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IT CAME FROM SCREAMBOX: Effects! · WASD and Beyond

• 0:21
  No, dude, it's plausible deniability.
• 0:23
  And with that being said, gentlemen, welcome back to the
• 0:26
  episode of It Came from Screen Box.
• 0:28
  We're your hosts as always, myself, Noah and Alex.
• 0:32
  How you guys doing tonight? Did you forget your name?
• 0:36
  I am Nick. You always say Nick, Noah and
• 0:41
  Alex. So I know I.
• 0:42
  Don't mean off. You know what I'm going to tell
• 0:45
  you, right? I'm going to tell you right now
• 0:46
  I am congested these eyeballs all day at work, 'cause I stare
• 0:51
  at a screen all day, so I'll do it again all day.
• 0:56
  It's just like these have felt like they're going to pop out of
• 0:58
  my skull. I sat in the rain for 10 minutes
• 1:02
  today. I was just like, Oh my God, I
• 1:03
  need to get out of that office. Just outside.
• 1:07
  I just needed to get like I took my glass off just like let air
• 1:10
  hit my eyes dude. It's like look up and try to
• 1:12
  drown yourself. Dude, like a chicken, Yes, but
• 1:15
  before we go into my sorrows and my gripes, because we do have
• 1:19
  gripe corner. Now let's say that's a that's
• 1:21
  gonna be a mainstay in the beginning of the episode.
• 1:23
  We're going to do a gripe per host.
• 1:26
  We are sponsored. Every post.
• 1:27
  Sometimes there's no gripes. Well, if there's no gripes, we
• 1:30
  don't gripe, but if there's a gripe, we gripe.
• 1:33
  So it's an opportunity for a gripe.
• 1:35
  Is it the the the beginning of the show is an opportunity for a
• 1:38
  gripe? Yes.
• 1:39
  Get it off your chest. OK.
• 1:42
  Ripe of the week. Yeah.
• 1:44
  So anyways, we are sponsored by Screen Box, Final Boss and Doc
• 1:48
  Longy. Go check those links out down
• 1:51
  below. Check out WSD and beyond.
• 1:54
  Roll for deception. It came from Screen Box.
• 1:56
  Stop laughing, Alex. You're throwing me off the the
• 1:57
  beaten path. All part of the spawn camp
• 2:00
  community. Check that.
• 2:02
  Check all of our shows out down below as well.
• 2:04
  Like follow, subscribe, all that cool stuff.
• 2:06
  Just show us to your friends. It means the world to us.
• 2:09
  And thank you all for listening to us.
• 2:10
  And now on to this week's episode.
• 2:12
  It was Alex's pick. Good shit dude.
• 2:17
  Good pick. Alex maintains Alex maintains
• 2:21
  his always picks a good movie streak, however long.
• 2:26
  And it's always. Last minute.
• 2:32
  Dead girl. That that was us.
• 2:34
  Nick and I have seen. Yeah, that's true.
• 2:38
  What? Do you mean what do you mean
• 2:40
  sleeper by dead girl? Because I wouldn't have expected
• 2:43
  Noah to necessarily like that movie, but Dead Girl does what
• 2:51
  Necromantic wishes it would have done.
• 2:53
  I guess in the way back when they're in the same.
• 2:59
  Phase dude, they are. Yeah.
• 3:03
  One just more grotesque than the other.
• 3:05
  Necromantics. Both pretty, yeah.
• 3:07
  Necromantics way more weird than that girl anyway, so that's not
• 3:10
  that's not the movies we watched this week, Alex.
• 3:15
  This week I chose effects. Very good.
• 3:19
  Also known as the manipulator as every country has to have a
• 3:25
  different name. I think I would have liked that
• 3:28
  better. Where?
• 3:30
  Where was it the manipulator? It doesn't say.
• 3:36
  Elsewhere. Elsewhere, yes.
• 3:39
  Elsewhere. Is it a foreign movie?
• 3:42
  A foreign movie. No.
• 3:45
  Huh. No, yeah, that's.
• 3:47
  Cause usually whenever you hear about it, it's always like a
• 3:50
  European or Japanese movie that gets retitled when it comes to
• 3:54
  the states. But I guess that could happen
• 3:58
  the other way around. Usually don't hear about that.
• 4:03
  It was directed by Dusty Nelson, produced by Pascal Bubba.
• 4:11
  Is that the dude's name? Pascal Bubba.
• 4:14
  BUBA. I'm going to say Bubba.
• 4:16
  Yeah, dude, we like a good Pascal.
• 4:18
  Bubba. That's Bubba.
• 4:22
  The plot film centers on a film maker, John Harrison, who is
• 4:29
  making a low budget horror film in rural Pennsylvania.
• 4:31
  Over the course of filming, the cinematographer and a female
• 4:35
  gaffer begin to enter into a romantic relationship.
• 4:40
  The Unbeknownst to them, the film's director is secretly
• 4:43
  making a snuff documentary with an unwilling cast and crew.
• 4:49
  Yeah, dude, I liked the film within a film type thing.
• 4:53
  That's it was really. Cool, yeah.
• 4:54
  That, that was really awesome. It, it hits a lot of cool
• 5:02
  because when you see the, the title called effects and then
• 5:05
  you're like, oh, cool, I'm going to watch like these.
• 5:07
  I, I wonder what this is going to go into because you're seeing
• 5:09
  like a film crew, like playing with a lot of visual effects and
• 5:12
  things like that. For a while there.
• 5:14
  I'm like, oh, this is pretty neat.
• 5:15
  Like they're on set and they're showing like the brakes and like
• 5:18
  the cool, like the shit that the crew is doing and the director
• 5:22
  and like how they're getting props set up for the actors and
• 5:24
  actresses. And I'm like, so where's this
• 5:27
  going to go? And again, it's a movie within a
• 5:30
  movie, almost a movie within a movie that's in within a movie.
• 5:34
  And you're like, wow, this is incredibly fucking interesting.
• 5:37
  Like it's just where it takes you at times.
• 5:41
  You're like, oh, OK, I wasn't expecting that or I wasn't
• 5:43
  expecting that. There's a couple things.
• 5:44
  I was like, yeah, I figured as much, right.
• 5:47
  And then without spoiling it right away, but it definitely
• 5:49
  neat. Liked all that shit.
• 5:51
  Liked it a lot. Yeah, it was.
• 5:56
  The film premiered in November 9th, 1979, but did not receive a
• 6:02
  wide release until October 2005. Really.
• 6:09
  Why? Is there a reason why?
• 6:14
  Probably it's. Doesn't say, but probably
• 6:18
  licensing money. Distribution rights.
• 6:23
  That's this was a very low budget film.
• 6:26
  For being, I'm surprised. 79 I mean, would you 55,000 low
• 6:31
  budget, that's pretty low budget.
• 6:33
  Yeah, that's pretty it. That's not what I'm surprised
• 6:35
  about. I'm surprised that it didn't get
• 6:37
  like a wider release. Especially with my Tom Savini
• 6:43
  attached. In my mind, it feels like
• 6:45
  something that would have like a it'd be a cult classic.
• 6:51
  Like it's it's a super interesting premise.
• 6:53
  I don't think we've really seen anything like that in a long
• 6:56
  time. Well, but recent recently I
• 7:00
  watched late night with the devil and I got some vibes of
• 7:04
  that, but that's actually more like a found footage movie than
• 7:07
  it is what this is trying to be. This is like, like Nick said
• 7:11
  them. It's a movie about a movie being
• 7:14
  produced. And then a like the movie has
• 7:20
  like A twist where it's a different movie that's being
• 7:24
  produced. Like you think you're watching
• 7:26
  the movie be produced and then at the end it's revealed that
• 7:28
  it's actually a different movie being produced.
• 7:31
  And they do some pretty interesting stuff with that,
• 7:34
  like when the perspective will sometimes switch or there'll be
• 7:39
  some kind of sound cue or you'll see something that is supposed
• 7:44
  to cue you in that you're seeing the film that the crew is
• 7:47
  producing right now. And when they show that it's
• 7:50
  complete with sound and editing and effects, even though, like
• 7:55
  some of that wouldn't be happening.
• 7:58
  What during what you're seeing? Yeah.
• 8:01
  So it's it's it's kind of like a jarring transition because it'll
• 8:05
  it'll usually lead up to some kind of violent act.
• 8:08
  And then, you know, you'll hear from off screen, you'll hear
• 8:12
  somebody say cut. And that's like when it's
• 8:15
  revealed to you that that was part of the film and like that
• 8:18
  was part of the movie they were making.
• 8:20
  And that was such an interesting concept.
• 8:22
  Like I just wanted them to do that for the whole movie.
• 8:25
  They do it a bunch of times. Sometimes you can hear like the
• 8:29
  music playing. Sometimes somebody will say cut
• 8:33
  or sometimes somebody will just like stop them and be like, try
• 8:36
  that line again. And they'll just stop and like
• 8:38
  do the line again. And sometimes when they.
• 8:44
  You got flashlights outside your window.
• 8:47
  Yeah, you got spoofos. People driving, it's just people
• 8:49
  driving past. Sorry, sorry, I was scared the
• 8:52
  hell out of us. I saw you.
• 8:56
  I saw you guys looking and I'm like, am I speaking gibberish
• 8:59
  right now? No.
• 9:00
  No, no, no, no. I liked all that.
• 9:03
  PhD as well. I'll close that.
• 9:05
  I thought all that was super just like the way they were
• 9:08
  showing, like between real violence and like the movie
• 9:13
  violence that they were filming. I was like, oh, OK, that's
• 9:16
  pretty neat. Like and like the director
• 9:18
  himself was like starting to hint at like a lot more weird
• 9:21
  shit, like especially the actual snuff film he was showing.
• 9:25
  And then like the Polaroids and all that and you're like, oh,
• 9:29
  this dude is like literally leading like into the actual
• 9:34
  film that he wants to make of. Sorts I feel like.
• 9:38
  The victim, we're the victims and they don't, they don't know
• 9:41
  it. Yeah, it's it's strange because
• 9:44
  there's like it sets up these some of the characters from the
• 9:48
  crew, one of them, Dominic, who is the guy who goes out to the
• 9:53
  bar with the with the grip. And I figured it was setting up
• 10:01
  like them to being the creepy ones because.
• 10:04
  Yeah. Then when they're, they're
• 10:06
  looking at the the leg prosthetic and she's like, she's
• 10:11
  like, actually it wouldn't bleed that way if you cut it there,
• 10:13
  you'd have to bleed it here for it.
• 10:15
  Like this specific thing that's like way too specific.
• 10:18
  And why do you know that? Yeah, that in my in my mind that
• 10:22
  was setting up that they're going to be the ones with the
• 10:25
  like who are actually making the snuff film because I didn't
• 10:29
  really get that at the time. But when you have the
• 10:32
  information of like what was being made, I think it was
• 10:35
  setting up for them to be potentially the the people
• 10:41
  making that. The actual director and producer
• 10:44
  of the Snuff? Yeah, yeah.
• 10:48
  But then it's kind of like it's twisted when the one guy has
• 10:51
  like an actual snuff film and he shows it to everybody and the
• 10:54
  director, it's like, oh, this is crazy, isn't it?
• 10:58
  Don't you think people would like this if it was real guys?
• 11:00
  He's like, what if I made it? Well, I actually I made this in
• 11:03
  in school. Yeah, nudge, wink, wink.
• 11:07
  He was like testing the waters. He was like seeing like, if this
• 11:10
  was real, like would people be stoked on that or would, would
• 11:13
  how would they feel? Which is a crazy thing to say.
• 11:16
  And it's sort of a self report because it's like if anybody
• 11:19
  just looked into that a little bit, they'd probably figure him
• 11:22
  out. Like, it's you, dude.
• 11:24
  It's that dude at the party who brings like the hard drugs.
• 11:27
  Like, it'd be crazy if we just did all this right now, right?
• 11:29
  You're like, it's like. Would be man.
• 11:32
  That, that is crazy. Why did you bring it?
• 11:34
  Yeah, this was We brought beers. And that's, that is a lot of the
• 11:38
  vibe in that when the editors are watching the stuff film like
• 11:42
  first they're like, whoa, is this like this is crazy?
• 11:45
  Is this real? And then the tone shifts and
• 11:48
  they're like, what the fuck is this?
• 11:51
  Why do you have this and that? That's when, yeah, like that's
• 11:55
  when the director is like, what if I actually did this for real,
• 11:58
  though? What if this was real?
• 11:59
  Wouldn't you like that? Don't you think people would
• 12:01
  love it? Yeah, it's a school project.
• 12:04
  What like a? School project.
• 12:06
  Yeah, it's it's it's, it's interesting because of the film
• 12:09
  that they're making, which is alluded to a good amount
• 12:12
  throughout the entire film as well.
• 12:15
  And then we get to the point where the one guy's like, this
• 12:18
  is fucking weird. Everything about this is fucking
• 12:21
  off. And they're like, well, let's
• 12:23
  just go out to the woods and hit yadda, yadda, yadda.
• 12:25
  And then it just gets blasted in the leg.
• 12:27
  And that's when you actually are revealed.
• 12:29
  Like, OK, there is a snuff film being directed.
• 12:33
  There's cameras throughout the entire woods.
• 12:36
  This is real. But then like, the way they're
• 12:38
  directing it, it's like, all right, well, he wasn't supposed
• 12:41
  to get shot with a gun or like he was supposed to get injured.
• 12:44
  And like there's a whole like confusing back and forth on what
• 12:49
  is actually supposed to be happening.
• 12:51
  To him. Because it's like, so did you
• 12:55
  want to shoot him or did you not want to shoot him?
• 12:56
  Because you're like, what are we doing?
• 12:58
  I guess, but I could have. Missed that.
• 13:03
  Yeah. The injuries that he has is not
• 13:06
  reflected in the shot that we see.
• 13:07
  Like he gets shot square in the chest with the double barreled
• 13:12
  shotgun and then he just like gets up and continues running
• 13:15
  away. Well, and then it's revealed
• 13:17
  that the shot was actually like his leg or his ankle.
• 13:22
  Yeah, it's it's kind of, it's kind of weird.
• 13:24
  So, but that's still interesting, like, 'cause like
• 13:27
  then he's like, oh, I'm just going to go fuck everyone up.
• 13:30
  And then like that, I feel like it's setting up that you're not
• 13:33
  supposed to know whether it's being filmed or whether this is
• 13:37
  like real, except for the fact that they're using like their
• 13:41
  real names. Yeah.
• 13:45
  But then it's it's, you know, that that middle bit there with
• 13:49
  the running around in the forest that it started to lose me a
• 13:52
  little bit because I was like, all right, what, what's going on
• 13:54
  here? But that's sort of the inciting
• 13:57
  incident that sets everything off.
• 14:00
  Yeah, there's. A lot of shit you can miss in
• 14:04
  this movie really quick if you're not paying attention.
• 14:08
  Yeah, and you have to be paying attention, I think.
• 14:11
  Yeah, I'm going to need the one. I was saying I think you'd be
• 14:15
  better on a on a second watch now that like you can look out
• 14:20
  for things. It's definitely an interesting
• 14:24
  film and I I liked it a lot. I thought it was really, really
• 14:28
  good. Man that poster for this film
• 14:30
  was so sick. This is a.
• 14:32
  Which one? There's a couple of them.
• 14:34
  The yellow. One the chair, so I don't know
• 14:37
  where that yellow one comes from.
• 14:39
  I don't either. That's so sweet.
• 14:42
  Well. Might be the.
• 14:44
  It might be the one from the when it actually got licensed in
• 14:49
  2005. I'm one because like the whole
• 14:57
  chase scene is interesting to me.
• 15:02
  Like, because like it's like Nikki and Lobo trapping Dom and
• 15:08
  that's like real, right? Like that's them.
• 15:13
  Yeah, that's him actually being. Haunted and then Dom like just
• 15:20
  killing as many of them as he can right at like the end.
• 15:26
  Well, like at the very end, that's not, that's not Dom,
• 15:29
  that's somebody else 'cause Dom is just a camera operator.
• 15:33
  Oh yeah, that's right. Fuck.
• 15:37
  See. It's it's yeah, it it's
• 15:39
  definitely I would need a re watch on it, but it's it, it
• 15:44
  definitely like as slow as it gets right in the middle.
• 15:50
  It's makes up for that in all the other aspects like that,
• 15:55
  that dip in the middle is is very strange.
• 15:57
  Like before you're getting, you know, you're getting a look at
• 16:01
  the actors offset how they're like in a relationship, but
• 16:06
  they're not getting along. You see the the cast or the crew
• 16:11
  hanging out. You see them in the editing
• 16:13
  room, which is a really good sequence where he's like live
• 16:17
  editing the movie as it's happening.
• 16:19
  It's super cool 'cause you never see that kind.
• 16:22
  Of yeah, it's super cool. I like that a lot.
• 16:26
  And for this to be from the 70s, like going into the 80s, this is
• 16:29
  done really, really, really well.
• 16:31
  Yeah. Like, I, I like this a lot.
• 16:34
  I mean, these are all like, people from Romero, though,
• 16:38
  yeah. Like all these people like.
• 16:42
  Dom has been in Day of the Dead, Dawn of the Dead.
• 16:45
  There you go. I mean they're they all learned
• 16:47
  from. He's been in, he's been in a
• 16:49
  bunch of shit. Pulp Fiction.
• 16:50
  Wizmaster. Yeah.
• 16:53
  Beetleborgs. Digimon.
• 16:55
  Hell yeah. Dude.
• 16:58
  Some of the other actors in this movie were also in some some
• 17:05
  bigger things. Charles Hoys, I don't know how
• 17:08
  you say that, but he's been in a bunch of stuff.
• 17:12
  He's, yeah, he's on a Field of Dreams, Space Jam, couple
• 17:19
  episodes of Jag. Hell.
• 17:24
  Yeah, dude, look at that. You make a cheesy horror movie.
• 17:28
  Yeah, and look where it takes you.
• 17:30
  This was good man, I like this a lot.
• 17:34
  Who else is in this movie? Nick.
• 17:36
  Tom Savini. He's a bit of a crab.
• 17:40
  Listen, I have a story. I met him at a convention and he
• 17:43
  could have been having a bad fucking day.
• 17:45
  And he was walking and I was like, hey, holy shit, you're Tom
• 17:48
  Savini. Like great to meet you.
• 17:50
  He's like, if you really, if you want to talk, you can come to my
• 17:52
  table. It's 20 bucks.
• 17:54
  And I went, oof. I was like, oh, you can get
• 17:57
  fucked. I didn't go to that table.
• 18:00
  Well, and I was like, maybe you had a bad day.
• 18:03
  And then I asked him, a couple of my other buddies who've gone
• 18:05
  to like a bunch of horror conventions, I was like, did you
• 18:07
  meet Tom Savini? And was he an asshole?
• 18:08
  And they're like, yeah, he's a Dick head.
• 18:11
  Why is he crabby? I don't know, dude.
• 18:13
  Like you're like the FX guy. Be cool.
• 18:17
  Like I'm not the movie. Not this movie.
• 18:19
  Effects like you are the like the effects.
• 18:21
  God, yeah. And with his name I don't even.
• 18:26
  Know. That guy, oh, he's a big deal.
• 18:29
  Tom Savini. Yeah.
• 18:31
  He's. He's worked on a lot, He's
• 18:32
  worked, he's worked on a lot of movies.
• 18:33
  You've watched the. The more you do the show, Noah,
• 18:36
  the more you will know Tom Savini, I promise you.
• 18:39
  We've watched. If we've watched a few of his
• 18:40
  things. Yeah, it's.
• 18:43
  Only come up now. No.
• 18:48
  Pretty sure Nick has said the same thing before on an episode.
• 18:51
  I know, maybe. Wouldn't know.
• 18:53
  He's a crab, but he is a legend, so.
• 18:58
  And like, with his name attached to this film, I thought it was
• 19:01
  going to be a lot more gory, even though, like, he's an actor
• 19:07
  in it and not. Yeah, SFSXSFX.
• 19:13
  What are you thinking about right now?
• 19:14
  Well, weenie in the butt. Zingo what?
• 19:21
  If weenie in the butt, that's. Crazy.
• 19:24
  That's a crazy thing to say. I don't know.
• 19:27
  It's a Family Guy joke. Anyways, back to horror movies.
• 19:32
  Back to horror movies. And now this what the?
• 19:35
  What the fuck? Good luck everybody else.
• 19:39
  What was Alex saying? I don't even know.
• 19:42
  I I lost all you were saying. You were saying something about
• 19:44
  Tom Savini being attached to this?
• 19:47
  With him being attached to it, I thought it was going to be a lot
• 19:48
  more gory and like a lot more. I mean, there was like a good
• 19:53
  amount of practical effects, but like I thought it was going to
• 19:55
  be a lot heavier on that. The first snuff film you see is
• 20:00
  quite interesting how they do that.
• 20:02
  And it's like projected to the audience as like, oh, is this
• 20:06
  real? And then you get to the nitty
• 20:08
  gritty, like, Oh yeah, it's like in the sense of the film, it's a
• 20:12
  real snuff film. Like it's a real thing being
• 20:15
  shown. That's.
• 20:16
  I mean the other effects it's cool to see Thomas B also like
• 20:19
  in a movie about special effects almost and directing a low
• 20:23
  budget horror movie. So it's like, OK, that in and of
• 20:26
  itself is cool in my opinion. Worked on Machete.
• 20:31
  Yes, he's working on so much shit.
• 20:34
  Man. Oh yeah, he's worked on a lot,
• 20:36
  dude. I feel like it could have done
• 20:42
  like it when you point out that those some of the effects were
• 20:45
  happening in the not during the making of the film but in
• 20:51
  another movie being shown 'cause there weren't that many like
• 20:58
  actual effects. It's hard to talk about this
• 21:00
  movie like it depend cause depending on which sort of
• 21:03
  reality you're in at any given point it it changes.
• 21:07
  Yeah, Yep. But it was just so good.
• 21:10
  I I I've never seen a movie do something like this.
• 21:13
  I don't know if you guys have ever seen this done again.
• 21:17
  Not off the top of my head. I would love to see something in
• 21:23
  this vein be done again. Oh, you know what though?
• 21:29
  What? They I have seen this done in a
• 21:33
  different way. There's a season of American
• 21:36
  Horror Story which is centered around the crew of a documentary
• 21:43
  team who is doing reenactments for their documentary about a
• 21:49
  couple that is like harassed and then the people who the couple
• 21:54
  is harassed by, it's like a cult are real and then they attack
• 21:58
  the documentary crew. Well, that's.
• 22:00
  Hawaiian and you have like the documentary actors meeting the
• 22:03
  real people. It's it is as close as I think I
• 22:07
  can get to this movie being like, without obviously the
• 22:13
  biggest twist at the end being that there's a third thing
• 22:17
  happening here. There's a second movie being
• 22:20
  worked on that you don't know about.
• 22:22
  Holton Theaters. Yeah, when you see it in
• 22:25
  theaters and they gave it a new name, Yeah, he called.
• 22:28
  He called it duped. Duped.
• 22:31
  We've been duped. Which is which?
• 22:33
  'Cause it's hilarious. It's hilarious.
• 22:35
  Yeah, 'cause. You all I think that would have
• 22:36
  made a good title for the movie. Duped.
• 22:39
  Sort of effect duped. It's pretty good.
• 22:43
  Duped would have been good. And then at the end like that
• 22:46
  makes a good, good little Stinger.
• 22:49
  Really thought there's going to be more effects in the movie
• 22:50
  called effects. I did.
• 22:52
  There was only like, you know, there's.
• 22:55
  Only like a couple of good. They are.
• 22:57
  It is good when you do see it and it's it's done best when
• 23:01
  it's like when it's in those in universe movies.
• 23:07
  So it's grainy over grainy over recording of a screen in black
• 23:12
  and white with effects on it already.
• 23:15
  It's there's many, many layers to it and I think it definitely
• 23:20
  helps. I think it said this film was
• 23:22
  actually like film. Yeah, it was filmed on 35mm.
• 23:26
  Yeah, that's sweet. Well, I think the movie is
• 23:29
  intelligent and I like it for that.
• 23:31
  I don't think it's just like a thing where it's like, yeah,
• 23:33
  we're we're a movie making a stuffed movie.
• 23:35
  Huh. Huh.
• 23:36
  And it's like, no, it's like, hey, like there's a lot going on
• 23:38
  here. It's got some shit to say about
• 23:41
  like low budget indie horror like back in the day and how it
• 23:44
  was filmed even now, probably just like the nitty gritty down
• 23:48
  and dirty shit. And I, I, I find that quite
• 23:50
  interesting that a movie from the 79 is talking so big at the
• 23:56
  time about this shit. I like that a lot.
• 23:58
  I think it's a definitely overlooked film and I would love
• 24:03
  to see this movie talked about a lot more in horror communities.
• 24:08
  Like I would love to see this film talk about more and I would
• 24:10
  love to discuss this with more people.
• 24:12
  If I had to rate it, I'm giving it a four.
• 24:16
  I found this to be incredibly good.
• 24:21
  I don't find it. I don't think the pacing is its
• 24:24
  strong suit, but when it starts to roll, it rolls good.
• 24:28
  When it hits a dead end for a second it hits it hard and then
• 24:32
  it kind of maneuvers through that dead end and gets going
• 24:35
  back on on track, which I was like OK, cool, cool, cool, cool
• 24:39
  it. Lulls it, lulls you into into
• 24:42
  it. It dupes you.
• 24:45
  You're like, hey, OK, we're slowing down.
• 24:47
  Oh, shit, no, we're not, you know, And it's it's good that
• 24:52
  this is also not like an ultraviolent film.
• 24:55
  And it's just kind of imagery of violence here and there and a
• 24:58
  lot of discussion of violence. And it's, it's interesting.
• 25:03
  I like this movie a lot. I think if you like horror
• 25:07
  movies and if you like to think while you're watching them,
• 25:10
  Effects is the movie for you. So that's my thoughts.
• 25:14
  Yeah, it's I'm, I'm giving it a four as well.
• 25:18
  I I really liked it. I thought the idea of it is very
• 25:21
  unique. I'm even even now, I feel like
• 25:24
  it's still a very unique idea. Definitely, definitely worth a
• 25:30
  watch. I would recommend this to
• 25:31
  anybody. Yeah, it's it's got everything.
• 25:34
  It's got like a little slasher elements.
• 25:36
  It's got the mystery of it. It's got like twists and turns.
• 25:41
  You know, the characters are, are pretty good and shot
• 25:47
  incredibly well. Really the really, really good
• 25:49
  pick, Alex. Yeah, buddy.
• 25:52
  Hey, hey. It's funny because I'm also
• 25:55
  going to give it a four out of five because it's a just a solid
• 25:58
  flick, super solid flick. It's I, I would say more
• 26:05
  thriller than horror. Yeah, I agree.
• 26:07
  I would say so too. I agree it it makes you think
• 26:11
  which sometimes can be fun if you're in the mood for it.
• 26:16
  This is definitely worth a a rewatch, which I probably will
• 26:20
  rewatch this because I would there's some I know there's some
• 26:24
  stuff we missed for sure. Oh yeah I will be re watching
• 26:27
  this. This is yeah, 4 out of five.
• 26:30
  Solid flick. Watch it with your buddies.
• 26:32
  Watch it by yourself. Roll fucking hog's leg.
• 26:36
  Hey, let's go, boys. Very, very good.
• 26:40
  You can go watch FX on screen box right now.
• 26:45
  We recommend it. Absolutely on the show.
• 26:47
  We recommend it guys. If you like what you hear on the
• 26:53
  show, please support us we don't have a Patreon.
• 26:56
  We'll have nothing like that yet No, I don't I don't have any
• 27:00
  plans for Patreon. Then maybe someday that'd be
• 27:04
  cool, but we got a lot of cool stuff for cooking up.
• 27:06
  More to share later. More to share later.
• 27:09
  I'm not going to get over my goat discussing it.
• 27:14
  We'll get there. We will get there.
• 27:16
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