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The (Almost) Lost Episode - Deep Cover (1992) vs. Everyone Says I Love You (1996) · Meet Your Double Feature | Movie Reviews & Forgotten Films

• 0:09
  Tonight on Meet Your Double Feature, policeman Russell
• 0:13
  Stevens goes undercover to infiltrate a dangerous LA drug
• 0:17
  cartel in Bill Duke's deep cover.
• 0:20
  Then an upscale New York family muses about the trials and
• 0:24
  tribulations of love in Woody Allen's Everyone Says I Love
• 0:29
  You. It's a somewhat problematic
• 0:31
  double feature, and it starts right now.
• 0:43
  Hello and welcome to Meet Your Double Feature, a double-blind
• 0:46
  movie review podcast. My name is Thomas.
• 0:49
  I will be one of your two hosts for the show this evening.
• 0:51
  In a moment, I'm going to sit down with my brother Frank, an
• 0:54
  independent filmmaker from LA, as we discuss two more films in
• 0:58
  our blind review series. The way things work here is that
• 1:02
  each episode, Frank and I swap recommendations for films that
• 1:05
  neither of us has previously seen, and we find out in real
• 1:08
  time through conversation whether the ones we picked were
• 1:11
  a new favorite for the other person or just a complete waste
• 1:14
  of time. We're still also in our
• 1:16
  Forgotten 90s theme, so each episode focuses on films
• 1:19
  specifically from the 1990s. We're about halfway through that
• 1:22
  first season, and we're keeping track of the total review score
• 1:25
  points along the way. For those who are keeping track,
• 1:28
  Frank is actually currently down about four or five points, so
• 1:31
  we'll see if he can make up the difference starting in this
• 1:33
  episode. Now, if you are a new listener
• 1:35
  to the show, I will say this is maybe not the best jumping on
• 1:39
  point. I'd recommend either our first
• 1:41
  episode or even the one right before this one.
• 1:43
  Episode 4. And the reason for that is that
• 1:46
  tonight's episode is a bit irregular.
• 1:48
  We actually almost had to scrap the entire thing due to multiple
• 1:52
  technical issues that we encountered when handling the
• 1:55
  original recording. The biggest issue is that in the
• 1:58
  second-half of the show, when I talked about the film that Frank
• 2:01
  asked me to review, Woody Allen's 1996 film Everyone Says
• 2:04
  I Love You, the audio from that half of the recording got
• 2:08
  corrupted and we suffered some data loss that basically made
• 2:11
  the audio unusable. I spent a long time trying to
• 2:13
  fix it and I did bring it back to a point where it was
• 2:16
  listenable, but because it wasn't up to the audio standard
• 2:20
  of the show, I decided not to use it.
• 2:22
  What Frank and I did instead is we actually got together a few
• 2:25
  weeks after the first recording to re record a sort of
• 2:28
  supplement that takes its place. It's a little bit shorter, sort
• 2:31
  of just a summary of that initial conversation.
• 2:34
  I didn't want to do an entire retake because so much of the
• 2:38
  magic of our show is that moment of realization where you find
• 2:41
  out what the movie was that the other person watched and what
• 2:44
  they thought of it. So for the sake of the overall
• 2:46
  continuity of our program, I wanted to make sure we included
• 2:49
  something for that film so you know what I thought about it and
• 2:52
  how it was scored and everything.
• 2:53
  But you'll notice that that half of the show is trimmed down and
• 2:56
  is something we recorded long after the fact.
• 2:59
  The other problem, which we didn't even notice until after
• 3:02
  that was re recorded, is that in the first half of the show,
• 3:05
  Frank's audio was being picked up by the wrong microphone.
• 3:08
  So occasionally during his review of deep cover in the
• 3:11
  first half of the program, his voice kind of flickers in and
• 3:14
  out and I had to boost that audio a bit, which created some
• 3:16
  mild artifacting in the background.
• 3:18
  Suffice to say, this was sort of a cursed recording again.
• 3:21
  We almost lost the entire episode as a result of this, but
• 3:24
  after a number of hours of work, we have restored it to perfectly
• 3:28
  listenable quality. But that's why I would say that
• 3:30
  if this is your first time, I really would recommend checking
• 3:33
  out one of our other episodes first, just to get a sense of
• 3:35
  how things normally sound over here.
• 3:37
  None of that is to say that you will not enjoy tonight's
• 3:39
  episode. There was some really fun
• 3:40
  conversation captured both in the initial recording about Deep
• 3:43
  Cover and in the one we recorded later summarizing our
• 3:46
  conversation about Woody Allen. So with all of that preamble out
• 3:50
  of the way, here is tonight's episode of Meet Your Double
• 3:53
  Feature. All right, Frank, welcome back.
• 4:01
  Episode 5 already here for Meet Your Double Feature.
• 4:04
  How are you doing today? I didn't expect that.
• 4:09
  Yeah, I don't usually add that just so you don't tell me how
• 4:12
  you were yesterday. How are you doing now today
• 4:15
  specifically? I'm good.
• 4:20
  I was worried because if I'd asked about the wrong day it
• 4:22
  could have been a different answer.
• 4:23
  Yeah, yes. You never know.
• 4:24
  You never know. Any who we got a movie show, so
• 4:28
  we're going to start that now. Apparently, yeah.
• 4:30
  All right, so for episode 5, we again, we talked about the
• 4:34
  movies we selected at the end of our last episode.
• 4:36
  So today you're going to be discussing Deep Cover from 1992,
• 4:40
  which I recommended. But I'll be honest, I no longer
• 4:43
  remember what Deep Cover is or why I selected it, so maybe you
• 4:47
  can tell me. I I was going to ask what the
• 4:52
  motivation behind this pic was. I have to imagine it had
• 4:55
  something to do with the cast. Yeah, yeah, yeah, yeah.
• 4:57
  Cuz this is I want to say it's Laurence Fishburne and what's
• 5:02
  his name do? You want me to tell you, or do
• 5:05
  you just want to keep guessing? Just leave the audience in
• 5:08
  suspense. I want to say it's Jeff.
• 5:10
  Goldblum. Yes, yes it is.
• 5:12
  OK, that's what it is. I think I saw those two.
• 5:14
  I thought that was an interesting pairing and there
• 5:17
  was like a cool cover art for the Criterion version of the
• 5:21
  film. I think that's all I went off of
• 5:22
  for this one. Yeah, that I actually didn't
• 5:24
  know that until after I watched it.
• 5:26
  But this was added into the Criterion Collection in 2021,
• 5:31
  which was like the first like 4K digital restoration of the
• 5:35
  movie. Interesting.
• 5:36
  And it's actually correction on the actors.
• 5:40
  It's Larry Fishburne, as he's credited in this movie for some
• 5:44
  reason. What?
• 5:45
  He goes by. Larry, I guess he did for a
• 5:48
  while. I don't know how long in his
• 5:50
  acting career, but it's it's Jeff Goldblum and Larry
• 5:54
  Fishburn. That's weird.
• 5:56
  What I can't think of another example of that of someone
• 5:58
  making it into multiple starring roles and then trying to change
• 6:02
  their name, you know? Yeah, I know what and this.
• 6:06
  Apparently this was the last film where he was credited as
• 6:09
  Larry. Oh, RIP Larry Fishburn.
• 6:12
  It's his final performance. His swan Swan.
• 6:16
  We'll never see him again, but. Morpheus who?
• 6:22
  That's weird. OK, so I know that again, from
• 6:25
  what I can recall now that I've been reminded, I think this was
• 6:28
  like a criminal drug cartel kind of movie.
• 6:32
  Is that is that the right direction?
• 6:34
  It very much is that that's exactly what it is.
• 6:40
  I was getting similar vibes to grifters.
• 6:44
  Oh, bad sign. Check out Episode 2 for our
• 6:49
  thoughts on directories. Yes.
• 6:52
  And I was like, at first I was like, why does he keep
• 6:56
  recommending these movies to me? That's a long con.
• 7:01
  I'm just going to make you watch a series of terrible crime
• 7:03
  films. I got to be honest, early on I
• 7:07
  was like, So what are the rules if I just turn this off?
• 7:11
  Because I was like wow, but I didn't.
• 7:15
  OK, OK. I think there should be Now we
• 7:19
  got a rules conversation. I think not finishing should be
• 7:23
  allowed, but that can't mean it's like a zero, you know what
• 7:26
  I mean? Like if.
• 7:26
  Oh yeah, yeah, sure. Maybe you can tap out and just
• 7:29
  you just knock it away with like a three, just some sort of flat
• 7:33
  score. I mean, I would have found
• 7:35
  something to talk about and it wasn't, it wasn't like in
• 7:39
  overwhelming Urge, but like in like the first 10-15 minutes it
• 7:45
  was just not. I was not vibing with the movie
• 7:47
  at all. But I'm glad I stuck it out
• 7:49
  because. OK.
• 7:51
  It went into some interesting places.
• 7:53
  So what? What about this first opening?
• 7:55
  15 minutes with such a, with such a turn off I.
• 7:58
  Mean it's just the type of movie it is.
• 7:59
  It's just like I found myself sitting there watching it and
• 8:03
  I'm like, who likes these? He's about criminal underworld.
• 8:13
  Well, yeah, but I mean, it's like this one, it tries to give
• 8:19
  it this very rounded, realistic look at these types of things,
• 8:25
  you know, at this kind of like crime and lifestyle.
• 8:29
  But it's like you're seeing it through this very filmic lens.
• 8:32
  So, you know, it's like heightened and yeah, it just to
• 8:37
  me as a viewer creates such a disconnect.
• 8:41
  And it's just, I don't know, I don't think I'm like an overly
• 8:45
  sensitive viewer, but it's just a lot of uncomfortable stuff,
• 8:48
  especially this one because it's like essentially to give you the
• 8:51
  loose framework of the story here, Larry.
• 8:55
  Larry Fishburne is. Good old Larry.
• 8:57
  Good. Old Larry, He's a cop who is
• 9:02
  sent undercover to disrupt a drugs and narcotics syndicate in
• 9:09
  LA, and he doesn't want to do it.
• 9:13
  Like OK, I'm tired, boss. Exactly.
• 9:19
  And like it's funny too, because like there's there's voice over
• 9:24
  narration. So it is kind of a noir film and
• 9:26
  that's where it starts to get into like the more interesting
• 9:29
  aspects of the movie that I did click with.
• 9:32
  But it's sort of like a, you know, a modern noir style film.
• 9:36
  And so he's doing this voice over and he essentially says
• 9:39
  that he was like, you know, they were telling me about this, this
• 9:42
  undercover thing. And I was like, man, I don't
• 9:44
  want to do that. And then he's saying this like
• 9:46
  as he's doing it. And it's like, well, why'd you
• 9:48
  do it then? Like what?
• 9:52
  Yeah, I mean, I guess I also, I've given things to do at work
• 9:55
  that I don't feel like doing, but kind of a weird motivation
• 9:58
  for your heroic lead. But it, I mean, it ties into
• 10:02
  what his whole character is because basically there is a
• 10:04
  flashback at the beginning where like his dad is like a drug
• 10:08
  addict and he gets shot trying to like rob a liquor store.
• 10:12
  And so, you know, early on, like Laurence Fishburne's character
• 10:15
  is like, I've never touched drugs.
• 10:18
  I don't even drink. You know, he's like, I promised
• 10:21
  myself I'd never get into that kind of stuff, but he's brought
• 10:26
  in by this DEA agent and he's the one that tells him like, you
• 10:31
  know, we looked at your psychological profile and you're
• 10:33
  actually perfect for this type of work.
• 10:36
  So I guess they convinced him to do it cuz they convinced him
• 10:38
  he's going to be doing a good thing.
• 10:41
  But yeah, then I mean, then again, this is like in the first
• 10:47
  20-30 minutes of the movie, you're seeing a lot of like
• 10:50
  unfortunate imagery of like street crime and like drug abuse
• 10:56
  and these these like people in like Skid Row Los Angeles that
• 10:59
  are the part like of this like crack epidemic that's going on.
• 11:04
  So that was the part of the movie where I was like, I don't
• 11:07
  want to two hours of this like you.
• 11:10
  Know no, I'm completely with you.
• 11:11
  I, I wouldn't have even recommended it if that was if I
• 11:14
  knew that was a part of it. Because I will say that over
• 11:16
  time I've become increasingly just like bummed out watching
• 11:19
  stuff like that, even though it's a part of a lot of good
• 11:23
  filmmaking. I I just, I don't like sitting
• 11:26
  through it either. Yeah, so I mean, that's just a
• 11:27
  personal preference thing. But I did also recognize early
• 11:31
  on that the film definitely had a unique style and like voice to
• 11:38
  it, which is where Grifters completely fell flat because it
• 11:41
  was like unfortunate imagery and, and story with like no
• 11:45
  style or substance to it, Whereas Deep Bopper has is like
• 11:50
  full of that. I mean, it has like there's
• 11:53
  really good filmmaking going on there.
• 11:55
  And that's what kind of kept me with it.
• 11:58
  You know, like the cinematography is, is excellent
• 12:01
  and like stylish, like there's a lot of like unique lighting and
• 12:06
  like, you know, the costumes are great.
• 12:11
  The performances are strong. Like all of these, like, you
• 12:15
  know, technical filmmaking aspects.
• 12:17
  It has a lot of the intention behind it.
• 12:20
  So it's like, you know, it was really well like directed and
• 12:24
  executed in that way. So that's so that is why I was
• 12:27
  like, OK, I can at least appreciate this even though I'm
• 12:31
  not. This isn't the type of movie I
• 12:33
  would normally just throw on to watch basically.
• 12:36
  Yeah. OK, that's interesting.
• 12:37
  So this is just one of those like, if you're in the mood for
• 12:40
  a more kind of serious and heavy adult film experience, you know,
• 12:45
  a lot of what I've picked for you so far is very goofy stuff,
• 12:48
  and I unintentionally picked a much more harrowing 1.
• 12:52
  Which I mean, that's fine in and of itself because at least this
• 12:55
  movie I feel like had something to say.
• 12:59
  I mean, it was it was, I was looking at the the trivia and it
• 13:02
  was released like just weeks before the LA riots.
• 13:06
  And so it's very like topical in that sense.
• 13:10
  And again, once I kind of recognized the the strong film
• 13:17
  making happening, I was looking up like the cinematographer and
• 13:20
  the director to kind of see previous things that they've
• 13:23
  worked on. And you know, the director, Bill
• 13:27
  Duke, a lot of his work centers around like the black
• 13:31
  experience. And you know, for Laurence
• 13:33
  Fishburne to be the lead of this movie in 1992, like, you know,
• 13:37
  it, it definitely was speaking to what was happening in the
• 13:42
  real world at the time. But it's just again, it's like
• 13:46
  some of it just came off as goofy.
• 13:48
  So it's just like there's there was like that weird kind of
• 13:50
  disconnect with this violent, like traumatic imagery and like,
• 13:55
  like some of the stuff just not landing I think the way they
• 13:57
  intended. But I can kind of get more into
• 14:01
  that stuff later. But yeah, I mean, Laurence
• 14:05
  Fishburne kills it as the lead. Jeff Goldblum.
• 14:08
  Don't know if they're presented as Co leads but it you know it
• 14:12
  is all from Laurence Fishburne's perspective.
• 14:14
  Is Goldblum like the villain or is he another cop guy?
• 14:18
  No. Well, they are friends.
• 14:22
  They honestly a lot happens in this movie.
• 14:25
  There's a lot to like to like recap to to really get into it.
• 14:29
  So like Laurence Fishburne, he goes undercover and starts like
• 14:33
  selling drugs on the street because they want him to get
• 14:36
  closer to these higher ups in this drug syndicate cartel,
• 14:41
  whatever the the proper term is. I'm not sure actually.
• 14:46
  You guys got one of them Syndicate cartels over here.
• 14:48
  He's. Just he's like a really bad
• 14:52
  addict. That's a good premise actually.
• 14:54
  Is the idea of taking someone who's never done drugs or had
• 14:57
  alcohol and trying to make him be like an undercover drug
• 14:59
  dealer like that is sort of a comedy premise if you play it
• 15:02
  differently? Yeah.
• 15:03
  But, you know, what's interesting is, like, I thought
• 15:06
  there would be an obvious that's like a setup for, like a scene.
• 15:10
  And it kind of happens. You know, I was like, OK, so
• 15:12
  there's going to be a scene where they want him to take the
• 15:16
  drugs, you know, like, yeah. And there is a scene where
• 15:19
  somebody, like, offers him drugs and he's like, not for me.
• 15:23
  And they're like, well, this guy's a cop and.
• 15:28
  Rather than like, like lay into that tension at all, they're
• 15:31
  just like, Nope, definitely a cop.
• 15:33
  Yeah. But then they kind of move past
• 15:35
  that. He kind of like, he just kind of
• 15:36
  like talks his way out of it. So, you know, to jump ahead a
• 15:41
  bit, he he does wind up taking drugs later in the movie, but
• 15:45
  it's more like because he's at his like breaking point and he
• 15:48
  just decides to like he just has a drink at one point.
• 15:52
  He's like, this is my first drink.
• 15:54
  It's pretty good. Is he announcing it to
• 15:57
  everybody? He's.
• 15:58
  He's talking, he's talking to another character, he's talking
• 16:01
  to the DEA guy. And I was like.
• 16:03
  Just out on the corner where he's doing his drug deals, like
• 16:05
  just in case you don't know. Hey you guys tried alcohol it's
• 16:09
  not bad. Crazy, right?
• 16:11
  It was illegal for a while. That, yeah, history lesson.
• 16:24
  That's how bad he is. No, he's actually really good at
• 16:27
  being an undercover cop. That's the whole thing.
• 16:30
  So to answer your previous question, him and Jeff Goldblum,
• 16:33
  Jeff Goldblum is like one of the higher ups in this group.
• 16:36
  And so he like while he's undercover, gets close to him
• 16:40
  and they become friends and they start working together.
• 16:44
  And so that's where like that connection comes in.
• 16:48
  But you know, Goldblum, he's not as heavily featured in the movie
• 16:51
  as Laurence Fishburne is. But it's cuz Laurence Fishburne
• 16:54
  has so many like quest lines going on at the same time.
• 16:59
  He's doing so many things. Like, you know, it's like every
• 17:03
  scene, it's like either him, he's hanging out with Jeff
• 17:05
  Goldblum or he's talking to the DEA guy, or he's with like his
• 17:09
  love interest in the movie or he's with these other crime
• 17:13
  guys. That's not the right word, but
• 17:15
  whatever. Crime guy, crime syndicate,
• 17:17
  buddies, you know. Yeah, yeah.
• 17:20
  So yeah, they're they're friends in the movie.
• 17:22
  Goldblum gives a really just Goldblum esque performance, but
• 17:26
  he's actually like, honestly probably one of the better
• 17:29
  performances I've seen from him. You know, I think it's OK.
• 17:33
  Like I think he's especially later in his career, one of
• 17:37
  those actors who's almost become like a Flanderized version of
• 17:42
  himself. Yeah, I mean, he's basically
• 17:44
  been playing the same guy ever since, like Jurassic Park.
• 17:49
  Yes, exactly. And this is more so him giving a
• 17:51
  real performance. So I was like, well, this is
• 17:54
  good. I mean, he's a good actor.
• 17:56
  Yeah, I like Jeff Goldblum a lot.
• 17:57
  Again, I was hoping we would see like a real performance out of
• 18:00
  him in this one. Yes, you definitely do.
• 18:02
  Yeah, that's one of the stronger.
• 18:05
  Like I said, everything is executed not just well, but
• 18:09
  like, stylistically, there's a lot going on here.
• 18:12
  And as the plot starts unfolding and, like, layering on itself, I
• 18:17
  was like for the second-half of the film, I was like, OK, I'm
• 18:20
  with this now I'm interested, like in seeing where this goes
• 18:23
  because to like, jump forward a bit, basically, like Orange
• 18:28
  Fishburne, you know, he gets pretty deep into this whole
• 18:33
  thing. And at one point he's like, you
• 18:35
  know, am I a cop pretending to be a drug dealer or am I drug
• 18:40
  dealer pretending to be a cop at this point, you know, he's, he's
• 18:42
  very like mixed up in, in this world.
• 18:46
  But that leads to just some of this is where the like movie
• 18:49
  logic stuff starts getting in there.
• 18:52
  And I was like, what the heck is happening 'cause there's,
• 18:55
  there's one character who I don't know if this was the
• 18:59
  movies, like one attempt to like add in some like levity or
• 19:05
  comedy, but there was a character who was like, he was
• 19:12
  like another drug dealer. He's like one of the like the
• 19:14
  street level drug dealers, right?
• 19:16
  And the first time you see him, like there's this young kid,
• 19:20
  he's like 12 or 13, like selling drugs on the corner.
• 19:22
  And this guy comes up to him and he's just like, I told you not
• 19:25
  to come around here again. And then the kid like runs away
• 19:28
  and the guy just like pulls out a gun and he says like hasta La
• 19:32
  Vista baby and he shoots him in the back.
• 19:34
  What? That's a new reference at the
• 19:36
  time. I know.
• 19:37
  And like he, but he didn't say it like he didn't do like an
• 19:40
  Arnold accent or anything. He just kind of said it.
• 19:43
  And so I didn't really, it didn't really like register that
• 19:45
  much to me. I was like, OK, whatever.
• 19:46
  He's saying the Terminator thing.
• 19:49
  But then later that character comes back and he gets into an
• 19:53
  argument with Laurence Fishburne.
• 19:55
  Like Laurence Fishburne pulls out a gun and like, he backs off
• 19:58
  and he's just like, I'll be back.
• 20:01
  I'll be back. And he's like, you seen that
• 20:04
  movie? Rent it at your local video
• 20:06
  store. And I was like, wait, what?
• 20:07
  So he's just always doing this? He's always doing this.
• 20:11
  Just a big fan of T2 Judgement Day I.
• 20:14
  Guess so. I was like, it didn't click for
• 20:16
  me until then. Then I was like, oh, he's always
• 20:19
  saying Terminator stuff. But like, again, he's not doing
• 20:22
  like the Arnold accent. He's just kind of saying it.
• 20:25
  And I was like, what is going on with this guy?
• 20:27
  And like, his performance was very exaggerated.
• 20:30
  And then like, there's this leads to a scene where after
• 20:34
  that interaction, once Fishburne is talking to Jeff Goldblum,
• 20:39
  Jeff Goldblum's like, well, we gotta kill that guy.
• 20:41
  You know, like, that's just what we gotta do.
• 20:44
  And fisherman's like, OK. And then he goes to do it and
• 20:48
  I'm like, wait, what? Like, is that allowed for an
• 20:50
  undercover cop? You can just go around killing
• 20:52
  people. Good question.
• 20:54
  Good question. That's gonna have to go in his
• 20:55
  report. Yeah, Yeah.
• 20:57
  It's gonna be bullets that are like tried alcohol, thumbs up,
• 21:01
  shot a guy, question mark. Bullets.
• 21:03
  He's just shooting paper. Hasta La Vista paper.
• 21:08
  He's like. I do like it.
• 21:10
  It is funny, but yeah, even, like, even that seem where he's,
• 21:14
  like, forced to kill this guy. It's supposed to be this, like,
• 21:19
  dramatic turning point for Laurence Fishburne.
• 21:21
  But like, the guy's performance in that scene is also like,
• 21:24
  comical in a way. And I'm like, I don't know what
• 21:28
  I'm supposed to feel about this character.
• 21:30
  I like him, he's interesting, but I don't know what like the
• 21:33
  intention is here. This side plot this has, this
• 21:37
  has stolen all my attention. This doesn't make any sense to
• 21:40
  me at all. Like, why in writing a like,
• 21:43
  grounded, kind of demoralizing story about the undercover world
• 21:48
  of of drug trafficking, which you specify so heavily that this
• 21:54
  guy just loves the recently released film Terminator 2?
• 21:58
  Yeah, yeah. Like that.
• 22:00
  That's like his persona, but even he doesn't fully commit to
• 22:03
  it. He just kind of like bluntly
• 22:04
  says the lines. Like he literally said he was
• 22:08
  like, go rent the movie. Like.
• 22:09
  So he's like, what? It's advertising.
• 22:12
  Yeah. Yeah, I don't know.
• 22:15
  This movie was released by New Line Cinema, by the way.
• 22:18
  I did like seeing that logo right at the.
• 22:20
  Beginning well new line. The classic like New Line
• 22:24
  Cinema. And Speaking of that, actually
• 22:26
  to jump into something else I thought was very funny.
• 22:30
  There was a scene, it's actually the scene where Laurence
• 22:32
  Fishburne tracks that guy down to kill him.
• 22:36
  He goes into a nightclub that this guy's in and there's this
• 22:40
  dude performing on stage. And the way that this scene of
• 22:44
  the guy on stage is, like the way it's lit, the way it's shot
• 22:49
  and everything just reminded me of like Vanilla Ice in the Ninja
• 22:56
  Turtles movie in Secret of. Yeah, yeah, even.
• 23:02
  Cuz even the way the guy's on stage, like rapping, like the
• 23:04
  type of musical performance he's giving is even similar to like
• 23:08
  this. Is from the same year as Secret
• 23:10
  of the Years. They're both 1992.
• 23:12
  Yeah, yeah. I was like, I guess that's just
• 23:15
  what like nightclubs looks like thin.
• 23:19
  Because I could picture the Vanilla Ice scene very clearly
• 23:22
  the kind of like significantly elevated stage and sort of like
• 23:27
  just like flat dance floor underneath and very like comes
• 23:29
  red. Lighting scheme, yeah, Now just
• 23:32
  take that and change absolutely nothing.
• 23:34
  And that's what it is. So you want to start there and
• 23:39
  then also stop because you're done.
• 23:42
  That's it, You've got it now. Go ninja go, ninja, go.
• 23:47
  That's what I was picturing and I was like, oh, hey, I'm like,
• 23:49
  yeah, like you said, same year, same studio.
• 23:52
  Fun piece of trivia if if you like Ninja Turtles too, that
• 23:55
  club is called the Dock Shore Club which you see for like 2
• 23:59
  frames in that movie because I think Mikey gets thrown through
• 24:02
  a door and it says like Dock Shore club this way and then
• 24:05
  that's where they go. So that's a cool idea for a club
• 24:08
  because it's like built into the side of a dock or something,
• 24:12
  like it's right. By water, Yeah.
• 24:13
  It's like a pier, which I think is just a story necessity for
• 24:15
  Ninja Turtles because they jump out into the water at the end
• 24:18
  when they fight Super Shredder. But yeah, maybe it's a real type
• 24:22
  of thing. I don't know.
• 24:23
  Probably smells bad, though. Like, probably smells bad.
• 24:25
  That's exactly what I was thinking.
• 24:26
  I was like, hey, you want to go down to the dock?
• 24:28
  Shore Club smells like dead fish.
• 24:33
  Cool. Things polluted as hell.
• 24:35
  Did you try alcohol by the way? Pretty good.
• 24:39
  Pretty good, gotta say. So anyway, like big.
• 24:46
  Anyway, it's just like like where I don't even know where to
• 24:52
  go next with deep cover like. I'm, I'm tempted to say that
• 24:54
  like, I know sometimes we really dig into the plots because it
• 24:57
  it's really crucial to our thoughts on the movie, but I
• 25:00
  don't know that you necessarily need to give the audience
• 25:03
  everything because it sounds like if you're in the mood for
• 25:06
  that kind of movie, maybe it is fairly good.
• 25:09
  Sure. Yeah.
• 25:10
  I mean, it's, it's definitely like executed thoughtfully, like
• 25:15
  artistically, like it has vision and style and I appreciate all
• 25:21
  those things about it. And again, the second-half of
• 25:24
  the movie gets pretty interesting, I will say.
• 25:28
  Like, the way they get to the climax of the movie feels clunky
• 25:33
  to me because this kind of goes back to like, you know, the
• 25:38
  movie logic of what being an undercover cop means, I guess
• 25:42
  because like, Laurence Fishburne does just go kill that guy.
• 25:46
  Like, he just fought. He's in that nightclub, dance
• 25:49
  club, whatever, follows him in the bathroom and just shoots
• 25:51
  him. And then later he's talking to
• 25:53
  his DA boss and he's like, so he killed that guy, huh?
• 25:58
  That's cool. Anyway, we're just going to move
• 26:02
  on. And then like, there's another
• 26:04
  scene he has with that guy later where, and this is where he has
• 26:07
  that kind of moment where he's like, not sure what he wants to
• 26:12
  do or what he's been doing. Because basically they tell him
• 26:15
  they're like, oh, things have changed.
• 26:17
  They're like this this guy who's at the head of this organization
• 26:20
  that we were trying to take down.
• 26:22
  We like him now because we want him to, you know, run for
• 26:25
  political office in the country he's from.
• 26:28
  But he's the guy that's been bringing these drugs into the
• 26:30
  US. So Laurence Fishburne just get
• 26:33
  super pissed off. He was like, so this is all for
• 26:35
  nothing, whatever. And he's like, basically like I
• 26:38
  quit. I'm going to go be a drug dealer
• 26:40
  now. I like that better and.
• 26:44
  OK, straight to jail. Yeah, I was.
• 26:46
  So he was just like. He's just like that out loud.
• 26:49
  He's basically like, he's like, that's not how this works.
• 26:52
  You can't just do that. And he was like bye.
• 26:54
  And that's what he takes the alcohol and he's like pretty
• 26:56
  good and so like. Oh, it's that late in the movie.
• 26:59
  OK. Yeah, yeah.
• 27:01
  And then he goes and he's doing coke or whatever.
• 27:04
  And like, so he's like at this point, seemingly fully committed
• 27:08
  to this lifestyle. And so I'm watching and I'm
• 27:10
  like, OK, so this is, we're leading to some kind of like,
• 27:14
  tragic ending for his character where he does fall, you know,
• 27:19
  fully into this lifestyle and he's going to die or get
• 27:22
  arrested or something. You know, it's like his dad died
• 27:25
  because of it. Yeah.
• 27:27
  But then at the end of the movie, he's with Jeff Goldblum.
• 27:32
  And there's this one detective who's been, like, trying to get
• 27:35
  through to Laurence Fishburne because he doesn't know that
• 27:39
  he's undercover. He thinks he is just this kind
• 27:41
  of drug dealer. And he's been trying to get him
• 27:44
  to go straight, basically, and, like, work with the cops.
• 27:47
  And, you know, Laurence Fishburne's always blown him off
• 27:49
  throughout the whole movie. But then he shows up at the end
• 27:51
  while they're trying to do this big drug deal, and Jeff Goldblum
• 27:54
  shoots him, shoots Laurence Fishburne's.
• 27:57
  Cop friend. It's the nice cop, OK?
• 27:59
  Yeah. And, like, Lawrence Fisherman
• 28:01
  is, like, distraught over this. And then he's, like telling Jeff
• 28:04
  Goldblum he was like, I'm a cop, you're under arrest.
• 28:07
  And I'm like, no, you're not Lawrence Fishburn.
• 28:09
  You quit. You decide.
• 28:10
  You quit. You updated your LinkedIn weeks
• 28:13
  ago to say drug dealer. It's like just kind of going
• 28:16
  back and forth here. And so that's like how those
• 28:20
  two, like, get into conflict with each other at the end.
• 28:23
  And then, like, Lawrence Fishburn winds up shooting Jeff
• 28:25
  Goldblum and then it just kind of cuts.
• 28:28
  And he's like presenting this case of him being undercover.
• 28:34
  Like he was like, I don't know, like everything went according
• 28:37
  to plan. I was like, I think that's how
• 28:41
  this works. But like, you just went and like
• 28:44
  killed people and like did all this stuff and walked away from
• 28:48
  being a cop or whatever. And then, like, he, like, makes
• 28:51
  a deal with the DEA guy. He was like, you're not going to
• 28:55
  charge me for anything or whatever.
• 28:57
  And I'm going to make sure that, like, you know, I won't talk bad
• 29:00
  about your agency. And he's like, OK, bet.
• 29:04
  But then, like, the twist reveal at the end is that, like,
• 29:07
  Laurence Fishburne had, like, had someone recording this drug
• 29:12
  deal with the guy that the DEA decided that they liked and
• 29:18
  wanted to, you know, run for office.
• 29:21
  And he, like, released that out to the public.
• 29:23
  And he was like, ha, gotcha. And then, like, his DEA boss
• 29:26
  gets all mad at him. And they're like, in the
• 29:27
  courtroom still in North Fishburne, just, like, punches
• 29:30
  him in the stomach. And I was like, what are the
• 29:32
  rules here? Just do whatever he wants.
• 29:39
  That's funny. There's.
• 29:40
  Just no consequences for everything, anything he does.
• 29:43
  And then he like he had stolen all this money from this drug
• 29:47
  dealer guy. And so he walks away like it's
• 29:50
  just such a like happy ending for his character.
• 29:53
  And then he goes back to finish this, like, adopt A kids side
• 29:57
  quest that he started in the beginning of the movie that I
• 29:59
  had forgotten about because when he first went undercover, he
• 30:04
  was, like, living in this, like, rundown building.
• 30:06
  And there was this woman across the hall who had, like, you
• 30:08
  know, like a young kid. And she was messed up and
• 30:12
  tweaking out the whole time. And he kind of, like, formed a
• 30:14
  connection with this kid. This is all in, like, the first
• 30:16
  act. And then, like, the movie
• 30:17
  completely forgets about it up until, like, the very end when
• 30:21
  Fishburne's like, oh, yeah, I got to go get that kid.
• 30:23
  And then he does what? I was like, I thought we moved
• 30:27
  on from that. Like, I didn't realize that this
• 30:29
  kid was still a part of the story.
• 30:31
  And that's how the movie ends. And I was.
• 30:33
  Like that's so strange. Yeah, yeah.
• 30:36
  So it felt a little like I was saying before, for as much like
• 30:39
  style and intentionality to intentionality that it had, it
• 30:44
  felt a little unfocused with its story because it was trying to
• 30:49
  do so much at once, you know, and it wound up trying to, like,
• 30:53
  cram a lot in there. You landed on the right
• 30:55
  language. It sounds like Laurence
• 30:56
  Fishburne is a video game protagonist.
• 30:58
  Because if you play something like like Fallout or Elder
• 31:03
  Scrolls, one of those like RPGs that's full of quest lines and
• 31:05
  different routes you can go down, they all have to resolve
• 31:09
  in a way that just pushes you on to the next thing.
• 31:11
  Even if theoretically some of these events either contradict
• 31:13
  each other or would have like obvious consequences for your
• 31:16
  character. But if he's like the main
• 31:19
  character of the universe, because it's his video game, he
• 31:21
  just, he can't just move on. He's in like using Grand Theft
• 31:23
  Auto logic by the end of this movie.
• 31:25
  He basically is Speaking of video games too.
• 31:28
  It's so funny, the kid that like young boy who he like adopts, I
• 31:32
  guess at the end it was like, I don't know if they thought they
• 31:38
  maybe couldn't get sort of a dramatic performance out of this
• 31:42
  kid because he's really young. So literally every time you see
• 31:46
  him, he's playing a Game Boy. And it's like the the old, like
• 31:51
  before the Game Boy Color, like the original, like chunky Game
• 31:54
  Boy. Oh yeah, yeah.
• 31:55
  You know, And he just like has the same blank, like he doesn't
• 31:59
  look distraught in any way. He looks like he's just having
• 32:01
  the time of his life playing this Game Boy as things are
• 32:04
  happening around me and I'm like, he's just like me for
• 32:06
  real, but. He's just like, blankly staring
• 32:12
  an old prick Game Boy. Just like Man Mondays, Yeah.
• 32:16
  It's so funny because I'm just like, this kid doesn't seem to
• 32:20
  care about any of this. He's playing Mario or something,
• 32:23
  I don't know. But yeah, that's that's a good
• 32:25
  way to put it. Laurence Fishburne just moves
• 32:27
  through this world with no consequences, does whatever he
• 32:30
  wants. And also doesn't seem to let the
• 32:33
  audience in on his perspective enough because it feels like he
• 32:37
  was like deceiving you into what he wanted to do next.
• 32:41
  Yeah, almost because I mean, they're like he has these voice
• 32:45
  overs, these very like detective noir style voice overs.
• 32:49
  They're kind of intermittent throughout the film.
• 32:52
  You know, towards the end, I think there's one maybe right at
• 32:55
  the end, but they're sparse. They're you know, they're just
• 32:59
  kind of sprinkled throughout. So it's like you are getting a
• 33:02
  sense of what he's thinking throughout the movie.
• 33:05
  But I mean, even that, like, I guess it was set up, but even
• 33:09
  that kind of like big twist at the end where he was like, ha, I
• 33:12
  got this guy. I was like, Oh yeah, I guess so.
• 33:15
  I mean, you were doing so many other things like I yeah, sure,
• 33:19
  we can do that. That's weird.
• 33:21
  I don't, I don't know, I just can't visualize the story.
• 33:25
  Like there's so many elements going on here.
• 33:27
  And like you said, the almost flip flopping nature of it, like
• 33:30
  a lot of it was clearly done with intention that I'm just not
• 33:32
  following. But sounds like a weird way to
• 33:35
  pitch a movie that was trying to be like a somewhat serious like
• 33:39
  life of crime and drugs, you know?
• 33:41
  Yeah, yeah. And I, and I think it wanted to
• 33:46
  do that in a way that it was like entertaining at the same
• 33:52
  time, you know, like it didn't want to be too matter of fact
• 33:56
  and dour about the whole thing. Which is a this is a problem I
• 34:00
  see with a lot of films that try to tackle like serious subjects.
• 34:03
  I think I've heard it phrased before is like, you know, there
• 34:06
  are no anti war movies because any film that tries to depict
• 34:12
  the horrors of war is still sort of glorifying it and that it's
• 34:16
  entertaining you with it. And and that kind of undercuts
• 34:19
  any sort of messaging the story might have about whether what's
• 34:23
  being shown on screen is bad. You know, like you can't
• 34:25
  necessarily rely on an audience to make the same inference as
• 34:29
  the author that like this is bad.
• 34:30
  If you watched it and you're like, that was fun.
• 34:32
  Laurence Fishburne shot a guy and drank a bunch of alcohol.
• 34:35
  Well. I mean, I, I exactly, I and I
• 34:39
  think that's like a similar case has been made for like there's
• 34:43
  so many movies where you have like your action cop character
• 34:47
  and this isn't, this is more of a kind of crime thriller, but it
• 34:50
  still has action elements too. And I mean, you know, that
• 34:54
  inspires a lot of people to think that that cops can just do
• 34:58
  whatever they want to go around shooting people with no
• 35:00
  consequences, You know, like, because that's how they do it in
• 35:03
  the movies. I think if the movie ends with
• 35:05
  him like sinking into the life of like, like a drug addict and
• 35:10
  drug peddler in a way that it's all he has left because he ruins
• 35:13
  every other chance he has. Like that's an ending.
• 35:15
  And I could see that. But I guess they wanted more of
• 35:19
  a wish fulfillment angle. And I don't know.
• 35:22
  I mean, we were just complaining.
• 35:23
  The opening of the movie was too sad.
• 35:25
  Maybe that's what they thought. Well, they wanted to send the
• 35:28
  audience home happy is what they wanted to do.
• 35:30
  Because I mean, even at one point prior to the ending, like
• 35:33
  his love interest in the movie, he kind of sends her away
• 35:36
  because he's like, you know, things are getting dangerous
• 35:38
  here and he's like, are we done? And she's like, we're done.
• 35:42
  If you're still doing this. He's like, she's, you know,
• 35:45
  she's like, you can come with me.
• 35:46
  But then like the the DEA like picks her up.
• 35:49
  Like she's trying to like leave and go to the airport and, you
• 35:52
  know, just start a new life somewhere.
• 35:53
  But they grab her because she's kind of been involved in this
• 35:55
  too. And so like, that's part of the
• 35:59
  deal that he makes at the end is like, you know, when I speak to
• 36:02
  whoever he was talking to Congress, I guess like someone
• 36:06
  like whatever that that was at the end, like he's like, you
• 36:12
  know, you got to let her go too. So it's kind of like even like
• 36:16
  repairs that relationship at the end as well, like with her.
• 36:20
  So it's like everything works out for him.
• 36:21
  And it's like, yeah, I feel like that almost isn't the story that
• 36:25
  you set up, though, so. So interesting.
• 36:28
  It makes me wonder if the trajectory of the, like, third
• 36:33
  act was ever different. You know, like if maybe at one
• 36:35
  point on the page it was more sad and like a downer, and then
• 36:37
  it got changed. Because sometimes I'll think
• 36:39
  that and then it'll be like, no, that was the original intention
• 36:41
  all along. But definitely seems like a
• 36:44
  surprise for how the rest of the film had been set up.
• 36:47
  I wouldn't be surprised if this was the original ending in mind,
• 36:51
  you know, it felt that way. It's it felt despite like what
• 36:56
  felt like clunky elements to me, it didn't feel like an
• 37:00
  incomplete story in any way. OK, so it definitely it had an
• 37:06
  arc to it and his character went on this journey and was changed
• 37:11
  by the end. It just, I guess maybe me
• 37:15
  watching it, I thought at some point, like around the middle,
• 37:18
  like when he was like, yeah, I'm going to go be a like, I'm done
• 37:21
  being a cop. I'm going to go just be a crime
• 37:23
  board now. I was like, oh, that's fun.
• 37:24
  Let's see where this goes. Like, yeah, OK, this is maybe my
• 37:27
  other pending question. Why did he like being a drug
• 37:31
  dealer? Like what did the movie show you
• 37:32
  that made him a fan of that side of the coin?
• 37:37
  So this. Was even like an interesting
• 37:39
  conversation he had with his DA boss at one point, because when
• 37:42
  they're having that conversation, well, I should say
• 37:45
  prior to that you're telling him basically they're like you have
• 37:48
  to look the part like, you know, as he moves his way up through
• 37:51
  this world, they're like, you know, you got to start dressing
• 37:54
  nice and like get a new place and you know, drive around a new
• 37:57
  nice car like. And so through his voice over
• 38:01
  narration, he was like, well, this is nice.
• 38:02
  You know, I'm like a big shot on the streets.
• 38:06
  So he's like, that's cool, this. Guy's so simple, you know, he
• 38:09
  just lives in the moment. He's just like that.
• 38:11
  I had all these like perspectives and hardline rules
• 38:15
  for myself, and it turns out cars and booze not.
• 38:18
  Bad. Yeah, yeah.
• 38:20
  And it's like the other characters even kind of call
• 38:22
  them out on that, too. Jeff Goldblum at the end, like
• 38:25
  their whole conversation, he's like, I don't care that you're a
• 38:28
  cop. We got millions of dollars in
• 38:30
  this van. Let's get the hell.
• 38:31
  Out of here, you know, like he's.
• 38:33
  Just and then when he's talking to the to his, the guy who
• 38:36
  brought him in, the DEA guy, he's like, you know, the DEA
• 38:39
  guy's trying to tell him he's like, we're done with this whole
• 38:41
  operation. You know, let's they're they're
• 38:43
  offering us, you know, to go to Washington and and do something
• 38:46
  else. There will be big shots there.
• 38:48
  Once Fishburn's like, I'm a big shot here.
• 38:50
  He's like, I don't need to go do that.
• 38:52
  Like I'm. Going to do this that that makes
• 38:54
  sense. I wasn't sure if the angle was
• 38:56
  like the lore of a life of crime or if there was some other take
• 39:00
  on it, like it being the community he had found himself
• 39:03
  in. Because those are like the two
• 39:04
  versions, you know, you get the the Fast and Furious angle is
• 39:08
  like, oh, no, I've become sort of swept up in the found family
• 39:12
  of this gang of criminals. And then the other one is like
• 39:15
  Scarface, like, oh, I just want to be rich and do crime.
• 39:21
  Yeah, no, it was. It was Scarface.
• 39:24
  It was OK. Yeah, yeah, yeah.
• 39:25
  The world is yours. Yeah, it was not.
• 39:28
  Ohana means family. Paul Walker.
• 39:30
  It was. I hope someone thinks that's
• 39:33
  from Fast and Furious. What is that Lilo and stitch?
• 39:37
  Yeah, yeah. No, I mean, as like, as far as I
• 39:43
  can tell, at least as far as what the movie presented, which
• 39:46
  is almost what made it kind of jarring to like, I was saying
• 39:50
  what led to that conclusion where he was so distraught over
• 39:55
  this cop who was like trying to set him on the right path.
• 39:59
  But, you know, it was like his like, obviously it was like his
• 40:02
  conscience. You know, he was like, OK, like
• 40:04
  I have, I've gone too deep. You know, deep cover if you.
• 40:08
  Will deep cover? So it made sense in that way,
• 40:14
  which is again what makes me think you know this.
• 40:16
  This didn't, it didn't feel like there was holes in this plot.
• 40:19
  It felt like it went where it wanted to go, but it was it was
• 40:26
  like wish fulfillment along the way, so.
• 40:29
  I'm very curious toward the end of our show what this is going
• 40:32
  to do to your score for the movie, because this feels like a
• 40:35
  toss up between how much you liked the ride versus what you
• 40:40
  thought of, like the validity of that as an ending.
• 40:44
  I mean, the ending there's actually so in the in the scene
• 40:49
  where Lord Fishburne winds up shooting Jeff Goldblum
• 40:53
  throughout the movie, they kind of again, this is another like
• 40:56
  light attempt at like I guess comedy or levity, but they're
• 41:00
  kind of having this back and forth conversation in different
• 41:03
  scenes throughout the movie about like they're like, oh,
• 41:05
  what's the weirdest thing you've ever done sexually?
• 41:09
  Oh. OK.
• 41:10
  It's fine. It's it's light hearted, you
• 41:12
  know, it's, it's whatever. It's just to kind of show their
• 41:14
  friendship. And Jeff Goldblum brings that
• 41:18
  line back, you know, while he's trying to, like, diffuse the
• 41:22
  situation between them. At the end, he's like, what'd
• 41:24
  you say? The weirdest thing you ever did
• 41:25
  sexually was. And Laurence Fishburne's like,
• 41:28
  man, nothing seems that weird anymore.
• 41:29
  I was like, that's a good line. And also how I feel about this
• 41:32
  movie because like, what do we? Like that, I must say your your
• 41:40
  skills as a film reviewer are growing because that is such a
• 41:42
  funny button to sum up your thoughts on.
• 41:47
  Yeah, just like, all right, whatever you want to do, movie
• 41:51
  you, you're in charge. You know what, I almost tapped
• 41:54
  out at the beginning, but by staying I feel like I've sort of
• 41:57
  consented to whatever this is. We've all grown and tried booze
• 42:01
  a long. Way yeah, that's the smash got
• 42:05
  to you during the second act. Like you're just opening up like
• 42:08
  a bottle of liquor. Like what the heck if Larry can
• 42:11
  do it. This one's for you, Larry. 41
• 42:17
  out on the couch. 41 out. OK, well, I'm I'm at a loss for
• 42:22
  words, to be honest. About to cover.
• 42:24
  But why don't we kick it over to our intermission and when we
• 42:27
  return, we can go from talking about a film about crime to a
• 42:31
  film starring a man accused of a crime.
• 42:33
  Just stay tuned for Woody Allen, everybody.
• 42:37
  Woody Allen's the name of the movie.
• 42:39
  Yeah. Oh yeah.
• 42:39
  I. Didn't say that, I tuned for
• 42:44
  Everyone says I Love You starring alleged criminal.
• 42:47
  What do you have? OK so Frank, we're back from the
• 43:00
  intermission, but something funny has happened.
• 43:03
  The audience just heard our deep cover review.
• 43:06
  For them it was a few seconds ago, but for you and I it has
• 43:09
  been 4 weeks. Yep, we time traveled.
• 43:13
  Here if you could you tell the folks at home why it's been 4
• 43:17
  weeks since we talked about this?
• 43:19
  The future is bleak, humanity has collapsed, but this podcast
• 43:23
  is still going. Yeah, Yep, Skynet has risen.
• 43:26
  They like the show. They.
• 43:27
  Liked it, kept us around. That's all right.
• 43:31
  They were, they were knocking down doors and they were like,
• 43:33
  hold on. Hang on a.
• 43:34
  Second, I like this one. We're on to something here
• 43:37
  anyway. Yeah, what was the question?
• 43:39
  Why are we doing? This out it's been 4 weeks since
• 43:42
  you and I originally recorded the second-half of this episode
• 43:45
  where we talked about Woody Allen's Everyone Says I love
• 43:48
  you, but due to a technical issue that audio got severely
• 43:51
  corrupted. There's not really a good reason
• 43:54
  for it. Essentially you and I that day
• 43:56
  spoke for like such a long time before we started and then did
• 43:59
  the whole episode that my computer started overheating.
• 44:03
  So my audio on my end was captured.
• 44:05
  Yours is fine. My audio was captured and it
• 44:08
  showed me the waveform, so I thought it was fine, but then I
• 44:10
  listened back to it and it sounded like I was speaking from
• 44:12
  like inside a toaster. It was just like severe data
• 44:15
  loss from my feed specifically. So, Frank, what did we say to
• 44:24
  Woody Allen doing? You know, a long time ago.
• 44:33
  Yeah, I think, I think you, you loved it.
• 44:35
  You gave it like a 12 out of 10. Yeah. 2 out of 10, Like yeah.
• 44:41
  Essentially, why did you ask me to watch a Woody Allen musical?
• 44:45
  AKA what? What did I do to hurt you?
• 44:50
  That sounds like the name of the musical, actually.
• 44:52
  Oh, yeah. But we we talked about it in the
• 44:57
  episode. But like, I think more so
• 44:58
  coincidentally than anything else, we hadn't really seen.
• 45:00
  Neither of us had seen in any of Woody Allen's films, right?
• 45:05
  And it was just interesting to me that this one was a musical.
• 45:09
  There was something else we hadn't done on the show before.
• 45:11
  So I was like a Woody Allen musical.
• 45:13
  And it had a great ensemble cast.
• 45:15
  So yeah, I was just like all of. That is true.
• 45:18
  That these are all and that's where the praise ends, I think
• 45:21
  is. That is where the praise ends.
• 45:26
  So to make a Long story short, I didn't like it it it is an
• 45:31
  interesting movie. It is the classic Woody Allen
• 45:34
  ensemble cast story told in much the same way as a lot of his
• 45:38
  other more famous works. The gimmick of it being a
• 45:41
  musical is both the most interesting thing about it and
• 45:44
  the most frustrating. Because as I talked about in the
• 45:46
  full recording, Woody Allen did this weird bit where he brought
• 45:49
  in actors who are not trained singers and also had some who
• 45:54
  could sing and kind of told them to sing poorly on purpose.
• 45:57
  The gimmick with everyone says I love You, is it supposed to be
• 46:00
  kind of like everyday people having the musical experience of
• 46:04
  breaking into song to express, you know, how they feel because
• 46:09
  the feeling is so powerful. And they do this by having folks
• 46:12
  perform a lot of old music from like 30s and 40s musicals or old
• 46:16
  jazz standards. So no, no original music was
• 46:19
  written for this movie. It is essentially a cover album
• 46:22
  from people who don't know how to sing, which Woody Allen
• 46:24
  thought was really cool and I think annoyed the heck out of
• 46:28
  me. Oh yeah, that yeah, that would
• 46:29
  annoy me too. That's such a like, I mean, I
• 46:32
  guess I understand the artistic intention behind that, but like
• 46:36
  in in practice, that's terrible. This definitely feels like
• 46:39
  something you get away with because you've already made like
• 46:42
  12 really popular movies and won a bunch of awards.
• 46:44
  Like no first time writer director is going to get this
• 46:48
  pitch off the ground because it's just not.
• 46:51
  It's so much better on paper as a funny little thought exercise
• 46:53
  than as a movie that's almost two hours long.
• 46:57
  Yeah, yeah. So it's interesting.
• 46:59
  We do get the ensemble cast. The story is about this extended
• 47:03
  family of like New York socialite type people.
• 47:06
  Woody Allen is the father of this teenage girl called DJ.
• 47:12
  She's like the narrator for the whole story and she explains
• 47:16
  that she lives with her mother, her stepfather, and then both
• 47:19
  her siblings from her mom's first marriage and her step
• 47:21
  siblings. So it's kind of just this one
• 47:23
  big dysfunctional family all dealing with different little
• 47:26
  vignettes and stories about falling in love and how they
• 47:29
  feel about it. And so we get series of
• 47:31
  different numbers. Again, all covers of existing
• 47:33
  music. I think the most notable one
• 47:36
  that gets repeated in this movie is I'm Through With Love, which
• 47:40
  was sung by Marilyn Monroe and Some Like It Hot and as I talked
• 47:43
  about in the episode by Mary Jane Watson in Spider Man 3.
• 47:48
  Yeah, yeah. Kirsten Dunst.
• 47:50
  Kirsten Dunst. The cast is interesting.
• 47:53
  We have like a young Edward Norton and Drew Barrymore.
• 47:56
  Tim Roth is in it. Some of the more accomplished
• 47:58
  actors at the time was like Alan Alda is there.
• 48:01
  The thing that also dragged the movie down for me is that Woody
• 48:03
  Allen is in fact in it, like all of his movies.
• 48:07
  And as we talked about previous, Woody Allen reputation is shot.
• 48:11
  I think a lot of people who were watching stuff at the time gave
• 48:14
  him a benefit of the doubt. But this story in particular is
• 48:18
  about Woody Allen's character deceiving this woman who's like
• 48:22
  25 years younger than him and trying to fall in love with him.
• 48:26
  And it just is such an analog to like the real life weirdness of
• 48:30
  Woody Allen. And he's playing it so much just
• 48:32
  as himself that I had a hard time separating it and it just
• 48:36
  made me dislike him the moment the story begins.
• 48:38
  And he never won me back. Yeah.
• 48:40
  And is he, is he supposed to be an unlikeable character in the
• 48:43
  movie too? I don't really.
• 48:44
  I don't think so. I think he thinks he's he's he's
• 48:47
  supposed to be neurotic because the like dialogue style that I
• 48:51
  think Woody Allen really featured heavily in a lot of his
• 48:54
  movies is this like constantly talking, kind of like yapping
• 48:58
  dialogue where you're just over explaining everything and
• 49:01
  there's a lot of overlapping chatter between different groups
• 49:03
  of characters. I mean, there's a scene in this
• 49:05
  one everyone says I love You where there's like a family
• 49:08
  dinner going wrong and there's like 8 different people talking
• 49:10
  at once in a scene that carries on that bit for like a minute of
• 49:14
  screen time. It's such a long time to be
• 49:17
  doing that, that it just gets grating so quickly.
• 49:20
  And I don't know, I just, I'm the wrong audience for this
• 49:24
  Woody Allen movie. I, I like musicals a lot.
• 49:27
  I wish I could have liked this one more, but everything about
• 49:30
  it, it was like uniquely frustrating for me to watch.
• 49:34
  Yeah. And I mean, I also didn't
• 49:35
  realize when I picked it that it was again, we had four weeks.
• 49:39
  I didn't look up the term for this, but when it's when it's a
• 49:44
  musical that is using existing music.
• 49:49
  Like I don't know if there is a specific.
• 49:50
  Term for that. But.
• 49:51
  A more well known example that was good was like Moulin Rouge.
• 49:54
  Moulin Rouge uses real music sung by new performers and kind
• 49:57
  of added in the context of a different story.
• 49:59
  Which hot take? That movie annoys me too.
• 50:02
  Just interesting. Show some shade at Moulin Rouge
• 50:04
  while we're here. Secret bonus episode Moulin
• 50:06
  Rouge. But you know, yeah, Boulin
• 50:10
  Rouge. Tell me about it.
• 50:13
  So Moulin movie. I didn't really feel anything
• 50:16
  for it. I but at the same time, I can't
• 50:19
  knock it as being like poorly put together.
• 50:21
  I mean, it's just a classic Woody Allen thing.
• 50:23
  And I think a lot of the dialogue, if you liked his other
• 50:26
  movies up till that point would still resonate here because it's
• 50:28
  not like it's worse. It I mean, I haven't seen them,
• 50:30
  but it doesn't seem like it'd be any worse than his other movies.
• 50:33
  So I believe that at the end of the day, when we moved into our
• 50:36
  closing, I gave Woody Allen's Everyone says I love you a three
• 50:40
  out of 10. Let the record confirm because I
• 50:42
  actually don't remember. A well earned 3 out of 10.
• 50:46
  Well earned. I mean, I was hesitant.
• 50:48
  I tried to go higher, I think. And you were like, no, no, no,
• 50:50
  don't give him too much benefit of the doubt because like I
• 50:53
  said, I did a bad job here. I was like, I don't like this
• 50:55
  guy. He reads as creepy to me.
• 50:57
  And this movie he made reads as creepy to me.
• 51:00
  Yeah, I mean, whatever the scores are just based on
• 51:03
  whatever you feel so. So it's a 3 out of 10.
• 51:06
  It's not like to get lower than that would have to be like
• 51:08
  approaching like this was just not a movie like not put
• 51:12
  together properly or something. Really, really noticeably absent
• 51:15
  to get A1 or A2. So what do you all got a three
• 51:18
  out of 10? Frank, do you recall what you
• 51:20
  gave deep cover? Because that that's the part of
• 51:23
  the review that people heard unedited from when we first
• 51:25
  spoke about it. Oh, I didn't know there would be
• 51:29
  a quiz. I don't remember when I came
• 51:33
  deep cover. You gave deep cover A5 out of
• 51:35
  10. Oh, thanks.
• 51:36
  So you knew. You knew the whole time I.
• 51:39
  Was just trying to throw to you about it.
• 51:40
  As I recall, you told me that you thought Deep Cover was
• 51:43
  really well directed and put together, but then again, it
• 51:46
  just kind of wasn't really your speed and that you thought it
• 51:49
  was fine, but nothing like that really hooked you.
• 51:52
  Yeah, no deep cover like executed like a lot of the
• 51:57
  technical elements really well. I really liked the
• 51:59
  cinematography and like the performances.
• 52:01
  And I mean, honestly, it kind of like is is one of the movies of
• 52:06
  all the ones we've done on this show that like I remember the
• 52:09
  most fondly maybe, even though I didn't score it very high.
• 52:12
  That's interesting. I think we're gonna at some
• 52:14
  point probably do a bit of a retrospective on everything, and
• 52:17
  I wonder if our thoughts about any of these will change because
• 52:19
  this is our first time looking backwards at what we thought at
• 52:21
  the time. Yeah, yeah.
• 52:23
  But yeah, no deep cover. Like I don't know.
• 52:26
  And I tend to skew more positive, so it's like I get
• 52:28
  further away from it. I think I am more so just
• 52:30
  remembering the things I did like about it as opposed to the
• 52:32
  things that may have like turned me off.
• 52:35
  That's interesting. That does mean that I win the
• 52:39
  episode because the movie I recommended to you got a better
• 52:41
  score than the one you gave to me.
• 52:43
  And I think at this point, again, we're we're kind of in
• 52:45
  the future. We just finished recording
• 52:47
  Episode 7. But as of the end of this
• 52:49
  episode that you're hearing now, Frank, I think I'm ahead in the
• 52:51
  season 1 standings by like 4 points.
• 52:55
  Not a lot. It's a close game.
• 52:56
  Yeah, stay tuned. I think I win every other
• 52:59
  episode after this, so you know. I kind of really like those
• 53:04
  episodes a lot better. So in order to set that up for
• 53:09
  episode 6, where apparently Frank wins because I won this
• 53:13
  time, I got to go 1st, and I asked you to watch 1991's Doc
• 53:17
  Hollywood, a comedy drama of sorts starring Michael J Fox.
• 53:23
  Yeah, I can't wait to watch Doc Hollywood.
• 53:25
  I can't wait to have already seen and reviewed.
• 53:29
  Let me tell you that doc. He's so Hollywood, so Hollywood,
• 53:33
  you wouldn't believe it. Yes, I picked that one out
• 53:36
  because I like Michael J Fox. I have not seen him do much
• 53:39
  outside of Back to the Future, his most famous stuff.
• 53:42
  But I did watch a whole documentary recently about his
• 53:44
  life in dealing with Parkinson's and how it affected his career
• 53:47
  as an actor. And I just thought, I don't
• 53:49
  know, he's just a very likable performer.
• 53:51
  And I thought that this one would be kind of in the spirit
• 53:53
  of, like, Welcome Home, Roxy Carmichael, the first movie I
• 53:56
  had you watch, just a just a kind of 90s comedy that they
• 53:58
  don't really make any more. Yeah.
• 54:00
  Totally, and I won't spoil what I thought of it.
• 54:02
  Yeah, 11 out of 10. So what did you ask me to watch
• 54:06
  for our upcoming episode 6 You. Keep asking me these questions
• 54:09
  that that you know the. Answers Come on Jackal Jackal.
• 54:13
  You watch Bruce Willis and Richard Gere in 1997's Jackal, a
• 54:18
  loose remake of the 70s film Day of the Jackal.
• 54:22
  Yes, yes, which I picked. Because.
• 54:26
  Because Bruce Willis. Mostly because Bruce Willis.
• 54:29
  Yeah. I mean, we don't know a lot
• 54:31
  about these movies because we haven't seen them.
• 54:32
  So actor pairings is is often a key ingredient.
• 54:35
  I do want to immortalize, for the record, that we had a funny
• 54:38
  thing happened when this first conversation happened.
• 54:41
  You actually selected a movie for me to watch that I had seen
• 54:44
  before. You wanted me to watch a Michael
• 54:46
  Douglas movie called The Game from the same year, I think, and
• 54:49
  we had to hit the big whammy button because I had already
• 54:52
  seen it. Yeah, yeah, that and the game
• 54:54
  would have been a good choice that that the Jackal was my.
• 54:56
  That's what I said. Backup choice, yeah.
• 54:59
  Yeah, I, I, I said it on the air and you you would have heard it
• 55:02
  in the full recording. But if I had been given the
• 55:04
  game, given what I know about actually having seen it
• 55:06
  previous, it would have been like a nine out of 10.
• 55:08
  It's such a fun movie. So if anyone has not seen the
• 55:10
  game, it's very fun, but unfortunately not show eligible.
• 55:15
  So instead we're going to watch Jackal or I'm going to watch
• 55:18
  Jackal, and hopefully even better.
• 55:21
  Yeah, I assume so. Why not?
• 55:23
  I assume so. We already talked about it, so
• 55:25
  we know, but you're gonna have to come back in two weeks to
• 55:29
  find out. Again, thank you so much for
• 55:31
  listening to the episode. Our apologies for the technical
• 55:33
  difficulties, but hopefully you got what you came for and we
• 55:36
  will see you in two weeks. Bye.
• 55:40
  Yeah, yeah, yeah. Bye.
• 55:42
  Bye. Thank you for listening to our
• 55:57
  show. Before we go tonight, I wanted
• 55:59
  to give some additional updates about screenings for Nate and
• 56:02
  Mariah in Venice, the film that Frank is Co producer on that is
• 56:05
  currently on its Film Festival circuit tour.
• 56:08
  We talked about this previously back in episode 3, but it's
• 56:11
  coming up again now. The film is available to stream
• 56:13
  digitally as part of the Richmond International Film
• 56:16
  Festival beginning on September 23rd.
• 56:18
  That's next week. You can actually buy your
• 56:20
  tickets now for $5 in order to access the film during the time
• 56:23
  it's screening at the festival. Again, more information on these
• 56:26
  screenings can be found at the Sardonic Pictures website,
• 56:29
  sardonicmp.com. The new announcement that we
• 56:33
  have for tonight's episode is that the film is also screening
• 56:36
  at the Glendale International Film Festival on Saturday,
• 56:39
  September 27th. Again, that one's coming up very
• 56:42
  soon. Tickets are on sale now, so
• 56:44
  check out Sardonic mp.com, which is LinkedIn the description for
• 56:48
  this episode. If you enjoyed tonight's show,
• 56:51
  make sure to give it a rating, leave a comment, share it with a
• 56:53
  friend, all the usual stuff. We also, as mentioned
• 56:56
  previously, are on social media. You can find us on Instagram at
• 57:00
  Meet Your Double Feature and on Blue Sky at Mydfpod.
• 57:04
  Thanks again for joining us. We'll be back in two weeks with
• 57:07
  our next episode of Meet Your Double Feature.
• 57:18
  Coming up next, It's The Jackal, followed by Doc Hollywood on
• 57:24
  Meet Your Double Feature.