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EP180 - Rebel Ridge · Thirsty For More - Movie Review

• 0:00
  Speaker 1: I heard down Oh the chad meme.
• 0:13
  Speaker 2: Oh is that dirt?
• 0:18
  Speaker 1: Dirt? Dude? I love that song so much? What is it?
• 0:27
  Speaker 1: It's uh, it's like it's this band called Bring Me
• 0:31
  Speaker 1: the Horizon, who are kind of like people like talk
• 0:35
  Speaker 1: about them as if they're like the spiritual torch bearers
• 0:38
  Speaker 1: of of Lincoln Park in a lot of ways. Yeah,
• 0:42
  Speaker 1: that makes sense. They started out as like a deathcore
• 0:45
  Speaker 1: band or like a metalcore band, and they were like
• 0:47
  Speaker 1: big in the they were big in the like scene,
• 0:50
  Speaker 1: like the Warped tour scene. Yeah, but I think then
• 0:53
  Speaker 1: they like sort of saw the writing on the wall
• 0:56
  Speaker 1: and like, you know, I don't know, like they kind
• 0:59
  Speaker 1: of just started making more new metally kind of stuff
• 1:01
  Speaker 1: because it was like poppier. Yeah. So yeah, they have
• 1:05
  Speaker 1: a lot of songs that are like very They have
• 1:08
  Speaker 1: very hooky choruses, like that song. Uh, And I don't know,
• 1:24
  Speaker 1: I really like I actually really like that bad and
• 1:26
  Speaker 1: I like that song. We were on tour with them
• 1:29
  Speaker 1: and they also that song, you know that song? I
• 1:40
  Speaker 1: don't think so Yeah, Well, listen, you're a philistine. You're
• 1:47
  Speaker 1: nowhere near as new Middle as I am. No. I mean,
• 1:50
  Speaker 1: I would never claim.
• 1:51
  Speaker 2: I would never claim, dude, Yeah, I mean.
• 1:55
  Speaker 1: Only one of us was in a new metal band.
• 1:58
  Speaker 1: Were you in a new metal band? Yeah, new metal band.
• 2:00
  Speaker 2: Not not sid for dude, A oh, A veil repute,
• 2:04
  Speaker 2: A veil repute X. I mean a veil repute is
• 2:07
  Speaker 2: a pretty good good name.
• 2:08
  Speaker 1: It's a good name. It's a good name.
• 2:10
  Speaker 3: I thought I was trying to think of, Like, Yeah, anyway,
• 2:25
  Speaker 3: we had a couple of songs, dude, we recorded with
• 2:28
  Speaker 3: Legend Toronto recording Legend Doug Romano back in like fucking
• 2:33
  Speaker 3: two thousand and one two.
• 2:36
  Speaker 1: I mean that's cool.
• 2:38
  Speaker 2: And at a time where it was it wasn't like oh,
• 2:41
  Speaker 2: like what can I look up on the internet?
• 2:44
  Speaker 1: No, exactly completely different than that. Are you ready? Let's
• 2:50
  Speaker 1: do it? Hello everyone, and welcome to Thirsty for More.
• 2:53
  Speaker 1: I of course I'm your host, Malenko. And today we're
• 2:56
  Speaker 1: doing like, uh, well, we're doing like a little Netflix
• 2:59
  Speaker 1: special because we were sort of like hipped to this
• 3:02
  Speaker 1: movie by K's of course, of course, and it's it's
• 3:07
  Speaker 1: a twenty twenty four is Rebel Ridge, which is streaming
• 3:12
  Speaker 1: on Netflix now, And the reason we were hipped to
• 3:14
  Speaker 1: it is because K's kind of described it as like
• 3:17
  Speaker 1: it's a pandamn movie.
• 3:18
  Speaker 2: But uh but really it's Dei Rambo, which to me
• 3:24
  Speaker 2: isn't that.
• 3:26
  Speaker 1: Despite Well do you think, like no, like the movie
• 3:29
  Speaker 1: is we're gonna talk about race in the movie, of course,
• 3:32
  Speaker 1: because I think that it's like obviously like a huge
• 3:37
  Speaker 1: underlying theme. But I think the way they did it
• 3:39
  Speaker 1: and the way they like updated this format of movie
• 3:43
  Speaker 1: that normally didn't really talk about things like this and
• 3:47
  Speaker 1: they just included it as a matter of fact, which
• 3:50
  Speaker 1: is like it raised the stakes of the movie in
• 3:53
  Speaker 1: such an interesting way, like something that could be just
• 3:56
  Speaker 1: like a stupid like no stakes, like just a flick
• 4:01
  Speaker 1: kind of like is like given this weightiness by this
• 4:04
  Speaker 1: like unexplained force of racism. And and also like we
• 4:08
  Speaker 1: see like the way institutional violence is like perpetuated and
• 4:12
  Speaker 1: like in this like obviously like glammed up movie, but
• 4:16
  Speaker 1: we'll get to it.
• 4:17
  Speaker 2: Well, Like, I mean, I actually think that the opposite
• 4:20
  Speaker 2: is true. I don't think the movie is glammed up
• 4:23
  Speaker 2: at all. I mean the filmmaking is glammed, but the
• 4:26
  Speaker 2: but the like normalcy of everything.
• 4:29
  Speaker 1: The normalcy of all the suplexing, the awkward, the weight
• 4:33
  Speaker 1: weightiness of the bodies and like feeling like every like.
• 4:37
  Speaker 1: Oh dude, man, I want to talk about so much
• 4:40
  Speaker 1: in this movie. I'm so excited. I watched it again
• 4:43
  Speaker 1: this morning.
• 4:44
  Speaker 2: Man, I didn't watch it again. I'm watching it right now.
• 4:47
  Speaker 1: It's so good, it's so awesome.
• 4:48
  Speaker 2: Well, okay, the movie starts out. It's first of all,
• 4:52
  Speaker 2: it's directed by Jeremy Solnier, who did so far has
• 4:55
  Speaker 2: had three of four good movies, which are Blue Ruin,
• 5:03
  Speaker 2: Green Room, this Rebel Ridge.
• 5:07
  Speaker 1: Uh and you like, you're a big fan of this guy,
• 5:09
  Speaker 1: and it's a guy that we've discussed on this show. Yeah,
• 5:12
  Speaker 1: I mean we discussed his movies.
• 5:14
  Speaker 2: He's also a guy who seems like he if he
• 5:17
  Speaker 2: hasn't experienced a lot of I mean, he's not a
• 5:21
  Speaker 2: black guy, so he probably hasn't experienced racism. But you
• 5:26
  Speaker 2: could clearly tell from Green Room that he was in
• 5:28
  Speaker 2: a band or new band people.
• 5:31
  Speaker 1: Well, because the movie starts off with the number of
• 5:33
  Speaker 1: the Beasts by Iron Maiden, What did I see? Then
• 5:42
  Speaker 1: saw that night? And then not just Fantasy, which is
• 5:48
  Speaker 1: an amazing, amazing start, like just on a bicycle being
• 5:53
  Speaker 1: followed from behind with the with the police lights on.
• 5:56
  Speaker 2: And it's immediate too, like, and he gets hit by
• 5:59
  Speaker 2: a like he.
• 6:00
  Speaker 1: Gets nudged by by a police car in a way
• 6:04
  Speaker 1: that like destabilizes his wheel and he like falls off
• 6:06
  Speaker 1: the bike. And I'm like, man, like, he's not wearing
• 6:10
  Speaker 1: a helmet, like he could have like or is he
• 6:12
  Speaker 1: wearing a helmet? No, he's not. He could have done
• 6:15
  Speaker 1: brain damage and died. Yeah, and this how did you guess?
• 6:20
  Speaker 4: How did you guess?
• 6:21
  Speaker 2: Apparently Jumpego was supposed to be the original guy.
• 6:26
  Speaker 1: Which would have been cool. Not only that, but they
• 6:27
  Speaker 1: like shot half the movie with him. I don't know
• 6:30
  Speaker 1: about that, That's what Kay said. That's crazy, So you
• 6:34
  Speaker 1: don't know what happened. I don't know about that.
• 6:36
  Speaker 2: Yeah, but they got this beautiful, handsome guy. But what
• 6:41
  Speaker 2: what was nice about how the scene, this first scene
• 6:46
  Speaker 2: plays out, is that it gives you all the necessary
• 6:49
  Speaker 2: information without it being a dump of like exposition. It
• 6:54
  Speaker 2: is a dump of exposition, But the interesting thing about
• 6:57
  Speaker 2: it is that it's contextualized so well.
• 7:00
  Speaker 1: They hit him.
• 7:01
  Speaker 2: Off the bike, they express that it's like, oh, we
• 7:06
  Speaker 2: got a call that there was a stolen bike, and
• 7:08
  Speaker 2: then they put him in the back of the car
• 7:10
  Speaker 2: to ask him what he's doing, and we get all
• 7:14
  Speaker 2: the information about his cousin.
• 7:16
  Speaker 1: Oh my god, cousin.
• 7:17
  Speaker 4: You got to see the.
• 7:18
  Speaker 2: Show getting busted for like a.
• 7:21
  Speaker 1: Weak rugs just weed possession, he says it.
• 7:24
  Speaker 2: But also he has like so much They pull out
• 7:26
  Speaker 2: from his bag that he has so much money, and
• 7:29
  Speaker 2: it's like wait, what, like why is there this?
• 7:33
  Speaker 1: We get also the setup of the Chinese restaurant and
• 7:35
  Speaker 1: like it's in a Chinese restaurant bag. It's like it's
• 7:37
  Speaker 1: not Chinese food, like the Quippi. The way it's like
• 7:40
  Speaker 1: Aaron Sorkiny kind of written, but like it's just you
• 7:45
  Speaker 1: were saying that the things like it's pared down with
• 7:49
  Speaker 1: all of the reality of the movie, but where it's
• 7:51
  Speaker 1: paired up is the writing is very snippy, very quick.
• 7:55
  Speaker 1: It's very quick witted, very smart. Everyone is sort of
• 8:00
  Speaker 1: when they're verbally sparring, they're speaking in the same voice,
• 8:04
  Speaker 1: it seems, which is cool. Yeah, because like they're all
• 8:07
  Speaker 1: taking on a persona and it's like this like whole
• 8:12
  Speaker 1: like the tough guy element of the movie, but like
• 8:15
  Speaker 1: the tough guy as in preservation, self preservation and how
• 8:19
  Speaker 1: that's commented on in the movie is really smart. And
• 8:23
  Speaker 1: really good writing. It also has everybody doing it.
• 8:27
  Speaker 2: Everybody is doing it. Some people are doing it better
• 8:30
  Speaker 2: than others.
• 8:31
  Speaker 1: Aaron Pierre is fucking amazing, dude, Aaron Stone Pierre, I
• 8:38
  Speaker 1: had no idea about this guy. Yeah, he did an
• 8:41
  Speaker 1: amazing job. From Brixton, he did a really really incredible job.
• 8:48
  Speaker 1: Like from the get go, you're just like you. He
• 8:52
  Speaker 1: kind of is able to embody that sort of like
• 8:55
  Speaker 1: van damn disarmingness. He has like the charm of event. Yeah,
• 9:01
  Speaker 1: but like with like sort of like adapted to like
• 9:04
  Speaker 1: who this character is and like this like he's stoic,
• 9:08
  Speaker 1: but he's stoic because he's like capable, but he there's
• 9:13
  Speaker 1: a reservedness because of the self preservation. Yeah, he knows
• 9:17
  Speaker 1: that his safety is dependent on how calm he is
• 9:21
  Speaker 1: able to appear and how like maybe not non threatening
• 9:27
  Speaker 1: because he is really strong and he's aware of his appearance,
• 9:30
  Speaker 1: so he's he knows how to like pull back Yeah
• 9:33
  Speaker 1: kind of in a way like physically he says sir
• 9:37
  Speaker 1: to people, like shows respect in a way that like
• 9:40
  Speaker 1: he knows that it's contingent on his safety that he does.
• 9:43
  Speaker 2: And it all works really well with both the theme
• 9:47
  Speaker 2: of the movie being that there is like a huge problem,
• 9:53
  Speaker 2: especially like now in this time, about race, perception of race,
• 9:59
  Speaker 2: and and.
• 10:02
  Speaker 1: To make that dichotomy the like main baddie and the
• 10:05
  Speaker 1: main goodie of the movie was I think a brilliant choice.
• 10:08
  Speaker 2: Yeah, And also it is it reminds me of another
• 10:12
  Speaker 2: movie that we've talked about, which is Dragged Across Concrete,
• 10:16
  Speaker 2: although in that one there had to be this level
• 10:21
  Speaker 2: of kind of built up gratitude and respect for like,
• 10:32
  Speaker 2: oh yeah, the law or like codes amongst men, whereas
• 10:38
  Speaker 2: this one is very much like no, the laws should
• 10:41
  Speaker 2: reflect like a betterment of everyone and a safety for everyone.
• 10:48
  Speaker 2: Which is interesting because Don Johnson basically plays the same
• 10:52
  Speaker 2: kind of character in both both.
• 10:54
  Speaker 1: Of the movies. A really interesting parallel.
• 10:58
  Speaker 2: And What's Awesome two about He's so good? Yeah, he's
• 11:02
  Speaker 2: really good. And James Cromwell in this movie James Cromwell,
• 11:06
  Speaker 2: David Denman, the guy who is the guy who speeds into.
• 11:11
  Speaker 1: You're talking about David Morris. Yeah, David Morris. Evidence. It
• 11:14
  Speaker 1: looks so much like David Morris.
• 11:15
  Speaker 2: He looks dude, he's such a good David Morris guy.
• 11:20
  Speaker 1: But this character is amazing, like such a so well
• 11:23
  Speaker 1: played and like the we'll talk about what the twist is,
• 11:26
  Speaker 1: but did you know you were on my mist I
• 11:30
  Speaker 1: mean you were on my twist but yeah, and then
• 11:33
  Speaker 1: he's also pulled over by Lows. Oh yeah, yeah, that
• 11:37
  Speaker 1: he that guy, the beard guy, the younger guy who
• 11:41
  Speaker 1: kind of they're like versions of each other. It was
• 11:44
  Speaker 1: such great intentional casting for the two of them, like
• 11:48
  Speaker 1: the kind of dumber younger younger guy. Yeah, David Denman,
• 11:52
  Speaker 1: and and then and Emory Cohen dud Emory con who
• 11:56
  Speaker 1: who did such a good piece of ship job like,
• 11:59
  Speaker 1: but a meaner piece of shit. Weaner piece of ship,
• 12:02
  Speaker 1: who's like a little bit like of a lackey but
• 12:04
  Speaker 1: also like like has a very enthusiastic lackey.
• 12:08
  Speaker 2: Yeah, totally wants to like get into being as shitty
• 12:13
  Speaker 2: a dude as possible. He's basically has the beard until
• 12:18
  Speaker 2: he can earn a goatee.
• 12:22
  Speaker 1: He's he's low dude. He's the guy who looks like
• 12:25
  Speaker 1: he's the guy who looks like this uh weird internet
• 12:29
  Speaker 1: celebrity that that the case hit me to just like
• 12:34
  Speaker 1: some random guy dude. The guys who's he's in the
• 12:37
  Speaker 1: universe of like the rizzler and big big Justice and
• 12:42
  Speaker 1: so they take they seize the money and they and
• 12:46
  Speaker 1: they're like a forfeiture. So we're just gonna have to
• 12:49
  Speaker 1: take it.
• 12:50
  Speaker 2: But but they also tell him like, oh, you have
• 12:52
  Speaker 2: to like sign these papers and you'll get it back
• 12:55
  Speaker 2: in like four weeks or whatever.
• 12:57
  Speaker 1: I don't have four weeks. You have to go there
• 12:59
  Speaker 1: right now. And like the the urgency of the cousin
• 13:03
  Speaker 1: story and the fact that he's on a bike to
• 13:07
  Speaker 1: do it, like and we realize why he sold his truck,
• 13:11
  Speaker 1: he sold everything to like make the money to bail
• 13:14
  Speaker 1: his cousin out and then go and like start a
• 13:17
  Speaker 1: business together. He wants to.
• 13:18
  Speaker 2: Actually, I love the the starting a business together.
• 13:22
  Speaker 1: Businesses. We're going to give text reduction, but like small business.
• 13:27
  Speaker 2: Here's here's the thing. This is what's what's awesome And
• 13:30
  Speaker 2: the difference between motivations in Rambo versus this is that
• 13:36
  Speaker 2: Rambo is interesting because he's kind of like a little
• 13:41
  Speaker 2: bit of a dumb guy, like smart, but like he's
• 13:46
  Speaker 2: a bit of a dumb guy, and like that's what
• 13:49
  Speaker 2: gives him the like naive quality that the audience can
• 13:54
  Speaker 2: be like, oh, he's such a sweet guy. And then
• 13:57
  Speaker 2: the twist of like, oh my god, he's such a badass,
• 14:00
  Speaker 2: whereas this one is like, no, no, he's what, He's
• 14:06
  Speaker 2: doing everything right, Like he's doing everything right, and like
• 14:14
  Speaker 2: the the thing that pushes him to do the wrong
• 14:17
  Speaker 2: thing up until every point, it's trying to do everything right.
• 14:23
  Speaker 1: And this is you know, I'm really glad you bring
• 14:25
  Speaker 1: that up. I'm really glad you bring that up because
• 14:27
  Speaker 1: I think there's an element to this movie. You know,
• 14:29
  Speaker 1: like you said the di I Rambo thing, and I
• 14:31
  Speaker 1: think it's like an interesting way of framing it. I
• 14:35
  Speaker 1: know you meant it like as a joke, but I
• 14:37
  Speaker 1: think there is an element of this movie that's very
• 14:41
  Speaker 1: staunchly right wing. Really oh yeah, dude, Like the he
• 14:46
  Speaker 1: has superiority over this racist police force because he's status
• 14:53
  Speaker 1: of being in not only the military, but being a
• 14:57
  Speaker 1: trainer for military to use de escalation tactics and then
• 15:02
  Speaker 1: de escalating himself single handedly racism in Middle America, in
• 15:07
  Speaker 1: small town Middle America, do you know what I mean?
• 15:09
  Speaker 1: So I feel like, well, because he has to be
• 15:13
  Speaker 1: like extra like American in order to be like accepted,
• 15:19
  Speaker 1: like for his blackness in a way, Well, no, I
• 15:23
  Speaker 1: just used to be Indian, but but then she became black.
• 15:27
  Speaker 2: No, I think that it's got the opposite end of
• 15:30
  Speaker 2: the patriotism, where it's like black people are so more
• 15:34
  Speaker 2: American than most people because they have no other but
• 15:37
  Speaker 2: like context.
• 15:38
  Speaker 1: But that's what I'm saying. That's that I understand what
• 15:41
  Speaker 1: you're saying, But by virtue of that, it's still celebrating
• 15:44
  Speaker 1: American exceptionalism thereby being very patriotic nationalistic in a way
• 15:50
  Speaker 1: that is very right wing, right like, so it's like
• 15:53
  Speaker 1: he's more Americans. I think that's too.
• 15:56
  Speaker 2: Like to me, what signals like a right a right
• 16:00
  Speaker 2: wing thing. It has to have less steps than than well.
• 16:05
  Speaker 2: I mean, he's part of the military. The military is nationalist,
• 16:08
  Speaker 2: like nationalism is patriots. Patriot is mostly like the steps no, no,
• 16:15
  Speaker 2: no to get there.
• 16:16
  Speaker 1: It's like simpler. Then I think it's not maybe not
• 16:20
  Speaker 1: right wing, but conservative. It's conservative in its view. I
• 16:23
  Speaker 1: mean that's fine. I mean, like it's an action movie.
• 16:27
  Speaker 1: It's it's always an action movie is gonna glorify violence
• 16:32
  Speaker 1: in some way, and in this movie, it glorifies it
• 16:34
  Speaker 1: by making it justified, by making it justified like by rage,
• 16:38
  Speaker 1: right Like, it's like Yeah, there's a kind of like
• 16:41
  Speaker 1: Injustice where you're like, this guy better fucking kill all
• 16:45
  Speaker 1: these guys, and you're like on his team right away.
• 16:48
  Speaker 2: Yeah, you know what I mean, I do, I do.
• 16:51
  Speaker 1: I like, I don't think it's bad.
• 16:53
  Speaker 2: I don't think I don't.
• 16:55
  Speaker 1: I don't think that that it's it's bad either. I'm
• 16:58
  Speaker 1: just like, to me, it's a bit of a stretch.
• 17:01
  Speaker 1: I understand all the things that you're saying. Is I
• 17:04
  Speaker 1: think is.
• 17:05
  Speaker 2: I totally agree with and I totally think it's right.
• 17:07
  Speaker 2: I just don't think the conclusion is right.
• 17:09
  Speaker 1: Well, we can talk more about that as we tease
• 17:12
  Speaker 1: out what happens in the movie, because the details are important.
• 17:16
  Speaker 2: The details are important, and the also the interesting thing
• 17:19
  Speaker 2: about the shooting of the movie is that it's also
• 17:25
  Speaker 2: reminiscent of Rambo, where it's like everything is is in
• 17:29
  Speaker 2: wides you see the the sort of loneliness of his
• 17:33
  Speaker 2: character in this, like instead of the mountains which was Rambo,
• 17:38
  Speaker 2: it's like kind of like farmy, like outside of a
• 17:42
  Speaker 2: city scape. It's a small town.
• 17:45
  Speaker 1: It's just like sad. Yeah, it's there's there's gorgeous but
• 17:49
  Speaker 1: but it's but but there's a you're you were right
• 17:52
  Speaker 1: about the emptiness.
• 17:54
  Speaker 2: Yeah, Like there's a loneliness to it that's like everything
• 17:58
  Speaker 2: is far away now, thing is too much at my hand.
• 18:02
  Speaker 2: You know.
• 18:02
  Speaker 1: In Rambo, the mountains have scope, you know what I mean,
• 18:05
  Speaker 1: and like there's like depth to the like what you
• 18:08
  Speaker 1: see here when it's wide it's nothing. Yeah.
• 18:11
  Speaker 2: Well, in Rambo there's an intimacy, there's a beauty and
• 18:14
  Speaker 2: an intimacy that that especially at the beginning where he
• 18:18
  Speaker 2: like goes to see his friend's mom and is like, hey,
• 18:21
  Speaker 2: I'm I'm here and and she's like Agan Orange killed
• 18:25
  Speaker 2: my son.
• 18:26
  Speaker 1: Oh man. Yeah.
• 18:29
  Speaker 5: Whereas in this Terry Terry, Terry, Terry Richards Terry, Yeah,
• 18:33
  Speaker 5: which is hilarious because I texted both you and K's
• 18:35
  Speaker 5: about how this guy, this guy could be a good spawn.
• 18:39
  Speaker 2: But I think it was because he's black and named Terry.
• 18:42
  Speaker 2: But he would be an awesome spawn, dude, I mean
• 18:44
  Speaker 2: so too or a universal soldier dude, he would.
• 18:48
  Speaker 1: That would be amazing.
• 18:49
  Speaker 6: I think.
• 18:50
  Speaker 1: I mean, this guy, this guy fully could easily take
• 18:53
  Speaker 1: the torch of h one hundred, one hundred percent, but
• 18:58
  Speaker 1: he's going to get marveled maybe, I hope not. I
• 19:01
  Speaker 1: hope not, but he probably will. Why not? Why wouldn't
• 19:05
  Speaker 1: he He's already jacked, Like, he's gorgeous and can do accents,
• 19:10
  Speaker 1: you know what I mean. That's true.
• 19:12
  Speaker 2: But in regards to the contrast between this and Rambo,
• 19:16
  Speaker 2: where this guy is going to see a civil servant
• 19:19
  Speaker 2: as opposed to and he goes to see a lawyer.
• 19:21
  Speaker 1: And he's like, oh man, like.
• 19:26
  Speaker 2: The guy, the guy is the most like, well see
• 19:29
  Speaker 2: you later.
• 19:31
  Speaker 1: I'm I really like well. I like the interaction though,
• 19:35
  Speaker 1: because he's like, hey, he kind of like feigns some concern,
• 19:39
  Speaker 1: which which also plays in Tired. It plays into his
• 19:43
  Speaker 1: character later on too, because this character does end up
• 19:46
  Speaker 1: being pretty interesting.
• 19:47
  Speaker 2: White liberal tired concern.
• 19:50
  Speaker 1: Totally where he's like, yeah, you know, we don't want
• 19:53
  Speaker 1: to we don't want anything bad to happen to you guys,
• 19:55
  Speaker 1: but uh, you know, good luck? Was it? Was it
• 19:57
  Speaker 1: a drug charge? Sorry? Just why would you assume that?
• 20:02
  Speaker 2: Oh yeah, totally totally Why would you assume that?
• 20:05
  Speaker 1: And like but that he's like, but yeah, yeah, like
• 20:12
  Speaker 1: I don't know that. I found I found this exchange
• 20:15
  Speaker 1: in particular very interesting.
• 20:17
  Speaker 2: I found it interesting too, I did once.
• 20:22
  Speaker 1: Did you explain that he was like, you know, well
• 20:25
  Speaker 1: they have my money. They forfeited it, and they were
• 20:27
  Speaker 1: like He's like, it's you know, they're the same logo
• 20:31
  Speaker 1: that's on this door, is on is on this paper
• 20:34
  Speaker 1: that I have, so you already have the money. He's
• 20:37
  Speaker 1: making that argument, right, which is like, God, it's a
• 20:40
  Speaker 1: good idea. It's a very bossa slash mama move, which
• 20:43
  Speaker 1: it could work sometimes, I.
• 20:44
  Speaker 2: Mean when you're in like a panic about like what
• 20:49
  Speaker 2: you're gonna do and thinking on his feet in that
• 20:52
  Speaker 2: kind of way. Every part of the movie is so
• 20:57
  Speaker 2: well done from his perspective that it's like, yes, this
• 21:01
  Speaker 2: is what I would do. Yes, this is where he
• 21:03
  Speaker 2: what kind of information he needs to eliminate and what
• 21:06
  Speaker 2: kind of information he needs to emphasize is really awesome.
• 21:10
  Speaker 1: But the guy's reaction, the like prosecutor guy's reaction or
• 21:16
  Speaker 1: what was he was like a judge guy or I
• 21:17
  Speaker 1: don't know, he was like he's the bail guy. So
• 21:22
  Speaker 1: his reaction is like, yeah, that same logos on my
• 21:24
  Speaker 1: checks too, so who's paying him the money? And so
• 21:27
  Speaker 1: he's involved. Like it's really an allegory for directly for
• 21:32
  Speaker 1: institutional racism because it shows the institution and the function
• 21:36
  Speaker 1: of it in almost like the wire way, right, like
• 21:39
  Speaker 1: but like it's like, uh, it's just as as a
• 21:44
  Speaker 1: a matt over the movie rather than like, you know, like,
• 21:48
  Speaker 1: rather than it's being specifically talked about. And it drives
• 21:51
  Speaker 1: the plot exactly, which is what it informs the storytelling
• 21:56
  Speaker 1: by driving the plot. And I think that that's really
• 22:00
  Speaker 1: cool because it's like it's not him fisted. Yeah, totally.
• 22:03
  Speaker 2: And then when Summer gets introduced, uh like also like
• 22:10
  Speaker 2: a sort of doe eyed kind of I am new here,
• 22:14
  Speaker 2: and it's very like cener energy, right, but also like
• 22:20
  Speaker 2: in the in the same way that the the other
• 22:23
  Speaker 2: rotten cop who hasn't earned his goatee yet is like
• 22:27
  Speaker 2: a keener. She's also a keener in that kind of
• 22:30
  Speaker 2: way where it's like, well, I want to help, I
• 22:31
  Speaker 2: want to be you know, I want to do justice
• 22:35
  Speaker 2: in a real way. And then she takes him out
• 22:37
  Speaker 2: for coffee and he explains the situation and she she
• 22:40
  Speaker 2: says it's called civil asset forfeiture, which like, yeah, which
• 22:46
  Speaker 2: which the best part about like the normalcy stuff is
• 22:51
  Speaker 2: how people instead you know, how corporations, instead of calling
• 22:54
  Speaker 2: people clerks, they call them customer service representatives in this
• 22:58
  Speaker 2: kind of way, it feels like this sounds more normal,
• 23:03
  Speaker 2: reasonable and legal than it actually was. And it's just like,
• 23:08
  Speaker 2: you just stole my fucking money, dude, Like what the fuck?
• 23:11
  Speaker 1: Yeah, it's very like that's and he has to remain
• 23:16
  Speaker 1: calm about it and like be inquisitive.
• 23:19
  Speaker 2: And then and then what would she like buys him
• 23:22
  Speaker 2: a coffee or whatever, and he's like, so you can
• 23:24
  Speaker 2: help me get get the money back, and she was
• 23:26
  Speaker 2: like no, and he was like, okay, thank you, like
• 23:31
  Speaker 2: calmly but sternly to let her know you've wasted my time.
• 23:36
  Speaker 2: I could have I could have rambowed some sort of
• 23:39
  Speaker 2: situation right now, but I didn't know if I took
• 23:42
  Speaker 2: it that way.
• 23:43
  Speaker 1: I thought they were just like getting to know each
• 23:44
  Speaker 1: other in this part, or we should say she's played
• 23:48
  Speaker 1: she her name in the movie is Summer. Well yeah,
• 23:55
  Speaker 1: I said, oh, okay, sorry, and Sophia yeah, but yeah.
• 23:59
  Speaker 2: He he's about to leave and she kind of offers him,
• 24:08
  Speaker 2: like she starts to offer him some advice, but then
• 24:11
  Speaker 2: another cop comes in and she's like, well, let's.
• 24:14
  Speaker 1: Leave, yeah, and then they as they're leaving. This exchange
• 24:18
  Speaker 1: is really interesting.
• 24:19
  Speaker 2: The chief has many allies in.
• 24:24
  Speaker 1: And she like she gives him his name, So right
• 24:26
  Speaker 1: away we get like a hint that there's like a
• 24:29
  Speaker 1: little bit of corruption in this town. Yeah, I mean
• 24:33
  Speaker 1: if the like illegal forfeiture of funds wasn't enough.
• 24:36
  Speaker 2: But she also points out that that the bail was
• 24:39
  Speaker 2: really high for.
• 24:42
  Speaker 1: Possession. Yeah, And then so that that sets up like
• 24:47
  Speaker 1: the kind of the driving force of like what the
• 24:50
  Speaker 1: what kind of informs the rest of the narrative of
• 24:55
  Speaker 1: this movie because it feels like a lot of the
• 24:57
  Speaker 1: stuff because the cousin we still it's it's very urgent
• 25:02
  Speaker 1: that this guy gets out of prison because we find
• 25:05
  Speaker 1: out in this scene also that he was a rat
• 25:09
  Speaker 1: in a capital murder case that put away some like
• 25:15
  Speaker 1: really tough guys, right, and so that if he gets
• 25:19
  Speaker 1: into prison those there's going to be a bounty on
• 25:21
  Speaker 1: his head. So that's also a bit of a conservative
• 25:25
  Speaker 1: follow me here, a bit of a conservative view, right.
• 25:28
  Speaker 1: He's somebody who cooperated with the system and he's being
• 25:33
  Speaker 1: punished now for something, and like the extreme punishment of
• 25:37
  Speaker 1: it is also going to like fund their like police shit,
• 25:43
  Speaker 1: it's funding because they forfeit this guy's money and they
• 25:48
  Speaker 1: want to use the money that's for his bail that's
• 25:50
  Speaker 1: already exorbitantly high. Yeah, to hold what We'll find out
• 25:55
  Speaker 1: what happens why, like the way they were what they
• 25:58
  Speaker 1: were doing with criminals. Yea when when James Cromwell explains it.
• 26:02
  Speaker 1: But I feel like that part of the movie can't
• 26:06
  Speaker 1: be underlooked. But we don't know any of that yet,
• 26:09
  Speaker 1: just finding out shit slowly.
• 26:12
  Speaker 2: He calls mister low like like at first, I was like, oh, man,
• 26:18
  Speaker 2: is this guy just gonna be a cool presence on
• 26:20
  Speaker 2: the phone?
• 26:21
  Speaker 1: And they did. You didn't say though that He first
• 26:24
  Speaker 1: talks to his friend, who puts on purvously an Asian accent,
• 26:28
  Speaker 1: and then when he knows that it's not, when he
• 26:31
  Speaker 1: knows that it's his friend, he's like, oh hey man, totally.
• 26:37
  Speaker 1: It's like a running gag throughout the movie that he
• 26:40
  Speaker 1: just like, hey, are you putting on the accent? Like
• 26:42
  Speaker 1: he mentions it, Yeah, totally totally.
• 26:45
  Speaker 2: And then we get our first scene of it's our
• 26:50
  Speaker 2: second real Rambo scene because the first scene was him.
• 26:55
  Speaker 1: We don't take too kindle totally that but then he
• 27:00
  Speaker 1: he he It cuts.
• 27:03
  Speaker 2: To him like fingering a lake with like goo in
• 27:07
  Speaker 2: it or whatever.
• 27:08
  Speaker 1: Oh no, he gets he's cool.
• 27:10
  Speaker 2: He gets oh, he gets some maggots and then goes fishing,
• 27:13
  Speaker 2: which is crazy.
• 27:14
  Speaker 1: Catches a fish with his hand. Yeah that was so
• 27:16
  Speaker 1: immediately we get also like very capable. Yeah totally.
• 27:20
  Speaker 2: And then he's got like some sort of signal on
• 27:23
  Speaker 2: his cell or whatever, and it's like it's like updated.
• 27:27
  Speaker 1: Rambo Aaron Pierre, dude, he was amazing. He catches the
• 27:31
  Speaker 1: fish and then he he cooks it on a pen
• 27:33
  Speaker 1: and then we get the battery life dying. So it's
• 27:36
  Speaker 1: like got realistic steaks of like your battery would die
• 27:39
  Speaker 1: if you were just like listening to metal all day
• 27:41
  Speaker 1: while riding on your bike. Yeah totally.
• 27:43
  Speaker 2: But then the cut to cut to this from going
• 27:48
  Speaker 2: from like a military esque into like a quote unquote
• 27:51
  Speaker 2: uncivil way of doing things into cutting to two cups
• 27:56
  Speaker 2: of coffee and him dressed in a different shirt, not sweaty,
• 28:00
  Speaker 2: being like very I have to.
• 28:02
  Speaker 1: Be very very neutral. Can I just shout out the
• 28:08
  Speaker 1: like second needle drop in this that I think is
• 28:11
  Speaker 1: also very relevant to this movie. He rides his bike
• 28:15
  Speaker 1: to the song right brigade by by the bad brains
• 28:19
  Speaker 1: who are who were one of the very first who
• 28:39
  Speaker 1: were the very first all black punk band or a
• 28:44
  Speaker 1: punk hardcore band, and they're really good and that's such
• 28:47
  Speaker 1: a good song. So and also Deftones performed a live
• 28:52
  Speaker 1: version of it once. But uh, yeah, I just wanted
• 28:57
  Speaker 1: to I just wanted to mention that because obviously, like
• 29:01
  Speaker 1: she used to be Indian but now she's black. Black
• 29:06
  Speaker 1: wants to be known as black. But in this movie, uh,
• 29:10
  Speaker 1: you know, we with a black protagonist, they can't be
• 29:13
  Speaker 1: overlooked that they would play legendary black punk band. Yeah, exactly.
• 29:18
  Speaker 2: There there's a level of, I don't know, a level
• 29:23
  Speaker 2: of seeming care for those kinds of details. A lot
• 29:27
  Speaker 2: of his movies I've noticed feel very wishful filmindy. Yeah,
• 29:31
  Speaker 2: in a good way, in the way that that it
• 29:34
  Speaker 2: feels like he's like, oh man, not only did I
• 29:36
  Speaker 2: watch characters like this, but I'm including so much of
• 29:39
  Speaker 2: myself in these characters. It's it's I think that's where
• 29:44
  Speaker 2: the writ his writing has been like very very top notch,
• 29:48
  Speaker 2: where it's like it feels like his own experiences, his
• 29:52
  Speaker 2: own trials are like included in a lot of the characterizations.
• 29:56
  Speaker 1: Yeah. Absolutely, he starts to Blaine too, what's her name?
• 30:03
  Speaker 1: Oh man, she was such a good character. She was
• 30:07
  Speaker 1: so good.
• 30:08
  Speaker 2: That was that was such a good different twists.
• 30:11
  Speaker 1: Well, okay, and sorry, so I didn't want to hear.
• 30:13
  Speaker 1: Her name is officer, officer Jess, I think, but I'm
• 30:19
  Speaker 1: not sure how to say her name. It's like it
• 30:23
  Speaker 1: starts with a Z s A n E so zany
• 30:27
  Speaker 1: or shaney j Maybe I'm not sure. I maybe I
• 30:31
  Speaker 1: butchered that. But she was great, and I you know,
• 30:35
  Speaker 1: I don't know to speak to this experience. Obviously I'm
• 30:38
  Speaker 1: not black, but but I think in the movie, what
• 30:43
  Speaker 1: what you were saying earlier, like what the movie kind
• 30:46
  Speaker 1: of tried to capture is like this relationship between these
• 30:49
  Speaker 1: two characters, because like he's basically like, hey, I'm black
• 30:55
  Speaker 1: and you're black. You know, Yeah, an understanding. There's like
• 30:59
  Speaker 1: an understand and they show that in like very subtle
• 31:02
  Speaker 1: ways of like just reactions and kind of looks.
• 31:05
  Speaker 2: Well when yeah, when when, especially in this scene when
• 31:09
  Speaker 2: she goes to take the down the what happened to him?
• 31:15
  Speaker 2: And he starts to describe the guy he's like six
• 31:19
  Speaker 2: ' four and then he says his.
• 31:21
  Speaker 1: Name, yeah, yeah, and she stops and looks yeah, she.
• 31:25
  Speaker 2: Sees him coming in, and.
• 31:28
  Speaker 1: We have to believe that Los is six y four No, no,
• 31:32
  Speaker 1: the other I think they meant David.
• 31:34
  Speaker 2: Morris and and him like looking around for clues on
• 31:39
  Speaker 2: the walls, like the scheduling of certain officers and stuff
• 31:43
  Speaker 2: like that.
• 31:43
  Speaker 1: The minor detail of him plugging is hey, can you
• 31:46
  Speaker 1: can I just plug my phone in? But he's also recording,
• 31:49
  Speaker 1: we find out. And then Don Johnson swings Dick in
• 31:53
  Speaker 1: every single direction, but he's like pacing around before that Steve,
• 31:58
  Speaker 1: which no offense to Eddie. Steve's out there. I know
• 32:02
  Speaker 1: good Steve's but Steve is such a good name for
• 32:06
  Speaker 1: a guy. That's like, even if Steve would admit that,
• 32:09
  Speaker 1: I know, I know, not.
• 32:11
  Speaker 2: A Steve Stephen Steven, but.
• 32:14
  Speaker 1: Steve Steve with a V V is crucial, I mean
• 32:20
  Speaker 1: to the to this kind of behavior and and the whole.
• 32:23
  Speaker 2: Like I I know that I would also if I
• 32:26
  Speaker 2: was a douche cop hold my jacket like by the
• 32:30
  Speaker 2: collar collar holding, I would, Yeah, I would totally bane.
• 32:37
  Speaker 2: But it's such a douchey it's such a douchey power move.
• 32:42
  Speaker 1: But then John.
• 32:43
  Speaker 2: Johnson Johnson, Yeah, Don Johnson looking very very Matthew McConaughey
• 32:50
  Speaker 2: with this dude with his new surgeries didn't look like
• 32:55
  Speaker 2: Don Johnson anymore. Fully looked like Matthew McConaughey's dad.
• 32:58
  Speaker 1: Still looked like DoD Johnson. It I don't know. I
• 33:01
  Speaker 1: thought he was really good.
• 33:02
  Speaker 2: Dude, he was really good. But how is I mean
• 33:05
  Speaker 2: stealing this much money must give you good plastic surgery
• 33:07
  Speaker 2: in this town.
• 33:09
  Speaker 1: Well, they already got the mar Margarita machine. Dude, Yeah, totally.
• 33:14
  Speaker 1: And then and then like weird power moves like powers
• 33:19
  Speaker 1: booths where where Aaron Terry goes.
• 33:24
  Speaker 2: Your officers allow me to finish.
• 33:27
  Speaker 1: Yeah, yeah, the allow me to finish. And it's like
• 33:30
  Speaker 1: and we What I'm to understand is that this was
• 33:33
  Speaker 1: a perfectly legal within the bounds of the law, and
• 33:36
  Speaker 1: you can.
• 33:36
  Speaker 2: Turn your recording sustained minor injuries.
• 33:40
  Speaker 1: As far as I'm concerned, you stained minor injuries, and
• 33:43
  Speaker 1: that you and that you were offered medical assistance which
• 33:47
  Speaker 1: you declined. It was like the sparring. The verbal sparring
• 33:51
  Speaker 1: was the best part of the movie. I'm exit my station.
• 33:55
  Speaker 1: You got to get some of the lines, though, dude, Yeah,
• 33:57
  Speaker 1: there's so many good lines that I feel like we'd
• 34:00
  Speaker 1: be doing a disservice to the audience not to shout
• 34:03
  Speaker 1: out some of the one I just don't remember them,
• 34:06
  Speaker 1: even though I watched the movie fucking twice.
• 34:08
  Speaker 2: And then like the pointing out the dim Sum restaurant,
• 34:15
  Speaker 2: pointing out that he sold the car.
• 34:18
  Speaker 1: And bought intends to buy a new truck.
• 34:21
  Speaker 2: New truck, Yeah, totally, and like just the the can
• 34:26
  Speaker 2: you make a xerox with it?
• 34:28
  Speaker 1: Oh, the like feigning some sort of not legality but
• 34:34
  Speaker 1: paperwork because because he does it in response to Terry
• 34:40
  Speaker 1: mentioning that he has like that, He's like, hey, listen,
• 34:45
  Speaker 1: just give me the ten thousand back, and like you
• 34:47
  Speaker 1: can keep the twenty six thousand. He like kind of
• 34:50
  Speaker 1: tries to cut a deal.
• 34:51
  Speaker 2: The peaking the interest, but at the same time the
• 34:55
  Speaker 2: like the the later on.
• 34:57
  Speaker 1: How dare you try? I've made it like more technical.
• 35:02
  Speaker 1: It's about him calling the shots. He's like, how dare
• 35:04
  Speaker 1: you call the shots?
• 35:06
  Speaker 2: No, no, no, I know that I'm just saying that like
• 35:08
  Speaker 2: through the cover of the law, being like like making
• 35:14
  Speaker 2: it seem like.
• 35:15
  Speaker 1: That I would never do that. All of that stuff
• 35:18
  Speaker 1: was so good because like like you were everything is
• 35:22
  Speaker 1: like listed as like perfectly within the bounds of the
• 35:24
  Speaker 1: law if there's a reason to suspect, and there is
• 35:28
  Speaker 1: reasonable doubt because he says that there's a cousin who's
• 35:31
  Speaker 1: got a drug charge. Oh well, this is money for
• 35:34
  Speaker 1: drug trafficking. Like that's there, that's their reasonable doubt. And
• 35:37
  Speaker 1: he's like no, like, look, I have explanations for all
• 35:40
  Speaker 1: of this. Ye, they're like using it all totally. And
• 35:43
  Speaker 1: then and then when.
• 35:43
  Speaker 2: He goes when when he's like thank you, and it's like,
• 35:47
  Speaker 2: it's crazy, how sincere his thank yous are up until
• 35:51
  Speaker 2: a point where they become sarcastic because he's like thank you, Like,
• 35:55
  Speaker 2: I guess.
• 35:55
  Speaker 1: Does genuinely give him respect? Yeah, he does totally. And
• 36:00
  Speaker 1: that's that's the parallels with Rambo that exists, and and
• 36:04
  Speaker 1: Brian Dennahey's performance that is also very similar to this,
• 36:09
  Speaker 1: but he gives it.
• 36:10
  Speaker 2: He gives some respect, but he says thank you, and
• 36:13
  Speaker 2: then he's like, now fuck off, which is just like.
• 36:16
  Speaker 1: Whoa, dude, whoa? I just gave you fucking so much
• 36:20
  Speaker 1: of my money. Like he's like, yeah, there's some forfeiture
• 36:25
  Speaker 1: documents you can sign. He says it casually kind of
• 36:28
  Speaker 1: not trying to show that tip his hand that he's uh,
• 36:31
  Speaker 1: he's about the money, dude. Yeah, totally.
• 36:33
  Speaker 2: And and part of what Officer Jessica embodies too is
• 36:39
  Speaker 2: the discomfort that people have within the system, knowing that
• 36:43
  Speaker 2: something wrong is happening, but feeling powerless to do it
• 36:47
  Speaker 2: and participating in it, both for them selves and the
• 36:51
  Speaker 2: other person. And it cuts to back to you know,
• 36:57
  Speaker 2: Terry outside in a fire and he lights the what's
• 37:01
  Speaker 2: it called? He lights the piece of paper with the
• 37:06
  Speaker 2: truck on it from the instagram at not the Instagram
• 37:09
  Speaker 2: at the whatever.
• 37:11
  Speaker 1: Printed out like the visual that they had to have
• 37:15
  Speaker 1: because it would just be like an it's like, look
• 37:19
  Speaker 1: it's on my Instagram here. Let me just hold on.
• 37:22
  Speaker 1: Can you get a picture of that exactly? Actually just
• 37:27
  Speaker 1: drop it. Yeah. Her name is pronounced Zoannie j And
• 37:32
  Speaker 1: what what is her? It's not officers, like it's officer,
• 37:37
  Speaker 1: just something? What is it? Let me just see? Nah,
• 37:40
  Speaker 1: I can't find the fuck? Oh, here we go, Jessica
• 37:42
  Speaker 1: Sim Jessica Sim Officer Sims, Sims. That's it, dude, She's
• 37:49
  Speaker 1: she was so good and like her her sort of
• 37:52
  Speaker 1: like realizing that something's she knows. Also, she knows the
• 37:57
  Speaker 1: whole thing. Yeah, she knows, and she's like, she's also
• 38:01
  Speaker 1: been complicit in the way that the station has operated
• 38:06
  Speaker 1: when she's been able to turn a blind eye, but
• 38:08
  Speaker 1: when she's faced with it directly in these instances and
• 38:11
  Speaker 1: in every instant Terry's in the in the scene she's
• 38:15
  Speaker 1: faced with it directly.
• 38:16
  Speaker 2: Dude, this scene where this is one of the best
• 38:19
  Speaker 2: scenes I think in the movie, where he comes right
• 38:23
  Speaker 2: at nine am when they make a deal with when
• 38:25
  Speaker 2: they made the deal for and fucking this piece of
• 38:29
  Speaker 2: shit is like.
• 38:30
  Speaker 1: Oh you're here.
• 38:31
  Speaker 2: You just missed him. You're three minutes late. And like
• 38:35
  Speaker 2: he's just like, what the fuck are you talking about,
• 38:38
  Speaker 2: like in a calmway, obviously, and he's just like fuck
• 38:42
  Speaker 2: and then he just blops after.
• 38:45
  Speaker 1: Dude hops on the bike. The feet of strength of
• 38:48
  Speaker 1: like catching up with the bus is very two one
• 38:52
  Speaker 1: thousand running and being faster than a motorcycle energy. Yeah,
• 38:56
  Speaker 1: and like it could have been corny cool and dude,
• 39:01
  Speaker 1: the catharsis of seeing the cousin seeing Mike and he's
• 39:05
  Speaker 1: like Mike and like, we just we also have this familiarity,
• 39:09
  Speaker 1: immediately implicit familiarity with Mike because he set up his
• 39:13
  Speaker 1: cousin and his love for his cousin so much by
• 39:15
  Speaker 1: being there by having the money, by wanting to give
• 39:17
  Speaker 1: him a better life and pull him out of like
• 39:19
  Speaker 1: a whatever lifestyle or whatever.
• 39:21
  Speaker 2: And also like a feeling of like, well he was
• 39:24
  Speaker 2: pulling out of that.
• 39:25
  Speaker 1: He's already been pulled out of the lifestyle. That was
• 39:28
  Speaker 1: the thing. No, no, no, exactly. So he had this
• 39:30
  Speaker 1: drug charge, so it's like an unfairness.
• 39:32
  Speaker 2: It's an unfair exactly.
• 39:33
  Speaker 1: And and then and then but you also he wants
• 39:36
  Speaker 1: to like start he was like that, but he does
• 39:38
  Speaker 1: say I want to set him straight, like that's why
• 39:40
  Speaker 1: I'm here to set him straight. And he but that's
• 39:42
  Speaker 1: more for the cops. That's more for like, well, these
• 39:45
  Speaker 1: guys will play ball if I'm like humble or whatever.
• 39:50
  Speaker 1: And it's awesome because when he gets there and he's
• 39:53
  Speaker 1: got so much sympathy for him, he's like Mike or
• 39:56
  Speaker 1: or Terry, I fucked up, and he's like, dude, just
• 39:58
  Speaker 1: lay your head low and stay so and then he
• 40:00
  Speaker 1: fucking yeah, this is a jail, right, And then he
• 40:04
  Speaker 1: rides up to the front of the bus to show
• 40:08
  Speaker 1: the guy that he could ride as fast as he was.
• 40:11
  Speaker 1: It was amazing. It was amazing, and the guy kind
• 40:13
  Speaker 1: of scared looks at him and then and then my cousin.
• 40:19
  Speaker 1: It felt like, that's my brother. It was so glorious, dude.
• 40:25
  Speaker 1: And like the way the music Q works in that
• 40:27
  Speaker 1: part and the way the bars shake and he and
• 40:30
  Speaker 1: then later on when he's riding the bike and his
• 40:32
  Speaker 1: muscles are just shaky.
• 40:33
  Speaker 2: Yeah, and he he like slows down a little bit
• 40:36
  Speaker 2: and puts his fist up and then Mike fist bumps him.
• 40:39
  Speaker 1: He was amazing. It was amazing. It was really cool
• 40:42
  Speaker 1: and like and then such an exciting part in this
• 40:45
  Speaker 1: movie and such a great character building. Quirk also will
• 40:50
  Speaker 1: give us so much sadness when whatever comes next comes next. Yeah,
• 40:54
  Speaker 1: but this is such a great way of setting up
• 40:57
  Speaker 1: characters in a van damn way, where like that, even
• 41:00
  Speaker 1: though Michael ends up being a bit of a Danny
• 41:02
  Speaker 1: maul Roune, he has so much weight in the movie
• 41:05
  Speaker 1: because he's the reason the whole movie starts right. Yeah, totally.
• 41:09
  Speaker 2: And then he calls mister Lou and immediately is like,
• 41:12
  Speaker 2: drop the accent, it's me.
• 41:15
  Speaker 1: Because his friend answers, and then he talks to mister
• 41:17
  Speaker 1: Lou and mister is like, terms have changed that, like
• 41:20
  Speaker 1: mister Lou being like like a scary like gangster dude
• 41:25
  Speaker 1: is like the terms have changed there. But but then
• 41:28
  Speaker 1: being like, no, you told him about my business and
• 41:31
  Speaker 1: he's like, I'm sorry, I did that for my credibility.
• 41:33
  Speaker 1: I don't doubt that. But he's like.
• 41:38
  Speaker 2: Disappointment, but also of the circumstance.
• 41:41
  Speaker 1: Well, because later we find out he's Chinese and he
• 41:44
  Speaker 1: fought in the Korean War on the on the other side,
• 41:47
  Speaker 1: which was really interesting. Really, thank you for your service.
• 41:52
  Speaker 1: I fought on the other side. Well then I guess
• 41:54
  Speaker 1: glad we can all come together. I thought that was great,
• 41:57
  Speaker 1: such a perfect line. But the sparring dude like, and
• 42:01
  Speaker 1: then when he confronts Don Johnson again after that and
• 42:04
  Speaker 1: they have that match of like you didn't see my
• 42:07
  Speaker 1: shit eating grin not yet.
• 42:10
  Speaker 2: No, after this, she like she had done some investigating.
• 42:17
  Speaker 2: What's your summer summer? He keeps summer safe, that's how
• 42:24
  Speaker 2: I remembered. Yeah, And he's like she she's got some
• 42:29
  Speaker 2: stuff for him, but like it's it's she. She basically
• 42:36
  Speaker 2: flags a whole bunch of cases that had a similar
• 42:39
  Speaker 2: circumstance where it's like small drug charges.
• 42:41
  Speaker 1: But the the.
• 42:43
  Speaker 2: Bail was really high and he's like, well, how do
• 42:48
  Speaker 2: we pursue this? And she's like, I'm gonna print out
• 42:50
  Speaker 2: a bunch of stuff for you and give it to you.
• 42:54
  Speaker 2: But I'm also like not allowed to get in trouble
• 42:57
  Speaker 2: because I'm a former drug addict and have a little girl.
• 43:00
  Speaker 2: She doesn't get into the drug addict, yet.
• 43:02
  Speaker 1: It plays in in a big way. Yeah, it kind
• 43:05
  Speaker 1: of is like the second act where the where the
• 43:10
  Speaker 1: second act where the like motivation changes. Yeah, totally.
• 43:15
  Speaker 2: And I love the fact RaSE that she's like I'm
• 43:18
  Speaker 2: having a smoke.
• 43:18
  Speaker 1: You don't smoke, Elliott. She's like, all right, Elliott, I'm
• 43:22
  Speaker 1: having a smoke. You don't smoke, and that he's come on.
• 43:26
  Speaker 1: There was the kind of like outrageous impatience. Usually what
• 43:30
  Speaker 1: would really happen is passive aggression. Like totally, but it was.
• 43:33
  Speaker 1: It was to set up a long time that you spent,
• 43:38
  Speaker 1: You really spent a long time outside.
• 43:40
  Speaker 2: Yeah, yeah, totally. But also it was set up in
• 43:43
  Speaker 2: a way so that the camera can slow the slow
• 43:46
  Speaker 2: dolly into a bunch of things.
• 43:48
  Speaker 1: Is so much Jeremy Sally's style, but it was to
• 43:52
  Speaker 1: like set up.
• 43:54
  Speaker 2: Oh, it's so tense. It's everything tense is happening.
• 43:57
  Speaker 1: Because she she pulls him aside because they're now kind
• 44:01
  Speaker 1: of hot on her tracks too, Yeah, and so she's
• 44:04
  Speaker 1: sort of like implicated herself by like asking too many questions,
• 44:09
  Speaker 1: which is also like a cool sort of domino effect,
• 44:12
  Speaker 1: because if you help the person that we're targeting, then
• 44:16
  Speaker 1: you're gonna you're you're part of that problem or whatever.
• 44:18
  Speaker 2: And also in the next scene where he's like, uh mcmapp,
• 44:24
  Speaker 2: can you google that, Steve? I love regular people talking
• 44:28
  Speaker 2: about Google.
• 44:29
  Speaker 1: The way that these scenes were playing out in a
• 44:32
  Speaker 1: parallel way too, was really cool because they're suddenly realizing
• 44:36
  Speaker 1: slowly that he's like a scary guy. Yeah, totally.
• 44:40
  Speaker 2: And he just pulls up as theut I loved this
• 44:44
  Speaker 2: because it was like, ah, the internet's not working, unplug
• 44:47
  Speaker 2: it and plug it back in. And then just as
• 44:49
  Speaker 2: she unplugs it and plugs it back in, he pulls
• 44:51
  Speaker 2: up and stands menacingly outside the fucking station.
• 44:56
  Speaker 1: And Don Johnson goes outside and meets him and they
• 45:00
  Speaker 1: have this amazing, amazing exchange where he's like, you didn't
• 45:03
  Speaker 1: see my shirt eating Grant and he's like, well, i'd
• 45:04
  Speaker 1: like to see it. It's not great if I do
• 45:06
  Speaker 1: it on command. I just I thought that was so great.
• 45:10
  Speaker 1: And then like he as they continue talking, what's what's
• 45:16
  Speaker 1: what's the how the does the rest of it go?
• 45:18
  Speaker 1: It was so good, lay it on me. Well, it's
• 45:22
  Speaker 1: not the same if you don't ask. If you ask, man,
• 45:25
  Speaker 1: I thought we had a deal. I can just play
• 45:31
  Speaker 1: it if you want. I mean, it's amazing. I think
• 45:33
  Speaker 1: you should. Yeah, hold on because like it's it's parts
• 45:40
  Speaker 1: like this where I was like this movie. This is
• 45:43
  Speaker 1: what makes it transcend, just like a vandam.
• 45:55
  Speaker 4: Robbie, let's go ahead and.
• 45:58
  Speaker 1: Call it lunch.
• 46:00
  Speaker 4: It's sly everybody.
• 46:02
  Speaker 7: Yeah, Robbie, miss, go ahead and call that.
• 46:06
  Speaker 1: I love him. It's the calm panic.
• 46:10
  Speaker 4: Glad you're back. He left before you see my ship
• 46:15
  Speaker 4: eating grand God. It's not the same you ask. I
• 46:21
  Speaker 4: thought we had to do. Well, that was the point.
• 46:27
  Speaker 1: For this is the betrayal. It's great misleading.
• 46:30
  Speaker 4: See, it wasn't unreasonable.
• 46:37
  Speaker 7: In fact, it was more than fairs for trouble.
• 46:39
  Speaker 4: It would say.
• 46:41
  Speaker 1: So you don't see it's so good.
• 46:45
  Speaker 7: It wasn't the offer you made, the fact that you
• 46:48
  Speaker 7: thought you were entitled to make one.
• 46:49
  Speaker 1: Yeah, entitled. It's like you're like overt racist like moment.
• 46:56
  Speaker 2: No, no, the overt like subtle racism, like the the
• 47:03
  Speaker 2: like I need you to know, but I have to
• 47:07
  Speaker 2: couch it in these terms.
• 47:08
  Speaker 1: But as this scene plays out, we should we should
• 47:11
  Speaker 1: keep keep going because I think it's really.
• 47:12
  Speaker 7: In front of my officers set terms.
• 47:16
  Speaker 6: I wasn't aware it was a piss contest, now, isn't
• 47:21
  Speaker 6: it always?
• 47:21
  Speaker 4: So whatever I say, yeah.
• 47:23
  Speaker 7: You get offer me eternal laugh or a can't fish sandwich,
• 47:27
  Speaker 7: and the answer would still be the same, eternally, especially
• 47:30
  Speaker 7: since you stopped calling me sir, which about the only
• 47:33
  Speaker 7: thing you had going.
• 47:34
  Speaker 4: Oh that's the courtesy I extend only.
• 47:36
  Speaker 1: So far that like the jabs, dude, you know, one
• 47:40
  Speaker 1: of the versus civilian life.
• 47:43
  Speaker 4: Let's not go reminiscent about the core now.
• 47:46
  Speaker 1: So wait, wait, so this is like where he's discovered,
• 47:48
  Speaker 1: he knows he's in the Core, and he's like, but
• 47:50
  Speaker 1: you were never deployed. He's like, because they found other
• 47:53
  Speaker 1: uses for me. I'm sure they did all these things.
• 47:56
  Speaker 1: But and then slowly.
• 47:58
  Speaker 2: And what I'm sure they did it means something totally different.
• 48:03
  Speaker 2: It doesn't know because it doesn't ye because it's like, oh,
• 48:06
  Speaker 2: were you just a diversity exactly exactly.
• 48:10
  Speaker 1: It's that's where the DEI comes exactly calling him that,
• 48:14
  Speaker 1: and it's like, no, actually, I'm fucking so dangerous, dude.
• 48:18
  Speaker 1: You never left the base checking up on me, never
• 48:21
  Speaker 1: left the base motive.
• 48:23
  Speaker 4: But they found a use for me. Stay sigh. Good
• 48:26
  Speaker 4: for them.
• 48:28
  Speaker 7: I've had no such a lot, so I guess it's
• 48:31
  Speaker 7: time you hit it on. I've been grateful because if
• 48:34
  Speaker 7: I still had a jail, be grateful, he'd already be
• 48:37
  Speaker 7: in it.
• 48:38
  Speaker 4: I mean, you got me in a tight enough spot
• 48:39
  Speaker 4: as is.
• 48:41
  Speaker 2: What's awesome is the renovation of the jail. They tore
• 48:44
  Speaker 2: down the jail that was the next to the station
• 48:46
  Speaker 2: or whatever.
• 48:47
  Speaker 1: What a nice in the community. Well, yeah, totally right.
• 48:52
  Speaker 1: They're investing in their own community, dude. That's why the
• 48:57
  Speaker 1: budgets have to keep increasing every year, even under Olivia check.
• 49:05
  Speaker 1: They need their raiss dude. It's inflation, oh man.
• 49:11
  Speaker 2: And the one thing I can't shake from the core
• 49:14
  Speaker 2: is acronyms pace.
• 49:18
  Speaker 1: Oh dude, pace being explained. It's amazing, dude. Uh pe,
• 49:23
  Speaker 1: See that's where we were when when this all happened?
• 49:26
  Speaker 1: Can you can you get you man? Yeah, you got
• 49:28
  Speaker 1: to play that part too. I'm sorry. Is the WiFi
• 49:39
  Speaker 1: up yet?
• 49:40
  Speaker 6: The acronym you need to worry about right now is
• 49:42
  Speaker 6: pace P A CE.
• 49:46
  Speaker 4: Never heard of it.
• 49:47
  Speaker 6: It's a plan in methodology used for comm systems, but
• 49:50
  Speaker 6: they found it could be applied anywhere, nursing, engineering, parachute, infiltrations,
• 49:57
  Speaker 6: posting bail. So the P is for cryme therey. That's
• 50:01
  Speaker 6: me riding in the town with my bag of money.
• 50:05
  Speaker 6: As for alternate, that's the deal we apparently never made.
• 50:11
  Speaker 6: See is my contingency. That's the restaurant owner. You put
• 50:15
  Speaker 6: out a business this morning, and there it is.
• 50:18
  Speaker 1: The shit eating grin and there it is. I love that.
• 50:21
  Speaker 4: Too, like you just ate ship.
• 50:25
  Speaker 1: So good.
• 50:25
  Speaker 6: Anyway, you got me burning through all these letters and
• 50:29
  Speaker 6: after this conversation we already on eh.
• 50:33
  Speaker 4: You know what that stands for.
• 50:35
  Speaker 1: Marine Corps Martial Arts Program. That's where you we find
• 50:38
  Speaker 1: out such.
• 50:39
  Speaker 2: A good cut for the acronym stuff to the like
• 50:44
  Speaker 2: payoff stuff so nicely get.
• 50:46
  Speaker 4: By hand in hand close quarters.
• 50:51
  Speaker 1: I think he's on a Wikipedia page, you.
• 50:54
  Speaker 2: Think he's all that's also such a great and stee
• 50:58
  Speaker 2: you fucking pulling out his gun.
• 51:00
  Speaker 1: I think he's on a Wikipedia page. It gives it
• 51:03
  Speaker 1: so much like, oh shit, this guy's dangerous.
• 51:05
  Speaker 7: Any units on patrol yep.
• 51:09
  Speaker 4: Come your peeps, an idea of a kind of transition.
• 51:22
  Speaker 1: The way the music happens and like how the tension builds,
• 51:26
  Speaker 1: it's so good, and how he then like disarms the
• 51:29
  Speaker 1: situation with the like sumplexing and like it was just
• 51:34
  Speaker 1: like he just neutralizes everything and the whole thing is
• 51:39
  Speaker 1: very terminator too, no casualties.
• 51:41
  Speaker 2: He the great thing about it. I'm glad you brought
• 51:44
  Speaker 2: up terminator because this is I will not kill anyone
• 51:47
  Speaker 2: because this falls so squarely in the terminator mold, in
• 51:51
  Speaker 2: the way the guest does as well, where it's just
• 51:53
  Speaker 2: like or or like even Halloween, like the First Halloween,
• 51:59
  Speaker 2: where it's just like an unstoppable killing machine, uh, and
• 52:05
  Speaker 2: just so cool and just like walks into a dangerous
• 52:08
  Speaker 2: situation with like such gravity and power and the like
• 52:14
  Speaker 2: the like shifting down beneath him to avoid getting shot
• 52:20
  Speaker 2: by Steve, like the way the awkwardness of real life
• 52:26
  Speaker 2: because the way things happen in like those military videos
• 52:30
  Speaker 2: and stuff about how people train and how close they
• 52:34
  Speaker 2: keep things isn't very movie Like a lot of movies
• 52:38
  Speaker 2: will do that thing where it's like, well, this will
• 52:39
  Speaker 2: look cool, cheat it this way right, whereas this is like, no,
• 52:43
  Speaker 2: we have to show every show everything as widely as
• 52:46
  Speaker 2: possible to see dinky and weird things look. But it's
• 52:49
  Speaker 2: so much better because he just shoves the chief into
• 52:53
  Speaker 2: Steve and then suplexes Steve.
• 52:56
  Speaker 1: It's amazing, and like I love the trope of it's
• 52:59
  Speaker 1: a very tarry move dude of like disarming the guns. Yeah, totally,
• 53:05
  Speaker 1: very quickly being able to disarm a gun, pulls the
• 53:08
  Speaker 1: clip out and then the chamber.
• 53:11
  Speaker 2: Yeah, through his like arm pit, takes out the one
• 53:14
  Speaker 2: that's like in the in the chamber and then uh
• 53:17
  Speaker 2: like grabs Steve, throws him down, and then grabs the
• 53:20
  Speaker 2: chief again, knowing that he's they're not gonna shoot his chief.
• 53:24
  Speaker 1: And like it's just like hicks hanging out like they're
• 53:28
  Speaker 1: not even working, they're not cops, they're just like protecting.
• 53:31
  Speaker 1: It shows this kind of like weird paramilitary threat or
• 53:36
  Speaker 1: something of like these armed side guys.
• 53:39
  Speaker 2: I think were they just like regular guys closed.
• 53:43
  Speaker 1: I don't know. It's it's purposely ambiguous, I think. And
• 53:48
  Speaker 1: there's a lot of them. Yeah.
• 53:50
  Speaker 2: And then and then the the good interesting thing about
• 53:56
  Speaker 2: uh this character is, oh, they try to call the
• 54:00
  Speaker 2: police station and he rips the phone out such a
• 54:03
  Speaker 2: I love that. And then they both sit behind each
• 54:07
  Speaker 2: other and he gets Officer Sim to to to like, yes,
• 54:16
  Speaker 2: I love you, got too. On he tries like where
• 54:19
  Speaker 2: is she? And she's like, we have a skeleton crew today. Uh,
• 54:23
  Speaker 2: And he's like he hits the the leaderboard or whatever,
• 54:28
  Speaker 2: and it's like there's two officers here.
• 54:30
  Speaker 1: And then he's like, all right, Officer Sim's come out,
• 54:34
  Speaker 1: don't worry. And then and then she like crawls out.
• 54:38
  Speaker 1: It's kind of funny. And but the way she talks
• 54:43
  Speaker 1: to him, the way that I know, the way that
• 54:52
  Speaker 1: the sorry, the way this scene plays out with her
• 55:02
  Speaker 1: sort of like he takes all of the bullets out
• 55:05
  Speaker 1: of the chamber. No no sorry. They go together into
• 55:10
  Speaker 1: the back room and they look through like the kind
• 55:15
  Speaker 1: of contraband that's been seized or like the assets that
• 55:19
  Speaker 1: have been seized from like different people. So it's like
• 55:21
  Speaker 1: just cash and weapons. Yeah, and they have so many
• 55:25
  Speaker 1: guns and cash and weapons. Is such a like a
• 55:29
  Speaker 1: trope of the nineties, but like done in this like way,
• 55:34
  Speaker 1: like updated for now that's very like wide and casual
• 55:37
  Speaker 1: and like it's not commented on so much. It's not
• 55:41
  Speaker 1: like dollied on or anything. It's just like every scene,
• 55:45
  Speaker 1: literally every scene in this movie has like slow dolly
• 55:50
  Speaker 1: in but it's not done in that kind of like
• 55:53
  Speaker 1: nineties eighties way, right, Yea, it's like it's like like
• 55:56
  Speaker 1: like zooming, like it's all like going in fast, but
• 55:59
  Speaker 1: it's like slow. And then and then when he gets
• 56:01
  Speaker 1: his money, he takes the deal still like he gives
• 56:04
  Speaker 1: the he wants ten grand, count it out, but go
• 56:07
  Speaker 1: a little over. Yeah, totally I like that part. And
• 56:11
  Speaker 1: then and then he empties the the the gun and
• 56:15
  Speaker 1: gives it to her and pretend cuffs himself and so
• 56:20
  Speaker 1: that she can escort him out of the building and
• 56:23
  Speaker 1: into the police car and they can drive away. And
• 56:28
  Speaker 1: as they're going out, these guys are like yelling after
• 56:32
  Speaker 1: this guy. They're like yo, fuck blah blah blah, and
• 56:35
  Speaker 1: she's like, hey, leave that guy alone. He's a veteran
• 56:38
  Speaker 1: going through a hard time.
• 56:39
  Speaker 6: Yeah.
• 56:40
  Speaker 1: And then he thanks her for that, No.
• 56:42
  Speaker 2: But he says she he no, one of the guys says,
• 56:45
  Speaker 2: you're gonna string that motherfucker up.
• 56:48
  Speaker 1: It's like, forgot the And then so she so and
• 56:52
  Speaker 1: that the moment where she says, hey, he's a veteran
• 56:55
  Speaker 1: going through a hard time. That's what it is, dude,
• 56:58
  Speaker 1: he has she has to use his veteran status to
• 57:01
  Speaker 1: earn him humanity status. And that's why I'm saying, it's
• 57:04
  Speaker 1: like the movie kind of does that in a way too,
• 57:07
  Speaker 1: not in a way that I think is like bad.
• 57:09
  Speaker 1: I think in a way that makes it appeal to
• 57:13
  Speaker 1: its demographic audience, and maybe that's not us, you know
• 57:17
  Speaker 1: what I mean. I think it wants to appeal to
• 57:20
  Speaker 1: a wider audience.
• 57:21
  Speaker 2: Yeah, totally, if you know what I mean, of course.
• 57:23
  Speaker 2: And then when she passes by and the guy shows
• 57:26
  Speaker 2: four and she shows four again and he's like, what's
• 57:29
  Speaker 2: that mean?
• 57:30
  Speaker 1: But we didn't say the lie that she says though,
• 57:31
  Speaker 1: because he says thank you for that to the officer.
• 57:35
  Speaker 1: He says thank you for that because she defends him,
• 57:39
  Speaker 1: and she's like, I didn't do.
• 57:40
  Speaker 2: It for you, yeah, for herself.
• 57:44
  Speaker 1: And I think that was really cool and interesting because
• 57:46
  Speaker 1: it also informs, you know, is she curproco or not,
• 57:50
  Speaker 1: we don't know yet. Yeah, because at this point we
• 57:53
  Speaker 1: think that he in a way treats her. He's like, hey,
• 57:57
  Speaker 1: we're both black, we both have this same experience, and
• 58:01
  Speaker 1: there's a solidarity in that from him. So him trusting
• 58:04
  Speaker 1: her makes the audience want to trust her. Yes, absolutely,
• 58:08
  Speaker 1: which makes the twist work really well. Yeah, Sopika aka
• 58:17
  Speaker 1: not the same. I know it was just seventies beteena
• 58:21
  Speaker 1: dude of course. Uh.
• 58:22
  Speaker 2: And then this scene where he finally comes back uh
• 58:26
  Speaker 2: to pay give the money over for his cousin's bail.
• 58:31
  Speaker 2: Uh and he's like writing down his name and the
• 58:34
  Speaker 2: security is like reaching down and then pulls out a drink.
• 58:40
  Speaker 1: Oh man. These scenes were so great because like they
• 58:44
  Speaker 1: don't He's he tried to buy himself some time, just
• 58:47
  Speaker 1: enough time to post his cousin's bail, and he's like
• 58:52
  Speaker 1: there's very paranoid shots of like the like overseeing like
• 58:57
  Speaker 1: panopticon of the of the like rounded mirror that allows
• 59:03
  Speaker 1: you to see.
• 59:03
  Speaker 2: Yeah, the lawyer counting the money, James Cromwell coming out
• 59:08
  Speaker 2: of his office.
• 59:10
  Speaker 1: And then Elliott the lawyer being like or the bail
• 59:13
  Speaker 1: guy being like or bailiff is it bailiff, the bail
• 59:17
  Speaker 1: guy being like you're over, like like implying that he's over,
• 59:22
  Speaker 1: but that he's like, you gave me extra money. Yeah,
• 59:26
  Speaker 1: because he did count out extra money. That was set
• 59:30
  Speaker 1: up perfectly. Uh and yeah, we see just the shot
• 59:34
  Speaker 1: of Jay's crubble and at this moment when I watched
• 59:37
  Speaker 1: it with that, I exclaimed to her, is that James grumble? Well,
• 59:41
  Speaker 1: yeah you could. It's just you could just totally tell
• 59:45
  Speaker 1: you the gate. Yeah do you know this. I just
• 59:49
  Speaker 1: recently learned this expression. Gate. Yeah, yeah, do you know it? Yeah,
• 59:54
  Speaker 1: Matt Gates. Yeah, I haven't heard him in a while.
• 59:59
  Speaker 1: So we see the gate, the very familiar now at
• 1:00:02
  Speaker 1: this point Gate of zephyrom Cochrane played by James Cromwell.
• 1:00:07
  Speaker 2: And then the cops come and they're like girl, the
• 1:00:11
  Speaker 2: girl man and the zapping him with the gun and
• 1:00:18
  Speaker 2: then him pulling out pulling this out the needles. Oh man,
• 1:00:21
  Speaker 2: that was so cool, and the what's her name?
• 1:00:25
  Speaker 1: Summer, Keep Summer, Keep Terry safe. She's her iPhone, she's yeah,
• 1:00:29
  Speaker 1: she's iphoning everything, and then David Morse looks at her
• 1:00:33
  Speaker 1: dangerously and she retreats into the room. So that she
• 1:00:38
  Speaker 1: can't so that he can't see her, and we get
• 1:00:40
  Speaker 1: a pool of blood pooling around the head of of
• 1:00:45
  Speaker 1: the very concussed head of Terry. Yeah. And oh man,
• 1:00:51
  Speaker 1: like the next scene where they wake him up in
• 1:00:53
  Speaker 1: the dank room and like they've taken him clearly to
• 1:00:56
  Speaker 1: somewhere he's not supposed to be because like the Cell
• 1:01:00
  Speaker 1: Block ninety nine.
• 1:01:01
  Speaker 2: Yeah, because that's also that was also this He definitely
• 1:01:06
  Speaker 2: saw those movies and definitely was inspired by those movies.
• 1:01:09
  Speaker 1: This guy is really thirsty for a few dollars more,
• 1:01:13
  Speaker 1: I think. But did it in a.
• 1:01:17
  Speaker 2: Way the catacombs it's not a jail.
• 1:01:20
  Speaker 1: Did it in a way that like centered like a
• 1:01:23
  Speaker 1: black protagonist too, which is a good thing and admirable.
• 1:01:28
  Speaker 2: Yeah, it's a it's a different thing than than what
• 1:01:30
  Speaker 2: Dragged Across Concrete did, which was it kind.
• 1:01:33
  Speaker 1: Of leans into the the the like callousness of the
• 1:01:38
  Speaker 1: opposite of.
• 1:01:38
  Speaker 2: That, Yeah, a little bit. And also that movie is
• 1:01:42
  Speaker 2: much more an ensemble thing of like two different kinds
• 1:01:45
  Speaker 2: of people are having two different kinds of experiences trying
• 1:01:49
  Speaker 2: to get to the same thing, whereas this is very
• 1:01:52
  Speaker 2: very solely, like he's in almost every scene.
• 1:01:55
  Speaker 1: Yeah, but his motivation changes because it's not about it's
• 1:01:58
  Speaker 1: first about his cousin and then it's about her. Yeah yeah, totally, yeah,
• 1:02:03
  Speaker 1: yeah for sure because like her goodness earns her.
• 1:02:10
  Speaker 2: You know this scene too where he's like, are you
• 1:02:13
  Speaker 2: up for a drive where David Morris is like, well,
• 1:02:18
  Speaker 2: we can solve this and whatever I suggest, and then
• 1:02:22
  Speaker 2: the chief comes out like.
• 1:02:24
  Speaker 1: These types of scenes where where it's This is also
• 1:02:30
  Speaker 1: the difference between First Blood and this because First Blood
• 1:02:34
  Speaker 1: has the.
• 1:02:37
  Speaker 2: Post traumatic stress element where it's triggered by being held,
• 1:02:43
  Speaker 2: being like betrayed by your own country being handled, whereas
• 1:02:49
  Speaker 2: because he he's so skilled, he can remain calm in
• 1:02:54
  Speaker 2: these kinds of situations and everybody else is kind of
• 1:02:57
  Speaker 2: panicking around him.
• 1:02:59
  Speaker 1: Totally dude.
• 1:03:00
  Speaker 2: And then the the like ah man where where like
• 1:03:05
  Speaker 2: the explaining of oh, they cut our budget and we
• 1:03:09
  Speaker 2: can't do anything about it and you.
• 1:03:12
  Speaker 1: Know, in order to turn a profit. You know this
• 1:03:15
  Speaker 1: this scene is weird because like he's he's like, he's
• 1:03:20
  Speaker 1: like gives him a lottery ticket and he gives him
• 1:03:22
  Speaker 1: an out. But it's like, basically, I didn't understand why
• 1:03:31
  Speaker 1: they did this like this they want to I get
• 1:03:34
  Speaker 1: that they want to make the problem go away. But
• 1:03:37
  Speaker 1: I was like it was kind of like confusing, Like
• 1:03:39
  Speaker 1: it was cool for the story and for the movie,
• 1:03:41
  Speaker 1: but I was like I was a bit confused. Here
• 1:03:46
  Speaker 1: take this money, and here the truck's gonna be waiting
• 1:03:49
  Speaker 1: for you. Take this as a Oh, because his cousin
• 1:03:52
  Speaker 1: died because of because of their negligence, and they didn't
• 1:03:57
  Speaker 1: want that to happen. Yeah, the whole their plan was
• 1:04:01
  Speaker 1: ruined too. Yeah.
• 1:04:02
  Speaker 2: Their plan was to get him out and and be like, okay, whatever,
• 1:04:08
  Speaker 2: we got rid of the cousin and we're gonna get
• 1:04:10
  Speaker 2: rid of this guy.
• 1:04:12
  Speaker 6: Leave.
• 1:04:12
  Speaker 1: But they wanted to go through the procedure of the
• 1:04:14
  Speaker 1: ninety days, which we find out about after. Yeah, so
• 1:04:18
  Speaker 1: we get the word from Don Johnson that the cousin's
• 1:04:21
  Speaker 1: been stabbed. Well, he's been attacked, and he's being transferred.
• 1:04:28
  Speaker 1: Not not yet.
• 1:04:28
  Speaker 2: They're still in the car and he's still explaining how
• 1:04:32
  Speaker 2: he's got like well, you know, I mean, I'm he
• 1:04:39
  Speaker 2: goes through the de escalation conversation where it's like that's
• 1:04:45
  Speaker 2: what they call it now, de escalation. That that also
• 1:04:48
  Speaker 2: reminded me of Dragon Across Concrete. We have an acronym yeah,
• 1:04:52
  Speaker 2: and also explaining like have you ever heard of a
• 1:04:56
  Speaker 2: dazzler and he's like non lethal, less lethal.
• 1:05:00
  Speaker 1: We have to call it that for legal persons.
• 1:05:05
  Speaker 2: And then they stop outside and he's like, well they
• 1:05:10
  Speaker 2: pull up to a hospital, which is so it's such
• 1:05:14
  Speaker 2: a good way of explaining this whole thing where it's like,
• 1:05:20
  Speaker 2: you know something bad is gonna happen. You know something
• 1:05:23
  Speaker 2: bad has happened, and you know it's gonna be like
• 1:05:26
  Speaker 2: based on It's almost.
• 1:05:28
  Speaker 1: Like a meta.
• 1:05:28
  Speaker 2: Scene in a movie where it's like, you know something
• 1:05:32
  Speaker 2: bad is happening, yeah, and.
• 1:05:35
  Speaker 1: You imagine the bad thing that's happened.
• 1:05:37
  Speaker 2: Already that's gonna be the catalyst for everything the rest
• 1:05:40
  Speaker 2: of this movie.
• 1:05:41
  Speaker 1: Yeah. Yeah, And we find out that Mike has been
• 1:05:45
  Speaker 1: stabbed and he's being transferred to intensive care.
• 1:05:48
  Speaker 2: He's meta act, he's alive, but he's been stabbed.
• 1:05:53
  Speaker 1: And the next scene is he's dead.
• 1:05:55
  Speaker 2: Current, which I loved the like abruptness of because it's
• 1:06:01
  Speaker 2: got so much more impact the fact that this fucking
• 1:06:04
  Speaker 2: douchebag is telling me something that I already know, yeah,
• 1:06:08
  Speaker 2: which is there's doesn't have to be a scene of
• 1:06:13
  Speaker 2: crying or or like even like intense stoic emotionality. It
• 1:06:20
  Speaker 2: all gets portrayed through the scene between him and Don Johnson,
• 1:06:24
  Speaker 2: which is sad because the more appropriate scene is for
• 1:06:30
  Speaker 2: it to be with the cousin because you want the
• 1:06:32
  Speaker 2: characters to like have a final scene. But it's more
• 1:06:35
  Speaker 2: impactful that it's like that he's robbed of it exactly,
• 1:06:39
  Speaker 2: and and you see in his face he performs it
• 1:06:42
  Speaker 2: so well. You just see like he's being meta act
• 1:06:44
  Speaker 2: and just like his see face doesn't change, but he
• 1:06:47
  Speaker 2: just swallows a little bit, and it's just like really
• 1:06:51
  Speaker 2: well done.
• 1:06:52
  Speaker 1: Yeah, he's he did such a great job. Yeah. And
• 1:06:57
  Speaker 1: this scene where he's talking to the is like an
• 1:07:00
  Speaker 1: orderly in the in the like where the cousin is
• 1:07:05
  Speaker 1: dead and they're they're together.
• 1:07:07
  Speaker 2: Yeah, but also Don Johnson is like here, you had
• 1:07:11
  Speaker 2: a dream and like gives him back the xerox copy
• 1:07:15
  Speaker 2: of the truck.
• 1:07:17
  Speaker 1: Don't crumple that now or lose it. You want them
• 1:07:20
  Speaker 1: to be able to recognize that it's you.
• 1:07:21
  Speaker 2: Oh man, and and on the Instagram post and we
• 1:07:30
  Speaker 2: just have like we don't have any scene really of
• 1:07:34
  Speaker 2: them interacting with him interacting with the body. He just
• 1:07:36
  Speaker 2: touches the body and it cuts to the summer taking
• 1:07:43
  Speaker 2: him out. Uh, and she's like, I salvaged your bike.
• 1:07:46
  Speaker 2: We can swing by my house and and grab it,
• 1:07:49
  Speaker 2: and he's like, pawn it. It's worth a couple of
• 1:07:51
  Speaker 2: grand Yeah, you could tell it was good. And then
• 1:07:56
  Speaker 2: and then like you can see, oh totally, you could
• 1:08:00
  Speaker 2: see what's his name the cops following them throughout the town.
• 1:08:04
  Speaker 2: By the way, what are we at for a time?
• 1:08:07
  Speaker 2: It's twelve eighteen. Yeah, we've got until twelve fifteen, Okay,
• 1:08:18
  Speaker 2: but yeah, she basically goes through through what's happening and
• 1:08:23
  Speaker 2: like the suspiciousness of what's happening, and he's like, I'm
• 1:08:27
  Speaker 2: not interested, I'm leaving. H And then right as they
• 1:08:30
  Speaker 2: get to the border of the town, the cops like
• 1:08:33
  Speaker 2: spin around, chasing them out, solving the problem.
• 1:08:38
  Speaker 1: Yeah, they got rid of the problem. Yeah, but later on,
• 1:08:43
  Speaker 1: later that night, she gets middle of the night stuck
• 1:08:48
  Speaker 1: with a needle. Dudeeah, and getting stuck with a needle
• 1:08:52
  Speaker 1: with unknown substances is terrifying. Yeah, I mean, presumably it's
• 1:08:59
  Speaker 1: like heroin that they've seized that they're using now in
• 1:09:03
  Speaker 1: a corrupt way, because the cops are the ones that
• 1:09:07
  Speaker 1: have stuck her with heroin in order to bribe her
• 1:09:13
  Speaker 1: with keeping her mouth shut because if she does a
• 1:09:16
  Speaker 1: drug test, she'll never see her kid again. Yeah, that's
• 1:09:21
  Speaker 1: it's basically like a Vandam Explanations explanation my.
• 1:09:26
  Speaker 2: Kids, and she you hear the cops running away, supposedly
• 1:09:30
  Speaker 2: the cops, and then she calls Terry back into town,
• 1:09:35
  Speaker 2: which ends up getting Terry in trouble because they're they're
• 1:09:40
  Speaker 2: he's back in the town and the whole point was
• 1:09:42
  Speaker 2: to for him.
• 1:09:45
  Speaker 1: Not to be there.
• 1:09:46
  Speaker 2: And then she's like, she explains all of what you
• 1:09:49
  Speaker 2: just explained, which is like the Vandam explanation of of
• 1:09:54
  Speaker 2: everything becomes unsealed if I test positive for drugs, Yeah.
• 1:10:00
  Speaker 1: Which she would because they stuck her with heroin. But
• 1:10:03
  Speaker 1: she knows enough about reactions to heroin to know that
• 1:10:06
  Speaker 1: she'll be fine. Yeah, she has like a magical knowledge
• 1:10:10
  Speaker 1: about it that she implies to show the like severity
• 1:10:14
  Speaker 1: of which her drug habit was at one point, I think, Yeah.
• 1:10:17
  Speaker 2: And what's nice about this is that it reflects really
• 1:10:21
  Speaker 2: nicely on the writerliness of adding a lot to a
• 1:10:28
  Speaker 2: character and not being judgmental, having a person giving her
• 1:10:35
  Speaker 2: stakes and reason to help him out with a situation,
• 1:10:40
  Speaker 2: because it feels at the beginning when I watched the
• 1:10:44
  Speaker 2: movie the first time, or the first time when I
• 1:10:48
  Speaker 2: watched the movie, I was like, this feels a little
• 1:10:51
  Speaker 2: bit like whoa, they just like jumped into like her
• 1:10:55
  Speaker 2: helping him, but with this context of like, you know,
• 1:10:59
  Speaker 2: I've had a heart time, I'm going to help this
• 1:11:01
  Speaker 2: handsome guy out.
• 1:11:04
  Speaker 1: Yeah, that's the only motivation you need. And then like
• 1:11:06
  Speaker 1: he also has the same motivation because when she calls
• 1:11:09
  Speaker 1: him later to be like, hey, I think something's wrong.
• 1:11:14
  Speaker 1: I think I was like drugged or something, he races back, Yeah,
• 1:11:19
  Speaker 1: I'm getting the car totally to to to find her
• 1:11:23
  Speaker 1: in the shower being like I'm okay, I'm going to survive. Yeah, totally,
• 1:11:28
  Speaker 1: And then basically like they have this conversation like this
• 1:11:32
  Speaker 1: ship can't go on. We've got to do something with this, and.
• 1:11:35
  Speaker 2: Then Cromwell tells her that she has to take a
• 1:11:37
  Speaker 2: piss test and immediately she has to pee in a cup,
• 1:11:40
  Speaker 2: and like she's like crying in the yeah, what's it called?
• 1:11:45
  Speaker 1: In the ladies room, and there's a there's a woman
• 1:11:48
  Speaker 1: who's like, are you okay, sweetheart?
• 1:11:52
  Speaker 2: And then Steve good old Steve shithead. Steve stops him
• 1:11:58
  Speaker 2: again and is like, we don't take too kindly, but
• 1:12:03
  Speaker 2: like it's crazy because it's all like set up in
• 1:12:05
  Speaker 2: a way where it's like both ends of the street
• 1:12:08
  Speaker 2: like cops just pull out.
• 1:12:17
  Speaker 1: Oh dude, all these like like the activated moments in
• 1:12:24
  Speaker 1: the movie all play out so.
• 1:12:26
  Speaker 2: Well yeah, and it's like your light's broken and he's like,
• 1:12:29
  Speaker 2: what are your lights broken? And it's like, oh, no,
• 1:12:36
  Speaker 2: very observant of you.
• 1:12:37
  Speaker 1: No, yeah, because if he respects him for it though,
• 1:12:40
  Speaker 1: he's like, well, very observant of you.
• 1:12:43
  Speaker 2: Because he waved him down, and he tries to explain
• 1:12:47
  Speaker 2: to him again calmly. This is this is basically the
• 1:12:51
  Speaker 2: other start of this movie. This is how Van a
• 1:12:54
  Speaker 2: Van Damn movie would have started. Just have the one
• 1:12:57
  Speaker 2: lady be in town as he meets a lady and
• 1:13:01
  Speaker 2: then she's in trouble to ah and then the feeling
• 1:13:07
  Speaker 2: smart No, sir, I'll give you credit for catching the
• 1:13:11
  Speaker 2: lights though, pretty sharp. God, he's such an.
• 1:13:14
  Speaker 1: Activates that he tells him like he's like, at five
• 1:13:18
  Speaker 1: o'clock tonight, we're getting dunk and stoyches five floors with cash.
• 1:13:23
  Speaker 2: Yeah, he very Marv explains, but then he tries to
• 1:13:28
  Speaker 2: fucking shoot him, and he fucking like uses the door
• 1:13:32
  Speaker 2: to like his arm.
• 1:13:34
  Speaker 1: And then he electrocutes him. I love the way he
• 1:13:39
  Speaker 1: like sippons like falls over just like he's amazing, like
• 1:13:45
  Speaker 1: the falls.
• 1:13:46
  Speaker 2: And then he tries to get up and he clicks
• 1:13:49
  Speaker 2: the gun again.
• 1:13:50
  Speaker 1: The falls in this movie were amazing. I want to
• 1:13:52
  Speaker 1: talk about this like stunt actor that that dies because
• 1:13:56
  Speaker 1: I saw recently how they used to like a stunt
• 1:14:00
  Speaker 1: actor acting, how they used to die in movies, and
• 1:14:02
  Speaker 1: how they die now with like quick like oh yeah,
• 1:14:05
  Speaker 1: the flops. Yeah totally. They they like really captured that
• 1:14:09
  Speaker 1: about Did you see this where this like stunt actors performance,
• 1:14:13
  Speaker 1: how he dies just like flops?
• 1:14:16
  Speaker 2: It's hard. It's that that job is fucking hard.
• 1:14:20
  Speaker 1: It looks like he's really hurting himself. He is, he is.
• 1:14:24
  Speaker 2: There's no way. I asked the guy once who was
• 1:14:27
  Speaker 2: how do you fall correctly?
• 1:14:28
  Speaker 1: You don't, You don't know you do?
• 1:14:30
  Speaker 2: There are there are techniques to avoid the avoid hitting
• 1:14:33
  Speaker 2: your head, avoid breaking things as much as you possibly can.
• 1:14:36
  Speaker 2: But Summer goes to keep her daughter safe. Uh and
• 1:14:42
  Speaker 2: and the.
• 1:14:43
  Speaker 1: Two people come outside and they're like you're not supposed
• 1:14:46
  Speaker 1: to really, yeah, and if we didn't call them, there's cops.
• 1:14:49
  Speaker 1: Like it just like fast scenes that like would seem
• 1:14:52
  Speaker 1: so stupid in a VANDAM movie, but because of how
• 1:14:54
  Speaker 1: cinematical they look in this movie, and like how they
• 1:14:58
  Speaker 1: play out in the rest of like the plot, it's
• 1:15:00
  Speaker 1: like really swift, quick storytelling, Like it's like things happen,
• 1:15:06
  Speaker 1: Like the amount of things that happened so fast is amazing.
• 1:15:11
  Speaker 2: Yeah, absolutely, man. And then when he's just under the
• 1:15:20
  Speaker 2: bridge and like like pulls himself up, it does this
• 1:15:24
  Speaker 2: is like very rambo stuff.
• 1:15:28
  Speaker 1: Yeah, oh man, the like the the realistic dragging of
• 1:15:33
  Speaker 1: bodies in this where like he you know that he's
• 1:15:38
  Speaker 1: struggling pulling this like like heavy six pound guy, but
• 1:15:44
  Speaker 1: like like you just like the way that he's doing
• 1:15:47
  Speaker 1: it is like he's struggling, but he's still doing it
• 1:15:51
  Speaker 1: with ease.
• 1:15:51
  Speaker 2: And it's yeah, the kind of realistic ease A fit
• 1:15:55
  Speaker 2: dude like this would be.
• 1:15:56
  Speaker 1: Totally totally and it's really impressive.
• 1:16:00
  Speaker 2: And then he he walks he like talks to Summer
• 1:16:09
  Speaker 2: on the phone and then taps on a thing that
• 1:16:14
  Speaker 2: says Marine Corps. And then she comes into mister Lew's office.
• 1:16:19
  Speaker 1: Oh man, Yeah, that that was really cool and showing
• 1:16:22
  Speaker 1: the guy who was doing the accents but he doesn't
• 1:16:25
  Speaker 1: talk in the scene was so good.
• 1:16:29
  Speaker 2: And mister low is the guy from Curby Enthusiast. Dude,
• 1:16:33
  Speaker 2: he did a really good job.
• 1:16:35
  Speaker 1: He did such a good job, and like he spent
• 1:16:37
  Speaker 1: some time as a medic in Korea, so he knows
• 1:16:39
  Speaker 1: how to Like, that's awesome. Dress a wound that was
• 1:16:42
  Speaker 1: take out a bullet. He's like, there's still some trapnel
• 1:16:44
  Speaker 1: left in here, but I can't take it out. So yeah,
• 1:16:47
  Speaker 1: it's like that's fine, thanks for doing this, and like,
• 1:16:51
  Speaker 1: I don't know, it's so it's so good. And they
• 1:16:53
  Speaker 1: have that scene where where he's like he was in
• 1:16:56
  Speaker 1: Korea and she was like, thank you for your service.
• 1:16:57
  Speaker 1: On the other side, Oh glad we can all get together. Yeah, totally.
• 1:17:01
  Speaker 1: It's such a hilarious reaction. I mean, the most social
• 1:17:06
  Speaker 1: democrat reaction she could have did. I mean, she wants
• 1:17:09
  Speaker 1: to make the system better, dude. It's with regulations and voting.
• 1:17:14
  Speaker 1: She's going to fix it, dude, don't worry about it.
• 1:17:16
  Speaker 2: Yeah, all all we actually need is a revolution where
• 1:17:20
  Speaker 2: right wing authoritarians can fill the power aoid.
• 1:17:23
  Speaker 1: Of course, dude, that's the only way. So where where
• 1:17:28
  Speaker 1: were we?
• 1:17:37
  Speaker 2: She talks about the judge being in on this whole
• 1:17:44
  Speaker 2: like weird scheme to steal money from people who are
• 1:17:49
  Speaker 2: I guess trying to pay for bail.
• 1:17:54
  Speaker 1: They hold them for like a maximum amount or something.
• 1:17:57
  Speaker 1: I don't know. It's it's a plan and they've got
• 1:18:00
  Speaker 1: it in their institution.
• 1:18:01
  Speaker 2: It's a corrupt plan that exists within a town that
• 1:18:06
  Speaker 2: and like they would do a whole season of Cereal
• 1:18:08
  Speaker 2: on and.
• 1:18:11
  Speaker 1: People would talk like this about it. Yeah, exactly the
• 1:18:14
  Speaker 1: exactly it would be NPR voices, Social difficults we were
• 1:18:17
  Speaker 1: talking about exactly the only people who have policies, not
• 1:18:21
  Speaker 1: like populos. Where were we?
• 1:18:28
  Speaker 2: Well, she's just kind of like explaining what is happening,
• 1:18:33
  Speaker 2: and they're forming a plan as to like what they're
• 1:18:37
  Speaker 2: gonna do. And then she goes to visit like she
• 1:18:53
  Speaker 2: she no, she goes to visit the lawyer friend of hers. Yeah,
• 1:18:59
  Speaker 2: the lawyer friend.
• 1:18:59
  Speaker 1: She's if she visits his kid, and the kid is like, hey, hey, summer,
• 1:19:05
  Speaker 1: how's it going, And she's like sneaking up from behind,
• 1:19:08
  Speaker 1: and then Elliott's like, hey, what the fuck, you're talking
• 1:19:11
  Speaker 1: to my kid for me. And then the next scene
• 1:19:13
  Speaker 1: they cut to their outside and I love this because
• 1:19:16
  Speaker 1: he's basically like, yeah, what do you want me to
• 1:19:18
  Speaker 1: do about it? Like I know about this, but like
• 1:19:20
  Speaker 1: what do you want me to do about it? Yeah?
• 1:19:22
  Speaker 1: And they're like it's really bad, dude, and he's like, uh, okay,
• 1:19:27
  Speaker 1: I've got a kid, dude. Yeah. They show a lot
• 1:19:31
  Speaker 1: of that with like, you know, I'm getting a paycheck.
• 1:19:33
  Speaker 1: A lot of the people are like I have a kid. Yeah.
• 1:19:36
  Speaker 2: In the yeah, and she calls me a fucking tumor.
• 1:19:40
  Speaker 1: Yeah, Like she's saying that you're benefiting from this like
• 1:19:42
  Speaker 1: horrible corrupt system and you're not doing anything about it.
• 1:19:45
  Speaker 1: He's being like like, yeah, what do you want me
• 1:19:48
  Speaker 1: to do?
• 1:19:48
  Speaker 2: Like, I you know, I love that he's like and
• 1:19:51
  Speaker 2: he tries to do it subtly where he's like what
• 1:19:52
  Speaker 2: if I didn't know? And like like implying that he's like,
• 1:19:57
  Speaker 2: I don't know anything, but.
• 1:20:01
  Speaker 1: Right, and what he does know informs what he doesn't know,
• 1:20:05
  Speaker 1: and that's that he also knows that too, And that's
• 1:20:09
  Speaker 1: such an interesting way of giving someone a lot of information. Yeah, totally,
• 1:20:12
  Speaker 1: you know, really saying a lot, and he's really trying
• 1:20:16
  Speaker 1: to do that because he doesn't want to like be
• 1:20:19
  Speaker 1: associate because he sees obviously that there's a target on
• 1:20:21
  Speaker 1: her back now too.
• 1:20:22
  Speaker 2: Yeah, totally, and he doesn't want to be involved. And
• 1:20:25
  Speaker 2: then the kid comes out and he's like, this kid,
• 1:20:28
  Speaker 2: won can we go? Yes, son, we can go.
• 1:20:31
  Speaker 1: I love that he uses so you used your children? Oh? Absolutely?
• 1:20:35
  Speaker 1: And then James Cromwell.
• 1:20:38
  Speaker 2: As a daughtering old Joe Biden, He's like.
• 1:20:42
  Speaker 1: We'll talk. He's the spriest eighty four you've ever seen.
• 1:20:46
  Speaker 2: Totally, he's got very noon in energy. But you can
• 1:20:48
  Speaker 2: tell the differences between the two different kinds of lurchiness.
• 1:20:52
  Speaker 1: And also you can tell how hard up this sound
• 1:20:55
  Speaker 1: is that even at eighty four you can't retire. I mean,
• 1:21:02
  Speaker 1: he's not supposed to not be eighty four, right, Like.
• 1:21:05
  Speaker 2: He's he's definitely supposed to be.
• 1:21:09
  Speaker 1: He's so Cromwell dude. But you know what, Cromwell.
• 1:21:14
  Speaker 2: Yeah, but you know what, it's funny that you mentioned
• 1:21:16
  Speaker 2: that because he doesn't look old.
• 1:21:20
  Speaker 1: He doesn't, but he doesn't look old.
• 1:21:21
  Speaker 2: In the way that fucking Joaquin and de Niro looked
• 1:21:25
  Speaker 2: old and Joker where it's like what is this is.
• 1:21:29
  Speaker 1: A little weird? No, dude, fucking Robert de Niro looks
• 1:21:36
  Speaker 1: so old, like so weirdly old he is because well,
• 1:21:42
  Speaker 1: but he maybe wouldn't look as shriveled and old if
• 1:21:46
  Speaker 1: I didn't know what he used to look like. Yeah,
• 1:21:49
  Speaker 1: you know what I mean.
• 1:21:50
  Speaker 2: No, he's sleeve, you know, him kicking that dude and
• 1:21:55
  Speaker 2: the irishman. It was pretty old. But basically, what they
• 1:21:59
  Speaker 2: find out from Cromwell is that this whole conspiracy is
• 1:22:03
  Speaker 2: going on, but they still have dashcam footage of all
• 1:22:08
  Speaker 2: the cases, including the dashcam footage from the eres both
• 1:22:12
  Speaker 2: his arrest, and I think because the lights were on,
• 1:22:16
  Speaker 2: the lights were in, Yeah, yeah, totally, and the cops
• 1:22:32
  Speaker 2: are like always one step behind them as well. He
• 1:22:36
  Speaker 2: like the cops come.
• 1:22:39
  Speaker 1: Oh man.
• 1:22:39
  Speaker 2: And then she has the line this this town couldn't
• 1:22:42
  Speaker 2: form a spine?
• 1:22:44
  Speaker 1: What was it? Hold on? Oh? It was such good lines.
• 1:22:48
  Speaker 1: And then also she's like he alludes to his dead
• 1:22:53
  Speaker 1: wife and she says she would be ashamed of you.
• 1:22:57
  Speaker 1: She'd be looking She's like, come on, you knew Mary.
• 1:23:00
  Speaker 1: And she's like, if she was here, she'd be standing
• 1:23:02
  Speaker 1: here watching. Yeah, And I thought that was cool and
• 1:23:05
  Speaker 1: she puts the picture of Mary there, and then we
• 1:23:07
  Speaker 1: find out that he is feeling guilty because he's taking
• 1:23:10
  Speaker 1: a whole bottle of pills, so they actually call the
• 1:23:13
  Speaker 1: paramedics to get him saved. And then because she magically
• 1:23:17
  Speaker 1: knows about drugs, she's like, he'll be okay, Yeah, she
• 1:23:20
  Speaker 1: didn't take enough. That wasn't enough to kill someone, I know,
• 1:23:23
  Speaker 1: because it's like, but he's also like got maybe comobidities held, Yeah, totally.
• 1:23:29
  Speaker 2: But they find out that the drives are in U
• 1:23:31
  Speaker 2: Cell Block ninety nine, aka the Catacombs.
• 1:23:33
  Speaker 1: Yeah, they definitely are going to be trying the tooth
• 1:23:36
  Speaker 1: with these drives so much. Yeah, one hundred percent.
• 1:23:39
  Speaker 2: But this scene is great because it also provides us
• 1:23:43
  Speaker 2: with I feel like some Batman detective skills, where like
• 1:23:48
  Speaker 2: they try the police are trying to get rid of
• 1:23:50
  Speaker 2: all the evidence, so they try and light the catacombs
• 1:23:52
  Speaker 2: on fire.
• 1:23:54
  Speaker 1: And well, that's a very good observation, the Batman observation,
• 1:23:57
  Speaker 1: because like it feels very much like the tim Bird
• 1:24:00
  Speaker 1: need Batman's of like showing a thing through someone having
• 1:24:04
  Speaker 1: a thing. Yeah. I think I was.
• 1:24:07
  Speaker 2: Gonna say more of the Batman because that movie tried
• 1:24:09
  Speaker 2: to uh something, yeah exactly, but it did it did
• 1:24:14
  Speaker 2: have the detective element. This was way better in terms
• 1:24:16
  Speaker 2: of the detective element because it builds, whereas Batman not
• 1:24:21
  Speaker 2: being like flying rat that riddle is too hard for
• 1:24:27
  Speaker 2: me to figure out.
• 1:24:30
  Speaker 1: Well, yeah, I know. What I meant though, is like
• 1:24:33
  Speaker 1: having an object that is like, you know, they don't
• 1:24:37
  Speaker 1: I don't know if they do this with drives. Maybe
• 1:24:39
  Speaker 1: maybe they do, like but like having a physical thing
• 1:24:42
  Speaker 1: like that be like some kind of like motivating factor.
• 1:24:46
  Speaker 1: Maybe they do do it with drives, but like I
• 1:24:48
  Speaker 1: just I found that to be like an interesting like
• 1:24:51
  Speaker 1: storytelling aspect and like I'm not sure if that's how
• 1:24:54
  Speaker 1: they do it, but it felt like a very vandamn explanation.
• 1:24:57
  Speaker 4: You know.
• 1:24:57
  Speaker 2: This also felt like a very vandamn scene where they
• 1:24:59
  Speaker 2: liked they relight the fire and they come back and
• 1:25:04
  Speaker 2: they're like did a light? Yeah did, Let's get out
• 1:25:08
  Speaker 2: of here, just to build some tension. But also like
• 1:25:11
  Speaker 2: I don't know, it's it's really it's really.
• 1:25:18
  Speaker 1: I lost it. What it was really nice.
• 1:25:22
  Speaker 2: It was a really nice scene, nicely done in a
• 1:25:24
  Speaker 2: way where it was like you're you're building tension through
• 1:25:27
  Speaker 2: like oh, they put the fire out, maybe they're gonna
• 1:25:29
  Speaker 2: come back, And then they do come back and then
• 1:25:30
  Speaker 2: they relight the fire and it's it's just like a
• 1:25:33
  Speaker 2: fun scene. And then when he fucking gets in the
• 1:25:36
  Speaker 2: car and the camera is just in the back seat
• 1:25:39
  Speaker 2: and it's like driving with him, and it's he's like
• 1:25:41
  Speaker 2: waiting for her to get out because she goes back
• 1:25:47
  Speaker 2: in to try and.
• 1:25:51
  Speaker 1: Save some What was that thing that she gets out
• 1:25:59
  Speaker 1: of the fridge. Oh, yeah, like a heart or something,
• 1:26:03
  Speaker 1: because it was like biohazard or something. No, it was
• 1:26:09
  Speaker 1: it was something that what was it? I think it
• 1:26:16
  Speaker 1: was something that showed that they did something. It was
• 1:26:20
  Speaker 1: like some kind of evidence, wasn't it, because why wouldn't
• 1:26:23
  Speaker 1: it be Yeah, but why would it be biohazardous? I
• 1:26:30
  Speaker 1: don't know. But they capture her, Yeah, they do, and
• 1:26:34
  Speaker 1: he quickly reverses the Another thing I loved in this
• 1:26:40
  Speaker 1: movie is he the very realistic driving of an automatic
• 1:26:45
  Speaker 1: vehicle because they were all automatic, so like he had
• 1:26:47
  Speaker 1: to like he couldn't do like cool moves, but like
• 1:26:50
  Speaker 1: he just had to be really quick and like there's
• 1:26:52
  Speaker 1: ways that you can like very like skillfully and quickly
• 1:26:55
  Speaker 1: drive and automatic, and he was doing that. Yeah, but
• 1:26:58
  Speaker 1: also really writing that transmission so hard and it was
• 1:27:03
  Speaker 1: it was really cool.
• 1:27:04
  Speaker 2: And also smashing a mirror when you're driving is way
• 1:27:08
  Speaker 2: easier than.
• 1:27:09
  Speaker 1: Just doing stunt driving. Yeah, and he follows them and
• 1:27:16
  Speaker 1: he's able to capture a one of the guys and
• 1:27:22
  Speaker 1: get him on get get him subdued and get on
• 1:27:26
  Speaker 1: the horn and be like hey, I love to free
• 1:27:29
  Speaker 1: this is tent and he's like, hey, we're laying low
• 1:27:33
  Speaker 1: and then he answers and he's like, hey, are you
• 1:27:36
  Speaker 1: laying low for the arson or the kidnapping?
• 1:27:38
  Speaker 2: Oh yeah, totally totally, but him doing the the jiu
• 1:27:42
  Speaker 2: jitsu move of like putting him in a neck hold,
• 1:27:46
  Speaker 2: and this Danny maul Roon being like.
• 1:27:48
  Speaker 1: I have a kid. This is that I have a kid,
• 1:27:50
  Speaker 1: and so like it's like there's a lot of like
• 1:27:52
  Speaker 1: justification of like, hey listen, I'm doing what I have
• 1:27:54
  Speaker 1: to do, so I don't know, yeah, and it's a
• 1:27:59
  Speaker 1: lot of it's justifying a lot of like the like
• 1:28:02
  Speaker 1: horrible corruption in this town, right, and so like I
• 1:28:05
  Speaker 1: think it was really there. Also he goes, so does
• 1:28:08
  Speaker 1: she exactly exactly? And like so you know, he's justifying
• 1:28:13
  Speaker 1: his actions now and then he gets on the horn
• 1:28:17
  Speaker 1: and they do this whole scene and then he calls
• 1:28:19
  Speaker 1: him on the phone.
• 1:28:20
  Speaker 2: Oh yeah, I love that.
• 1:28:22
  Speaker 1: He calls them on the guy's phone and he answers
• 1:28:24
  Speaker 1: it and he's like, Terry answers it and he's like, hey,
• 1:28:27
  Speaker 1: and they agreed to meet at Rebel Rage.
• 1:28:29
  Speaker 6: Yeah.
• 1:28:30
  Speaker 2: That's which finally gets to the title of the movie.
• 1:28:33
  Speaker 2: But before we go into that and my thoughts and
• 1:28:36
  Speaker 2: feelings about the title of the movie, him saying I'll
• 1:28:41
  Speaker 2: drop a pin, will settle up, do a swap, and
• 1:28:44
  Speaker 2: he's like, do you think I'm stupid? That line is
• 1:28:47
  Speaker 2: great because it's during the daytime.
• 1:28:48
  Speaker 1: It'll benefit you as well, trust me. Yeah, totally, You'll
• 1:28:52
  Speaker 1: actually be able you might be able to see me coming. Yeah, totally.
• 1:28:56
  Speaker 1: I love I love that line. And it doesn't sound
• 1:28:59
  Speaker 1: like a right it sounds like a promise, Yeah exactly.
• 1:29:03
  Speaker 2: And then I put too much sauce on that, Like
• 1:29:07
  Speaker 2: it made it a little too Did I put it
• 1:29:10
  Speaker 2: make it too dramatic?
• 1:29:11
  Speaker 1: Yeah? Did I hand that up too much? It was
• 1:29:12
  Speaker 1: nice to like for the like it's very yeah, because
• 1:29:18
  Speaker 1: like it's acknowledging that, like there is a ridiculousness to
• 1:29:22
  Speaker 1: that kind of posturing, but it also there's very much
• 1:29:25
  Speaker 1: a context for it in the movie.
• 1:29:26
  Speaker 2: Yeah, totally, totally, and but also an awareness that like
• 1:29:30
  Speaker 2: other action stars and action heroes don't really have where
• 1:29:33
  Speaker 2: it's like you just said something of the corniest ship
• 1:29:35
  Speaker 2: in the world, Like it's cool in the moment or whatever,
• 1:29:38
  Speaker 2: but like that's so corny, and him being like like
• 1:29:42
  Speaker 2: acknowledging it is fun, you know, now with Rebel Ridge,
• 1:29:46
  Speaker 2: such a fucking boring title, until I got to this
• 1:29:49
  Speaker 2: part and I was like, well, I mean they totally
• 1:29:52
  Speaker 2: justified this.
• 1:29:53
  Speaker 1: It makes it so much cooler air and he's he's
• 1:29:55
  Speaker 1: supposed to be the rebel you know, and yeah, yeah totally.
• 1:29:58
  Speaker 1: And also but in the Dura I I don't like,
• 1:30:04
  Speaker 1: I kept I kept forgetting the name because it's such
• 1:30:07
  Speaker 1: a boring like Ridge, I know, the Bridge, and I
• 1:30:10
  Speaker 1: was like, Rebel Ridge, Yeah, I just didn't. It didn't
• 1:30:13
  Speaker 1: really connect with me. Yeah, totally. But it's reminiscent of
• 1:30:18
  Speaker 1: green Room. It's reminiscent even though green Room is a
• 1:30:21
  Speaker 1: little more iconic sounding.
• 1:30:22
  Speaker 2: Yeah, Blue Ruin also is very iconic sound.
• 1:30:25
  Speaker 1: I don't even know those. He likes the two title,
• 1:30:28
  Speaker 1: the two word title you know why, because when he's
• 1:30:33
  Speaker 1: pitching it, he's like check this out, blue ruin, hold
• 1:30:37
  Speaker 1: on rebel Ridge, Wait a minute.
• 1:30:40
  Speaker 2: Green room, Yeah, totally, totally.
• 1:30:44
  Speaker 1: Yeah, he just likes it. He is a pattern, but
• 1:30:48
  Speaker 1: yeah it was a little rure jury. Yeah yeah, and
• 1:30:54
  Speaker 1: uh that's fine, that's fine. Yeah, absolutely, And then he
• 1:30:57
  Speaker 1: calls the police chief and is like has another like
• 1:31:04
  Speaker 1: serious and scary conversation while at the same time in
• 1:31:10
  Speaker 1: a car. And then the another police officer, I think
• 1:31:15
  Speaker 1: the David Morris guy. Oh yeah, hold on, David, he's
• 1:31:21
  Speaker 1: also named David David.
• 1:31:22
  Speaker 2: Yeah, David David Morris guy comes to see the car. Uh,
• 1:31:27
  Speaker 2: and it's the cop duct taped to the.
• 1:31:33
  Speaker 1: He smashes the window with that little wad. Yeah, a
• 1:31:36
  Speaker 1: little tap smash and then and then like he's like,
• 1:31:41
  Speaker 1: there's there's a panic because he's not actually there.
• 1:31:44
  Speaker 2: He's not actually there and actually he's been putting up
• 1:31:47
  Speaker 2: fucking what's it called chains to pull out the concrete
• 1:31:53
  Speaker 2: from from the what's it called wall of the evidence room?
• 1:31:59
  Speaker 1: So good, which is awesome.
• 1:32:01
  Speaker 2: I loved this scene and I love that it was
• 1:32:03
  Speaker 2: just outside and also he like hits the hood of
• 1:32:08
  Speaker 2: the car, not the hood of the car, the steering
• 1:32:11
  Speaker 2: wheel of the car in his first moment of like
• 1:32:14
  Speaker 2: expressed rage, which is very cool. I actually really really
• 1:32:18
  Speaker 2: liked that scene. Yeah, and and this shithead Steve goes
• 1:32:24
  Speaker 2: this will all line up pretty nicely because he also
• 1:32:28
  Speaker 2: figures out a plan where it's like, if he kills
• 1:32:31
  Speaker 2: this girl, she was involved. If he kills this dude
• 1:32:36
  Speaker 2: now for tearing up the station, he's involved, so they
• 1:32:39
  Speaker 2: can all have they can tied up really really nicely.
• 1:32:43
  Speaker 2: And fucking Terry shoots Don Johnson with the non lethal
• 1:32:49
  Speaker 2: bullets or whatever less lethal.
• 1:32:53
  Speaker 1: And we get this moment where he's confronting Officer Sims
• 1:32:58
  Speaker 1: and he's like Terry's confron take Officer Sims and he's like, hey,
• 1:33:01
  Speaker 1: I know your curproco, Like did.
• 1:33:03
  Speaker 2: You get the thing from summer? I know your Curproco?
• 1:33:07
  Speaker 2: And and she's like what She kind.
• 1:33:09
  Speaker 1: Of plays it dumb though, because we don't realize that
• 1:33:12
  Speaker 1: there's a reversal.
• 1:33:13
  Speaker 6: Yeah.
• 1:33:13
  Speaker 1: Yeah, so she sort of plays it dumb, I think
• 1:33:16
  Speaker 1: on purpose to kind of like be like, Okay, I'll
• 1:33:18
  Speaker 1: let this guy believe this for now, what do you
• 1:33:20
  Speaker 1: want me to do?
• 1:33:21
  Speaker 2: Because she says, what do you want me to do,
• 1:33:23
  Speaker 2: which is such a great line because it's vague enough
• 1:33:25
  Speaker 2: to imply something about and she's still being made to
• 1:33:29
  Speaker 2: do something something. Yeah, exactly, man, But they got such
• 1:33:33
  Speaker 2: good douche cops in this movie, like the style of
• 1:33:39
  Speaker 2: person that they got to be in this like the
• 1:33:42
  Speaker 2: secondary Yeah, well I'm talking about like just that the
• 1:33:46
  Speaker 2: other Danny Malroon's because everybody was no, I I agree,
• 1:33:51
  Speaker 2: and he loves a certain kind of cost And initially
• 1:33:55
  Speaker 2: I was like, man, this is like because people were
• 1:33:59
  Speaker 2: called Blue Ruin, like a very like Coen Brothers esque
• 1:34:02
  Speaker 2: type movie. But it feels very much his own voice.
• 1:34:06
  Speaker 1: This guy has his own voice. He's got so much
• 1:34:08
  Speaker 1: of it.
• 1:34:08
  Speaker 2: And maybe some of the stuff is like influenced by
• 1:34:12
  Speaker 2: other filmmakers, but man, this is like he's got vision
• 1:34:15
  Speaker 2: for vision. Yeah, and speaking of vision, Terry's got vision
• 1:34:19
  Speaker 2: to use some of the smoke bombs and also the
• 1:34:22
  Speaker 2: realistic shooting sounds, the realistic smoke bombs, because.
• 1:34:25
  Speaker 1: You didn't say that the reason he's got smoke bombs
• 1:34:28
  Speaker 1: is because he pulls, to say, he realistically pulls David
• 1:34:31
  Speaker 1: Morse to safety after him being shot in the leg.
• 1:34:34
  Speaker 2: Right, well not yet, oh not yet, because he's taken
• 1:34:37
  Speaker 2: all the smoke bombs from from the but.
• 1:34:40
  Speaker 1: Then T one thousand he tournat or two's a smoky room.
• 1:34:45
  Speaker 2: Yeah, but what happens is Officer sim he gives Officer
• 1:34:49
  Speaker 2: Sims the gun and is like awesome, like you're with me,
• 1:34:54
  Speaker 2: your curproco, and then she pulls she pulls the gun
• 1:34:58
  Speaker 2: on him, and she's like, sorry, we'll take I'll take
• 1:35:01
  Speaker 2: you somewhere safe. Because she still is with him to
• 1:35:04
  Speaker 2: some degree, but she's still corrupt.
• 1:35:07
  Speaker 1: And we show that, we showed that, they show a
• 1:35:09
  Speaker 1: little bit of her like cracks in all of that.
• 1:35:12
  Speaker 1: Because after this, when she's in that confrontational situation where
• 1:35:17
  Speaker 1: Don Johnson comes and like and the guy with the
• 1:35:20
  Speaker 1: beard who hasn't earned his goatee yet comes and he
• 1:35:24
  Speaker 1: has the standoff with David Morse.
• 1:35:27
  Speaker 2: Well wait wait, Steve is like, where are those drives?
• 1:35:33
  Speaker 2: And he pulls the drives out and steps on all
• 1:35:36
  Speaker 2: of them right uh, and then is like, well done,
• 1:35:39
  Speaker 2: Officer Simms, you did exactly what now Like sorry, He's like, well,
• 1:35:52
  Speaker 2: we'll let your girl go free. And he opens the
• 1:35:54
  Speaker 2: door and she's been heroined, heroin cheeked. Yeah, and it's
• 1:36:01
  Speaker 2: so sad. It's like such a because it's like you
• 1:36:03
  Speaker 2: just see somewhere yeah, and it's like, oh, she's just
• 1:36:08
  Speaker 2: pretty zonked out. It's so weird and must have hidden
• 1:36:12
  Speaker 2: it somewhere sneaky.
• 1:36:14
  Speaker 1: It's like gross grow.
• 1:36:16
  Speaker 2: And she looks almost dead.
• 1:36:20
  Speaker 1: And then I think it's just like drugging it with hair, Jesus.
• 1:36:25
  Speaker 2: And then but then then we get the other David Morris,
• 1:36:29
  Speaker 2: and he's like like a little bit panicking and a
• 1:36:35
  Speaker 2: little bit like yeah, yeah, this totally this got it
• 1:36:39
  Speaker 2: of hand energy. And then all of them are pulling
• 1:36:45
  Speaker 2: their fucking guns out.
• 1:36:47
  Speaker 1: They're all they're doing a lot of totally totally do
• 1:36:53
  Speaker 1: not point that weapon and may stand down, oh man.
• 1:36:58
  Speaker 2: And then he and then Terry goes cerproco and it's great.
• 1:37:03
  Speaker 1: He realizes yeah, and and he Don Johnson shot shoots,
• 1:37:07
  Speaker 1: gets shot in the fucking leg. And then he says,
• 1:37:09
  Speaker 1: those those cameras are on a three minute pre delay,
• 1:37:14
  Speaker 1: so if you turn the lights on now, it'll capture
• 1:37:17
  Speaker 1: the last three minutes. And if I say, you have
• 1:37:19
  Speaker 1: about two minutes left. So there's this amazing scene where
• 1:37:23
  Speaker 1: he like realistically beats up in suplexes like a whole
• 1:37:27
  Speaker 1: bunch of guys and drags David Morris. He like snaps
• 1:37:32
  Speaker 1: an arm in half in such.
• 1:37:34
  Speaker 2: I love the snapping and arm and half, and I
• 1:37:36
  Speaker 2: love the fingering the bullet wound, stick your finger in it.
• 1:37:40
  Speaker 1: It was amazing, dude, it was amazing. And then like
• 1:37:43
  Speaker 1: he does reach the car and all the time breaking
• 1:37:46
  Speaker 1: a bunch of it was amazing. It looked so good.
• 1:37:48
  Speaker 1: It's such a great action update, like and it's so realistic.
• 1:37:52
  Speaker 1: It's got such incredible realistic physics and stakes, Like no
• 1:37:56
  Speaker 1: one's flying in this. They're like when there's like them
• 1:38:00
  Speaker 1: over clumsily, like snapping and like falling awkwardly and ship
• 1:38:05
  Speaker 1: and this is where the guy falls where he gets
• 1:38:07
  Speaker 1: shot and he just goes and flops. Yeah, totally.
• 1:38:11
  Speaker 2: And then man, there's so much punching Steve's head where
• 1:38:14
  Speaker 2: it's just like.
• 1:38:17
  Speaker 1: The side of his face a terminator eight hundreds of
• 1:38:20
  Speaker 1: the side of his face and he's very.
• 1:38:26
  Speaker 2: And then the turning on the the cameras or the
• 1:38:30
  Speaker 2: lights and the cameras and then he tries to tries
• 1:38:32
  Speaker 2: to go hit.
• 1:38:33
  Speaker 1: He tries to don just Johnson and he pulls the
• 1:38:38
  Speaker 1: insane moves to dude, like totally. He's doing it for
• 1:38:42
  Speaker 1: for self preservation.
• 1:38:43
  Speaker 2: And then he pulls in. He keeps shooting, and he
• 1:38:46
  Speaker 2: pulls in what's her name, what's his name? Other David
• 1:38:51
  Speaker 2: Morris as well, uh, and David Morris is like, get
• 1:38:55
  Speaker 2: the lock zone, kid, you always should have one.
• 1:38:58
  Speaker 1: They're free. Yeah, you can get them. Yeah, it's it's
• 1:39:02
  Speaker 1: so good, it's so good. And then he he's like
• 1:39:04
  Speaker 1: one spray in one nostril and that's it. That's it. Yeah,
• 1:39:07
  Speaker 1: it's like, yeah, just stand back. The way it plays
• 1:39:10
  Speaker 1: out is so good, so great.
• 1:39:11
  Speaker 2: And then shithead Steve grabs on and uses his little
• 1:39:15
  Speaker 2: stick to smash into.
• 1:39:17
  Speaker 1: He grabs onto the side of the car as they're
• 1:39:19
  Speaker 1: driving away. Yeah, and then and then she wakes up
• 1:39:22
  Speaker 1: right as he's like trying to get into the other
• 1:39:26
  Speaker 1: other window, and she MUSHes his face and then he
• 1:39:29
  Speaker 1: falls off of the side and it's like an amazing,
• 1:39:32
  Speaker 1: glorious scene. But we get this like super intense fucking
• 1:39:36
  Speaker 1: car chase where we're like he's got all of the
• 1:39:40
  Speaker 1: background in for he's got a cop with him, so
• 1:39:42
  Speaker 1: he's like kind of safe and there's like a bit
• 1:39:44
  Speaker 1: of relief, but they're being chased and like they're still
• 1:39:47
  Speaker 1: being chased by corrupt cops, and then a choice is
• 1:39:50
  Speaker 1: made by Officer Simms to sacrifice herself by driving directly
• 1:39:56
  Speaker 1: into Don Johnson and smashing him. Yeah. Yeah, and then
• 1:40:01
  Speaker 1: they get a police escort which is to the hospital,
• 1:40:04
  Speaker 1: which is awesome.
• 1:40:06
  Speaker 2: It's such a great way of being like, we're making
• 1:40:08
  Speaker 2: this situation.
• 1:40:09
  Speaker 1: So much worse.
• 1:40:10
  Speaker 2: It's over, We've lost, And it's such a great cap
• 1:40:15
  Speaker 2: to such a great climax, because the climax of the
• 1:40:19
  Speaker 2: movie is the like fighting all the shit and then
• 1:40:21
  Speaker 2: we get the relief of the knock zone. But then
• 1:40:24
  Speaker 2: we get this like little epilogue of like fuck, like
• 1:40:29
  Speaker 2: they're still in this fuck situation and it resolves itself
• 1:40:32
  Speaker 2: in the most realistic way, totally totally, and like it's.
• 1:40:38
  Speaker 1: Perfect when they arrive because they pull out and the
• 1:40:43
  Speaker 1: way this plays out, like in one shot, just like
• 1:40:46
  Speaker 1: they pull out. They they take her into a gurney
• 1:40:51
  Speaker 1: and take her away, and he then comes and rips
• 1:40:53
  Speaker 1: out with an axe. He rips out the like drive
• 1:40:57
  Speaker 1: so the DVR with yeah, he has it with him
• 1:41:00
  Speaker 1: so that it can't be like taken away as evidence,
• 1:41:03
  Speaker 1: and like he then just sits down in the waiting
• 1:41:06
  Speaker 1: room and waits and and and that's it. It's like
• 1:41:10
  Speaker 1: the credits.
• 1:41:11
  Speaker 2: Role, Yeah, and the and the what's it called?
• 1:41:13
  Speaker 1: The tire?
• 1:41:14
  Speaker 2: The last tire that's been popped is on fire as
• 1:41:18
  Speaker 2: he carries her into the hospital.
• 1:41:20
  Speaker 1: It's so over the top and glorious in an old
• 1:41:23
  Speaker 1: school action hero way, with the lowest and most realistic
• 1:41:26
  Speaker 1: of stakes, so that when it does happen, you're just
• 1:41:29
  Speaker 1: excited for it to happen, and you believe it because
• 1:41:32
  Speaker 1: you're willing to give it so much more faith than
• 1:41:34
  Speaker 1: you would like a dumb action movie, even though it's
• 1:41:38
  Speaker 1: pretty like ridiculous as well.
• 1:41:39
  Speaker 2: It's pretty ridiculous, and it's pretty ridiculous in a B movie,
• 1:41:43
  Speaker 2: low budget kind of way, made in a with like
• 1:41:46
  Speaker 2: a crew with cinema.
• 1:41:50
  Speaker 1: Yeah, a cool two hours and seven minutes.
• 1:41:53
  Speaker 2: Eleven minutes actually, but yeah, I mean, how.
• 1:41:57
  Speaker 1: Many Lucky pierres would you give it? Dude? I gotta
• 1:41:59
  Speaker 1: say this movie is ten out of ten Lucky Piers,
• 1:42:05
  Speaker 1: ten out of ten Lucky Piers. Aaron Pierre amazing, amazing.
• 1:42:09
  Speaker 1: I can't wait.
• 1:42:11
  Speaker 2: Yeah, totally unless it's Marvel and then I don't care.
• 1:42:15
  Speaker 2: But I would love to see Kaz was talking about
• 1:42:19
  Speaker 2: because what's his name?
• 1:42:23
  Speaker 1: What's the dude name? Who was Kang?
• 1:42:26
  Speaker 2: Who was in Creed three? Jonathan Majors has dropped out
• 1:42:31
  Speaker 2: of the biopic of Dennis Rodman because of the which
• 1:42:36
  Speaker 2: was never a good choice anyway. He was like, this
• 1:42:39
  Speaker 2: guy could be a fucking Dennis Rodman.
• 1:42:40
  Speaker 1: I was like, that would be awesome, dude. We would
• 1:42:43
  Speaker 1: you give it out of ten? I would give it
• 1:42:44
  Speaker 1: a ten out of ten Lucky Piers for sure, and
• 1:42:46
  Speaker 1: I would give the movie like a solid eight. I'd
• 1:42:49
  Speaker 1: give it an eight point five. Yeah, sure, follow us
• 1:42:53
  Speaker 1: at Lucky Piers. Would you give it, oh, ten out
• 1:42:55
  Speaker 1: of ten? You did an amazing job. There's more percent
• 1:42:59
  Speaker 1: on Instagram, at more Thirsty on Twitter, and guys, join
• 1:43:01
  Speaker 1: us on Patreon please, that's where all the action is.
• 1:43:03
  Speaker 1: We're we're doing all the We're doing the Thirsty for
• 1:43:06
  Speaker 1: Core right now. It's gonna be great, all right, see
• 1:43:08
  Speaker 1: next week. But mm hmmm,