Latest / Frightmares / Ep. 363 - Dead & Buried (1981)

Transcript

Ep. 363 - Dead & Buried (1981) · Frightmares

• 0:00
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:05
  Speaker 1: excessive foul language. Viewer discretion is advised enjoy the show.
• 0:49
  Speaker 2: Welcome back to Frightmar's podcast. I'm your host Austin Procter,
• 0:52
  Speaker 2: and joining me today for episode three sixty three is
• 0:55
  Speaker 2: my good friend Corey Johnson.
• 0:58
  Speaker 1: Hey, I don't I don't have a creative thing for
• 1:03
  Speaker 1: this one, just because it's it's hard to do one
• 1:06
  Speaker 1: for this because there's like.
• 1:09
  Speaker 2: No spoilers, right, Like it's like hard.
• 1:10
  Speaker 1: Yeah, yeah, it's it's difficult.
• 1:13
  Speaker 2: I totally understand that. Today, on another installment of Zombrewery Attack,
• 1:18
  Speaker 2: we're discussing our deep cut pick Dead and Buried from
• 1:20
  Speaker 2: nineteen eighty one, a movie that shows you who you
• 1:24
  Speaker 2: should never trust anyone in your life. That's that's what
• 1:27
  Speaker 2: I get from this movie. Don't trust anybody. So let's
• 1:30
  Speaker 2: see where this lands on the nightmare index. Fucking weather's
• 1:39
  Speaker 2: absolutely destroyed. I don't know why, but like my face
• 1:42
  Speaker 2: is so red, and I think it's because of the
• 1:44
  Speaker 2: constant changes of temperature in Florida. My god.
• 1:48
  Speaker 1: Yeah, and see here in nowhere place, Virginia. I took
• 1:55
  Speaker 1: a picture last night when I got home. I have
• 1:58
  Speaker 1: a I have a little thermometer in my kitchen to
• 2:02
  Speaker 1: measure the inside temperature forty eight point eight in my house.
• 2:09
  Speaker 2: Goddamn, yeah, it's cold. Speaking of cold, this is the
• 2:12
  Speaker 2: cold open. We're gonna talk about. Shit we recently watched. Yeah,
• 2:17
  Speaker 2: perfect segue there, But you been watching anything good? I
• 2:21
  Speaker 2: know you're planning to see Send Help tonight, which I
• 2:25
  Speaker 2: won't yeah, talk about with those spoilers, of course.
• 2:29
  Speaker 1: I'll start off with an old movie that I rewatched
• 2:32
  Speaker 1: because even though I don't think it's labeled as horror,
• 2:36
  Speaker 1: it's so horror parallel that I it like, I count it.
• 2:42
  Speaker 1: I watched Predator Predator the other day, like the original eighties. Yeah,
• 2:48
  Speaker 1: god damn it. That's a good fucking movie.
• 2:50
  Speaker 2: It's so charged by masculinity. But yeah, it's a pretty
• 2:55
  Speaker 2: it's pretty solid.
• 2:56
  Speaker 1: I'm fantastic. And then I also I also saw Bone Temple,
• 3:01
  Speaker 1: which I don't want to get too into because I'm
• 3:03
  Speaker 1: still jockeying for like a bonus episode with you to
• 3:06
  Speaker 1: do Bone Temple, So I don't want to get too
• 3:09
  Speaker 1: into it in this conversation. But that I mean, it's
• 3:14
  Speaker 1: it's super divided. You either absolutely fucking love it or
• 3:19
  Speaker 1: you're like it was all right, Like I haven't seen
• 3:22
  Speaker 1: anybody go I DomU that movie, but they're just like
• 3:25
  Speaker 1: it is alright, or like me and Jessica and we're
• 3:29
  Speaker 1: just like the fucking greatest movie of all time.
• 3:33
  Speaker 2: Yeah, that one needs a rewatch because of the mental
• 3:36
  Speaker 2: state I was in going into it.
• 3:38
  Speaker 1: Plus, yeah you were, you were having a tough day.
• 3:41
  Speaker 2: It was a rough day. Plus, but just how good
• 3:43
  Speaker 2: the first one was. I knew it would be hard
• 3:46
  Speaker 2: to match, and I still think it was great. It
• 3:48
  Speaker 2: just was completely It wasn't It wasn't what I expected,
• 3:51
  Speaker 2: And at this point with the twenty eight whatever franchise,
• 3:55
  Speaker 2: I should know I should have no expectations, Like there
• 3:58
  Speaker 2: should be no expectation, and because they're so wildly different,
• 4:03
  Speaker 2: and so.
• 4:04
  Speaker 1: The only thing I'll say about it is Jessica and
• 4:06
  Speaker 1: I walked out of the theater and I looked her
• 4:09
  Speaker 1: dead in her eyes, and I said, how fucking dare
• 4:13
  Speaker 1: Nia DaCosta make me think about the ethical implications of
• 4:18
  Speaker 1: killing zombies?
• 4:19
  Speaker 2: Right woman?
• 4:21
  Speaker 1: And like have a genuine moral like dilemma in my cell?
• 4:25
  Speaker 2: Right? It was?
• 4:27
  Speaker 1: It was. It was a really good movie.
• 4:29
  Speaker 2: Yeah, Ralph Fines killed it. Jack O'Connell, I think his
• 4:33
  Speaker 2: name has killed it, just visually striking the whole the soundtrack.
• 4:39
  Speaker 1: Fucking even fucking Alfie Williams, who barely did ship this movie,
• 4:44
  Speaker 1: even he was great. Every single person in this movie
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  Speaker 1: fucking slayed on multiple levels physically and figuratively.
• 4:54
  Speaker 2: And the needles drops they had in this uh and
• 4:57
  Speaker 2: this one were interesting because I don't I don't rememb
• 5:00
  Speaker 2: member there being any tracks like that in twenty eight years.
• 5:05
  Speaker 2: I'm pretty sure it was all score, but there were
• 5:07
  Speaker 2: some like, yeah, some heavy needle drops that really amped
• 5:11
  Speaker 2: up the movie. It's like, damn.
• 5:13
  Speaker 1: Okay, arguably the best part of the movie.
• 5:18
  Speaker 2: Yeah, that was a that was a really good aspect
• 5:20
  Speaker 2: of the movie. So let's see. I did mention I
• 5:24
  Speaker 2: saw Send Help, which is Sam Raimi's first R rated
• 5:28
  Speaker 2: horror movie in over twenty years. You know, Dragged Me
• 5:33
  Speaker 2: to Hell technically has an unrated release, but that was
• 5:36
  Speaker 2: after the PG thirteenth theatrical release, and even that was
• 5:39
  Speaker 2: two thousand and nine. Since seventeen years since, we've got
• 5:42
  Speaker 2: a horror man from this movie and didn't miss. He
• 5:46
  Speaker 2: does not miss when it comes to horror he took
• 5:49
  Speaker 2: two people on an island and made it horrifying, which
• 5:52
  Speaker 2: I don't know, it's so much more about the people
• 5:56
  Speaker 2: than it is what's on the island, because there could
• 5:58
  Speaker 2: be anything on that fucking eye island, but the tension
• 6:02
  Speaker 2: there could also.
• 6:02
  Speaker 1: Be nothing on the island, right, and it's all a metaphor.
• 6:06
  Speaker 2: Right, like you know, we're yeah. So it was incredible
• 6:10
  Speaker 2: what he was able to do with you know, two
• 6:13
  Speaker 2: people on an island. I mean, he did the same
• 6:14
  Speaker 2: thing with cabin or cabin in the woods, Jesus, evil Dad.
• 6:17
  Speaker 2: You know, a few people in a cabin in the woods.
• 6:20
  Speaker 2: That was it. So he is a fucking master of
• 6:23
  Speaker 2: taking such a simple premise and making it so good.
• 6:27
  Speaker 1: And even his PG. Thirteen Drag Me to Hell is
• 6:31
  Speaker 1: a fucking banger. Yeah, like he I mean, Sam Raimi
• 6:36
  Speaker 1: is Sam Raimie, Like he's when he's doing horror, he's
• 6:41
  Speaker 1: usually doing it pretty fucking good.
• 6:43
  Speaker 2: It was just nice to see him return to the
• 6:45
  Speaker 2: genre after so many years because a lot of the times,
• 6:49
  Speaker 2: not every time, but there are sometimes when uh, or
• 6:53
  Speaker 2: even later in a director's career, you know, George A. Romero,
• 6:57
  Speaker 2: his later stuff wasn't the greatest, but for him to
• 7:00
  Speaker 2: come back after such a long hiatus in the genre
• 7:03
  Speaker 2: and just come out with an absolute fucking as you
• 7:07
  Speaker 2: described the movie we're talking about today, Heater, I was
• 7:10
  Speaker 2: very impressive because it has currently on the letterbox, it
• 7:16
  Speaker 2: has a I gave it a four and a half.
• 7:19
  Speaker 2: It has a three point five out of five, which
• 7:21
  Speaker 2: is fucking crazy.
• 7:24
  Speaker 1: Yeah, for a quote unquote blockbuster horror. Yeah, it's that's
• 7:32
  Speaker 1: that's pretty good. That's that's genuinely pretty good.
• 7:35
  Speaker 2: This is Rachel McAdams like I've never seen before. She
• 7:40
  Speaker 2: was like, I don't know what's happening in January. I
• 7:44
  Speaker 2: don't understand. Every single horror movie I have seen in
• 7:47
  Speaker 2: theaters has been I think four stars are higher. It's
• 7:51
  Speaker 2: kind of crazy. Like this month has been fucking nuts.
• 7:54
  Speaker 2: It's been crazy.
• 7:56
  Speaker 1: I still have like a wee bit of ketchup to do,
• 7:59
  Speaker 1: but I think within the next week or so, I'll
• 8:01
  Speaker 1: be caught up with everything that is coming out that
• 8:04
  Speaker 1: came out in January at least.
• 8:06
  Speaker 2: Because even in February, I mean With Strangers Chapter three,
• 8:09
  Speaker 2: which I'm going to see Friday, which is not here.
• 8:11
  Speaker 1: Yeah, I'm gonna I'm gonna see it too. Do I
• 8:14
  Speaker 1: care as much about that one? No, But I think
• 8:16
  Speaker 1: at this point I will have seen all of them,
• 8:20
  Speaker 1: and all of them that went to theaters I will
• 8:23
  Speaker 1: have seen in theaters.
• 8:24
  Speaker 2: Hell.
• 8:24
  Speaker 1: Yeah, So it's it's just kind of like a thing.
• 8:27
  Speaker 2: Yeah, in February also has Dracula. You also have Cold Storage.
• 8:31
  Speaker 2: There's a lot of good shit coming out in February
• 8:33
  Speaker 2: as well. I oh god, Corey's falling.
• 8:38
  Speaker 1: Sorry, oh shit, it's running on low battery, and I
• 8:44
  Speaker 1: did not want the podcast to just randomly end.
• 8:49
  Speaker 2: Yeah, that's fair. So I so I watched Yes and Help,
• 8:52
  Speaker 2: and then today I'm actually going to see market Plier's
• 8:55
  Speaker 2: movie Iron Long. I don't I don't fucking I know
• 8:58
  Speaker 2: the name, I know the face. I don't think I've
• 9:00
  Speaker 2: ever seen any content from him. But it's got a
• 9:03
  Speaker 2: good rating and I'm gonna go see it just because
• 9:05
  Speaker 2: it's another horror movie in theaters. So I'll report back
• 9:08
  Speaker 2: on that later, along with Strangers Chapter three. But I
• 9:11
  Speaker 2: watched a movie that was done over to me by
• 9:13
  Speaker 2: AV Entertainment called The Twilight Zone. The movie what a
• 9:18
  Speaker 2: weird movie. Okay, I didn't realize this. The nineteen eighty
• 9:23
  Speaker 2: three nineties.
• 9:25
  Speaker 1: Oh eighty three. Yeah, the twilight Zone movie.
• 9:27
  Speaker 2: Yeah, yeah, the movie. I didn't I guess I should
• 9:30
  Speaker 2: have expected it would be an anthology, but I wasn't sure.
• 9:34
  Speaker 2: So it's four separate shorts. The first one was very
• 9:38
  Speaker 2: racially charged and there were a lot of slurs. I
• 9:41
  Speaker 2: was very uncomfortable. The second one was way too happy
• 9:45
  Speaker 2: for a Twilight Zone movie, and then three and then
• 9:48
  Speaker 2: three and four just fucking hit. So it was a
• 9:51
  Speaker 2: weird mashup of movies. But the directors that were involved
• 9:57
  Speaker 2: kind of blew me away because you have John Landis,
• 9:59
  Speaker 2: I mean, I can wear Wolf in London, Spielberg who
• 10:02
  Speaker 2: did segment two, Joe Dante who did segment three, and
• 10:05
  Speaker 2: then George Miller mad Max director did segment four. So
• 10:09
  Speaker 2: incredibly strong directors, and you can once I knew the directors,
• 10:12
  Speaker 2: I was like, oh, all these shorts make so much
• 10:14
  Speaker 2: more sense now. So that was an interesting one. I
• 10:18
  Speaker 2: ended up giving it a three point five because it
• 10:22
  Speaker 2: did exactly what I wanted from a segmented movie where
• 10:24
  Speaker 2: every short got better. So that was a nice upswing,
• 10:29
  Speaker 2: and a lot of famous people from the eighties were
• 10:31
  Speaker 2: in there too. And then this.
• 10:33
  Speaker 1: Week it's a it's a fun time for sure.
• 10:35
  Speaker 2: It's a fun Yeah.
• 10:36
  Speaker 1: I remember the first time I watched that. I was
• 10:38
  Speaker 1: in middle school.
• 10:40
  Speaker 2: Yeah, it's a very like I said, it's very strange,
• 10:42
  Speaker 2: but it's also really good. And then my cult movie
• 10:45
  Speaker 2: challenge for this week was JD's Revenge. It was Blackspoloitation week,
• 10:51
  Speaker 2: and let me just redo this synopsis because what a
• 10:55
  Speaker 2: just what a summary. So, although notorious New Orleans gangster
• 11:01
  Speaker 2: J D. Walker is shot and killed in the nineteen forties,
• 11:03
  Speaker 2: his spirit remains restless for three decades until a hypnotist
• 11:07
  Speaker 2: supernatural nightclub act allows him to take over the body
• 11:11
  Speaker 2: of a mild mannered law student and seek revenge on
• 11:13
  Speaker 2: those who got him killed. It was eight. Yeah, it
• 11:18
  Speaker 2: was a fucking trip this movie. You have to kind
• 11:22
  Speaker 2: of look past the very thin plot, but the third
• 11:25
  Speaker 2: act reveal was incredible and it was just it was
• 11:29
  Speaker 2: such a unique fucking premise. And I love a New
• 11:33
  Speaker 2: Orleans backdrop, and it was from nineteen seventy six, so
• 11:36
  Speaker 2: you have that seventies esthetic in New Orleans with a
• 11:39
  Speaker 2: very strong, you know, black black actors. It was just
• 11:44
  Speaker 2: so fucking good. I'm still working on my review for
• 11:47
  Speaker 2: that one because I am reviewing all the Cult movie
• 11:49
  Speaker 2: challenges in depth, but I ended up giving that one.
• 11:51
  Speaker 2: I'm in between at three point five and a four,
• 11:54
  Speaker 2: but it was a really interesting movie. I don't think
• 11:57
  Speaker 2: I'll see anything else like that, And this Colt movie
• 12:00
  Speaker 2: challenge is just broadening my scope of movies in general,
• 12:04
  Speaker 2: because even though all of them haven't worked fully for me,
• 12:07
  Speaker 2: I have seen so many things I wouldn't have seen otherwise.
• 12:10
  Speaker 2: I never heard of this movie. Don't think it ever
• 12:13
  Speaker 2: would have come across my radar because it's from a
• 12:15
  Speaker 2: very specific time because the seventies was full of exploitation
• 12:19
  Speaker 2: movies and this is when black exploitation was very prevalent.
• 12:22
  Speaker 2: So I recommend that one. It is actually funny enough.
• 12:25
  Speaker 2: I went to go see where it was streaming, and
• 12:28
  Speaker 2: the first movie on recently added for Shutter was JD's Revenge,
• 12:32
  Speaker 2: and I thought, wow, that's very convenient for me to
• 12:35
  Speaker 2: watch this movie. So it is on Shutter and to
• 12:38
  Speaker 2: be if you care to check out thoughts right, it's
• 12:42
  Speaker 2: just I'm thinking of movies and shutters like here you go,
• 12:45
  Speaker 2: because I don't. I try to avoid two be as
• 12:48
  Speaker 2: much as I can, just because ads can really fuck
• 12:50
  Speaker 2: up the flow of your movie enjoying experience. But I
• 12:56
  Speaker 2: think that's all I've got. I haven't watched much. This
• 12:58
  Speaker 2: is February two now, and we always do since I
• 13:02
  Speaker 2: have thirty one days of horror in October. Gabby gets,
• 13:05
  Speaker 2: you know, some rom coms and shit for February that
• 13:08
  Speaker 2: she picks. I watched Jane Air. Not a fan, don't care,
• 13:12
  Speaker 2: not my, not my From the opening shot, I told
• 13:15
  Speaker 2: Gabby this isn't gonna be my thing. It's a Victorian setting.
• 13:18
  Speaker 2: I'm very hit or miss on Victorian settings, and they
• 13:21
  Speaker 2: took way too much time getting together. I was like,
• 13:24
  Speaker 2: just smush faces and kiss already. The tension was there.
• 13:27
  Speaker 2: So Jane Air not my thing. But I'm also not
• 13:29
  Speaker 2: shocked it did star. Oh this last name always kills me.
• 13:34
  Speaker 2: Mia Wasakowski from Why Does She Ow? From Crimson Peak,
• 13:38
  Speaker 2: which is another Victorian era movie, but that's del Toro,
• 13:41
  Speaker 2: so it's completely different.
• 13:44
  Speaker 1: Yeah, no, that's that's Deltian.
• 13:46
  Speaker 2: Yeah, del Torrian. Yeah exactly, that's perfect. So that's all
• 13:50
  Speaker 2: I've watched. Let's move into the body count. So Dad
• 14:00
  Speaker 2: and Buried from nineteen eighty one, released on October ninth,
• 14:03
  Speaker 2: of that year in the US, righted R for mild
• 14:06
  Speaker 2: sex and nudity, severe violence and gore, mild profanity, mild alcohol,
• 14:11
  Speaker 2: drugs and smoking, and severe frightening and intense scenes. Coming
• 14:14
  Speaker 2: in at a very brisk one hour and thirty four minutes,
• 14:17
  Speaker 2: listed as a horror mystery directed by a guy named
• 14:20
  Speaker 2: Gary Sherman who hasn't done a lot, but he did
• 14:23
  Speaker 2: direct Vice Squad and Poultergeist three, which can textualizes Poultergeist
• 14:28
  Speaker 2: three so much more for me now because he also
• 14:32
  Speaker 2: did Dead and Buried. If Poultergeist three is a fun time,
• 14:35
  Speaker 2: it just doesn't fit into the Poltergeist universe, if you
• 14:38
  Speaker 2: want to say, but it takes place in a high rise.
• 14:40
  Speaker 2: It's a fun movie written by way too many people.
• 14:43
  Speaker 2: But here we are four people in total. Jeff Miller,
• 14:47
  Speaker 2: who only has one other credit for something called the
• 14:50
  Speaker 2: ABC After School Specials, so a little different there and genres,
• 14:55
  Speaker 2: and then Alex Stern this is the only thing he wrote.
• 14:57
  Speaker 2: But then coming in with the last two, here we
• 14:59
  Speaker 2: have Ronald Chussette, who also wrote a little movie you
• 15:03
  Speaker 2: might know called Alien, the Final Terror and Total Recall.
• 15:07
  Speaker 2: And then Dan O'Bannon who also wrote Alien, The Return
• 15:10
  Speaker 2: of the Living Dead, which we've covered on this podcast,
• 15:12
  Speaker 2: and Life Force, a Tobey Hooper movie that everyone should see,
• 15:17
  Speaker 2: composed by a man named Joe Rinzetti. He also composed
• 15:21
  Speaker 2: Vice Squad, Child's Play and Franken Hooker, which we've covered
• 15:24
  Speaker 2: on this show. Cinematography by Steven Poster, who did the
• 15:30
  Speaker 2: cinematography for Big Top, Peewee, Rocky Five, and Donnie Darko,
• 15:35
  Speaker 2: and then edited by Alan Balsam who edited Revenge of
• 15:39
  Speaker 2: the Nerds and Better Off Dead starring James Farantino as
• 15:43
  Speaker 2: Sheriff Dan Gillis, who did a lot of work in
• 15:47
  Speaker 2: TV of like seventy seven credits and all sort of
• 15:50
  Speaker 2: epistotic television. But he was He was in Bulletproof as
• 15:54
  Speaker 2: Captain Jensen, the Adam Sandler Damon Wayan's vehicle, that movie
• 15:59
  Speaker 2: which I've seen like one. I oh wow, yeah, it's
• 16:03
  Speaker 2: it's really no one. I don't think that no one
• 16:05
  Speaker 2: knows about that movie. Then we've got Melody Anderson as
• 16:07
  Speaker 2: Janet Gillis. She was in Flash Gordon as Dale Arden,
• 16:12
  Speaker 2: Jack Albertson's and this is the wildest credit in this movie,
• 16:15
  Speaker 2: Jack Albertson as William d. Jobs you might know him
• 16:19
  Speaker 2: from Willy Wonka and the Chocolate Factory, is Grandpa Joe.
• 16:23
  Speaker 2: Nancy Locke is Linda. She was in Pretty Woman as
• 16:26
  Speaker 2: Olsen's sister, and Lisa Blount as quote Girl on the
• 16:30
  Speaker 2: Beach Nurse Lisa. She was in the Prince of Darkness
• 16:33
  Speaker 2: as Catherine Danforth. Something else we've covered on this show.
• 16:37
  Speaker 2: Estimated budget of three million dollars with a worldwide box
• 16:41
  Speaker 2: office gross of nothing. I could find. Filmed in Mendocino, California,
• 16:46
  Speaker 2: which is shocking because it is an East coastsette movie
• 16:49
  Speaker 2: and it does not feel like California at all. You
• 16:52
  Speaker 2: can watch this on Prime, Pluto and Tuby. Listen to
• 16:56
  Speaker 2: the movies that came out around the same time, Escape
• 16:59
  Speaker 2: from New York, The Fox and the Hound, which I
• 17:02
  Speaker 2: have still never recovered from in my childhood blowout, I
• 17:07
  Speaker 2: have the Needle, which I don't know, but it's a
• 17:09
  Speaker 2: funny relation to what happens in this movie. Star Wars
• 17:13
  Speaker 2: Episode five, The Empire strikes Back Deadly, blessing an American
• 17:17
  Speaker 2: werewolf in London. Caligula and Halloween two pretty fucking solid
• 17:22
  Speaker 2: time to be seeing the movie.
• 17:24
  Speaker 1: That's a deep set.
• 17:26
  Speaker 2: And this is the best I am dB summary because
• 17:28
  Speaker 2: it's so short, and I hope no one else reads
• 17:31
  Speaker 2: more than this because it does not give anything away
• 17:34
  Speaker 2: like some of the other synopsises do, but it is
• 17:36
  Speaker 2: simply shan Or Sheriff Dan Gillis investigates eerie deaths in
• 17:41
  Speaker 2: a sleepy coastal town. Ten out of ten IMDb seze.
• 17:44
  Speaker 1: Okay, so if you watch this on twob do your
• 17:49
  Speaker 1: absolute best to not read the synopsis.
• 17:52
  Speaker 2: It gives more away, doesn't it.
• 17:55
  Speaker 1: It gives the movie away? Oh what real?
• 18:00
  Speaker 2: Ap? Oh? No, do you do? You have the two
• 18:03
  Speaker 2: b app Yeah? Let me uh, let me see, yeah.
• 18:06
  Speaker 1: Pull it up real quick, I'll fill the dead air
• 18:08
  Speaker 1: boom boo boo boo boo boo boop. No, but for real,
• 18:12
  Speaker 1: it it gives away the entire movie. However, the way
• 18:16
  Speaker 1: the movie does it, I'm like, Okay, that's fine, Like
• 18:21
  Speaker 1: even though I know, like, and they give you what
• 18:24
  Speaker 1: the twist is at the very beginning.
• 18:26
  Speaker 2: Anyway, Yeah, but okay, still there was still there's there's
• 18:31
  Speaker 2: still some to this that they didn't reveal, which is good.
• 18:33
  Speaker 2: But yeah, there's because at thirty six minutes you get
• 18:36
  Speaker 2: that kind of first peek behind the curtain when we'll
• 18:39
  Speaker 2: get to it. But yeah, that's more than I would
• 18:41
  Speaker 2: want to know. So let's roll into the autopsy. Okay,
• 18:47
  Speaker 2: don't play the movie to be Jesus started playing the movie,
• 18:51
  Speaker 2: all right, Corey. So first time watch for you, second
• 18:54
  Speaker 2: time watch for me. Although I watched it seven years
• 18:57
  Speaker 2: ago and only saw that my my rating was forced
• 19:00
  Speaker 2: and that's why it was picked for this movie. Overall thoughts,
• 19:02
  Speaker 2: what do you got?
• 19:04
  Speaker 1: I hated it? No.
• 19:10
  Speaker 3: Uh so, you know I've been talking on the last
• 19:16
  Speaker 3: handful of episodes that I've been been on about you
• 19:20
  Speaker 3: know how sometimes a movie just hits like it's right time,
• 19:25
  Speaker 3: right atmosphere, right mindset, It just it.
• 19:29
  Speaker 1: On every level. For me, this movie fucking worked. I
• 19:33
  Speaker 1: had so much fun with this movie. It's it's funny
• 19:37
  Speaker 1: though that you said this doesn't look like a California movie,
• 19:42
  Speaker 1: because as I was watching the opening sweeping shots, I
• 19:47
  Speaker 1: was like, is this the fucking beach from Greece?
• 19:50
  Speaker 2: It's not.
• 19:50
  Speaker 1: Oh, they're they're like they're like five hundred miles away
• 19:53
  Speaker 1: from each other. But I was like, this looks like
• 19:55
  Speaker 1: the fucking beach from Greece. Okay, but no this. I
• 20:01
  Speaker 1: really appreciated what this movie did. It felt like the
• 20:08
  Speaker 1: longest Twilight Zone episode ever, fair but in the best way. Okay,
• 20:16
  Speaker 1: and we'll get into it. But like I like even
• 20:18
  Speaker 1: the things that I was like, Wow, that's kind of corny. Ah,
• 20:22
  Speaker 1: that's that's a little cheesy in the context of what
• 20:26
  Speaker 1: was going on, for me, it worked. And I'm gonna
• 20:29
  Speaker 1: preface everything in this episode that I'm gonna say is
• 20:33
  Speaker 1: this is for me. I did two dabs before I
• 20:37
  Speaker 1: watched it, and then positive the halfway point and did
• 20:41
  Speaker 1: another dab, and the entire journey of this movie was
• 20:46
  Speaker 1: just absolutely pleasant for me. There were things that I
• 20:49
  Speaker 1: there were things that I know for a fact weren't
• 20:54
  Speaker 1: probably intended to be comedic, that I was losing my
• 21:00
  Speaker 1: shit over.
• 21:01
  Speaker 2: I'm very excited to hear those because I feel like
• 21:04
  Speaker 2: they were definitely trying to play it straight in this movie.
• 21:08
  Speaker 2: So overall thoughts, for me, I think this is a
• 21:11
  Speaker 2: true gym that has not talked about nearly enough. You
• 21:13
  Speaker 2: have a small town with a slow burned descent into madness,
• 21:18
  Speaker 2: a heavy influence of mystery, and a dash of thriller
• 21:21
  Speaker 2: thrown in as well. Strong performances fun effects and an
• 21:24
  Speaker 2: engaging story are the driving force behind this masterclass of tension.
• 21:29
  Speaker 2: That is my opinion. So the setup here is pretty,
• 21:34
  Speaker 2: I mean fucking pretty intense if you ask me, because
• 21:39
  Speaker 2: right away there was a there was a sense of
• 21:42
  Speaker 2: kind of like melancholy. You have this small town backdrop,
• 21:45
  Speaker 2: the soft piano, the opening on the beach, it all
• 21:48
  Speaker 2: felt kind of somber, like something bad had just happened
• 21:52
  Speaker 2: or something bad was about to happen, and I was right, So.
• 21:57
  Speaker 1: So okay, it's really funny that you say that, because
• 22:01
  Speaker 1: I was watching this opening crawl and you say it
• 22:06
  Speaker 1: feels like something bad just happened. And the way I
• 22:10
  Speaker 1: felt like this opening crawl was it felt like the
• 22:15
  Speaker 1: end of a movie, like that final transition out. And
• 22:19
  Speaker 1: then it opens on a freeze frame ye where the
• 22:25
  Speaker 1: normal inverse is it ends on a freeze frame, and
• 22:28
  Speaker 1: thought twist it ends on it ends on a freeze
• 22:31
  Speaker 1: frame too, which I fucking love. It's one of my
• 22:35
  Speaker 1: favorite tropes because it's absolutely zero effort and if done correctly,
• 22:41
  Speaker 1: it's always fucking cool. So you get this opening crawl
• 22:46
  Speaker 1: and it opens on a fucking still and I'm like,
• 22:49
  Speaker 1: this feels like the end of a movie right now,
• 22:52
  Speaker 1: like what's going on? So for you to say it
• 22:54
  Speaker 1: feels like something bad just happened, it's the end of
• 22:57
  Speaker 1: a movie where nothing got resolved. And I'm like, all right,
• 23:00
  Speaker 1: this feels fucking cool. It's and that's what leads it
• 23:03
  Speaker 1: into like the kind of Twilight Zony bit. Yeah, is
• 23:06
  Speaker 1: because it just automatically feels off. Yeah, I'm not like,
• 23:12
  Speaker 1: not necessarily like there's something wrong, but like there's just
• 23:15
  Speaker 1: something about this that just it's not on the level
• 23:19
  Speaker 1: and I can't explain it yet, but it's not on
• 23:21
  Speaker 1: the level.
• 23:21
  Speaker 2: Yeah, And and we get that answer to it, did
• 23:25
  Speaker 2: something happen or will something happen? Because something happens very quickly,
• 23:30
  Speaker 2: and I.
• 23:30
  Speaker 1: Think I think it the eight minute mark, Yeah.
• 23:33
  Speaker 2: Very quickly, Because it did seem like a softcore porna
• 23:37
  Speaker 2: was about to begin. When Lisa met Freddy on the beach,
• 23:40
  Speaker 2: I was like.
• 23:41
  Speaker 1: I was about to text you and tell it and
• 23:43
  Speaker 1: ask if you had me watching softcore port yeah, because
• 23:46
  Speaker 1: he's just taking pictures of birds.
• 23:49
  Speaker 2: And then Lisa pops up, who is just fucking just
• 23:52
  Speaker 2: just pure eighties goddess.
• 23:54
  Speaker 1: And yeah, it got to her face and I said
• 23:58
  Speaker 1: out loud. Now had to whisper it because Jessica was
• 24:01
  Speaker 1: already asleep, and I was like, holy.
• 24:02
  Speaker 2: Bangs, Yeah, like bangs, man, she is she's you know.
• 24:07
  Speaker 2: And then she's like, am I pretty enough to be
• 24:08
  Speaker 2: a model? So he starts taking pictures of her, which
• 24:11
  Speaker 2: is kind of funny given the fact that the town
• 24:16
  Speaker 2: is taking pictures of the people that they're killing. So
• 24:18
  Speaker 2: I thought that was a fun way to start it
• 24:20
  Speaker 2: by having her picture taken. And it was all a ploy.
• 24:24
  Speaker 2: You had all of these other townsfolk guy assumed ready
• 24:27
  Speaker 2: to strike. They attacked Freddy and started taking pictures of
• 24:31
  Speaker 2: him with this god that one guy's set up with
• 24:34
  Speaker 2: the four fucking lights on. It was insane, and yeah,
• 24:38
  Speaker 2: that was that was hilarious. And then they just string
• 24:40
  Speaker 2: him to a pole on the beach with fishing that's
• 24:42
  Speaker 2: light him on fire. What an opening? Because what I mean,
• 24:47
  Speaker 2: did you have any thoughts? Because my brain was just
• 24:50
  Speaker 2: I didn't know what to think. I was like, what
• 24:51
  Speaker 2: the fuck happened?
• 24:53
  Speaker 1: So so, like I told you before we got recording,
• 24:58
  Speaker 1: this movie just had me gripped, like it had me
• 25:01
  Speaker 1: in a choke. Called the entire movie because at first
• 25:04
  Speaker 1: I was like, Okay, Like, I know, this is supposed
• 25:07
  Speaker 1: to be a horror movie, so either both of these
• 25:10
  Speaker 1: people are going to die or this woman is going
• 25:12
  Speaker 1: to kill this man, like like, those are the only
• 25:15
  Speaker 1: two things that's gonna happen. And then you have like
• 25:18
  Speaker 1: a mob of people that just show up, which, by
• 25:22
  Speaker 1: the way, is one of my favorite parts about this
• 25:25
  Speaker 1: movie because it it will get into it. It happens
• 25:28
  Speaker 1: like multiple times, but truly and literally out of nowhere. Yeah,
• 25:34
  Speaker 1: these people appear and each time it gets more and
• 25:40
  Speaker 1: more sinister. They just fucking materialize out of the shadow
• 25:45
  Speaker 1: they do, and then it's so fucking good, and it
• 25:49
  Speaker 1: makes it so eerie because it's not like a single
• 25:53
  Speaker 1: spooky thing in the shadows. It's like, Yo, there's a
• 25:58
  Speaker 1: mob coming after you, like Frankenstein's monster style pitchforks, torches.
• 26:04
  Speaker 1: Literally they're lighting you on fire. Yeah, getting lit on
• 26:08
  Speaker 1: fire on the beach.
• 26:09
  Speaker 2: And since you talked about it, I'll just mention it
• 26:11
  Speaker 2: now because it just seems so relevant. But especially the
• 26:15
  Speaker 2: segment where that family comes through town, they crash into
• 26:19
  Speaker 2: that pole, take refuge in the house, It is such
• 26:22
  Speaker 2: a masterclass of tension. They see the light on but
• 26:25
  Speaker 2: then it quickly turns off. They go inside, there's no power,
• 26:28
  Speaker 2: and then they're just stalked by this shadow outside of
• 26:31
  Speaker 2: the house that we see they're oblivious to, and then
• 26:35
  Speaker 2: out of nowhere, just a gaggle of townsfolk come in
• 26:39
  Speaker 2: and try to rip this family apart. It is so good.
• 26:42
  Speaker 1: So since you brought up that point, I have I
• 26:46
  Speaker 1: have some notes. One of my favorite lines in the
• 26:51
  Speaker 1: entire movie is when they're in that house and the
• 26:55
  Speaker 1: wife is like, they're fixing the fuses in the basement,
• 27:00
  Speaker 1: and I'm just like, ma'am, what about this situation has
• 27:05
  Speaker 1: led you to that exact conclusion, because everything up until
• 27:10
  Speaker 1: this moment right now says the opposite. And that that
• 27:17
  Speaker 1: sequence also like solidified my opinion of the way this
• 27:23
  Speaker 1: movie uses like offensively bright white light and shadow darkness
• 27:34
  Speaker 1: as a storytelling mechanic and not just an effect to
• 27:40
  Speaker 1: blur some special effects. Makes it really fucking cool. Like
• 27:46
  Speaker 1: I was sitting there and just like wow, I know what,
• 27:49
  Speaker 1: Like I know from like a mechanical standpoint, why they're
• 27:53
  Speaker 1: doing this. It's the eighties, I know where the technology
• 27:57
  Speaker 1: is at this point. But to go okay, so we
• 28:00
  Speaker 1: have to do this to make this work. So how
• 28:03
  Speaker 1: can we make this a part of what's happening in
• 28:07
  Speaker 1: the story, which is why you get all these people
• 28:11
  Speaker 1: materializing from the shadows and they're creeping with a silhouette background.
• 28:16
  Speaker 1: It's so fucking crispy. It's so good.
• 28:20
  Speaker 2: Yeah, that shot specifically too, in that same scene where
• 28:24
  Speaker 2: the family runs to the car and that guy with
• 28:27
  Speaker 2: the four light camera rig is behind them illuminating their
• 28:31
  Speaker 2: backs but silhouetting them in the front, was just such
• 28:34
  Speaker 2: an incredible image that it will stick with me for
• 28:38
  Speaker 2: so long. So the use of light and dark in
• 28:41
  Speaker 2: this movie, I felt was was very very effective. There's
• 28:44
  Speaker 2: a lot of cool imagery and shit in this So
• 28:48
  Speaker 2: I did want to mention too because I forgot to
• 28:51
  Speaker 2: mention him in the credits. But we also get a
• 28:54
  Speaker 2: baby Robert England in this. I don't think I've seen
• 28:57
  Speaker 2: him in anything pre Nightmare on Elm Street. But Robert
• 29:00
  Speaker 2: England is he the kid? He was? No, Robert England
• 29:03
  Speaker 2: was the like the uh not mechanic. He was the
• 29:07
  Speaker 2: fucking tow truck driver that was pulling the car out
• 29:10
  Speaker 2: of the water. Oh shit, yeah, yeah, he's he's He's
• 29:15
  Speaker 2: in this movie. He just has such a baby face
• 29:17
  Speaker 2: you just don't recognize him. And also Potter's bluff is
• 29:21
  Speaker 2: the Illis fucking town name. I've heard it's I love.
• 29:25
  Speaker 1: Yeah, It's it's pretty fucking good. It's good because it
• 29:29
  Speaker 1: it's it's it is truly innocuous. It's not like it's
• 29:33
  Speaker 1: not step forty in in the fact that like it
• 29:36
  Speaker 1: sounds like too good of a place or too spooky
• 29:40
  Speaker 1: of a place.
• 29:41
  Speaker 2: It sounds real. It legitimately sounds real. So you do
• 29:46
  Speaker 2: get introduced to Sheriff Gillis pretty quickly. He's trying to
• 29:48
  Speaker 2: solve the strange murder that happens in the beginning of
• 29:51
  Speaker 2: the movie because they take George's body because his name
• 29:55
  Speaker 2: is George, even though you know he's like I'll be
• 29:57
  Speaker 2: called Freddy, but his name is actually George. And I
• 30:01
  Speaker 2: guess the townspeople because at this point I don't really
• 30:03
  Speaker 2: know even though I saw it, I don't remember anything.
• 30:05
  Speaker 2: I assume the townsfolk had placed him in this car
• 30:08
  Speaker 2: that they were like staging as how he died, and
• 30:12
  Speaker 2: it's very You're like, why are we Why are we
• 30:14
  Speaker 2: staging his death? I don't understand. Why don't you just
• 30:17
  Speaker 2: bury him. He was a guy coming through the like
• 30:19
  Speaker 2: coming through town. He didn't live there. It just didn't
• 30:22
  Speaker 2: make sense as to why they would display his body
• 30:26
  Speaker 2: and not dump it somewhere. But I guess my speculation
• 30:31
  Speaker 2: with this was to keep the share of busy doing
• 30:35
  Speaker 2: what he was doing investigating all of this, so the
• 30:38
  Speaker 2: mortician could do what he was doing with all of
• 30:41
  Speaker 2: the voodoo and the black magic.
• 30:44
  Speaker 1: So it's it's so funny that you say that, because
• 30:50
  Speaker 1: for ninety percent of the movie, Dobbs was my favorite character.
• 30:56
  Speaker 1: I fell in love with his character. This just curmudgeoned, old,
• 31:04
  Speaker 1: slick talking city working mortician. He's been there forever and he's.
• 31:13
  Speaker 2: Just croched done. Yeah, he's crotchety. He's so crotchy, but every.
• 31:18
  Speaker 1: Line that comes out of him is just slick talking
• 31:22
  Speaker 1: gold like you're excited. I fucking loved his character. I
• 31:32
  Speaker 1: have I have multiple notes about Dobbs. So first one
• 31:38
  Speaker 1: is Dobbs is my favorite character. Uh, and then uh,
• 31:44
  Speaker 1: later on in the movie, Dobbs is the master calling
• 31:48
  Speaker 1: it at fifty eight fifty eight, Okay, the next line
• 31:52
  Speaker 1: under is when Gillis is confronting him about something and
• 31:58
  Speaker 1: he's given like this whole feel and he goes cosmetologists
• 32:03
  Speaker 1: give birth, I make souvenirs, and I'm like, oh, that's
• 32:08
  Speaker 1: a fucking cold ass line. Like there's no way he
• 32:12
  Speaker 1: can be the master because like he cares about his
• 32:15
  Speaker 1: job too much. He wants to give the family something
• 32:19
  Speaker 1: to take away. So I say in my notes, I'm
• 32:24
  Speaker 1: sorry for accusing you, Dobbs.
• 32:28
  Speaker 4: And then my last note that I made is wait,
• 32:32
  Speaker 4: it is Dobbs.
• 32:35
  Speaker 2: So you you didn't suspect him, and then you did,
• 32:37
  Speaker 2: and then you went and then you went back to
• 32:39
  Speaker 2: or wow, okay it was.
• 32:44
  Speaker 1: It was a huge flip flop, and I this is
• 32:48
  Speaker 1: why I had so much fun with the movie, because
• 32:51
  Speaker 1: very rarely does a movie like actually take me with it,
• 32:55
  Speaker 1: and even if I think I figured it out, does
• 32:57
  Speaker 1: it change my mind?
• 32:59
  Speaker 2: That's True's dialogue and it's in Okay, So since you
• 33:02
  Speaker 2: brought that up, I wrote down some similar notes, especially
• 33:07
  Speaker 2: on Dobbs, where I thought that he was behind all
• 33:11
  Speaker 2: of this, because Gillis is catching on kind of quickly,
• 33:14
  Speaker 2: but then he's dismissed by Dobbs. But it gave me
• 33:18
  Speaker 2: the impression that maybe he's in on something in the town.
• 33:22
  Speaker 2: I just don't know what, especially when he's mad that
• 33:26
  Speaker 2: gillis berries George who was Freddie in a casket that
• 33:30
  Speaker 2: was sealed because he doesn't get to work his magic.
• 33:33
  Speaker 2: And I'm like, I'm taking that like literally as in magic,
• 33:37
  Speaker 2: black magic, voodoo. I don't think you mean metaphorically is
• 33:42
  Speaker 2: and let me work my magic and make them pretty.
• 33:44
  Speaker 2: But then also like you, I felt like, okay, it's
• 33:47
  Speaker 2: not him towards the end when you just mentioned and
• 33:51
  Speaker 2: then it was, and I was like, this, motherfucker, I
• 33:54
  Speaker 2: knew it. And then I and then I saw myself.
• 33:57
  Speaker 1: And speaking of the voodoo ism angle, so I had
• 34:02
  Speaker 1: I because I read the synopsis on twob and I
• 34:07
  Speaker 1: was like, okay, I still have no idea what this
• 34:10
  Speaker 1: is going to be. So I went into this with
• 34:12
  Speaker 1: absolutely like zero knowledge. I had negative knowledge. I had
• 34:17
  Speaker 1: to pay attention to gain knowledge to then get.
• 34:21
  Speaker 2: Caught up yep.
• 34:23
  Speaker 1: And I did not suspect voodooism, which once I saw
• 34:28
  Speaker 1: the book, I was like, all right, there's some racism there.
• 34:31
  Speaker 1: But as soon as I saw the book and the knife,
• 34:34
  Speaker 1: I made the note of announce a satanic panic movie.
• 34:37
  Speaker 2: Fuck, yeah, that's crazy, because what's even funnier right at
• 34:45
  Speaker 2: around fifty five minutes, Janet, who is Gillis's wife, uh
• 34:50
  Speaker 2: he or sorry, she has the voodoo dump of Lower
• 34:56
  Speaker 2: where she explains the plot of the movie that we're
• 34:59
  Speaker 2: watching to this class of children and you're like, but
• 35:02
  Speaker 2: is that what's going on here? Are we?
• 35:04
  Speaker 1: So okay? So okay, I have a note Janice is
• 35:11
  Speaker 1: a walking dead thing calling it now at fifty five ten.
• 35:17
  Speaker 2: Yes, but I love the Lord dumb because in in
• 35:21
  Speaker 2: uh like zombie lore, it does involve witchcraft, and it
• 35:26
  Speaker 2: does involve black magic reanimating people who are essentially slaves
• 35:30
  Speaker 2: to their masters, and in order for the master to
• 35:33
  Speaker 2: attain control of the souls that that are his undead,
• 35:36
  Speaker 2: he has to cut out their heart and keep it hidden.
• 35:39
  Speaker 2: So like again, she's literally explaining the events that unfold
• 35:43
  Speaker 2: in this movie, which were crazy to do it that
• 35:46
  Speaker 2: late in the game and then have it be what's
• 35:48
  Speaker 2: actually going on? And then you find out Janet was
• 35:52
  Speaker 2: doctor you know, Dobbs, his first creation, so she's been
• 35:55
  Speaker 2: an undead thing this whole fucking, this whole fucking movie, yeah,
• 36:00
  Speaker 2: which is wild, and Dobbs or Gillis cannot wrap his
• 36:04
  Speaker 2: head around the fact that his wife is dead and
• 36:07
  Speaker 2: it was a gut punch when she was just kept saying,
• 36:09
  Speaker 2: bury me, bury me, I'm dead and then he buries
• 36:12
  Speaker 2: his own wife. Oh my god. But when do we
• 36:14
  Speaker 2: think Gillis got turned into one of the undead because
• 36:18
  Speaker 2: I has he been undead this whole Well, no, he
• 36:21
  Speaker 2: hasn't been undad this whole time.
• 36:23
  Speaker 1: I'm thinking no, no, I So I genuinely think we're
• 36:28
  Speaker 1: gonna go Truman.
• 36:29
  Speaker 5: Show esque because Dobbs says, I can put whatever thoughts
• 36:39
  Speaker 5: I want into them.
• 36:41
  Speaker 1: Yes, I gave Janet love fear, YadA, YadA, YadA. So
• 36:47
  Speaker 1: I'm thinking this entire movie, everyone that is in the
• 36:51
  Speaker 1: town as the movie begins is already dead except for
• 36:56
  Speaker 1: doms interests, and that's why they're killing new people. And
• 37:00
  Speaker 1: it's only new people that come in.
• 37:02
  Speaker 2: That's true. That that is that is very true because
• 37:04
  Speaker 2: they're killing And then it goes and then it goes
• 37:08
  Speaker 2: from Truman Show to Shutter Island, and Dobbs just lets
• 37:13
  Speaker 2: Gillis run this fucking imaginary luke because that's what gives
• 37:19
  Speaker 2: him purpose as zombie like that, because everybody has to
• 37:23
  Speaker 2: have their own little purpose, and that totally tracks with
• 37:27
  Speaker 2: the fucking movie starting on a still frame and ending
• 37:29
  Speaker 2: on a still frame gave me this kind of cyclical
• 37:33
  Speaker 2: plot happening where it's just he's doing this over and
• 37:37
  Speaker 2: over and over. Because Dobbs also mentions I liked our
• 37:40
  Speaker 2: little game of chess, you know, like in the context
• 37:44
  Speaker 2: of the movie, implying.
• 37:45
  Speaker 1: It could be implying it could be replayed.
• 37:49
  Speaker 2: Exactly, it's a game, right, Yeah, so it's just like,
• 37:52
  Speaker 2: oh my god. But that whole ending sequence with Dobbs
• 37:59
  Speaker 2: and Gillis and then he just clicks on all these
• 38:02
  Speaker 2: projectors which are showing all of his creations fucking know
• 38:06
  Speaker 2: what an insane reveal. It was fucking crazy.
• 38:11
  Speaker 1: I thought to myself. I was like, huh, this is
• 38:13
  Speaker 1: a weird matrix reference.
• 38:17
  Speaker 2: Oh my god, it is. It is like weirdly kind
• 38:20
  Speaker 2: of matrix coded in a sense, I guess.
• 38:24
  Speaker 1: I was like, this feels like the Architects scene.
• 38:26
  Speaker 4: Yeah, it kind of, except it was way before. So yeah,
• 38:30
  Speaker 4: Wachowski's You've got some names. Oh yeah, so that makes
• 38:36
  Speaker 4: a lemix the most sense. Yeah, because they are only
• 38:38
  Speaker 4: killing new people. They're killing people out of towners, people
• 38:41
  Speaker 4: who don't live there, So that way, you know, Dobbs
• 38:45
  Speaker 4: can build this undead army and just do as he pleases.
• 38:49
  Speaker 1: For what, for why, I don't know.
• 38:52
  Speaker 2: I guess things really changed after he went to that
• 38:55
  Speaker 2: chocolate factory with Charlie. And it's a very fair reaction,
• 38:59
  Speaker 2: I feel, But yeah, I I and then going back
• 39:03
  Speaker 2: to kind of the beginning, uh, because I figured we
• 39:06
  Speaker 2: would jump around. But that's fine. George actually survived the
• 39:11
  Speaker 2: incident that he you know, the the fake well, the burning,
• 39:14
  Speaker 2: I guess, although he had fucking you know, he was
• 39:16
  Speaker 2: completely burnt to a crisp. But then Lisa coming in
• 39:19
  Speaker 2: and posing as a nurse and just stabbing him right
• 39:24
  Speaker 2: through the eye with a giant needle was one of
• 39:26
  Speaker 2: the most metal kills from the eighties. I don't know if,
• 39:30
  Speaker 2: I mean, I assume that would kill you because you're
• 39:32
  Speaker 2: probably poking through the eye and into the brain. But
• 39:35
  Speaker 2: I don't know that I would would just that alone
• 39:38
  Speaker 2: kills your.
• 39:39
  Speaker 1: Eye is your eye is like ever so slightly below
• 39:43
  Speaker 1: your brain. You would have to angle.
• 39:44
  Speaker 2: It upwards, and she just kind of, yeah, she just
• 39:47
  Speaker 2: kind of come in pretty pretty low. But that was
• 39:50
  Speaker 2: a great fucking kill.
• 39:52
  Speaker 1: And honestly, your eye, the muscles in your eye when
• 39:57
  Speaker 1: you're thrashing around, would probably break the needle off and
• 40:02
  Speaker 1: not allow it to go any further. Oh but yeah, no,
• 40:04
  Speaker 1: it's disgusting, but probably it would not kill.
• 40:08
  Speaker 2: You, okay, but it was a great way to actually
• 40:12
  Speaker 2: kill him. And then of course at thirty six minutes
• 40:14
  Speaker 2: you get a plot twist because George has come back
• 40:18
  Speaker 2: now going by his uh fake name as Freddy, and
• 40:23
  Speaker 2: he's told to go help that family that comes into
• 40:26
  Speaker 2: town getting some gas, and of course that's when we
• 40:28
  Speaker 2: have that just incredible sequence of the family driving through
• 40:32
  Speaker 2: all the fog. And I love the use of fog
• 40:34
  Speaker 2: in this movie. Or I'm assuming it was just a
• 40:36
  Speaker 2: bunch of smoke machines, but it so.
• 40:40
  Speaker 1: One of my other notes is, like, man, that's a
• 40:43
  Speaker 1: lot of carcinogens, because you know whatever they're using for
• 40:48
  Speaker 1: that is it's not just some like gly Liken eight
• 40:51
  Speaker 1: that they're put like syrup in a fog machine, like
• 40:55
  Speaker 1: they're having a chemically create that mode.
• 40:58
  Speaker 2: I assume. I I think there's something in the trivia
• 41:01
  Speaker 2: about it, which I'll get to. But if if they
• 41:04
  Speaker 2: did happen to just find all of that fog for free,
• 41:06
  Speaker 2: good for them, because that's great, but it just gave
• 41:09
  Speaker 2: the it was gave it such an atmosphere of this
• 41:13
  Speaker 2: pound feels wrong, like you said, something feels low and
• 41:16
  Speaker 2: it's uncanny.
• 41:18
  Speaker 1: And you've left out arguably the most atmospheric kill, the
• 41:24
  Speaker 1: second kill of the drunk sailor man. Oh yeah, just
• 41:30
  Speaker 1: walking out on the pier hiccuping and say it, I've
• 41:35
  Speaker 1: always been a my life. You don't go sailing, mister.
• 41:42
  Speaker 1: He's hilarious. And they come out and then they just
• 41:47
  Speaker 1: fut and it's so I realized all of the kills
• 41:53
  Speaker 1: have very exclusive head trauma, correct, so, which so Dobbs
• 42:01
  Speaker 1: can do more things, which is fucking phenomenal. And I
• 42:04
  Speaker 1: didn't even realize until the very end of the movie
• 42:07
  Speaker 1: because I was thinking about I was like, hmmm, who
• 42:10
  Speaker 1: would be one of who would be my favorite characters?
• 42:12
  Speaker 1: And it's a tie between Dobbs and the drunk sailor
• 42:17
  Speaker 1: guy because he's only there for like a moment and
• 42:19
  Speaker 1: then when he's he's driving some other character around, the hitchhiker. Yeah,
• 42:27
  Speaker 1: the hitchhiker. There we go, so but he's he's only
• 42:32
  Speaker 1: in the movie for a brief second, but he's so
• 42:35
  Speaker 1: hilarious That's one of those things where I was like,
• 42:37
  Speaker 1: I don't think this is intended to be funny. I
• 42:39
  Speaker 1: think this guy is truly trying to straight act a
• 42:43
  Speaker 1: drunk and he's given his best, which, Okay, I'm gonna
• 42:47
  Speaker 1: go into this now, I'm gonna tangent ever so slight.
• 42:50
  Speaker 2: Yes.
• 42:52
  Speaker 1: One of my favorite things about this movie is the characters,
• 42:57
  Speaker 1: because it feels like every actor in this movie decided
• 43:01
  Speaker 1: in the best possible way that they were going first
• 43:04
  Speaker 1: draft of their character. And what I mean by that
• 43:07
  Speaker 1: is when you're when you're writing drafts of anything, your
• 43:11
  Speaker 1: first draft is always the most creative and the most outlandish,
• 43:15
  Speaker 1: and then you whittle it down into the into like
• 43:18
  Speaker 1: the few things right that do work all together. But
• 43:23
  Speaker 1: it feels like every character went, all right, how's this
• 43:26
  Speaker 1: character gonna go this? And they stuck with it, and
• 43:30
  Speaker 1: it made certain interactions super fucking hilarious. Like so you
• 43:37
  Speaker 1: get the one woman who is alluded to be the
• 43:42
  Speaker 1: ringleader at the beginning, the one waitress in the beginning
• 43:46
  Speaker 1: beginning of the movie. You see her come up and
• 43:49
  Speaker 1: you she lights the match to light George on the
• 43:52
  Speaker 1: fire yea, and then they give her this big like
• 43:54
  Speaker 1: hair reveal and stuff, and you're like, all right, that's
• 43:57
  Speaker 1: fucking spooky. And then you get these characters talking to
• 44:00
  Speaker 1: the diner and you hear a voice and the camera
• 44:03
  Speaker 1: pans up and it's her and there's just like really
• 44:05
  Speaker 1: dramatic hit of orchid, like yeah, and I'm like, we
• 44:11
  Speaker 1: saw our face already. That's not spooed. Just in case
• 44:16
  Speaker 1: you forgot, yeah, just in case you forgot eighty five
• 44:20
  Speaker 1: seconds ago.
• 44:22
  Speaker 2: Yeah, just you know.
• 44:24
  Speaker 1: And like Dan Gillis is play like it seems like
• 44:30
  Speaker 1: he's trying to play like all American good cop man
• 44:37
  Speaker 1: and he's he's it's so dramatic. He's the only one
• 44:43
  Speaker 1: that's that dramatic. Yeah, he's so dramatic with his acting
• 44:48
  Speaker 1: and it's so strange.
• 44:51
  Speaker 2: It's funny though, because I think for an low budget
• 44:54
  Speaker 2: eighties flick B movie, I do feel the performances were
• 44:58
  Speaker 2: better than mo because usually.
• 45:01
  Speaker 1: And and that's what I'm saying is like none of
• 45:03
  Speaker 1: the none of the performances are bad. It's just every
• 45:07
  Speaker 1: character is almost overly unique, even the background characters that
• 45:13
  Speaker 1: get like one line, they're like, I'm delivering this fucking line, baby,
• 45:19
  Speaker 1: Like we're getting there, and it's gonna be my best.
• 45:24
  Speaker 2: And that's why I think this movie works so good
• 45:27
  Speaker 2: because around this era you were getting those campy Hammy performances,
• 45:33
  Speaker 2: cheesy one liners. But the they're playing it so straight
• 45:37
  Speaker 2: outside of a few moments that I thought were funny,
• 45:39
  Speaker 2: like you, but it's just it's it's full commitment to
• 45:43
  Speaker 2: the umpteenth degree. And I think everyone killed it.
• 45:47
  Speaker 1: Like you've got the fucking hotel owner.
• 45:50
  Speaker 6: Yeah, I don't know what he was going for, but
• 46:01
  Speaker 6: every time this man was on screen, I was like,
• 46:05
  Speaker 6: oh my god.
• 46:06
  Speaker 1: He made this decision? Is this what he sounds like? Regular? Yeah,
• 46:12
  Speaker 1: it has to be like you don't create that, that's
• 46:16
  Speaker 1: just he's just playing himself.
• 46:17
  Speaker 2: That's just who he isn't we'll ask you'll way he
• 46:21
  Speaker 2: had a Yeah, he had a weird inflection at times,
• 46:25
  Speaker 2: which I didn't understand. He also needs to dust that
• 46:29
  Speaker 2: fucking hotel. Did you notice how dusty that hotel was?
• 46:34
  Speaker 2: I was like a facade and.
• 46:37
  Speaker 1: I and I think I'm going to give the movie
• 46:40
  Speaker 1: like probably more credit than it deserves. And yeah, it's
• 46:45
  Speaker 1: dusty cause he's fucking dead. He doesn't notice.
• 46:49
  Speaker 2: Right, And also no one, probably no one, probably the
• 46:53
  Speaker 2: houses seem run down. Yeah, yeah, like no one staying
• 46:57
  Speaker 2: at that hotel. Maybe that just happened to slip in
• 47:01
  Speaker 2: at the right time, but I don't think anyone has
• 47:03
  Speaker 2: stayed there in so long. But I saw all the
• 47:06
  Speaker 2: dust and dirt. I was like, Okay, either this is
• 47:10
  Speaker 2: a front for something and everyone's going into this whole
• 47:14
  Speaker 2: town killing people. See. And that's the thing. It's funny.
• 47:17
  Speaker 2: All the people that were killing the people coming into town.
• 47:22
  Speaker 2: I didn't suspect them to be the reanimated dead for
• 47:25
  Speaker 2: so long until we go back.
• 47:27
  Speaker 1: No, yeah, and even after we got Gillis hitting the
• 47:34
  Speaker 1: dude with his car and the arm, I was like,
• 47:37
  Speaker 1: I still don't know how there are.
• 47:39
  Speaker 7: Zombies right, Like, yeah, they hide it, and they don't
• 47:45
  Speaker 7: hide it, but they hide it so well and they
• 47:48
  Speaker 7: play it so close to the.
• 47:50
  Speaker 2: Chest, especially when going back to that Lord dump of
• 47:54
  Speaker 2: the VAM or the zombies when Janet is talking about
• 47:58
  Speaker 2: how they don't walk around with their arms out and
• 48:01
  Speaker 2: attack you. They can imitate human life so well because
• 48:05
  Speaker 2: these are traditional zombies. These aren't the biting, infected zombies
• 48:10
  Speaker 2: that would become popular, you know after Night of the
• 48:13
  Speaker 2: Living Dead, and you know you get bit and you
• 48:16
  Speaker 2: transfer this virus. These are traditional brought back to life,
• 48:21
  Speaker 2: voodoo infused zombies that can imitate humans. I do like
• 48:26
  Speaker 2: the element that they added where Dobbs is like, I
• 48:28
  Speaker 2: can put it like you said, I can put into
• 48:30
  Speaker 2: these people thoughts or or feelings and stuff like that.
• 48:34
  Speaker 2: I don't know if that's accurate with like traditional lore,
• 48:37
  Speaker 2: but that was a really cool element. He can essentially
• 48:39
  Speaker 2: create whoever the fuck he wants through the power of
• 48:42
  Speaker 2: black magic. And it's just such a wild journey to
• 48:46
  Speaker 2: get to that explanation because Billy breadcrumbs the whole time.
• 48:50
  Speaker 2: Like finding that book of witchcraft, I immediately thought, well,
• 48:54
  Speaker 2: Janetson on this, she's probably she might be the ringleader
• 48:57
  Speaker 2: at this point, she knows so much about it. But
• 49:00
  Speaker 2: I did not suspect her to be undead at all,
• 49:03
  Speaker 2: not even cross my mind. Definitely not didn't cross my
• 49:06
  Speaker 2: mind at all.
• 49:07
  Speaker 1: One of my other favorite things, speaking of Lord Dump,
• 49:11
  Speaker 1: is all of the characters, and looking back on this movie,
• 49:17
  Speaker 1: it's definitely a hint at what's going on, but all
• 49:22
  Speaker 1: of the characters seem to expound way more than is necessary.
• 49:28
  Speaker 1: Like the first guys in the bar are talking and
• 49:32
  Speaker 1: the one guy just basically leans over and says, like
• 49:36
  Speaker 1: this one person's whole character narrative. My actual favorite line
• 49:43
  Speaker 1: of the movie is technically a little piece of Lord
• 49:47
  Speaker 1: dump when Dan Gillis is talking to mister what is
• 49:52
  Speaker 1: it her skull buscal the principle. Yes, Like, so he's
• 49:58
  Speaker 1: confronting the principle about in it doing something, and up
• 50:02
  Speaker 1: until this moment, we don't know who this man is, right,
• 50:05
  Speaker 1: he's just referred to as mister Herschel and mister Herschel.
• 50:10
  Speaker 1: At the end, when Dan goes, well, are you sure,
• 50:13
  Speaker 1: he goes, I know everything that goes on in that school,
• 50:16
  Speaker 1: I'm the principal, Like, okay, cool, Like, that's not something
• 50:23
  Speaker 1: that a person would say.
• 50:26
  Speaker 2: And I didn't even realize that until you pointed it out.
• 50:28
  Speaker 2: But that is a very bizarre statement to say. Humans
• 50:32
  Speaker 2: don't speak like that.
• 50:35
  Speaker 1: So it's like that one extra thing that's like, oh,
• 50:39
  Speaker 1: every like, yeah, everybody's dead. They don't have a whole
• 50:43
  Speaker 1: functioning brain. They don't, so obviously they're just gonna say
• 50:47
  Speaker 1: bizarre shit.
• 50:49
  Speaker 2: Yeah, that's not gonna make sense in a lot of ways. Obviously.
• 50:53
  Speaker 2: I think he put the most into Janet because that
• 50:55
  Speaker 2: was his first creation, and I feel he wanted to
• 50:57
  Speaker 2: make her as human like as possible, but going down
• 51:01
  Speaker 2: and getting all these bodies, he probably had such limited
• 51:04
  Speaker 2: time that he was just trying to crank out more
• 51:06
  Speaker 2: dead people. So I do think his first creation was
• 51:09
  Speaker 2: he probably spent the most time on it, perfecting Janet
• 51:12
  Speaker 2: because he knew he was the wife of or she
• 51:15
  Speaker 2: was the wife of the sheriff in town.
• 51:18
  Speaker 1: Uh well, and so here here is my head cannon. Oohoo.
• 51:24
  Speaker 1: All right, Janet is the dead body that got Dobbs
• 51:30
  Speaker 1: kicked out of Saint Louis.
• 51:31
  Speaker 2: Oohoo like that because yeah.
• 51:35
  Speaker 1: They brought her along and then then got Gillis, then
• 51:42
  Speaker 1: got everybody else.
• 51:44
  Speaker 2: Okay, yeah, I like that because.
• 51:46
  Speaker 1: Gillis is the Gillis is the only other one that
• 51:49
  Speaker 1: has like semi like goal oriented thought instead of like
• 51:56
  Speaker 1: just do the thing that we always did, right, which
• 51:59
  Speaker 1: is why, which is why he has like the breakdown
• 52:02
  Speaker 1: after he realizes like he's also dead. Yes, oh so yeah,
• 52:08
  Speaker 1: I think that's the sequence. I think Dobbs brought Janet,
• 52:12
  Speaker 1: Janet married Gillis, then they got Gillis, and because he
• 52:18
  Speaker 1: was the chief of police, sheriff whatever, he was. That
• 52:23
  Speaker 1: gave him license to get everybody else because now every
• 52:27
  Speaker 1: death he would bring Dobbs out. So it's like he's
• 52:32
  Speaker 1: bringing me to all the perfectly good bodies, right because
• 52:36
  Speaker 1: some of them, some of them he's just gonna leave
• 52:38
  Speaker 1: dead because he doesn't want to fuck with him. But
• 52:40
  Speaker 1: all the others that he thinks he can do something with.
• 52:44
  Speaker 2: I'm gonna do something with. And especially with that, especially
• 52:47
  Speaker 2: with that hitchhiker girl, the scene where he's reconstructing her
• 52:51
  Speaker 2: face was edited together so nicely and really just look
• 52:57
  Speaker 2: pretty authentic. I am genuinely still trying to figure route
• 53:00
  Speaker 2: how they did that eyeball where he put the eyeball in,
• 53:04
  Speaker 2: because that looks like a real human person, uh, and
• 53:08
  Speaker 2: he's just putting an eyeball in, and that that effect
• 53:12
  Speaker 2: looks so good.
• 53:14
  Speaker 1: My only thing that I could think of how they
• 53:19
  Speaker 1: did that is a really well placed camera angle and
• 53:25
  Speaker 1: really well placed mirrors, because if you black out the
• 53:30
  Speaker 1: space on the mirror itself and film onto it, then
• 53:37
  Speaker 1: even when she goes in, it'll look like like you
• 53:39
  Speaker 1: won't be able to see her fingers because it's covered that.
• 53:43
  Speaker 1: That would be the only thing that I could think
• 53:45
  Speaker 1: of and then maybe they put like a like a
• 53:48
  Speaker 1: similar colored eye patch on her.
• 53:50
  Speaker 2: So yeah, yeah, that's it. That's it. But I was like,
• 53:55
  Speaker 2: that's good.
• 53:55
  Speaker 1: That's really fucking cool, like for the eighties, Like I
• 53:59
  Speaker 1: want to know how they did that.
• 54:00
  Speaker 2: Yes, that's what I'm saying. For the timeframe and the
• 54:03
  Speaker 2: you know, the three millions of pretty low budget, but
• 54:06
  Speaker 2: they used every penny of that for though.
• 54:11
  Speaker 1: Like so touching back on Predator, Predator came out in
• 54:16
  Speaker 1: eighty seven. Yeah, and they had and they had pretty
• 54:20
  Speaker 1: damn good, like straight up invisible special effects.
• 54:24
  Speaker 2: Yeah, that was so.
• 54:25
  Speaker 1: I mean, I mean the technology had to have only
• 54:28
  Speaker 1: gotten better. So what this is what eighty one?
• 54:31
  Speaker 2: Eighty one?
• 54:32
  Speaker 1: Yeah, so eighty one, I mean they probably still had
• 54:36
  Speaker 1: like some something really rudimentary, uh like visual special like
• 54:43
  Speaker 1: computer generated effects.
• 54:45
  Speaker 2: Yeah, it was. It was very impressive. I did enjoy
• 54:49
  Speaker 2: all of the practical effects. There was one practical effect
• 54:51
  Speaker 2: that that really looked fake, but I didn't care. It
• 54:55
  Speaker 2: was the scientist, I want to say, Uh, the guy
• 54:59
  Speaker 2: who was the guy who Gillis sent those little specs
• 55:02
  Speaker 2: from his jumper. Yeah, and when they go to like
• 55:05
  Speaker 2: put something up his nose and blow in the acid. Yeah,
• 55:09
  Speaker 2: and then you cut to his face, which is clearly
• 55:12
  Speaker 2: so fake. But I didn't give a shit. I was
• 55:14
  Speaker 2: like this, It just added to the charm and uncanniness
• 55:17
  Speaker 2: the movie.
• 55:18
  Speaker 1: I also want to know, like, so that character in
• 55:23
  Speaker 1: and of itself is bizarre, okay, because this is this
• 55:27
  Speaker 1: is structured to be like a small beach town. Who
• 55:35
  Speaker 1: is this scientist?
• 55:36
  Speaker 2: Yeah?
• 55:37
  Speaker 1: Where is this science lab? What kind of scientist is he?
• 55:41
  Speaker 1: Like he has what looked to be chemistry supplies, but
• 55:45
  Speaker 1: he's analyzing skin samples, Like what is going on? Or
• 55:52
  Speaker 1: is this or is this just supposed to be like
• 55:55
  Speaker 1: a stereotype character, Like you've got the cop, the scientist,
• 55:59
  Speaker 1: the priest, but oh blah blah blah blah, Like is
• 56:01
  Speaker 1: it just a stereotype character that they were like, let's
• 56:04
  Speaker 1: make it work? Or I just want to know the
• 56:08
  Speaker 1: thought problems behind the reason behind that character outside of
• 56:14
  Speaker 1: how do we introduce this thought of their being zombies?
• 56:19
  Speaker 2: Yeah, because that's all.
• 56:20
  Speaker 1: He really is is a vehicle for explaining that there
• 56:24
  Speaker 1: are zombies.
• 56:26
  Speaker 2: Because I don't think a small town like that would
• 56:27
  Speaker 2: have a forensic scientist. Because that's what he felt like,
• 56:30
  Speaker 2: was some sort of forensic scientist, but a small town,
• 56:34
  Speaker 2: you know.
• 56:35
  Speaker 1: Because they're they're telexing to Saint Louis.
• 56:38
  Speaker 2: Exactly, so his that his character and and and what
• 56:42
  Speaker 2: they did with him felt odd. But it wasn't enough
• 56:45
  Speaker 2: to take me out of the movie. Honestly, it was
• 56:47
  Speaker 2: something I just kind of Yeah, I just looked past.
• 56:50
  Speaker 1: I'll go ahead and answer this question. I was never
• 56:53
  Speaker 1: taken out of this movie.
• 56:54
  Speaker 2: Yeah.
• 56:54
  Speaker 1: I was on the fucking ride. I was buckled in
• 56:59
  Speaker 1: and I pose for the in ride picture.
• 57:03
  Speaker 2: I guess that is the best description for how you
• 57:07
  Speaker 2: enjoyed this movie. One thing I did when I don't
• 57:11
  Speaker 2: have much left, but the one thing, because they they
• 57:16
  Speaker 2: start taking pictures of all these people. And it took
• 57:18
  Speaker 2: me so long to realize why they're taking pictures of
• 57:20
  Speaker 2: all these people and it's so and and then all
• 57:23
  Speaker 2: the head trauma because head trauma means you can't really
• 57:26
  Speaker 2: identify who that was, so you send them to the mortician,
• 57:29
  Speaker 2: who then takes those photos and recreates their faces. I
• 57:32
  Speaker 2: thought that was pretty fucking smart. Uh, in my opinion, I.
• 57:35
  Speaker 1: Didn't, and I didn't figure that out until the very end,
• 57:39
  Speaker 1: the very end, and I'm like, oh, that's why they were.
• 57:41
  Speaker 2: I just thought they were taking pictures to disorient people
• 57:44
  Speaker 2: and you know, big flashing lights. No, they're there for
• 57:46
  Speaker 2: the coroner to read, are there mortician to remake their faces?
• 57:50
  Speaker 2: So uh yeah, I mean this movie is fucking wild.
• 57:54
  Speaker 2: There's not really a core fear for me, but I
• 57:56
  Speaker 2: did write down just not being able to trust people
• 57:58
  Speaker 2: who are who are placed in positions of high responsibility
• 58:02
  Speaker 2: and sometimes nothing is as it seems the society.
• 58:06
  Speaker 1: It's it's a very like agoraphobic, like you can't trust
• 58:11
  Speaker 1: your own neighbors type shit exactly. And that's it, Yeah,
• 58:15
  Speaker 1: just the overall paranoia. Because another thing that I really
• 58:19
  Speaker 1: enjoyed about this movie was just watching Dan slowly become
• 58:26
  Speaker 1: more and more paranoid until he just fucking snaps. It's yeah,
• 58:33
  Speaker 1: and it's so good because it's it's a very clear escalation,
• 58:39
  Speaker 1: like each kill is more and more violent, each outcome
• 58:44
  Speaker 1: of the kill is more and more bizarre, and with
• 58:48
  Speaker 1: that you get to watch Dan realize how fucking not
• 58:54
  Speaker 1: acceptable and right of what is going on is. And
• 58:59
  Speaker 1: it's like it almost upsets me to be like, man,
• 59:03
  Speaker 1: I enjoy watching you suffer. My enjoyment of watching him
• 59:07
  Speaker 1: suffer outweighs that just a bit.
• 59:10
  Speaker 2: There was that one bit of dialogue when he found
• 59:13
  Speaker 2: out that one of the bodies went missing, and he
• 59:16
  Speaker 2: was like murderers, body snatching, What the hell is going
• 59:19
  Speaker 2: on in this town? Just like, I don't know, buddy,
• 59:21
  Speaker 2: but you better get to the bottom of it. Just full,
• 59:24
  Speaker 2: full commitment. So, since this is an earlier zombie film,
• 59:29
  Speaker 2: it really doesn't lean into any tropes or anything. It
• 59:32
  Speaker 2: just tells a story about traditional zombies, you know, it
• 59:35
  Speaker 2: doesn't you know, it doesn't really have that biting infection
• 59:40
  Speaker 2: at all. These are people brought back to life and
• 59:42
  Speaker 2: made to thin, you know, made to look real and
• 59:45
  Speaker 2: act like humans. So I'd say since zombies were becoming
• 59:48
  Speaker 2: ever so popular after like Dawn of the Dead at
• 59:51
  Speaker 2: which we just reviewed, this is definitely a different entry,
• 59:55
  Speaker 2: like a different vibe overall than most of the zombie
• 59:58
  Speaker 2: movies we would get out of the a and fun fact,
• 1:00:01
  Speaker 2: Dan O'Bannon, who wrote this, would also write another very
• 1:00:04
  Speaker 2: unique zombie movie, Return of the Return of the Living Dead,
• 1:00:08
  Speaker 2: which added that was like really the first horror comedy
• 1:00:11
  Speaker 2: zombie movie. So Dan O'Bannon, what a fucking guy just
• 1:00:15
  Speaker 2: writing two incredibly unique outside of Alien Too, two incredibly
• 1:00:20
  Speaker 2: unique zombie stories. I had so much fun with this.
• 1:00:23
  Speaker 2: I'm glad I didn't remember anything from it, because it's
• 1:00:27
  Speaker 2: like it just like you and dead Stream I. But
• 1:00:29
  Speaker 2: I knew I watched it, but I didn't remember anything.
• 1:00:32
  Speaker 2: So I got to watch it for the second time
• 1:00:34
  Speaker 2: and be like, man, this movie is so good. God,
• 1:00:37
  Speaker 2: it was a lot of fun.
• 1:00:38
  Speaker 1: This is This is definitely like, if you're gonna watch
• 1:00:42
  Speaker 1: this movie for the first time and you want somebody
• 1:00:45
  Speaker 1: else to watch it with, yeah, like, try and get
• 1:00:49
  Speaker 1: however many people you can together to watch this, because
• 1:00:53
  Speaker 1: this movie is just a classic oot. Like it it's
• 1:00:58
  Speaker 1: a it's a hoot and a holler. Even even if
• 1:01:02
  Speaker 1: you're not fucking baked out of your mind, like, it's
• 1:01:05
  Speaker 1: probably still really fucking good. There's probably a little less
• 1:01:09
  Speaker 1: comedy going on, but but man, this movie just hits
• 1:01:15
  Speaker 1: so hard and it's I'm not gonna say like it's
• 1:01:19
  Speaker 1: holy unique, but for its time, it might have been
• 1:01:24
  Speaker 1: wholly unique. I feel like a lot of I feel
• 1:01:27
  Speaker 1: like a lot of other stuff might have been unintentionally
• 1:01:31
  Speaker 1: been inspired by but yeah, no, this is the the
• 1:01:37
  Speaker 1: whole town killing people to integrate them into the town.
• 1:01:42
  Speaker 1: It's kind of Stepford wifey, right, kind of Truman showy,
• 1:01:47
  Speaker 1: kind of Twilight zony, kind of Shutter Island y. Like, yeah,
• 1:01:54
  Speaker 1: there's there's a lot of fucking good going on in
• 1:01:57
  Speaker 1: this movie. It's a fucking heater for sure.
• 1:02:00
  Speaker 2: And uh, yeah, well you were saying all those movies,
• 1:02:02
  Speaker 2: the two movies that came to my mind, it's like
• 1:02:04
  Speaker 2: wicker Man by way of pet Cemetery. That's the best
• 1:02:08
  Speaker 2: way I could put it. It's just an okay, Yeah,
• 1:02:11
  Speaker 2: it's like an amalgamation of all these movies, some previous
• 1:02:14
  Speaker 2: to it, some that would come after it, but it's
• 1:02:17
  Speaker 2: it's so uniu And that's kind of like my hot
• 1:02:19
  Speaker 2: take is I think this is one of the most
• 1:02:22
  Speaker 2: for the time and what was coming out around the time,
• 1:02:25
  Speaker 2: one of the most unique take on zombies, even though
• 1:02:27
  Speaker 2: it is the traditional lore. I just think it's it's
• 1:02:31
  Speaker 2: truly underrated. I hear no one talking about this, and
• 1:02:35
  Speaker 2: do people mention it, sure, but in my circles, it
• 1:02:37
  Speaker 2: is not something that is brought up. It is just
• 1:02:40
  Speaker 2: a fuck. I do think it is genuinely a masterpiece
• 1:02:44
  Speaker 2: of a movie. And uh that's kind of my Yeah,
• 1:02:47
  Speaker 2: it's kind of my hot take here. But other than that,
• 1:02:49
  Speaker 2: I think I've gotten through all of my notes. If
• 1:02:52
  Speaker 2: there's anything you would like to mention, hit me with
• 1:02:55
  Speaker 2: it now or we can move on.
• 1:02:57
  Speaker 1: I have any more notes. Oh yeah. So one of
• 1:03:03
  Speaker 1: my only other comments on this movie is when Dan
• 1:03:08
  Speaker 1: goes to dig up George's grave yea, and he opens
• 1:03:12
  Speaker 1: the casket and at the time, I didn't realize it
• 1:03:15
  Speaker 1: was a it was a bundle of clothes. So I
• 1:03:19
  Speaker 1: just took a note that's a kind of disrespectful to
• 1:03:23
  Speaker 1: take up space in a graveyard first, for just a
• 1:03:25
  Speaker 1: sack of gunk. Land is limited on Earth because like
• 1:03:32
  Speaker 1: graveyards like it, there's zoning, like you have to do
• 1:03:36
  Speaker 1: things to prepare a graveyard and to bury eight essentially
• 1:03:40
  Speaker 1: empty casket.
• 1:03:41
  Speaker 2: That's a big move. Yeah, with with just the beating
• 1:03:44
  Speaker 2: heart inside.
• 1:03:45
  Speaker 1: But yeah, and then he and then he opened it
• 1:03:48
  Speaker 1: up and it was the heart, and I like it.
• 1:03:49
  Speaker 1: Didn't want to erase it or make a new note
• 1:03:52
  Speaker 1: on it. I just I just went with saca gunk.
• 1:03:54
  Speaker 2: Yeah, a road with it, because that's when he realizes,
• 1:03:58
  Speaker 2: oh my god, I think I know what's going on
• 1:04:01
  Speaker 2: in this town. I just heard my wife talking about this.
• 1:04:04
  Speaker 2: Oh no, oh, no, oh god. So yeah, that is
• 1:04:09
  Speaker 2: dead and buried from nineteen eighty one. Let's hit this
• 1:04:12
  Speaker 2: final cut taglines. There were a lot of them, but
• 1:04:16
  Speaker 2: only two of them I thought were strong. I do
• 1:04:19
  Speaker 2: like Potter's Bluff is a nice place to visit. Dot
• 1:04:22
  Speaker 2: dot dot, but you don't want to die there, and
• 1:04:25
  Speaker 2: it will take a breath. It will take your breath away,
• 1:04:27
  Speaker 2: dot dot dot. All of it. A couple bits of trivia.
• 1:04:31
  Speaker 2: It was very limited. There was one like twenty pieces
• 1:04:33
  Speaker 2: of trivia trivia. Stan Winston's special effects, when beyond creating
• 1:04:37
  Speaker 2: gore for the film, the figure in the full body
• 1:04:40
  Speaker 2: cast lying in George mel Lamoy's hospital bed was a
• 1:04:45
  Speaker 2: mechanical dummy built by Winston. The lifelike detail and elaborate
• 1:04:50
  Speaker 2: movements movements the dummy was rigged to make gives the
• 1:04:52
  Speaker 2: appearance that it is a real person and makes the
• 1:04:55
  Speaker 2: infamous needle eye stabbing all the more startling. During my
• 1:04:59
  Speaker 2: old so.
• 1:05:00
  Speaker 1: Thought to myself, why would you full body cast a
• 1:05:07
  Speaker 1: burn victim?
• 1:05:08
  Speaker 2: Right?
• 1:05:08
  Speaker 1: That cause you gotta you gotta treat burns daily, right,
• 1:05:12
  Speaker 1: and you can't do that in a cast.
• 1:05:14
  Speaker 6: That's something's wrong with death Suspicious.
• 1:05:18
  Speaker 2: During filming, Gary, director Gary Sherman purposefully avoided letting the
• 1:05:23
  Speaker 2: color red be visible in any scene, so the sight
• 1:05:25
  Speaker 2: of blood during the murder sequences would be all more
• 1:05:28
  Speaker 2: shocking Sherman. Sherman even went as far to have the
• 1:05:31
  Speaker 2: tailights of the vehicles replaced with purple lights instead of
• 1:05:34
  Speaker 2: normal red and uh so here we go, okay. Gary
• 1:05:38
  Speaker 2: Sherman intentionally chose foggy weather conditions in which to film
• 1:05:42
  Speaker 2: while on location in California. The film setting is supposed
• 1:05:45
  Speaker 2: to be main and the locations look mostly like northern
• 1:05:49
  Speaker 2: New England when the weather was foggy. In addition, Sherman
• 1:05:52
  Speaker 2: like the ominous mood the gloomy weather created so that
• 1:05:55
  Speaker 2: not even smoke. They legitimately just got lucky with the fog.
• 1:05:59
  Speaker 2: That's incredible eighties there. They're really going too far in
• 1:06:03
  Speaker 2: the eighties with just using practical effects. It's it's it's
• 1:06:05
  Speaker 2: a bit much, but I love it. No fun goofs
• 1:06:08
  Speaker 2: that I could find rated six point five out of
• 1:06:12
  Speaker 2: ten on IMDb for our purposes of the Nightmare index,
• 1:06:16
  Speaker 2: That is a three point twenty five out of five
• 1:06:18
  Speaker 2: three point four out of five on letterbox, seventy one
• 1:06:21
  Speaker 2: percent on the Tomato Meter, fifty nine percent audience score.
• 1:06:24
  Speaker 2: This is why I don't trust Rotten Tomatoes. What did
• 1:06:27
  Speaker 2: you give this, Corey?
• 1:06:29
  Speaker 1: I need four point five?
• 1:06:30
  Speaker 2: Holy shit, I did bump up. I did bump my
• 1:06:34
  Speaker 2: rating up as well, to a four point five out
• 1:06:36
  Speaker 2: of five, which means this is another frightmare certified slap.
• 1:06:42
  Speaker 2: Holy cow. We are on a roll, and that gives
• 1:06:45
  Speaker 2: us a nightmare index of three point nine one. So
• 1:06:50
  Speaker 2: this is sitting very comfortably in between Don of the
• 1:06:54
  Speaker 2: Dead at a four point three five, and we are
• 1:06:57
  Speaker 2: still here at a three point six y nine. It
• 1:06:59
  Speaker 2: is no. Number three on the nightmare index. So that's
• 1:07:02
  Speaker 2: actually fucking incredible. I'm so glad you enjoyed this movie
• 1:07:06
  Speaker 2: as much as I do.
• 1:07:07
  Speaker 1: I am too, because like, not that you don't recommend
• 1:07:11
  Speaker 1: good movies, but like when it as the movies get older,
• 1:07:16
  Speaker 1: you and I tend to have somewhat differing opinions. Yeah,
• 1:07:20
  Speaker 1: for sure, and that's okay, But like first five minutes
• 1:07:26
  Speaker 1: of this movie, I was like, yeah, I like this,
• 1:07:29
  Speaker 1: I like this, Like I made I made the decision
• 1:07:33
  Speaker 1: in under ten minutes, and I okay, So you were saying,
• 1:07:38
  Speaker 1: you know, I try not to watch on two be
• 1:07:40
  Speaker 1: because of the commercials and it ruins the experience. I
• 1:07:42
  Speaker 1: enjoyed this movie so much, did not mind the commercial breaks.
• 1:07:46
  Speaker 2: Oh see, Okay, I mean I guess it does depend
• 1:07:50
  Speaker 2: on the movie, you know, if you're really enjoying it.
• 1:07:52
  Speaker 1: Well, yeah, yeah for sure. But like like the first
• 1:07:56
  Speaker 1: commercial break came on and I was like, like I
• 1:08:00
  Speaker 1: took a breath because like I was gripped for the movie,
• 1:08:04
  Speaker 1: so like I need a break focus on it. So
• 1:08:07
  Speaker 1: like commercial break happened, and I was like, Okay.
• 1:08:09
  Speaker 2: Let me sit on that for a second. Similar movies
• 1:08:12
  Speaker 2: according to IMDb, Butcher Baker, nightmare Maker, The Prowler, Night
• 1:08:17
  Speaker 2: of the Creeps, The Howling and Wolf In Similar movies,
• 1:08:21
  Speaker 2: according the Letterbox, we have Sinister, Dead, Silence, Midnight, Meat Train,
• 1:08:25
  Speaker 2: The Autopsy of Jane Doe, and The Texas Chainsaw mask
• 1:08:28
  Speaker 2: A two thousand and three. None of those movies are
• 1:08:30
  Speaker 2: like this movie. But what do I know?
• 1:08:32
  Speaker 1: Just something they say sinisters because there's a fucking film
• 1:08:35
  Speaker 1: movie camera going on.
• 1:08:37
  Speaker 2: Yeah, that's exactly. Let's do some funny reviews here. I've
• 1:08:42
  Speaker 2: come locked and loaded with my standard five, so uh,
• 1:08:47
  Speaker 2: what do you got my algorithm?
• 1:08:50
  Speaker 1: Uh for the letterbox reviews on these was just serving
• 1:08:54
  Speaker 1: me fucking paragraphs. Yes, so I've only got four, all right,
• 1:09:00
  Speaker 1: with one with one with with one special review.
• 1:09:05
  Speaker 2: Yeah, all right, I'll go first. Then three stars from
• 1:09:09
  Speaker 2: j D's watching Moral of the Story. If your coroner's
• 1:09:12
  Speaker 2: been disbarred from a previous jurisdiction, it's probably a bad sign.
• 1:09:19
  Speaker 2: Just saying.
• 1:09:21
  Speaker 1: A half star review from Mulholland Noir. This film was
• 1:09:27
  Speaker 1: so boring I almost fell asleep. More like, no, are
• 1:09:31
  Speaker 1: you dumb? This movie was great.
• 1:09:34
  Speaker 2: I don't understand how anyone would fall asleep during this.
• 1:09:37
  Speaker 2: So three stars from sci Fi wasabi. Grandpa Joe really
• 1:09:42
  Speaker 2: lost it after Charlie kicked him out of that chocolate factory.
• 1:09:48
  Speaker 1: And you know what's hilarious. Up until I started reading
• 1:09:52
  Speaker 1: these reviews, had no idea that that's who that character was.
• 1:09:57
  Speaker 2: Didn't put it together.
• 1:10:00
  Speaker 1: Did I look at this character and go, you know
• 1:10:02
  Speaker 1: what you really fucking look like somebody? I'm just like, oh,
• 1:10:05
  Speaker 1: it's Dobbs. Of course.
• 1:10:07
  Speaker 2: It is the only time I got suspicious it might
• 1:10:10
  Speaker 2: be Grandpa Joe was at the end reveal a certain
• 1:10:14
  Speaker 2: a certain sentence he said. I was like, I recognize
• 1:10:17
  Speaker 2: that voice, but I don't know what it's from. And
• 1:10:19
  Speaker 2: then I saw Grandpa Joe and said, oh, okay, got it.
• 1:10:24
  Speaker 1: Not to be this guy. But I just thought it
• 1:10:27
  Speaker 1: was like an old New York Jewish man, like I
• 1:10:30
  Speaker 1: didn't think it was Grandpa.
• 1:10:31
  Speaker 2: Yeah, I didn't think it was Grandma, who.
• 1:10:33
  Speaker 1: Was like an old, old Hollywood Jewish actor.
• 1:10:35
  Speaker 2: Yeah. Yeah, that's that's fair. That's fair. Uh were wait,
• 1:10:40
  Speaker 2: were you next? Or was I next?
• 1:10:42
  Speaker 1: I was next?
• 1:10:42
  Speaker 2: I do it to it? Uh?
• 1:10:44
  Speaker 1: A one star and a heart interesting to you? Interesting
• 1:10:48
  Speaker 1: from Pops Faded? My father was dead and buried in
• 1:10:52
  Speaker 1: eighty one? What the fuck? Goddamn?
• 1:10:57
  Speaker 2: At the same time this movie was released, Shit all right,
• 1:11:02
  Speaker 2: three stars from k y k okay. I would fit in.
• 1:11:08
  Speaker 2: I would fit right in with these photophilic undead freaks.
• 1:11:11
  Speaker 2: And I don't know what photophilic meant, so I had
• 1:11:14
  Speaker 2: to go look it up. But it's strongly attracted to
• 1:11:17
  Speaker 2: bright lights, So there you go. Sorry, I was gonna
• 1:11:20
  Speaker 2: say cameras. Sorry, Organisms, particularly plants, are insects that thrive
• 1:11:25
  Speaker 2: in and require strongly bright light. Yeah, so whatever, But yeah,
• 1:11:30
  Speaker 2: I thought that was funny. What do you got next?
• 1:11:34
  Speaker 1: I'm going to pronounce this name as best I can, gotcha,
• 1:11:39
  Speaker 1: because I don't think there's actually a pronunciation for it.
• 1:11:43
  Speaker 2: Ben k.
• 1:11:45
  Speaker 1: A five star review. Quirky and cool for the real
• 1:11:49
  Speaker 1: horror girlies.
• 1:11:53
  Speaker 2: Have yourself a girl dinner and watch this movie. Three
• 1:11:56
  Speaker 2: stars from Noel Pennafloor. I just assume every tourist town
• 1:12:02
  Speaker 2: is like this. Come to Orlando and find out was
• 1:12:07
  Speaker 2: that your last one?
• 1:12:09
  Speaker 1: No, this is gonna be my last one special appearance.
• 1:12:12
  Speaker 1: A three star and a heart from Eric Cloud.
• 1:12:16
  Speaker 2: Okay, dead solid.
• 1:12:19
  Speaker 1: Little Twilight Zone style thriller with some great performance and
• 1:12:22
  Speaker 1: practical gore effects would make a great pre show to Halloween.
• 1:12:26
  Speaker 1: Three interesting.
• 1:12:29
  Speaker 2: Oh it really would. Oh shit, now that I think
• 1:12:33
  Speaker 2: about that. Okay, my last one is they they did
• 1:12:36
  Speaker 2: a little funny review and then like paragraphs, so I'm
• 1:12:38
  Speaker 2: just gonna read the funny review. But three stars from
• 1:12:40
  Speaker 2: Grumpy Mustard instinctively kept waiting for bad things to happen
• 1:12:44
  Speaker 2: to Grandpa Joe, simply out of spite for that character.
• 1:12:49
  Speaker 1: Fuck you, Grumpy Mustard. Dobbs was the best character of
• 1:12:53
  Speaker 1: this movie. I don't care that he was the bad guy.
• 1:12:56
  Speaker 2: Yeah.
• 1:12:56
  Speaker 1: I loved him from the second I saw him.
• 1:12:58
  Speaker 2: Yeah, He's one of those villains that I'm like, I'm
• 1:13:00
  Speaker 2: glad you're winning. This is fun. This is so much fun.
• 1:13:04
  Speaker 1: Especially because it's revealed that he's been the puppet master
• 1:13:07
  Speaker 1: for the whole thing. It's all fake anyway, and we're
• 1:13:10
  Speaker 1: just watching his town.
• 1:13:12
  Speaker 2: Yeah, because fuck it, why not. He got disbarred and
• 1:13:15
  Speaker 2: was like, you know what I'm gonna do. I'm gonna
• 1:13:17
  Speaker 2: go have some fun. So uh. If you enjoy the show,
• 1:13:21
  Speaker 2: please rate and review on your favorite podcast apup of choice.
• 1:13:23
  Speaker 2: Follow us on Facebook, Instagram, TikTok, slasher, threads, and YouTube
• 1:13:28
  Speaker 2: at Frightmar's podcast. Our email is stay Spooky at outlook
• 1:13:31
  Speaker 2: dot com and h Until then, stay tuned and Spooky