Latest / Frightmares / Ep. 376 - Vampire In Brooklyn (1995)

Transcript

Ep. 376 - Vampire In Brooklyn (1995) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:08
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:12
  Speaker 1: excessive foul language.
• 0:14
  Speaker 2: Viewer discretion is advised enjoy the show. Welcome back to
• 0:56
  Speaker 2: Frightmar's podcast. I'm your host Austin Proctor, and joining me
• 1:00
  Speaker 2: today for episode three seventy six is my beautiful wife,
• 1:04
  Speaker 2: Gabrielle Procter.
• 1:04
  Speaker 1: Hello, hell.
• 1:07
  Speaker 2: Today, on the last installment of Vamprels Bye, we're discussing
• 1:10
  Speaker 2: our wild card pick, Vampire in Brooklyn from nineteen ninety five,
• 1:14
  Speaker 2: a movie that shows us, unlike Nicholas Cage, who can
• 1:17
  Speaker 2: literally do anything, Eddie Murphy cannot.
• 1:21
  Speaker 1: But he does like to party all the time.
• 1:23
  Speaker 2: I figured that would get a laugh. Wow. Okay, all right,
• 1:26
  Speaker 2: hopefully one person out there laughs. Let's see where this
• 1:28
  Speaker 2: lands on the nightmare index so recently watched. I think
• 1:39
  Speaker 2: I'm catching you in the polls here, but I don't.
• 1:42
  Speaker 2: I don't think i'm I don't think I'm like getting
• 1:44
  Speaker 2: that close. Uh well, I had my phone. I'll just
• 1:48
  Speaker 2: use my iPad or whatever I am at for this
• 1:52
  Speaker 2: year twenty twenty, So, do you want to go to
• 1:53
  Speaker 2: my stats for that song.
• 1:54
  Speaker 1: Now you can just go to your main page and
• 1:56
  Speaker 1: scroll down a little. Yeah, yeah, I should say.
• 1:59
  Speaker 2: Diary, oh oh, dire oh yeah yeah yeah, five and
• 2:03
  Speaker 2: thirty nine.
• 2:05
  Speaker 1: Total ever yeah, and then to the next next to it, it
• 2:09
  Speaker 1: should say this year.
• 2:10
  Speaker 2: Oh the iPad, it does not one hundred and ninety
• 2:14
  Speaker 2: eight entrees.
• 2:17
  Speaker 1: I'm at two fifty seven.
• 2:18
  Speaker 2: Good lord. I have to be really careful with what
• 2:21
  Speaker 2: my two hundredth is because I already fucked up with
• 2:24
  Speaker 2: my fiftieth being Couples Retreat. That movie sucked. My hundredth
• 2:29
  Speaker 2: was undertone, but I don't know which time because I've
• 2:31
  Speaker 2: watched it three times. And then one hundred and fiftieth
• 2:34
  Speaker 2: was Killers, so I gotta be real careful. Oh shit,
• 2:38
  Speaker 2: this might be my one hundred or one hundred and fiftieth.
• 2:41
  Speaker 2: I'm okay with that.
• 2:43
  Speaker 1: Mine's all over the place.
• 2:44
  Speaker 2: I'll be okay with that.
• 2:45
  Speaker 1: My fiftieth was four, my hundred was Bookworm, My one
• 2:50
  Speaker 1: hundred and fiftieth was undertone.
• 2:52
  Speaker 2: Oh wow.
• 2:53
  Speaker 1: My two hundredth was forty eight hours, and my two
• 2:57
  Speaker 1: fifty was Real Men, which is possibly one of the
• 3:00
  Speaker 1: most bizarre films I've ever seen, at least plot wise
• 3:04
  Speaker 1: when I'm like everything was just in a blender, all right.
• 3:08
  Speaker 2: All right, Well, I always kick it over to the
• 3:11
  Speaker 2: other house. So what have you watched in the last week.
• 3:15
  Speaker 1: In the last week, let's see, I've checked out some
• 3:18
  Speaker 1: stuff I've I know recently, I finished Lessons in Chemistry
• 3:23
  Speaker 1: that Bree Larson Apple series amazing.
• 3:28
  Speaker 2: Still have yet to watch one Apple series and I've
• 3:31
  Speaker 2: owned or owned I've had Apple TV for way too long.
• 3:37
  Speaker 1: Yeah, but I am trying to check out some films
• 3:40
  Speaker 1: with some smaller or some lesser known films from some actors.
• 3:44
  Speaker 1: So I watched Running Scared, which is a Billy Crystal movie.
• 3:47
  Speaker 1: Rai's a cop Delirious where John Candy is a soap
• 3:52
  Speaker 1: opera writer, realman, Like I said, that's got Jim Belushi
• 3:58
  Speaker 1: and John Cryer and.
• 4:01
  Speaker 2: Heartburn Jim John Belushi, Yeah.
• 4:04
  Speaker 1: And Heartburn with Meryl Streep. And I don't know why
• 4:08
  Speaker 1: Jack Nicholson theory, which was apparently the story of Nora Efron,
• 4:14
  Speaker 1: the famous film writer gotcha and her marriage dissolving because
• 4:18
  Speaker 1: her husband couldn't not cheat on her, couldn't not all
• 4:22
  Speaker 1: very good. But I can see why they're not really
• 4:25
  Speaker 1: talked about because they're definitely smaller. They're not any of
• 4:29
  Speaker 1: these actors' best performances. They're not bad performances. It's just like,
• 4:33
  Speaker 1: I see why this is not a film people mentioned
• 4:36
  Speaker 1: when they mentioned this actor. But you know, it's been
• 4:40
  Speaker 1: fun to explore smaller.
• 4:42
  Speaker 2: Filmsck Man, I just edited the last episode this morning
• 4:46
  Speaker 2: because I'm never catching up, and I don't remember if
• 4:49
  Speaker 2: I talked about Hive. I don't think I did, because
• 4:52
  Speaker 2: I had to catch up on three Cult Movie Challenge
• 4:55
  Speaker 2: movies because I just hadn't done them. And the bonus
• 4:58
  Speaker 2: episode never includes one because there's you know, we do
• 5:01
  Speaker 2: one extra episode a month, so there's only fifty fifty
• 5:05
  Speaker 2: two movies for the year, so I can't just pull
• 5:07
  Speaker 2: out other movies that don't exist. So I don't think
• 5:10
  Speaker 2: we did. I don't think I did. I don't think
• 5:12
  Speaker 2: I mentioned Hive. That was a two the original, great premise,
• 5:15
  Speaker 2: great idea, just cool effects, what no nod, there's just
• 5:21
  Speaker 2: what's happening. What this context is is an afterthought in
• 5:26
  Speaker 2: this movie.
• 5:27
  Speaker 1: Doorytelling got really wonky. They really expected you to infer
• 5:32
  Speaker 1: some things, and then other things were just painfully unsubtle. Yeah,
• 5:37
  Speaker 1: the not that the topic wasn't worth talking about, but
• 5:40
  Speaker 1: the way they went about it was so.
• 5:43
  Speaker 2: The subtext was the subtext was just text yeah and
• 5:47
  Speaker 2: bold and italics and underlined.
• 5:50
  Speaker 1: Because I was like, so, I'm guessing what they're saying
• 5:52
  Speaker 1: is And then the further we got in the movie,
• 5:54
  Speaker 1: they were just saying the things I had just said.
• 5:57
  Speaker 2: I mean, feel free to say it.
• 5:59
  Speaker 1: I mean, oh yeah. The whole thing as a metaphor
• 6:00
  Speaker 1: for the suburbs and how we have people working in
• 6:04
  Speaker 1: the suburbs as nanny's gardeners, people that you want there
• 6:09
  Speaker 1: so you don't have to take care of those things,
• 6:10
  Speaker 1: but you don't want to. They need to be seen,
• 6:14
  Speaker 1: not heard, and they need to be doing their job
• 6:17
  Speaker 1: but mining their business.
• 6:18
  Speaker 2: And they're mostly minorities, yes, and.
• 6:21
  Speaker 1: Now they're mostly minorities. And the whole thing is this,
• 6:24
  Speaker 1: like these neighborhoods eat all these workers because that's what happens.
• 6:30
  Speaker 1: You know, Oh, you don't like this nanny will just
• 6:33
  Speaker 1: fire her and get a different nanny who cares.
• 6:36
  Speaker 2: Very strange movie, and it's it's.
• 6:39
  Speaker 1: Definitely an important topic and something worth mentioning. How little
• 6:44
  Speaker 1: humanity is given to these people who you trust with
• 6:47
  Speaker 1: so many aspects of your life, so you can do
• 6:49
  Speaker 1: whatever you want. And it was just really unsubtle how
• 6:54
  Speaker 1: they went about it.
• 6:55
  Speaker 2: It's very unsubtle. So we watched that together. We also
• 7:01
  Speaker 2: watched Over Your Dead Body. I don't think I got
• 7:03
  Speaker 2: to talk about that either with Jason Siegel Samar Weaving.
• 7:07
  Speaker 2: I'm sure you've seen the trailer. It's they're basically both
• 7:11
  Speaker 2: planning to kill each other, and what I thought would
• 7:14
  Speaker 2: happened does not happen. It went in like two different
• 7:18
  Speaker 2: directions than I thought it was going to go, and
• 7:20
  Speaker 2: not in a bad way, just in a oh, this
• 7:23
  Speaker 2: is much different than it was marketed, which was good
• 7:26
  Speaker 2: because I feel the trailer kind of threw you off
• 7:29
  Speaker 2: because you don't know Timothy Oliphant's role, You don't know
• 7:34
  Speaker 2: CHRISTI huh, Juliette Lewis anyways, Juliet Lewis, you don't know
• 7:39
  Speaker 2: like their roles, and then you find out what they are.
• 7:41
  Speaker 2: Oh okay, So I really like that one. It's not
• 7:45
  Speaker 2: labeled horror and I find that offensive and it's probably
• 7:48
  Speaker 2: gonna be the one movie I make an exception for
• 7:51
  Speaker 2: to put on the top ten of the year because
• 7:55
  Speaker 2: it's so horror coded. Yeah, there's so much horror in
• 7:58
  Speaker 2: that movie. So I gave it a four and a half.
• 7:59
  Speaker 2: What did you give movie? Let me check?
• 8:02
  Speaker 1: Hold one second. I think I gave it a four
• 8:04
  Speaker 1: or four and a half.
• 8:05
  Speaker 2: Jason Sieglan Tomorrow Weaving were perfection together?
• 8:09
  Speaker 1: Oh yeah, great comedy?
• 8:11
  Speaker 2: See comedy? Did want? I mean the second the movie opened,
• 8:15
  Speaker 2: the comedy started, and the comedy did not stop until
• 8:18
  Speaker 2: the like did you not? Did you say?
• 8:20
  Speaker 1: They might have actually forgotten to rate it? Wow?
• 8:22
  Speaker 2: We watched it on the nineteenth April ime, going wow,
• 8:26
  Speaker 2: how do you you just randomly you might be so
• 8:28
  Speaker 2: much further ahead of me than you are now if
• 8:31
  Speaker 2: you're just forgetting to log.
• 8:32
  Speaker 1: Shit, certainly one more ahead than Oh no I did. Okay,
• 8:35
  Speaker 1: I just couldn't see it. That's weird. Okay, Yeah, I
• 8:37
  Speaker 1: gave it a four and a half.
• 8:38
  Speaker 2: Yeah, good stuff. Of course, I'm still in my true
• 8:42
  Speaker 2: crime fate. I don't know how long this is gonna last,
• 8:44
  Speaker 2: Probably until I burn through everything. Watch something called Burden
• 8:47
  Speaker 2: of Proof. Eh, it was alright. Three and a half
• 8:50
  Speaker 2: stars watched something called Murder in Boston Roots Rampage and
• 8:55
  Speaker 2: Reckoning entirely too long of a title. It is Oh boy,
• 9:00
  Speaker 2: it is something that will make you very angry on
• 9:03
  Speaker 2: other people's behalf. And it's crazy what was going on
• 9:05
  Speaker 2: in Boston, Yet another reason to just not go there.
• 9:08
  Speaker 2: Then I watched Last Call When a serial Stalker? Uh,
• 9:12
  Speaker 2: when a serial killer stalker? Jesus see, this is the
• 9:15
  Speaker 2: problem with too long of a title. When a serial
• 9:18
  Speaker 2: killer stocks Queer New York, that is too long of
• 9:20
  Speaker 2: a title. Many much words. Another like my review was,
• 9:25
  Speaker 2: I've never felt this much rage on someone else's behalf before.
• 9:27
  Speaker 2: Fuck homophobia. It's just gripping stuff. But it's it's it's
• 9:32
  Speaker 2: tough to watch. And then for movies, I finally finally
• 9:36
  Speaker 2: watched The Godfather after thirty six years of being on
• 9:40
  Speaker 2: this earth. Uh four point six or four point five
• 9:44
  Speaker 2: out of five average. Sure, everyone loves Francis Ford Coappola.
• 9:47
  Speaker 2: I get it, it's not I'm just not interested in
• 9:50
  Speaker 2: what's going on. Very much like if you go listen
• 9:54
  Speaker 2: to the Shameless Picture show, they because they did The
• 9:55
  Speaker 2: Godfather too, and I'm halfway through that because it's almost
• 9:59
  Speaker 2: a four hour movie. I appreciate the cinematography, the acting,
• 10:04
  Speaker 2: what is going on, it's the content that I'm not
• 10:07
  Speaker 2: interested in. And that's exactly what Nick says on the
• 10:09
  Speaker 2: Shameless Picture show. Who is Michael's They were, They're the
• 10:13
  Speaker 2: ones that started the show. I'm just not really interested
• 10:16
  Speaker 2: in what's happening. It's this guy killed this guy. I
• 10:18
  Speaker 2: gotta go kill this guy. Revenge, revenge, revenge. I'm not interested,
• 10:22
  Speaker 2: but I can't deny it is a fantastically made film.
• 10:26
  Speaker 2: It's very aesthetically Like I was watching some behind the
• 10:30
  Speaker 2: scenes in the cinematographer would under expose dark scenes to
• 10:34
  Speaker 2: give them a heavier feel to them, like when the
• 10:37
  Speaker 2: Godfather is doing deals and then when it's and then
• 10:41
  Speaker 2: you get caught, you get juxtaposition when they go outside
• 10:43
  Speaker 2: to the big family wedding and the shots are over
• 10:47
  Speaker 2: exposed a little bit, just a little bit.
• 10:48
  Speaker 1: It's not like, yeah, yeah, I've seen the movie.
• 10:51
  Speaker 2: Yeah, so it's beautiful. It's a fantastic movie, for sure.
• 10:56
  Speaker 2: It's just so it's like I gave four stars, but
• 10:58
  Speaker 2: I didn't give it a heart because I don't know.
• 11:00
  Speaker 2: I just I'm not interested in the subject material.
• 11:05
  Speaker 1: Yeah, I don't want to be that guy in this
• 11:11
  Speaker 1: because if you've got any big Copla fans there, you're
• 11:15
  Speaker 1: gonna I'm gonna get some hate.
• 11:17
  Speaker 2: Everyone everyone loves However.
• 11:20
  Speaker 1: You say this, I say, but I've seen a few
• 11:25
  Speaker 1: of his films. I've mostly liked one of them. I
• 11:30
  Speaker 1: don't remember a lot about The Godfather. I remember some,
• 11:33
  Speaker 1: but I don't remember a lot, so I'd have to
• 11:34
  Speaker 1: rewatch it. I'm more interested in Sophia Coppola's work because
• 11:41
  Speaker 1: I've enjoyed everything.
• 11:42
  Speaker 2: I've seen, just not her acting in The Godfather three.
• 11:45
  Speaker 2: I've heard that's what almost tanked that movie.
• 11:47
  Speaker 1: No, but like Virgin Suicides was really good. Marie Antoinette
• 11:52
  Speaker 1: is a really, really well done Yeah, that's on my
• 11:56
  Speaker 1: watch list. I just watched The Big Guild and let
• 11:58
  Speaker 1: me tell you that is a stressful film.
• 12:01
  Speaker 2: You like her work as a director.
• 12:02
  Speaker 1: Oh yeah, No, I think she does great as a director.
• 12:06
  Speaker 1: And Marie Antoinette is when I want to show you.
• 12:09
  Speaker 1: I know you don't like period films, but it's such
• 12:11
  Speaker 1: a cool use of trying to get you to understand
• 12:15
  Speaker 1: that perspective of this young girl who really doesn't know
• 12:18
  Speaker 1: what she's doing. Now, I'm queen and I've moved to France,
• 12:24
  Speaker 1: where I don't know anybody, and I don't know this
• 12:26
  Speaker 1: culture and I'm not allowed to do one hundred different
• 12:30
  Speaker 1: things or just live like a normal person because I'm
• 12:34
  Speaker 1: the queen, so I have to do things the way
• 12:37
  Speaker 1: it's done. And it's just a really well done film,
• 12:40
  Speaker 1: and they do a great job contrasting it with modern
• 12:44
  Speaker 1: music or it's eighties music.
• 12:46
  Speaker 2: But yeah, yeah, uh, I don't know. I'm beginning to think,
• 12:52
  Speaker 2: much like David Fincher. I think I said this somewhere.
• 12:55
  Speaker 2: I hate how David Fincher ends ninety percent of his movies.
• 12:58
  Speaker 2: I fucking hate his ending, but I still enjoy, Like
• 13:02
  Speaker 2: I think I gave most of his movies like three
• 13:04
  Speaker 2: point five and four, but I'm just I hate the
• 13:06
  Speaker 2: way they end. I'm beginning to think I'm just not
• 13:09
  Speaker 2: a fan of Coppola's work. And I'm also realizing this
• 13:12
  Speaker 2: is I don't know what took me, what eight years
• 13:15
  Speaker 2: being on letterbox that I can give a movie high
• 13:18
  Speaker 2: marks but not give it a heart. I don't know.
• 13:20
  Speaker 2: For some reason, I was always like, if it's got
• 13:21
  Speaker 2: like a three point five or higher, I have to
• 13:24
  Speaker 2: like it, right. No, I'm I'm expressing the fact that
• 13:28
  Speaker 2: I can't deny it as a well made movie. It
• 13:30
  Speaker 2: is an ensemble cast. Fucking Alba Gino's unrecognizable in that movie.
• 13:36
  Speaker 2: I won't even lie. Took me half the movie to
• 13:38
  Speaker 2: realize that was Alpacino. He is so different and I'm
• 13:43
  Speaker 2: half with you. The Godfather of Part two, which is
• 13:45
  Speaker 2: definitely I find it a little bit more interesting because
• 13:47
  Speaker 2: they go they given, they give you Vetos past played
• 13:50
  Speaker 2: by DeNiro. That's how he gets involved. But really, the
• 13:54
  Speaker 2: first The Godfather is about Michael. It's not even about
• 13:57
  Speaker 2: the Godfather. And I think that's why I was canus,
• 14:00
  Speaker 2: because you hear about this movie called The Godfather, and
• 14:03
  Speaker 2: the Godfather is not Don Corleone. It's just not specifically
• 14:09
  Speaker 2: about him. It's so much more about Michael's not wanting
• 14:12
  Speaker 2: to be in the family and then kind of being
• 14:14
  Speaker 2: pushed into the family after what happens to his father,
• 14:16
  Speaker 2: and then eventually, you know, getting to where he was.
• 14:19
  Speaker 2: So it's much more Michael's story than anything. I think
• 14:22
  Speaker 2: rewatching it might help me appreciate it more because now
• 14:26
  Speaker 2: I know what I'm getting into. But as it stands,
• 14:28
  Speaker 2: four stars no Heart. Rewatched the Horror and the High
• 14:31
  Speaker 2: Desert series and finally checked out the fourth one called
• 14:35
  Speaker 2: Majesty that was my favorite one these I don't know what.
• 14:40
  Speaker 2: You don't really seem to like them, but and I
• 14:42
  Speaker 2: get why you don't like the first one. But two,
• 14:43
  Speaker 2: three and four, Jesus Christ, it is some of the
• 14:46
  Speaker 2: most I don't even know how to describe it. Besides,
• 14:49
  Speaker 2: like edging horror, you're sitting there waiting for something to happen.
• 14:54
  Speaker 2: Sometimes it does, sometimes it doesn't. And two and four
• 14:58
  Speaker 2: or three and four involve a lot of going through
• 15:01
  Speaker 2: caves like as above so below, but it's just one
• 15:04
  Speaker 2: person and they're hearing things, so they're looking back and forth.
• 15:07
  Speaker 2: It brings out a level of anxiety in me that
• 15:10
  Speaker 2: I can't even describe. And then I recently watched all
• 15:13
  Speaker 2: the Blackwell Ghosts because it's been two years since we've
• 15:16
  Speaker 2: gotten a Blackwell Ghost installment, and I'm just sad. Okay,
• 15:20
  Speaker 2: I'm fair, he said to be continued in the Blackwell
• 15:23
  Speaker 2: Ghost eight. And he put out at least one every
• 15:26
  Speaker 2: year seventeen eighteen, nineteen two, and twenty twenty two and
• 15:30
  Speaker 2: twenty twenty two. One in twenty twenty four, we are due.
• 15:34
  Speaker 2: It is time, So it's a ton letterbox. I just
• 15:38
  Speaker 2: don't know when we're gonna get.
• 15:39
  Speaker 1: It if it helps. I gave this second Horror in
• 15:43
  Speaker 1: the High Desert a three. The other two we're two
• 15:46
  Speaker 1: and a half, so I seem to appreciate the second
• 15:50
  Speaker 1: one more.
• 15:51
  Speaker 2: Well. Yeah, the first ones at three and a half
• 15:53
  Speaker 2: for me, four or sorry sorry, two is a four.
• 15:56
  Speaker 2: Three is a three because I just didn't like the
• 15:59
  Speaker 2: way it ended, and then four was a four and
• 16:01
  Speaker 2: a half. That one was absolutely the wildest one so far.
• 16:04
  Speaker 2: And they're already planning to do if either of the
• 16:06
  Speaker 2: fifth one's done or they're doing a fifth one, and
• 16:09
  Speaker 2: I think that might be it. But Turner Clay, I
• 16:12
  Speaker 2: know you're out there, come back. We need Blackwell nine.
• 16:16
  Speaker 2: I'm dying for it to maybe wrap up. I don't know.
• 16:20
  Speaker 1: Yeah, maybe, by the way, I don't know. Did you
• 16:23
  Speaker 1: mention it on the last podcast? Did you mention finally
• 16:26
  Speaker 1: watching Dead and Breakfast? No?
• 16:27
  Speaker 2: I didn't. We watched Dead and Breakfast. You've been something
• 16:30
  Speaker 2: trying trying to get me up to watch that probably
• 16:31
  Speaker 2: since twenty seventeen we got together. It was a fever
• 16:36
  Speaker 2: dream of a movie. Ozgood Perkins is in that movie
• 16:41
  Speaker 2: being Oz Good Perkins. I guess three and a half
• 16:44
  Speaker 2: good time. I just wasn't. I wasn't there for the music.
• 16:47
  Speaker 1: Not a fan of the random musical, not a fan.
• 16:51
  Speaker 2: They were funny, but stop. I don't like it so
• 16:54
  Speaker 2: but that movie was wild.
• 16:56
  Speaker 1: That's why I liked it, because you're just like, there's
• 16:58
  Speaker 1: literally no reason for is to be here, and yet
• 17:01
  Speaker 1: here we are. And every actor in it is someone
• 17:05
  Speaker 1: you know from something else. Yeah, exactly, which made it
• 17:08
  Speaker 1: really fun to watch because you're like, oh my god,
• 17:11
  Speaker 1: you all went on to do great things.
• 17:13
  Speaker 2: Yeah.
• 17:15
  Speaker 1: Charlie Swan Bella's dad from Twilight is one of the writers.
• 17:20
  Speaker 2: Oh that's very Random's so random. Oh.
• 17:25
  Speaker 1: I actually told my friend. I told Heather that, and
• 17:27
  Speaker 1: she's like, I knew we had good taste. Jesus.
• 17:30
  Speaker 2: Sorry. I gasped because I had written all my notes
• 17:33
  Speaker 2: out on my phone for this movie, and I went
• 17:35
  Speaker 2: to my iPad and it just had the first thing
• 17:37
  Speaker 2: I tighted, and I was like, oh God, did this nuts?
• 17:39
  Speaker 2: And then it all just loaded so so good. I
• 17:41
  Speaker 2: don't like reading it off my phone. It's too tiny.
• 17:43
  Speaker 2: With all that being said, let's move on too. The
• 17:46
  Speaker 2: body count. He's a little low there, all right.
• 17:50
  Speaker 1: You read it like you wrote.
• 17:51
  Speaker 2: It, read it like I wrote it. Vamprey in Brooklyn.
• 17:57
  Speaker 2: Vampire in Brooklyn from nineteen ninety five, release on October
• 18:00
  Speaker 2: twenty seventh of that year in the US. Rated R
• 18:02
  Speaker 2: for strong language and vampire violence. Classic fucking what.
• 18:08
  Speaker 1: That's an R just right out the gate right vampire.
• 18:11
  Speaker 2: Violence, mild sex and nudity, moderate violence and gore, severe profanity.
• 18:15
  Speaker 2: Apparently there were thirty fucks. That's how many fucks it
• 18:18
  Speaker 2: takes to get a severe mild alcohol, drugs and smoking,
• 18:21
  Speaker 2: and moderate frightening and intense scenes coming in in an
• 18:23
  Speaker 2: hour and forty minutes. A little on alongside listen as
• 18:26
  Speaker 2: a comedy, fantasy, horror, romance, and they definitely blend all
• 18:29
  Speaker 2: those genres in a way. Directed by Wes Craven, we're
• 18:34
  Speaker 2: gonna go over his filmograph. I mean, you should know
• 18:35
  Speaker 2: who he is, but we're gonna go over his filmography
• 18:38
  Speaker 2: because I realized how great this man was. I don't
• 18:41
  Speaker 2: know why it took me till this year to realize
• 18:43
  Speaker 2: how great he was, but I was combing through his
• 18:45
  Speaker 2: filmography like holy shit.
• 18:47
  Speaker 1: Wes Craven is a literal legend in horror.
• 18:51
  Speaker 2: Written by Eddie Murphy, who only has seventeen writing credits,
• 18:55
  Speaker 2: but he also wrote Beverly Hills Cop two Coming to America,
• 18:59
  Speaker 2: the first one on the same second one, and then Norbit,
• 19:01
  Speaker 2: that movie I still haven't seen, but just draft, just desperate.
• 19:05
  Speaker 2: I desperately want to because it's so bad.
• 19:07
  Speaker 1: I want how I'd rather.
• 19:09
  Speaker 2: I want to double feature that with the Pluto one
• 19:12
  Speaker 2: that he did Pluto Wow.
• 19:13
  Speaker 1: She I'll watch that with you because I have this
• 19:15
  Speaker 1: weird and I weirdly enjoy that one.
• 19:17
  Speaker 2: It's terrible, biggest box office failure, but.
• 19:20
  Speaker 1: Every time it came on because my grandma had HBO,
• 19:26
  Speaker 1: sometimes she take naps and I'd watch the HBO kids,
• 19:28
  Speaker 1: but sometimes movies would be on their, like Adventures of
• 19:30
  Speaker 1: Pluto Nash and I was like all over that movie.
• 19:33
  Speaker 2: Wow, also written There's so many fucking writers on this,
• 19:37
  Speaker 2: also written by Vernon Lynch. She only has one other
• 19:39
  Speaker 2: credit for something called Ain't Nothing to It, which is
• 19:41
  Speaker 2: a music video. Charlie Murphy, Eddie Murphy's brother, only has
• 19:45
  Speaker 2: four other credits for Paper Soldiers three Years of the
• 19:48
  Speaker 2: Chappelle's Show, even though technically he was uncredited, and Norbit.
• 19:52
  Speaker 2: I love when they put people on there and say
• 19:54
  Speaker 2: in parentheses uncredited because they're still technically credited.
• 19:58
  Speaker 1: They're just uncredited in the sense that they weren't in
• 20:00
  Speaker 1: the credits.
• 20:01
  Speaker 2: I know, but it's just funny. Michael Lucker, who only
• 20:04
  Speaker 2: wrote four other things, this being his first credit. He
• 20:07
  Speaker 2: wrote Home on the Range, Mulan two in good Intentions okay.
• 20:12
  Speaker 2: Chris Parker, who only wrote three other things, Mulan two,
• 20:15
  Speaker 2: Battle of the Year, and Heaven Is Real.
• 20:17
  Speaker 1: So there you go, well all right?
• 20:19
  Speaker 2: Composed by J. Peter Robinson, who composed so many good things.
• 20:24
  Speaker 2: The three highlights I chose were the gate, Wayne's World
• 20:27
  Speaker 2: and New Nightmare. Cinematography by Mark Irwin. I think he
• 20:32
  Speaker 2: was on our Scream episode. He'd also did the cinematography
• 20:34
  Speaker 2: for every Cronenberg movie from The Brood through the Fly,
• 20:38
  Speaker 2: which is about eight years of time seventy nine to
• 20:40
  Speaker 2: eighty six, seven, Scream and Scary Movie three, which I
• 20:44
  Speaker 2: find hilarious. He did a Scream movie and a Scary
• 20:46
  Speaker 2: Movie movie, and then edited by Patrick Lucier. I mean
• 20:50
  Speaker 2: he comes up every every now and again. This man
• 20:53
  Speaker 2: is a legend. He also edited New Nightmares, Scream one
• 20:56
  Speaker 2: through three, Halloween h two. He's also a director. He
• 20:58
  Speaker 2: directed Dracula two, thousand, White Noise to the Light, and
• 21:02
  Speaker 2: My Bloody Valentine.
• 21:03
  Speaker 1: All quality.
• 21:04
  Speaker 2: I fucking just love Patrick Lucier.
• 21:07
  Speaker 1: Okay, they're bad quality films, they're quality films.
• 21:09
  Speaker 2: Dracula two thousand is a great movie. I don't care
• 21:12
  Speaker 2: what any ba says.
• 21:13
  Speaker 1: Eddie vibes.
• 21:14
  Speaker 2: It's all vibes, all vibes, and Gerard Butler's looking super
• 21:17
  Speaker 2: super hot.
• 21:18
  Speaker 1: It's the hair.
• 21:18
  Speaker 2: It's the hair, starring Eddie Murphy as Maximilian slash Preacher,
• 21:22
  Speaker 2: Polly slash Guido. Because this man can't just be in
• 21:25
  Speaker 2: a movie once he with. That's what he's credited as.
• 21:31
  Speaker 1: No One I'm talking about that.
• 21:32
  Speaker 2: Yeah, he's Donkey and Shrek. Name me a more popular
• 21:37
  Speaker 2: movie that he's in. Shrek fucking blew the world away
• 21:40
  Speaker 2: in two thousand, whatever.
• 21:42
  Speaker 1: I know, he's just like so many of his personal
• 21:44
  Speaker 1: projects are so popular, and you went with Donkey.
• 21:49
  Speaker 2: Whatever. Angela Bassett is Rita, who is fucking slaying in
• 21:55
  Speaker 2: this movie. She was also in She's in forty nine
• 21:58
  Speaker 2: episodes of American Horror Story, but most notably Seasoned three
• 22:01
  Speaker 2: as Marie Leveau Badass. Alan Payne is Justice, who was
• 22:05
  Speaker 2: also in New Jack City as g Money, Kadem Hardensen
• 22:09
  Speaker 2: as Julius. He was in one hundred and forty three
• 22:11
  Speaker 2: episodes of Something Called a Different World as Dwayne Wayne.
• 22:14
  Speaker 1: It was a really popular show in the nineties, like
• 22:18
  Speaker 1: extremely popular.
• 22:19
  Speaker 2: And then John Witherspoon, not related to Reese Witherspoon as Silas,
• 22:22
  Speaker 2: who was also in Friday as mister Jones. Estimated budget
• 22:26
  Speaker 2: of twenty million, worldwide box office gross of nineteen point six.
• 22:29
  Speaker 2: Filmed in the Paramount back lots in Los Angeles and Brooklyn.
• 22:33
  Speaker 2: You can watch this on Pluto TV and twob movies
• 22:36
  Speaker 2: that came out around the same times. I'm going to
• 22:38
  Speaker 2: try and keep track while I read them so it
• 22:40
  Speaker 2: makes it easier for me. Dead Presidents, The Big Green Halloween,
• 22:45
  Speaker 2: The Curse of Michael Myers, Mal Rats, Copycat, Aceventcher, When
• 22:50
  Speaker 2: Nature calls GoldenEye Casino Extra three, Watch the Skies, Toy Story,
• 22:55
  Speaker 2: and Rumpelstiltskin. You've seen seven.
• 22:58
  Speaker 1: You don't even know I was counting how many you
• 23:01
  Speaker 1: haven't seen?
• 23:01
  Speaker 2: Sorry, Oh my god?
• 23:03
  Speaker 1: Two, three, four, you've only seen four seen Halloween. I'm
• 23:10
  Speaker 1: supposed to guess you not.
• 23:12
  Speaker 2: You have not seen Halloween. Six. You haven't seen half
• 23:15
  Speaker 2: the Halloween movies.
• 23:16
  Speaker 1: Okay, sorry, then less than.
• 23:18
  Speaker 2: That you've seen. You haven't seen The Big Green.
• 23:21
  Speaker 1: No, I'm this.
• 23:23
  Speaker 2: I give up this fucking show. You've seen mal Rats,
• 23:26
  Speaker 2: you've seen copycat, copy Cat, It's the sigourney we ever won?
• 23:30
  Speaker 2: You made me watch? Oh yeah, see, this is why
• 23:33
  Speaker 2: this game is getting fucked. This bullshit. Okay, anyway, he's
• 23:36
  Speaker 2: venturer when nature calls, obviously, Golden Eye.
• 23:39
  Speaker 1: I've never seen that.
• 23:40
  Speaker 2: Jesus Christ, our marriage is in trouble. Uh, Casino, we've
• 23:46
  Speaker 2: watched together.
• 23:47
  Speaker 1: We did watch that.
• 23:48
  Speaker 2: I know you haven't seen Extra three. God help me.
• 23:50
  Speaker 2: If you haven't seen Toy Story and you have not
• 23:52
  Speaker 2: seen Rympel Steltzkin.
• 23:54
  Speaker 1: Yeah, you're good. I did it.
• 23:57
  Speaker 2: I swear I'm d summary. A carib vampire sroduces a
• 24:01
  Speaker 2: Brooklyn police officer who has no idea that she is
• 24:03
  Speaker 2: half vampire. That's definitely a summary. Let's go into the autopsy,
• 24:09
  Speaker 2: all right. I didn't even write down overall thoughts. I
• 24:13
  Speaker 2: don't even know where to start. So what do you
• 24:15
  Speaker 2: have overall thoughts on vampire in Brooklyn?
• 24:17
  Speaker 1: I think we're gonna have a difference of opinion here.
• 24:19
  Speaker 2: That's so serious.
• 24:21
  Speaker 1: No, I really enjoyed it. Was it the most amazing
• 24:24
  Speaker 1: film ever.
• 24:24
  Speaker 3: No, but I like everybody was going for it, and
• 24:31
  Speaker 3: I enjoyed that the sets looked great, the effects looked
• 24:37
  Speaker 3: really cool. The makeup was so fun, especially that they
• 24:43
  Speaker 3: went for that bat. They actually went for a bat nose.
• 24:47
  Speaker 2: And never did he turn into a bat.
• 24:50
  Speaker 1: No, he did at one point, literally at the very end,
• 24:52
  Speaker 1: he like bats out the window and blips and oh yeah, okay,
• 24:57
  Speaker 1: he did turn into a wolf too. It very much
• 25:00
  Speaker 1: felt like they were doing a lot of the Dracula
• 25:02
  Speaker 1: stuff but kind of finagling it, in which I found
• 25:07
  Speaker 1: fun because it was still recognizable while being a bit different.
• 25:11
  Speaker 1: And frankly, I let's be honest, there are so many
• 25:14
  Speaker 1: bad vampire movies. My scale for what's good or bad
• 25:18
  Speaker 1: in a vampire movie is very skewed because I will
• 25:21
  Speaker 1: watch them cheesy garbage for fun.
• 25:24
  Speaker 2: Dracula three thousands one of the worst movies ever made.
• 25:26
  Speaker 2: And I read that so much and I love it.
• 25:29
  Speaker 1: I hate it.
• 25:29
  Speaker 2: It's so bad. I love it.
• 25:31
  Speaker 1: I would watch this a million times over.
• 25:33
  Speaker 2: I think that gave Dracula three thousand a one star
• 25:36
  Speaker 2: and a heart.
• 25:37
  Speaker 1: Yeah, it's just so awful and like, but Vamps, for instance,
• 25:43
  Speaker 1: that's a cheesy movie. It's got very cheesy effects, but
• 25:46
  Speaker 1: it's silly and it's fun, so I don't really care. Yeah,
• 25:49
  Speaker 1: if I'm having a good time, I'm in sure. And yeah,
• 25:53
  Speaker 1: I had a fun time with this. It did run
• 25:55
  Speaker 1: on a little long, but I had read some trivia
• 25:58
  Speaker 1: about what they did with like Angela Bassett's character and whatnot,
• 26:02
  Speaker 1: and I think that was a good decision. I think
• 26:06
  Speaker 1: it improved the film because she was gonna be much
• 26:09
  Speaker 1: more of a damsel in distress character, and I like that.
• 26:12
  Speaker 2: She was a co op. Are you a co op?
• 26:16
  Speaker 1: I was gonna say. I like that she fought more
• 26:18
  Speaker 1: for her autonomy and wanting to be like not wanting
• 26:22
  Speaker 1: these things. She fought harder than a lot of girls
• 26:25
  Speaker 1: because think of like, oh my god, her name is
• 26:28
  Speaker 1: blipped up Lucy from Dracula. She just kind of it
• 26:32
  Speaker 1: happens to her. She's just screwed from the get go.
• 26:35
  Speaker 1: And in this case, she's having these visions. She is
• 26:39
  Speaker 1: pre disposed to be a vampire.
• 26:42
  Speaker 2: She half vampire, and she's.
• 26:44
  Speaker 1: Still fighting back on it until she ends up succumbing.
• 26:49
  Speaker 1: But she like she fights back on it for a
• 26:52
  Speaker 1: good long while.
• 26:53
  Speaker 2: She doesn't want to believe it. Yeah, she's in denials.
• 26:55
  Speaker 2: She's in one of the first stage of the five
• 26:59
  Speaker 2: stages of Green whatever.
• 27:01
  Speaker 1: I will say. Her chemistry with the guy who played
• 27:04
  Speaker 1: Justice is not great.
• 27:07
  Speaker 2: Oh I don't get there.
• 27:08
  Speaker 1: Yeah.
• 27:09
  Speaker 2: My overall thoughts, I figure I kind of knew what
• 27:13
  Speaker 2: I expected going into this. It's Eddie Murphy playing a vampire.
• 27:17
  Speaker 2: I mean, it's like Nick Cage playing a vampire. You
• 27:20
  Speaker 2: know what you're gonna get most likely. I've seen Eddie
• 27:23
  Speaker 2: Murphy and a whole lot of stuff, and I didn't
• 27:26
  Speaker 2: know if he could do it, much like Nick Cage
• 27:27
  Speaker 2: and Renfield, I'm like, I don't know if you can
• 27:29
  Speaker 2: do it. Nick Cage can. Eddie Murphy definitely tried. I feel,
• 27:34
  Speaker 2: I just don't think it was a compelling enough performance
• 27:39
  Speaker 2: for me. I did have so much fun with it. Really,
• 27:43
  Speaker 2: the first act was a blast, and I was like, Okay,
• 27:47
  Speaker 2: I don't get how this has a two point five.
• 27:49
  Speaker 2: But as we'll get to, the pacing of this movie
• 27:51
  Speaker 2: is one of its worst qualities, and how many genres
• 27:55
  Speaker 2: it's trying to mix together at once. Because if they
• 27:58
  Speaker 2: did what they if they took the first act and
• 28:01
  Speaker 2: did that and the second and third act. This would
• 28:04
  Speaker 2: easily be a four star movie. I was watching it
• 28:08
  Speaker 2: this morning when everyone was sleeping, and I literally had
• 28:11
  Speaker 2: to pause and contain my laughter because dogs are getting
• 28:15
  Speaker 2: yeaded into the ocean, and I'm like, what the fuck
• 28:18
  Speaker 2: is happening in this movie? It was really funny, but
• 28:20
  Speaker 2: then the humor really tapers off until the end. So
• 28:24
  Speaker 2: I enjoyed it for sure. I don't think we're gonna
• 28:26
  Speaker 2: have that much different opinions on it, but it is
• 28:29
  Speaker 2: definitely a troubled film. There are many an issue with
• 28:34
  Speaker 2: Vampire in Brooklyn. So, like I said, we're gonna start
• 28:37
  Speaker 2: with Wes Craven. Let me just running through his because.
• 28:40
  Speaker 1: I didn't realize there are two films he did, so.
• 28:42
  Speaker 2: He's done like twenty films, right, twenty two films, I think.
• 28:46
  Speaker 2: But what I find interesting about Wes Craven is the
• 28:49
  Speaker 2: fact that he has done so many different subgenres that
• 28:53
  Speaker 2: I didn't realize this man has tackled. I wouldn't say
• 28:57
  Speaker 2: every subgenre, but the first movie he does, Last House
• 29:00
  Speaker 2: on the Left, definitely a sexploitation movie, came out in
• 29:03
  Speaker 2: you know, in the seventies. Then he does something called
• 29:05
  Speaker 2: The Fireworks Woman, which is an X rated movie, so
• 29:08
  Speaker 2: I would assume that's sexploitation. Two seventy seventy, does The
• 29:11
  Speaker 2: Hills Have Eyes, cannibalistic psycho family eighty one, he does
• 29:16
  Speaker 2: Deadly Blessing, which is like a religious folk horror movie.
• 29:19
  Speaker 2: Nineteen eighty two it is swamp thing creature feature. Then
• 29:23
  Speaker 2: The Hills Have Eyes two, arguably his worst, not even
• 29:26
  Speaker 2: arguably it's his worst movie. It's not great, but that's
• 29:28
  Speaker 2: a you know, obviously a sequel to the first one.
• 29:32
  Speaker 2: Then eighty four, so it's funny. In nineteen eighty four
• 29:34
  Speaker 2: he releases his lowest rated movie in one of his
• 29:36
  Speaker 2: highest rated movies, A Night marrin Elm Street. So he
• 29:40
  Speaker 2: does a slasher. Deadly Friend is a sci fi horror.
• 29:43
  Speaker 2: Nineteen eighty eight. We would get The Serpent in the Rainbow,
• 29:46
  Speaker 2: which is a traditional zombie story involving voodoo and stuff,
• 29:51
  Speaker 2: so like og zombie's not the bite spread infection whatever.
• 29:56
  Speaker 2: Then he does Shocker in nineteen eighty nine, which is
• 29:58
  Speaker 2: a supernatural ghost story of a guy on death row.
• 30:01
  Speaker 2: It's fucking great. The ninety one has the people under
• 30:05
  Speaker 2: the Stairs, dark comedy, mystery thriller, New Nightmare, meta slasher,
• 30:09
  Speaker 2: Vampire and Brooklyn Vampire movie, of course Scream another meta
• 30:14
  Speaker 2: slasher teen Scream. They needed something called Music of the
• 30:17
  Speaker 2: Heart in nineteen ninety nine, which is a drama. Music
• 30:19
  Speaker 2: had no idea Cursed Werewolf movie, Red Eye psychological thriller,
• 30:25
  Speaker 2: and then My Soul to take another slasher. I mean
• 30:27
  Speaker 2: he did so many subgenres and did I mean, I
• 30:32
  Speaker 2: would say most of them. Well, I mean, I know
• 30:34
  Speaker 2: Kursed and Vampire and Brooklyn have lower ratings, but I
• 30:39
  Speaker 2: don't think that's necessarily from the werewolfloor or the vampire lore.
• 30:43
  Speaker 1: It's just we'll die on this hill. That Cursed is
• 30:45
  Speaker 1: a great time and everybody needs to lighten up. That
• 30:48
  Speaker 1: movie's fun as hell.
• 30:49
  Speaker 2: Chris is fucking awesome.
• 30:50
  Speaker 1: The only thing it could do without is all of
• 30:54
  Speaker 1: the two thousand's homophobia. Yeah, true, but other than that
• 31:00
  Speaker 1: of werewolf flipping someone the bird for getting a told
• 31:05
  Speaker 1: day of a fat ass is one of the funniest
• 31:06
  Speaker 1: fucking things. Because what werewolf movies are always so dead serious.
• 31:10
  Speaker 2: I mean, not Burry the lead, Burry the lead. Now
• 31:12
  Speaker 2: we have a werewolf month, this year where we're absolutely
• 31:16
  Speaker 2: doing Cursed and I'm going to find the werewolf using
• 31:19
  Speaker 2: the middle finger, because that's going to be the best
• 31:21
  Speaker 2: title card I've ever made.
• 31:22
  Speaker 1: It's just so funny.
• 31:24
  Speaker 2: So moving on from Wes Craven of Rest in Peace,
• 31:28
  Speaker 2: he truly is a legend. I did not realize he
• 31:30
  Speaker 2: did so much.
• 31:31
  Speaker 1: What I found, like so many of his films.
• 31:33
  Speaker 2: Yeah, I mean, I I've seen one, I've seen most
• 31:36
  Speaker 2: of them, and two I still need to watch Swamp Thing,
• 31:39
  Speaker 2: and two I I like it. I haven't seen Last
• 31:42
  Speaker 2: House on the Left, but I know that's going to
• 31:43
  Speaker 2: be rough.
• 31:44
  Speaker 1: The remakes hard enough to watch. Okay.
• 31:46
  Speaker 2: Yeah, So moving on from Wes Craven, I didn't know
• 31:50
  Speaker 2: that Eddie Murphy had his own production company because it's
• 31:52
  Speaker 2: said before before a Wes Craven film, it said and
• 31:55
  Speaker 2: Eddie Murphy Production. I was like, whoa. And he founded
• 31:59
  Speaker 2: this in nineteen seventy six on July ninth. He basically
• 32:03
  Speaker 2: produces all of his own movies, Nutty Professor Series, Bowfinger,
• 32:07
  Speaker 2: Beverly Hills, Cop Kinding to America Tower. Heis Dolomind is
• 32:11
  Speaker 2: my name TV stuff? So I didn't even know that.
• 32:14
  Speaker 2: And then in twenty twenty one, the company signed a
• 32:17
  Speaker 2: multi picture deals multi picture first look deal with Amazon Studios.
• 32:21
  Speaker 2: So that was interesting. So it says Eddie Murfrey production
• 32:24
  Speaker 2: a Wes Craven film, Vampire in Brooklyn. The title card
• 32:28
  Speaker 2: does this fun little where the text kind of gets
• 32:30
  Speaker 2: closer together and Taller did a weird thing. Yeah, I
• 32:33
  Speaker 2: like that. And then the vampire lore. They they do
• 32:38
  Speaker 2: a great job at explaining all of the vampire lore.
• 32:42
  Speaker 2: We see him have a wolf form because he transforms
• 32:45
  Speaker 2: from a wolf into a person in the shadow, which
• 32:49
  Speaker 2: was a good way to do that without you know,
• 32:51
  Speaker 2: making the CG look bad. Bullets don't affect him. He
• 32:55
  Speaker 2: can produce fire from his hand, which I thought was
• 32:57
  Speaker 2: strange because he goes that guy goes delighted joint and
• 33:00
  Speaker 2: he's like, let me help you, and he just like
• 33:02
  Speaker 2: explodes fire from his hand. Yeah, that was weird. Also,
• 33:06
  Speaker 2: consuming his blood makes people his servants schools. Yeah is
• 33:13
  Speaker 2: that norm.
• 33:14
  Speaker 1: Like there are some instances where yeah, I mean think
• 33:19
  Speaker 1: about Renfield. He was also drinking Dracula's blood in Renfield
• 33:25
  Speaker 1: to heal himself and keep himself alive. This just has
• 33:29
  Speaker 1: the funny effect of they decided to go the route
• 33:32
  Speaker 1: of you know, it kind of rots you. You're you're
• 33:35
  Speaker 1: not going to live very long doing this.
• 33:36
  Speaker 2: Yeah, I didn't get that because he just kept getting
• 33:38
  Speaker 2: progressively worse, and I kept thinking, why is he falling
• 33:42
  Speaker 2: literally falling apart?
• 33:44
  Speaker 1: I think the deal is you he would probably have
• 33:47
  Speaker 1: to have finished the transformation, but he didn't finish the transformation,
• 33:51
  Speaker 1: so it just kind of is rotting.
• 33:53
  Speaker 2: And but then he does get flipped around in one
• 33:56
  Speaker 2: eighty at the end, which was really cool.
• 33:57
  Speaker 1: Yeah, which was as like, good for you, good for you.
• 34:00
  Speaker 1: I mean, you got real weird there, but good for you.
• 34:03
  Speaker 2: No reflection crucifixes, I don't know. I don't think crucifixes
• 34:07
  Speaker 2: affect him because he went or no, because there was
• 34:10
  Speaker 2: a crucifix on her necklace that he went around and unchained,
• 34:13
  Speaker 2: So I don't know.
• 34:14
  Speaker 1: Yeah, he was trying not to make contact with it.
• 34:16
  Speaker 1: He ripped it through it. But think about when he
• 34:18
  Speaker 1: was disguising himself as the reverend and he went into
• 34:22
  Speaker 1: the church and his head started smoking.
• 34:23
  Speaker 2: Well, that was also entering a church, So I entering a.
• 34:26
  Speaker 1: Church and he was filled with crucifixes. True, So I
• 34:29
  Speaker 1: think it do affect him.
• 34:31
  Speaker 2: That scene when he dresses up as this, you know,
• 34:36
  Speaker 2: as his black reverend. It's almost like a slimmer, nutty professor,
• 34:40
  Speaker 2: just like a little bit. He walks in and it
• 34:42
  Speaker 2: zooms into the what's not the painted glass, stained glass,
• 34:46
  Speaker 2: and he's just like his eyes get wide and his
• 34:48
  Speaker 2: hair start smoking, goes god damn it, and everyone's like
• 34:51
  Speaker 2: what in church. He's like, we gotta go outside.
• 34:55
  Speaker 1: I mean, I mean, yeah.
• 34:57
  Speaker 2: That was great. That was good stuff.
• 34:58
  Speaker 1: And honestly, the transition where he it goes from his
• 35:01
  Speaker 1: feet up into that transformation, it honestly still looks pretty good.
• 35:05
  Speaker 2: Yeah, they did a lot of Yeah, okay, I know,
• 35:09
  Speaker 2: understaying they did a lot of good for the time,
• 35:11
  Speaker 2: I'd say, you know, ninety five, a lot of good effects.
• 35:14
  Speaker 2: I even the fangs were digital and they still look good.
• 35:19
  Speaker 2: The fangs well when they when there was one time
• 35:21
  Speaker 2: when yeah, when they come out they were digital, and
• 35:23
  Speaker 2: then obviously other times they were I assume they were prostatic.
• 35:27
  Speaker 2: And then they even had great prosthetics at the end
• 35:29
  Speaker 2: when they go like full bat for him, I was
• 35:31
  Speaker 2: I was like, Okay, we've got some good stuff going
• 35:33
  Speaker 2: on here.
• 35:34
  Speaker 1: Yeah, and their fangs look really similar to how they look.
• 35:37
  Speaker 2: In True Blood.
• 35:39
  Speaker 1: Buffy, Oh Buffy, No, not True Well, the silliest.
• 35:43
  Speaker 2: It's like the canines and then the ones behind the
• 35:45
  Speaker 2: multiple sets. I like the I liked the four fangs.
• 35:48
  Speaker 2: I thought that that's.
• 35:49
  Speaker 1: Honestly my favorite because it gives such a more menacing
• 35:52
  Speaker 1: It's either that or go straight for slightly longer canines.
• 35:56
  Speaker 1: But no, True Blood is the teeth on either side
• 35:59
  Speaker 1: of your front teeth. Yeah, so it gives this buck
• 36:02
  Speaker 1: teeth appearents it just I could never take.
• 36:05
  Speaker 2: With buck teeth, yes, even though he kind of does so.
• 36:09
  Speaker 1: Yeah, but in this case, the vampire look I think
• 36:13
  Speaker 1: was really good. Everybody hated his wig. I honestly didn't
• 36:15
  Speaker 1: hate his wig. I mean the line on the wig.
• 36:18
  Speaker 2: Was really the line was terrible.
• 36:20
  Speaker 1: Yeah, but they had the long hair on him. I
• 36:22
  Speaker 1: was fine with it.
• 36:23
  Speaker 2: So I have a lot of random points that I
• 36:24
  Speaker 2: think I'll hit at the end. I do want to
• 36:26
  Speaker 2: get kind of into the meat and potatoes here, So
• 36:30
  Speaker 2: in my opinion, I do think there's a version of
• 36:32
  Speaker 2: Vampire in Brooklyn that absolutely works because you can see
• 36:36
  Speaker 2: it in this movie and flashes moments whethy tone is
• 36:39
  Speaker 2: completely locked in the atmosphere is clicking, the story leans
• 36:43
  Speaker 2: into something darker and more focused. But those moments they
• 36:47
  Speaker 2: just don't stick around long enough to define the movie.
• 36:51
  Speaker 2: You're getting something for me that is constantly changing. It
• 36:54
  Speaker 2: starts off as a full on comedy movie, and the
• 37:00
  Speaker 2: first act is mostly that, and then there's this weird
• 37:03
  Speaker 2: tonal shift where and it's not even really a tonal shift,
• 37:06
  Speaker 2: it's just the comedy kind of stops. And then you
• 37:09
  Speaker 2: go into him pursuing Rita and it's more mystery, I guess,
• 37:17
  Speaker 2: and then by the end of it it's just like
• 37:18
  Speaker 2: full blown romance. It's just the tone of the movie
• 37:21
  Speaker 2: change is too much for me, and not in a
• 37:24
  Speaker 2: natural progression. You're just like, oh, where Doll the comedy go?
• 37:28
  Speaker 2: And then Julius will come back every so often and
• 37:31
  Speaker 2: provide some comedy here and there. It's like they were
• 37:34
  Speaker 2: I don't know, what do you feel about the tone
• 37:37
  Speaker 2: on this movie, because I feel it was all over
• 37:39
  Speaker 2: the place. They wasn't focused in enough.
• 37:41
  Speaker 1: I honestly think the most distracting tone shifts is when
• 37:45
  Speaker 1: they were trying to build that romance right between Angela
• 37:51
  Speaker 1: Bassett and her partner. Yeah, I didn't because when it
• 37:55
  Speaker 1: started out, they were they felt very platonic, and then uh,
• 38:00
  Speaker 1: in the middle of the police station, he's like, I've
• 38:04
  Speaker 1: got feelings for you, and like, well, first of all,
• 38:08
  Speaker 1: hr second, yeah, uh, bro, you wanted to tell her
• 38:12
  Speaker 1: this in earshot of everybody you work with when people
• 38:16
  Speaker 1: are already questioning that she's there. So not only is
• 38:19
  Speaker 1: this the wildly inappropriate place to tell, but when you're
• 38:24
  Speaker 1: the only person that's sticking up for her, you're you're
• 38:28
  Speaker 1: literally compromising her position because now it's not does she
• 38:32
  Speaker 1: have something? Can she prove herself as a cop? Oh?
• 38:35
  Speaker 1: He's probably sleeping with her. That's the only reason he's
• 38:38
  Speaker 1: backing her, Like you are destroying her credibility as a
• 38:42
  Speaker 1: cop when it's already precarious. What are you doing?
• 38:45
  Speaker 2: Well? And the police chief even comes over to him
• 38:48
  Speaker 2: at one point he keeps defending her to her. I
• 38:52
  Speaker 2: think it was a I think it was a lady
• 38:54
  Speaker 2: man chief, and he keeps saying, she's good, she's good.
• 38:57
  Speaker 2: You just gotta let her, you know whatever. But on so,
• 39:00
  Speaker 2: I think underneath all that was he was in love
• 39:02
  Speaker 2: with her, and it just felt like something that didn't
• 39:05
  Speaker 2: need to be in the story at all.
• 39:07
  Speaker 1: It didn't feel clear when that happened. It didn't feel
• 39:10
  Speaker 1: like that was clear, And also it was it was
• 39:12
  Speaker 1: weird to really reinforce this idea that she knows she's
• 39:15
  Speaker 1: a good cop, you can trust her. Yeah, and then
• 39:17
  Speaker 1: she spends spends the rest of the film not doing
• 39:20
  Speaker 1: any cop work. I think it would have made more
• 39:23
  Speaker 1: sense if she was the lead on that case and
• 39:27
  Speaker 1: that she was pushing more. But it kind of feels
• 39:30
  Speaker 1: like very early on she just kind of stops doing
• 39:33
  Speaker 1: any kind.
• 39:33
  Speaker 2: Of job, right, which is weird.
• 39:37
  Speaker 1: So I feel like it kind of now again, I
• 39:39
  Speaker 1: really appreciate that they may gave her more autonomy, they
• 39:45
  Speaker 1: made her have more personality.
• 39:48
  Speaker 2: She's a woman in power man.
• 39:50
  Speaker 1: But I really wish they had continued forward with that
• 39:54
  Speaker 1: and really just dropped the romance thing, even if they
• 39:59
  Speaker 1: brought that back at like the tail end, like hey,
• 40:01
  Speaker 1: I've been really defensive, but you know I care about
• 40:04
  Speaker 1: you and I'm concerned about this guy. Sure, but it
• 40:07
  Speaker 1: just kind of felt all over the place, like why
• 40:10
  Speaker 1: would he say he has feelings for her? But then
• 40:12
  Speaker 1: ten seconds later she's yelling at him about I know
• 40:15
  Speaker 1: that Eddie Murphy put that thing on her to make
• 40:19
  Speaker 1: her think something about him and her roommate, but she
• 40:23
  Speaker 1: immediately starts attacking him, and then that kind of disappears,
• 40:26
  Speaker 1: but then it comes back. So that felt really all
• 40:28
  Speaker 1: over the place.
• 40:29
  Speaker 2: It just felt like they were shoehorning this into a
• 40:32
  Speaker 2: movie that it was really not relevant to the plot
• 40:35
  Speaker 2: at all.
• 40:36
  Speaker 1: No, And I think it's funny because you know, we
• 40:39
  Speaker 1: were talking about how he like Dracula two thousand and.
• 40:43
  Speaker 2: Because, yeah, because that movie is just all vibes.
• 40:45
  Speaker 1: It's all vibes. Everybody is hot, and everybody is just
• 40:52
  Speaker 1: serving looks the whole time.
• 40:55
  Speaker 2: It's a good time, it's great time.
• 40:57
  Speaker 1: But in that movie, you've got the dude who is
• 41:01
  Speaker 1: Van Helsing's like right hand man, feels like a son
• 41:05
  Speaker 1: to him, trying to actively save and Mary, his actual daughter,
• 41:12
  Speaker 1: and stop Dracula. They very easily could have put in
• 41:15
  Speaker 1: some romantic tension there, sure, but it was like, you
• 41:18
  Speaker 1: don't really need that. Her having the romance thing with
• 41:21
  Speaker 1: Dracula is enough.
• 41:23
  Speaker 2: Or Maximilian in this case, yeah, playing Maximilian, And another thing,
• 41:29
  Speaker 2: I swear he played Maximilian in another what was his
• 41:31
  Speaker 2: name in Coming to America?
• 41:33
  Speaker 1: Was it not that?
• 41:34
  Speaker 2: No?
• 41:34
  Speaker 1: Okay, so oh sorry, but no, I was just saying that,
• 41:39
  Speaker 1: you know, the vampire lower romance thing, you don't necessarily
• 41:44
  Speaker 1: always need to form a triangle with it.
• 41:47
  Speaker 2: Yeah, yeah, exactly, it's a love triangle between I just
• 41:50
  Speaker 2: it wasn't it wasn't necessary. So what this movie gives
• 41:55
  Speaker 2: you is something that is trying to be this gothic
• 41:59
  Speaker 2: vampire story about loneliness and survival. But then the other
• 42:02
  Speaker 2: half of it is a full on Eddie Murphy comedy,
• 42:05
  Speaker 2: you know what I mean. It's like split down the middle.
• 42:07
  Speaker 2: You've even got the disguises of Eddie Murphy. There's exaggerated characters,
• 42:12
  Speaker 2: and then there's punchlines that sometimes land like in the
• 42:16
  Speaker 2: first first act, and then some that completely derail the
• 42:20
  Speaker 2: tone that's going on.
• 42:21
  Speaker 1: I will say, having just watched all the Beverly Hills
• 42:25
  Speaker 1: Cops movie Beverly Hill cop movies right this year. First off,
• 42:30
  Speaker 1: the third one is terrible. Second, Eddie Murphy's at his
• 42:33
  Speaker 1: best when he is just being funny. Not to say
• 42:36
  Speaker 1: he hasn't done some serious roles. I've heard some of
• 42:39
  Speaker 1: his more recent serious work is a lot better. But
• 42:41
  Speaker 1: this is when he's flip flopping between the two. He
• 42:45
  Speaker 1: needs to do one or the other. When he tries
• 42:47
  Speaker 1: to do both, it comes off very half hearted in
• 42:50
  Speaker 1: both directions. And early Eddie Murphy, like Beverly Hills Cop
• 42:55
  Speaker 1: coming to America, that's when he was strongest because he
• 42:58
  Speaker 1: was really really just being the funny version of himself.
• 43:04
  Speaker 1: He's really getting into that comedy. He's clever, he's witty,
• 43:08
  Speaker 1: he's got excellent timing. That's what he should focus on.
• 43:12
  Speaker 1: And sometimes when he tries to dip into other genres,
• 43:15
  Speaker 1: he just gets he's not quite sure what to do
• 43:17
  Speaker 1: with himself when he can't just be that guy too. Well.
• 43:19
  Speaker 2: Yeah, because it's not like these two ideas can't coexist.
• 43:22
  Speaker 2: It's the movie never figures out how to blend them properly.
• 43:25
  Speaker 1: I feel it's his brand of comedy does not necessarily
• 43:29
  Speaker 1: mesh with vampire lore.
• 43:31
  Speaker 2: Ye exactly. And let's speak about him since we're here,
• 43:37
  Speaker 2: because I think this is where the movie lives or
• 43:39
  Speaker 2: die dies. I mean, Eddie Murphy's always had a presence.
• 43:42
  Speaker 2: He that's like never been an issue. When he walks
• 43:45
  Speaker 2: into a scene, you pay attention. I mean, the earliest
• 43:47
  Speaker 2: thing I can think I've seen him in is trading places.
• 43:50
  Speaker 2: But it's entirely possible. I've seen him in earlier films,
• 43:53
  Speaker 2: but you know, Addie Murphy, there's a natural confidence, he
• 43:57
  Speaker 2: has a rhythm, the way he delivers his lines. He's
• 44:00
  Speaker 2: got a charisma, that's for sure, But here it feels
• 44:03
  Speaker 2: like that charisma is trying to do a lot of
• 44:06
  Speaker 2: the heavy lifting, but there's no foundation under it, you know, Like.
• 44:11
  Speaker 1: Yeah, honestly, if they had taken out the comedy bits
• 44:14
  Speaker 1: for him and stuck straight to the charming, mysterious vampire,
• 44:21
  Speaker 1: like he has those conversations with Julius, but he doesn't like,
• 44:23
  Speaker 1: really reveal too much about himself. Like the romance scenes
• 44:26
  Speaker 1: between him and Angela Bassett were pretty decent.
• 44:29
  Speaker 2: I mean, I really did enjoy that scene when they
• 44:31
  Speaker 2: were dancing around and he was like, how'd you like
• 44:32
  Speaker 2: to live like this? How would you like to go
• 44:34
  Speaker 2: to places you've never been? I was buying it for sure.
• 44:37
  Speaker 1: Yeah, Like he was doing the sexy charisma thing really
• 44:40
  Speaker 1: well in that moment, and he like you could see
• 44:44
  Speaker 1: why she was kind of interested. He was being sweet
• 44:47
  Speaker 1: and charming and considerate and using that lure. Yeah, and
• 44:51
  Speaker 1: he was doing really good at that. But then you
• 44:53
  Speaker 1: get these jarring scenes like where Julius is cracking jokes
• 44:57
  Speaker 1: and he just repeatedly tells him to shut the fuck up.
• 44:59
  Speaker 2: Oh that was fun because I don't you in most
• 45:01
  Speaker 2: of the movies I watch him, and I don't usually
• 45:04
  Speaker 2: see him swear outside of like trading places. But he
• 45:06
  Speaker 2: goes from you know, homeless guy to a you know,
• 45:10
  Speaker 2: a proper man or whatever you want to call this.
• 45:12
  Speaker 2: He was like, shut the fuck up. I was like, oh, yeah,
• 45:14
  Speaker 2: that's right, Eddie. Eddie Murphy swears. I'm so used to
• 45:16
  Speaker 2: him and daddy.
• 45:16
  Speaker 1: Daycare see, and I'm used to him and coming to
• 45:18
  Speaker 1: America where he goes, what does dumb fuck mean? But
• 45:24
  Speaker 1: it just felt like a really jarring turn for the character, like, yeah,
• 45:28
  Speaker 1: be the charisma guy and you would have been gold
• 45:32
  Speaker 1: and leave the comedy to the corpse sidekick. The only
• 45:36
  Speaker 1: time the corpse sidekick thing didn't really work is when
• 45:38
  Speaker 1: he ruins the moment between them and the bar, only
• 45:41
  Speaker 1: because it was a little too heavy handed for me.
• 45:43
  Speaker 1: But that's what I'm I mean. I guess it was
• 45:46
  Speaker 1: like the point, but it felt a little uncomfortable. But
• 45:50
  Speaker 1: Eddie Murphy would have been totally fine if he had
• 45:52
  Speaker 1: picked one tone to go with for himself. He just
• 45:55
  Speaker 1: doesn't do it strongly. When he tries to do multiple tones.
• 45:58
  Speaker 2: Well, that's then, That's exactly My next point is that
• 46:00
  Speaker 2: I think Maximilian he is supposed to feel like this ancient, dangerous, seductive,
• 46:07
  Speaker 2: last of his kind predator moving through modern Brooklyn, and
• 46:11
  Speaker 2: visually the movie supports that. At times, there are moments
• 46:13
  Speaker 2: with a lighting, the framing, even Murphy's stillness sells the
• 46:17
  Speaker 2: idea of something older and more calculated beneath the surface.
• 46:21
  Speaker 2: But then the performance shifts, the humor creeps in the side,
• 46:25
  Speaker 2: characters show up, and then suddenly it's this menace that
• 46:28
  Speaker 2: we're supposed to be scared of completely vanishes.
• 46:31
  Speaker 1: Yeah, and him playing the Guido character.
• 46:35
  Speaker 2: Wasn't a bit odd.
• 46:36
  Speaker 1: He was doing the Preacher thing, and that wouldn't surprise
• 46:39
  Speaker 1: me that he could do the Preacher thing. But it like,
• 46:43
  Speaker 1: you know, because he's really talking as himself, but Guido
• 46:45
  Speaker 1: felt like a whole other person.
• 46:48
  Speaker 2: I was impressed with how well he was able to
• 46:51
  Speaker 2: do the accent. But he's also doing whiteface.
• 46:54
  Speaker 1: And it's not the first time he's.
• 46:56
  Speaker 2: Done that, I know, and it's it's just such a
• 46:59
  Speaker 2: weird line. Obviously, black face was very racist. I get
• 47:05
  Speaker 2: that because they were exaggerating how black people actually look. So,
• 47:08
  Speaker 2: but it's just weird when it's done the other way,
• 47:11
  Speaker 2: because it's like, is that.
• 47:13
  Speaker 1: I don't know, it's not And there's the next explanation
• 47:16
  Speaker 1: for why. I just can't think of what exactly the
• 47:18
  Speaker 1: phrasing was off. But there's a reason why it's not.
• 47:21
  Speaker 2: Well, black face is usually punching down.
• 47:24
  Speaker 1: Yeah. It essentially works out to anything where white people.
• 47:28
  Speaker 2: Are punching, yeah, punching down, and.
• 47:31
  Speaker 1: Also depriving already marginal especially in cinema where characters like
• 47:37
  Speaker 1: white actors would regularly just suddenly be Asian or Hispanic. Bro,
• 47:42
  Speaker 1: you're white, Yeah.
• 47:44
  Speaker 2: You're depriving those you know, those people of roles who.
• 47:47
  Speaker 1: Are already struggling to get roles. It was and it's
• 47:50
  Speaker 1: still an issue that comes up. But this has played
• 47:56
  Speaker 1: for comedic effect for a specific reason. It is that
• 48:00
  Speaker 1: are more punching up. Yeah, but it's not quite the same.
• 48:05
  Speaker 2: It just it was a little odd. I did, but
• 48:07
  Speaker 2: the performance was so good. I was like, all right, it's.
• 48:11
  Speaker 1: The skin tone that really throws me off every time
• 48:14
  Speaker 1: they do that, because he also plays the Jewish guy
• 48:16
  Speaker 1: in the barber shop and coming to America. Yeah, and
• 48:21
  Speaker 1: it always throws me off because he always just looks
• 48:23
  Speaker 1: like an ill person or ill because it's always this
• 48:27
  Speaker 1: languid like skin tone.
• 48:30
  Speaker 2: Yeah. This the skin tone was a little strange, but
• 48:33
  Speaker 2: the long hair and the accent, I was like, this
• 48:35
  Speaker 2: is actually really funny.
• 48:36
  Speaker 1: Yeah.
• 48:37
  Speaker 2: So yeah, and I don't think any Murphy's not doing
• 48:40
  Speaker 2: anything wrong. It's just the movie keeps pulling out, keeps
• 48:45
  Speaker 2: pulling him out of this role before he can like
• 48:47
  Speaker 2: fully take hold of it. Yeah, like he's playing Dracula,
• 48:50
  Speaker 2: but the movie is like, stop a second and do
• 48:52
  Speaker 2: some comedy, like do some stand up.
• 48:54
  Speaker 1: Yeah, but we finally got towards the end. I thought
• 48:56
  Speaker 1: he was getting more into his role towards the end
• 48:58
  Speaker 1: because he was actually having be more serious because we
• 49:01
  Speaker 1: finally get the more serious tone of the film where
• 49:04
  Speaker 1: they are interacting and she does have to face what's
• 49:07
  Speaker 1: going on. And I think that's where, you know, you
• 49:10
  Speaker 1: really get a full sense of that character, because at
• 49:12
  Speaker 1: this point he's been charming, a little bit funny sometimes,
• 49:15
  Speaker 1: and now it's like, yeah, but at the end of
• 49:16
  Speaker 1: the day, he's still evil.
• 49:18
  Speaker 2: I'm supposed to be scared of him, and I'm not
• 49:20
  Speaker 2: really scared of him most of.
• 49:22
  Speaker 1: The time, though, I did think it was funny when
• 49:25
  Speaker 1: the one guy tries to spear him and spears him
• 49:27
  Speaker 1: in the stomach and he's like, stomach, heart.
• 49:29
  Speaker 2: Stomach, make heart. You shouldn't you should know this man.
• 49:33
  Speaker 1: It's just like that moment. He's like, bro, so far
• 49:35
  Speaker 1: off base here.
• 49:37
  Speaker 2: Oh that one scene, since you're talking about people trying
• 49:39
  Speaker 2: to kill him in the beginning of the movie, when
• 49:42
  Speaker 2: those guys shoot at him, those thugs and he falls
• 49:44
  Speaker 2: straight back, I'm like, oh, look at that. He felt
• 49:46
  Speaker 2: right back. That was weird. And then he just lifts
• 49:49
  Speaker 2: straight back up with wide eyes. I almost peed my pants.
• 49:53
  Speaker 2: That was so funny because it was like what we
• 49:54
  Speaker 2: do in the Shadows when he's starting to lift himself,
• 49:57
  Speaker 2: but it was like he rocketed off the guys. Oh,
• 50:00
  Speaker 2: I've never been shot before. That's interesting. It just stings
• 50:02
  Speaker 2: a little bit, and I was like, this, if this
• 50:05
  Speaker 2: is what we're doing the whole movie, I'm fucking in
• 50:07
  Speaker 2: for this. But now I see why it has the
• 50:09
  Speaker 2: rating that it does. I get it.
• 50:12
  Speaker 1: Yeah. Also, he kept doing crazy wide eyes throughout the
• 50:14
  Speaker 1: movie where he just overly opened his eyes, like, bro,
• 50:17
  Speaker 1: if someone was staring at me like that, are you okay?
• 50:20
  Speaker 1: Like why do you keep opening your eyes like that?
• 50:23
  Speaker 2: It worked for Nick Cage because he was Me and
• 50:25
  Speaker 2: Corey talked about this. He was doing everything he could
• 50:27
  Speaker 2: to just show those fangs and his wide eyes. But yeah,
• 50:31
  Speaker 2: so Murphy, and like I said, I don't blame this
• 50:33
  Speaker 2: on Eddie Murphy. But then you have Angela Bassett who
• 50:36
  Speaker 2: feels like she walked in from a completely different, better
• 50:39
  Speaker 2: version of this movie.
• 50:41
  Speaker 1: Not her hair, though I absolutely hate it, really, it
• 50:44
  Speaker 1: just really it looked like someone did her dirty because
• 50:48
  Speaker 1: it the way they did it, like the crimped like
• 50:51
  Speaker 1: wave in her hair, just what's not my favorite thing.
• 50:55
  Speaker 1: It looked like they gave her crazy micro bangs.
• 50:57
  Speaker 2: Look, the nineties were a weird place for horror movies.
• 51:00
  Speaker 2: They were a weird decade for fashion. Okay, we were
• 51:04
  Speaker 2: struggling in the nineties.
• 51:05
  Speaker 1: Angela Bassett is absolutely stunning and they did that to
• 51:09
  Speaker 1: her hair, and I take that personally.
• 51:11
  Speaker 2: Well, her performance to me is so grounded in a
• 51:13
  Speaker 2: way that almost highlights everything that isn't grounded. She treats
• 51:19
  Speaker 2: the story very seriously and not in a heavy handed way,
• 51:23
  Speaker 2: but in a way that makes the supernatural elements feel real.
• 51:27
  Speaker 2: When strange things happen, she reacts like a person trying
• 51:29
  Speaker 2: to process it, not like someone waiting for the next joke.
• 51:33
  Speaker 2: She had such a different level of performance in this
• 51:37
  Speaker 2: movie than everybody else. I mean, I love Julius and
• 51:41
  Speaker 2: I think he was a great comedic relief, but at
• 51:43
  Speaker 2: times he felt like a little much, whereas Angela Bassett
• 51:46
  Speaker 2: felt consistent the entire movie.
• 51:49
  Speaker 1: And that's what makes her an amazing actress. I really
• 51:51
  Speaker 1: need to watch her in Waiting to Exhale. We were
• 51:53
  Speaker 1: supposed to watch that back in February. Oh well, sorry, yeah, yeah.
• 51:58
  Speaker 2: Well we're talking about Bassett here. What did I mean? Obviously,
• 52:02
  Speaker 2: I'm assuming you enjoyed her performance.
• 52:04
  Speaker 1: She had a great perforce.
• 52:05
  Speaker 2: Yeah, she had a fantastic performance.
• 52:07
  Speaker 1: She she's just such a talented actress, and she really
• 52:13
  Speaker 1: has this intensity to her acting, and she's you can
• 52:18
  Speaker 1: just tell she's giving one hundred and ten percent. She
• 52:21
  Speaker 1: does not half ass her roles.
• 52:24
  Speaker 2: No, and and she's dealing with more than the movie
• 52:27
  Speaker 2: always gives her credit for. There's like an identity conflict,
• 52:30
  Speaker 2: there a sense of something inherited that she fully doesn't understand.
• 52:34
  Speaker 2: You know, she grew up with her mom, but she
• 52:36
  Speaker 2: went crazy because she found out who her father was
• 52:40
  Speaker 2: from Maximilian. Maximilian knew her father and his uh her
• 52:44
  Speaker 2: father was a vampire and her mother was not. And
• 52:48
  Speaker 2: then she's half So that's why she's a half vampire,
• 52:50
  Speaker 2: which is very blade coded to be a half vampire.
• 52:53
  Speaker 2: And it's the slow realization that her life is connected
• 52:56
  Speaker 2: to something much more darker than she ever believed. And
• 52:58
  Speaker 2: she I think she sells that internal struggle because, like
• 53:01
  Speaker 2: you mentioned earlier, she like doesn't want to give in,
• 53:04
  Speaker 2: doesn't want to get She's like she's literally denying what's
• 53:08
  Speaker 2: really in front of her, and it makes like something
• 53:11
  Speaker 2: it feels like something's actually at stake here. Pun intended. Yeah,
• 53:17
  Speaker 2: nothing to say after that.
• 53:18
  Speaker 1: I just agreed with you.
• 53:20
  Speaker 2: But yeah, it just makes it frustrating on the movie.
• 53:22
  Speaker 2: The movie doesn't seem to the rest of the movie
• 53:25
  Speaker 2: doesn't seem to match her at the at the level
• 53:28
  Speaker 2: where she's at.
• 53:29
  Speaker 1: Yeah, I'm gonna be honest. The guy played Justice kind
• 53:31
  Speaker 1: of felt like he was just kind of half in it.
• 53:34
  Speaker 2: That's what I'm saying like she's fighting for her life
• 53:36
  Speaker 2: in a horror movie. Everyone else is in a sketch comedy. Yeah,
• 53:41
  Speaker 2: but underneath everything, I do think there's a solid thematic
• 53:45
  Speaker 2: core that's trying to break through a movie that's struggling
• 53:49
  Speaker 2: to find its identity. You know, Maximilian's not just looking
• 53:51
  Speaker 2: for a partner. He's trying to preserve his bloodline. He
• 53:54
  Speaker 2: is the last of something, so his actions have weight.
• 53:59
  Speaker 2: They have me It is this desperate need to keep
• 54:03
  Speaker 2: his bloodline alive. And then he there's even a loneliness
• 54:07
  Speaker 2: there if even if the movie doesn't always sit with
• 54:09
  Speaker 2: it long enough, you know he's at the end of
• 54:11
  Speaker 2: the day, he's lonely. Rida, on the other hand, is
• 54:15
  Speaker 2: representing the other side of the equation. She's connected to
• 54:18
  Speaker 2: this world, whether she wants to be or not, and
• 54:20
  Speaker 2: her arc is about coming to terms with that connection.
• 54:23
  Speaker 2: It's about identity, what you inherit and versus what you choose.
• 54:27
  Speaker 2: So there's a really good core story here, and I
• 54:31
  Speaker 2: really like too the to the trivia that I'll read.
• 54:35
  Speaker 2: But I love the fact that he's a Caribbean vampire
• 54:38
  Speaker 2: because everyone left Egypt and they all went into the
• 54:42
  Speaker 2: Carpathian Mountains in Transylvania, which is where knows Faratu Ornates
• 54:46
  Speaker 2: originates from. And he's like, but I had tastes. Yeah,
• 54:49
  Speaker 2: it's like I had tastes I went to I think
• 54:51
  Speaker 2: he said Jamaica or something. I'm like, that's fucking amazing.
• 54:55
  Speaker 2: I love that. So but I also think there's a
• 54:59
  Speaker 2: layer of control that runs through this film. You know,
• 55:02
  Speaker 2: Maximilian doesn't want just companionship. He wants dominance, someone he
• 55:06
  Speaker 2: can shape, and that's very evident in that dancing scene.
• 55:10
  Speaker 1: I think, oh, yeah, it's evidence in the dancing scene
• 55:12
  Speaker 1: and that he doesn't He tries to get to know her,
• 55:15
  Speaker 1: but he does it under false pretenses, right. He does
• 55:18
  Speaker 1: talk to her briefly in the club, immediately jumps to
• 55:21
  Speaker 1: trying to dance with her because he knows the dance
• 55:22
  Speaker 1: will really sell it.
• 55:24
  Speaker 2: And then and then later.
• 55:27
  Speaker 1: Yeah, and then later he decides he kind of stalks her.
• 55:31
  Speaker 1: He disguises himself as a thug to learn more about her,
• 55:36
  Speaker 1: so that way he can present this front like he
• 55:41
  Speaker 1: he looks at all this stuff about her, so he
• 55:44
  Speaker 1: can give this illusion that they have a connection without
• 55:49
  Speaker 1: actually really bothering too much to make one. He wants
• 55:52
  Speaker 1: to secure her first and then they'll deal with the
• 55:54
  Speaker 1: rest later. So yeah, he's manipulating her into believing there's
• 55:59
  Speaker 1: something special going on there.
• 56:01
  Speaker 2: Well, and I think that creates a very interesting tension
• 56:05
  Speaker 2: between autonomy and submission.
• 56:07
  Speaker 1: Yeah, which just gets it. It's really important in vampire
• 56:10
  Speaker 1: films and that's a lot of what vampire films are.
• 56:14
  Speaker 2: But the movie just kind of touches on it. It
• 56:15
  Speaker 2: never it never fully fully explores it. And that's what
• 56:18
  Speaker 2: frustrates me. Yeah, it doesn't. It feels like it brings
• 56:22
  Speaker 2: up so many things and then just kind of lets
• 56:24
  Speaker 2: them fade away. They don't fully flesh one thing out
• 56:27
  Speaker 2: that I'm really interested in.
• 56:29
  Speaker 1: Yeah, and that's what you know. Like I said, I
• 56:31
  Speaker 1: was glad that they did more with her character to
• 56:35
  Speaker 1: give her some more room because if they had not
• 56:38
  Speaker 1: done that and they kept the character the way it was,
• 56:41
  Speaker 1: she would have just been just there, let this this
• 56:44
  Speaker 1: is all happening to her. So they did actually bother
• 56:47
  Speaker 1: to say. Well, she is a strong female character. She's
• 56:53
  Speaker 1: a Christian, she believes in right and wrong. She wants
• 56:57
  Speaker 1: to do good and help others, but she has a
• 56:59
  Speaker 1: very trouble past. And because of that troubled past and
• 57:03
  Speaker 1: that lack of that identity, she doesn't understand about herself,
• 57:08
  Speaker 1: that part of herself. It makes her vulnerable to manipulation.
• 57:12
  Speaker 1: And in the end, she really has to choose, now
• 57:15
  Speaker 1: that I know who I am, what do I want?
• 57:17
  Speaker 1: And I think that's really cool. I wish that she
• 57:22
  Speaker 1: hadn't gone like full vampire at any point. I mean
• 57:25
  Speaker 1: not that I didn't like seeing her full vampire, because
• 57:27
  Speaker 1: that was pretty cool. It was pretty cool, but kind
• 57:30
  Speaker 1: of feels like she got put in that position where
• 57:32
  Speaker 1: she eventually gave into it until she changed her mind.
• 57:36
  Speaker 2: Well, that's what I'm saying. Like, all of this, all
• 57:39
  Speaker 2: of the stuff is there for this movie. It just
• 57:42
  Speaker 2: needs a tighter focus because we've already talked about the
• 57:44
  Speaker 2: tone and how it just tries to mix horror in comedy.
• 57:47
  Speaker 2: It never really finds a rhythm, it doesn't shift the tones.
• 57:51
  Speaker 2: It just feels like it keeps changing its mind. Yeah,
• 57:53
  Speaker 2: like it can't make up its mind on what it
• 57:56
  Speaker 2: wants to be. It's this start stop feeling where the
• 57:59
  Speaker 2: movie he never fully builds momentum. You're being pulled in
• 58:03
  Speaker 2: whatever direction they're trying to take. The tone in which
• 58:06
  Speaker 2: is it just felt like I was being pulled all
• 58:08
  Speaker 2: over the place, and that total inconsistency feeds directly into
• 58:12
  Speaker 2: the pacing. The pacing I think is the weakest part
• 58:14
  Speaker 2: of this movie. It starts out incredibly strong. I was cackling,
• 58:21
  Speaker 2: and then it just dips down. I'd say right after
• 58:24
  Speaker 2: the dance scene when he pulls out his tongue and
• 58:26
  Speaker 2: that was a really good practical effect. And then it
• 58:28
  Speaker 2: just dips down and it's kind of this just really slow,
• 58:32
  Speaker 2: nothing really interesting is happening. And then once you get
• 58:35
  Speaker 2: the Preacher back in and then it starts to kind
• 58:37
  Speaker 2: of ramp back up. It's just the middle of the
• 58:39
  Speaker 2: movie dips so much for me, instead of having a
• 58:43
  Speaker 2: constant escalation, it's like you're going up and then we're
• 58:46
  Speaker 2: you know, we're plateauing, and then you ramp up at
• 58:48
  Speaker 2: the end. It's it's, I don't know, it's very uneven
• 58:51
  Speaker 2: in my opinion.
• 58:52
  Speaker 1: I honestly think they had done a better job writing
• 58:55
  Speaker 1: the cop side of the thing, like the investigation, yes,
• 59:00
  Speaker 1: because it kind of at a certain point they just kind
• 59:02
  Speaker 1: of forget about it.
• 59:03
  Speaker 2: That's what I'm saying. I feel like they just forget
• 59:05
  Speaker 2: some of their own plot lines, like they they're heading
• 59:08
  Speaker 2: towards something, but then it just starts circling around its
• 59:11
  Speaker 2: own ideas.
• 59:12
  Speaker 1: Yeah, and so I think that if they had kept
• 59:15
  Speaker 1: that a little bit stronger, kept her more on the
• 59:17
  Speaker 1: cop course, I think it would have it would have
• 59:20
  Speaker 1: felt like a more solid overall story. But like I said,
• 59:25
  Speaker 1: I still enjoyed it.
• 59:25
  Speaker 2: So no, I still I still enjoyed it too, because
• 59:28
  Speaker 2: there are some good moments. There are moments of horror
• 59:30
  Speaker 2: that works the atam when you know, when the atmosphere
• 59:33
  Speaker 2: clicks and Maximilian actually feels dangerous and it leans into
• 59:37
  Speaker 2: something much more darker and focused. That's where the movie
• 59:40
  Speaker 2: really really thrives. The setting itself, I feel, is a strength.
• 59:44
  Speaker 2: Bringing a vampire to Brooklyn gives a different texture to
• 59:49
  Speaker 2: what we normally see in vampire movies with usually having
• 59:52
  Speaker 2: gothic settings. It feels grounded in a way that could
• 59:55
  Speaker 2: be really effective if the tone had matched it. So,
• 59:58
  Speaker 2: you know, and when the when the how many does land?
• 1:00:01
  Speaker 2: Which it lands a lot, just sometimes it doesn't. You know,
• 1:00:04
  Speaker 2: it's you see why Eddie Murphy is such a force there,
• 1:00:07
  Speaker 2: There's it's there. It's just never all together at once.
• 1:00:12
  Speaker 2: That's that's the It's just it's trying to go in
• 1:00:14
  Speaker 2: too many directions. Tonally, it's just a mess in my opinion,
• 1:00:19
  Speaker 2: but it's still enjoyable. I think.
• 1:00:22
  Speaker 1: Yeah, I feel like based on his career, Eddie Murphy
• 1:00:27
  Speaker 1: really really wanted to be a jack of all trades.
• 1:00:31
  Speaker 1: But he hits hardest when he's doing comedy or he's
• 1:00:34
  Speaker 1: being genuinely sincere.
• 1:00:37
  Speaker 2: Yeah, I don't that's the thing.
• 1:00:38
  Speaker 1: This is more serious roles, but he doesn't like he's
• 1:00:43
  Speaker 1: tried horror. He has tried.
• 1:00:46
  Speaker 2: This was his first horror movie.
• 1:00:47
  Speaker 1: Actually, he tried to be a full blown action star,
• 1:00:50
  Speaker 1: like he tried. That's why, I mean, one of many
• 1:00:53
  Speaker 1: reasons why Beverly Hills Cop three was so terrible because
• 1:00:57
  Speaker 1: he didn't want to do the comedy. He just assumed
• 1:01:00
  Speaker 1: he would interject his own comedy and make the film good,
• 1:01:03
  Speaker 1: and he was like, I don't want to do that,
• 1:01:05
  Speaker 1: So he just didn't. He any place there was for
• 1:01:08
  Speaker 1: a joke for him. He just didn't do anything, and
• 1:01:11
  Speaker 1: a guy with comedic timing like that knows where those
• 1:01:13
  Speaker 1: places are. He also had an absolutely awful singing career.
• 1:01:19
  Speaker 2: He had a singing career.
• 1:01:21
  Speaker 1: That's why I was making jokes because he had a
• 1:01:23
  Speaker 1: song called a party all the time. Oh mynd buddy
• 1:01:28
  Speaker 1: all the body all the time. Yeah, it's really bad.
• 1:01:32
  Speaker 1: And you know, I think he just really really wanted
• 1:01:36
  Speaker 1: to be this like all these different things, and I
• 1:01:40
  Speaker 1: think he's gotten to this point where he kind of
• 1:01:41
  Speaker 1: gave up on trying to be so many different things.
• 1:01:45
  Speaker 1: Like axel F the fourth Beverly Hills cop movie. He
• 1:01:49
  Speaker 1: just goes back to being a genuine funny guy and
• 1:01:53
  Speaker 1: that's where he's his strongest. And I think he's realized
• 1:01:58
  Speaker 1: that he is wasting his own time. I'm trying to
• 1:02:00
  Speaker 1: do too much. Like when his his own personal films.
• 1:02:05
  Speaker 1: There are family friendly comedies, those were also not landing.
• 1:02:09
  Speaker 1: They were getting really cheap daycare. Well no, I'm saying
• 1:02:12
  Speaker 1: they're not strongest work. God know, they're not his strongest work.
• 1:02:17
  Speaker 1: And then he got way too carried away with the
• 1:02:20
  Speaker 1: prosthetics stuff.
• 1:02:22
  Speaker 2: Him and him and Michael Myers. Man, I don't get
• 1:02:25
  Speaker 2: they have to just play seventeen people in movies.
• 1:02:28
  Speaker 1: And their strongest characters though, are when they are just
• 1:02:31
  Speaker 1: themselves yea or like I'm sorry, I like I know
• 1:02:35
  Speaker 1: everybody loves I love Austin Powers, but that bastard makes
• 1:02:39
  Speaker 1: me uncomfortable. Always has.
• 1:02:42
  Speaker 2: Yeah, I think that's the point.
• 1:02:45
  Speaker 1: But the more narrowed in they are with their performances
• 1:02:49
  Speaker 1: the better. When they start relying way too heavily on
• 1:02:51
  Speaker 1: prosthetics or trying to branch out too far, it just
• 1:02:54
  Speaker 1: feels weak. It feels like they're hindering themselves.
• 1:02:59
  Speaker 2: Yeah, you're right, and I mean up until Vampire and Brooklyn.
• 1:03:02
  Speaker 2: Like I said, that was his first horror movie. Everything
• 1:03:05
  Speaker 2: before that was some form of a comedy. And yes,
• 1:03:08
  Speaker 2: Trading Places is the earliest thing I've seen him. And
• 1:03:10
  Speaker 2: I think he said eighty six, it's eighty three. He
• 1:03:12
  Speaker 2: only did one other movie. He only did one other
• 1:03:15
  Speaker 2: movie before that, which was forty eight Hours. Then you
• 1:03:17
  Speaker 2: have the Beverly Cops movies in the eighties, Harlem Knights,
• 1:03:21
  Speaker 2: the Golden Child. So this was his first, really first
• 1:03:24
  Speaker 2: and only horror movie, unless you're considering Haunted Mansion a
• 1:03:30
  Speaker 2: horror movie. Okay, so then he also did that, but
• 1:03:34
  Speaker 2: he's not trying to be spooky and scary. He's reacting
• 1:03:37
  Speaker 2: in an Eddie Murphy way to a really fucky situation.
• 1:03:40
  Speaker 2: So That's why I love that movie. Everything else is
• 1:03:45
  Speaker 2: a comedy. I know. Dolomite Is my Name is definitely
• 1:03:47
  Speaker 2: a drama, and he's in that. He stars in that.
• 1:03:52
  Speaker 2: So I think he's good when he's doing dramatic or comedy,
• 1:03:55
  Speaker 2: but yeah, mixing them. And that's probably why he didn't
• 1:03:58
  Speaker 2: do another horror movie after this, because it was not
• 1:04:00
  Speaker 2: well received. This movie is very poorly received and it
• 1:04:04
  Speaker 2: didn't even make its own budget back.
• 1:04:06
  Speaker 1: Yeah, and he tried to do the action with the
• 1:04:08
  Speaker 1: third Bilberly Hills Cop and then it was like, yeah,
• 1:04:11
  Speaker 1: it didn't land.
• 1:04:12
  Speaker 2: Because you just didn't get into them.
• 1:04:14
  Speaker 1: You you just kind of phoned in the performance. Even
• 1:04:16
  Speaker 1: he said that movie was terrible. And then Pluto Nash
• 1:04:21
  Speaker 1: was this big budget thing, another attempt to be uh
• 1:04:24
  Speaker 1: an action star, but it was just like that one
• 1:04:26
  Speaker 1: was all over the place. I also think that sometimes
• 1:04:29
  Speaker 1: these guys get so popular with their comedy that they
• 1:04:33
  Speaker 1: suffer from having too much control.
• 1:04:36
  Speaker 2: True. Yeah, yeah, because maybe.
• 1:04:38
  Speaker 1: You don't have any anyone to say no, You've got
• 1:04:40
  Speaker 1: a bunch of yes men.
• 1:04:41
  Speaker 2: And then well and and he has his own production company,
• 1:04:43
  Speaker 2: so he's producing all these movies.
• 1:04:45
  Speaker 1: So then you run into that problem where your your
• 1:04:49
  Speaker 1: film start to get messy.
• 1:04:51
  Speaker 2: Right, And I think it's funny because this fits perfectly
• 1:04:54
  Speaker 2: into the nineties because it's a decade where people we
• 1:04:57
  Speaker 2: were experimenting coming off the Slashers of the eighties and
• 1:05:01
  Speaker 2: all that stuff. People were trying to blend genres and
• 1:05:05
  Speaker 2: all this stuff. So it fits perfectly into the nineties
• 1:05:08
  Speaker 2: for sure, and especially right in the middle ninety five.
• 1:05:11
  Speaker 1: And that's a nineties coziness to it.
• 1:05:13
  Speaker 2: Yeah, it does. And final thoughts here for me, at
• 1:05:17
  Speaker 2: the end of the day, I think this is a
• 1:05:18
  Speaker 2: movie with personality. It's not bland. It is definitely not forgettable.
• 1:05:23
  Speaker 2: It's just inconsistent. Strong performances by Angela Bassett and even
• 1:05:28
  Speaker 2: not Julius. No Julius, Yeah, yeah, Julius, and moments where
• 1:05:33
  Speaker 2: everything almost clicks into place, but again, it just never
• 1:05:35
  Speaker 2: fully commits. And I feel like there is a there
• 1:05:39
  Speaker 2: is a version of this movie that is hiding, Like
• 1:05:42
  Speaker 2: a better version of this movie is hiding in the
• 1:05:45
  Speaker 2: full version. If it were cut down or something, I
• 1:05:48
  Speaker 2: think it would be much stronger. But I think that's
• 1:05:51
  Speaker 2: all I have for Vampire in Brooklyn. I did not
• 1:05:54
  Speaker 2: expect to talk about this this is a little bit
• 1:05:57
  Speaker 2: longer than we normally talk about. Usually we're out about
• 1:05:59
  Speaker 2: forty minutes. I think we're at about almost fifty. So
• 1:06:02
  Speaker 2: it's like I said, it's it's definitely unique. I think,
• 1:06:05
  Speaker 2: you know, you have to be in the right mood
• 1:06:06
  Speaker 2: for it. And if this sounds interesting, I mean, if
• 1:06:08
  Speaker 2: you haven't watched it at this point, that's on you.
• 1:06:10
  Speaker 1: I think it's worth a watch.
• 1:06:11
  Speaker 2: And we really haven't spoiled like I mean, I guess
• 1:06:14
  Speaker 2: we have, but.
• 1:06:15
  Speaker 1: We haven't fully spoiled anything.
• 1:06:18
  Speaker 2: Besides Angela Bassett being turned into a van but.
• 1:06:21
  Speaker 1: Yeah, but you know, we didn't say how that worked
• 1:06:23
  Speaker 1: out for But you know, I think this one's worth
• 1:06:28
  Speaker 1: checking out. And it's something that I'm not gonna watch
• 1:06:31
  Speaker 1: next year most likely, but down the road i'd probably
• 1:06:33
  Speaker 1: put it on again.
• 1:06:34
  Speaker 2: Yeah, because I always want to give movies a second
• 1:06:37
  Speaker 2: chance now that I know what I'm getting into, and
• 1:06:41
  Speaker 2: you know, opinions can change, sometimes for the better, which
• 1:06:44
  Speaker 2: is usually in my case, and sometimes for the worst.
• 1:06:47
  Speaker 2: So that is Vampire in Brooklyn from nineteen ninety five.
• 1:06:50
  Speaker 2: Let's roll into the final cut, so there's only one tagline,
• 1:06:55
  Speaker 2: A comic tale of horror. And seduction trivia. This is
• 1:06:59
  Speaker 2: a wild okay. Sonia Davis, angela Bassett's stunt double, died
• 1:07:05
  Speaker 2: in an accident on set. Davis's family filed a wrongful
• 1:07:08
  Speaker 2: death suit against Paramount and Eddie Murphy's production company, alleging
• 1:07:12
  Speaker 2: that proper safety protocols were not met and that Davis
• 1:07:15
  Speaker 2: herself was hesitant about doing the stunt. Eventually, California's Division
• 1:07:19
  Speaker 2: of OSHA issued for citations to Paramount and find them
• 1:07:22
  Speaker 2: twenty nine thousand dollars. However, the plaintiff and the wrongful
• 1:07:26
  Speaker 2: death suit passed away in nineteen ninety six, and there's
• 1:07:28
  Speaker 2: no information about the case after that. It was presumably dropped.
• 1:07:32
  Speaker 2: Like wow, damn. As I mentioned before, this is the
• 1:07:36
  Speaker 2: first time Eddie Murphy well, I said it was his
• 1:07:39
  Speaker 2: first horror movie, but this is the first time he
• 1:07:40
  Speaker 2: plays a villain. This is where it gets interesting. Charlie
• 1:07:44
  Speaker 2: Murphy stated the movie was intended to be a straight
• 1:07:47
  Speaker 2: forward horror film without any laughs. But Wes Craven is
• 1:07:51
  Speaker 2: the one that brought the different tone to the film.
• 1:07:54
  Speaker 2: Coming from Eddie Murphy or you know, I'm saying it's
• 1:07:57
  Speaker 2: coming from Eddie Murphy Productions. That is crazy to me.
• 1:08:01
  Speaker 2: I think it probably would have worked better if it
• 1:08:03
  Speaker 2: was a straight horror movie.
• 1:08:04
  Speaker 1: I think so too.
• 1:08:05
  Speaker 2: Director Wes Craven mentioned that this film taught him a
• 1:08:08
  Speaker 2: difficult lesson about making a horror comedy, which he used
• 1:08:11
  Speaker 2: to make to make screen nineteen ninety six. And then
• 1:08:15
  Speaker 2: I kind of already mentioned this, but during the opening narration,
• 1:08:17
  Speaker 2: Maxim Maximilian indirectly references the character of Dracula when he
• 1:08:21
  Speaker 2: talks about how nos Faratu were originally from Egypt but
• 1:08:24
  Speaker 2: were expelled thousands of years ago. Many of the vampires
• 1:08:27
  Speaker 2: relocated to the Carpathian Mountains in eastern Europe. It doubles
• 1:08:30
  Speaker 2: that someone somewhat of a take that when he mentions
• 1:08:33
  Speaker 2: that he has better taste, including myself, and settled in
• 1:08:36
  Speaker 2: part of the Caribbean known as the Bermuda Triangle. Oh,
• 1:08:38
  Speaker 2: there we go. That's where he was, and two goofs,
• 1:08:42
  Speaker 2: that's it. The glued edge Vettie Murphy's hair piece is
• 1:08:44
  Speaker 2: visible throughout much of the film, and Justice war An
• 1:08:47
  Speaker 2: Adida's sweater in half the movie. I don't know what
• 1:08:50
  Speaker 2: that's supposed to do. I don't know what that means either.
• 1:08:53
  Speaker 2: This is where it gets rough.
• 1:08:54
  Speaker 1: Hey, I like that. We also noticed his hairline because
• 1:08:56
  Speaker 1: I always look at that at wig's Mike Bro, I
• 1:08:58
  Speaker 1: can see your wig, Tony Collette and Hereditary. Yeah, you
• 1:09:03
  Speaker 1: can see her slipping up.
• 1:09:04
  Speaker 2: Yeah, because it's really close in that one. You're you
• 1:09:07
  Speaker 2: spot a wig better than any anybody I've ever met.
• 1:09:10
  Speaker 2: You'd be like, that's a wig, and I'm like, how
• 1:09:11
  Speaker 2: do you even have falled?
• 1:09:13
  Speaker 1: Enough people on TikTok who talk about wigs, and I'm like,
• 1:09:16
  Speaker 1: now I can't unsee it.
• 1:09:17
  Speaker 2: That's insane. You're You're really good at spotting a wig.
• 1:09:20
  Speaker 1: Immediately I'm like, huh, I don't see your scalp wig.
• 1:09:24
  Speaker 2: So, like I said, this is where it gets really
• 1:09:27
  Speaker 2: really rough. Four point seven out of five on or
• 1:09:32
  Speaker 2: four point seven out of ten on IMDb, which is
• 1:09:34
  Speaker 2: a two point three five for our scale of the
• 1:09:38
  Speaker 2: Nightmare Index. A two point five on Letterboxed has a
• 1:09:42
  Speaker 2: fourteen percent on the Tomato Meter and a thirty one
• 1:09:45
  Speaker 2: percent audience score. What'd you give this?
• 1:09:48
  Speaker 1: I give you three and a half. I had fun.
• 1:09:50
  Speaker 2: Yeah, I gave it a three as well. I had fun.
• 1:09:53
  Speaker 2: So that gives us say, this is going to be
• 1:09:55
  Speaker 2: the lowest one I can tell, oh my god, it's
• 1:09:56
  Speaker 2: not the lowest one.
• 1:09:58
  Speaker 1: Side note, I will also give some movies better ratings
• 1:10:01
  Speaker 1: if they have just like especially vampire movies, if they
• 1:10:04
  Speaker 1: have excellent vampire makeup. And this one had excellent prosthetics.
• 1:10:08
  Speaker 1: I loved those prosthetics, like these are so cool.
• 1:10:12
  Speaker 2: So I think this is the twentieth movie we've done.
• 1:10:15
  Speaker 2: This is sitting third from the bottom. We have The
• 1:10:18
  Speaker 2: Nesting in last place at a two point sixty seven
• 1:10:20
  Speaker 2: out of five, Frankenstein's Army at a two point seven
• 1:10:22
  Speaker 2: eight out of five, and we've got Vampire in Brooklyn
• 1:10:27
  Speaker 2: at a two point eight four out of five. So
• 1:10:31
  Speaker 2: somehow not the lowest on the list. That's actually kind
• 1:10:33
  Speaker 2: of impressive.
• 1:10:34
  Speaker 1: You know, you got the Hunting in there twice.
• 1:10:37
  Speaker 2: Oh I do oh that. Oh they got to change that.
• 1:10:41
  Speaker 1: Yeah, but it's nice to see that it's not at
• 1:10:45
  Speaker 1: the bottom. How Sue is still riding at the top there.
• 1:10:48
  Speaker 2: Nothing is going to top house. See Donna the Dead
• 1:10:50
  Speaker 2: came very close, But I don't think we're going to
• 1:10:51
  Speaker 2: get higher than a four point four out of five
• 1:10:54
  Speaker 2: similar movies according to IMDb. Let me throw my iPad boomerang,
• 1:10:59
  Speaker 2: Nutty Perfi or to the Clumps, Harlem Knights, The Distinguished Gentlemen,
• 1:11:03
  Speaker 2: and another forty eight hours.
• 1:11:05
  Speaker 1: And that's the other one. I have to watch two.
• 1:11:06
  Speaker 2: Sequels, and then similar movies according to the letterbox, The Baby Setter, Renfield,
• 1:11:11
  Speaker 2: The Wolf of snow Hollow, Abigail, And it's.
• 1:11:15
  Speaker 1: A sure a absolutely ridiculous list of similar films. Abigail, Yeah,
• 1:11:20
  Speaker 1: everything else in Renfield, everything else.
• 1:11:22
  Speaker 2: What I understand I amdb's logic because they usually go
• 1:11:25
  Speaker 2: by director if they're famous, or comedian or actor if
• 1:11:28
  Speaker 2: they're famous. But this letterbox is fucking on drugs, on drugs.
• 1:11:34
  Speaker 2: Did you get any funny reviews?
• 1:11:37
  Speaker 1: Yes?
• 1:11:37
  Speaker 2: I did? How many do you have?
• 1:11:39
  Speaker 1: Three?
• 1:11:41
  Speaker 2: I've got four, So I'll go first, U two and
• 1:11:43
  Speaker 2: a half stars from Bill the Thrill, damn it. Oh
• 1:11:48
  Speaker 2: you want that one? Yeah, I'll go find another one.
• 1:11:50
  Speaker 2: All right, all right, all right, let me go find
• 1:11:51
  Speaker 2: another one. Hold on one second. It's I know, it's
• 1:11:56
  Speaker 2: insane how all of these rating, all of these reviews are.
• 1:11:59
  Speaker 1: They're so long, people are so fucking wordy.
• 1:12:03
  Speaker 2: I know, all right, fuck it, I'll just have you
• 1:12:05
  Speaker 2: you just start, you start with that one. I'll just
• 1:12:07
  Speaker 2: do three, okay, uh.
• 1:12:09
  Speaker 1: Two and a half stars from Bill the Thrill.
• 1:12:12
  Speaker 2: What what it was a joke?
• 1:12:15
  Speaker 1: Oh?
• 1:12:15
  Speaker 2: Because I had just help move go.
• 1:12:17
  Speaker 1: On pretty whack. But Eddie Murphy's vampire mullet was lit.
• 1:12:22
  Speaker 2: It indeed was.
• 1:12:23
  Speaker 1: It was just not where they gluted on. No.
• 1:12:26
  Speaker 2: Five stars from Blue Ghosts New Favorite Movie Alert.
• 1:12:31
  Speaker 1: Two stars from fall Heart Just watch Scooby Doo Zombie Island.
• 1:12:39
  Speaker 2: Four stars from Troy Wayne. I'm gonna try and do
• 1:12:43
  Speaker 2: this in his voice best I can. Evil is good.
• 1:12:46
  Speaker 2: Ass is good and if you get yourself from evil ass,
• 1:12:49
  Speaker 2: who Jesus tried.
• 1:12:52
  Speaker 1: This is from someone who's got that crazy font who
• 1:12:56
  Speaker 1: looks like maybe it's Katie with a bow.
• 1:13:00
  Speaker 2: Ooh, okay.
• 1:13:00
  Speaker 1: Three and a half stars. Obviously, I like a film
• 1:13:04
  Speaker 1: that has the line a Hoy motherfucker in the first
• 1:13:07
  Speaker 1: five minutes.
• 1:13:08
  Speaker 2: That's hilarious because mine. Three stars from Justin Liberty. Shout
• 1:13:13
  Speaker 2: out to him. He's frequently on this show. Say what
• 1:13:16
  Speaker 2: you will, but any movie that opens with John Witherspoon shouting, ahoy,
• 1:13:19
  Speaker 2: motherfucker can't be bad. Definitely not Craven's worst agreed, Oh goodness.
• 1:13:26
  Speaker 2: If you enjoy the show, please rate and review on
• 1:13:28
  Speaker 2: your favorite podcast app of choice. Follow us on Facebook, Instagram, TikTok,
• 1:13:33
  Speaker 2: Slasher Threads and YouTube at Frightmares Podcast, our email Estayspooky
• 1:13:37
  Speaker 2: at outlook dot com. If you want to follow me
• 1:13:39
  Speaker 2: personally on letterbox, you can do that at Doctor Proctor
• 1:13:42
  Speaker 2: All one word and I should probably mention this because
• 1:13:45
  Speaker 2: it's not just Dr Proctor, it is the full docta yep,
• 1:13:49
  Speaker 2: practa no spaces. If you'd like to expand your movie
• 1:13:52
  Speaker 2: podcast listening, be sure to check out The Shameless Picture Show,
• 1:13:55
  Speaker 2: The Dead Eyed Millennial Film Club, and one week Rental
• 1:13:59
  Speaker 2: as well. Next month begins Melian Invasion, where you and
• 1:14:04
  Speaker 2: I will be doing Close Encounters of the Third Kind
• 1:14:07
  Speaker 2: from nineteen seventy seven is our essential pick. I would
• 1:14:10
  Speaker 2: have done Alien, but we've already done Alien. I would
• 1:14:13
  Speaker 2: do Aliens, but that doesn't really make sense because Alien
• 1:14:16
  Speaker 2: came first. So we're doing a movie that came before
• 1:14:19
  Speaker 2: both of them exactly, and it's a masterpiece. It is
• 1:14:21
  Speaker 2: streaming on Plex and Prime for a three ninety nine rental,
• 1:14:24
  Speaker 2: or you can just come over to my house and
• 1:14:27
  Speaker 2: watch the four K.
• 1:14:28
  Speaker 1: So you got me for Christmas?
• 1:14:29
  Speaker 2: Yeah, we can finally watch that brilliant film, So until
• 1:14:33
  Speaker 2: next week, slash next month, whatever you want to call it,
• 1:14:35
  Speaker 2: stay tuned and stay spooky.
• 1:15:14
  Speaker 1: Thank you for listening. To hear more shows from the
• 1:15:17
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 1:15:21
  Speaker 1: the description.