Latest / Critically Acclaimed Network / Critically Acclaimed #370 | Disclosure Day, The Furious, Stop! That! Train!

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Critically Acclaimed #370 | Disclosure Day, The Furious, Stop! That! Train! · Critically Acclaimed Network

• 0:11
  [SPEAKER_00]: Greetings friends.
• 0:12
  [SPEAKER_00]: Welcome back to critically acclaims the film review podcast where William mixes it in a sound effect after the fact and due to popular demand it is almost always the same one Yes Some but at some point you're gonna have to do like a duck quacking or something.
• 0:27
  [SPEAKER_00]: I've done it.
• 0:27
  [SPEAKER_00]: I've done that
• 0:29
  [SPEAKER_01]: Oh, yeah, okay.
• 0:30
  [SPEAKER_00]: I've done if you don't a Wilhelm scream.
• 0:32
  [SPEAKER_01]: Yes.
• 0:33
  [SPEAKER_00]: Okay.
• 0:34
  [SPEAKER_01]: I'm pretty sure I have it probably ages ago where there's like 370 episodes kind of fun that pottery breaking sound effect.
• 0:41
  [SPEAKER_00]: I have that too I've done that okay Then I've done them all we only know eight sound effects and we got them all
• 0:48
  [SPEAKER_00]: Well in that case you're doing a bang-up job.
• 0:50
  [SPEAKER_00]: Thanks.
• 0:51
  [SPEAKER_00]: My name is Whitney Sybold.
• 0:51
  [SPEAKER_00]: I'm a film critic who doesn't pay attention to our sound effects library.
• 0:55
  [SPEAKER_00]: I can do this.
• 0:55
  [SPEAKER_00]: I'm a film critic.
• 0:56
  [SPEAKER_00]: I can do this.
• 0:57
  [SPEAKER_00]: I'm a film critic.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_01]: I can do this.
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  [SPEAKER_01]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
• 1:06
  [SPEAKER_00]: I can do this.
• 1:06
  [UNKNOWN]: I can do this.
• 1:07
  [SPEAKER_00]: I can do this.
• 1:07
  [SPEAKER_00]: I can do this.
• 1:08
  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
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  [SPEAKER_00]: I can do this.
• 1:11
  [SPEAKER_00]: I can do this.
• 1:11
  [SPEAKER_00]: I can do this
• 1:13
  [SPEAKER_01]: Nickname will not catch on.
• 1:15
  [SPEAKER_00]: Miss, miss, miss, miss, miss, miss, miss her bids.
• 1:19
  [UNKNOWN]: Yes.
• 1:19
  [SPEAKER_01]: Oh, I don't know, no, okay, I can't.
• 1:21
  [SPEAKER_01]: Anyway, my name is willing to be on a film critic right for the rap, everybody calls me babes.
• 1:25
  [SPEAKER_01]: And hey, here's a novelty.
• 1:28
  [SPEAKER_01]: Last week, we did a episode of Critically Claimed.
• 1:30
  [SPEAKER_01]: And this week, we're doing an episode of Critically Claimed.
• 1:32
  [SPEAKER_00]: It's like running.
• 1:34
  [SPEAKER_00]: Yeah, we gone mad.
• 1:35
  [SPEAKER_01]: And for once, we're not doing like 80 movies a week.
• 1:38
  [SPEAKER_01]: We have a nice, tidy three.
• 1:41
  [SPEAKER_00]: We can finish this podcast on the way to and from work.
• 1:45
  [SPEAKER_00]: Probably we haven't recorded it yet.
• 1:47
  [SPEAKER_00]: No, it's week and go for three hours.
• 1:48
  [SPEAKER_00]: I also we don't know what your community is like That's also true Okay, but our our movies of the week Movies that came out last week.
• 1:55
  [SPEAKER_01]: We like to give everyone time to watch them if they choose We're gonna be talking about Stephen Spielberg's disclosure day which closure day?
• 2:03
  [SPEAKER_01]: This one yes We're gonna be talking about the new martial arts spectacular the furious and the new RuPaul's drag race adjacent slash spin-off
• 2:14
  [SPEAKER_01]: Comedy stop that train with three exclamation points one after each word
• 2:21
  [SPEAKER_01]: And I do like that.
• 2:22
  [SPEAKER_01]: I would expect that.
• 2:23
  [SPEAKER_01]: Spielberg should have done that.
• 2:24
  [SPEAKER_01]: They should all have mixed it up.
• 2:25
  [SPEAKER_01]: Disclosure day.
• 2:27
  [SPEAKER_01]: No, I think Adam Shankman should have done this closure day.
• 2:30
  [SPEAKER_01]: Okay, Spielberg should have done, stop that train and the theories turned up fine.
• 2:35
  [SPEAKER_01]: Actually, I think we can just leave that one as is.
• 2:39
  [SPEAKER_00]: But yeah, Spielberg should have done this closure day 30 years ago.
• 2:44
  [SPEAKER_00]: I thought it was that.
• 2:46
  [SPEAKER_00]: To offer my first criticism of the movie.
• 2:48
  [SPEAKER_01]: Yes, we're gonna start with this closure day.
• 2:50
  [SPEAKER_01]: It was a pretty big opening weekend for Spielberg.
• 2:52
  [SPEAKER_01]: He actually hasn't had a lot of hits lately.
• 2:54
  [SPEAKER_00]: Ready player one was his last hit hit.
• 2:56
  [SPEAKER_00]: Yeah.
• 2:57
  [SPEAKER_00]: But I think the BFG was prior to that and that was kind of a bomb.
• 3:02
  [SPEAKER_00]: Yeah.
• 3:03
  [SPEAKER_01]: But he's done a lot of historical movies, which was done okay, like the post made over $100 million, but it wasn't like on the lock bus.
• 3:10
  [SPEAKER_00]: His last two movies were the Fablemins in West Side story, and those,
• 3:15
  [SPEAKER_00]: only like barely broke even maybe uh yeah they were not marketing they were not big deals so that financially anyway I really loved West Side story I think you brought it like a kind of a fresh take to that material it was a genre he was used to he hadn't done like just a big song and dance film before yeah and I think he really nailed it yeah uh he his direction was amazing
• 3:34
  [SPEAKER_00]: The Fablemins, he kind of fell back and not just into comforting territory for him, he fell back into his own life.
• 3:40
  [SPEAKER_00]: He did an autobiography of a Jason, because they're not names.
• 3:44
  [SPEAKER_01]: The Spielberg thing, but everyone knows exactly what he's doing.
• 3:47
  [SPEAKER_01]: He was telling the story of his own childhood, and a lot of people love the Fablemins.
• 3:52
  [SPEAKER_01]: I'm not one of them, I see what he's doing, but I find it...
• 3:58
  [SPEAKER_01]: I think I was writing the weekly newsletter for critically acclaimed, and I was talking, or maybe it was a review.
• 4:04
  [SPEAKER_01]: But I was just talking about how Steven Spielberg has like, he does blockbuster movies or he does like, history movies, about Abraham Lincoln and World War II and how brilliant Steven Spielberg was as a child.
• 4:14
  [SPEAKER_01]: And for me, that's most of what I get out of the fable men, it's something really self-aggrandizing out of it, and I find that very much to turn off.
• 4:22
  [SPEAKER_01]: But I will say that's fun.
• 4:24
  [SPEAKER_01]: I honestly believe.
• 4:26
  [SPEAKER_01]: the last two and a half scenes of the fablements with John Ford at right at the end.
• 4:33
  [SPEAKER_01]: I honestly believe that if that was its own short film, you don't need the rest of the fablements.
• 4:38
  [SPEAKER_01]: It's a huge prologue that is completely unnecessary.
• 4:41
  [SPEAKER_01]: That short film is maybe Spielberg's best film.
• 4:44
  [SPEAKER_00]: Yeah, just onto itself the way it talks about movies.
• 4:48
  [SPEAKER_00]: The fact that he got David Lynch to play John Ford and it was perfect.
• 4:52
  [SPEAKER_01]: And just also,
• 4:53
  [SPEAKER_01]: an amazing final shot.
• 4:55
  [SPEAKER_00]: Yes, truly amazing final shot inspired.
• 4:58
  [SPEAKER_00]: Yeah, and inspired just by what happened in the previous scene.
• 5:01
  [SPEAKER_00]: Yeah, there's nothing to do with the rest of the movie.
• 5:02
  [SPEAKER_00]: You don't need it.
• 5:03
  [SPEAKER_01]: You don't need it.
• 5:04
  [SPEAKER_01]: It's if anything.
• 5:05
  [SPEAKER_01]: It's completely extraneous and that's the thing with Steven Spielberg is that we tend to bond Steven Spielberg and with good cause he's an incredibly talented film maker.
• 5:14
  [SPEAKER_01]: He's also not an infallible filmmaker.
• 5:17
  [SPEAKER_00]: No, he's he's made some stinkers for sure and a lot of other movies have legitimate critiques I think you can make If you pay close attention to a lot of Spielberg's movies you'll notice he doesn't really care a lot about It's like continuity from a scene to the scene I think he cares more about sort of the flow in the edit of the scene and if there's like a slight mistake from one cut to the next he doesn't really care
• 5:39
  [SPEAKER_01]: I don't care about that either.
• 5:40
  [SPEAKER_00]: Well, also, he's so adept at that kind of scene construction that you rarely noticed the first time through.
• 5:47
  [SPEAKER_01]: Yeah.
• 5:48
  [SPEAKER_01]: He knows how to guide your eye.
• 5:49
  [SPEAKER_01]: He knows how to keep your attention from moment to moment.
• 5:52
  [SPEAKER_01]: Yeah.
• 5:52
  [SPEAKER_01]: And not get you distracted with something.
• 5:54
  [SPEAKER_00]: If the Fableman's is self-aggrandizing, I think if any filmmaker has earned that, it's probably Steven Spielberg.
• 6:01
  [SPEAKER_00]: And then he should have been better.
• 6:03
  [SPEAKER_00]: Yeah.
• 6:03
  [SPEAKER_00]: I agree.
• 6:04
  [SPEAKER_00]: I actually don't like the Fableman's.
• 6:07
  [SPEAKER_00]: I love West Side Story.
• 6:08
  [SPEAKER_00]: I love the ready player one.
• 6:10
  [SPEAKER_00]: I think that's not just his worst movie.
• 6:12
  [SPEAKER_00]: I think it's one of the worst movies of the decade.
• 6:14
  [SPEAKER_00]: It shows everything wrong with attitudes toward pop media at the time.
• 6:19
  [SPEAKER_00]: The ultimate message of ready player one was which corporate sponsor are you going to worship?
• 6:26
  [SPEAKER_01]: I think that's I think that's a teasey bit reductive, but I do believe that there is a genuine hypocrisy in that material that I think silver because uniquely wrong for them.
• 6:35
  [SPEAKER_01]: Because ready player one was about a future in which pop culture expertise,
• 6:42
  [SPEAKER_01]: Specifically, Gen X pop culture experts.
• 6:44
  [SPEAKER_01]: True, but regardless, pop culture expertise was basically supplanted as the new, I don't know, guiding Western ethos.
• 6:53
  [SPEAKER_01]: Well, the guiding Western ethos, but also mean you look at something like the Indiana Jones movies and Indiana Jones knows all about history and all of this knowledge about, you know, ancient cultures and ancient artifacts informs the action and it makes them seem really smart and really cool.
• 7:07
  [SPEAKER_01]: And it already player one.
• 7:08
  [SPEAKER_01]: It's like, you ever see the shining?
• 7:10
  [SPEAKER_01]: Great.
• 7:10
  [SPEAKER_01]: Now, you know enough to, to, to, didn't solve it save the day.
• 7:13
  [SPEAKER_00]: It didn't comment on popular culture.
• 7:15
  [SPEAKER_00]: Just having a lot of it was seem to be the only try.
• 7:18
  [SPEAKER_01]: And this is why things Spielberg was uniquely wrong for that was because he was too involved in making that culture to have perspective on.
• 7:26
  [SPEAKER_00]: Yeah, to sort of take a step back.
• 7:27
  [SPEAKER_01]: Yeah, that he needed a Gen X or even a Gen Y or Millennial filmmaker to do that.
• 7:33
  [SPEAKER_01]: I think that's who might have an intelligence.
• 7:36
  [SPEAKER_00]: You know who I want to see to ready player one is Jane Shunbrand.
• 7:40
  [SPEAKER_00]: Yeah, Jane Shunbrand would knock that out of them.
• 7:42
  [SPEAKER_00]: Yeah, they would.
• 7:44
  [SPEAKER_00]: Because they like have a very unique perspective on pop media.
• 7:48
  [SPEAKER_00]: I'm sort of a relationship with it.
• 7:50
  [SPEAKER_01]: But anyway, real fast.
• 7:51
  [SPEAKER_01]: There was a question someone put online.
• 7:52
  [SPEAKER_01]: What is the definitive Millennial movie?
• 7:54
  [SPEAKER_01]: And I think there's two ways to answer that question.
• 7:56
  [SPEAKER_01]: One, what is the most popular movie that all millennial seem to gravitate towards?
• 8:00
  [SPEAKER_00]: There's a try too, I don't know.
• 8:02
  [SPEAKER_01]: The Matrix, Lord of the Rings, Clueless Mean Girls, there's a bunch that you can nominate for that.
• 8:07
  [SPEAKER_01]: But if you're looking at movies that are about that,
• 8:12
  [SPEAKER_01]: I think I saw the TV glow and arguably the people's Joker, but I think those are the ones where those are people who this is a generation that grew up mainlining pop culture but searching for meaning within it in a way that Kevin Smith played at the idea that people found meaning in Star Wars and found it kind of amusingly pathetic.
• 8:32
  [SPEAKER_01]: and in the eyes of Jane Shunbren and Vera Drew when they were like they were finding the queerness in Batman forever and buffing the vampire slayer and that becoming part of their you know life-changing events and they internalize that as an individual mythology.
• 8:47
  [SPEAKER_01]: That's finding genuine meaning in pop culture, a femuron, without being dismissive.
• 8:53
  [SPEAKER_01]: But like, yeah, I think, truly great, and I understand a great, but anyway, Spielberg's been on a weird kind of track lately, and I think he's made a lot of great movies lately, I really do.
• 9:02
  [SPEAKER_00]: Spielberg has been, uh,
• 9:05
  [SPEAKER_00]: And we're doing it again.
• 9:06
  [SPEAKER_00]: We're leading up to a movie that we're going to be disappointed in.
• 9:09
  [SPEAKER_00]: I like the more than you.
• 9:10
  [SPEAKER_00]: I like the more than you.
• 9:11
  [SPEAKER_00]: But Spielberg has gone on record saying that he knows he's not at the center anymore.
• 9:18
  [SPEAKER_00]: He's not making the big hits the way he used to.
• 9:21
  [SPEAKER_00]: He understands his own age.
• 9:23
  [SPEAKER_00]: He's matured as a filmmaker and as a person.
• 9:26
  [SPEAKER_00]: You can tell his interests changed in his filmography.
• 9:30
  [SPEAKER_00]: Uh, he can't make a Jurassic Park anymore.
• 9:32
  [SPEAKER_00]: He can't make an Indiana Jones the same way.
• 9:34
  [SPEAKER_00]: He did Crystal Skull.
• 9:35
  [SPEAKER_00]: His heart wasn't in that.
• 9:36
  [SPEAKER_00]: You could tell just by watching the movie.
• 9:38
  [SPEAKER_01]: Definitely not.
• 9:38
  [SPEAKER_00]: Same with Tintin.
• 9:39
  [SPEAKER_00]: I'm going to play with tech.
• 9:40
  [SPEAKER_00]: But that's not an exciting movie or story with good characters.
• 9:44
  [SPEAKER_01]: I think there's a fantastic energy and I enjoy watching it.
• 9:48
  [SPEAKER_01]: But I, the story is not it.
• 9:50
  [SPEAKER_00]: It's a demo reel.
• 9:51
  [SPEAKER_00]: It's an impressive demo reel.
• 9:52
  [SPEAKER_01]: Yeah, it's very, very fun to watch, but it's incredibly thin.
• 9:55
  [SPEAKER_00]: Meanwhile, the movies that are really, should put that on your review.
• 10:02
  [SPEAKER_00]: The movies he seems to be interested in are the ones that are dealing with topicality.
• 10:07
  [SPEAKER_00]: I feel like he did a trilogy of films.
• 10:10
  [SPEAKER_00]: bridge of spies if you want to count it, that are about the present day through the lens of his historic event.
• 10:17
  [SPEAKER_00]: Yes.
• 10:18
  [SPEAKER_00]: Munich is about the events following the Munich hostage crisis in 1972, the Olympics.
• 10:25
  [SPEAKER_00]: But that's a 9-11 movie.
• 10:27
  [SPEAKER_00]: It's about this pattern of revenge that we can recognize since he reflected in 9-11 I'm going to be came out in the early 2000 so it's a 9 it's 100% a 9-11 I think Terry I think it's in its immediacy it was although I think looking back now a lot of people kind of see it on its own as a story of
• 10:43
  [SPEAKER_01]: and just Israel, and how it has changed and evolved.
• 10:47
  [SPEAKER_01]: That's a creation.
• 10:48
  [SPEAKER_00]: Well, just wait till you get to the last shot because it's over the Twin Town.
• 10:50
  [SPEAKER_01]: Yes, you know.
• 10:51
  [SPEAKER_00]: And that was after... No, no, I agree.
• 10:53
  [SPEAKER_01]: I'm just saying I think people will see it.
• 10:55
  [SPEAKER_01]: I've seen a lot of other interpretations, I mean, like Lee, but I think that's what he was getting at.
• 10:58
  [SPEAKER_00]: And then Lincoln was about the constitutional amendment to free the dance slavery.
• 11:07
  [SPEAKER_01]: But really, what it was about was about the constant,
• 11:12
  [SPEAKER_01]: politics in order to allow for like gay marriage.
• 11:16
  [SPEAKER_00]: Yeah.
• 11:16
  [SPEAKER_00]: And written by a queer screenwriter.
• 11:18
  [SPEAKER_00]: So it was very much in there.
• 11:19
  [SPEAKER_00]: Yeah.
• 11:20
  [SPEAKER_00]: And then there was the post, which I think is a very important movie.
• 11:23
  [SPEAKER_00]: Yeah.
• 11:25
  [SPEAKER_00]: Which is about the Watergate paper.
• 11:27
  [SPEAKER_00]: So the watergate paper.
• 11:28
  [SPEAKER_00]: No panic on paper.
• 11:29
  [SPEAKER_00]: Excuse me.
• 11:30
  [SPEAKER_00]: Yeah.
• 11:31
  [SPEAKER_00]: And how
• 11:33
  [SPEAKER_00]: the Washington Post was a little bit torn as to whether or not they should publish that.
• 11:36
  [SPEAKER_01]: They were extremely tanned.
• 11:37
  [SPEAKER_01]: Yeah, that's the whole thing.
• 11:39
  [SPEAKER_01]: The drug territory, journalistically.
• 11:41
  [SPEAKER_00]: And just like should we do this?
• 11:43
  [SPEAKER_00]: And what is it going to mean?
• 11:44
  [SPEAKER_00]: When we just sort of reveal all of the corruption of a presidential administration.
• 11:50
  [SPEAKER_00]: And that's a Trump movie.
• 11:51
  [SPEAKER_00]: I think it was the first, like, expressly Trump movie, like responding to the corruption of the Trump administration.
• 11:57
  [SPEAKER_00]: So I mean, the corruption, yes.
• 11:58
  [SPEAKER_01]: I mean, tame that the first,
• 12:00
  [SPEAKER_01]: movie of the Trump presidency that reflected what was happening what was expected to happen in the Trump presidency.
• 12:07
  [SPEAKER_01]: The perj election year?
• 12:08
  [SPEAKER_01]: No.
• 12:09
  [SPEAKER_01]: No.
• 12:09
  [SPEAKER_01]: This given only a couple of months after Trump was inaugurated, Max II White House hero.
• 12:17
  [SPEAKER_01]: You may recall in like the 2010s.
• 12:20
  [SPEAKER_01]: I don't remember exactly.
• 12:21
  [SPEAKER_00]: There was this Brave military dog.
• 12:24
  [SPEAKER_01]: Yeah, it's a good movie.
• 12:25
  [SPEAKER_01]: It's very it's very overrought and the ending gets a little blown up a portion But like there's this really Emotional movie called max about a family.
• 12:34
  [SPEAKER_01]: They're all the sun went to war and He his job in the military.
• 12:38
  [SPEAKER_01]: I forget what you call it, but he trained and went out into the field with train dogs
• 12:42
  [SPEAKER_01]: and he had a dog named Max of course they're very close with him that he died in the field and the dog was so traumatized that the dog couldn't do its job anymore and the family ended up adopting the dog and that was a very emotional experience for everybody and you know what we're re-ability the dog.
• 12:57
  [SPEAKER_01]: But also rehabilitate themselves and deal with their own grief and their own anger and why are you alive and not my son?
• 13:02
  [SPEAKER_01]: I'm very emotionally intense and then and it was pretty good in my money and then they did a straight-to-video sequel Which was cute and it was very disney at this one was about oh, man So the president's secret service protector dog is on maternity leave because it had puppies and now they need max to come back in
• 13:25
  [SPEAKER_01]: Two two protects the president and the president who memory services played by Laughlin Monroe is very clearly modeled after Trump and it is about barren Trump bonding with Max the dog and teeming up with Putin's adorable daughter to protect Trump and Putin they have different names but that's exactly who they are to protect Trump and Putin so that they can not share in a new era of world peace.
• 13:53
  [SPEAKER_01]: because the people are trying to stop them from ushering in world peace.
• 13:55
  [SPEAKER_01]: That's the first one.
• 13:56
  [SPEAKER_01]: That's the first one.
• 13:56
  [SPEAKER_01]: Well, they had the name, well, the minute it came out.
• 13:59
  [SPEAKER_01]: But that was the first movie that I can tell that was literally about Trump in the White House.
• 14:05
  [SPEAKER_01]: It was a fantasy Disney kids version, obviously.
• 14:08
  [SPEAKER_01]: But they were like, well, he might win.
• 14:09
  [SPEAKER_01]: Let's model the president after this.
• 14:11
  [SPEAKER_01]: And they'll come out and it'll be timely.
• 14:13
  [SPEAKER_01]: And they nailed it.
• 14:15
  [SPEAKER_01]: They predicted the election correctly.
• 14:17
  [SPEAKER_01]: And they got Max too.
• 14:18
  [SPEAKER_01]: White House here out there.
• 14:19
  [SPEAKER_01]: And that's why everyone still talks about that movie.
• 14:22
  [SPEAKER_01]: I'm the only one who ever talks about this.
• 14:24
  [SPEAKER_01]: Someone listen to me, I love you.
• 14:27
  [SPEAKER_00]: I think the big issue here is we would have to watch Max too.
• 14:33
  [SPEAKER_00]: I already did.
• 14:34
  [SPEAKER_00]: No, we would have to to get it on my birthday.
• 14:36
  [SPEAKER_00]: Oh, I see.
• 14:37
  [SPEAKER_00]: I see.
• 14:37
  [SPEAKER_01]: Yeah.
• 14:38
  [SPEAKER_00]: And that's maybe not.
• 14:40
  [SPEAKER_00]: a step we're willing to take just yet.
• 14:42
  [SPEAKER_01]: I, I've said this before and I'll say it again.
• 14:45
  [SPEAKER_01]: I think if you're doing it right, film criticism is a full contact sport.
• 14:48
  [SPEAKER_01]: We're out here taking the concussions for the rest of you.
• 14:52
  [SPEAKER_01]: And I think somebody only to step up your game.
• 14:55
  [SPEAKER_01]: Watch my next two White House hero.
• 14:56
  [SPEAKER_01]: Get in on the true political film of our generation.
• 15:01
  [SPEAKER_00]: Disclosure day is Spielberg's newest movie.
• 15:05
  [SPEAKER_00]: Yeah.
• 15:05
  [SPEAKER_00]: And it's an episode of The X Files.
• 15:10
  [SPEAKER_01]: It's complete with the big Black Eyed Alien Grace from Rosswell, like they're these aliens are at the center of this drama Yeah Joshua Connor plays a whistleblower who's working for a secret organization that has been trying to keep the existence of alien secret for many decades And he wants to share the information with the whole world
• 15:27
  [SPEAKER_01]: Colin Firth plays the cigarettes smoking band basically from the ex files.
• 15:32
  [SPEAKER_01]: He's trying to stop him from doing this.
• 15:34
  [SPEAKER_01]: He's like escaped with a bunch of flash drives out of a bunch of evidence, and it turns into a really big chase movie, and the whole question is will he be able to reveal this to the world meanwhile, and these two subplots do intersect about halfway through the movie.
• 15:49
  [SPEAKER_01]: We also run into Emily Blunt who plays a meteorologist on local Kansas City television
• 15:57
  [SPEAKER_01]: Suddenly and without there's there's an insight against it, but it's pretty mild.
• 16:02
  [SPEAKER_01]: It's not like something wild happens to her.
• 16:05
  [SPEAKER_01]: She suddenly becomes extremely psychic and knows everything about everyone she looks at.
• 16:09
  [SPEAKER_00]: She can speak every language.
• 16:11
  [SPEAKER_01]: She can speak every language.
• 16:12
  [SPEAKER_01]: She knows what everyone's going through emotionally and they'll tell them like listen.
• 16:17
  [SPEAKER_01]: She's not that mad at you.
• 16:18
  [SPEAKER_01]: Cook that nice chicken dinner.
• 16:19
  [SPEAKER_01]: She likes and she'll be right as rain tonight.
• 16:22
  [SPEAKER_00]: So there's kind of like a predictive ability.
• 16:25
  [SPEAKER_00]: She can and also
• 16:27
  [SPEAKER_00]: part of this psychic ability is she can appear to resemble other people.
• 16:32
  [SPEAKER_01]: Yes.
• 16:33
  [SPEAKER_00]: specifically like people who are dear to the person she's talking to.
• 16:36
  [SPEAKER_01]: Yeah, she even helps God.
• 16:37
  [SPEAKER_01]: She's like psychic pattern, basically.
• 16:39
  [SPEAKER_01]: She's it follows and uh and uh and uh and uh it turns out these two stories are of course directly connected because they're in the same movie and eventually uh and Colin Firth is after both Emily Blunt and Joshua Connor.
• 16:51
  [SPEAKER_01]: They're eventually gonna find each other after the movie and then the chase will continue with.
• 16:54
  [SPEAKER_01]: Both of them in the question is
• 16:57
  [SPEAKER_01]: will they reveal to the world?
• 17:00
  [SPEAKER_01]: We'll call in for a fail to prevent them from revealing to the world that aliens are real on the nightly news.
• 17:08
  [SPEAKER_01]: And Spielberg seems to think.
• 17:12
  [SPEAKER_01]: I think Spielberg seems to think that a huge revelation like this.
• 17:17
  [SPEAKER_01]: And really, it could be aliens, it could be anything.
• 17:20
  [SPEAKER_01]: But it could be concrete evidence that God is real.
• 17:24
  [SPEAKER_01]: evidence that there is wonder in the universe and also that we've been kind of living a lie, um, will
• 17:32
  [SPEAKER_01]: Blow the minds of everyone in the world and it will basically kind of hit the reset button.
• 17:36
  [SPEAKER_01]: It'll be like a defibrillator on the human race.
• 17:38
  [SPEAKER_00]: It will be first contact from the Star Trek universe.
• 17:42
  [SPEAKER_01]: More or less.
• 17:43
  [SPEAKER_00]: It's going to have a completely irreversible chain.
• 17:47
  [SPEAKER_01]: The irreversible chain still everything about the same.
• 17:49
  [SPEAKER_00]: The origin of a Star Trek of the Star Trek utopia, as it is, the humanity had to hit rock bottom.
• 17:57
  [SPEAKER_01]: Yes.
• 17:58
  [SPEAKER_00]: the idea like it's humanity was recovering from these devastating world wars and the eugenics wars in the future.
• 18:05
  [SPEAKER_00]: But one engineer decided to keep on tinkering with engines and created a faster than light engine, which could take him to other planets.
• 18:11
  [SPEAKER_00]: Well, wouldn't you know it?
• 18:12
  [SPEAKER_00]: Some friendly aliens happen to be sailing by, right when that engine was being tested for the first time, they landed as Vulcans, and knowing that there were intelligent beings and the galaxy sobered humanity up pretty quick.
• 18:26
  [SPEAKER_01]: Yeah, we got to step apart.
• 18:28
  [SPEAKER_00]: It's like, now that we're part of a bigger community, we realize we don't need to worry about our petty squabbles here on earth.
• 18:34
  [SPEAKER_00]: We can now travel out into the stars.
• 18:36
  [SPEAKER_01]: I think there's also a moment of saving face.
• 18:38
  [SPEAKER_01]: It's like, okay, listen, we got to put it back.
• 18:40
  [SPEAKER_01]: We got to look good.
• 18:41
  [SPEAKER_01]: We got to stop some of this bullshit that we're doing.
• 18:44
  [SPEAKER_01]: We're going to have relayed on our face.
• 18:46
  [SPEAKER_00]: And disclosure day, even though it doesn't really expressly say what's happening is taking place in a world gone mad.
• 18:52
  [SPEAKER_00]: There's a scene about halfway through this movie when the Emily Blunt character stops to gas up a car.
• 18:58
  [SPEAKER_00]: And the convenience store is like being looted.
• 19:01
  [SPEAKER_01]: Yeah.
• 19:02
  [SPEAKER_00]: People are just taking all the stuff they needed, like survival supplies.
• 19:05
  [SPEAKER_00]: And they, before this, there was no indication that anything was going on in the world that I, that's not true.
• 19:10
  [SPEAKER_01]: There is, it's subtle.
• 19:12
  [SPEAKER_01]: And I think it's, and I think Spielberg is doing something, I think, I think he's making a mistake here.
• 19:16
  [SPEAKER_01]: If you pay attention on things that don't seem like they're terribly important, TV stations on in the background or just where Emily Blunt goes on, here's what the anchors are talking about.
• 19:26
  [SPEAKER_01]: They're talking about a sort of a world destabilizing event around the brink of another world war.
• 19:33
  [SPEAKER_01]: Yeah.
• 19:34
  [SPEAKER_00]: But something to do with North Korea, I don't say expressly what it is.
• 19:38
  [SPEAKER_01]: And maybe others as well.
• 19:39
  [SPEAKER_01]: But the idea is that
• 19:41
  [SPEAKER_01]: You know, this revelation, if it is made, could potentially either push us over the brink and make everything worse, which is what Colin Firth is convinced might happen.
• 19:52
  [SPEAKER_01]: He thinks the world will end basically if everyone knows the truth.
• 19:56
  [SPEAKER_01]: And also, Joshua Connor has a girlfriend who fears that she's very religious and she fears that knowing we're not alone in the universe will basically ruin religion for everybody, which I've never seen how, but that's always seem like a stretch to me.
• 20:09
  [SPEAKER_01]: I'm like,
• 20:10
  [SPEAKER_01]: got made everything, right?
• 20:11
  [SPEAKER_01]: So God made another species.
• 20:13
  [SPEAKER_00]: So whatever.
• 20:15
  [SPEAKER_01]: These two things are not a compatible, but whatever.
• 20:16
  [SPEAKER_01]: I know some people have expressed that concern.
• 20:20
  [SPEAKER_01]: but yeah, so the idea is that everything is on the brink or potentially this could make things better, we don't know.
• 20:26
  [SPEAKER_01]: But he doesn't sell the global crisis going on in the background very well.
• 20:35
  [SPEAKER_01]: It doesn't feel ubiquitous.
• 20:37
  [SPEAKER_01]: So much of this movie takes places in like farm houses and where people are hiding out from each other.
• 20:41
  [SPEAKER_01]: Yeah, so it doesn't feel omnipresent.
• 20:44
  [SPEAKER_01]: It doesn't feel oppressive.
• 20:45
  [SPEAKER_01]: And honestly, our basic awareness of what is going on exactly.
• 20:49
  [SPEAKER_01]: is very academic and for me this is I think is a huge mistake because it constantly feels like the world is on the brink right now every single thing that happens in the news is destabilizing and you I appreciate that you wanted to simplify it for the sake of a movie and like have it all revolve around one thing so that it doesn't get too much of a distraction and you don't feel like you have to like over explain everything or constantly
• 21:16
  [SPEAKER_01]: I do believe he could have presented the chaos we are currently in without, without, kind of, inventing this world war that the never sells well enough to really make me believe it.
• 21:27
  [SPEAKER_00]: Yeah, yeah, my biggest issue with this film is that it's reality, lapped it decades ago.
• 21:34
  [SPEAKER_00]: He, Steven Spielberg, could have just shown the world as it is, to show the destabilized world.
• 21:40
  [SPEAKER_00]: He didn't have to manufacture some sort of war on the brink, and he could have highlighted it, shown that everybody is kind of living in chaos, show that there is some kind of misery that needs to be overcome by that.
• 21:51
  [SPEAKER_01]: Instead of every time we see the news, there's a vague illusion to a looming world war, just have another fucking horrible crisis.
• 21:58
  [SPEAKER_01]: Every time it's like the polarised collapse of melted, there's a new viral outbreak in the East Coast, or anything like that.
• 22:03
  [SPEAKER_00]: Every time you do that, exactly.
• 22:06
  [SPEAKER_00]: I look at a movie like Robo Cop, and how there's just these like incidental little news stories that show you how absurd the world is making.
• 22:13
  [SPEAKER_00]: And how terrible.
• 22:13
  [SPEAKER_00]: And how terrible and
• 22:16
  [SPEAKER_00]: There's a commercial for a new kind of sunblock because the ozone layer is gone and people are dying from just sunlight That's tough.
• 22:23
  [SPEAKER_00]: Yeah, yeah.
• 22:24
  [SPEAKER_00]: Yeah, here's a car manufacturer and if somebody tries to steal your car, it'll kill you That's how bad things have gone.
• 22:30
  [SPEAKER_01]: Yeah
• 22:32
  [SPEAKER_00]: Speelberg doesn't do that.
• 22:33
  [SPEAKER_00]: I think Speelberg, maybe he's not cynical enough.
• 22:36
  [SPEAKER_00]: Maybe I'm too cynical.
• 22:38
  [SPEAKER_00]: It's hard to hard to say.
• 22:39
  [SPEAKER_01]: This is the subject I newsletter this week.
• 22:40
  [SPEAKER_01]: I might too cynical for disclosing it because I know some people really love this movie.
• 22:44
  [SPEAKER_00]: Well, there's a lot of lip service paid to the notion of empathy.
• 22:49
  [SPEAKER_00]: And the idea that these aliens are linked up with Emily Blunt's psychic powers.
• 22:55
  [SPEAKER_00]: Um, a Coleman Domingo has a small role in this movie.
• 22:59
  [SPEAKER_00]: There is, as, as, as a succession guy basically.
• 23:01
  [SPEAKER_00]: He's an exposition guy.
• 23:02
  [SPEAKER_00]: He's the one sort of like orchestrating like a bunch of other, um,
• 23:07
  [SPEAKER_00]: uh, uh, defectors from this government agency, the John Connor, it's not Joshua Connor isn't alone in this.
• 23:13
  [SPEAKER_01]: There's other moving parts and Coleman Domingo is responsible for all.
• 23:16
  [SPEAKER_00]: Yeah.
• 23:17
  [SPEAKER_00]: And he talks only in like two scenes about how empathy is what drives these psychic aliens and that's maybe a big sort of step in our evolution.
• 23:32
  [SPEAKER_00]: Like this kind of radical psychic linking up.
• 23:35
  [SPEAKER_00]: Have you seen the TV series pluribus?
• 23:37
  [SPEAKER_00]: Yes, yes, I have yeah deals with it better the idea that I was overall going to psychic Lincoln what that's going to look like in the science fiction story.
• 23:44
  [SPEAKER_01]: I think the idea that empathy is humanity super power That we are capable of looking out for each other beyond a simple primal.
• 23:52
  [SPEAKER_01]: Oh, we're being attacked by a predator stop that guy like
• 23:55
  [SPEAKER_01]: We team up and we share resources and you farm, you know, I fish or we responsible for building things and that's how society is formed and that's how we became what we are today.
• 24:07
  [SPEAKER_00]: And you know what film a recent sci-fi blockbuster did that incredibly well.
• 24:11
  [SPEAKER_00]: It's a film that not a lot of people liked but I really loved but the fantastic four.
• 24:16
  [SPEAKER_00]: Was about a united humanity and about how people with superpowers exposed to these kind of cosmic forces.
• 24:23
  [SPEAKER_00]: are going to be listened to and luckily they're brilliant and peaceful people and they just sort of organize the world in a way that I like.
• 24:31
  [SPEAKER_01]: What I love about that movie is how it sells that ideology that hopefulness could thrive.
• 24:36
  [SPEAKER_01]: That it can be as infectious as cynicism.
• 24:38
  [SPEAKER_01]: Yeah, well I'm that that's what the plot of the characters but the premise and the vibe is right.
• 24:44
  [SPEAKER_00]: The vibe is right.
• 24:45
  [SPEAKER_00]: The look is right.
• 24:46
  [SPEAKER_00]: There's a lot.
• 24:46
  [SPEAKER_00]: I love about that movie.
• 24:48
  [SPEAKER_00]: And then what do they do at the end of that movie?
• 24:50
  [SPEAKER_00]: They gather together to rid the earth of God.
• 24:53
  [SPEAKER_00]: Essentially, like God comes and says, I'm going to do old testament stuff.
• 24:56
  [SPEAKER_00]: They say, nope.
• 24:58
  [SPEAKER_01]: Lesson, like you got to love that.
• 24:59
  [SPEAKER_00]: I'm going to use our own invisible powers to put God away.
• 25:03
  [SPEAKER_01]: No, Spielberg seems to think that releasing information about aliens would be akin to
• 25:10
  [SPEAKER_01]: a major sort of religious epiphany that we could all have.
• 25:16
  [SPEAKER_01]: It's a modern version of religion he taught with this.
• 25:18
  [SPEAKER_01]: It doesn't count as a third kind.
• 25:20
  [SPEAKER_01]: You rewatch that today.
• 25:21
  [SPEAKER_01]: You see just how much of it is.
• 25:23
  [SPEAKER_01]: Richard Dreyfus had an overwhelming experience with something he could not explain.
• 25:28
  [SPEAKER_01]: Yeah, completely alienates him from his family.
• 25:30
  [SPEAKER_01]: And he can only really relate to other people who've had it.
• 25:33
  [SPEAKER_01]: And it's interesting.
• 25:35
  [SPEAKER_01]: And I like that movie a lot.
• 25:37
  [SPEAKER_01]: it understands there's a melancholy to that.
• 25:38
  [SPEAKER_01]: I think Spielberg sees this as our only hope is a sudden bold injection of truth and empathy.
• 25:46
  [SPEAKER_01]: What I resist in that.
• 25:49
  [SPEAKER_01]: Is the idea that and I know somebody would be but the idea that humanity at large and that the people in charge Would be capable of a acknowledging that and be holding on to it.
• 26:01
  [SPEAKER_01]: Yeah, because it this would be immediately assuming to happen I'm not even talking about the ending, but like assuming this happened.
• 26:06
  [SPEAKER_01]: This is what everyone's afraid is gonna happen or excited will happen
• 26:10
  [SPEAKER_01]: politicians are going to spin it.
• 26:11
  [SPEAKER_01]: People are going to deny it.
• 26:12
  [SPEAKER_01]: People are going to say it's AI.
• 26:14
  [SPEAKER_01]: People are going to say it here is to whatever horrible world view they have.
• 26:18
  [SPEAKER_01]: People are going to use it as an excuse to do terrible things.
• 26:20
  [SPEAKER_01]: People are going to try to find a way to monetize it.
• 26:22
  [SPEAKER_01]: I do not believe that the world in which we currently live would be all that change from finding out concretely
• 26:33
  [SPEAKER_01]: that aliens are real.
• 26:34
  [SPEAKER_00]: I mean those those we get to see some footage throughout the movie and I'm I'm not going to say what happens like at the end of the film.
• 26:42
  [SPEAKER_00]: But we get to see that I was thinking if what I'm seeing in this movie were real and made its way out of the news it would barely move the needle really some that kind of film with this kind of message the idea that a news story
• 26:59
  [SPEAKER_00]: is going to be the thing that's going to unite humanity is, to me it just tricks me as unbearably naive.
• 27:07
  [SPEAKER_00]: I feel like the film ends right when the story needs to get interesting.
• 27:12
  [SPEAKER_00]: That's the half way point of this movie.
• 27:14
  [SPEAKER_01]: We are amazing TV mini series.
• 27:16
  [SPEAKER_00]: Yeah, like stop there and then the whole the what follows the disclosure day is what's interesting.
• 27:22
  [SPEAKER_00]: And I'd love to see, and this is, I think, just a little bit accurate, and I don't think it's cynical.
• 27:29
  [SPEAKER_00]: I think it's just sort of a common sort of where we are right now in the mid-twenties.
• 27:37
  [SPEAKER_00]: that people would see all of this and then they just keep scrolling.
• 27:41
  [SPEAKER_01]: Yeah.
• 27:41
  [SPEAKER_00]: They'd go on to the next thing.
• 27:42
  [SPEAKER_01]: That's like the end of the Truman Show for something truly amazing happens and then people will say, what else is?
• 27:46
  [SPEAKER_00]: Well, yeah, what else is?
• 27:47
  [SPEAKER_00]: Let's change the channel and I love that ending to the Truman Show.
• 27:50
  [SPEAKER_00]: Yeah.
• 27:50
  [SPEAKER_00]: Because it's just TV to these people.
• 27:52
  [SPEAKER_01]: Yeah.
• 27:52
  [SPEAKER_00]: The news story is such an ephemeral thing.
• 27:55
  [SPEAKER_00]: And the fact that Steven Spielberg is looking out at the world the way it is and trying to sell this message that would have only been sailing at 30 years ago.
• 28:05
  [SPEAKER_01]: I think that's the last time it would have been said that that's the thing because if you think about it Like if this had come out in 1996.
• 28:12
  [SPEAKER_01]: Oh, yeah, this would have been yeah It would have had problems, but it would have been here.
• 28:16
  [SPEAKER_01]: I think there is a Spielberg has revisited a lot of the same material over the course of his career.
• 28:26
  [SPEAKER_01]: He's in a lot of stories about absentee dads for example He's got a lot of stories about National identity through historical events, but
• 28:36
  [SPEAKER_01]: Thanks in part to one overlooked movie and one extremely overlooked movie I think disclosure day is at the very least the de facto conclusion maybe you could do more of what I would call his release the files trilogy where it is about journalists trying to reveal the truth to the world we already mentioned the post.
• 28:56
  [SPEAKER_01]: takes place in the early 1970s even though it's about the Pentagon paper is the obvious point of reference which you accidentally misremembered it as was watergate.
• 29:05
  [SPEAKER_01]: That's what everyone thinks of when they think of America in the 70s.
• 29:07
  [SPEAKER_01]: Yeah, it was a huge revelation that actually changed the way we looked at the government and changed the way America worked.
• 29:13
  [SPEAKER_01]: It mattered and then there's another movie Spielberg made in the 1970s.
• 29:18
  [SPEAKER_01]: It was a TV movie that was intended to be Like a feature like pilot for a ongoing series about television journalism.
• 29:25
  [SPEAKER_01]: They would have started.
• 29:26
  [SPEAKER_01]: Well, I'm sorry Well, I'm like Marlando Marlando Marlando Marlando Marlando.
• 29:30
  [SPEAKER_01]: Not Walter Matherl.
• 29:30
  [SPEAKER_01]: Marlando.
• 29:31
  [SPEAKER_01]: It was our Martin Landau and he played like a 60 minutes reporter Who was uncovering corruption in the Supreme Court someone was trying to blackmail
• 29:41
  [SPEAKER_01]: a Supreme Court justice or a potential Supreme Court justice.
• 29:45
  [SPEAKER_01]: And
• 29:47
  [SPEAKER_01]: All of those films and disclosure day as well are about the idea that we have to release the information.
• 29:51
  [SPEAKER_01]: The world needs to know what world this is, the responsibility of a journalist and it's very telling that the two that are convinced average is really good by the way.
• 30:00
  [SPEAKER_01]: The two that are convincing the post and savage take place to the 1970s when that feels really relevant.
• 30:05
  [SPEAKER_01]: Disclosure day takes place now and it's hard for me to buy, but I mentioned that I like this movie more than you.
• 30:13
  [SPEAKER_01]: There's something that we haven't really talked about with this movie that I did very much enjoy.
• 30:18
  [SPEAKER_01]: And that is it's energy.
• 30:21
  [SPEAKER_01]: This movie hits the ground running, we're in the middle just let me make the case before you make the noise.
• 30:27
  [SPEAKER_01]: All right.
• 30:28
  [SPEAKER_01]: I'll reserve my noise.
• 30:29
  [SPEAKER_01]: That's fine.
• 30:29
  [SPEAKER_01]: We hit the ground running, Joshua Conner's girlfriend comes pre-kid map.
• 30:34
  [SPEAKER_01]: Right before the credits, this is our, we're already in the middle of it, right?
• 30:37
  [SPEAKER_01]: He's already stole a shit, his girlfriend's been kidnapped, calling for others like we've got your girlfriend and got his kind of like, ah ha!
• 30:43
  [SPEAKER_01]: But I stole a thingy, and calling for his like, not a thingy, everyone get away from him.
• 30:47
  [SPEAKER_01]: He has a thingy, and eventually we find out it's an alien thingy, but for all we know it's nothing.
• 30:51
  [SPEAKER_01]: It's just a little, little cylinder.
• 30:55
  [SPEAKER_01]: And so we're just kind of hitting the ground running, Joshua Conner's girlfriend go on the run, they hide out at a convent.
• 31:02
  [SPEAKER_01]: They have all these mysterious conversations with Coleman, the mango and Emily Blunt is getting psychic powers.
• 31:08
  [SPEAKER_01]: And this feels completely unrelated.
• 31:10
  [SPEAKER_01]: Feels almost like the start of a rom-com in a way.
• 31:12
  [SPEAKER_01]: Oh, no, my girlfriend psychic.
• 31:14
  [SPEAKER_01]: Well, our relationship survived.
• 31:15
  [SPEAKER_01]: Poor white Russell is the one in front of me.
• 31:19
  [SPEAKER_01]: He's very a sea in this motion picture.
• 31:20
  [SPEAKER_01]: He gets to be the stick in the mud.
• 31:22
  [SPEAKER_00]: I don't know, somebody who's like, give somebody his break.
• 31:25
  [SPEAKER_00]: Yeah.
• 31:25
  [SPEAKER_01]: Why Russell has a career.
• 31:27
  [SPEAKER_01]: He's fine.
• 31:28
  [SPEAKER_01]: But the role is very thankless.
• 31:29
  [SPEAKER_01]: And I think it was someone who we could have been distracted by how good they are.
• 31:33
  [SPEAKER_01]: And we didn't know them.
• 31:34
  [SPEAKER_01]: Maybe that would have elevated the role you make a good point.
• 31:36
  [SPEAKER_01]: But, um,
• 31:37
  [SPEAKER_01]: But then all of the chase stuff is really, really fun.
• 31:39
  [SPEAKER_01]: There's cool car chases, there's this really awesome sequence, where a bad guy tries to like push with his car, Joshua Conner's car into a moving train.
• 31:48
  [SPEAKER_01]: That one's guys are all fucking cool.
• 31:50
  [SPEAKER_01]: Like there's an energy, there's a verve to that.
• 31:53
  [SPEAKER_01]: It just keeps things moving.
• 31:55
  [SPEAKER_01]: And there are things that I find laughable about this on multiple occasions in this movie.
• 31:59
  [SPEAKER_01]: Colin Firth sends his bad guys after Joshua Connor and they're all like standing in a line of the looking at the farmhouse I think Joshua Connor is in and Joshua Connor's like standing right behind them 20 feet away Like the old Yeah, he's doing sneak sneak sneak sneak sneak yeah, he's doing sneak sneak sneak sneak but like behind like
• 32:15
  [SPEAKER_01]: three wooden planks like if anyone turned around there's a bit where like they managed to like ditch a car and all of the bad guys on this point there but at the end they're like keystone cops they're doing rat falls but like they look in like oh I guess he's over there and and he's just standing there behind a rock like they do it this kind of hood wing thing that you'd see in a silent movie yeah yeah yeah but
• 32:36
  [SPEAKER_00]: I mean, but I don't think it's supposed to be.
• 32:38
  [SPEAKER_01]: I don't think that part's supposed to be, and I was just kind of a newsbite, but my point is, is that until the movie started slowing down and revealing tons of exposition in the second half, plus third, settling into the climax, I think some people find very profound and I found very perfunctory.
• 32:58
  [SPEAKER_01]: I mean, more power to you if you found it profound.
• 32:59
  [SPEAKER_01]: I'm glad you saw it better movie than I did, but I just didn't buy it.
• 33:05
  [SPEAKER_01]: Before the first two thirds, it was just moving so quickly and Spielberg gets such a good control over the pacing that I was wrapped up in it and I was having a good time even if I wasn't buying it.
• 33:17
  [SPEAKER_01]: And I was able to enjoy that and accept that.
• 33:20
  [SPEAKER_01]: Enough to give the film
• 33:22
  [SPEAKER_01]: You know, I'm Ron Tomatoes, it's a binary, yes or no, I give it a mildly positive right now because even though I think it's not you That good summer blockbuster energy.
• 33:31
  [SPEAKER_01]: It's a fun chase film for a little bit.
• 33:33
  [SPEAKER_00]: Spielberg is is a skilled enough filmmaker that if he's going to do sort of a car chase, he knows how to shoot something like that in exciting way.
• 33:39
  [SPEAKER_00]: He also just has a knack for your craft.
• 33:42
  [SPEAKER_00]: He knows where to put a camera.
• 33:43
  [SPEAKER_00]: He knows how to edit it.
• 33:44
  [SPEAKER_00]: So
• 33:46
  [SPEAKER_00]: I was swept up just sort of in how well done it all was.
• 33:50
  [SPEAKER_00]: Exactly.
• 33:50
  [SPEAKER_00]: Even the conversation scenes.
• 33:51
  [SPEAKER_00]: And he doesn't always nail this, but he mostly does.
• 33:55
  [SPEAKER_00]: This idea of just, he knows the way a scene fucking works.
• 33:58
  [SPEAKER_00]: And I was just sort of enjoying that element of it.
• 34:00
  [SPEAKER_01]: Yeah.
• 34:01
  [SPEAKER_00]: I think a lot of the thriller elements, though, are really silly.
• 34:04
  [SPEAKER_00]: There's not just the scene where he's standing out in a field and would be clearly visible.
• 34:08
  [SPEAKER_00]: Yeah.
• 34:08
  [SPEAKER_00]: Like, why do none of these thugs have peripheral vision?
• 34:14
  [SPEAKER_00]: there's their store's your briz at that point, but a lot of the thriller moments are just, like, ridiculously bad, that opening hostage sequence, like it's, it's so contrived.
• 34:26
  [SPEAKER_00]: And everybody's yelling such cliches at one another.
• 34:29
  [SPEAKER_00]: Yes.
• 34:29
  [SPEAKER_00]: Like,
• 34:30
  [SPEAKER_01]: I'm not complaining about that.
• 34:32
  [SPEAKER_01]: I thought that was the way that I was trying to do it.
• 34:33
  [SPEAKER_00]: Or watching the TV movie version of Disclosure Day after the movies concluded, but we're just sort of opening with that to show how everything's become dumb and sensationalized.
• 34:42
  [SPEAKER_00]: Oh no, wait, this is the actual movie.
• 34:44
  [SPEAKER_01]: Right, but I think that's silly and insensationalized is not the worst thing a chase movie can be.
• 34:50
  [SPEAKER_00]: I suppose not, but if a movie is trying to win me over with its profound messages of uniting humanity, don't have a scene like that.
• 34:59
  [SPEAKER_01]: I feel like what he might have been trying to get at was he's going to because like the first shot of this movie the first thing that this movie takes place under wrestling ring the first shot is a POV of a professional wrestler stomping you in the face yeah he's not starting in a subtle way no he's he's like this is broad entertainment and I feel like what he was getting at and I don't some people think he succeeded I acknowledge that there's a lot of people who genuinely love this movie you and I seem to be I'm mostly the same page even though I liked it more um
• 35:26
  [SPEAKER_01]: I feel like what he was getting at was I am going to start this off as a piece of broad entertainment.
• 35:32
  [SPEAKER_01]: Very summary, very conspiracy, very men and black, and then by the end of it, I will have filled it with so much like
• 35:45
  [SPEAKER_01]: religious imagery and I will have accomplished over the course of the film easing my way from broad action into powerful allegory and but you will ideally you will not know where the shift happened.
• 36:01
  [SPEAKER_01]: It was so organic and I don't think you pulled that off.
• 36:05
  [SPEAKER_01]: I think this movie is I know some people are responding to the idea that like oh yes truth and empathy you're really going to save us all man and like it's
• 36:16
  [SPEAKER_01]: Accept this truth and not be cynical about it and all I see is really heavy handed stuff that isn't entirely earned but
• 36:26
  [SPEAKER_01]: I did have a lot of fun for a lot of it.
• 36:29
  [SPEAKER_01]: Okay, and I can't pretend I didn't.
• 36:32
  [SPEAKER_01]: So for me, it's a mixed bag.
• 36:34
  [SPEAKER_00]: Yeah, I was, I love science fiction movies that deal with big ideas.
• 36:40
  [SPEAKER_00]: Even if they aren't great movies, I like films that sort of come together around some kind of gigantic philosophy.
• 36:47
  [SPEAKER_01]: Jupiter-Sandag.
• 36:47
  [SPEAKER_00]: Jubara sending, has a great commentary on class.
• 36:51
  [SPEAKER_00]: I think the best scene of it.
• 36:52
  [SPEAKER_00]: The just economy, the economy and the ruling, like the bourgeois, what they're doing, is just sort of suck off the universe.
• 37:00
  [SPEAKER_00]: I, my favorite scene in that movie is when they're just sort of lost in their bureaucracy.
• 37:05
  [SPEAKER_00]: There's a really wonderful scene.
• 37:08
  [SPEAKER_00]: Even, I really wish Orson Scott Card would sit down and read his own book Ender's Game, because Orson Scott Card is a scoundrel.
• 37:17
  [SPEAKER_00]: Yeah.
• 37:17
  [SPEAKER_00]: He's written all kinds of horrendous homophobic garbage.
• 37:21
  [SPEAKER_00]: He's a terrible person.
• 37:23
  [SPEAKER_00]: But you read something like Ender's Game.
• 37:25
  [SPEAKER_00]: That's all about finding humanity and others, finding not thinking of others as enemies.
• 37:32
  [SPEAKER_01]: And we're trying it when you do.
• 37:34
  [SPEAKER_00]: Regretting it when you do and also how it's actually the state and a war machine that is training you to think that way.
• 37:41
  [SPEAKER_00]: So I love those ideas in the Ender's Game Movie.
• 37:44
  [SPEAKER_00]: Watch the Ender's Game Movie.
• 37:45
  [SPEAKER_00]: Or wait for it.
• 37:46
  [SPEAKER_00]: No, read the book.
• 37:46
  [SPEAKER_00]: Read the book.
• 37:47
  [SPEAKER_01]: It's also the same thing.
• 37:47
  [SPEAKER_00]: It's also good.
• 37:48
  [SPEAKER_00]: Also don't pay for it.
• 37:49
  [SPEAKER_00]: Because because you don't want to give any money, it's got to be a good thing.
• 37:52
  [SPEAKER_00]: Yeah.
• 37:55
  [SPEAKER_00]: So yeah, so I let but the or the enters game movie not that great in action picture.
• 38:01
  [SPEAKER_00]: It doesn't have like the sort of the thrills in the skill of the stuff.
• 38:04
  [SPEAKER_00]: And it isn't okay.
• 38:05
  [SPEAKER_00]: It's the idea.
• 38:06
  [SPEAKER_01]: Yeah.
• 38:07
  [SPEAKER_00]: If it this movie were a little bit sloppy and had dumb thriller elements, but it came around an idea that I felt was like actually.
• 38:16
  [SPEAKER_00]: profound and speaking to the time we're living in.
• 38:18
  [SPEAKER_00]: I probably would have loved it.
• 38:20
  [SPEAKER_00]: And if I had seen this movie, this exact movie in 1996, when it was sort of tapping into a lot of that paranoia, around the government around these government alien cover-ups, which were just sort of part of pop culture.
• 38:32
  [SPEAKER_00]: It was a part of the fight, guys, and then these in particular, yeah.
• 38:36
  [SPEAKER_00]: This fits really nicely into the 90s, and having that message of
• 38:41
  [SPEAKER_00]: knowing about aliens might draw humanity together, would have wrung out really loudly, especially as a counterpoint to something like the ax files, which said knowing about aliens is going to ruin humanity and people are going to panic, and it's all about these shadowy conspiracies, and the government's going to kill people to cover it up.
• 39:01
  [SPEAKER_00]: First of all, the threat isn't there in Disclosure Day.
• 39:03
  [SPEAKER_00]: I don't find Colin Firth to be particularly terrifying as a villain.
• 39:08
  [SPEAKER_00]: I feel he's kind of silly.
• 39:10
  [SPEAKER_01]: There's a good motivation.
• 39:13
  [SPEAKER_01]: Yeah.
• 39:13
  [SPEAKER_01]: Eventually, they toy into, they find a way to get into, he's got some personal stuff going on.
• 39:18
  [SPEAKER_01]: But really, he just feels like,
• 39:21
  [SPEAKER_01]: He feels like the mid-film boss.
• 39:25
  [SPEAKER_01]: We've got to give him a boss.
• 39:27
  [SPEAKER_00]: Yeah, like he has to answer to somebody, and that would be the really, truly.
• 39:30
  [SPEAKER_00]: Yeah.
• 39:31
  [SPEAKER_01]: He's like, don't really capable bond villain henchmen, but really it's blowfeld that we're after.
• 39:35
  [SPEAKER_01]: We never have a blowfeld.
• 39:36
  [SPEAKER_00]: And he has a magical alien widget that lets him do Just psychic things but just about anything really Yeah, it's a black and vignette's machine Yeah, yeah So yeah, it's just it's a lot of Slicely made interesting things
• 39:57
  [SPEAKER_00]: That Spielberg dug up out of a drawer from 1996 and is now throwing them at me and I can't Really get behind that as a movie.
• 40:05
  [SPEAKER_00]: Yeah, it's it's just too disconnected
• 40:07
  [SPEAKER_01]: Yeah, and I agree with all of that.
• 40:09
  [SPEAKER_01]: I just enjoyed watching it more than you did.
• 40:11
  [SPEAKER_01]: So I think I still think that even when he's making junk and I don't think this is always true I think ready player one is legitimately hard to watch, but I do feel like Spielberg has a Verve and like tricity To a storytelling even the story isn't great that often saves that.
• 40:29
  [SPEAKER_01]: I don't think it's a kingdom of Christom skull, but I do think it saved 10-10
• 40:32
  [SPEAKER_01]: Which is, and I loved the tending comics.
• 40:35
  [SPEAKER_01]: I learned to read French on the tending comics, although I was in Belgium, but I read the French translation.
• 40:40
  [SPEAKER_01]: It was a whole thing.
• 40:41
  [SPEAKER_01]: But I know.
• 40:42
  [SPEAKER_01]: I think there were written in French.
• 40:43
  [SPEAKER_01]: I thought that was amazing.
• 40:45
  [SPEAKER_00]: It wasn't in Flenish.
• 40:46
  [SPEAKER_01]: Okay.
• 40:46
  [SPEAKER_01]: Well, in any case, I just didn't want to get it wrong.
• 40:49
  [SPEAKER_01]: So it's hedging my bad.
• 40:50
  [SPEAKER_01]: That's like there was a story about when they were writing an episode of the Buffet of Vampire Slayer, and they had two characters argue about what red Kryptonite does to Superman?
• 40:59
  [SPEAKER_00]: Does it weaken him?
• 41:02
  [SPEAKER_01]: Exactly, because that's not the one that makes a mevel or is that the one that does this other thing and They had two characters argue over it and the thing is is that at the time like we didn't have like Wikipedia This was a little harder to look up and they were on like a time crunch and they just had listen One of the characters is right
• 41:22
  [SPEAKER_01]: One of them is right so I've got a comfort so either I was right the first time I was wrong the second time But I got a comfort somewhere in there.
• 41:28
  [SPEAKER_01]: We got the red language for tinted But anyway, I think tinted is so energetic and exciting of that motorcycle chase down the fucking Mountain is so incredibly conceived even in animation that I can enjoy watching it And I feel kind of similarly about disclosure day.
• 41:44
  [SPEAKER_01]: I enjoy watching it.
• 41:45
  [SPEAKER_01]: I just don't buy it
• 41:47
  [SPEAKER_01]: Yeah, so let's move on because there's another action movie that over this weekend, much smaller, but also much more claimed and I had been hearing about this movie had played some various genre film festivals and I know a lot of action friendly critics had been singing its praises.
• 42:07
  [SPEAKER_01]: To an almost alarming degree like people just saying this is like one of the coolest action movies They'd seen like so fucking long and I was like okay listen These are all people who know what they're talking about.
• 42:18
  [SPEAKER_01]: I'm gonna at least give it a shot and that's and that's what brought me to
• 42:23
  [SPEAKER_01]: the furious directed by Kenji Tanagaki starring stars from all over the world yeah Chinese like Hong Kong action stars or some Thai stars we got to all over the place they got Joe Taslim from the raid we have an actor who i don't think i've seen in many movies he was in miaojie uh isn't it as well you've got yanyan ruhi on who is also in the raid and it's just every time he shows up in the movie like uh shit's about to go down
• 42:49
  [SPEAKER_01]: here's the guy with the bone error yeah yeah every time we see that guy in the movie you're just like oh fuck someone's about to get fucked up because that guy is a monster with martial arts
• 42:59
  [SPEAKER_01]: When the plot is simplicity itself, there is, that's a polite way to put it.
• 43:04
  [SPEAKER_01]: But here's the thing, it's fight movie, we don't need complicated.
• 43:08
  [SPEAKER_01]: We don't want complicated.
• 43:09
  [SPEAKER_00]: It's a dunder headed off the rack plot that was old in 1979.
• 43:13
  [SPEAKER_01]: Yes, and nowadays it feels very, very much like, you know, we're just doing taking it again.
• 43:17
  [SPEAKER_01]: But basically, there is a...
• 43:21
  [SPEAKER_01]: uh... there's a handyman uh... with a daughter is a little like nine ten something like that thirteen and i can never tell a kid said um... but uh... in any case uh... he's got a daughter and he's a handyman and he had a they're vague about it but he had a head injury and he can't speak anymore and
• 43:39
  [SPEAKER_01]: his daughter's living with him for a little while but she's got to go back to live with like her grandparents because her mother is dad and she does his madder dad and she runs off and she is abducted by human traffickers and dad picks up on this pretty fast.
• 43:52
  [SPEAKER_01]: Chases down a truck and his un like in sandals.
• 43:55
  [SPEAKER_01]: Yeah beats the shit out of everyone in the truck and it's only by sheer luck that they get away and they drive off with his daughter and now he's going to kill everyone.
• 44:05
  [SPEAKER_00]: Who how did he get to know to learn these martial arts skills doesn't matter doesn't fucking matter He's just a kung fu guy.
• 44:11
  [SPEAKER_01]: We don't need to explain that in a kung fu martial arts spectacular movie Why do they know this because they do why do people know how to you know like hook a lasagna?
• 44:23
  [SPEAKER_00]: I don't know what's that like you learned you know they'll tell me these this is in this is the same plot as the movie Commander a movie that is
• 44:30
  [SPEAKER_01]: Well, so in command of he's like being blackmailed into doing something bad.
• 44:33
  [SPEAKER_00]: It's all about him not the kidnapped be Yeah, but but his daughter is kid his young daughter is kidnapped and that gives him license to murder a thousand people And that's the plot of this movie as well, but if using it well from another Schwarzenegger movie Yeah, but they're all bad I don't think he killed an innocent person in this movie.
• 44:49
  [SPEAKER_00]: They're all they're all pretty evil killing a lot of people We don't know some of those might be decent dies.
• 44:54
  [SPEAKER_01]: I don't think they are
• 44:55
  [SPEAKER_01]: And the context there's a plot twist though, and that there's an undercover cop who's also trying to uncover all these other cover cop He's acting like an undercover cop his girlfriend was a journalist.
• 45:06
  [SPEAKER_01]: Yeah, who was trying to blow the lid off of this human trafficking Right she went missing in the first scene, and now he goes undercover is like I guess an amateur journalist
• 45:16
  [SPEAKER_00]: Well, he's just going to do when he's going on a cover is like he's pretending to be like another Criminal.
• 45:21
  [SPEAKER_00]: Yes, in order to get evidence on these guys But he's not officially a journalist and he's not a cop He would make more sense if he was whether they just he just sort of like he's just kind of a foolish dude Well, he's he's doing he wants to find his girlfriend.
• 45:34
  [SPEAKER_01]: He wants to you know expose this horrible thing and you know when your villains are human traffickers You can kill all those guys
• 45:44
  [SPEAKER_01]: No one in the audience is like, well hang on a second.
• 45:46
  [SPEAKER_01]: No.
• 45:47
  [SPEAKER_00]: We're all on the side of killing all these guys.
• 45:52
  [SPEAKER_00]: And we know they're evil just because they're cartoonishly so.
• 45:54
  [SPEAKER_00]: In fact, they look like characters out of final fight.
• 45:57
  [SPEAKER_00]: Yeah, they're like video game characters.
• 45:59
  [SPEAKER_00]: Totally.
• 45:59
  [SPEAKER_00]: There's the guy with the Afro who dresses like a 70's guy.
• 46:02
  [SPEAKER_00]: Yeah.
• 46:02
  [SPEAKER_00]: There's the big mean bald guy.
• 46:06
  [SPEAKER_00]: There's the sort of smaller live guy with the bow and arrow.
• 46:10
  [SPEAKER_01]: These are all very cartoon There's been very handsome guy in a suit who's behind everything, but you know he's a badass Yeah, you know he's going to eventually kill like go completely like he's the girl He's the cruelest of all.
• 46:22
  [SPEAKER_00]: Yeah, no, he's the final boss of all
• 46:25
  [SPEAKER_00]: So this has a lot of video game dynamics, it looks it feels like a video game, and so it's Dad and the undercover guy eventually find each other and it first there's a misunderstanding So they got to find it.
• 46:34
  [SPEAKER_01]: Yeah, but then they get to know each other, they get to respect each other, and now they're friends
• 46:40
  [SPEAKER_01]: that's the way it works in these kinds of way works in the three amigos it's the way it works on the furious uh... and they team up to stop all the bad guys and kill them all and he's incredibly fun ways there's a scene in this movie where two guys try to beat each other to death using bicycles as weapons it's so absurd it's so absurd it's great uh... when they're swinging bikes at each other's like well first of all i write a bike and those things are difficult to transport
• 47:09
  [SPEAKER_00]: you put your hand on like uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh
• 47:35
  [SPEAKER_00]: The action choreography is very, very energized.
• 47:39
  [SPEAKER_01]: It's incredibly elaborate.
• 47:43
  [SPEAKER_00]: That they're reaching for the highs of Jackie Chan.
• 47:45
  [SPEAKER_00]: They're not quite reaching it.
• 47:47
  [SPEAKER_01]: Nobody could.
• 47:47
  [SPEAKER_01]: Well, it's too.
• 47:48
  [SPEAKER_01]: It's too.
• 47:48
  [SPEAKER_01]: It's too.
• 47:48
  [SPEAKER_01]: It's too violent for Jackie Chan.
• 47:50
  [SPEAKER_01]: It's too.
• 47:50
  [SPEAKER_01]: And usually isn't that intense.
• 47:51
  [SPEAKER_01]: Well, also, it takes a lot of too many modern filmmaking cues and that there's like a lot of fast edits.
• 47:54
  [SPEAKER_00]: And there's a lot of the fights to place in dark areas.
• 47:57
  [SPEAKER_00]: So there's there's a lot of the fights to place in dark areas.
• 47:59
  [SPEAKER_00]: So there's there's a lot of the fights to place in dark areas.
• 48:01
  [SPEAKER_00]: There's a lot of fights to place in dark areas.
• 48:02
  [SPEAKER_00]: There's a lot of fights to place in dark areas.
• 48:04
  [SPEAKER_00]: There's a lot of fights to place in dark areas.
• 48:06
  [SPEAKER_00]: They're trying to obfuscate a lot of the things about the fight that they couldn't do in one take I did like some of the more acrobatic things they did.
• 48:13
  [SPEAKER_01]: There's a lot of I'm an on each other.
• 48:15
  [SPEAKER_00]: Yeah, there's a lot of fight scenes where they're like picking up other people and climbing over each other's bodies almost like a tumbling routine.
• 48:20
  [SPEAKER_00]: Yeah I liked all of that stuff.
• 48:22
  [SPEAKER_00]: Yeah However when they start getting into like weapons, you can tell that there's a
• 48:27
  [SPEAKER_00]: They either had to rehearse in a hurry, or they didn't really know how to fight or shoot weapons scenes to make the weapons look dangerous.
• 48:35
  [SPEAKER_00]: So they're swinging these big gigantic hammers that are clearly made of wood.
• 48:39
  [SPEAKER_00]: They're like, oh my god, they're always making danger!
• 48:41
  [SPEAKER_00]: Well, you shouldn't, what you do is, this is a little horror movie trope.
• 48:45
  [SPEAKER_00]: If you're going to show a chain saw, show the chain saw cutting something before you replace it with the fake one.
• 48:51
  [SPEAKER_00]: Yeah, you show the knife stabbing something.
• 48:53
  [SPEAKER_00]: It's the same principle of showing the person being tortured the knife you're about to use It's like oh, that's yeah, you show them cutting and then you can swap it out with the fake one Yeah, or you're gonna swing the wooden hammer and then you cut to close up of a real hammer smashing into concrete Yeah, yeah, so these are all things they don't do those things so it looks like
• 49:12
  [SPEAKER_00]: I think part of that it looks like they're still rehearsing.
• 49:15
  [SPEAKER_01]: I think you're looking at that as there's like a problem with the props or with the choreography.
• 49:21
  [SPEAKER_01]: What I look at it as, depending on the needs of the moment, not the scene, the moment.
• 49:29
  [SPEAKER_01]: Every punch, kick, stab, sledgehammer, hit, bow and arrow, fight, anything in this movie is either instantly deadly or bugs bunny rules, depending on the needs of the moment.
• 49:45
  [SPEAKER_01]: The heroes obviously can take a lick and keep on taking to an absurd degree.
• 49:50
  [SPEAKER_01]: That's why we're here.
• 49:51
  [SPEAKER_01]: We are not here for realism right now.
• 49:53
  [SPEAKER_00]: That's true and there's a genuine laugh moment where they beat up one of the bad guys and you think he's dead It's like they really fucked him up like they smashed him into the ground and then he's gone.
• 50:04
  [SPEAKER_00]: He's out of the movie and then
• 50:06
  [SPEAKER_00]: for no reason, he just gets a 30 minutes later.
• 50:10
  [SPEAKER_00]: We cut back to this guy on the floor and he just gets up all that's it.
• 50:14
  [SPEAKER_00]: I'm mad now, so he went into a healing coma of some kind.
• 50:18
  [SPEAKER_00]: And he just sprung back up.
• 50:19
  [SPEAKER_00]: He was so mad.
• 50:21
  [SPEAKER_00]: Yeah.
• 50:21
  [SPEAKER_01]: He's suddenly fine now.
• 50:23
  [SPEAKER_00]: And he goes back and he has more fights in.
• 50:25
  [SPEAKER_01]: Yeah, I don't know, man.
• 50:26
  [SPEAKER_01]: I appreciate this is more my type of movie than yours.
• 50:30
  [SPEAKER_01]: But man is this my type of movie.
• 50:31
  [SPEAKER_01]: I was having so much fun with this.
• 50:33
  [SPEAKER_01]: So it's basically, listen, it's all just sounds used to people
• 50:37
  [SPEAKER_00]: Great.
• 50:37
  [SPEAKER_01]: Yeah, all of the fight scenes are really fucking exciting.
• 50:40
  [SPEAKER_01]: There's something like really cool and interesting and sometimes innovative about them And there's like just any cool thing they can think to do they do.
• 50:47
  [SPEAKER_01]: There's a scene in this movie where a guy rides a motorcycle through a hallway packed with bad guys Well a little girl in the v-shy and a little girl in the back is just stabbing dudes
• 50:59
  [SPEAKER_01]: That's like that's fucking cool.
• 51:03
  [SPEAKER_00]: That's like a samurai me shot.
• 51:04
  [SPEAKER_00]: That's really fantastic I I appreciate it a lot of the thought that went into the fight I appreciate the choreography, but God damn this movie's shabby the story doesn't fall together There's at all the stories in the story.
• 51:16
  [SPEAKER_01]: Yeah, the story is an excuse and I feel like it's fine And barely like doing it saying together just these guys are good these guys are bad.
• 51:23
  [SPEAKER_01]: That's all we need
• 51:23
  [SPEAKER_00]: Yeah, it's it's it's hardly seamless is my point.
• 51:26
  [SPEAKER_00]: I'm seeing I'm seeing guys practicing fight choreography that I am getting interested in like what's happening in the fight and I'm impressed by what I'm seeing but it does feel like a demonstration It feels like we're but I don't know putting together the sizzle reel for the the film that we're gonna make like do feel like this is you know a lot of times people equate
• 51:53
  [SPEAKER_01]: you know, classic Hollywood musical.
• 51:55
  [SPEAKER_01]: And, you know, a lot of the more memorable, beloved Hollywood musicals are films that were every story kind of pushes the plot along or reveals something about the character.
• 52:04
  [SPEAKER_01]: But there's a lot of them where it's just like, fuck it, this is neat.
• 52:07
  [SPEAKER_01]: You know, if you ever watch, it's always fair weather, which is about a bunch of old friends who have a reunion in New York City.
• 52:14
  [SPEAKER_01]: I think it was originally going to be like a sequel to On The Town and then
• 52:20
  [SPEAKER_01]: You know, at one point, Gene Kelly just has a long musical number where he does Daredevil shit on roller skates.
• 52:27
  [SPEAKER_01]: Does this have anything to do with anything?
• 52:29
  [SPEAKER_01]: No, do I want to see Gene Kelly do Daredevil shit on roller skates?
• 52:34
  [SPEAKER_01]: Yes, now imagine, by the way, that's one of the best fucking dance sequences in movie history.
• 52:40
  [SPEAKER_01]: Now imagine Gene Kelly doing Daredevil shit on roller skates.
• 52:45
  [SPEAKER_01]: while beating the shit out of human traffickers.
• 52:48
  [SPEAKER_00]: You've got something special there.
• 52:50
  [SPEAKER_00]: I'll say this.
• 52:52
  [SPEAKER_00]: When Gene Kelly is doing that, he is putting the full force of his dance talent behind it.
• 53:02
  [SPEAKER_00]: The fighters are giving their all and they're not being done any good service by the film's editors I think you're overseeing the film.
• 53:09
  [SPEAKER_00]: Photography films.
• 53:11
  [SPEAKER_01]: Yeah.
• 53:11
  [SPEAKER_01]: I've seen so many films that do this way worse.
• 53:14
  [SPEAKER_01]: And I honestly think that while occasionally there's a cut, we're like, ah, that would have been better when one take.
• 53:19
  [SPEAKER_01]: I do think that they're actually finding a pretty good balance here, where they're not doing all-in-giant runners, but there's big sequences where, yeah, everyone just did that.
• 53:27
  [SPEAKER_01]: The guy tried to beat someone to death with a ladder, and the guy climbed the ladder, well, the other guy was swinging it, jumped off on the other side, and kicked him in the head.
• 53:35
  [SPEAKER_01]: That's a thing they did in one shot.
• 53:37
  [SPEAKER_01]: That's fucking cool.
• 53:38
  [SPEAKER_01]: Yeah.
• 53:39
  [SPEAKER_01]: Like, it does that enough.
• 53:41
  [SPEAKER_01]: Hmm, that I'm fine with it and it doesn't really feel like they're hiding it I agree it sometimes feels like if I were to guess it's a rush production and would have a nicer They could have done kind of more polished it a lot.
• 53:52
  [SPEAKER_01]: Yeah a little bit more But I do think they're defining a really good balance here And I think there's a lot of other things in the movie that's sell it the sound design is very crunchy You know everything everything everything feels like oh that went squish real good like Wouldn't want that to happen to my foot like yeah
• 54:09
  [SPEAKER_01]: It's a scene where I bite off another dude's fingers and it's just like, okay, so we're just gonna totally different moving out and I love this movie.
• 54:14
  [SPEAKER_01]: Let's do this It's a showcase.
• 54:18
  [SPEAKER_01]: It's a showcase for cool fights and if you're gonna do a showcase for cool fights
• 54:23
  [SPEAKER_01]: Don't fuck around.
• 54:24
  [SPEAKER_01]: It's this is a short punchy movie that sets up the characters enough that you like the little girl seems cool.
• 54:32
  [SPEAKER_01]: I don't want to think bad to happen to her.
• 54:33
  [SPEAKER_01]: I wouldn't in general, but I'm emotionally invested in her because she seems like a very real character.
• 54:39
  [SPEAKER_01]: And I want the dad to kill everybody to get to her because they're all bad.
• 54:44
  [SPEAKER_01]: And I want that other guy to help him because he's cool and all those guys are bad.
• 54:48
  [SPEAKER_01]: And then I want them all to just,
• 54:50
  [SPEAKER_01]: be brutally murdered and really fun elaborate choreograph fights.
• 54:54
  [SPEAKER_01]: And that's what I got.
• 54:56
  [SPEAKER_01]: And I think that there is a simple pleasure in that.
• 55:01
  [SPEAKER_01]: You know, like just like sitting by a lake.
• 55:04
  [SPEAKER_01]: Just like, oh, yeah, all we're doing is sitting by a lake.
• 55:06
  [SPEAKER_01]: This is great.
• 55:07
  [SPEAKER_01]: We can enjoy it here that kind of, it's on a wave, which is this light lap going up onto the shore.
• 55:13
  [SPEAKER_01]: And it's like that.
• 55:15
  [SPEAKER_01]: But like, you know,
• 55:18
  [SPEAKER_01]: Watchin' a frozen guy's head gets smashed off.
• 55:22
  [SPEAKER_01]: Cool.
• 55:23
  [SPEAKER_01]: Yeah.
• 55:24
  [SPEAKER_01]: It's a good gangster man.
• 55:25
  [SPEAKER_00]: Gangsters like to freeze people.
• 55:27
  [SPEAKER_01]: Yeah, I don't know why.
• 55:29
  [SPEAKER_01]: I'm glad they did.
• 55:30
  [SPEAKER_01]: That was fun.
• 55:31
  [SPEAKER_00]: Hey, Tracy gimmick.
• 55:32
  [SPEAKER_00]: Yeah, yeah, yeah, yeah.
• 55:35
  [SPEAKER_00]: I wanted a little bit more crunch.
• 55:37
  [SPEAKER_00]: Want a little bit more splatter.
• 55:40
  [SPEAKER_00]: What I want to see is something like this with all of these are like elaborate fights and scenes of violence, but it's like maniac cop.
• 55:46
  [SPEAKER_01]: where it's like a monster doing all of it, just killing people, that would have been a lot more exciting for me.
• 55:51
  [SPEAKER_01]: The movie that they need to remake, I think, is, um, fuck, what was it called?
• 55:57
  [SPEAKER_01]: Was that Chuck Norris movie where he fights Jason Voorhees?
• 56:01
  [SPEAKER_00]: Oh, what was that one called?
• 56:02
  [SPEAKER_00]: It's like, look that up for me.
• 56:04
  [SPEAKER_00]: And it's not, not one.
• 56:05
  [SPEAKER_00]: Move, I forgot the whole thing.
• 56:06
  [SPEAKER_00]: It's not one of the things I'm talking about.
• 56:08
  [SPEAKER_01]: There's a movie in the early 80s.
• 56:10
  [SPEAKER_01]: We're Chuck Norris plays just a typical Chuck Norris cop character.
• 56:13
  [SPEAKER_01]: And at the beginning of the movie, he kills a serial killer.
• 56:16
  [SPEAKER_01]: Zero killer is basically the model for like Tom Noonan's hatchet guy in last action here.
• 56:22
  [SPEAKER_01]: I'll just a general hooking evil guy who stabs people.
• 56:27
  [SPEAKER_01]: Chuck Norris kills him.
• 56:29
  [SPEAKER_01]: The bad guy's body is donated to science and Ron Silver resurrects him as an unstoppable zombie silent range silent range that's a great movie not great movie, but a fun premise that has good bets Yeah, Ron Silver on silver resurrect him
• 56:48
  [SPEAKER_01]: Um, and I think the guy from Phantom of the Paradise is in that, William Finley.
• 56:52
  [SPEAKER_01]: Uh, yeah, William Finley is in his wealth.
• 56:53
  [SPEAKER_01]: They play mad scientists, they resurrects the serial killer and now he cannot be killed and Chuck Norris has to cast the stoppies violent rampage.
• 57:02
  [SPEAKER_00]: Oh my god, do you know Chuck Norris' character's name in this, in Silent Rage?
• 57:06
  [SPEAKER_00]: I do not.
• 57:06
  [SPEAKER_00]: It's Dan Stevens.
• 57:09
  [SPEAKER_01]: Dan Stevens makes everything better.
• 57:12
  [SPEAKER_01]: In fact, remakes Silent Rage with Dan Stevens.
• 57:17
  [SPEAKER_01]: why not playing any character literally any character and it's a great movie and you've got it, you've nailed it, get the guy who directed the furious, we're all having a good time.
• 57:30
  [SPEAKER_01]: Anyway, I liked it more than you did.
• 57:31
  [SPEAKER_01]: This seems to be a recurring motif throughout this episode.
• 57:34
  [SPEAKER_01]: But I'll tell you movie I didn't like and it movie you didn't see and unfortunately I don't think you missed much and it is called Stop That Train.
• 57:46
  [SPEAKER_01]: And this is a physical parody movie, directed by Adam Shankman, a comedy director, he directed the musical remake of Harrisbray, he directed the sequel to Enchanted.
• 58:01
  [SPEAKER_01]: He also produced the step up movies.
• 58:03
  [SPEAKER_01]: Okay, so he's got a free pass.
• 58:06
  [SPEAKER_01]: I'm not saying I'm going to like all of his movies, but I'm going to say Adam Shankman.
• 58:09
  [SPEAKER_01]: Thank you for your service.
• 58:12
  [SPEAKER_01]: Stop that train, stars a lot of cast members from RuPaul's Drag Race, and also whatever other celebrities they could get.
• 58:21
  [SPEAKER_01]: It's not a lot, but like there's like Gerry O'Connell isn't it very briefly.
• 58:28
  [SPEAKER_01]: Chris Parnell plays a train conductor.
• 58:31
  [SPEAKER_00]: You know, there are some actors that I think are actually very talented and are capable of great work, but when they show up in a movie, I get a little suspicious.
• 58:41
  [SPEAKER_01]: Yeah, like Chris Parnell doesn't mean the movie's going to be good.
• 58:44
  [SPEAKER_00]: No, um, it's like, I like Eva Greene, so here's this awesome thriller with Eva Greene.
• 58:51
  [SPEAKER_00]: She will be amazing, and he's going to be great because she's going to give her all because she's a great actress.
• 58:55
  [SPEAKER_01]: Yeah.
• 58:55
  [SPEAKER_01]: But that movie is probably going to suck.
• 58:57
  [SPEAKER_01]: There's a really good chance that movie is going to suck.
• 58:59
  [SPEAKER_01]: You have to watch it happen too often.
• 59:02
  [SPEAKER_01]: We're trying to remember the subtitles.
• 59:03
  [SPEAKER_01]: Remember the sequel to 300.
• 59:04
  [SPEAKER_01]: Oh yeah, it was a rise of an empire.
• 59:07
  [SPEAKER_01]: Rise of an empire.
• 59:08
  [SPEAKER_01]: What's all naval warfare?
• 59:10
  [SPEAKER_01]: The movie completely forgettable except Ava Green should have won a fucking Oscar.
• 59:15
  [SPEAKER_00]: She has gladatory sex in that movie.
• 59:17
  [SPEAKER_01]: She's so fucking fine in that movie.
• 59:21
  [SPEAKER_01]: I love her in that movie, and the movie is not good, but she's amazing in it.
• 59:27
  [SPEAKER_01]: Alaska Evergreen is not in this movie.
• 59:29
  [SPEAKER_01]: The movie stars in particular, I want to hold that.
• 59:34
  [SPEAKER_01]: Ginger, Minge, and Juju Bee.
• 59:36
  [SPEAKER_01]: That's their drag man's.
• 59:38
  [SPEAKER_01]: And they play train stuartuses.
• 59:42
  [SPEAKER_01]: And this is a world where like America kind of runs on trains.
• 59:47
  [SPEAKER_00]: So, but Atlas shrugged.
• 59:48
  [SPEAKER_01]: Yeah, kind of.
• 59:50
  [SPEAKER_00]: Yeah, kind of.
• 59:52
  [SPEAKER_00]: I don't like that at all.
• 59:53
  [SPEAKER_00]: Tell me my steel is good honey.
• 59:55
  [SPEAKER_00]: I mean, that would be a line in this movie.
• 59:56
  [SPEAKER_00]: It's a kind of comedy.
• 59:59
  [SPEAKER_01]: Anyway, everyone gets everywhere on a train.
• 1:00:01
  [SPEAKER_00]: And there will never enslave the world.
• 1:00:03
  [SPEAKER_01]: There is the star train of America's rail system is called the Glamazonian Express.
• 1:00:10
  [SPEAKER_01]: And it is, of course, extremely gay.
• 1:00:12
  [SPEAKER_01]: And everyone there is really fun and funny and having it great time.
• 1:00:15
  [SPEAKER_01]: And I'll all the staff are drag queens, except for the conductors.
• 1:00:22
  [SPEAKER_01]: And they're two stewardesses on a really crappy route.
• 1:00:26
  [SPEAKER_01]: I think their line is literally called like Stank Rail.
• 1:00:30
  [SPEAKER_01]: And if they're ginger men's in their due to being, they're just fired.
• 1:00:33
  [SPEAKER_01]: And they've been doing this for 10 years and they don't know what to do.
• 1:00:36
  [SPEAKER_01]: They don't know how to do anything else.
• 1:00:37
  [SPEAKER_01]: They start to lies all over again.
• 1:00:38
  [SPEAKER_01]: But they find out that the glamour zone in Express, which is leaving really soon, needs two new stewardesses immediately.
• 1:00:48
  [SPEAKER_01]: All right.
• 1:00:48
  [SPEAKER_01]: So they dress up.
• 1:00:50
  [SPEAKER_01]: as the stewardess is and get on the train.
• 1:00:53
  [SPEAKER_01]: They're not hired by the way, which is a weird plot point.
• 1:00:57
  [SPEAKER_01]: They don't pretend to be better stewardesses than they are and get hired in a last minute thing.
• 1:01:02
  [SPEAKER_01]: They just decide to pretend that they work there and I don't know how you're gonna get your paycheck.
• 1:01:06
  [SPEAKER_00]: Like you're not in the system, it's not like prestige.
• 1:01:11
  [SPEAKER_00]: They don't want to just like, well, they want it for the sake of saying they did it.
• 1:01:14
  [SPEAKER_01]: They want a career.
• 1:01:15
  [SPEAKER_01]: They don't want to be anything else in their lives.
• 1:01:17
  [SPEAKER_01]: It's like, it's, it's, you know, it's not important in this movie either, but it's pretty bad.
• 1:01:21
  [SPEAKER_00]: For the resume.
• 1:01:22
  [SPEAKER_01]: But it's not!
• 1:01:24
  [SPEAKER_01]: There's no, they're not going to have a reference.
• 1:01:28
  [SPEAKER_01]: Like no one's going to be able to say that they work there.
• 1:01:29
  [SPEAKER_01]: But anyway, they got on the train and it turns out that all of the stewardesses in the first class cabin were their bullies in stewardous school.
• 1:01:38
  [SPEAKER_01]: Oh man.
• 1:01:40
  [SPEAKER_01]: And they are played by Simone, Marty Lauder, who is better known as Martial Martial Martias, but credited as Marty Lauder, and all of the credits in this movie are just all over the place, like an IMBB.
• 1:01:57
  [SPEAKER_01]: Like you'd think it would be like, um...
• 1:01:59
  [SPEAKER_01]: Well, whatever.
• 1:02:00
  [SPEAKER_01]: You would think it would be like an alphabet of order or like an order of like pious bill, but no, just kind of random.
• 1:02:05
  [SPEAKER_00]: Well, I know, uh, I am unfamiliar with the current pop wave of of drag queens.
• 1:02:13
  [SPEAKER_00]: Okay.
• 1:02:14
  [SPEAKER_00]: I've never seen drag race.
• 1:02:16
  [SPEAKER_00]: I don't have any drag.
• 1:02:18
  [SPEAKER_00]: Not a single frame of drag race.
• 1:02:19
  [SPEAKER_00]: Okay.
• 1:02:19
  [SPEAKER_01]: I don't give a doubt.
• 1:02:21
  [SPEAKER_00]: Okay, I don't watch any reality TV shows other than jet.
• 1:02:24
  [SPEAKER_00]: It's not against drag, it's against reality TV.
• 1:02:25
  [SPEAKER_00]: Reality TV, I've no interest in reality TV.
• 1:02:27
  [SPEAKER_00]: I also don't watch the dance shows.
• 1:02:29
  [SPEAKER_00]: I don't watch Survivor.
• 1:02:30
  [SPEAKER_00]: I don't care about those shows.
• 1:02:31
  [SPEAKER_00]: Okay.
• 1:02:33
  [SPEAKER_00]: But I have been to a drag convention.
• 1:02:35
  [SPEAKER_00]: I work to one one.
• 1:02:36
  [SPEAKER_00]: So I've helped a friend who was selling from a queer bookstore.
• 1:02:39
  [SPEAKER_00]: So I got to meet a lot of drag fans and I got to sort of see the universe of drag.
• 1:02:45
  [SPEAKER_00]: And I know that there are celebrities in the drag world.
• 1:02:49
  [SPEAKER_00]: Oh yeah, a lot.
• 1:02:50
  [SPEAKER_00]: It's just sort of within the circle.
• 1:02:51
  [SPEAKER_00]: If you're not familiar with it, like I wasn't, you won't not gonna know who they are.
• 1:02:55
  [SPEAKER_00]: But some people are more famous than others.
• 1:02:57
  [SPEAKER_00]: Thanks to stuff like drag friends.
• 1:02:59
  [SPEAKER_00]: So perhaps that is the building order of like, oh, yeah, they're level of salami within the world of drag.
• 1:03:04
  [SPEAKER_01]: No That's not it does make that Wikipedia has a order that makes more sense the person I was thinking of.
• 1:03:10
  [SPEAKER_01]: It's a trio of bullies The person I left out was Brooke Lynn Heights Brooke Lynn Heights get it
• 1:03:17
  [SPEAKER_01]: But anyway, they're really, really mean.
• 1:03:18
  [SPEAKER_01]: And they force our heroes to be in the low class, part of the train.
• 1:03:25
  [SPEAKER_01]: And then everything's just going on in the train.
• 1:03:28
  [SPEAKER_01]: And then, oh, no, we cut to the department of transportation where a woman in glasses and nobody likes her, finds out that the train is headed for what is officially called in meteorological terms.
• 1:03:43
  [SPEAKER_01]: Hey, another meteorologist.
• 1:03:48
  [SPEAKER_00]: And this is all like a fantasy.
• 1:03:49
  [SPEAKER_01]: Oh, it's all, it's all, it's all, it's all, it's all, we're an airplane territory.
• 1:03:52
  [SPEAKER_01]: It's all very, very silly.
• 1:03:53
  [SPEAKER_01]: Okay.
• 1:03:53
  [SPEAKER_01]: I'm describing it very flat, but it's full of very cheesy jokes.
• 1:03:58
  [SPEAKER_01]: And so it's heading into a natural disaster, and it's up to our heroes to save the day, because everyone is wacky and incompetent.
• 1:04:06
  [SPEAKER_01]: That's basically it.
• 1:04:08
  [SPEAKER_01]: They run into a series of problems.
• 1:04:09
  [SPEAKER_01]: There's one bit where it's like, okay, we can divert the train off the track, heading to the storm of Gonsa, but we'll lead us into a haunted mountain and I'm like, oh fuck yeah, now you're talking my language and then nothing haunted happens and I was like, that's such a missed opportunity.
• 1:04:26
  [SPEAKER_01]: What are we doing?
• 1:04:34
  [SPEAKER_01]: It's all based on Owen Rupal plays the president who ran on being the fun president and doesn't want to have to do anything serious, but when all this train stuff goes down she starts having flashbacks to the time when she worked in like the military train division and accidentally ran over like a four-year-old.
• 1:04:55
  [SPEAKER_01]: And so she's like she's like, she's like, she's like, she's like, she's like, she's like, oh, it's totally quite for laughs.
• 1:04:59
  [SPEAKER_01]: Like it's very, very broad and so like,
• 1:05:03
  [SPEAKER_01]: The thing with this movie is that it is what you would call bad on purpose.
• 1:05:08
  [SPEAKER_01]: It's cheap.
• 1:05:10
  [SPEAKER_01]: It was accused of using AI and the visual effects and Adam Shankman said, no, we didn't do that.
• 1:05:14
  [SPEAKER_01]: And then a couple of days later said, okay, yes, we did.
• 1:05:17
  [SPEAKER_01]: And so the visual effects looked like crap, and I don't not approve of using AI.
• 1:05:20
  [SPEAKER_01]: You didn't have to do that.
• 1:05:20
  [SPEAKER_01]: Fuck you for doing that.
• 1:05:23
  [SPEAKER_01]: But even with that aside, because there aren't that many visual effects in this movie, it's a very cheap movie.
• 1:05:27
  [SPEAKER_01]: There's like three cars in this train that supposedly like the Titanic of trains.
• 1:05:34
  [SPEAKER_01]: It's broad, broad humor, broad jokes, and almost none of them work.
• 1:05:41
  [SPEAKER_01]: That's just what it boils down to.
• 1:05:42
  [SPEAKER_01]: If you can be bad on purpose, but you still have to be good.
• 1:05:47
  [SPEAKER_01]: There's a very thin line between bad on purpose and actually bad.
• 1:05:53
  [SPEAKER_01]: You have to invite the audience into a space where we're comfortable because we know that these jokes aren't just bad, they're bad with a wink.
• 1:06:03
  [SPEAKER_01]: and everyone has a great set of comic timing and like airplane airplane is full of bad jokes.
• 1:06:10
  [SPEAKER_01]: Like the jokes are not occasionally there are some brilliant ones and those are the ones that you can't remember but like half of the jokes are just filling space.
• 1:06:18
  [SPEAKER_01]: Like they're not actually that brilliant even.
• 1:06:20
  [SPEAKER_00]: There's a joke I appreciate for how bad it is in airplane.
• 1:06:28
  [SPEAKER_00]: A Peter Graves is on the phone with the male clinic.
• 1:06:31
  [SPEAKER_00]: So, and the operator cuts in and says, I actually have another call for you, I have a Mr. Ham online five.
• 1:06:38
  [SPEAKER_00]: And he says, okay, get me ham on five, hold the mail.
• 1:06:44
  [SPEAKER_00]: That's a good joke.
• 1:06:45
  [SPEAKER_00]: It's a terrible joke.
• 1:06:47
  [SPEAKER_00]: It's a terrible good joke.
• 1:06:48
  [SPEAKER_01]: Yeah, because the thing is, is that airplane understands the way you sell the worst possible joke.
• 1:06:54
  [SPEAKER_01]: Like these are dad jokes.
• 1:06:55
  [SPEAKER_01]: Yeah.
• 1:06:55
  [SPEAKER_01]: The way you sell the worst possible joke is the actor isn't in on it.
• 1:07:00
  [SPEAKER_00]: No.
• 1:07:01
  [SPEAKER_00]: It's not a funny actor.
• 1:07:02
  [SPEAKER_01]: It's not a funny actor.
• 1:07:03
  [SPEAKER_01]: It's not a funny actor.
• 1:07:04
  [SPEAKER_01]: No.
• 1:07:05
  [SPEAKER_00]: They're totally stoneface.
• 1:07:06
  [SPEAKER_01]: Yeah.
• 1:07:06
  [SPEAKER_01]: I was going to say it's an easy funny actor, but he's a funny actor because he knows play its stoneface and then you can get away with the worst jokes in the fucking world.
• 1:07:14
  [SPEAKER_01]: everyone is leaning into it so hard that the really terrible jokes are just terrible.
• 1:07:23
  [SPEAKER_01]: There is, I will give the movie credit.
• 1:07:26
  [SPEAKER_01]: There is one joke that they do over and over and over again.
• 1:07:31
  [SPEAKER_01]: That is legitimately fine.
• 1:07:34
  [SPEAKER_01]: Okay.
• 1:07:36
  [SPEAKER_01]: Because it's a disaster movie and everyone is constantly telling people about bad things that are happening.
• 1:07:41
  [SPEAKER_01]: Someone say, okay, listen, I have bad news.
• 1:07:43
  [SPEAKER_01]: And Rupal says, oh, the president says, okay, give it to me straight.
• 1:07:47
  [SPEAKER_01]: And her secret service guy is like, everyone is in terrible danger.
• 1:07:52
  [SPEAKER_01]: And she's like, okay, give it to me gay.
• 1:07:54
  [SPEAKER_01]: All right.
• 1:07:54
  [SPEAKER_00]: Oh my god, everyone's in danger.
• 1:07:56
  [SPEAKER_01]: And like that's always they're always so that joke really hard and they come up with a couple of variations later That are really really funny and Kudos for them because that is a don't call me surely level judge It's just they and they can't wait with it.
• 1:08:11
  [SPEAKER_01]: They're backwards.
• 1:08:12
  [SPEAKER_01]: They're funny.
• 1:08:13
  [SPEAKER_01]: Yeah, all right Yeah, that part is genuinely good and because also there's like a lot of like
• 1:08:18
  [SPEAKER_01]: communication between the White House and the Department of Transportation and the train, there is a lot of opportunities for a character to say, like, into a phone, can you read me and then someone will absolutely read them to fucking fills?
• 1:08:34
  [SPEAKER_01]: Like, in reality, you just make one of their shoes, make one of their hair.
• 1:08:37
  [SPEAKER_01]: Like, that is consistently funny.
• 1:08:39
  [SPEAKER_01]: Okay.
• 1:08:40
  [SPEAKER_01]: It's a good joke.
• 1:08:41
  [SPEAKER_01]: It is adaptable to every scene and every character, and they can play that joke.
• 1:08:47
  [SPEAKER_01]: But that is collectively, if you take all of the given to me straight lines and all of the can you read me lines and then maybe five other funny jokes in the movie, that's maybe four minutes of runtime.
• 1:09:00
  [SPEAKER_01]: Like that's four minutes of movie and comedy.
• 1:09:03
  [SPEAKER_00]: And the movie is what 80 minutes long.
• 1:09:06
  [SPEAKER_01]: I would hope, right?
• 1:09:08
  [SPEAKER_01]: The movie, it's 90.
• 1:09:09
  [SPEAKER_01]: All right, all right, you know, that's thing you're welcome and it does feel long because it's kind of dull.
• 1:09:17
  [SPEAKER_01]: I feel like I was so much as, and I didn't, I don't consistently watch RuPaul's Drag Race, but I used to watch it a lot.
• 1:09:22
  [SPEAKER_01]: Okay, I definitely watched, I don't know, the first five or six seasons, like in their entirety, like it was really into it for a while, and a lot of those entertainers are in this movie, and a lot of them are wonderful entertainers.
• 1:09:35
  [SPEAKER_01]: They're funny, they're energetic, they can sing, they can dance, they can tell a joke, but they're funnier when they're ad libbing.
• 1:09:46
  [SPEAKER_01]: And I feel like, and I think, but this is my review, but I feel like I'm in the middle here, where I know enough about RuPaul's Drag Race to know everyone here can be funnier than this.
• 1:09:56
  [SPEAKER_01]: Okay, but maybe I don't know enough about RuPaul's Drag Race, so maybe I'm not,
• 1:10:02
  [SPEAKER_01]: So invest in every bull's drag race that I just want to hang out with these people and I feel like they're probably people who would like to just I love a lot of Martian Martia.
• 1:10:12
  [SPEAKER_01]: I'll watch them in anything.
• 1:10:13
  [SPEAKER_01]: So go to see this movie in Martian Martian Martian Martian is honestly the probably the funniest person in the film
• 1:10:21
  [SPEAKER_01]: And that's great.
• 1:10:23
  [SPEAKER_01]: You can enjoy that and that's fine.
• 1:10:25
  [SPEAKER_01]: But I will say this.
• 1:10:26
  [SPEAKER_01]: I saw this at not a press screening, regular everyday screening, not a packed house, but definitely people who were there because they wanted to see this movie.
• 1:10:37
  [SPEAKER_01]: There was almost no laughter.
• 1:10:38
  [SPEAKER_01]: People weren't into it.
• 1:10:40
  [SPEAKER_00]: It's just, it's just not very funny.
• 1:10:43
  [SPEAKER_00]: I'll forgive a terrible movie if it makes me laugh.
• 1:10:46
  [SPEAKER_01]: Yeah, and honestly, even if it's just good natured like, I don't need to like, excuse me, I don't need to literally slap my thighs with a larity to appreciate a comedy.
• 1:10:57
  [SPEAKER_01]: Some comedies are just
• 1:10:59
  [SPEAKER_01]: fun to watch good natured you had a good time you feel uplifted and then it's over and maybe it was in hilarious, but it worked as a comedy everyone's trying so hard but they're also not because a lot of the jokes are just really lazy and they're not conveyed very well and
• 1:11:19
  [SPEAKER_01]: Yeah, I think this is just proof that you can try to make a movie that's bad on purpose and just end up with something bad.
• 1:11:25
  [SPEAKER_01]: That's not like a free pass.
• 1:11:26
  [SPEAKER_01]: You don't just automatically, I know I give Adam Shank when a free pass, but then they find out about the AI thing, so maybe not.
• 1:11:33
  [SPEAKER_01]: But yeah, no, it's not, it's not great.
• 1:11:35
  [SPEAKER_01]: All right, and that is it for critically, whoa!
• 1:11:38
  [SPEAKER_01]: an hour and eleven minutes.
• 1:11:40
  [SPEAKER_01]: It's pretty tight this time.
• 1:11:41
  [SPEAKER_01]: That's the I think that's the shortest critically acclaimed.
• 1:11:43
  [SPEAKER_01]: We've done it like a long time.
• 1:11:46
  [SPEAKER_01]: I apologize in advance.
• 1:11:48
  [SPEAKER_00]: I'm sorry we're not reviewing 12 films.
• 1:11:50
  [SPEAKER_01]: I got it.
• 1:11:51
  [SPEAKER_01]: Um, but.
• 1:11:54
  [SPEAKER_01]: Stick around later this week because we're going to have we don't we don't interview filmmakers very often But we do have a really really cool filmmaker coming on the show later this week Because we got to interview Louise Ward who directed castration movie we reviewed it on the last episode Who critically claimed the latest installment.
• 1:12:09
  [SPEAKER_01]: I raped about it.
• 1:12:11
  [SPEAKER_01]: Whitney raved about it and Whitney caught up with all the castration.
• 1:12:14
  [SPEAKER_00]: I've seen all of the castration movie to date.
• 1:12:17
  [SPEAKER_01]: Yes, and we talked with her at Great Length about filmmaking and her influences and what she's trying to do and what she's trying to change about cinema and it's really exciting to talk to a filmmaker who is as articulate and energetic about it as Louise Ward is.
• 1:12:33
  [SPEAKER_01]: So be on the lookout for that.
• 1:12:35
  [SPEAKER_01]: But in the meantime, it is time to review our movies on the critically acclaimed scale.
• 1:12:39
  [SPEAKER_01]: We review movies on a scale of C minus to C plus.
• 1:12:41
  [SPEAKER_01]: The lowest rating we give a movie is a C minus.
• 1:12:44
  [SPEAKER_01]: These are movies that we consider below average.
• 1:12:46
  [SPEAKER_01]: They're movies we don't recommend for one reason or another.
• 1:12:48
  [SPEAKER_01]: A lot of movies or C, these movies are mixed bags, something more for one audience and another maybe.
• 1:12:54
  [SPEAKER_01]: And then a C plus is above average.
• 1:12:56
  [SPEAKER_01]: These are movies that we recommend, whether we really like them a lot or love them.
• 1:13:01
  [SPEAKER_01]: on that note, stop that train is a C-minus, your mileage might vary if you're like super into drag race, but I like drag race quite a bit and it didn't do it for me, so I'm not going to put too much of a caveat on there, but yeah, stop that train, just not a funny movie.
• 1:13:16
  [SPEAKER_00]: The furious winning.
• 1:13:18
  [SPEAKER_00]: I'm going to give it a C. I think that the fighting is spectacular, but it barely hangs together.
• 1:13:24
  [SPEAKER_00]: It's almost not a movie, it's just a lot of really fun, fight stuff, and I like
• 1:13:30
  [SPEAKER_01]: Yeah, see, I don't see that as the detriment that you do.
• 1:13:32
  [SPEAKER_01]: I'm giving this a huge C++.
• 1:13:33
  [SPEAKER_01]: I think it's a fight movie, unapologetic, not trying to pretend to be something that it's not and just crunching the bones for all of our pleasure in very inventive ways with incredibly talented fighters and choreographers, giving everything I needed and wanted, highly recommended, huge C++.
• 1:13:53
  [SPEAKER_01]: Then lastly, disclosure day.
• 1:13:55
  [SPEAKER_00]: It's not a complete wash.
• 1:13:57
  [SPEAKER_00]: I just feel it's dated.
• 1:13:58
  [SPEAKER_00]: I'm going to give it a sea just for it's uh acumen.
• 1:14:01
  [SPEAKER_00]: It's okay.
• 1:14:02
  [SPEAKER_00]: It's filmmaking skill and generous of you, but uh but I think it is pretty corny.
• 1:14:07
  [SPEAKER_00]: I don't think it's a good movie.
• 1:14:09
  [SPEAKER_00]: I think Stephen Spielberg
• 1:14:12
  [SPEAKER_00]: is not speaking to a modern audience that is just completely out of touch.
• 1:14:18
  [SPEAKER_01]: I think some people are looking for that, though.
• 1:14:20
  [SPEAKER_01]: Like, that's the kind of nostalgia that they want, and nostalgia that the world is changeable for the better.
• 1:14:25
  [SPEAKER_00]: But the nostalgia, I think the world is changeable for the better, but not this world.
• 1:14:30
  [SPEAKER_00]: They created a fantasy world where that world is.
• 1:14:32
  [SPEAKER_01]: This is my point.
• 1:14:33
  [SPEAKER_01]: I appreciate the fantasy.
• 1:14:35
  [SPEAKER_01]: I don't think Spielberg sold it.
• 1:14:37
  [SPEAKER_01]: However, I had more fun watching it than you do, and I think as a brainless chase thriller, or at the very least a chase thriller with brains, but there are heads on the wrong place.
• 1:14:47
  [SPEAKER_01]: I did have a good time, not enough to give it a C+, but I'm going to give it like a high C. Okay.
• 1:14:51
  [SPEAKER_01]: I found it entertaining, but I don't think it's particularly good.
• 1:14:56
  [SPEAKER_01]: And that is that for critically claimed.
• 1:14:58
  [SPEAKER_01]: Again, we'll be back later this week with an interview with Louise Ward, which I'm very excited to share with you.
• 1:15:04
  [SPEAKER_01]: And also next week we'll be back with reviews of Toy Story 5.
• 1:15:07
  [SPEAKER_01]: The death of Robin Hood and other things as well.
• 1:15:12
  [SPEAKER_01]: That's two movies, right?
• 1:15:14
  [SPEAKER_01]: Yes, Toy Story 5 is not, it's not Toy Story 5 colon the death of Robin Hood.
• 1:15:18
  [SPEAKER_01]: I would have loved to have seen that movie.
• 1:15:20
  [SPEAKER_00]: There's a Robin Hood toy.
• 1:15:21
  [SPEAKER_01]: Yeah, who dies horribly and it's just, it's like a moor but with the toys, you know?
• 1:15:27
  [SPEAKER_00]: I'm just, it's broken and they don't know how to fix it and stuff like slowly watching the movie.
• 1:15:31
  [SPEAKER_01]: Yeah, I would love to see my iconic is Toy Story, I think that would be great.
• 1:15:35
  [SPEAKER_00]: I'll probably be great.
• 1:15:36
  [SPEAKER_01]: Yeah.
• 1:15:36
  [SPEAKER_01]: But in any case, we'll be doing that.
• 1:15:38
  [SPEAKER_01]: And of course, we have a whole bunch of stuff up on our Patreon Patreon.com slash critically a claim network.
• 1:15:44
  [SPEAKER_01]: We recently released our episode where an episode where we reviewed every single movie ever nominated for Best International Feature Up until 1959.
• 1:15:55
  [SPEAKER_01]: Yes.
• 1:15:55
  [SPEAKER_01]: We just did.
• 1:15:56
  [SPEAKER_01]: We just released a nice number of the nine episode great films in there.
• 1:15:59
  [SPEAKER_01]: And we're working, we're hard at work on the best picture nominees in 1960.
• 1:16:03
  [SPEAKER_01]: We also have a bunch of star treks up there.
• 1:16:06
  [SPEAKER_01]: And we're still hard at work on a brand new series that will be Patreon exclusive.
• 1:16:10
  [SPEAKER_01]: We might release the first one on the main feed.
• 1:16:12
  [SPEAKER_01]: But we're very excited to bring it to you.
• 1:16:15
  [SPEAKER_01]: It's a fun project.
• 1:16:16
  [SPEAKER_01]: We just want to bank a whole bunch of them in advance so that when it does come out, it comes out on a regular basis.
• 1:16:21
  [SPEAKER_01]: So stick around.
• 1:16:21
  [SPEAKER_01]: But subscribe at patreon.com slash critically claimed network.
• 1:16:26
  [SPEAKER_01]: Uh, you even if you subscribe for free, you get a weekly newsletter with original writing and links to all of our latest articles Uh, but if you subscribe with, you know, money It really helps the show keep going and we really appreciate it.
• 1:16:37
  [SPEAKER_01]: Yes.
• 1:16:37
  [SPEAKER_01]: Uh, if you want to talk about, I mean, if you, uh, him
• 1:16:40
  [SPEAKER_01]: Let's try that again.
• 1:16:41
  [SPEAKER_01]: If you want to talk about anything we discussed in this episode or anything else Any other questions you want to ask us anything you want us to open about you want to take a task for something Our email address is letters at critically acclaimed.net with me what is our PO box send us so whatever you like a postcard and the letter
• 1:17:00
  [SPEAKER_00]: a mysterious alien plinth Please send us a plan.
• 1:17:04
  [SPEAKER_01]: I've always wanted a plan.
• 1:17:06
  [SPEAKER_00]: Male, it's at the critically acclaimed network PO Box 641565 Los Angeles, California at 9.00 below 64
• 1:17:13
  [SPEAKER_01]: Um, and of course, we're on the social media.
• 1:17:15
  [SPEAKER_01]: I'm at Wanda Bionney, and that's Whitney Sivold.
• 1:17:18
  [SPEAKER_01]: Uh, and I almost ask you to take a song with the classic Star Trek quote, which would have been really funny, because that's how we end all of our Star Trek podcasts.
• 1:17:24
  [SPEAKER_01]: But instead, I'm just going to say thank you for writing a listening and never forget everyone is a critic.
• 1:17:31
  [SPEAKER_00]: I want to go to the Midnight Show.
• 1:17:35
  [SPEAKER_00]: I'm sorry I went.