAKER_00]: Here he is back to him, I hate to say serious drama and implies that genre stuff is an a value, but he's doing a lot of really deep, complex interpersonal family stuff.
• 36:24
  [SPEAKER_00]: He's a director, he's trying to get a new movie made that is somewhat autobiographical, it appears to be about his mother who ended her own life in the house that they've
• 36:43
  [SPEAKER_00]: and his daughter doesn't like him very much because he effectively abandoned the family because he was focusing on work, and they're brought back together at the funeral of Renata Reinsvah's mother.
• 36:56
  [SPEAKER_02]: And so there's all these like familial echoes all the setting up here.
• 37:00
  [SPEAKER_00]: She's also got a sister who when she was a child, her sister started in one of his movies and it's considered a classic.
• 37:06
  [SPEAKER_00]: Uh, we're not a rites for us.
• 37:07
  [SPEAKER_00]: No, I don't want to make the movie.
• 37:10
  [SPEAKER_02]: And I'm some credit to Inga Ibsdotura, Lily Ahs, who plays the sister.
• 37:14
  [SPEAKER_00]: She's fantastic as well.
• 37:15
  [SPEAKER_02]: She's also really great.
• 37:16
  [SPEAKER_00]: But the plot of a nutshell, Stone Skarscare wants to make a movie kind of about their family.
• 37:21
  [SPEAKER_00]: He wants his daughter to star in it, run out of rights for a says, I don't want to work with you.
• 37:25
  [SPEAKER_00]: And he ends up working with an American actor, played by El Fanning, who is very gun-ho about it.
• 37:32
  [SPEAKER_00]: She's kind of like more of a movie star kind of actor, but she's very excited to be working with a great filmmaker.
• 37:37
  [SPEAKER_00]: She's throwing herself into it.
• 37:39
  [SPEAKER_00]: And over the course of the film, we delve more deeply into their family, and we delve into whether or not Elfanding is going to be able to do justice to this role, and what Selen Skars Guard is really trying to save this movie.
• 37:53
  [SPEAKER_02]: Uh, this is a movie about, again, this is, this is like Bergman level drama, without the miserable listen because Bergman tended to work on sort of very depressive notes.
• 38:06
  [SPEAKER_02]: Uh, Joachim Trier is really trying to go into some pretty hard territory, but explore every facet of it.
• 38:13
  [SPEAKER_02]: And what he's essentially getting at is the function of art.
• 38:17
  [SPEAKER_02]: And I think it's really kind of beautiful the way that certain artists have to keep on turning inward.
• 38:24
  [SPEAKER_02]: You have to keep on looking at themselves and they're using their art to unpack themselves, unpack their family, unpack their parents, unpack their daughters.
• 38:34
  [SPEAKER_02]: I really love that there's a really wonderful Bergmanesque sort of shot, partway through the movie where we get to see just sort of a
• 38:43
  [SPEAKER_02]: a still photo of these main characters, the father and his two daughters, and they kind of like wash together in this abstract brief moment.
• 38:51
  [SPEAKER_02]: It's almost this dream sequence, and we see each one of these characters being fully marvellously lived in.
• 39:00
  [SPEAKER_02]: We get to, uh, under, because we actually spend
• 39:05
  [SPEAKER_02]: Extended periods, the character spent extended periods away from each other.
• 39:08
  [SPEAKER_02]: So for a long time, we're not actually in the middle of the day.
• 39:10
  [SPEAKER_02]: We're in the middle of the day, we're in the middle of the day.
• 39:12
  [SPEAKER_02]: Following the Selen star star character, he's talking about his movie and he's talking about the way he wants to shoot and he's talking with his old producer, friend.
• 39:18
  [SPEAKER_02]: He's like, we're getting told for this.
• 39:20
  [SPEAKER_00]: He's trying to work in the industry that's kind of moved on.
• 39:22
  [SPEAKER_00]: He's asked in an interview while you're movie being theaters.
• 39:25
  [SPEAKER_00]: And he was like, yeah, of course.
• 39:27
  [SPEAKER_00]: And his producers like, we'll see.
• 39:29
  [SPEAKER_02]: So we're dealing with a lot of that, but then we'll cut away from him for a long time and we'll catch to the Renato Rhinosfic character and help.
• 39:37
  [SPEAKER_02]: she's really very insecure that in this marvelous opening sequence, she's struck with stage fright, just to go on stage for this production of checked off that she's doing.
• 39:49
  [SPEAKER_00]: I think that's underselling in a bed.
• 39:51
  [SPEAKER_00]: It's a full on panic.
• 39:52
  [SPEAKER_02]: Yeah, I love like she needs to be talked out of her room, and then she has to run around and she starts to run away and starts to rip her costume off, because it's just a choking her.
• 39:59
  [SPEAKER_02]: Uh, and everybody's like, no, just show starts now.
• 40:02
  [SPEAKER_02]: And so like, they literally start the show.
• 40:05
  [SPEAKER_00]: Yeah.
• 40:05
  [SPEAKER_00]: It's a little abstract.
• 40:07
  [SPEAKER_00]: So they can get away with it.
• 40:08
  [SPEAKER_02]: But yeah, they're going to like get our costume back on.
• 40:10
  [SPEAKER_02]: Or she pulls a stage hand to size.
• 40:11
  [SPEAKER_02]: Like, we got to have sex real fast.
• 40:13
  [SPEAKER_02]: It's like, you go on in 30 seconds.
• 40:15
  [SPEAKER_00]: We can make it work.
• 40:18
  [SPEAKER_02]: So we kind of get to, but we also understand that she's, I know once she gives the performance, she's relaxed and she's sort of enjoying the joy of that.
• 40:27
  [SPEAKER_00]: Yeah, she loses herself in it, yeah.
• 40:29
  [SPEAKER_02]: But that sort of her want to escape and we realize that she's actually dealing with a lot of horror and issues herself and of her own depression.
• 40:36
  [SPEAKER_02]: And she mentions a bout of depression, she nearly took her own life at some point kind of recently.
• 40:42
  [SPEAKER_02]: She's having a relationship with one of the stagehands, which is not the most same Mary, and then we'll cut away from her for a while and spend some time with the sister character, the character's name, Nora, and we actually learned through her how she was the one trying to sort of keep the family together, and it's actually the only one who is married and has a child and is trying to
• 41:04
  [SPEAKER_02]: continue her own family, and is much more interested in the legacy that her grand mother, the Celence Garzgard's mother character, how her experiences and her death in that house is sort of
• 41:18
  [SPEAKER_02]: echoed down to her own child, and all of this is done so gracefully and graciously and humanely that we deeply know each one of these characters as people.
• 41:35
  [SPEAKER_02]: Do we know there's stories?
• 41:36
  [SPEAKER_02]: It's not so tight as that.
• 41:38
  [SPEAKER_02]: It's not about exploring the drama that makes us.
• 41:41
  [SPEAKER_02]: That makes it seem a little bit too Hollywood.
• 41:43
  [SPEAKER_00]: No, that's like a Chris Columbus step mom.
• 41:45
  [SPEAKER_00]: I think you're talking about.
• 41:46
  [SPEAKER_00]: Yeah, that's not what this is.
• 41:47
  [SPEAKER_02]: The opening sequence is kind of an essay being read from the perspective of a house and how the house loves to be filled with people and it could look out and see people leaving.
• 41:57
  [SPEAKER_02]: And that sounds really tight.
• 42:00
  [SPEAKER_02]: And if they were to remake this in English, it would be.
• 42:05
  [SPEAKER_02]: Yeah, so I found that too, and I was like, yeah, no, instead it does feel very poetic and it does feel very meaningful and by the time we get to the end, we kind of understand Why everybody has done all of this and why they have lived their lives the way they have and what they're doing to reconnect
• 42:23
  [SPEAKER_02]: This is the best movie of the year.
• 42:26
  [SPEAKER_00]: Okay, it's a little early to call it good best It's a lot of two months worth of movies, so you might have to walk that back eventually, but clearly a lot It's the best I've seen so far this year.
• 42:35
  [SPEAKER_00]: Yeah I really like it a lot.
• 42:37
  [SPEAKER_00]: I don't like it as much as winning and this is gonna be one of those things where you can be wrong That's why I'm giving it like You know if you movies on a scale of C minus to C plus the highest you can give it a C plus I'm giving it a C plus I'm just trying to explain why it's not I'm not as hot on it as you and first off
• 42:53
  [SPEAKER_00]: 100% this is one of the best acting showcases of the year okay everyone is wonderful in it You barely even mentioned elf ending who is like kind of on the outside looking in but that's actually a pretty complicated role as she is trying to be she's playing a good actor Who's miscast
• 43:10
  [SPEAKER_00]: Yeah, and trying deeply to understand other characters in the movie and not having the context she needs to do that.
• 43:17
  [SPEAKER_00]: It's actually like deceptively difficult what she's doing and so I just admire that as well.
• 43:23
  [SPEAKER_00]: They're all brilliant.
• 43:25
  [SPEAKER_00]: I would be surprised if they weren't all nominated for an Academy Award.
• 43:29
  [SPEAKER_00]: They're fantastic.
• 43:30
  [SPEAKER_00]: For me and I know I'm the one who gets hung up on story and I know this is more of a character piece.
• 43:38
  [SPEAKER_00]: I want to say I took issue because that implies that I'm like offended in someone.
• 43:43
  [SPEAKER_00]: I was a little frustrated by the finale, the actual ending of the movie because I felt that we had just seen something incredibly complicated, incredibly interesting, incredibly illuminating, but all of these people.
• 43:55
  [SPEAKER_00]: I felt that the way the events actually concluded,
• 43:59
  [SPEAKER_00]: and kind of who is vindicated or I don't want to give too much away, but what you learn felt a little too pat for that.
• 44:09
  [SPEAKER_00]: I thought the actual ending of the movie felt a little too like oh I get it like I thought you saw just so short right at the end there.
• 44:17
  [SPEAKER_00]: I thought it was the ending itself.
• 44:18
  [SPEAKER_00]: The final scene was
• 44:20
  [SPEAKER_00]: I get it, you set it up and you paid it off later, but also in a way that's almost too cute for what you're doing.
• 44:27
  [SPEAKER_00]: It's too cut and dry.
• 44:30
  [SPEAKER_00]: I think that was a little frustrating.
• 44:31
  [SPEAKER_02]: But then that's kind of what films do, right?
• 44:34
  [SPEAKER_02]: They reduce something down to its base elements.
• 44:37
  [SPEAKER_00]: Are you telling me, are you telling me that sentimental value reduced everything down to its base element?
• 44:41
  [SPEAKER_00]: No, but I'm saying, oh, okay.
• 44:43
  [SPEAKER_00]: That's my point.
• 44:44
  [SPEAKER_02]: The same Richard this movie was better than that.
• 44:50
  [SPEAKER_02]: The sentimentality that came into that last bit actually did.
• 44:56
  [SPEAKER_02]: It felt earned.
• 44:57
  [SPEAKER_02]: It felt, it felt like because this is a filmmaker who's willing to make some kind of compromises and we do see that he made some compromises.
• 45:04
  [SPEAKER_02]: He said he wanted to shoot a film a certain way and by the end, he hasn't shot it that way, but he's still satisfied with what came together and it was important to him was him using his art to bond with his family.
• 45:17
  [SPEAKER_02]: I feel like his family did finally understand that on a fundamental level.
• 45:21
  [SPEAKER_00]: I remember I interviewed Kevin Smith once and we were talking about more recent films in his career and how They're not as artistically ambitious as he once was not that he was ever like like extremely ambitious He was never trying to be Bergman, but if only a lot of his movies were trying to tap into something a little bit more Thoughtful and a lot of his stuff like yoga hosers Yeah, what are tusks or less so
• 45:46
  [SPEAKER_02]: He ran out of things to say.
• 45:48
  [SPEAKER_02]: Be sure to do that.
• 45:49
  [SPEAKER_02]: I did a whole commentary track for his movie, Dogma.
• 45:52
  [SPEAKER_02]: That's right.
• 45:53
  [SPEAKER_02]: That was one of the last times he had something to explore personally.
• 45:56
  [SPEAKER_02]: Right.
• 45:57
  [SPEAKER_02]: Everything they're after was about his own career.
• 45:59
  [SPEAKER_00]: Well, I was on career, but I was talking to him about yoga hosers in particular, where he was showing its Sundance, and I got to interview him.
• 46:07
  [SPEAKER_00]: Nice guy.
• 46:09
  [SPEAKER_00]: But more than we were just talking about how to him at this point,
• 46:16
  [SPEAKER_00]: He cares more about the experience of making a movie and then he does necessarily about the movie itself Yeah, which is a luxury a lot of filmmakers don't get that's what yoga hosers is definitely getting out That's what clerks three is absolutely and it's 100% the movie is literally about how the characters and the clerks movie decide to make Basically clerks and how regardless of how the movie turned out what was important is that they did it together That's the
• 46:42
  [SPEAKER_00]: That's a lovely sentiment, and I think sentimental value, that's in the title, makes a similar point.
• 46:50
  [SPEAKER_00]: I cried it clerks three, I didn't cry at sentimental value, somehow I was a little more and emotionally invested, but this is more me being worried about clerks three.
• 47:00
  [SPEAKER_00]: All of that's in there, and it's a wonderful film.
• 47:05
  [SPEAKER_00]: It just, the reason why it might not make my top 10 is because I thought the ultimately the conclusion that it drew was a little too easy for how absolutely intricate the rest of the movie was.
• 47:21
  [SPEAKER_00]: This might be a quibble.
• 47:22
  [SPEAKER_00]: Again, I'm giving it a seat button.
• 47:25
  [SPEAKER_00]: That's just one of those songs where I have the sound negative to explain why I feel differently from Whitney, but I'm not negative on the movie.
• 47:33
  [SPEAKER_00]: We shouldn't move on.
• 47:34
  [SPEAKER_00]: We both saw a bunch of movies.
• 47:38
  [SPEAKER_00]: The other one didn't see.
• 47:38
  [SPEAKER_00]: You saw probably the biggest movie that only one of us saw and that would be Bagonia.
• 47:48
  [SPEAKER_00]: Okay.
• 47:48
  [SPEAKER_00]: So, ladies and gentlemen, you're going to land the most.
• 47:50
  [SPEAKER_00]: You're going to land the most is one of those.
• 47:53
  [SPEAKER_00]: quirky filmmakers who is allowed to do, who is allowed to do whatever he wants to do, and when he does something weird, everyone's like, ooh, give them Oscars.
• 48:01
  [SPEAKER_00]: And when other people do something weird, it's like, ooh, they're not your best lanterns, don't give them Oscars.
• 48:06
  [SPEAKER_02]: But he is one of those, uh, wonderfully unusual cases of when a filmmaker who has an incredibly insidium, it is in credit style that is strange enough
• 48:23
  [SPEAKER_02]: uh... somehow broke through to the main stream yet david lunch was another one of the day david lunch tim Burton is another one of those that there are certain film makers who really do
• 48:33
  [SPEAKER_02]: uh, crack through, like odd filmmakers with interesting things to say.
• 48:39
  [SPEAKER_02]: Yeah.
• 48:39
  [SPEAKER_02]: Uh, Jorgos Lathemos is unusual and that he has a very bleak worldview.
• 48:44
  [SPEAKER_02]: Uh, he has very little hope for humanity.
• 48:47
  [SPEAKER_02]: Uh, he feels that human will is, humans essentially don't have free will.
• 48:52
  [SPEAKER_02]: They have a will that they are eager to subjugate to others.
• 48:55
  [SPEAKER_02]: That's what it's film kinds of kindness was all about.
• 48:57
  [SPEAKER_02]: That's what it's the favorite was all about.
• 48:59
  [SPEAKER_02]: It's a big part of what poor things is about, but that's seen through the lens of sexism.
• 49:05
  [SPEAKER_00]: That's also, in some respects, one of his more positive movies, at least because the tag in his case on his phone.
• 49:10
  [SPEAKER_00]: Yeah.
• 49:13
  [SPEAKER_02]: Now he's made Bugonia, which is kind of a remake of a Korean film called Save the Green Planet.
• 49:19
  [SPEAKER_00]: Yeah, I've heard of that on the righteous.
• 49:20
  [SPEAKER_00]: Yeah, I would say that.
• 49:21
  [SPEAKER_02]: No, I haven't seen that one.
• 49:22
  [SPEAKER_02]: It's he's back with his muse, Emma Stone, who has started multiple of his films.
• 49:29
  [SPEAKER_02]: And also, Jesse Plumms, who has also started with him before.
• 49:32
  [SPEAKER_02]: And
• 49:34
  [SPEAKER_02]: Emma Stone plays the powerful CEO of, like a some sort of pharmaceutical model if, strike antit company, and they've been testing drugs, and evidently some of these test drugs haven't been going too well.
• 49:49
  [SPEAKER_02]: And Jesse Pumman's plays an impoverished man who lives in the same town, but he lives in sort of a very impoverished, like, backwoods areas.
• 49:59
  [SPEAKER_02]: I was as very far from his neighbors.
• 50:02
  [SPEAKER_02]: He kidnaps her, he and his sort of non-too-bright cousin.
• 50:07
  [SPEAKER_02]: They say that we really have to devote ourselves to this.
• 50:12
  [SPEAKER_02]: There's something really serious going on here.
• 50:14
  [SPEAKER_02]: We need to kidnap this, well, she says she's a person.
• 50:17
  [SPEAKER_02]: They inject themselves with like a chemical castration drugs that sort of dead in their libidos.
• 50:26
  [SPEAKER_02]: They say, we can't have those distractions.
• 50:28
  [SPEAKER_02]: We need to devote ourselves to this.
• 50:30
  [SPEAKER_02]: and we're going to capture this person and keep her in our basement because she's actually a space alien and I've been able to tell and he goes off on these sort of like paranoid ramps.
• 50:40
  [SPEAKER_02]: Yeah, how we can tell she's a space alien what's been really going on these end-traumadins have invaded our planet and are trying to murder humanity and poison us to all of these conspiratorial needs.
• 50:50
  [SPEAKER_00]: Mulder, that sounds ridiculous, actually scaling.
• 50:55
  [SPEAKER_02]: I have to.
• 50:56
  [SPEAKER_00]: I have to.
• 50:56
  [SPEAKER_02]: Every legend is based in fact.
• 51:00
  [SPEAKER_02]: So they keep her in the basement, they shave her head and they say, okay, we need to understand you're an alien and we just need to prove it.
• 51:08
  [SPEAKER_02]: We want you to confess and then leave our planet.
• 51:10
  [SPEAKER_02]: And of course she is not going to do that before.
• 51:14
  [SPEAKER_02]: I'm just like, hey, let me
• 51:19
  [SPEAKER_02]: Let's talk about this and to Emma Stone's credit even though she's chained up and they they even like Coder with this like anti-histamine cream thinking that it's going to like throw off her alien senses Uh, and she has her head shaved.
• 51:35
  [SPEAKER_02]: She's never not completely in charge of the situation Uh, she
• 51:41
  [SPEAKER_02]: She's not comfortable with what happens, this is something that's happened before, but she understands what's happening and that and she's not ever willing to sort of compromise and even as things get a little bit more bleak and torture enters the picture as it inevitably will, she is the one who is always sort of calling the shots and the more we learn about the Jesse Plumman's character, the more we realize kind of how unhinged he is and we see these kind of
• 52:05
  [SPEAKER_02]: bizarre dream sequence in slash flashbacks where he's to caring for his ailing mother who evidently is still alive but in a coma thanks to some of the drugs that the company Emerson's company produced.
• 52:19
  [SPEAKER_02]: So we get to sort of learn a little bit of that.
• 52:21
  [SPEAKER_02]: It's all connected.
• 52:22
  [SPEAKER_02]: How would you predict this end?
• 52:24
  [SPEAKER_02]: So well, there's two ways this can end.
• 52:27
  [SPEAKER_02]: And they're both unsatisfying.
• 52:28
  [SPEAKER_00]: She isn't alien and she isn't.
• 52:30
  [SPEAKER_02]: She isn't alien or she isn't.
• 52:32
  [SPEAKER_02]: Right.
• 52:34
  [SPEAKER_02]: Picture the least satisfying ending, and that's what you got.
• 52:36
  [SPEAKER_02]: It undoes any kind of psychological intrigue.
• 52:44
  [SPEAKER_02]: And in fact, you would think that introducing this clever premise, it would be a great opportunity for a lot of banter, a lot of head-to-head ideas.
• 52:54
  [SPEAKER_02]: How does how do you talk to somebody who is effectively out of his mind?
• 52:59
  [SPEAKER_00]: Well, and the idea with a conspiracy theorist is that they think they're logical.
• 53:05
  [SPEAKER_00]: They haven't decided that all of this makes sense.
• 53:07
  [SPEAKER_00]: And so if you try to out logic them, they're ready for that.
• 53:11
  [SPEAKER_02]: And they have, like, no, that's actually a fallacy because it's actually based on this other strange theory that I have that's connected to.
• 53:19
  [SPEAKER_00]: And yeah, turns out of this heretic.
• 53:21
  [SPEAKER_00]: Part of it sounds like heretic at that point.
• 53:23
  [SPEAKER_02]: Yeah, a little bit.
• 53:24
  [SPEAKER_02]: And there's like psychological studies on this.
• 53:28
  [SPEAKER_02]: If you can puncture a hole in a paranoid schizophrenic's theory, they're going to rework their theory a little bit.
• 53:35
  [SPEAKER_00]: Yeah, so they're going to fill that hole.
• 53:36
  [SPEAKER_00]: Yeah, they'll, yeah.
• 53:37
  [SPEAKER_02]: Or they'll just ignore them.
• 53:38
  [SPEAKER_02]: I'll just keep going.
• 53:39
  [SPEAKER_02]: No, it's actually about this.
• 53:40
  [SPEAKER_02]: You're talking in circles.
• 53:42
  [SPEAKER_00]: There are identity is wrapped up in this.
• 53:44
  [SPEAKER_00]: This isn't an intellectual thought exercise that they're fine with being disproven.
• 53:48
  [SPEAKER_00]: And if this is disproven, they're nothing.
• 53:50
  [SPEAKER_02]: Well, and it's not even that, it's that this is the truth.
• 53:54
  [SPEAKER_02]: And there is no other way to look at things.
• 53:56
  [SPEAKER_00]: But it's just why you would be nothing.
• 53:58
  [SPEAKER_00]: Yeah, it's not reality.
• 53:59
  [SPEAKER_02]: But it's not even ego thing.
• 54:00
  [SPEAKER_00]: It's just like, I didn't even mean it.
• 54:03
  [SPEAKER_00]: It was.
• 54:03
  [SPEAKER_00]: Yeah, we're talking about something.
• 54:05
  [SPEAKER_02]: Yeah.
• 54:05
  [SPEAKER_02]: So unfortunately, Yorgos Lantimos doesn't write scenes like that.
• 54:10
  [SPEAKER_02]: He has a little bit of that interplay.
• 54:12
  [SPEAKER_02]: Did he write this?
• 54:13
  [SPEAKER_02]: He didn't write this.
• 54:15
  [SPEAKER_02]: This was written by his mic.
• 54:18
  [SPEAKER_02]: Oh, sorry, will Tracy, I should remember that because he's one of the funder birds.
• 54:26
  [SPEAKER_02]: Will will Tracy comes from the onion.
• 54:29
  [SPEAKER_02]: He was a writer beyond it.
• 54:30
  [SPEAKER_00]: He also wrote for last week's and I would John Oliver.
• 54:33
  [SPEAKER_00]: And he wrote the menu, which is actually a very good script about class.
• 54:40
  [SPEAKER_02]: Yeah.
• 54:40
  [SPEAKER_02]: Yeah.
• 54:41
  [SPEAKER_02]: My only issue with the menu is didn't go far enough.
• 54:44
  [SPEAKER_02]: If I wanted that to go like really going to really sick territory, I didn't quite get there for me.
• 54:49
  [SPEAKER_02]: Yeah.
• 54:49
  [SPEAKER_02]: So yeah, you backed off.
• 54:51
  [SPEAKER_02]: Everybody died.
• 54:51
  [SPEAKER_02]: But you backed off.
• 54:54
  [SPEAKER_02]: And I feel like this one kind of backs off too, this could really be saying something pointed, especially about what the time we're living in now has so many people have fallen into these alternate versions of reality thanks to their media diet.
• 55:07
  [SPEAKER_02]: You go online, you can only live in the circles of conspiracy theorists and be completely convinced that the world is arranged in a certain way.
• 55:16
  [SPEAKER_00]: And if you go in without being very careful, without if you go in completely wide-eyed and just accept everything you're seeing, the algorithms in YouTube and Twitter are designed to foreground extreme views because that's what gets attention.
• 55:33
  [SPEAKER_02]: And because, and this is the frustrating part, I think we all kind of know this, but at the same time we're not acting like we know this.
• 55:42
  [SPEAKER_02]: We understand that those algorithms and what you see online and social media isn't the real world.
• 55:48
  [SPEAKER_02]: Not everybody is seeing the same thing you are, but because that's the only thing you're seeing.
• 55:52
  [SPEAKER_02]: You become convinced that's what everyone is seeing and that's what the world is like.
• 55:56
  [SPEAKER_00]: Yeah, and that's how you become to believe that like everyone who doesn't see things the way you do is completely out of it.
• 56:02
  [SPEAKER_02]: It's like, how could anybody ever see the world this way?
• 56:05
  [SPEAKER_02]: Well, if that's all they've ever seen, and that's all they're seeing in their media diet, then yes, they think they're right.
• 56:11
  [SPEAKER_00]: Yeah, so there's a lot, there's a lot that's going to be talking about.
• 56:14
  [SPEAKER_02]: And, and it...
• 56:15
  [SPEAKER_02]: It's hinting at that.
• 56:16
  [SPEAKER_02]: It's taking place in that world, and this Jesse Plyman's character could have been driven insane by going to conspiracy theory websites.
• 56:24
  [SPEAKER_02]: But I feel like this film is trying to reach for something bigger, but it doesn't reach anything beyond that.
• 56:30
  [SPEAKER_02]: It kind of hints at these interesting salient ideas as to what's going on in our world without going all the way.
• 56:36
  [SPEAKER_02]: And then you get to the disappointing ending, which I wish I could talk about more because the bulk of what my disappointment with this film
• 56:46
  [SPEAKER_02]: I'll, I'll all, I'll allude to it this way.
• 56:50
  [SPEAKER_02]: I've seen many movies about the Salem Witch Trials.
• 56:55
  [SPEAKER_02]: And I've seen a lot of horror movies about the Salem Witch Trials, specifically horror movies where the take place at the Salem Witch Trials, where it turns out the women that are being executed, were actually witches.
• 57:05
  [SPEAKER_00]: Lord of Salem, Hocus, Pocus, Hansel and Gretel's eye-chhunters.
• 57:09
  [SPEAKER_00]: No, that one's not the Salem Witch Trials enough.
• 57:11
  [SPEAKER_02]: I understand the impulse why a filmmaker would want to tell that story.
• 57:15
  [SPEAKER_02]: because those unjustly executed women didn't have an agency.
• 57:19
  [SPEAKER_02]: So if you turn them into witches, suddenly there's doubts of vengeance.
• 57:23
  [SPEAKER_02]: They have power.
• 57:23
  [SPEAKER_02]: You're giving power to the victims.
• 57:25
  [SPEAKER_02]: I understand that.
• 57:26
  [SPEAKER_02]: The problem with doing that with the Salem witch trials in particular is that you've now just proven right of their prosecutors.
• 57:34
  [SPEAKER_00]: The historical lesson we have to learn from the Salem witch trials
• 57:45
  [SPEAKER_00]: Completely frighteningly misled.
• 57:48
  [SPEAKER_02]: Yeah paranoia sex is a mostly sexism.
• 57:51
  [SPEAKER_02]: Yeah, and Religious extremism That's what we need to be aware of.
• 57:57
  [SPEAKER_02]: Yeah, not the witches.
• 57:58
  [SPEAKER_02]: So I feel like I Can't reveal anything about the ending of bugonia, but it's dipping into that territory You can have him have her being alien you can ever not be an alien
• 58:11
  [SPEAKER_02]: Either way, you're giving power to the wrong person.
• 58:15
  [SPEAKER_02]: And that's all I'm going to say about the gun, yeah.
• 58:19
  [SPEAKER_00]: That is an interesting sort of segue to Nuremberg, OK, which is a new historical drama about the Nuremberg trials.
• 58:28
  [SPEAKER_00]: So you might have predicted that.
• 58:30
  [SPEAKER_00]: It is written and directed by James Vanderbilt, who is mostly known for his screenwriting.
• 58:36
  [SPEAKER_00]: And his screenwriting career is extremely up and down.
• 58:41
  [SPEAKER_00]: It's just one of the people where it's like it's is he really great and his scripts keep getting rewritten badly by studios Or is he not great and his scripts got keep getting rewritten well?
• 58:53
  [SPEAKER_00]: But for example, he wrote Zodiac fucking awesome.
• 58:57
  [SPEAKER_00]: What one of us crime movies ever yeah fuck yeah man Road fucking Zodiac road white house down fuck yeah love white house Most people disagree with us, but we fucking love them.
• 59:06
  [SPEAKER_00]: He also did independent stay research
• 59:08
  [SPEAKER_02]: Hmm, so that's studio for higher gear.
• 59:11
  [SPEAKER_00]: Yeah, sure.
• 59:12
  [SPEAKER_00]: He also did a fountain of youth earlier this year.
• 59:16
  [SPEAKER_00]: Oh, it was really bad.
• 59:20
  [SPEAKER_00]: He did amazing.
• 59:21
  [SPEAKER_00]: He worked on the amazing Spider-Man movies, with Andrew Garfield, where the cast was good.
• 59:27
  [SPEAKER_00]: The scripts were not.
• 59:28
  [SPEAKER_02]: But there's a lot of like about those movies, but I'm not gonna say that the best screenplay is.
• 59:32
  [SPEAKER_00]: He made his directorial debut with a movie called Truth in 2015, which you'd think more people would know about, considering Robert Redford played Dan Rather,
• 59:42
  [SPEAKER_00]: And K-Planche played his producer at CBS News and it was about, um, uh, the, uh, it was about George W Bush, uh, Bush's like, um, service record, uh, in the military and there was a scandal about whether they went ahead with the story without researching it properly and were unjustly trying to manipulate the politics, uh, well, what is the truth?
• 1:00:08
  [SPEAKER_00]: You know, it's a movie to find out.
• 1:00:11
  [SPEAKER_00]: He's really up and down.
• 1:00:12
  [SPEAKER_00]: He is directing his own screenplay here, and it is about the Nuremberg trials.
• 1:00:17
  [SPEAKER_00]: Specifically, it is about the relationship between Herman Goring, who is playing by Russell Crow, which is an interesting casting choice, and real life psychologist Douglas Kelly, who's lived by Rami Malik.
• 1:00:34
  [SPEAKER_00]: Oh, he's brought in basically the World War II ends, and now they have a lot of Nazi officers that decided to end their own lives rather than face justice for what they've done.
• 1:00:51
  [SPEAKER_00]: But a lot of them did.
• 1:00:52
  [SPEAKER_00]: And now, well, we've got them, the war is over.
• 1:00:56
  [SPEAKER_00]: There are no international laws.
• 1:01:02
  [SPEAKER_00]: There is no, like, precedent for trying someone for international crime against humanity trying to take over the world.
• 1:01:12
  [SPEAKER_00]: How do we make sure they, because these guys can't just go home, we have to make sure this doesn't happen again.
• 1:01:18
  [SPEAKER_00]: They're have to be consequences, so they have to set up an actual international tribunal.
• 1:01:22
  [SPEAKER_00]: And while all of these Nazi big wigs,
• 1:01:29
  [SPEAKER_00]: are rotting in their cells.
• 1:01:32
  [SPEAKER_00]: They have psychologists come in to A.C. what the fuck happened there?
• 1:01:38
  [SPEAKER_00]: How the hell do you turn into that?
• 1:01:41
  [SPEAKER_00]: But also to make sure that
• 1:01:45
  [SPEAKER_00]: they don't end their own lives and deny people the justice that they deserve.
• 1:01:51
  [SPEAKER_00]: So, he is particularly fascinated by Herman Goring, who is not literally, but according to this movie, the highest ranking Nazi officer who actually faced her from justice.
• 1:02:02
  [SPEAKER_00]: He was actually someone else, but he's not as famous as Herman Goring.
• 1:02:07
  [SPEAKER_00]: And he is basically interviewing the guy, and it turns out Herman Goring, and even though he is a monster, he is a narcissist, he is a fascist, he believed in what he did, he believed in what he did, but here's a deal, he has charisma, he's got the riz, and so Rami Malik is actually kind of confused by that, and he ends up
• 1:02:32
  [SPEAKER_00]: His relationship with Herman Goring ends up becoming a little bit more complicated than Dr. and patient.
• 1:02:38
  [SPEAKER_01]: Yeah.
• 1:02:38
  [SPEAKER_00]: Because he finds himself fascinated by how this person could be the way that they are, but also they're playing cards.
• 1:02:46
  [SPEAKER_00]: He sends messages to like Herman Goring's wife, where he's not supposed to.
• 1:02:50
  [SPEAKER_00]: Oh, weird.
• 1:02:51
  [SPEAKER_00]: Like, he's getting too close.
• 1:02:54
  [SPEAKER_00]: But the question is, is he getting too close really?
• 1:02:57
  [SPEAKER_00]: But is he actually just trying to like,
• 1:03:00
  [SPEAKER_00]: earn going stressed so that they can use that again some of the trial or it's the actually, uh, uh, getting too close to her.
• 1:03:10
  [SPEAKER_00]: I think what this movie is trying to get at is that there is an insidiousness to fascism.
• 1:03:18
  [SPEAKER_00]: There's a reason why people are drawn to it.
• 1:03:22
  [SPEAKER_00]: Yeah.
• 1:03:22
  [SPEAKER_00]: It's wrong.
• 1:03:22
  [SPEAKER_00]: It leads to horrible atrocities.
• 1:03:26
  [SPEAKER_00]: And yet there is something about people
• 1:03:29
  [SPEAKER_00]: This is your only path to greatness, that people who don't feel great find themselves attracted to, and then all of a sudden, you start making excuses.
• 1:03:40
  [SPEAKER_00]: The movie, unfortunately, is not complicated enough.
• 1:03:43
  [SPEAKER_00]: It's not like, in sightfully written enough to really delve into that particularly well.
• 1:03:49
  [SPEAKER_00]: We get the gist.
• 1:03:51
  [SPEAKER_00]: We know what the movie is saying, and I don't point, doesn't really feel like,
• 1:03:54
  [SPEAKER_00]: the movie is making Gering's points too well, which would be a danger.
• 1:03:58
  [SPEAKER_00]: And they talk about that.
• 1:03:59
  [SPEAKER_00]: Like one of the things that they're concerned about is that by putting Gering and the other Nazis on trial, you are giving them a platform.
• 1:04:07
  [SPEAKER_00]: That was a way.
• 1:04:07
  [SPEAKER_00]: You're giving an opportunity to defend themselves.
• 1:04:10
  [SPEAKER_02]: What was that film about the shooting at the Scandinavian summer camp?
• 1:04:16
  [SPEAKER_02]: It was just, it was named after the day.
• 1:04:18
  [SPEAKER_02]: I think it was called January 22nd.
• 1:04:20
  [SPEAKER_02]: uh... that's that that's the round day uh... July twenty second July twenty second July all green grass film yeah uh... that that was a big part of uh... twenty second July where there's based on a true story about somebody who went to a camp and murdered people just
• 1:04:36
  [SPEAKER_02]: for for conspiratorial reasons and had written a manifesto about it and they were going to ask him whether or not he should let him go on take the stand at trial so it could read out his manifesto and potentially spread exactly like we don't want to give this guy a platform
• 1:04:53
  [SPEAKER_00]: That says like what's going on in Nuremberg and then yeah, that was the concern is that what if they defend themselves too?
• 1:04:59
  [SPEAKER_00]: Well, what if the trial doesn't work?
• 1:05:00
  [SPEAKER_00]: What if they actually get away with it?
• 1:05:03
  [SPEAKER_00]: That would be worse than not having a trial Michael Shannon plays the Americans Yeah, really good cast actually and Michael Shannon and Richard E. Grant play the lawyers who are trying to prosecute them.
• 1:05:17
  [SPEAKER_00]: Richard E. Grant's of any representing Britain Like the Shannon representing America
• 1:05:23
  [SPEAKER_00]: And, you know, it's a good cast.
• 1:05:27
  [SPEAKER_00]: It's a real life event.
• 1:05:29
  [SPEAKER_00]: And Kudos is a James Vanderbilt for this.
• 1:05:31
  [SPEAKER_00]: He goes, he makes it very, very clear that he is making this now to talk about what's happening today.
• 1:05:39
  [SPEAKER_00]: In the United States.
• 1:05:40
  [SPEAKER_00]: And the United States, there's a whole, like, you know, it can't happen here kind of thing.
• 1:05:44
  [SPEAKER_00]: It's like,
• 1:05:45
  [SPEAKER_00]: No, it's happening here.
• 1:05:47
  [SPEAKER_00]: It can.
• 1:05:47
  [SPEAKER_00]: And one of the conclusions that Rami and Alex character comes to is that this isn't like, there's isn't like a German thing.
• 1:05:54
  [SPEAKER_00]: This is a human thing.
• 1:05:56
  [SPEAKER_00]: Yeah, there are people who are capable of this and don't the only thing preventing them from doing it is that I think they can't.
• 1:06:07
  [SPEAKER_00]: So,
• 1:06:09
  [SPEAKER_00]: He's trying to warn people all the way out of it.
• 1:06:11
  [SPEAKER_00]: But like the actual execution of the movie, no pun intended, is, it's just okay.
• 1:06:18
  [SPEAKER_00]: Like the gist comes across, everyone's pretty good in it.
• 1:06:22
  [SPEAKER_00]: But this feels like the kind of movie that would have like swept the Emmys in like 1995.
• 1:06:26
  [SPEAKER_00]: Like it's not quite,
• 1:06:30
  [SPEAKER_00]: a sophisticated enough to work is like a feature film.
• 1:06:35
  [SPEAKER_00]: But if you're just like a quick sort of reminder history lesson about Nuremberg, this is certainly an option available to you.
• 1:06:42
  [SPEAKER_02]: And it probably get a lot of great performances.
• 1:06:44
  [SPEAKER_02]: I mean, Russell Crowe, these are all these actors.
• 1:06:47
  [SPEAKER_00]: Like the material just isn't complicated enough to give them what they really need.
• 1:06:53
  [SPEAKER_00]: James Vanderbilt does a lot of these scenes and sort of, um,
• 1:06:59
  [SPEAKER_00]: He knows how to punctuate a scene.
• 1:07:00
  [SPEAKER_00]: He knows the right line to end a scene on.
• 1:07:02
  [SPEAKER_00]: He knows that like if we have a conversation about a magic trick at the beginning of the movie, it needs to come in at the end.
• 1:07:09
  [SPEAKER_00]: But
• 1:07:10
  [SPEAKER_00]: He's not hiding it within the folds of naturalism, or even in any sort of high theatricality.
• 1:07:19
  [SPEAKER_00]: It just feels like a nuts and bolts screenplay.
• 1:07:22
  [SPEAKER_00]: And that's not bad, but unfortunately, it doesn't give the actors enough to work with that they can elevate the material.
• 1:07:29
  [SPEAKER_00]: So it's just functional, which is,
• 1:07:34
  [SPEAKER_00]: Uh, you know, by definition, just okay.
• 1:07:37
  [SPEAKER_00]: Oh, yeah.
• 1:07:38
  [SPEAKER_00]: So it's uh, it's well-intentioned.
• 1:07:40
  [SPEAKER_00]: It's tackling a series topic.
• 1:07:42
  [SPEAKER_00]: It doesn't.
• 1:07:42
  [SPEAKER_00]: I wouldn't say it does disjustice to that.
• 1:07:46
  [SPEAKER_00]: Is that a word, disjustice?
• 1:07:47
  [SPEAKER_00]: Injustice, perhaps?
• 1:07:48
  [SPEAKER_02]: I'm, I'm going to ward them.
• 1:07:50
  [SPEAKER_02]: I'm going to just just, no, you know what?
• 1:07:52
  [SPEAKER_02]: You're just kind of terrible.
• 1:07:54
  [SPEAKER_00]: There you go, dis, it doesn't do disjustice.
• 1:07:56
  [SPEAKER_00]: It doesn't do disjustice.
• 1:07:57
  [SPEAKER_00]: Yeah.
• 1:07:58
  [SPEAKER_00]: Uh, to the material, but it doesn't.
• 1:08:01
  [SPEAKER_00]: It's not other than you hadn't read the Wikipedia page.
• 1:08:05
  [SPEAKER_00]: It's not terribly illuminating.
• 1:08:06
  [SPEAKER_00]: Unfortunately, that's pretty.
• 1:08:09
  [SPEAKER_00]: It is a pity.
• 1:08:10
  [SPEAKER_00]: Tell me about dye my love.
• 1:08:11
  [SPEAKER_02]: Time my love.
• 1:08:12
  [SPEAKER_02]: Lin Ramsey is back.
• 1:08:14
  [SPEAKER_02]: I love Lin Ramsey movies.
• 1:08:17
  [SPEAKER_00]: One of the best filmmakers working today.
• 1:08:19
  [SPEAKER_02]: Yeah, a Lin Ramsey date a rat catcher in 1999.
• 1:08:22
  [SPEAKER_02]: Fantastic movie about the Scottish garbage strike.
• 1:08:25
  [SPEAKER_02]: And specifically, the kids who had to live through it was very kind of a...
• 1:08:28
  [SPEAKER_02]: They're grounded, almost magically realistic movie.
• 1:08:34
  [SPEAKER_02]: Kind of a most mellow film because after that she started to delve into some pretty bleak places.
• 1:08:40
  [SPEAKER_02]: She made more of her in Calar, which was about a young woman who had come home and finds that her...
• 1:08:46
  [SPEAKER_02]: boyfriend has taken his own life, left a note, and then she just leaves him there, goes out partying.
• 1:08:53
  [SPEAKER_02]: It's maybe it's about our grieving process, maybe it's a little bit like Kamu's the stranger, where she doesn't seem to have much of a conscience.
• 1:09:01
  [SPEAKER_02]: It's about living with her in her mind, and how she's responding to a lot of this.
• 1:09:06
  [SPEAKER_02]: And indeed, that's what we start to get to in a lot of Lynn Ramsey movies.
• 1:09:09
  [SPEAKER_02]: What is it like to sort of live in the emotional intensity of the main characters?
• 1:09:14
  [SPEAKER_02]: You can diagnose those characters.
• 1:09:16
  [SPEAKER_02]: You can say, oh, they're clearly suffering from depression.
• 1:09:19
  [SPEAKER_02]: I get a great grieving.
• 1:09:21
  [SPEAKER_02]: Yeah.
• 1:09:21
  [SPEAKER_02]: She wants to skip past that part of things.
• 1:09:25
  [SPEAKER_02]: This is not about the diagnosis.
• 1:09:26
  [SPEAKER_02]: This is not about explaining the character.
• 1:09:29
  [SPEAKER_02]: It's about feeling what they're feeling.
• 1:09:31
  [SPEAKER_01]: Yeah.
• 1:09:31
  [SPEAKER_02]: Her last film was called, you were never really here.
• 1:09:34
  [SPEAKER_02]: which is ostensibly about an action hero character, or at least in another movie.
• 1:09:38
  [SPEAKER_02]: It's kind of thriller.
• 1:09:40
  [SPEAKER_00]: It's kind of thriller.
• 1:09:40
  [SPEAKER_00]: Yeah.
• 1:09:40
  [SPEAKER_00]: Walking Phoenix plays a guy who basically makes his living rescuing children.
• 1:09:43
  [SPEAKER_02]: Right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right
• 1:09:59
  [SPEAKER_02]: It's interested in living with what that kind of life would do to a human's mind and it would destroy it and also what kind of person would gravitate towards it Yeah, so the Joaquin Phoenix is actually a deeply depressed character and he's he's living on the brink of like having fantasies about wanting to take his own life the way that film ends We'll just rip your heart to shred that is one of my favorite endings any movie ever which is saying something because it's incredibly Blake It's yeah, it's a pretty dark and it's it's one of the best ones I've ever seen about clinical depression
• 1:10:29
  [SPEAKER_02]: And she's back with another one.
• 1:10:31
  [SPEAKER_02]: Oh, good.
• 1:10:32
  [SPEAKER_02]: Linger Amsey is back with another phone about Japan.
• 1:10:35
  [SPEAKER_02]: And this time it's, you could say this is her postpartum depression, Jennifer Lawrence.
• 1:10:41
  [SPEAKER_02]: Fantastic.
• 1:10:43
  [SPEAKER_02]: She has recently married her husband who's played by Robert Pattinson, and moved into his grandfather's, or maybe, or as he was his uncle's home, that has, for years, been neglected.
• 1:10:57
  [SPEAKER_02]: And the opening scene, it's almost like a horror movie where they're walking into this home and it's
• 1:11:01
  [SPEAKER_02]: full of leaves that have drifted in, and we hear rubber patterns and shot from off screen.
• 1:11:05
  [SPEAKER_02]: There's rats here, and she's just sort of like, uh, the Jennifer Lawrence character.
• 1:11:10
  [SPEAKER_02]: Her character is named Grace.
• 1:11:11
  [SPEAKER_02]: She's just sort of like looking around, saying, oh, we can get a cat.
• 1:11:14
  [SPEAKER_02]: We can take care of that, and this opening montage, we see that they're really into each other, and she's super sexual, and they're sleeping together all the time.
• 1:11:22
  [SPEAKER_02]: But he has, uh, some sort of, I think it's a trucking job.
• 1:11:25
  [SPEAKER_02]: He's away from home for a long time.
• 1:11:27
  [SPEAKER_02]: So they have a child, she's starting to raise the kid and we sort of catch up with the action when the kid Is about one, it's like still a still a baby.
• 1:11:38
  [SPEAKER_02]: And she is in this house.
• 1:11:40
  [SPEAKER_02]: It's in a remote part of Montana.
• 1:11:42
  [SPEAKER_02]: Her mother-in-law is played by Sissy Spasik.
• 1:11:46
  [SPEAKER_02]: Her father-in-law is played by Nick Nolty.
• 1:11:49
  [SPEAKER_02]: We get to see them in a few sort of opening scenes.
• 1:11:52
  [SPEAKER_02]: They don't think it's a space that doesn't feel like they can't go off the top of my hand.
• 1:11:58
  [SPEAKER_00]: I'm just not driving that so I'm going to look it up, but you are it.
• 1:12:00
  [SPEAKER_02]: But yeah.
• 1:12:01
  [SPEAKER_02]: Hens are a little joke about battling on his earlier, because we had to say this is basic back.
• 1:12:06
  [SPEAKER_00]: I get it.
• 1:12:08
  [SPEAKER_02]: And as we see Jennifer Lawrence sort of sitting around the house, we get to see her essentially slowly going insane.
• 1:12:17
  [SPEAKER_02]: Lynn Ramsey is great about sort of setting up editing and sound in such a way where it feels like the walls are really closing in.
• 1:12:24
  [SPEAKER_02]: on this Jennifer Lawrence character.
• 1:12:25
  [SPEAKER_02]: There's this wonderful montage at the beginning where she's listening to the same song over and over again.
• 1:12:31
  [SPEAKER_02]: She keeps on going back to the kitchen table and rearranging oranges in a bowl and she's just getting more and more furious all the time.
• 1:12:37
  [SPEAKER_00]: And they were in a fliction together.
• 1:12:40
  [SPEAKER_02]: They were in a fliction together weren't they?
• 1:12:42
  [SPEAKER_00]: Yes they were.
• 1:12:44
  [SPEAKER_02]: Good for that.
• 1:12:45
  [SPEAKER_02]: I would have come up with that eventually, like in like in six weeks time.
• 1:12:48
  [SPEAKER_02]: Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
• 1:13:12
  [SPEAKER_02]: about how this woman is sort of the character of that play by Tilda Swinton is sort of this free spirit she loves traveling and loves just sort of being free and losing herself in the sort of international travels and losing herself in the moment and how having a child has essentially destroyed all of that and it's like her resentment of the child manifested into the child being
• 1:13:37
  [SPEAKER_02]: He's like this evil child who is now only existing, specifically any senses that resentment.
• 1:13:43
  [SPEAKER_02]: It's like the baby almost is trying to make her life as miserable as possible.
• 1:13:48
  [SPEAKER_00]: That movie's frustrating to me because I think it was kind of advertised as, oh, what if your son was evil?
• 1:13:53
  [SPEAKER_00]: Yeah.
• 1:13:53
  [SPEAKER_00]: That kind of thing.
• 1:13:55
  [SPEAKER_00]: And it's actually way more complicated than that.
• 1:13:57
  [SPEAKER_00]: And it doesn't have very easy answers.
• 1:14:00
  [SPEAKER_02]: It used to be a lot simpler.
• 1:14:01
  [SPEAKER_02]: There was actually a line of dialogue.
• 1:14:03
  [SPEAKER_02]: I'm glad they caught from the movie, where they asked the son because he commits a horrid as crime.
• 1:14:09
  [SPEAKER_02]: He commits a school shooting.
• 1:14:11
  [SPEAKER_02]: And they asked, well, let's see, you killed all of your schoolmates.
• 1:14:14
  [SPEAKER_02]: Why didn't you kill your mom?
• 1:14:16
  [SPEAKER_02]: Because, clearly, you hate your mother.
• 1:14:18
  [SPEAKER_02]: And his line of dialogue that they caught was, you don't kill your audience.
• 1:14:22
  [SPEAKER_02]: It's like, oh, well done.
• 1:14:22
  [SPEAKER_02]: Do they cut that?
• 1:14:23
  [SPEAKER_02]: I remember that.
• 1:14:24
  [SPEAKER_02]: No, that's not in the final cut of the movie.
• 1:14:25
  [SPEAKER_02]: And I was on early reading.
• 1:14:27
  [SPEAKER_02]: And in the original cut of the movie and the theatrical cut he just says, I don't remember, which is a lot more poignant.
• 1:14:34
  [SPEAKER_02]: But we get the sense that Lynn Ramsey is exploring a very similar kind of character.
• 1:14:41
  [SPEAKER_02]: She's a was a free spirit.
• 1:14:42
  [SPEAKER_02]: She's very physical.
• 1:14:44
  [SPEAKER_02]: She's very sexual.
• 1:14:45
  [SPEAKER_02]: She used to be a writer.
• 1:14:47
  [SPEAKER_02]: But now that she has a kid, just the muse is left her.
• 1:14:50
  [SPEAKER_02]: She has no idea what she wants to write.
• 1:14:52
  [SPEAKER_02]: Her husband is now a little longer paying attention to her.
• 1:14:56
  [SPEAKER_02]: She
• 1:14:56
  [SPEAKER_02]: starts to assume he's having an affair.
• 1:14:58
  [SPEAKER_02]: She gets really paranoid about it.
• 1:14:59
  [SPEAKER_02]: She also starts to have these they might be fantasies or maybe she's having an affair.
• 1:15:05
  [SPEAKER_02]: They may be dream sequences where a character played by Le Keith Stanfields keeps coming to her house or she keeps meeting him in these circumstances places and they're having like a flang.
• 1:15:15
  [SPEAKER_02]: And you can't really be sure if, like, this is hallucination, or if she's just sort of thinking about doing this, maybe it was a lever she had in the past.
• 1:15:22
  [SPEAKER_02]: None of that's really made super clear, but we do see that she longs for some kind of freedom in the arms of another man.
• 1:15:30
  [SPEAKER_02]: And as the walls continue to close in, rubber patents and brings home a dog and the dog is just a feral dog and it barks all the time and just the constant.
• 1:15:40
  [SPEAKER_02]: montage of noise that's that's besetting this character is just driving her further and further over the edge To the point where she is just getting naked in public Cussing people, gussing people out talking about your death and killing and suicide and in all these things that are very very concerning and
• 1:16:01
  [SPEAKER_02]: There comes a point in the movie where we do kind of understand what her diagnosis is.
• 1:16:06
  [SPEAKER_02]: Where she actually talks to professionals and confesses a little bit of what's going on.
• 1:16:10
  [SPEAKER_02]: But again, Lynn Ramsey is not interested in that.
• 1:16:13
  [SPEAKER_02]: That's not what this is about.
• 1:16:13
  [SPEAKER_00]: That's a solution to a mystery.
• 1:16:15
  [SPEAKER_00]: That's not it.
• 1:16:16
  [SPEAKER_02]: It's a solution to a mystery.
• 1:16:17
  [SPEAKER_02]: It's also a really trite plot point that started to come into vogue at some point in the 1970s when pop psychology and therapy became a little bit more of this.
• 1:16:28
  [SPEAKER_02]: Accepted form of seeking help in the popular media?
• 1:16:34
  [SPEAKER_01]: Yeah.
• 1:16:34
  [SPEAKER_02]: You can point to any number of like cheap TV movies about somebody was having some kind of addiction problem or was very very violent or was just very very depressed and how this magical psychologist would appear at the beginning of the third act and kind of explain everything to the audience.
• 1:16:51
  [SPEAKER_02]: This is what you need to do and here's how you cure.
• 1:16:53
  [SPEAKER_01]: It's like, hmm.
• 1:16:53
  [SPEAKER_02]: therapy via movies.
• 1:16:55
  [SPEAKER_02]: There's helpful this to that, but there's also a lot of corniness to that.
• 1:16:59
  [SPEAKER_00]: It's just as general sense that this will solve all the problems and we're good.
• 1:17:03
  [SPEAKER_02]: And also, yeah, but everything is a quick, easy fix.
• 1:17:05
  [SPEAKER_02]: Linda Ramsey doesn't care.
• 1:17:06
  [SPEAKER_02]: She doesn't want to give you a quick, easy fix.
• 1:17:09
  [SPEAKER_02]: She doesn't even want to fix.
• 1:17:10
  [SPEAKER_02]: She wants to explain just how deep this wrath and depression and
• 1:17:18
  [SPEAKER_02]: and like inner horror really runs.
• 1:17:21
  [SPEAKER_02]: So while you're watching this movie you're kind of getting a mood piece and the mood is despair.
• 1:17:27
  [SPEAKER_02]: And, Golly, she does it so well.
• 1:17:31
  [SPEAKER_02]: There are a few filmmakers who can really get their fingernails into despair.
• 1:17:34
  [SPEAKER_02]: I mentioned a more birdman earlier, he can do it.
• 1:17:37
  [SPEAKER_02]: Yeah.
• 1:17:37
  [SPEAKER_02]: Lars von Trier, that's all he does.
• 1:17:39
  [SPEAKER_02]: He wants to get into the actual mechanics of depression and despair.
• 1:17:44
  [SPEAKER_00]: Just one romantic comedy, that's all I want from Lars.
• 1:17:47
  [SPEAKER_00]: Just straight up, like when Hitchcock didn't miss her, Mrs. Smith, we're not commenting on it, we're not putting her on spin on it.
• 1:17:54
  [SPEAKER_00]: Just do the script.
• 1:17:55
  [SPEAKER_00]: Yeah, just remake the wedding planner, does do the work.
• 1:18:00
  [SPEAKER_02]: And he made three pretty excellent, but all of them very hard to watch movies, which are very expressly about depression.
• 1:18:06
  [SPEAKER_02]: There was Melancholia, obviously.
• 1:18:08
  [SPEAKER_02]: There was Antichrist, which watch it if you're strong.
• 1:18:12
  [SPEAKER_02]: Yeah.
• 1:18:12
  [SPEAKER_02]: And then there was no Fominiac, which was great until the last minute.
• 1:18:18
  [SPEAKER_00]: Yeah, even between the stars guard couldn't say that.
• 1:18:20
  [SPEAKER_02]: It was a five hour film that is actually very humane and compassionate.
• 1:18:23
  [SPEAKER_02]: Just cut off the last minute and he got a great film.
• 1:18:25
  [SPEAKER_02]: the last minute ruined it and I and I feel like lint that's what lint Ramsey has been doing with a lot of films in her career because that's definitely what you are never really hears about that's a lot about what we need to talk about Kevin is about
• 1:18:39
  [SPEAKER_02]: And it's very much what, die my love is about.
• 1:18:42
  [SPEAKER_02]: It's about this woman disconnecting with humanity and with her old self to the point where she's changed.
• 1:18:50
  [SPEAKER_02]: She's changed into somebody who can only feel despair.
• 1:18:53
  [SPEAKER_02]: And that's actually a really bracing, exciting thing to witness.
• 1:18:58
  [SPEAKER_02]: Does it come to a conclusion?
• 1:19:00
  [SPEAKER_02]: You can't, you can't with despair, and I've talked to some other critics who are a little bit upset with the fact that this is just this character kind of banging around for a little bit and it's not sort of growing to any kind of arc or conclusion.
• 1:19:15
  [SPEAKER_02]: But I feel like if that's not the way depression operates, it's not here.
• 1:19:22
  [SPEAKER_02]: Depression isn't here to get rid of itself,
• 1:19:29
  [SPEAKER_02]: Depression is inside out, too, actually put it very well, that depression in that film, it was anxiety, but depression operates in the same way.
• 1:19:41
  [SPEAKER_02]: It's something that is hijacking your imagination and thinking that it's preparing you for a bad situation.
• 1:19:49
  [SPEAKER_02]: when really it's just feeding you in unhealthy scenario.
• 1:19:52
  [SPEAKER_00]: But anxiety is preparing you for bad situation.
• 1:19:55
  [SPEAKER_00]: Depression is interpreting your situation as bad.
• 1:19:57
  [SPEAKER_00]: Yeah, we're not, we're not, we're not, we're not psychologists.
• 1:20:00
  [SPEAKER_00]: This is just one of our sense of it.
• 1:20:03
  [SPEAKER_00]: But how would this, I want you to imagine, picture, close your eyes for a second.
• 1:20:08
  [SPEAKER_00]: Okay, close your eyes.
• 1:20:09
  [SPEAKER_00]: Not you, if you're driving, do not do this.
• 1:20:10
  [SPEAKER_00]: I'm not going to wait me here.
• 1:20:12
  [SPEAKER_00]: Okay, so I'm driving a car.
• 1:20:14
  [SPEAKER_00]: Yes, you're driving a car and you pull up to your favorite movie theater.
• 1:20:18
  [SPEAKER_00]: Okay.
• 1:20:18
  [SPEAKER_00]: Okay, you're you're there to see an exciting Show and you don't know what it's gonna be and you get there and that's when you see the marquee and the marquee is Die my love and mother.
• 1:20:32
  [SPEAKER_00]: Okay
• 1:20:32
  [SPEAKER_02]: not the opera prox mother the dare and aeronauts keep on I'm excited okay that's a good double feature that I love both those movies yeah you think that's not going to be exhausting for you emotionally and put you in bad mental state oh goodness no no move movies about despair are exhilarating movies about despair are are exciting and interesting and so rarely made
• 1:21:02
  [SPEAKER_02]: It depends on who I'm.
• 1:21:03
  [SPEAKER_02]: Yeah, absolutely.
• 1:21:04
  [SPEAKER_02]: Because I'm excited about Disney.
• 1:21:05
  [SPEAKER_02]: I like these films.
• 1:21:07
  [SPEAKER_02]: If I know my audience, if I'm talking to like not to call them out, but my brother-in-law, who likes mainstream action pictures and comedy films.
• 1:21:22
  [SPEAKER_02]: He probably wouldn't like that.
• 1:21:23
  [SPEAKER_00]: That sounds good.
• 1:21:24
  [SPEAKER_00]: That sounds good.
• 1:21:24
  [SPEAKER_02]: Not for him.
• 1:21:27
  [SPEAKER_02]: But for me it is.
• 1:21:28
  [SPEAKER_02]: I'll say there is a certain, you might have a call on us.
• 1:21:33
  [SPEAKER_02]: I'll be sure all of our films about, um,
• 1:21:37
  [SPEAKER_02]: suffering moms.
• 1:21:40
  [SPEAKER_02]: Yeah, who are railing against the expectations the world has about their mother had.
• 1:21:49
  [SPEAKER_00]: The Bobbi Duke.
• 1:21:50
  [SPEAKER_02]: The Bobbi Duke is definitely one of the last year.
• 1:21:52
  [SPEAKER_02]: There was a not very good film called Night Bitch.
• 1:21:54
  [SPEAKER_02]: Yeah, that's very same thing.
• 1:21:56
  [SPEAKER_02]: Um, dime my love is full square into that mother.
• 1:22:00
  [SPEAKER_02]: Darren Erwinowski's mother is another one, although that's a little bit more of a college art house freak out thing.
• 1:22:05
  [SPEAKER_02]: Yeah, it's good.
• 1:22:06
  [SPEAKER_02]: It's biblical.
• 1:22:07
  [SPEAKER_00]: Yeah.
• 1:22:07
  [SPEAKER_00]: It's root tones.
• 1:22:08
  [SPEAKER_00]: Yeah.
• 1:22:08
  [SPEAKER_02]: It weren't in the biblical stuff.
• 1:22:09
  [SPEAKER_02]: Yeah, thank you.
• 1:22:11
  [SPEAKER_02]: And I love mother just because it is so rough together.
• 1:22:16
  [SPEAKER_02]: Um, yeah, I'm done.
• 1:22:17
  [SPEAKER_02]: I love this one of those and uh, and I love it.
• 1:22:20
  [SPEAKER_02]: All right.
• 1:22:20
  [SPEAKER_02]: I love I love how I love how it made me hurt.
• 1:22:23
  [SPEAKER_00]: Okay.
• 1:22:23
  [SPEAKER_00]: Did ballad of a spot of a small player make you hurt.
• 1:22:27
  [SPEAKER_02]: Oh, no.
• 1:22:27
  [SPEAKER_02]: This, this one is okay.
• 1:22:30
  [SPEAKER_02]: This one is a little bit of an odd case.
• 1:22:32
  [SPEAKER_02]: because there's good performances, there's interesting setups, and that's all.
• 1:22:38
  [SPEAKER_02]: What interesting, this is the latest from Edward Burger, who did Conclave last year, and I liked Conclave.
• 1:22:45
  [SPEAKER_02]: Yeah, Conclave was a great pot boiler, about the lecture of a new pope, and I think it had some like fun...
• 1:22:51
  [SPEAKER_02]: fun things to say about pop politics.
• 1:22:53
  [SPEAKER_00]: Great, great movie.
• 1:22:54
  [SPEAKER_00]: He also did the most recent alquite on the western friday, which does a lot of things, right?
• 1:22:58
  [SPEAKER_02]: It's a lot of things, right?
• 1:22:59
  [SPEAKER_02]: It's a big, it expands a little bit.
• 1:23:01
  [SPEAKER_02]: It's really hard because of how much I love the 1930 version of alquite on the western friday.
• 1:23:07
  [SPEAKER_02]: So it had like a lot to live up to.
• 1:23:10
  [SPEAKER_02]: But it did those things well, it's sort of captured that misery.
• 1:23:14
  [SPEAKER_01]: Yeah.
• 1:23:15
  [SPEAKER_02]: This one's a little bit stranger, because it's a character piece.
• 1:23:20
  [SPEAKER_02]: Colin Farrell plays a gambler who's living in Macau.
• 1:23:28
  [SPEAKER_02]: And he's a small gambler?
• 1:23:30
  [SPEAKER_02]: He's a small time gambler, yes.
• 1:23:32
  [SPEAKER_02]: He's a small player.
• 1:23:35
  [SPEAKER_00]: I was imagining one of the borrowers.
• 1:23:38
  [SPEAKER_02]: Oh, he's not like physically small.
• 1:23:40
  [SPEAKER_02]: He's a size of a human being.
• 1:23:41
  [SPEAKER_00]: Okay.
• 1:23:42
  [SPEAKER_02]: Don't know, but that's clear it up.
• 1:23:45
  [SPEAKER_02]: His character is named, he calls himself Lord Doyle.
• 1:23:51
  [SPEAKER_02]: It's a little unfair as if he has a title.
• 1:23:54
  [SPEAKER_02]: He's trying to affect one or if his first name is Lord.
• 1:23:58
  [SPEAKER_00]: Oh, yeah, after a while, he's thinking to someone who is known many places as Bibbs.
• 1:24:04
  [SPEAKER_00]: After all, he just stopped fighting the nickname.
• 1:24:06
  [SPEAKER_02]: Maybe so, but you know, but he's the kind of guy who gave himself that nickname.
• 1:24:10
  [SPEAKER_02]: He can't give yourself that nickname.
• 1:24:12
  [SPEAKER_02]: He's kind of a pathetic guy.
• 1:24:13
  [SPEAKER_02]: Like he wears like croffots and fancy loud clothes.
• 1:24:17
  [SPEAKER_02]: He goes about the casinos of Macau, trying to behave like he's a high roller.
• 1:24:23
  [SPEAKER_02]: We learn very quickly that he is deeply in debt with a lot of people.
• 1:24:28
  [SPEAKER_02]: He goes to play, I think it's background.
• 1:24:31
  [SPEAKER_02]: with this high roller gambler that they just refer to as grandma.
• 1:24:36
  [SPEAKER_02]: She's like, uh, this, uh,
• 1:24:39
  [SPEAKER_02]: Career gambler that everybody's afraid of and he tries to be very very very confidence.
• 1:24:44
  [SPEAKER_02]: Oh, yeah, I ran it to money.
• 1:24:45
  [SPEAKER_02]: Hey, could I kind of get a little few extra bucks from the house?
• 1:24:48
  [SPEAKER_02]: No, you're credit ran dry a long time ago.
• 1:24:51
  [SPEAKER_02]: Yeah.
• 1:24:51
  [SPEAKER_02]: In fact, he's in debt everywhere.
• 1:24:53
  [SPEAKER_02]: In fact, he's now in a state of panic because he doesn't know how to pay off this debt.
• 1:24:59
  [SPEAKER_02]: And when do you know it till the Swinton enters the picture?
• 1:25:02
  [SPEAKER_02]: As essentially like a bank investigator who tells them you have like 48 hours to pay
• 1:25:09
  [SPEAKER_02]: Well, that's not enough time.
• 1:25:11
  [SPEAKER_02]: And the movie is all about how he fails to do that.
• 1:25:15
  [SPEAKER_00]: Oh.
• 1:25:16
  [SPEAKER_02]: Now, and that's unfortunate for him, and a lot of this is like what he's doing to obfuscate what he's doing to distract himself, how he's trying to get some money together, how he gets a little together, gambles it, loses it, and now he's back in the same situation.
• 1:25:31
  [SPEAKER_02]: Hey, you only got to win big ones.
• 1:25:33
  [SPEAKER_02]: Yeah, and you know, it's actually a proven fact that every gambler, like when they make their big
• 1:25:42
  [SPEAKER_02]: Gosh, the next hand was the one that was gonna pay out.
• 1:25:45
  [SPEAKER_00]: That's true.
• 1:25:45
  [SPEAKER_02]: It's just a proof-in.
• 1:25:46
  [SPEAKER_00]: So that's true.
• 1:25:47
  [SPEAKER_02]: Just got to keep on playing.
• 1:25:48
  [SPEAKER_00]: That's exactly how it works.
• 1:25:50
  [SPEAKER_00]: That is not how it works.
• 1:25:51
  [SPEAKER_00]: Don't gamble.
• 1:25:52
  [SPEAKER_00]: That was sarcasm and gambling is not a gambling is not a great solution to any problem.
• 1:25:57
  [SPEAKER_00]: Most of your problem is you don't gamble enough, which is also a problem.
• 1:26:02
  [SPEAKER_02]: The style in this film is pretty great.
• 1:26:05
  [SPEAKER_02]: There's a lot of like really bright colors.
• 1:26:07
  [SPEAKER_02]: This takes place in casinos And let me look at the name of this cinematographer James friend who also shot all quiet on the western front
• 1:26:16
  [SPEAKER_02]: just really adds a lot of texture and a lot of color and a lot of just visual verb to every scenes because we're living the world of gamblers and everything should have a little bit of a sheen to it and also it should stand in contrast to when the gambler finally enters the natural world and sees sunlight and water and things book and plants things that actually don't exist in can see now is good say I think uh
• 1:26:42
  [SPEAKER_02]: Oh, and Jamesford also shot the acolyte.
• 1:26:44
  [SPEAKER_02]: Like he's done a lot of it.
• 1:26:44
  [SPEAKER_00]: Oh, yeah.
• 1:26:45
  [SPEAKER_00]: Really fantastic.
• 1:26:45
  [SPEAKER_00]: It's cool stuff.
• 1:26:47
  [SPEAKER_00]: Yeah.
• 1:26:47
  [SPEAKER_00]: That's what all this is he done.
• 1:26:48
  [SPEAKER_00]: You can do it.
• 1:26:49
  [SPEAKER_00]: I'm not sure.
• 1:26:50
  [SPEAKER_00]: I'm not sure.
• 1:26:51
  [SPEAKER_02]: I am looking at it.
• 1:26:52
  [SPEAKER_02]: I'm looking at his Wikipedia.
• 1:26:53
  [SPEAKER_02]: And I don't think it's similar to his other movies.
• 1:26:55
  [SPEAKER_02]: Oh, I remember.
• 1:26:57
  [SPEAKER_02]: I showed it because he's talented cinematographer.
• 1:27:00
  [SPEAKER_02]: I'm talking about the cinematography because this film is very disappointing.
• 1:27:03
  [SPEAKER_00]: Oh, it's a cinematography.
• 1:27:05
  [SPEAKER_02]: The cinematography is great.
• 1:27:06
  [SPEAKER_02]: Colin Farrell is great.
• 1:27:07
  [SPEAKER_02]: He does a great job of creating this character
• 1:27:11
  [SPEAKER_02]: put very good about trying to put on airs, but it's very obviously failing.
• 1:27:16
  [SPEAKER_02]: He thinks he's cool, but he's definitely not.
• 1:27:19
  [SPEAKER_02]: He's really good at capturing that kind of pathos.
• 1:27:23
  [SPEAKER_02]: There's a really great scene that I like about halfway through the movie where
• 1:27:27
  [SPEAKER_02]: This character's run out of money.
• 1:27:29
  [SPEAKER_02]: He goes to like, it's essentially a Vegas buffet.
• 1:27:32
  [SPEAKER_02]: I know it's my cow But he goes and sits down and he essentially just eats all day and keeps on ordering food and like Get trying to get more and more cocktails and just getting more and more inebriated because This is the kind of like last thing you can do is like running out of credit So there's all just milk it for a little little bit longer while I kind of brainstorms and comes up with no ideas Yeah, it really is about how this guy is kind of out of out of out of ideas
• 1:27:57
  [SPEAKER_02]: And also most disappointing is, there's a character in this movie named Dalman.
• 1:28:03
  [SPEAKER_02]: She's played by actress named Fala Chen, who I'm not super familiar with.
• 1:28:11
  [SPEAKER_02]: And she plays this frustratingly angelic figure in his life.
• 1:28:17
  [SPEAKER_02]: She's the one who's floating around the gambling table.
• 1:28:20
  [SPEAKER_02]: She's like the good luck charm.
• 1:28:23
  [SPEAKER_02]: And she's the one who's going to take him into the natural world and take him out on a sail or like on her.
• 1:28:28
  [SPEAKER_02]: Not like a fancy sail though, like just her boat gets to kind of live away from a cow for a little bit
• 1:28:36
  [SPEAKER_02]: It's like she's going to be the one to save him and she's a little too pure that in terms of like her plot function that it's kind of hard not to see this as turning into something really tried.
• 1:28:52
  [SPEAKER_02]: this idea that she will save him that there's purity in the world.
• 1:28:57
  [SPEAKER_02]: It's not just about his frustration.
• 1:28:58
  [SPEAKER_02]: It's about how he's almost divinely protected.
• 1:29:02
  [SPEAKER_02]: And that adds this high pollutant quality to this really pathetic character that he hasn't
• 1:29:07
  [SPEAKER_02]: He hasn't heard.
• 1:29:09
  [SPEAKER_02]: Yeah.
• 1:29:09
  [SPEAKER_02]: And also, it makes him a lot less interesting.
• 1:29:11
  [SPEAKER_02]: I like to see him in a state of panic.
• 1:29:13
  [SPEAKER_02]: I like him to find his own reckoning rather than being offered it by this angel figure that has been written into this movie.
• 1:29:21
  [SPEAKER_00]: I feel like gambling as a topic is really rife for a movie.
• 1:29:28
  [SPEAKER_00]: It's kind of hard to pull off, I imagine, like as a series perhaps, but like
• 1:29:32
  [SPEAKER_00]: in a movie because gambling is about game chance in it gambling is about to playing the odds being the underdog in the house always wins that kind of thing so it's extremely tempting to craft a narrative around gambling around someone who is in debt because they're gambling someone who has to gamble in order to get out of a problem
• 1:29:54
  [SPEAKER_00]: The hell, one of my favorite comedies is about someone who can't lose a gambling, and so I'll let it ride with Richard Dryfest, but if he has the luckiest day, he literally can't lose.
• 1:30:06
  [SPEAKER_00]: You think that would be a boring movie, it's not, it's fucking electric.
• 1:30:11
  [SPEAKER_00]: But then I think about like the the lovable losers in gambling movies like way Mitch may see in the cooler Oh there.
• 1:30:18
  [SPEAKER_00]: Which is under appreciated film or a bobbler flambler I was gonna mention bobbler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flambler flamb
• 1:30:35
  [SPEAKER_00]: I want to say that one.
• 1:30:37
  [SPEAKER_00]: You know what I see in the gym?
• 1:30:38
  [SPEAKER_00]: I don't know.
• 1:30:39
  [SPEAKER_00]: You don't want to.
• 1:30:40
  [SPEAKER_02]: I'll see you probably from Burr.
• 1:30:41
  [SPEAKER_02]: Okay.
• 1:30:41
  [SPEAKER_02]: As a jump here, Melville is a fantastic filmmaker.
• 1:30:44
  [SPEAKER_02]: Yeah.
• 1:30:44
  [SPEAKER_00]: But yeah, no, I just think it's tempting to make a movie about gambling.
• 1:30:49
  [SPEAKER_00]: But...
• 1:30:50
  [SPEAKER_00]: I mean, the gem was about gambling, really, and that's why I'm one of the most intense movies ever filmed, so I can say.
• 1:30:55
  [SPEAKER_02]: I guess I can say this about that a lot of a small player, if the experience gambling is about putting all your money down, feeling a lot of hope, and then just ultimately watching it all Peter out.
• 1:31:07
  [SPEAKER_00]: Yeah.
• 1:31:08
  [SPEAKER_02]: Then the movie captures that.
• 1:31:11
  [SPEAKER_02]: Kind of Peter's out by the end.
• 1:31:13
  [SPEAKER_02]: I remember the first time I got to use a slot machine.
• 1:31:16
  [SPEAKER_02]: When I was 21, I was going through Vegas.
• 1:31:18
  [SPEAKER_02]: And this is when they were still coin-operated.
• 1:31:20
  [SPEAKER_02]: And I had a quarter.
• 1:31:21
  [SPEAKER_02]: Thought I'm going to go up, I'm going to put a quarter, and I'm going to pull the handle.
• 1:31:24
  [SPEAKER_02]: Probably you don't lose this quarter.
• 1:31:25
  [SPEAKER_02]: I'm not sure.
• 1:31:26
  [SPEAKER_02]: I have no illusions that this is going to be my big break.
• 1:31:28
  [SPEAKER_02]: No hope at all, but I want to try.
• 1:31:30
  [SPEAKER_02]: I'm going to see what gambling is like.
• 1:31:32
  [SPEAKER_02]: So I put my coin in the slot, pull the handle, chunk chunk chunk loose.
• 1:31:36
  [SPEAKER_01]: Yeah.
• 1:31:36
  [SPEAKER_02]: Of course I lost.
• 1:31:37
  [SPEAKER_02]: Perfect.
• 1:31:37
  [SPEAKER_02]: And I expected there to be a buzzer or a light.
• 1:31:42
  [SPEAKER_02]: Like a boom, like a jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
• 1:31:56
  [SPEAKER_02]: I was left in this for a month after the get check ends this weird never space where I kept expecting something to happen they want you to keep going because like all the way something happens is if you want to go yeah so that that that that's where I'm left with about about a little small pair this it lost
• 1:32:15
  [SPEAKER_02]: I'm still waiting for something to happen.
• 1:32:17
  [SPEAKER_02]: So I'm just kind of sadly watching this film, not fall apart.
• 1:32:20
  [SPEAKER_02]: It's not a wash, but I needed to come to a better conclusion than it did.
• 1:32:25
  [SPEAKER_00]: When I was a little kid, my parents took a vacation on Lake Tahoe.
• 1:32:29
  [SPEAKER_00]: I don't know what they say to the casino.
• 1:32:31
  [SPEAKER_00]: I was so young, I'm not very vivid.
• 1:32:33
  [SPEAKER_00]: My most vivid, I've two vivid memories of staying with my parents at a casino on Lake Tahoe.
• 1:32:38
  [SPEAKER_00]: One, they had like a kids room.
• 1:32:41
  [SPEAKER_00]: Okay, we're gonna be like so and basically babysitting us and what they did was they showed us the movie mannequin Which was a very formative experience for me In a variety of ways great movie Kim Cattral
• 1:32:53
  [SPEAKER_00]: Say no more.
• 1:32:55
  [SPEAKER_00]: The other thing was we would kids weren't allowed on the gambling floor fair Yeah, but in order to leave the casino you had to walk out through the gambling floor So there was like a loophole.
• 1:33:06
  [SPEAKER_00]: We got this we got to go woo And I was like we were leaving and I was just like we just can't just see you do one slot machine Mom can we just do one and my mom was like flat.
• 1:33:16
  [SPEAKER_00]: I'm gonna show you how easy it is to lose a gambling
• 1:33:18
  [SPEAKER_00]: She puts a coin, she wins like 50 bucks.
• 1:33:21
  [SPEAKER_00]: And that's why I learned that gambling always pays off.
• 1:33:26
  [SPEAKER_00]: No, it's not out of tune.
• 1:33:28
  [SPEAKER_00]: I've never significantly won a gambling, by the way.
• 1:33:30
  [SPEAKER_00]: I've never significantly played a gambling.
• 1:33:32
  [SPEAKER_02]: I go to Vegas, but I'm not good at it.
• 1:33:38
  [SPEAKER_02]: I want to play the games that look fun.
• 1:33:40
  [SPEAKER_02]: I don't want to play the games to win.
• 1:33:42
  [SPEAKER_02]: And so I budget.
• 1:33:43
  [SPEAKER_02]: Yeah.
• 1:33:44
  [SPEAKER_02]: Yeah, like.
• 1:33:45
  [SPEAKER_02]: Okay, I have a few extra bucks.
• 1:33:47
  [SPEAKER_02]: I'm going to lose this gambling.
• 1:33:49
  [SPEAKER_02]: It's like paying for a shoot ticket.
• 1:33:50
  [SPEAKER_00]: Yeah, yeah.
• 1:33:51
  [SPEAKER_02]: Just want to watch these fun machines real little bit.
• 1:33:53
  [SPEAKER_00]: I, uh, uh, when I was a kid, uh, well, I guess wasn't okay.
• 1:33:56
  [SPEAKER_00]: We never, we never passenger 57 came out.
• 1:33:58
  [SPEAKER_00]: The Wesley Snipes die hard on a plan, uh, not tough.
• 1:34:02
  [SPEAKER_00]: Um, there's a scene of that movie where Wesley Snipes started with a bad guy, uh, played by memory service Bruce Payne, uh, and, uh, he's like on the phone and it's like really tense.
• 1:34:12
  [SPEAKER_00]: And, uh, Wesley Snipes, as he's about to hang up the phone says, you forgot one thing.
• 1:34:17
  [SPEAKER_00]: always spit on black and he hangs up the phone and it's a great line for the trailer yeah uh and I remember seeing that movie I think of myself one day I'm gonna go to Las Vegas and I'm gonna bet on black it's gonna go through a lot of tables but yeah because you got almost a 50-50 shot there's like one green so you can lose anyway but like basically the odds are 50-50 right every single time I've gone to Las Vegas which isn't a lot but every single time I've gone I've gone through a lot of table I put money on black and I have never won
• 1:34:47
  [SPEAKER_00]: Never once I met the screenwriter of that movie and I told him he owed me money and he we have both had a good big laugh And I was like I was really hoping you would actually give me money because I lost a lot It was kind of open anyway That is a Netflix movie ballad of a small player.
• 1:35:07
  [SPEAKER_00]: Yeah, I saw Netflix movie as well.
• 1:35:09
  [SPEAKER_00]: That is also disappointing
• 1:35:12
  [SPEAKER_00]: It's called In Your Dreams.
• 1:35:16
  [SPEAKER_00]: It is a new CG animated movie about dreams.
• 1:35:21
  [SPEAKER_00]: Okay.
• 1:35:21
  [SPEAKER_00]: Get it?
• 1:35:23
  [SPEAKER_00]: All right.
• 1:35:24
  [SPEAKER_00]: This is a movie about two kids.
• 1:35:25
  [SPEAKER_00]: I like dreams about two kids.
• 1:35:28
  [SPEAKER_00]: It was an older daughter named Stevie.
• 1:35:31
  [SPEAKER_00]: I'm bad with kids ages.
• 1:35:32
  [SPEAKER_00]: I'd say she's probably around 10.
• 1:35:34
  [SPEAKER_00]: Maybe 12 times.
• 1:35:36
  [SPEAKER_00]: And then she's got a younger brother who's
• 1:35:39
  [SPEAKER_00]: You know, wants attention, loves her, but he's kind of a handful.
• 1:35:43
  [SPEAKER_00]: Things farce are funny.
• 1:35:44
  [SPEAKER_00]: You know, just like this is kind of the annoying younger brother.
• 1:35:49
  [SPEAKER_00]: They have parents, their parents are very, very sweet.
• 1:35:51
  [SPEAKER_00]: However, we pick up on the periphery that they're going through some financial problems.
• 1:35:56
  [SPEAKER_00]: And mom has a job interview, and if she gets the job interview, it would solve their money problems, but they'd have to move to Duluth.
• 1:36:08
  [SPEAKER_00]: No, I know what you're thinking.
• 1:36:10
  [SPEAKER_00]: That's the worst possible scenario for anyone in any movie ever.
• 1:36:15
  [SPEAKER_00]: To move to delude.
• 1:36:15
  [SPEAKER_00]: Deluce.
• 1:36:17
  [SPEAKER_00]: The dad, who is a professional musician, who can do his job fucking anywhere.
• 1:36:22
  [SPEAKER_00]: His whole thing is, but I don't want to move to deluce.
• 1:36:25
  [SPEAKER_00]: And the older daughter hears them talking.
• 1:36:27
  [SPEAKER_00]: It's like, oh no, our parents are going to break up.
• 1:36:30
  [SPEAKER_00]: And I'm like, your parents don't have real problems.
• 1:36:32
  [SPEAKER_00]: Not as a couple.
• 1:36:33
  [SPEAKER_00]: Yeah, money problems are a problem.
• 1:36:35
  [SPEAKER_00]: They have to figure that out.
• 1:36:37
  [SPEAKER_00]: one of you needs to move for work and the other one is going to have to compromise a little is pretty status quo normal compromise for any kind of logical relationship.
• 1:36:49
  [SPEAKER_00]: They make a huge deal out of this and the kids find out that there's like they had to find a book very neverending story.
• 1:36:56
  [SPEAKER_00]: It's in the secret part of a store and the book tells them about the
• 1:37:03
  [SPEAKER_00]: Okay, and the Sandman is, of course, the God of Dreams, basically, and they learn in this book that if you find the Sandman in your dreams, we go searching for the Sandman and you find him, he'll grant you one wish.
• 1:37:15
  [SPEAKER_00]: So, that's fun.
• 1:37:16
  [SPEAKER_00]: Through and through and through and through.
• 1:37:17
  [SPEAKER_00]: Through and through and through, through and through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through, through
• 1:37:33
  [SPEAKER_00]: Now that's actually a fun press.
• 1:37:34
  [SPEAKER_00]: Okay, and it takes too long to get to it, but there's a montage in the middle of the movie, which is just them going through every nightmare they've ever had, and it's actually fun.
• 1:37:46
  [SPEAKER_00]: Okay, it's like legitimately energetic, spirited.
• 1:37:49
  [SPEAKER_00]: There's some fun imaginative bits in it.
• 1:37:52
  [SPEAKER_00]: I laughed out loud a bunch of times.
• 1:37:54
  [SPEAKER_00]: That one montage was really, really good.
• 1:37:56
  [SPEAKER_00]: They clearly threw a lot of creativity at that.
• 1:38:01
  [SPEAKER_00]: And then they find the same man, sooner than you might think.
• 1:38:05
  [SPEAKER_00]: You might imagine that sort of a third act kind of thing.
• 1:38:07
  [SPEAKER_00]: Oh, no, middle of movie.
• 1:38:10
  [SPEAKER_00]: And it turns out that the wish granting thing isn't what they thought it was.
• 1:38:21
  [SPEAKER_00]: OK.
• 1:38:21
  [SPEAKER_00]: I won't tell you anymore than that because the movie isn't all that original, but it's got some stuff going on the second act.
• 1:38:28
  [SPEAKER_00]: This movie is, in almost every respect, incredibly generic.
• 1:38:33
  [SPEAKER_00]: It's got generic jokes, it's got a generic imaginary friend, character voice by Craig Robinson, who shoots lasers out of its butt.
• 1:38:42
  [SPEAKER_02]: Why is it all of the films about the power of kids imagination, or like the least imagined in movies?
• 1:38:48
  [SPEAKER_00]: Very frustrating, um, and, uh, and yet.
• 1:38:56
  [SPEAKER_00]: Although it's not a particularly good movie and I don't think it actually explores this theme very well.
• 1:39:00
  [SPEAKER_00]: What I was surprised to discover and I was pleasantly surprised to discover is that the point of the movie, more than anything else and I won't go into the detail how this plays out.
• 1:39:11
  [SPEAKER_00]: The point of this fantasy movie is that fantasies are bad, conceptually.
• 1:39:20
  [SPEAKER_00]: That's, that's, that's, that's fine.
• 1:39:21
  [SPEAKER_00]: Well, it's unusual, though, isn't it?
• 1:39:23
  [SPEAKER_00]: Well, you know, we think about movies.
• 1:39:24
  [SPEAKER_00]: We do.
• 1:39:25
  [SPEAKER_00]: We save our lives with the power of imagination.
• 1:39:27
  [SPEAKER_00]: Yeah.
• 1:39:27
  [SPEAKER_02]: But if you're like using your imagination to explore, to escape the reality of your life, then that can be an unhealthy day.
• 1:39:34
  [SPEAKER_00]: It can, absolutely.
• 1:39:35
  [SPEAKER_00]: That is, that is the fantasy.
• 1:39:35
  [SPEAKER_02]: You think the fantasy and going back to the real world?
• 1:39:37
  [SPEAKER_00]: No, no.
• 1:39:37
  [SPEAKER_00]: And that is exactly the point of the movies making.
• 1:39:40
  [SPEAKER_00]: And I was thinking about this.
• 1:39:41
  [SPEAKER_00]: There's so many movies about kids escaping their problems through, through power of imagination.
• 1:39:46
  [SPEAKER_00]: Everything from the Wizard of Oz, turning out
• 1:39:50
  [SPEAKER_00]: or Pants Labrants, Pants Labrants Spirit of the B-High, which inspired Pants Labrants.
• 1:39:55
  [SPEAKER_00]: Those are more tragic movies.
• 1:39:56
  [SPEAKER_00]: Oh, was it a vase?
• 1:39:57
  [SPEAKER_00]: She's stuck in the Dust Bowl.
• 1:39:58
  [SPEAKER_00]: That's a tragic movie as well.
• 1:40:01
  [SPEAKER_00]: This is a movie about kids who don't have real problems and they are using escapism to flee those problems rather than deal with it and could also the movie for saying sometimes imagination isn't
• 1:40:18
  [SPEAKER_00]: and sometimes seeking cozy comforts, you know, like watching a mediocre animated kid's fantasy movie on a streaming service is a bad thing.
• 1:40:29
  [SPEAKER_00]: And so I kind of give you some bonus points for making an unusual point for the kind of movie you are.
• 1:40:37
  [SPEAKER_00]: Unfortunately, by the end of the movie, it's the has to have like a big, actually climax and it kind of,
• 1:40:43
  [SPEAKER_00]: It doesn't like go back on that, but it also doesn't really play it out to its natural conclusion, unfortunately.
• 1:40:52
  [SPEAKER_00]: So it's not a total of wash, it's not the worst some of the year and it's like that, I remember it was the animated film of the year, it's just
• 1:41:00
  [SPEAKER_00]: Not terribly inspired, it's got a pretty good message that doesn't explore very well, and it really only peaks for like a few minutes in the middle.
• 1:41:08
  [SPEAKER_00]: When it is legitimately really fun.
• 1:41:10
  [SPEAKER_02]: Okay.
• 1:41:10
  [SPEAKER_00]: But that's five, 10 minutes tops out of the movie.
• 1:41:13
  [SPEAKER_00]: So I wish there was more to say about it, but there is not.
• 1:41:18
  [SPEAKER_00]: And on that note, we are gonna wrap it up with our review round-up.
• 1:41:23
  [SPEAKER_00]: We were in movies.
• 1:41:24
  [SPEAKER_00]: I haven't reviewed Christy yet.
• 1:41:25
  [SPEAKER_00]: Oh, that's right.
• 1:41:28
  [SPEAKER_00]: Sorry, everybody.
• 1:41:29
  [SPEAKER_00]: Bit of a tease.
• 1:41:30
  [SPEAKER_00]: No, we were.
• 1:41:31
  [SPEAKER_00]: Bit of a tease.
• 1:41:31
  [SPEAKER_02]: That's okay.
• 1:41:32
  [SPEAKER_02]: Well, I won't keep us too long.
• 1:41:33
  [SPEAKER_00]: Oh my god, I'm so tired.
• 1:41:35
  [SPEAKER_00]: Sorry.
• 1:41:37
  [SPEAKER_00]: That's embarrassing.
• 1:41:38
  [SPEAKER_00]: I'm going to leave it in.
• 1:41:39
  [SPEAKER_00]: I'm going to leave it in.
• 1:41:40
  [SPEAKER_00]: That's just going to be out of this wouldn't take us out on.
• 1:41:43
  [SPEAKER_00]: Okay.
• 1:41:43
  [SPEAKER_02]: So Christy is a film.
• 1:41:46
  [SPEAKER_02]: It's a biography of Christy Martin, an important figure in boxing.
• 1:41:52
  [SPEAKER_02]: She's one of the first women in boxing.
• 1:41:54
  [SPEAKER_02]: She was backed up by Don King in the late 80s.
• 1:41:58
  [SPEAKER_02]: And she also, if you look up the details of her life, went through some pretty horrible experiences.
• 1:42:03
  [SPEAKER_02]: She was raised in an ultra-Christian household who never accepted that she was gay.
• 1:42:07
  [SPEAKER_02]: She sort of was in the closet for a lot of her life and ended up marrying her manager who
• 1:42:15
  [SPEAKER_02]: horrendously abused her and at some point was skimming a lot of money when he got busted, he stabbed her and shot her.
• 1:42:23
  [SPEAKER_02]: And ran away and left her for death and only and she survived somehow.
• 1:42:29
  [SPEAKER_02]: He was able to stagger from the house, get to the hospital.
• 1:42:32
  [SPEAKER_02]: Look, you're divorced him, of course.
• 1:42:35
  [SPEAKER_00]: Well, that's good.
• 1:42:36
  [SPEAKER_02]: He went to prison.
• 1:42:37
  [SPEAKER_02]: Okay.
• 1:42:38
  [SPEAKER_02]: He died in prison last year.
• 1:42:39
  [SPEAKER_02]: Wow.
• 1:42:40
  [SPEAKER_02]: The real guy.
• 1:42:41
  [SPEAKER_02]: And
• 1:42:43
  [SPEAKER_02]: And she ended up marrying one of her old boxing rivals.
• 1:42:48
  [SPEAKER_02]: So, okay, so there's a story here.
• 1:42:50
  [SPEAKER_00]: That's a lot of incident.
• 1:42:52
  [SPEAKER_02]: Yeah, Kristi Martin in this movie is played by Sydney Swaney.
• 1:42:56
  [SPEAKER_02]: Her boxing rival, the one she ended up marrying, is played by Katie O'Brien from Love Lies Bleeding.
• 1:43:01
  [SPEAKER_00]: Oh, that's she's great.
• 1:43:03
  [SPEAKER_00]: And you've just seen that Queen's in the dead as well.
• 1:43:05
  [SPEAKER_00]: She's fucking great.
• 1:43:06
  [SPEAKER_02]: Yeah, Katie O'Brien's fantastic.
• 1:43:07
  [SPEAKER_02]: Yeah, Love Lies Bleeding is fantastic.
• 1:43:10
  [SPEAKER_02]: And the evil abuse of husband is played by an almost unrecognizable Ben Foster, who I maintain is one of the best actors of his generation, who just is never recognized enough.
• 1:43:21
  [SPEAKER_02]: I want to pause every time I see him in a movie because he's always great.
• 1:43:25
  [SPEAKER_00]: He was on a track, I think.
• 1:43:29
  [SPEAKER_00]: He was in like the messenger and three-tenth of Yuma, and then I don't know what happened, but he just stopped getting the best roles, and he's frequently, and he's now consistently the best thing in anything he's in.
• 1:43:40
  [SPEAKER_00]: Whether it's warcraft or hell or high water, he's always the best part of any fucking movie he's in.
• 1:43:45
  [SPEAKER_02]: Yeah.
• 1:43:46
  [SPEAKER_00]: He just should be in bigger movies.
• 1:43:47
  [SPEAKER_00]: It's weird that he's not here.
• 1:43:49
  [SPEAKER_02]: Well, and he seems to be playing it correctly.
• 1:43:53
  [SPEAKER_02]: Like, I need to do a big franchise picture.
• 1:43:55
  [SPEAKER_02]: Okay.
• 1:43:56
  [SPEAKER_02]: How about this extremely expensive warcraft movie?
• 1:43:59
  [SPEAKER_02]: That sounds like a great idea.
• 1:44:00
  [SPEAKER_02]: With Duncan Jones.
• 1:44:01
  [SPEAKER_02]: And you get to play this wizard.
• 1:44:03
  [SPEAKER_02]: It gets corrupted by dark magic.
• 1:44:05
  [SPEAKER_02]: So you have a lot of big scenes and he does it all well.
• 1:44:08
  [SPEAKER_02]: but that movie stakes.
• 1:44:10
  [SPEAKER_02]: That's not that.
• 1:44:10
  [SPEAKER_02]: And also it bombs.
• 1:44:12
  [SPEAKER_00]: Oh, it was a huge dud.
• 1:44:14
  [SPEAKER_00]: I mean, saying that that movie is not as bad as people made it out to be.
• 1:44:18
  [SPEAKER_00]: It's just kind of like an okay fantasy movie.
• 1:44:20
  [SPEAKER_00]: Like there's Paul Patton is really good in that movie too.
• 1:44:23
  [SPEAKER_00]: There's good stuff in there.
• 1:44:25
  [SPEAKER_00]: Yeah.
• 1:44:25
  [SPEAKER_00]: It's just not, it's not a year's deal.
• 1:44:28
  [SPEAKER_00]: It's subcroll.
• 1:44:30
  [SPEAKER_00]: That's some people subcrow means bad movie to me.
• 1:44:34
  [SPEAKER_00]: That's like not not good enough.
• 1:44:35
  [SPEAKER_02]: That's just good enough, but it's okay, if it's a bum rabbit Ben Foster was he played Neil or not Neil Armstrong
• 1:44:45
  [SPEAKER_02]: Lance Armstrong.
• 1:44:46
  [SPEAKER_02]: Yeah, and in a film called the program, which is this even for your his movie, I'm gonna make play a real-life character caught in a scandal directed by this prestige director.
• 1:44:55
  [SPEAKER_02]: Sounds great.
• 1:44:56
  [SPEAKER_02]: Nobody saw that movie.
• 1:44:57
  [SPEAKER_02]: Nobody knows.
• 1:44:57
  [SPEAKER_00]: Yeah, yeah, it's like his bummer.
• 1:44:58
  [SPEAKER_00]: And he's good in that movie.
• 1:44:59
  [SPEAKER_00]: Yeah, he was in he was great and leaving no trace.
• 1:45:02
  [SPEAKER_00]: is critically acclaimed, completely ignored in a word season, except for like some of the critics' words, like, and actually was in a previous boxing movie.
• 1:45:13
  [SPEAKER_02]: Oh yeah, it was on a very Levinson joint.
• 1:45:15
  [SPEAKER_02]: There's a very Levinson film.
• 1:45:17
  [SPEAKER_02]: Yeah.
• 1:45:18
  [SPEAKER_02]: What was that one called?
• 1:45:20
  [SPEAKER_00]: It had a really boxer, the Steve boxer story.
• 1:45:23
  [SPEAKER_02]: No, it had like a really Generic That's why I remember he was Boxing say the movie Raded R I don't know if I said he got a call Can't even remember the title that damn movie.
• 1:45:39
  [SPEAKER_00]: I remember the survivor the survivor You didn't know it either and if you did Q-dose Whoever you are out there, but
• 1:45:53
  [SPEAKER_02]: I like the survivor and he's great in Christy.
• 1:45:59
  [SPEAKER_02]: And you know who's very good in Christy, but not great is Sydney Swain.
• 1:46:05
  [SPEAKER_02]: Sydney Swain actually is a very interesting actress because she is just as much her brand as she is a performer.
• 1:46:12
  [SPEAKER_02]: She's, I think she's really well-known for a lot of her like ad campaigns and just as much as she is for her acting She's savvy in business, hard to understand what you're doing Christy, so you can tell I wanted, she wanted to stretch as an actress I mean, she also produced that, uh, that, uh, evil nun movie Immaculate, yeah, yeah, she produced that one as well And if actually, she kind of made that whole thing happen Yeah, exactly, here's where I was bashing about
• 1:46:37
  [SPEAKER_02]: and you can tell she wanted to do something that was like physically challenging, she did all the working out until a boxing training.
• 1:46:43
  [SPEAKER_02]: The boxing scenes aren't filmed in any kind of excited way, but you can see Sidney Swing is really getting her all.
• 1:46:50
  [SPEAKER_02]: But we're also getting the sense that we're just sort of watching Sidney Swingy work out.
• 1:46:54
  [SPEAKER_02]: I feel like this is our workout regimen, she's just gonna beat some people around the head and neck.
• 1:46:58
  [SPEAKER_02]: The entire, like the first two thirds of this movie
• 1:47:02
  [SPEAKER_02]: totally cliched boxing, uh, biopic nonsense.
• 1:47:08
  [SPEAKER_02]: I'm struggling.
• 1:47:08
  [SPEAKER_02]: Here's my rise.
• 1:47:09
  [SPEAKER_02]: Here's me meeting Don King.
• 1:47:11
  [SPEAKER_02]: Here's me meeting my husband.
• 1:47:12
  [SPEAKER_02]: Here's me talking to my girlfriend in high school, but now I can't.
• 1:47:17
  [UNKNOWN]: Bye, dude.
• 1:47:17
  [SPEAKER_02]: I'm being told to be a little bit more feminine.
• 1:47:20
  [SPEAKER_02]: There's a little bit of a drama going on where she is actually asked to behave a little bit more girly when that's clearly not something she's familiar with.
• 1:47:30
  [SPEAKER_02]: I'll give a lot to the costume designers.
• 1:47:32
  [SPEAKER_02]: They get those awful dresses from the late 80s perfectly upright.
• 1:47:36
  [SPEAKER_02]: Like those ones with a big huge shoulders and the terrible floral prints.
• 1:47:40
  [SPEAKER_02]: Those are great.
• 1:47:41
  [SPEAKER_02]: Those are great shirts.
• 1:47:42
  [SPEAKER_02]: The period gyms sweatshirts are 100% spot on.
• 1:47:46
  [SPEAKER_02]: I remember those from the 80s early 90s very well.
• 1:47:49
  [SPEAKER_00]: That's when we knew how to go to the gym man.
• 1:47:52
  [SPEAKER_00]: You want to see how people are supposed to dress at the gym.
• 1:47:55
  [SPEAKER_00]: Watch death spot.
• 1:47:57
  [SPEAKER_00]: I should just watch Despawn Gemma.
• 1:47:58
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:47:59
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:00
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:01
  [SPEAKER_02]: Watch Despawn Gemma.
• 1:48:02
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:02
  [SPEAKER_02]: Watch Despawn Gemma.
• 1:48:03
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:03
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:04
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:06
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:07
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:09
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:10
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:11
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:12
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:12
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:13
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:14
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:16
  [SPEAKER_00]: Watch Despawn Gemma.
• 1:48:17
  [SPEAKER_01]: Watch Despawn Gemma.
• 1:48:18
  [SPEAKER_00]: That you can't take it seriously, but in this twice as entertaining as you think it is.
• 1:48:22
  [SPEAKER_00]: It's so fucking amazing.
• 1:48:23
  [SPEAKER_02]: So much fun.
• 1:48:25
  [SPEAKER_02]: And it has, oh, what's your face?
• 1:48:28
  [SPEAKER_02]: It's got back to his wife.
• 1:48:29
  [SPEAKER_00]: Oh, um.
• 1:48:32
  [SPEAKER_00]: Wow, wasn't she in?
• 1:48:33
  [SPEAKER_02]: And she was also a master's at the University of Tila.
• 1:48:36
  [SPEAKER_02]: Tila.
• 1:48:36
  [SPEAKER_00]: Yeah, that's right.
• 1:48:37
  [SPEAKER_02]: The actual play Tila and Master's at the University.
• 1:48:39
  [SPEAKER_02]: She's also one of the players in Death Spa.
• 1:48:43
  [SPEAKER_02]: She's not even like a lead in Death Spa.
• 1:48:46
  [SPEAKER_00]: Yeah.
• 1:48:47
  [SPEAKER_02]: It's like, after a master's at the University, it's a long way down, man.
• 1:48:53
  [SPEAKER_00]: Was it Brenda back?
• 1:48:54
  [SPEAKER_00]: No, not Brenda back.
• 1:48:57
  [SPEAKER_00]: Uh, Karen Parsons now, is it?
• 1:49:02
  [SPEAKER_00]: Well, it's someone, dammit, it's, it's, it's some person.
• 1:49:07
  [SPEAKER_00]: Yeah.
• 1:49:07
  [SPEAKER_00]: And good for her, I say.
• 1:49:09
  [SPEAKER_02]: And, and she, she's not in Christy at all, but why are we even doing this?
• 1:49:15
  [SPEAKER_02]: Um, Chelsea Field is the actress's name.
• 1:49:19
  [SPEAKER_02]: Okay.
• 1:49:19
  [SPEAKER_02]: Yeah, she's, she's the, the one and from death spawn masters of the universe.
• 1:49:23
  [SPEAKER_02]: We're only spashing because, uh, you need to watch death spawn.
• 1:49:26
  [SPEAKER_02]: Dear listeners, that's your job.
• 1:49:27
  [SPEAKER_02]: Please, please go and watch death spawn.
• 1:49:29
  [SPEAKER_02]: That's your job now.
• 1:49:30
  [SPEAKER_02]: Um,
• 1:49:31
  [SPEAKER_02]: Christy, like I said, the first two thirds, you just sort of waiting through it's going through all of it's like spinning its wheels.
• 1:49:39
  [SPEAKER_02]: It's not until we kind of get to the really the horror of Christy's story where we actually get to see that her husband.
• 1:49:48
  [SPEAKER_02]: James V. Martin is the character his name.
• 1:49:50
  [SPEAKER_02]: The real guy.
• 1:49:52
  [SPEAKER_02]: He was her coach.
• 1:49:53
  [SPEAKER_02]: He's but you can see he's like not really interested in her other than trying to control her and he gets really really kind of abusive And we get to see how trapped she is she can't get a fight.
• 1:50:04
  [SPEAKER_02]: She's trapped by this guy who is just Siphoning her money.
• 1:50:08
  [SPEAKER_02]: There's a really a really horrifying scene.
• 1:50:10
  [SPEAKER_02]: It actually reminded me of like the most recent invisible man movie
• 1:50:14
  [SPEAKER_02]: where she has gone to lunch with kind of an ex-girlfriend of hers to sort of like lean in and say I can't stand it he's like he's following me and she gets a text from him on her phone saying I see you there at dinner with your girlfriend what are you doing and it's like and she's like looking around like that moment where she feels like deeply trapped yeah like that is
• 1:50:39
  [SPEAKER_02]: That one will really rip your chest every time.
• 1:50:41
  [SPEAKER_02]: Yeah, that's like a really scary scene.
• 1:50:43
  [SPEAKER_02]: And we just kind of get see things get really kind of horrible.
• 1:50:46
  [SPEAKER_02]: And how should kind of has to survive and does survive luckily, if you know the real story and kind of gets through on the other side.
• 1:50:55
  [SPEAKER_02]: how significant is she in boxing?
• 1:50:57
  [SPEAKER_02]: Well, the movie says she has a kind of just tells her story beat for beat.
• 1:51:00
  [SPEAKER_00]: Yeah, you're not as expert in these matters.
• 1:51:02
  [SPEAKER_02]: And there is some interesting things about watching this woman closeted lesbian having to pretend to be kind of like
• 1:51:13
  [SPEAKER_02]: a lady for the guys in press conferences and kind of like cost a little bit and how Don King, who was handling her publicity, was trying to sell her as a very certain kind of character and I should have lived up to that.
• 1:51:26
  [SPEAKER_02]: Some of that's kind of interesting, but it's not really making the film any richer.
• 1:51:31
  [SPEAKER_02]: And it's not till like kind of the end and like some more hold of things that happen with their family and things that are set in the hospital All of that is really effective and I feel like maybe that's what Sidney Sweeney wanted to get to Was play this kind of tortured character
• 1:51:45
  [SPEAKER_00]: while also doing like all of the the physical work that it would take to play a boxer there was a there was a good not great but a quite good movie came out earlier this year called Queen of the Ring starring all of that records from uh... arrow uh... and uh... she played uh... want to show you their name correct uh... she played uh... milledred berk who was a trailblazer and women's wrestling
• 1:52:10
  [SPEAKER_00]: okay there was a time when it was like illegal for women to wrestle at like professionally in any capacity and yeah it's a her story has some parallels to what you discussed in terms of like being stuck in like a marriage to like a manager who was mistreating her and taking her money
• 1:52:32
  [SPEAKER_00]: And again, I didn't see Christy, but one thing I really like about Queen of the Ring is that it really felt like the cast of Queen of the Ring, like the women who get to play wrestlers, whether it's Emily Betreguer, who's fantastic in that movie, by the way, or Francesca Eastwood or Deborah Ann Wall, they get to play physical performances in a way that unfortunately women don't always get to play.
• 1:52:54
  [SPEAKER_00]: They get to be muscular.
• 1:52:56
  [SPEAKER_00]: They get to have these like very,
• 1:53:01
  [SPEAKER_00]: physically combative scene, they're wrestling, in a way that is actually celebrating women's strength.
• 1:53:07
  [SPEAKER_00]: Yes.
• 1:53:09
  [SPEAKER_00]: And I just thought that was actually really intoxicating.
• 1:53:12
  [SPEAKER_00]: Like you could just tell that like so much of the cast was relieved to be there because they got to do something that unfortunately too often they're not allowed to by filmmakers and studios that don't green light movies about stuff like that.
• 1:53:25
  [SPEAKER_00]: So, you know, Kudos basically, too, for throwing yourself into that.
• 1:53:31
  [SPEAKER_02]: Yeah.
• 1:53:32
  [SPEAKER_02]: And I appreciate that.
• 1:53:33
  [SPEAKER_02]: I appreciate the effort she goes to.
• 1:53:35
  [SPEAKER_02]: She's very daring actress.
• 1:53:37
  [SPEAKER_02]: She really want, clearly wants to, to stretch herself.
• 1:53:41
  [SPEAKER_02]: Yeah.
• 1:53:41
  [SPEAKER_02]: It informs, like, an aculid.
• 1:53:44
  [SPEAKER_02]: I'm not sure if you saw the foyers.
• 1:53:45
  [SPEAKER_02]: It's a marvel.
• 1:53:46
  [SPEAKER_02]: It's like trashy.
• 1:53:46
  [SPEAKER_02]: I did not.
• 1:53:47
  [SPEAKER_00]: But you've recommended it many times, yeah.
• 1:53:50
  [SPEAKER_02]: Uh, she doesn't try to, um, I wish the film had done something to make her look older because Cindy Swenie is like 29 or 30.
• 1:54:02
  [SPEAKER_00]: She's pretty young.
• 1:54:02
  [SPEAKER_02]: Yeah, she looks and and she plays a character who is living from like age 17 to age like 45.
• 1:54:08
  [SPEAKER_02]: Yeah.
• 1:54:09
  [SPEAKER_02]: She looks kind of the same throughout.
• 1:54:10
  [SPEAKER_00]: Yeah, that's hard, like they change your hair a little bit, but they don't make it look any older and yeah, some people do age that way and like in that they don't and I think the big buzzer just standards of living and such I feel like people in general like people used to age hard
• 1:54:26
  [SPEAKER_00]: Like you look at like people like who someone in the 1920 somebody in the 1920 and look at them in 1940 Yeah, like they got old like this because that's what happens when you smoke five packs cigarettes and drink Malt whiskey for lunch like that's that's just it hits your heart.
• 1:54:40
  [SPEAKER_00]: I feel like now The age difference between like 25 and 45 isn't necessarily as Readable without like maybe change your hair.
• 1:54:51
  [SPEAKER_00]: I don't have a couple of wrinkles So a lot of people do going wrong, but it's really gets more common now
• 1:54:55
  [SPEAKER_02]: I did read somewhere recently and who's to say how true this is, but that when you reach specifically the age of 44, that's when you go through essentially like your middle-aged puberty, like you age a lot at once at age 44.
• 1:55:11
  [SPEAKER_02]: I'm 47, so I'm there, my 24th grade.
• 1:55:14
  [SPEAKER_00]: So I get to look forward to this next year, it's great.
• 1:55:15
  [SPEAKER_00]: And by the way, there's nothing wrong with aging.
• 1:55:17
  [SPEAKER_00]: We use a huge stigma against it.
• 1:55:20
  [SPEAKER_00]: I think it's great, honestly, and it bothers me that we treat like looking older as something that is to be avoided at all costs.
• 1:55:30
  [SPEAKER_00]: It's not fair, it's not reasonable.
• 1:55:32
  [SPEAKER_00]: I think it sucks.
• 1:55:33
  [SPEAKER_00]: But just noting that I think, but partly because there's a stigma, people are working over time.
• 1:55:40
  [SPEAKER_00]: to, but also we're living better, we're eating better foods, I don't, you know, I kind of think but anyway, uh, is can we do the review round up now?
• 1:55:46
  [SPEAKER_00]: Yeah, I can do the review.
• 1:55:47
  [SPEAKER_00]: Okay, thank you and I'm so sorry for before.
• 1:55:51
  [SPEAKER_00]: We review movies on a scale of C minus to C plus.
• 1:55:54
  [SPEAKER_00]: These scale goes from C minus being the lowest.
• 1:55:56
  [SPEAKER_00]: That's a below average movie that some of you don't recommend to a C. That is an average movie.
• 1:56:01
  [SPEAKER_00]: That's a movie we think is just okay or it makes back.
• 1:56:05
  [SPEAKER_00]: And then C plus is in above average movie.
• 1:56:06
  [SPEAKER_00]: That's in a movie that we recommend.
• 1:56:09
  [SPEAKER_00]: On that note, Whitney, Christie.
• 1:56:11
  [SPEAKER_02]: Christie, it's a C. It's like the last third is good.
• 1:56:16
  [SPEAKER_02]: The other two is pretty cliche.
• 1:56:17
  [SPEAKER_02]: I don't want to...
• 1:56:19
  [SPEAKER_02]: I don't want to just miss the film outright.
• 1:56:20
  [SPEAKER_02]: It's not great.
• 1:56:21
  [SPEAKER_02]: Yeah, but, you know, city swing is there and Ben Foster's great.
• 1:56:25
  [SPEAKER_00]: All right, uh, in your dreams, uh, it's a very low sea.
• 1:56:27
  [SPEAKER_00]: It's not inept enough to warrant a sea minus, but it's very dispassionate.
• 1:56:32
  [SPEAKER_00]: Like there are worse things you can watch is the best you can say about it.
• 1:56:37
  [SPEAKER_00]: Uh, let's see, uh, ballad of us, ballad of a small player.
• 1:56:41
  [SPEAKER_02]: I kind of give a C-minus.
• 1:56:43
  [SPEAKER_02]: It's just kind of forgettable.
• 1:56:44
  [SPEAKER_02]: I'm gonna fight to remember what this is If you end it the year.
• 1:56:47
  [SPEAKER_02]: Like it's really colorful.
• 1:56:49
  [SPEAKER_02]: It's you have photographed very beautifully It has told a swims in Colin Ferrell in it, but there's just just not sticking in my head.
• 1:56:55
  [SPEAKER_02]: It's nothing to hook me.
• 1:56:57
  [SPEAKER_02]: All right, dime I love.
• 1:56:58
  [SPEAKER_02]: The dime I love is a C-plus.
• 1:57:00
  [SPEAKER_02]: I really love this one.
• 1:57:00
  [SPEAKER_02]: I love the sadness and the insanity.
• 1:57:03
  [SPEAKER_00]: I wanted to see this at my huge panel in Ramsey, but I was in a bad place, and I was like, I don't know if I can handle a little in Ramsey right now, so, um, okay, Nuremberg, uh, tax booksy, just does everything just okay, uh, everyone, all the actors do their jobs.
• 1:57:19
  [SPEAKER_00]: The writing gets you there.
• 1:57:21
  [SPEAKER_00]: It conveys a point.
• 1:57:22
  [SPEAKER_00]: Does it do a particularly well?
• 1:57:24
  [SPEAKER_00]: No.
• 1:57:25
  [SPEAKER_00]: Does it do anything particularly badly?
• 1:57:28
  [SPEAKER_00]: No.
• 1:57:29
  [SPEAKER_00]: Is it anyone's best work?
• 1:57:30
  [SPEAKER_00]: No.
• 1:57:31
  [SPEAKER_00]: Is anyone worse for it?
• 1:57:33
  [SPEAKER_00]: No.
• 1:57:34
  [SPEAKER_00]: So, yeah, it's just right there in the middle, you know, good intentions, but, you know, um, let's just, uh, begonia.
• 1:57:42
  [SPEAKER_02]: Begonia is, uh, it's also a C-I mean, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh.
• 1:57:46
  [SPEAKER_02]: It has some marvellously bleak things to say about humanity and as the usual cynicism You know how much you love marvellously Come to expect from your ghost laughing most, but yeah, golly.
• 1:57:57
  [SPEAKER_02]: It's just it's ending totally with it Yeah, but it doesn't go to interesting enough places I've seen like single episodes of anthology shows that del deeper than something like bugonia That's a sham.
• 1:58:10
  [SPEAKER_00]: All right a sentimental valley.
• 1:58:13
  [SPEAKER_00]: See bus best movie or okay so far so far
• 1:58:16
  [SPEAKER_00]: And I'm giving you a seat plus as well.
• 1:58:18
  [SPEAKER_00]: I'm not as high on it as Whitney is it might not make my best of the year list, but while I do have a few issues with sort of the plot and how I'd like ultimately wrapped up.
• 1:58:27
  [SPEAKER_00]: Um, it's such a fantastic acting showcase.
• 1:58:30
  [SPEAKER_00]: Like everyone is phenomenal.
• 1:58:34
  [SPEAKER_00]: And you're right, Stella Skarsguard does what may be his very best work, which is saying something, even recently.
• 1:58:41
  [SPEAKER_00]: So Kudos.
• 1:58:42
  [SPEAKER_00]: Uh, and then lastly, Predator Badlands.
• 1:58:45
  [SPEAKER_00]: Uh, also C++.
• 1:58:46
  [SPEAKER_02]: This is another one of the best movies of the year.
• 1:58:47
  [SPEAKER_02]: This is absolutely one of the best movies of the year.
• 1:58:49
  [SPEAKER_02]: Terrific, imaginative, exhilarating science fiction story.
• 1:58:52
  [SPEAKER_00]: I get excited for November because I can finally start saying some things are the best movies of the year.
• 1:58:56
  [SPEAKER_02]: I don't see enough that I can't really listen.
• 1:58:59
  [SPEAKER_02]: You don't want to say that in March.
• 1:59:01
  [SPEAKER_00]: You say that in March and no one should believe you.
• 1:59:04
  [SPEAKER_00]: And honestly, I think you discredit yourself at that point.
• 1:59:07
  [SPEAKER_00]: I think you're just basically like, OK, that's it's a bull boasts anyway.
• 1:59:11
  [SPEAKER_00]: And I try to reserve that for when it counts.
• 1:59:15
  [SPEAKER_00]: Yeah.
• 1:59:15
  [SPEAKER_00]: But if you're saying that at the beginning of the year, I mean, the line I use is if this isn't one of the best movies of the year, we're in for a good year.
• 1:59:24
  [SPEAKER_00]: Yeah.
• 1:59:25
  [SPEAKER_02]: I feel like cause I feel like 10 movies better than this.
• 1:59:28
  [SPEAKER_00]: Like, we're in rest respect.
• 1:59:29
  [SPEAKER_00]: I could have called sinners one of the best movies of the year.
• 1:59:32
  [SPEAKER_00]: But I don't know that in April, you know, like at the time, I was like, maybe it'll be a fucking amazing here, not that amazing, but, you know, it's what I'm, but, um, anyways, it's November I can, functionally call that, that is a fucking fantastic sci-fi movie you see plus.
• 1:59:48
  [SPEAKER_00]: And that is it for critically acclaimed.
• 1:59:50
  [SPEAKER_00]: We will be back next time with reviews of, now you see me, now you don't.
• 1:59:57
  [SPEAKER_00]: It's about time they use that title.
• 1:59:59
  [SPEAKER_00]: Unfortunately, the use it for the third one so they can't use now you three me and that's a bummer as far as I'm concerned.
• 2:00:05
  [SPEAKER_02]: I've never heard a magician say now you three me and however or so.
• 2:00:08
  [SPEAKER_00]: Well, if they did it, if they were in a three quote, maybe they would.
• 2:00:12
  [SPEAKER_00]: Maybe they would.
• 2:00:12
  [SPEAKER_00]: Do you ever think of that?
• 2:00:14
  [SPEAKER_02]: Did you ever think of that with that?
• 2:00:16
  [SPEAKER_02]: I'm you know what?
• 2:00:17
  [SPEAKER_02]: This is why I'm not nominated for.
• 2:00:20
  [SPEAKER_00]: It's just not thinking I was going to be doing the running man, there's a new animated movie called Arco, there's a new Oscar Perkins film called Keeper, another one, yeah what's there?
• 2:00:34
  [SPEAKER_00]: Keeping under wraps, they're not letting people see that very early, I don't even know if there's going to be any press crannies, so we'll see you on that coast.
• 2:00:42
  [SPEAKER_00]: Anyway, um, so yeah, we'll be back with that.
• 2:00:45
  [SPEAKER_00]: Thank you for listening.
• 2:00:45
  [SPEAKER_00]: Thank you for joining us.
• 2:00:46
  [SPEAKER_00]: A huge shout out to all of our patrons over patreon.com slash critically claimed network.
• 2:00:51
  [SPEAKER_00]: We have a lot of exclusive material over there.
• 2:00:53
  [SPEAKER_00]: We have a weekly newsletter over there.
• 2:00:56
  [SPEAKER_00]: Thank you so much for everybody who follows us, whether you subscribe for free, and just get the weekly newsletter, or you contribute financially and help us pay the bills, which we really are grateful for, yes.
• 2:01:09
  [SPEAKER_00]: But we hope you enjoy getting ad free shows and voting for future episodes of the I list, and our exclusive material like our Star Trek podcast.
• 2:01:18
  [SPEAKER_00]: means a lot to us.
• 2:01:19
  [SPEAKER_00]: Thank you.
• 2:01:19
  [SPEAKER_00]: Thank you from the bottom of our hearts.
• 2:01:21
  [SPEAKER_00]: If you want to talk with anything, excuse me, if you want to talk about anything we discussed in this episode, or anything else that you would like us to talk about.
• 2:01:34
  [SPEAKER_00]: Our email address is letters at critically acclaimed.net with me what is our PO box?
• 2:01:39
  [SPEAKER_02]: Send us a physical letter, send us a postcard, whatever you like, so the critically acclaimed network PO box 641-565, Los Angeles, California at 9.00 below 64, and of course my social media, I'm at Lane to be on me, I'm not putting cybal, and never forget, oh I forgot.
• 2:01:58
  [SPEAKER_00]: Everyone's a critic, that was it.
• 2:01:59
  [SPEAKER_01]: Thank you.
• 2:02:01
  [SPEAKER_01]: I want to go to the Midna show.
• 2:02:04
  [SPEAKER_01]: I'm sorry I wet.