Latest / Nashville Movie Dispatch / Vick's Flicks, Ep. 182: Steven Soderbergh and 'The Christophers'

Transcript

Vick's Flicks, Ep. 182: Steven Soderbergh and 'The Christophers' · Nashville Movie Dispatch

• 0:09
  Speaker 1: Reviews, news, deep dives into filmographies, and really whatever the
• 0:14
  Speaker 1: hell we want to talk about from the movie world.
• 0:21
  Speaker 1: This is the vix Flicks podcast on Nashville Movie Dispatch.
• 0:29
  Speaker 1: Welcome back for another episode of the vix Flicks podcast
• 0:32
  Speaker 1: right here on Nashville Movie Dispatch. I'll be your host
• 0:35
  Speaker 1: for the show this evening or this morning, I guess,
• 0:38
  Speaker 1: I don't know, uh, whenever you're listening to it. I'm
• 0:42
  Speaker 1: Stony Keeley. You can follow me on Twitter at Stony
• 0:44
  Speaker 1: Keeley all social media platforms. Check out all of our
• 0:48
  Speaker 1: work at Nashville Moviedispatch dot substack dot com. Of course,
• 0:52
  Speaker 1: joined as usual by the co host of the vix
• 0:55
  Speaker 1: Flicks podcast, the man whose namesakered bears. He is a
• 0:59
  Speaker 1: board member of the Music City Film Critics Association. He
• 1:02
  Speaker 1: is a member of the Southeastern Film Critics Association. He's
• 1:05
  Speaker 1: our resident film critic here at Nashville Movie Dispatch, mister
• 1:10
  Speaker 1: big shot himself Brandon Vick. Brandon, how you doing today, man?
• 1:14
  Speaker 2: I thanks for asking. My allergies are kicking my ass.
• 1:19
  Speaker 1: Dude, same here. It's like every night around like nine o'clock,
• 1:25
  Speaker 1: I just go into a fit where my nose starts leaking,
• 1:29
  Speaker 1: and it's the type where it's like this is way
• 1:31
  Speaker 1: too much information, but like there is nothing you can
• 1:34
  Speaker 1: do to stop it. It's just running like a faucet.
• 1:37
  Speaker 1: And my wife is disgusted by it. She's trying to
• 1:41
  Speaker 1: figure out, like what's causing it, and I'm I don't know.
• 1:45
  Speaker 1: I've never had allergies as bad, but the last couple
• 1:47
  Speaker 1: of years it's been, it's been pretty brutal.
• 1:50
  Speaker 2: It. Well, I did something I don't like, and now
• 1:54
  Speaker 2: I'm paying for it, which I also don't like, because
• 1:57
  Speaker 2: I we'd eat a mode over the weekend. Yeah, we
• 2:00
  Speaker 2: planted some stuff, we mulched, and I had to go
• 2:04
  Speaker 2: back and get more mulch and more pavers and all
• 2:07
  Speaker 2: this stuff, and then I would say yeah. Then the
• 2:12
  Speaker 2: very next day it started. And now today as I
• 2:15
  Speaker 2: talk to you, I'm hoping I don't blow snot or
• 2:18
  Speaker 2: chunks all over this mic.
• 2:20
  Speaker 1: Well, nobody can see us. It's not a video.
• 2:22
  Speaker 2: Where you'll hear it. Oh, you'll hear it.
• 2:24
  Speaker 1: It's technically a video recording, but the video will never
• 2:27
  Speaker 1: see the light of day.
• 2:28
  Speaker 2: So sound like slime hitting an AC unit.
• 2:31
  Speaker 1: It's like double there, Yeah, exactly. You know how they
• 2:36
  Speaker 1: used to. They used to always toast.
• 2:37
  Speaker 2: T yep, yep. Part of that obstacle course where you
• 2:42
  Speaker 2: had to get a flag of a nose.
• 2:45
  Speaker 1: I missed doubled there, did you?
• 2:48
  Speaker 2: And they tried to redo it and it's not the same,
• 2:50
  Speaker 2: and then they changed it. But I think they did
• 2:52
  Speaker 2: a tour of it. Yeah, family Doubled. Yeah, like how
• 2:57
  Speaker 2: they do prices right, so.
• 2:58
  Speaker 1: They should, uh know, they should bring back Double Dare.
• 3:02
  Speaker 1: But four nineties kids like ninety kids can compete, So
• 3:05
  Speaker 1: it's you and me out there, Yeah, breaking our hips trying.
• 3:09
  Speaker 2: What was it? No, that's what would you do? Is
• 3:11
  Speaker 2: that where you had all those pies thrown in your face?
• 3:14
  Speaker 1: What would you do? Oh man? That was like the.
• 3:16
  Speaker 2: Family like but remember you had to sit in the Yeah,
• 3:22
  Speaker 2: that was what was. Yeah, there was Double Dare was
• 3:25
  Speaker 2: literally like them, like doing different games. But then the
• 3:28
  Speaker 2: obstacle course is where you won. It was like uh
• 3:33
  Speaker 2: you know the showcase showdown.
• 3:35
  Speaker 1: Yeah, and then there was wild and Crazy kids. I remember, Yeah,
• 3:39
  Speaker 1: I used to that was outside. Yeah, do you guys
• 3:43
  Speaker 1: have are you guys struggling with dandelions really bad this year? Yeah,
• 3:48
  Speaker 1: it feels like they're everywhere. Man.
• 3:50
  Speaker 2: Oh but my son loves it.
• 3:52
  Speaker 1: Yeah, well he's having a field day, I bet yeah.
• 3:54
  Speaker 2: And his Pop Paul, my dad us. When we were
• 4:01
  Speaker 2: at their house, they had a bunch of dandelions, and
• 4:03
  Speaker 2: so up to that point, Oliver had been like picking
• 4:06
  Speaker 2: them and blowing them, and Pop Paul says, watch this
• 4:10
  Speaker 2: and starts kicking all those dandylions. That's what he does.
• 4:15
  Speaker 1: So he learned something new.
• 4:16
  Speaker 2: And then those flow up my nose probably that's probably what.
• 4:20
  Speaker 1: I'm pretty sure those are seeds. That's how new dandelions
• 4:23
  Speaker 1: are born, when you kick one of just spreads and
• 4:28
  Speaker 1: then new dandelions form. Yeah, we've got really bad this show.
• 4:33
  Speaker 2: You've got dandelions, We've got those like white flower weeds
• 4:37
  Speaker 2: and the yellow ones. But they're all dead now because
• 4:42
  Speaker 2: I'm mode well all dead.
• 4:45
  Speaker 1: Thank you all for tuning in to this episode of
• 4:48
  Speaker 1: Old Men at Hearty's.
• 4:53
  Speaker 2: Oh but those sales at Low's do we.
• 4:55
  Speaker 1: Have time saying two dollars per bag of molts?
• 4:58
  Speaker 2: They're still there of yesterday they were? Yeah, because I
• 5:02
  Speaker 2: go back and get more.
• 5:03
  Speaker 1: I need to go get some because I got a remulch.
• 5:05
  Speaker 2: Dude, what a crazy weekend I went to like Low's
• 5:08
  Speaker 2: and publics.
• 5:11
  Speaker 1: Man, I I had to put some icy hot on
• 5:15
  Speaker 1: my foot because I feel like something something in my
• 5:19
  Speaker 1: foot swelling up.
• 5:20
  Speaker 2: Hey, don't get me started. I got arthritis in one
• 5:22
  Speaker 2: of mine.
• 5:23
  Speaker 1: Damn, man, that sucks. Yeah, this is.
• 5:27
  Speaker 2: How many people. Yeah, I was gonna say, welcome, welcome
• 5:30
  Speaker 2: to forty I guess.
• 5:32
  Speaker 1: I saw a video of a bunch of kids doing
• 5:35
  Speaker 1: backyard wrestling on my Instagram the other day, and it
• 5:38
  Speaker 1: brought back memories to the way I used to do
• 5:43
  Speaker 1: the backyard wrestling, the way I used to like play kickball,
• 5:47
  Speaker 1: play football.
• 5:49
  Speaker 2: Remember we go, Yeah, hit the tennis ball.
• 5:52
  Speaker 1: With like no regard for my well being, just throwing
• 5:55
  Speaker 1: my body all over.
• 5:57
  Speaker 2: Oh yeah.
• 5:58
  Speaker 1: And now I look back on it and I'm like, you,
• 6:03
  Speaker 1: dumb fucking kid. I would That is one thing I
• 6:06
  Speaker 1: wish I could have back. I should not have been
• 6:10
  Speaker 1: as physical as I was in my younger days, because
• 6:12
  Speaker 1: now I can barely stand up straight when I got.
• 6:16
  Speaker 2: I'm sure in all the years we've known each other,
• 6:19
  Speaker 2: I bet at one point I probably told you, I
• 6:24
  Speaker 2: don't know why you're breaking your back for stuff like this.
• 6:27
  Speaker 1: Well it was, uh, you know, it's it's fun. You know,
• 6:31
  Speaker 1: pain makes the makes me feel alive.
• 6:34
  Speaker 2: Yeah, yeah, well and that and you know, no one's
• 6:37
  Speaker 2: thinking about twenty years now. But let me tell you
• 6:41
  Speaker 2: I was when I was backyard wrestling, I was already
• 6:44
  Speaker 2: that eighty year old Rick Flair. You don't have to
• 6:46
  Speaker 2: tell me to take something. I'd say, nope, you're going
• 6:49
  Speaker 2: to just do a little flip on this trampoline.
• 6:52
  Speaker 1: And then I do remember thinking it's okay, I'll just
• 6:56
  Speaker 1: have to work out a little harder when I get older.
• 6:59
  Speaker 2: That's true, to take care of yourself.
• 7:01
  Speaker 1: And uh and then when you get older, you realize
• 7:04
  Speaker 1: you're tired all the time and you're stressed out all
• 7:07
  Speaker 1: the time, and it's much easier to pop open a
• 7:11
  Speaker 1: beer than it is.
• 7:12
  Speaker 2: Yeah. I uh so when I'm going up the stairs,
• 7:17
  Speaker 2: I'm gripping that handrail harder than like a camel clutch.
• 7:22
  Speaker 2: So you don't.
• 7:24
  Speaker 1: Know, yeah, there you there you have it for this
• 7:27
  Speaker 1: month's episode of Old Men. And ye god, but.
• 7:31
  Speaker 2: You know what I will say, A Hearty's biscuit sounds good.
• 7:34
  Speaker 1: I haven't had one in a while. I might have
• 7:36
  Speaker 1: to and get one. There's a there's you know, there's
• 7:38
  Speaker 1: one in Gladeville, Ish. Now, yeah, it's at the It's
• 7:44
  Speaker 1: at the Loves travel station off the Couchful Pike exident.
• 7:48
  Speaker 1: You know what.
• 7:49
  Speaker 2: I did know that because we went towards uh, we
• 7:52
  Speaker 2: went past it to go somewhere. I forgot, but yeah,
• 7:55
  Speaker 2: I did see. I guess I feel like it's always
• 7:57
  Speaker 2: been there, But I guess it's just loves.
• 8:00
  Speaker 1: Man. If that thing had been there when we were
• 8:02
  Speaker 1: hanging out at my parents' house when we were teenagers,
• 8:05
  Speaker 1: we would have given that hearty so much fucking money.
• 8:08
  Speaker 2: Well, and there's a hearty and I used to go
• 8:09
  Speaker 2: because we lived in apartments closer to you know, the exit. Yeah,
• 8:14
  Speaker 2: but now we don't. Now, I don't think we did
• 8:18
  Speaker 2: breakfast like that unless we're traveling.
• 8:21
  Speaker 1: We don't either. It's really weird like we might do.
• 8:24
  Speaker 1: We usually either cook on the weekends. We're going on
• 8:27
  Speaker 1: eight minutes.
• 8:28
  Speaker 2: I know, I'm laughing as I see eight minutes and
• 8:31
  Speaker 2: nice seconds of this.
• 8:33
  Speaker 1: People are gonna be so pissed. We either cook breakfast
• 8:36
  Speaker 1: on the weekends or we usually just get like a
• 8:38
  Speaker 1: little pastry or a croissant at something when we go
• 8:42
  Speaker 1: to Starbucks on Saturday morning.
• 8:44
  Speaker 2: Yeah, it's usually cooking, but it's we kind of just
• 8:48
  Speaker 2: do chick fil A, and we don't even do that
• 8:50
  Speaker 2: that much.
• 8:51
  Speaker 1: Yeah, we like like Chick fil A too.
• 8:53
  Speaker 2: To your point with Starbucks, if we're on the way
• 8:55
  Speaker 2: to something in the morning and I haven't eaten and
• 8:58
  Speaker 2: we're gonna leave, like some times we'll leave early to
• 9:01
  Speaker 2: go to the zoo, I'll stop by the Starbucks up
• 9:04
  Speaker 2: here and I'll go ahead and get a chi ta
• 9:07
  Speaker 2: and a their egg bites that have like spinach and peppers.
• 9:11
  Speaker 1: Oh yeah, they're.
• 9:12
  Speaker 2: Good, and they're nice and hot.
• 9:14
  Speaker 1: They got they have a really good ham and Swiss croissant.
• 9:18
  Speaker 2: Speaking of nice and hot, And have you seen Sodaberg lately?
• 9:22
  Speaker 1: We are here to talk about Steven Soderbergh. Really really
• 9:27
  Speaker 1: kind of an interesting case study here because he is
• 9:31
  Speaker 1: one of the more well known filmmakers in the film industry. Uh,
• 9:36
  Speaker 1: it is something of an event when you hear, oh,
• 9:38
  Speaker 1: Soderbergh's got a new one out. He's been pumping out
• 9:41
  Speaker 1: shit like crazy these last few years.
• 9:44
  Speaker 2: And you know, I was thinking about this when I
• 9:46
  Speaker 2: was looking back at his filmography, and I don't know,
• 9:48
  Speaker 2: like if general movie audiences really know what he's done
• 9:53
  Speaker 2: and who he is.
• 9:55
  Speaker 1: Yeah, fair enough. I think it's it's interesting because he
• 9:59
  Speaker 1: has that reputae like among cinophiles, if you will. Yeah,
• 10:05
  Speaker 1: but he hasn't won an Academy Award and in fact,
• 10:09
  Speaker 1: like his films have only gotten a couple of nominations,
• 10:13
  Speaker 1: So it's not like it's this big vaunted filmography. But
• 10:19
  Speaker 1: if you're paying attention, like, he's done some really good
• 10:23
  Speaker 1: stuff and he's a name that kind of comes up
• 10:26
  Speaker 1: on the vix Flicks podcast quite a bit part of
• 10:30
  Speaker 1: because of how prolific he's been as a filmmaker. His
• 10:34
  Speaker 1: movies come out, we talk about him, and then we
• 10:36
  Speaker 1: end up in this like, oh, yes, Steven Soderberg one
• 10:39
  Speaker 1: of the more underrated filmmakers in the game. Do you
• 10:42
  Speaker 1: think that's fair to say? Would you consider him underrated?
• 10:46
  Speaker 1: Maybe casual movie audiences probably should know a little bit
• 10:50
  Speaker 1: more of his work.
• 10:52
  Speaker 2: Yes, and no, it kind of depends when you were
• 10:54
  Speaker 2: maybe first introduced to him, because there's a lot in
• 10:58
  Speaker 2: this back half that are there. HBO Max originals didn't
• 11:03
  Speaker 2: even come to theaters. Yeah, and some of the people
• 11:06
  Speaker 2: he gets, I mean, I like them, but you know,
• 11:10
  Speaker 2: I don't know if he's I mean, it's not like
• 11:13
  Speaker 2: his Oceans movies, you know, which, funny enough, I did
• 11:16
  Speaker 2: read something I want to think maybe is on Indie
• 11:18
  Speaker 2: Wire where I think he's kind of looking to do
• 11:20
  Speaker 2: something big again because he stayed away from it for
• 11:23
  Speaker 2: so long, which he has as we go through it.
• 11:26
  Speaker 2: Not that he's made stinkers or anything, but he but
• 11:29
  Speaker 2: he he hasn't made a big what is it mainstream
• 11:36
  Speaker 2: box office films in a very long time.
• 11:41
  Speaker 1: Would you consider would you consider Magic Mike a big
• 11:46
  Speaker 1: mainstream because that's twenty twelve.
• 11:49
  Speaker 2: Yeah, I would. That's probably one of the last ones.
• 11:53
  Speaker 2: I always think of his Oceans movies, and then there's
• 11:55
  Speaker 2: some where they're kind of the late nineties, early two thousands.
• 11:58
  Speaker 1: Yeah, that's kind of kind of where I like start
• 12:04
  Speaker 1: with him. Is that early two thousands run, which we'll
• 12:07
  Speaker 1: get into for for a bit. I'm trying to look at.
• 12:12
  Speaker 2: But listen, I want to. I want to make something clear.
• 12:14
  Speaker 2: And I looked it up because I didn't want to.
• 12:16
  Speaker 2: I didn't want to start anything. But he is an
• 12:18
  Speaker 2: Oscar winner.
• 12:19
  Speaker 1: He is, he is.
• 12:20
  Speaker 2: He did win for Best Director with Traffic I see
• 12:24
  Speaker 2: the been nominated three times, but he has won for
• 12:28
  Speaker 2: Best Director. Traffic was the only time he's ever won.
• 12:31
  Speaker 1: No, he's actually been nominated for fourteen Academy Awards.
• 12:35
  Speaker 2: I'm sorry, Yeah, I think I was looking at only
• 12:37
  Speaker 2: Best Director. I think he's only been nominated for Best Director.
• 12:40
  Speaker 1: And he's won five. What I was looking at or
• 12:43
  Speaker 1: the performances he's only Oh, he's only had three performances.
• 12:47
  Speaker 1: So I just that's a mix up on my part
• 12:51
  Speaker 1: because I was I was thinking, like, how a lot.
• 12:53
  Speaker 2: More knowledgeable about Hearty's than we are about anything we're
• 12:56
  Speaker 2: choosing to talk.
• 12:57
  Speaker 1: About, Like how does this guy have the film graphy
• 13:00
  Speaker 1: he has and the on the only three nominations he's
• 13:05
  Speaker 1: gotten for Julia Roberts, Albert Finia, and Benizio del Toro.
• 13:10
  Speaker 1: That's right, those are the only ones, that's right. Oh man,
• 13:13
  Speaker 1: that's right.
• 13:14
  Speaker 2: But but no, he is an Oscar winner and we
• 13:17
  Speaker 2: all get to Traffic. But that was kind of his
• 13:19
  Speaker 2: his big one, even though he's been doing stuff for
• 13:22
  Speaker 2: I think since the eighties.
• 13:24
  Speaker 1: Yeah, his first, uh, first directed feature is nineteen eighty
• 13:28
  Speaker 1: nine Sex Lies and Videotape, which I have not seen,
• 13:32
  Speaker 1: but I know it was kind of it was kind
• 13:35
  Speaker 1: of championed at the time as like a really important
• 13:39
  Speaker 1: work for indie filmmaking.
• 13:41
  Speaker 2: Oh yeah, and it was a big thing at Sundance
• 13:43
  Speaker 2: when I mean yeah that like Sundancers really kind of
• 13:46
  Speaker 2: fined and it's it's groove and you know, establishing these
• 13:50
  Speaker 2: new filmmakers that Robert Redford has been credited because of Sundance,
• 13:55
  Speaker 2: And but I have never seeing this one either, but
• 14:00
  Speaker 2: I recently watched it for this and I I get
• 14:06
  Speaker 2: the appeal. I it's not one of my favorites of his,
• 14:10
  Speaker 2: but I do get the appeal of it, especially in
• 14:14
  Speaker 2: in eighty nine. But it's got a young Andy McDowell,
• 14:18
  Speaker 2: James Spader, Peter Gallagher. So I really it's very much
• 14:24
  Speaker 2: of kind of this cheating a fair love passion. But
• 14:30
  Speaker 2: then also this James Spader plays a guy that has it.
• 14:35
  Speaker 2: It doesn't really find the interest in sex, but videotapes
• 14:38
  Speaker 2: people kind of making their confessions about it. It's it's odd.
• 14:44
  Speaker 1: Some of his movies do kind of lean into that
• 14:47
  Speaker 1: territory though. Yeah, it is kind of kind of weird.
• 14:52
  Speaker 1: Yeah they do.
• 14:53
  Speaker 2: And but there's there is a style that Soderberg is
• 14:57
  Speaker 2: known for now and that's it's not really apparent in
• 15:04
  Speaker 2: Sex LIVEE and Videotape. But I do think something that
• 15:07
  Speaker 2: is worth noting, I think is the storytelling and the
• 15:10
  Speaker 2: performances because the acting, like you said it does, it
• 15:15
  Speaker 2: does play a big part in his films, and especially
• 15:17
  Speaker 2: when it comes to casting. I think that I think
• 15:21
  Speaker 2: it says a lot because sometimes, like as we.
• 15:23
  Speaker 1: Go through.
• 15:25
  Speaker 2: Again Ocean's movie. Sure, I mean I think that, you know,
• 15:29
  Speaker 2: I think that's pretty apparent on who would play people
• 15:33
  Speaker 2: like that that's based off you know, a Sinatra in
• 15:34
  Speaker 2: the rat Pack. But yeah, there's a lot more casting
• 15:38
  Speaker 2: that goes into it, and especially I think when you
• 15:40
  Speaker 2: get into films like Traffic for instance, the ensembles.
• 15:45
  Speaker 1: Out of Sight in ninety eight is kind of the
• 15:50
  Speaker 1: first film of his that I remember like hearing about
• 15:54
  Speaker 1: when we started talking about Soderberg more was like, oh,
• 15:57
  Speaker 1: we need to go back and watch out of Sight. Yeah,
• 16:00
  Speaker 1: I would have thought that was one of his earlier flicks.
• 16:03
  Speaker 1: But he has a run in the early to mid nineties.
• 16:07
  Speaker 1: Ninety one he does Kafka, which is a biopic based
• 16:12
  Speaker 1: on the life of friends Kofka, the the author, So
• 16:17
  Speaker 1: that's kind of cool, like I would go check that out,
• 16:20
  Speaker 1: especially done in the style of his work would be Craybe.
• 16:26
  Speaker 1: Hell yeah. He does King of the Hill in ninety three,
• 16:29
  Speaker 1: The Underneath in ninety five, Schizopolis, and Grey's Anatomy in
• 16:34
  Speaker 1: nineteen ninety six. Now it's not a not the show,
• 16:39
  Speaker 1: not the show.
• 16:39
  Speaker 2: It is a movie, and neither is King of the Hill.
• 16:43
  Speaker 1: Any of those stand out to you. Have you seen
• 16:46
  Speaker 1: any of those, Brandon?
• 16:47
  Speaker 2: I have not seen any of those except for sex
• 16:50
  Speaker 2: lies and videotape. The next one that I saw was
• 16:55
  Speaker 2: the Limy with Stamp.
• 16:58
  Speaker 1: Yeah, so that is ninety nine. That is the year
• 17:02
  Speaker 1: after out of Sight.
• 17:04
  Speaker 2: Oh really he did it after out of Sight? Oh wow.
• 17:07
  Speaker 1: Out of Site's ninety eight. The Lymy is ninety nine.
• 17:10
  Speaker 2: Wow. Okay, then out of Sight is the next one,
• 17:14
  Speaker 2: and I just full transparency. Out of Sight and the
• 17:18
  Speaker 2: Limey are also two new viewings for me. Out of
• 17:23
  Speaker 2: Sight has that soda that ocean Sodaberg before Oceans.
• 17:30
  Speaker 1: It's kind of like the tune up the tests run.
• 17:33
  Speaker 2: It's very much of who's involved with who, and it's
• 17:38
  Speaker 2: you know, it's it's a it's a crime caper. But
• 17:41
  Speaker 2: there's also very much of this love and romance with
• 17:45
  Speaker 2: Clooney and j Lo. I've seen a lot of people
• 17:47
  Speaker 2: say this is sort of when Clooney became a movie star.
• 17:52
  Speaker 1: I was about to say, what is George Clooney stock
• 17:55
  Speaker 1: in nineteen ninety eight, because you figure, like j Lo's.
• 18:01
  Speaker 2: Coming off of like Selena and stuff. But there's still
• 18:04
  Speaker 2: haven't I'm trying to think. Vin Raims is in it
• 18:09
  Speaker 2: every time he shows up. I mean, honestly, sometimes I
• 18:13
  Speaker 2: forget in all the movies he was in, but I
• 18:15
  Speaker 2: love him.
• 18:15
  Speaker 1: That man is out a career.
• 18:18
  Speaker 2: Steve za On is in it as a goofball, but
• 18:20
  Speaker 2: I love him in it. And I had no idea
• 18:23
  Speaker 2: Albert Brooks was in it.
• 18:25
  Speaker 1: Oh wow.
• 18:26
  Speaker 2: Yeah. He basically he kind of plays the guy that
• 18:29
  Speaker 2: they're eventually trying to steal from. But they all like,
• 18:32
  Speaker 2: you know, it goes two years back and how you
• 18:34
  Speaker 2: know each of these characters met and it was in prison.
• 18:36
  Speaker 2: And Don Cheatle's in it as well, and he's kind
• 18:39
  Speaker 2: of the main one that's trying to pull this off.
• 18:41
  Speaker 2: Wood Clooney doesn't trust and uh, you know, he's a
• 18:45
  Speaker 2: pretty John Cheatle plays a pretty bad guy can all
• 18:49
  Speaker 2: things considered with the other characters. But but it has
• 18:52
  Speaker 2: this style to it and kind of like the editing
• 18:55
  Speaker 2: that we're that we're used to in the kind of
• 18:57
  Speaker 2: this pace, and it's I will say it honestly, it
• 19:04
  Speaker 2: makes sense thinking now because out of Sight I feel
• 19:07
  Speaker 2: like kind of established what we would say is, you know,
• 19:13
  Speaker 2: stylistically soda Berg and the Limey kind of follows suit
• 19:18
  Speaker 2: in that too.
• 19:19
  Speaker 1: So out of Sight Clooney is coming off of technically
• 19:23
  Speaker 1: the Thin Red Line is also ninety eight The Peacemaker
• 19:28
  Speaker 1: with him and Nicole Kidman okay, Batman and Robin in
• 19:31
  Speaker 1: ninety seven, Okay, from Dustill Dawn and One Fine Day
• 19:35
  Speaker 1: in ninety six.
• 19:36
  Speaker 2: So he's just getting started. So yeah, I think this
• 19:40
  Speaker 2: is a movie star making character and film. And you know,
• 19:48
  Speaker 2: Soda Bergh and Clooney ended up forming a business relationship.
• 19:52
  Speaker 2: I think it was called was it Smokehouse or maybe
• 19:55
  Speaker 2: that's maybe that's Clooney's new one, but they were producing
• 19:59
  Speaker 2: partners for years.
• 20:03
  Speaker 1: Yeah. Out of sight is this note true? This is
• 20:08
  Speaker 1: the movie where Michael Keaton's character from Jackie Brown, that's right,
• 20:12
  Speaker 1: shows up. That's right.
• 20:14
  Speaker 2: He's kind of the douchebag boyfriend of j Lo, but
• 20:18
  Speaker 2: he's come to town. To sort of look into and
• 20:24
  Speaker 2: investigate one of the crimes, and he's in it. He's
• 20:27
  Speaker 2: only in one scene and he's actually uncredited, but he
• 20:30
  Speaker 2: is that it is him, and he has a lovely
• 20:33
  Speaker 2: conversation with jay Lo's dad played by Dennis Ferrera, and
• 20:39
  Speaker 2: it's that's part and part of it is dealing it
• 20:42
  Speaker 2: that takes place in Miami, which is where he is.
• 20:44
  Speaker 2: But it's funny because he Michael Keaton's character Ray. He
• 20:48
  Speaker 2: comes in and he's literally like wearing like a leather
• 20:51
  Speaker 2: jacket and a shirt that says FBI and Dennis says,
• 20:55
  Speaker 2: I forgot his character's name, but he's like, you ever
• 20:58
  Speaker 2: wear a shirt that just says undercover? And Keaton does
• 21:01
  Speaker 2: like his little laugh thing, and so it's a neat
• 21:03
  Speaker 2: little scene. But knowing that I've recently just watched Jackie Brown,
• 21:08
  Speaker 2: it's fun. But yeah, it's same character. I don't know
• 21:11
  Speaker 2: how how Sodaberg got her, if Tarantino even cared, but
• 21:14
  Speaker 2: he he introduces himself and that's him.
• 21:17
  Speaker 1: How about that?
• 21:18
  Speaker 2: That was cool?
• 21:19
  Speaker 1: So that kind of gets us through the nineties real quick.
• 21:23
  Speaker 2: But one thing about the limy the it's so because
• 21:28
  Speaker 2: Terrence Stamp who've never like I've seen him in other
• 21:30
  Speaker 2: movies like My Boss's Daughter, but he is really it's
• 21:35
  Speaker 2: a it's a revenge film because he he's been in
• 21:39
  Speaker 2: and out of prison overseas and his daughter came to
• 21:43
  Speaker 2: LA and she was murdered or killed, and so it's
• 21:47
  Speaker 2: it's basically him coming in there finding out what's going on,
• 21:50
  Speaker 2: and he's on a revenge tour like Peter Fonda is
• 21:54
  Speaker 2: in it as this kind of sleazy music producer who
• 21:58
  Speaker 2: knew his daughter. But the I love and this is
• 22:03
  Speaker 2: a thing with soda Berg throughout because you were talking
• 22:05
  Speaker 2: about kind of his reputation and there's not one genre
• 22:09
  Speaker 2: that he probably has not done at the stage. He
• 22:13
  Speaker 2: also is the type that will use the most state
• 22:15
  Speaker 2: of the art camera, but there's also where he has
• 22:19
  Speaker 2: filmed things on iPhones and the limey the way he
• 22:25
  Speaker 2: it's like it's like disconnected editing, showing you stuff like
• 22:32
  Speaker 2: you don't really know, like oh, that must be from
• 22:34
  Speaker 2: the past, or some of it's foreshadowing and it shows
• 22:36
  Speaker 2: characters doing something else, but then that conversation really didn't
• 22:39
  Speaker 2: happen there. It's very disjointed, but not like confusing. But
• 22:46
  Speaker 2: I love the way that they kind of tackle on
• 22:48
  Speaker 2: what you think is like happened maybe at the beginning,
• 22:51
  Speaker 2: didn't And I think some you know sometimes and you've
• 22:54
  Speaker 2: seen films like that, but in ninety nine, I don't
• 22:57
  Speaker 2: really know if anybody was doing it, but I haven't
• 23:00
  Speaker 2: I personally have not seen it done in that way
• 23:04
  Speaker 2: where you're kind of having these different conversations with these characters,
• 23:08
  Speaker 2: but it's all kind of scrambled a little bit. They're
• 23:12
  Speaker 2: still a near but like he'll come out and yell
• 23:16
  Speaker 2: something and then you didn't see what happens. But then
• 23:18
  Speaker 2: it's gets to relayed to Peter Fonda's character and then
• 23:21
  Speaker 2: it goes in and they cut back and forth because
• 23:24
  Speaker 2: he did its glimpses of where he is in there
• 23:26
  Speaker 2: and he like gunned all these people down after he
• 23:29
  Speaker 2: was confronted. Like it's it's really cool. It's got some
• 23:32
  Speaker 2: cool music in it. And one of the things I
• 23:34
  Speaker 2: read and I forgot the name of the film, but
• 23:38
  Speaker 2: for Terrence Stamps's character, he's talking about his wife and
• 23:43
  Speaker 2: Sodaberg shows scenes from one of Stamps like earlier films
• 23:48
  Speaker 2: when he's a younger man. No shit, Yeah, and it's
• 23:51
  Speaker 2: and it's intertwined in there and so out of sight
• 23:55
  Speaker 2: and the limy especially kind of show not only his
• 24:00
  Speaker 2: kind of risk in how he's going to tell his story,
• 24:04
  Speaker 2: but also just like the confidence that's in there. And
• 24:08
  Speaker 2: I mean, granted that's only a I mean, that's a
• 24:10
  Speaker 2: span of ten years. But to me, and again I
• 24:13
  Speaker 2: haven't seen some of those earlier nineties ones, but watching
• 24:17
  Speaker 2: sex lies and videos tepe videotapes to out of Sight especially,
• 24:23
  Speaker 2: it's really impressive and it shows kind of that he
• 24:27
  Speaker 2: he's really I don't think you could really maybe maybe
• 24:34
  Speaker 2: you can make an argument for sex size and videotape,
• 24:36
  Speaker 2: but especially I think by the time you get to
• 24:38
  Speaker 2: the to the end of the nineties that he's sort
• 24:42
  Speaker 2: of he's kind of in his own league, not so
• 24:46
  Speaker 2: much as like a superior league, but that well, he's
• 24:48
  Speaker 2: just going to he's really doing what he's doing.
• 24:51
  Speaker 1: I was about to say it's he's kind of a rogue,
• 24:53
  Speaker 1: like he's kind of just doing what he wants to
• 24:56
  Speaker 1: do and he's found his own lane.
• 24:58
  Speaker 2: But I mean, you're talking about Clooney and j Low
• 25:00
  Speaker 2: and then the next one's Terrence Stamp who is the
• 25:03
  Speaker 2: and Peter Fonda, like, yeah, you know.
• 25:05
  Speaker 1: Out of Sight, by the way, I actually had two
• 25:10
  Speaker 1: Oscar nominations. It was nominated for Best Adapted Screenplay and
• 25:14
  Speaker 1: Best Film Editing, So I thought that makes that was
• 25:18
  Speaker 1: pretty pretty interesting there, It.
• 25:19
  Speaker 2: Makes sense, But yeah, I was I I'm really glad
• 25:23
  Speaker 2: I revisit out of Sight. I think it's it's one
• 25:25
  Speaker 2: of his absolute best. But I was really impressed with
• 25:29
  Speaker 2: how the way that he was telling because it's a
• 25:32
  Speaker 2: very simple story. The line me, yeah, but to have
• 25:36
  Speaker 2: some of that, to have some of that kind of
• 25:41
  Speaker 2: flashiness and present it in such a different way, especially
• 25:46
  Speaker 2: at that time, it's it was pretty cool and it's
• 25:49
  Speaker 2: only like an hour and a half.
• 25:52
  Speaker 1: So that gets us to two thousand and in two
• 25:54
  Speaker 1: thousand quite the year Aaron Brockovich and Traffic, So I
• 26:00
  Speaker 1: I would say these are probably two of his cornerstone efforts.
• 26:06
  Speaker 2: Absolutely, And I don't even know if that people realize
• 26:09
  Speaker 2: that he did Aaron Brockovic.
• 26:12
  Speaker 1: Yeah, Well, it goes to like, and I think this
• 26:15
  Speaker 1: is part of the larger conversation we talk about Soderberg's filmography,
• 26:20
  Speaker 1: is that there is stuff like this in here where
• 26:24
  Speaker 1: it just feels so completely different from the movie he
• 26:28
  Speaker 1: did before that, you don't really see it. It's almost
• 26:31
  Speaker 1: like there's not one uniform style here or one uniform genre.
• 26:37
  Speaker 2: Yeah, he's always changing it up.
• 26:40
  Speaker 1: Yeah, and he does it in the same year. Both
• 26:44
  Speaker 1: of those films come out in two thousand. Aaron Brockovich
• 26:47
  Speaker 1: nominated for five Oscars, Traffic nominated for five Oscars as
• 26:52
  Speaker 1: well ten nominations. Those movies win a combined five of
• 26:57
  Speaker 1: the ten nominations, with Traffic getting four Aaron Brokovic getting one.
• 27:02
  Speaker 1: And it's just kind of crazy to think, like those
• 27:06
  Speaker 1: two movies are are the same filmmaker, And that's kind
• 27:11
  Speaker 1: of a pattern throughout the rest of his career where
• 27:14
  Speaker 1: you just don't really know what's coming from him.
• 27:17
  Speaker 2: Yeah, And I think that's why he's so different. And
• 27:21
  Speaker 2: like to your question at the beginning, is you know,
• 27:25
  Speaker 2: you know a Tarantino film when you when you see one, right, Yeah,
• 27:28
  Speaker 2: I mean, you know a Spielberg. I mean, but and
• 27:32
  Speaker 2: I don't know. Maybe maybe it's a double edged sword,
• 27:34
  Speaker 2: but that's not That's not how it is with Soda Bird.
• 27:37
  Speaker 2: But I also think he can do a lot of things,
• 27:41
  Speaker 2: including the latest one we'll talk about on down the
• 27:46
  Speaker 2: line here but is I don't know if people really
• 27:49
  Speaker 2: know that the stuff he's actually done. Now, there's some
• 27:53
  Speaker 2: I feel like, yes, you can connect some of those,
• 27:57
  Speaker 2: you know, like no, you know, no sub of move
• 27:59
  Speaker 2: and out of side. I feel like you can kind
• 28:01
  Speaker 2: of connect those, But I mean who's But I mean,
• 28:04
  Speaker 2: that's a long time in between those two. And like
• 28:08
  Speaker 2: I said, he's he's he's never just settling in some
• 28:13
  Speaker 2: kind of certain filmmaking or style, and that goes I
• 28:18
  Speaker 2: think from the way it's made to you know, who's
• 28:22
  Speaker 2: who's going to be in it, and like just the
• 28:26
  Speaker 2: flow in the genre. I mean, there's it's very it's
• 28:30
  Speaker 2: very impressive. But yeah, to think that Aaron Brockovic and
• 28:33
  Speaker 2: Traffic was was from the same guy is pretty is
• 28:38
  Speaker 2: pretty crazy. And then you do it and you have
• 28:41
  Speaker 2: all that success come out in one year, right.
• 28:44
  Speaker 1: And Julia Roberts wins Best Actress for Aaron Brockovich. That year,
• 28:50
  Speaker 1: Traffic takes home Best Director Best Supporting Actor for Benizio
• 28:56
  Speaker 1: a del Toro's role in that Best Screenplay based on
• 28:59
  Speaker 1: Mati Here previously produced or published, which would now just
• 29:03
  Speaker 1: be called Best Adapted Screenplay, right, Best Film Editing. It
• 29:08
  Speaker 1: won those four. Both of those films were nominated for
• 29:12
  Speaker 1: Best Picture that year.
• 29:13
  Speaker 2: Though, and that's only when they had five.
• 29:15
  Speaker 1: Yeah, and they both lost out the Gladiator, so as
• 29:19
  Speaker 1: they should. Yeah, fair enough there, Yeah, case closed. Any
• 29:24
  Speaker 1: any thoughts on Aaron Brockovic or Traffic before we move on,
• 29:27
  Speaker 1: just the films? What you thought of them?
• 29:30
  Speaker 2: Liked? I liked both I have recently and honestly, I'm
• 29:33
  Speaker 2: sure as for something we did, but I went back
• 29:36
  Speaker 2: and watched Traffic not too long ago. Yeah, me too,
• 29:39
  Speaker 2: for a drinking with maybe.
• 29:41
  Speaker 1: No, I think we were reviewing another one of his
• 29:44
  Speaker 1: movies we might have done.
• 29:47
  Speaker 2: Was it a Benicio thing?
• 29:48
  Speaker 1: It was the Benicio del Toro with that Okay, yeah,
• 29:50
  Speaker 1: we just.
• 29:53
  Speaker 2: I really liked it. And again it has a certain
• 29:56
  Speaker 2: kind of flare, But obviously the performances from Benissio and
• 30:01
  Speaker 2: Catherine zed To Jones and Michael Douglas and a bunch
• 30:05
  Speaker 2: of others, but also the themes that it has and
• 30:10
  Speaker 2: in the different walks of life it's portraying. I really
• 30:15
  Speaker 2: liked it and I love that just which it makes
• 30:17
  Speaker 2: total sense for the story it's telling about the grittiness
• 30:21
  Speaker 2: of just like the picture itself.
• 30:23
  Speaker 1: Yeah, and but then it's long.
• 30:26
  Speaker 2: It is long. It is long, and it's telling quite
• 30:28
  Speaker 2: a few stories, which I will say Soda Bird for
• 30:32
  Speaker 2: the most part, doesn't have trouble juggling different subplots and characters,
• 30:39
  Speaker 2: you know, kind of crossing crossing paths. I feel like
• 30:42
  Speaker 2: he's he's actually done pretty good at that. But what's
• 30:46
  Speaker 2: funny is then I think of Aaron Brockovich, and I
• 30:48
  Speaker 2: liked Aaron Brockovich, but then and obviously the story is
• 30:52
  Speaker 2: is good, and the fact that it's based on a
• 30:54
  Speaker 2: true story always you know, means a little more. But
• 30:58
  Speaker 2: and more of how I more of how I think
• 31:00
  Speaker 2: of Traffic as a whole, Aaron Brockovich, I sort of
• 31:03
  Speaker 2: just think of like joya Roberts and Albert Finney's I
• 31:07
  Speaker 2: was About in Chemistry and Aaron Eckhart as the unrecognizable
• 31:11
  Speaker 2: biker boyfriend.
• 31:12
  Speaker 1: Yeah, Traffic kind of feels more sprawling and epic in
• 31:16
  Speaker 1: a in a more grandiose sense, whereas Aaron Rokovich really
• 31:20
  Speaker 1: feels like the heart of that film is in the performances.
• 31:24
  Speaker 2: Yeah, which probably makes probably makes sense as to why
• 31:27
  Speaker 2: the only Aaron Brockovich oscar Is was Julia Roberts.
• 31:31
  Speaker 1: Yeah, fair enough. Fair enough. Then we go from those two,
• 31:36
  Speaker 1: that doubleheader in two thousand to Ocean's Eleven in two
• 31:40
  Speaker 1: thousand and one, and at that point it kind of
• 31:43
  Speaker 1: feels like you're looking at his body of work up
• 31:46
  Speaker 1: to that point, and it would have been hard for
• 31:49
  Speaker 1: me not to feel like, all right, we're off to
• 31:51
  Speaker 1: the races at this Yeah. Yeah.
• 31:52
  Speaker 2: And it's a lot of six. I mean, it's a
• 31:54
  Speaker 2: lot of critical and commercial success.
• 31:58
  Speaker 1: Yeah.
• 31:58
  Speaker 2: So yeah, I mean, I don't think anybody should be
• 32:00
  Speaker 2: shocked that a movie that has George Clooney and Brad
• 32:04
  Speaker 2: Pitt and Matt Damon and everybody else, and it made
• 32:08
  Speaker 2: a ton of money.
• 32:09
  Speaker 1: And we did do an episode of drinking with on
• 32:12
  Speaker 1: Ocean's eleven, so you can find that on the Nashville
• 32:15
  Speaker 1: Movie Dispatch podcast.
• 32:16
  Speaker 2: Are best of the three? Best?
• 32:18
  Speaker 1: Three? Yeah? They to me, in my opinion, they get
• 32:21
  Speaker 1: a little worse each one. And it's not to say
• 32:23
  Speaker 1: that they're bad, it's just I don't feel I feel
• 32:28
  Speaker 1: like that's one of those series that it's difficult to
• 32:30
  Speaker 1: recapture the magic of the first one.
• 32:33
  Speaker 2: Yeah, and again this is based off the rat Pack
• 32:36
  Speaker 2: Sinatra one. I mean, again, though perfect casting to get
• 32:41
  Speaker 2: all these kinds of people in it, and on top
• 32:43
  Speaker 2: of like Paccino comes in later. Yeah, but yes, there's
• 32:47
  Speaker 2: still you can load up the movie with movie stars,
• 32:51
  Speaker 2: but the story still has to be fun and entertaining.
• 32:54
  Speaker 2: And while the first one did I think a nice
• 32:58
  Speaker 2: job on just kind of like, you know, again, the
• 33:02
  Speaker 2: crime kaper elements of it, and obviously the chemistry of
• 33:06
  Speaker 2: the cast. You it doesn't always feel rewarding, and I
• 33:12
  Speaker 2: think it kind of proves the point as they did
• 33:15
  Speaker 2: twelve and thirteen.
• 33:17
  Speaker 1: Yeah, so you know, there's this weird theme we keep
• 33:21
  Speaker 1: talking about with Soderberg where it's like it's almost like
• 33:24
  Speaker 1: it's unpredictable. You don't really know what's what's coming next
• 33:28
  Speaker 1: from him. So the two thousands we get another Oceans movie,
• 33:33
  Speaker 1: Oceans twelve. In two thousand and four, we get Oceans
• 33:36
  Speaker 1: thirteen in two thousand and seven. Two thousand and eight,
• 33:39
  Speaker 1: we have Cha Part one and Cha Part two two
• 33:43
  Speaker 1: thousand and nine is the informant the girlfriend experience, and
• 33:46
  Speaker 1: then Solaris is in there in two thousand and two
• 33:48
  Speaker 1: as well. But then there's stuff like full frontal sprinkled
• 33:52
  Speaker 1: in there, stuff like bubble sprinkled in there, and then
• 33:57
  Speaker 1: The Good German in two thousand and six, which was
• 34:00
  Speaker 1: actually nominated for an Academy Award. I don't remember which one.
• 34:04
  Speaker 1: It's in my notes here somewhere, but you just kind
• 34:08
  Speaker 1: of get these vibes. It's just like you really. It's
• 34:13
  Speaker 1: so funny because we see this sometimes with filmmakers where
• 34:17
  Speaker 1: they kinda find some success, they pick a lane and
• 34:20
  Speaker 1: they stay in it. But Soderbergh feels like one of
• 34:24
  Speaker 1: those guys that is a true original and has really
• 34:27
  Speaker 1: stuck to that throughout the entirety of his career.
• 34:31
  Speaker 2: Yeah, no, I I think. I mean that's fair, and
• 34:36
  Speaker 2: they don't all work, yeah, per se, but they he
• 34:40
  Speaker 2: goes for it, and you know, you gotta admire that.
• 34:44
  Speaker 1: So what of that slate of his two thousands filmography
• 34:47
  Speaker 1: stands out to you?
• 34:49
  Speaker 2: I remember Chay and that was a great Benicio del
• 34:54
  Speaker 2: Toro performance. The Bellcourt here in Nashville actually did where
• 34:59
  Speaker 2: you watch the whole thing. They did release it as
• 35:01
  Speaker 2: a part one, part two, but you could. But but
• 35:04
  Speaker 2: I saw it and like with its own intermission, and
• 35:07
  Speaker 2: it was like the original Bill Court before it did
• 35:10
  Speaker 2: its beautiful renovation where you were crammed in the bathrooms,
• 35:14
  Speaker 2: and I remember walking out to get food or something
• 35:18
  Speaker 2: and Keith Urban and Nicole Kidman were stuck in the
• 35:22
  Speaker 2: bathroom line, the guy's bathroom line, trying to get to
• 35:24
  Speaker 2: the second screen. So I remember seeing them thinking it
• 35:28
  Speaker 2: was a big deal.
• 35:29
  Speaker 1: Well, that is a big deal, to be fair.
• 35:31
  Speaker 2: I as far as the film, I again, Benicio is fantastic.
• 35:36
  Speaker 2: I do remember liking part one more than Part two,
• 35:40
  Speaker 2: and those run times, do.
• 35:42
  Speaker 1: I undertaking a commitment?
• 35:46
  Speaker 2: Yeah, it is, it is. I remember what I remember
• 35:52
  Speaker 2: very little about Full Frontal. I just remember thinking, this
• 35:56
  Speaker 2: is one that has like a pretty good cast led
• 35:58
  Speaker 2: by Julia Roberts, that did not equal.
• 36:04
  Speaker 1: Much. Yeah, I mean, there's always not a fan of it.
• 36:08
  Speaker 1: There's a ton of people in that movie.
• 36:10
  Speaker 2: And I remember Joia Roberts and she has like a
• 36:13
  Speaker 2: bowl cut or something short hair.
• 36:18
  Speaker 1: I just remember the poster, well, now I want to
• 36:20
  Speaker 1: go see it. Now I want to watch it.
• 36:22
  Speaker 2: And I couldn't even tell you what is fully about,
• 36:25
  Speaker 2: but I just remember thinking, yeah, for all the movie stars,
• 36:30
  Speaker 2: this was this was a this was a disappointment. I
• 36:34
  Speaker 2: remember The Good German because it's kind of done in
• 36:36
  Speaker 2: a very stylish black and white war movie that has
• 36:40
  Speaker 2: George Clooney, which also funny enough. I think I could
• 36:44
  Speaker 2: be wrong, but I'm pretty sure The Good German is
• 36:46
  Speaker 2: one of, if not his lowest rated film, which kind
• 36:50
  Speaker 2: of surprises me considered just all the different stuff he's done.
• 36:53
  Speaker 1: Yeah, it's Kate Blanchett Toby maguire in that was well.
• 36:58
  Speaker 1: It is kind of considered to be a bit of
• 37:02
  Speaker 1: an homage to Casablanca. I can see that there are
• 37:06
  Speaker 1: some Yeah, the look, the style. That sort of thing
• 37:10
  Speaker 1: received an Academy Award for Best Original Score. By the way.
• 37:14
  Speaker 2: Oh so that's about it. I may have seen Bubble
• 37:20
  Speaker 2: and I actually was gonna try and watch that again
• 37:22
  Speaker 2: but time ran out. But I don't really remember it.
• 37:26
  Speaker 2: I do remember The Girl for an experience.
• 37:28
  Speaker 1: I'd have to go watch that one again because it's nuts.
• 37:32
  Speaker 2: Yeah, and it's not even so much for the story itself,
• 37:35
  Speaker 2: and it does kind of feel like it was more
• 37:36
  Speaker 2: of like a on the run type of filmmaking, but
• 37:40
  Speaker 2: it was is.
• 37:42
  Speaker 1: It Sasha Sasha Gray?
• 37:44
  Speaker 2: Sasha Gray, and this was like she was a bona
• 37:48
  Speaker 2: fide porn star. Yeah, coming in and like I remember it,
• 37:52
  Speaker 2: it's sort of being a big deal because it's not
• 37:55
  Speaker 2: like porn stars can't be in like real movies or
• 37:58
  Speaker 2: feature films, movies, I guess, or real movies. But that
• 38:02
  Speaker 2: she was like the lead in an Oscar winning director's film,
• 38:06
  Speaker 2: and it's in and I remember thinking that she like
• 38:11
  Speaker 2: she did a great job. No, I don't know if
• 38:14
  Speaker 2: she ever did anything else and went back to porn.
• 38:17
  Speaker 2: But so, but that's really about it. There there's no
• 38:21
  Speaker 2: again Swinging for the Fences, but I don't know if
• 38:25
  Speaker 2: there was a I don't think any of those would
• 38:28
  Speaker 2: be any of my favorites, to be honest, I would
• 38:30
  Speaker 2: kind of like to watch The Good German again.
• 38:32
  Speaker 1: But The Informant is one of his that I'm like,
• 38:36
  Speaker 1: I completely completely forgot that that was Soderberg. Well, now
• 38:40
  Speaker 1: I do love that's a fantastic Yeah.
• 38:43
  Speaker 2: Sorry, I didn't realize that was a part. Yes, that
• 38:45
  Speaker 2: to me is one of his best films. It's a great,
• 38:49
  Speaker 2: great Matt Damon performance. But the whole it's so ludicrous,
• 38:55
  Speaker 2: this story, and it is again based on a real guy,
• 38:58
  Speaker 2: but it's it's sort of got. It's got that Sodaberg
• 39:04
  Speaker 2: humor as well, But this one, I think is like
• 39:08
  Speaker 2: a full on comedy to me. Yeah, No, same full
• 39:13
  Speaker 2: blown comedy that I really enjoyed. I was very I
• 39:17
  Speaker 2: was really caught off guard by how good that was.
• 39:21
  Speaker 1: So then in twenty eleven, Sodabergh did Contagion, which I
• 39:26
  Speaker 1: did not realize was a movie that he did.
• 39:29
  Speaker 2: Made a comeback during COVID. Yeah, ABE watched the hell
• 39:34
  Speaker 2: out of it.
• 39:34
  Speaker 1: Yeah. He does a film called Haywire in twenty eleven
• 39:39
  Speaker 1: which I have never heard of, has Gina Coranto in it, Yep, yep,
• 39:44
  Speaker 1: A little movie Magic Mike in twenty twelve, Side Effects
• 39:48
  Speaker 1: in twenty thirteen, along with Behind the Candelabra, some Michael
• 39:55
  Speaker 1: Douglas and Matt.
• 39:55
  Speaker 2: Damon in that one Liberachi story.
• 39:58
  Speaker 1: Yeah, Logan Lucky in twenty seventeen, Unsane in twenty eighteen,
• 40:04
  Speaker 1: High Flying Bird, and The Laundromat in twenty nineteen, And
• 40:08
  Speaker 1: that gets us through the twenty tens. Brandon A lot
• 40:12
  Speaker 1: of those not the first that come to mind when
• 40:15
  Speaker 1: I think of Soderbergh.
• 40:19
  Speaker 2: No, the thing is this is a period of he's
• 40:23
  Speaker 2: doing solid work but not getting a whole lot of attention.
• 40:27
  Speaker 1: Yeah, which kind of seems like a recurring theme.
• 40:29
  Speaker 2: Yeah, Unsane I think was done in iPhones, and it
• 40:33
  Speaker 2: had Clear Foy in it, and it's good. It's more
• 40:36
  Speaker 2: of a suspense kind of thriller, hey wire. I remember
• 40:41
  Speaker 2: thinking it was fun. And I think Channing Tatum makes
• 40:44
  Speaker 2: a little thing in there because obviously he's worked for
• 40:46
  Speaker 2: Magic Mike and then he would do Logan Lucky. Logan
• 40:49
  Speaker 2: Lucky is probably the big standout of all of those.
• 40:53
  Speaker 2: I really enjoyed that a lot, dealing with Daniel Craig's performance. Yeah,
• 40:59
  Speaker 2: but I mean it has had in it and Chanting Cam.
• 41:02
  Speaker 2: I said Carlin, Yeah, it's a great and it's a
• 41:05
  Speaker 2: fun it's a fun movie. And uh but even like
• 41:08
  Speaker 2: High Flying Bird that has Andre Holland in it. And
• 41:13
  Speaker 2: I think this was shortly at like coming off of Moonlight,
• 41:17
  Speaker 2: maybe a year or two after Moonlight. But it's a
• 41:20
  Speaker 2: good it's a good movie. It's a it's a sports
• 41:22
  Speaker 2: basketball movie, but it's really well done. But I think, yeah,
• 41:27
  Speaker 2: I just came straight to Netflix.
• 41:30
  Speaker 1: Would not have known that Steven Zerberberg did a basketball movie.
• 41:34
  Speaker 2: And I remember side effects mainly because of the cast,
• 41:37
  Speaker 2: but it didn't really I didn't think it really made
• 41:41
  Speaker 2: a mark as far as what he was trying to say,
• 41:43
  Speaker 2: but Logan Lucky, I would definitely be my That would
• 41:46
  Speaker 2: be the highlight of that run for for me.
• 41:50
  Speaker 1: So then twenty twenty to present. You know, I made
• 41:55
  Speaker 1: a joke about him like putting out stuff all the time.
• 41:59
  Speaker 1: He's was on a roll at least one film in
• 42:03
  Speaker 1: each of the last six years. And that gets us
• 42:07
  Speaker 1: to the Christopher's which you're here to talk about today,
• 42:11
  Speaker 1: but prior to that, Let Them All Talk in twenty twenty,
• 42:15
  Speaker 1: which looks like was an HBO Max original, Meryl Streep,
• 42:20
  Speaker 1: No Sudden Move in twenty twenty one, which I think
• 42:23
  Speaker 1: was a highly underrated movie. Me Too, Me Too, Kimmy
• 42:28
  Speaker 1: in twenty twenty two, which I wasn't the biggest fan of.
• 42:32
  Speaker 1: What was it Kimmy?
• 42:35
  Speaker 2: Oh yeah it was Zoe Kravitz. Yeah, Yeah, I didn't
• 42:38
  Speaker 2: mind that. I think for what it was, it was good,
• 42:41
  Speaker 2: but I mean forgettable. Yeah.
• 42:45
  Speaker 1: We had Magic, Mike's Last Dance in twenty three Presents
• 42:49
  Speaker 1: in twenty twenty four, Black Bag in twenty twenty five,
• 42:54
  Speaker 1: which I liked Black Bag quite a bit. I just
• 42:57
  Speaker 1: couldn't hear anything. I couldn't hear the people of having
• 43:00
  Speaker 1: to turn up the volume during those scenes.
• 43:03
  Speaker 2: Those dinner scenes are exceptional. I and Black Bag was,
• 43:10
  Speaker 2: if I'm not mistaken, one of it not the highest
• 43:13
  Speaker 2: rated Sodaberg movie, which might come as a little bit
• 43:17
  Speaker 2: of a surprise considering all this stuff we've talked about.
• 43:20
  Speaker 2: But I like that one a lot too. That was
• 43:25
  Speaker 2: one of like the first movies of the year that
• 43:27
  Speaker 2: came out that and then like, I'm pretty sure I
• 43:30
  Speaker 2: gave it four out of five. It is one of
• 43:32
  Speaker 2: his better ones. Presence I thought was kind of cool.
• 43:35
  Speaker 2: That was kind of the Haunted House one.
• 43:38
  Speaker 1: Obviously, it's from the point of view of the ghosts.
• 43:43
  Speaker 2: And it's a bit tricky and it wasn't scary, which
• 43:47
  Speaker 2: I think kind of bumms some people out. But people
• 43:49
  Speaker 2: are like, well, if you know, this comes back to
• 43:52
  Speaker 2: if you know who the filmmaker is, he's not just
• 43:56
  Speaker 2: going to do some like jump scare Haunted House movie. Yeah,
• 44:00
  Speaker 2: so that's kind of just not knowing what you're really
• 44:02
  Speaker 2: in for. But yeah, I mean, I would say Black Bag,
• 44:08
  Speaker 2: but you know, we're fans of No Sudden Move and
• 44:10
  Speaker 2: actually just rewatched that right before this, just because that
• 44:15
  Speaker 2: gangster fifties Detroit again. Two favorites of Soda Birds, Don
• 44:20
  Speaker 2: Cheetle and Benicio. But you've got Brendan Fraser in there,
• 44:25
  Speaker 2: You've got ray Leoda in there, Karan Colkin, Yeah, in there.
• 44:34
  Speaker 2: I just love the style of it. And it's got
• 44:36
  Speaker 2: and it's got that it just has that flow with
• 44:40
  Speaker 2: that energy that I feel like is when Sodaberg is
• 44:44
  Speaker 2: at his strongest. It just it reminds me of sort
• 44:46
  Speaker 2: of the Oceans movies. It reminds me a little bit
• 44:49
  Speaker 2: of Traffic. It reminds me of out of Sight. It's got,
• 44:53
  Speaker 2: you know, it's got that kind.
• 44:54
  Speaker 1: Of it's kind of it's kind of like a signature
• 44:58
  Speaker 1: Soda Birds a little.
• 45:01
  Speaker 2: And I think that's the one thing that he does
• 45:04
  Speaker 2: like to go back to. But it's never the same
• 45:07
  Speaker 2: story ever. But but yeah, I would say, And what's
• 45:11
  Speaker 2: funny is is that there is a point, and I'm
• 45:13
  Speaker 2: sure everyone can see in his filmography he retired technically
• 45:18
  Speaker 2: and then he came out of retirement and basically then
• 45:22
  Speaker 2: just stayed out of retirement. So I think he went
• 45:26
  Speaker 2: six years something like that. He didn't do anything. I
• 45:28
  Speaker 2: don't know what it was after But and you know what,
• 45:31
  Speaker 2: as we talk about all these different ones, I do
• 45:33
  Speaker 2: want to give a shout out to Magic Mike because
• 45:37
  Speaker 2: he's not the one that I thought would do something
• 45:40
  Speaker 2: like that. And it is a good movie, and I
• 45:44
  Speaker 2: totally get why some people thought Matthew McConaughey deserved a
• 45:47
  Speaker 2: supporting actor. No, because it is it's almost reminds me
• 45:50
  Speaker 2: now of like it's sort of like The Wrestler. But
• 45:55
  Speaker 2: there's a movie that came out a year or two
• 45:57
  Speaker 2: ago with pam with Pamela Anderson and Jamie Lee Curtis,
• 46:00
  Speaker 2: The Last Show Girl Good and that, Yeah, and that's
• 46:03
  Speaker 2: kind of what Magic Mike was. It was kind of
• 46:05
  Speaker 2: this the aging of one and the beginning of another.
• 46:10
  Speaker 2: And then now by the time it gets to the
• 46:13
  Speaker 2: last dance, it's it's it's a it's a shell of itself.
• 46:16
  Speaker 2: But but man, I really just appreciate Soda Bird just
• 46:22
  Speaker 2: I don't know, I don't know if it's just because
• 46:23
  Speaker 2: he just it's boring to him. So he's just gonna
• 46:26
  Speaker 2: do whatever and he's gonna change it up. But whatever
• 46:29
  Speaker 2: it is, he's he's all in. And Black Bag was
• 46:34
  Speaker 2: on like I don't know how many people's top ten.
• 46:38
  Speaker 1: Yeah, watch that The year kind of weird because it
• 46:41
  Speaker 1: didn't really get any major awards play. But it felt
• 46:44
  Speaker 1: like one of those ninety six percent on Rotten Tomatoes, right,
• 46:48
  Speaker 1: got a lot of love from the critics, but didn't.
• 46:50
  Speaker 1: I don't know. Maybe it was the time of the
• 46:52
  Speaker 1: year it was released at it was kind of early
• 46:54
  Speaker 1: into twenty twenty five.
• 46:55
  Speaker 2: It was like it was one I think towards the
• 46:57
  Speaker 2: end of January.
• 46:59
  Speaker 1: Yeah, but it it did kind of feel like one
• 47:01
  Speaker 1: of those movies like, how does this slip through the
• 47:04
  Speaker 1: cracks if all of all of these critics loved this
• 47:07
  Speaker 1: movie so much had no legs virtually. Yeah, Yeah, that
• 47:12
  Speaker 1: that kind of felt like the case with No Sudden
• 47:14
  Speaker 1: Move too, because it was one that I felt like,
• 47:18
  Speaker 1: I mean, it's gosh, I just had the list up.
• 47:20
  Speaker 1: It's pretty up there in his Rotten Tomatoes rankings as well.
• 47:24
  Speaker 1: But everybody saw it and liked it, but nobody was
• 47:28
  Speaker 1: talking about it.
• 47:28
  Speaker 2: So yeah, well, and I think but I think it's
• 47:31
  Speaker 2: the case because it was just a Max original.
• 47:34
  Speaker 1: Yeah, fair enough, And so was the Let's let Them Talk.
• 47:37
  Speaker 2: That had Meryl Streep and then Meryl Streep did the
• 47:40
  Speaker 2: other one, the Laundromat, and I think that was a
• 47:43
  Speaker 2: that's a Flicks one.
• 47:44
  Speaker 1: It was Netflix and it was one of his I
• 47:46
  Speaker 1: think it was like forty two percent.
• 47:47
  Speaker 2: Yeah, I remember not liking that one. But I appreciate
• 47:52
  Speaker 2: that he he's and I mean, I guess a lot
• 47:56
  Speaker 2: of big filmmakers do this, but I just love we're like,
• 47:58
  Speaker 2: if he does one movie with you, he'll probably do
• 48:00
  Speaker 2: like maybe two or three in a row. Yeah, like
• 48:03
  Speaker 2: Changing Tatum's in there, and then like Meryl Streep's in there,
• 48:07
  Speaker 2: and now like I'm shocked at like Michael Fastbender isn't
• 48:11
  Speaker 2: in his next three.
• 48:14
  Speaker 1: I get what you're saying, because it's clooney there for
• 48:16
  Speaker 1: a while. Yeah, Matt Damon in and out.
• 48:20
  Speaker 2: Yeah, So I'm just like, oh, okay, well, so well
• 48:24
  Speaker 2: I love I just I love his flow. I don't
• 48:29
  Speaker 2: like it all, but I I mean, you have to appreciate.
• 48:32
  Speaker 1: One what he's just I was about to say, it's
• 48:34
  Speaker 1: it's one of those like you might not like everything,
• 48:38
  Speaker 1: but you have to respect the creative spirit because I
• 48:40
  Speaker 1: don't know, it's like his his ability to just kind
• 48:46
  Speaker 1: of pivot and do something completely different than he did
• 48:50
  Speaker 1: before is kind of a testament to what the spirit
• 48:53
  Speaker 1: of creativity is all about in its own way. And
• 48:56
  Speaker 1: I think that's why I've gravitated to a lot of
• 48:59
  Speaker 1: his films throughout the years. But I do want to
• 49:02
  Speaker 1: give you the floor and let you talk about The
• 49:05
  Speaker 1: Christophers as we wrap up this episode of the Vick
• 49:07
  Speaker 1: Flicks podcast. That's coming out. What by the time this
• 49:11
  Speaker 1: podcast is released, it's it's is it already out or
• 49:14
  Speaker 1: is it coming out that weekend?
• 49:15
  Speaker 2: So it is in limited release now, okay, and then
• 49:19
  Speaker 2: it will be probably and I would say more of
• 49:23
  Speaker 2: a nationwide release starting Friday the twenty fourth. I know
• 49:27
  Speaker 2: it'll be playing here in Nashville. They're going to be
• 49:29
  Speaker 2: playing it at the Bell Court. So but let me
• 49:35
  Speaker 2: let me, let me just do a quick rundown of
• 49:37
  Speaker 2: what The Christophers is about here. Well, So the Christophers
• 49:47
  Speaker 2: is this is per IMDb. The children of a once
• 49:50
  Speaker 2: famous artists hire a forger to complete some unfinished, long
• 49:55
  Speaker 2: ago abandoned canvases so they'll have an inheritance when he dies.
• 50:00
  Speaker 2: So this is this is starring the wonderful Sir N
• 50:05
  Speaker 2: McKellen along with uh, let me make sure I get
• 50:09
  Speaker 2: this right, Michayla Cole. I just want to say, Michael laugh.
• 50:13
  Speaker 2: But it's Mikayla Cole and Sir N McKellen and The
• 50:20
  Speaker 2: Christophers is another one of these kind of small films
• 50:23
  Speaker 2: by Sodaberg, but doesn't mean that it's not impactful. I've
• 50:27
  Speaker 2: found this to be a fascinating chamber piece slash crafty
• 50:32
  Speaker 2: art caper with two exceptional performances from McKellen and Cole.
• 50:37
  Speaker 2: She's calm and shows real, kind of real self restraint.
• 50:42
  Speaker 2: He on the other hand, has an abundance of spry
• 50:45
  Speaker 2: wit and it's charming or maybe maybe it's more of
• 50:49
  Speaker 2: kind of a sophisticated sassiness, but he can also just
• 50:54
  Speaker 2: be a huge arrogant prick. And though they seem to
• 51:01
  Speaker 2: find common ground in their vulnerability and insecurity, and there
• 51:06
  Speaker 2: are conversations that they have, they become more like collisions
• 51:12
  Speaker 2: of sort are fabulous. There are chemistry crackles on screen.
• 51:17
  Speaker 2: There is a scene and this doesn't give anything away,
• 51:21
  Speaker 2: but again, em Michellen is kind of this old artist
• 51:25
  Speaker 2: Michaela's coming in going to afford these and this collection
• 51:29
  Speaker 2: that he's abandoned is called The Christophers, hence the tone
• 51:33
  Speaker 2: of the film. But there's a scene where she is
• 51:36
  Speaker 2: kind of breaking down what these paintings her interpretation of
• 51:41
  Speaker 2: these paintings and what they mean as far as what
• 51:46
  Speaker 2: he was going through while he was creating them. And
• 51:53
  Speaker 2: it's a scene where you get where Julian played by Emmchellen,
• 51:59
  Speaker 2: we kind of see that first crack in this kind
• 52:03
  Speaker 2: of tough exterior and we get a peek of what
• 52:07
  Speaker 2: is underneath and what the kind of true meaning of
• 52:11
  Speaker 2: these paintings are and why even though many would say
• 52:16
  Speaker 2: was him at his peak, he just they're just he
• 52:21
  Speaker 2: didn't finish them. They're incomplete. That scene alone is excellent.
• 52:25
  Speaker 2: They have plenty of scenes where these two are just
• 52:31
  Speaker 2: they're they're terrific together. So Ed Solomon he wrote this which,
• 52:36
  Speaker 2: funny enough, he also has worked with Sodaberg on a
• 52:40
  Speaker 2: couple shows. But he wrote No Sudden Move so, which,
• 52:48
  Speaker 2: like we talked about, is great and with his with
• 52:53
  Speaker 2: him writing this one, it's it's a superb, smart and
• 52:57
  Speaker 2: twisty script. The story is playfully mischievous, though meaningful that
• 53:03
  Speaker 2: is really kind of concentrating on discernment and deception, the
• 53:10
  Speaker 2: appreciation of art and one's lasting legacy. It's really kind
• 53:15
  Speaker 2: of speaks volume and he says it in the film,
• 53:17
  Speaker 2: but it has the it's it's having the power to
• 53:20
  Speaker 2: last in the mind of others. I really, I really
• 53:25
  Speaker 2: like that that part of it. As far as Sodaberg,
• 53:28
  Speaker 2: who we've been talking about today, I saw a few
• 53:31
  Speaker 2: reviews that his directing and this one was sort of
• 53:37
  Speaker 2: like routine and flat. And while I do get that
• 53:42
  Speaker 2: criticism just because of the way that he has the
• 53:47
  Speaker 2: type of storyteller he can be, I also kind of
• 53:50
  Speaker 2: lean towards believing that maybe it's rather intentional. I don't
• 53:56
  Speaker 2: really think this kind of film needs anything showy. I
• 54:00
  Speaker 2: think it could be viewed more of a distraction in
• 54:03
  Speaker 2: this case. But I would never accuse Steven Soderberg just
• 54:08
  Speaker 2: phoning it in. Like we've kind of touched on throughout,
• 54:11
  Speaker 2: he's been He's been doing his own thing for a
• 54:14
  Speaker 2: very long time. This is from the New Yorker review
• 54:19
  Speaker 2: of The Christophers. Says Soderberg, who has flitted among genres
• 54:24
  Speaker 2: and subjects with a facility that is easily mistaken for
• 54:29
  Speaker 2: dilettantism or even ventuiloquism. Yet, though he may appear, though
• 54:35
  Speaker 2: he may appear to deal in familiar gestures, his quick
• 54:38
  Speaker 2: silver marriage of high flying ideas and hands on technique
• 54:42
  Speaker 2: marks him as the opposite of a forger. He becomes
• 54:46
  Speaker 2: someone else only to the degree that he that he employs.
• 54:53
  Speaker 2: Bear with me, he becomes someone else only to the
• 54:57
  Speaker 2: degree that he employs a student. The cinematographer Peter Andrews,
• 55:03
  Speaker 2: that is Steven Soderbergh, the editor Mary Ann Bernard, that's
• 55:08
  Speaker 2: Steven Soderberg. Otherwise he is, as my colleague Richard Broder
• 55:13
  Speaker 2: pointed out in twenty twenty two, the most physical of
• 55:16
  Speaker 2: Hollywood filmmakers, the one who comes the closest to the
• 55:20
  Speaker 2: painterly ideal of touching the image. So the Christopher's is
• 55:28
  Speaker 2: more complex than meets the eye. And I think using
• 55:31
  Speaker 2: art to tell such a compelling, character driven narrative such
• 55:35
  Speaker 2: as this that paints an exquisite picture of commodity, criticism,
• 55:40
  Speaker 2: and love a deep lost love is a marvelous choice
• 55:44
  Speaker 2: that assuredly rewards and make no mistake, McKellen is masterful.
• 55:52
  Speaker 2: Gott to be his best performance in at least a decade.
• 55:56
  Speaker 2: So the Christopher's singer Steven sod Berg's latest is getting
• 56:01
  Speaker 2: a vix Fox rating a four out of five.
• 56:06
  Speaker 1: Sounds quite quite illuminating.
• 56:10
  Speaker 2: It's it's simple, but it's not and there is it's
• 56:14
  Speaker 2: it's it is quite layered, but it really is uh
• 56:21
  Speaker 2: McKellen and Cole who are able to really kind of
• 56:25
  Speaker 2: feed this film and they are. I'm again, if you
• 56:32
  Speaker 2: heard a story like that, I don't know if the
• 56:35
  Speaker 2: two people you think of is are these two actors?
• 56:40
  Speaker 1: Fair enough?
• 56:41
  Speaker 2: But it but it works, but it's it feels like
• 56:44
  Speaker 2: it was not only the right choice, but the only choice.
• 56:47
  Speaker 2: And it's it was, it was. It was a lovely time,
• 56:51
  Speaker 2: a lovely time.
• 56:52
  Speaker 1: There we go, Well, that's going to do it for
• 56:55
  Speaker 1: us today, Brandon, any any parting thoughts on Steven Soderberg
• 57:00
  Speaker 1: or The Christophers before we get on out of here today.
• 57:03
  Speaker 1: Did you get it all out of your system?
• 57:05
  Speaker 2: I think we did. I'm glad I got to revisit
• 57:08
  Speaker 2: some of the films that I did. Glad I got
• 57:11
  Speaker 2: to watch The Christophers. And I hope I hope people,
• 57:18
  Speaker 2: I hope people seek it out because again it's, uh,
• 57:20
  Speaker 2: you never know what you're gonna get with Sodaberg, but
• 57:25
  Speaker 2: for his latest it's it's something that is, uh, it's
• 57:30
  Speaker 2: worthwhile and so leave it at that. We'll leave it
• 57:33
  Speaker 2: at that.
• 57:34
  Speaker 1: Kind of what I would say is it's a filmography
• 57:37
  Speaker 1: worth revisiting if you haven't looked at it in a while,
• 57:40
  Speaker 1: And I would definitely recommend flipping back through it and
• 57:43
  Speaker 1: maybe revisiting some of the ones that you didn't realize
• 57:46
  Speaker 1: Steven Soderbergh did, maybe you haven't seen in a while,
• 57:49
  Speaker 1: or that you haven't seen before, because it's it's kind
• 57:52
  Speaker 1: of a fun collection of movies to dig into.
• 57:55
  Speaker 2: At one hundred percent agree, Hey, I'm I'm Almo. I
• 58:00
  Speaker 2: was thinking if you even just think of the last
• 58:03
  Speaker 2: three films, Black Bag, Presence and The Christophers, Yeah, that's
• 58:11
  Speaker 2: kind of all that says. That's that's all you need
• 58:14
  Speaker 2: to know.
• 58:16
  Speaker 1: Well, that is going to do it for this episode
• 58:19
  Speaker 1: of the Vick Flicks podcast. As a reminder, you can
• 58:21
  Speaker 1: check out all of our work at Nashville Movie diispatch
• 58:24
  Speaker 1: dot substack dot com. For Brandon, I'm stony and until
• 58:28
  Speaker 1: next time, you stay classy moviegoers.