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Resident Evil - Kulture Meltdown · Movie Meltdown

• 0:04
  Speaker 1: We're in Wayne Media. I'm not a cop, so I
• 0:48
  Speaker 1: don't know what to say, but... I have an emergency here. Hello? Oh, God! Oh, shit! Hello?
• 1:03
  Speaker 1: Can you hear me? All units be advised. Resident Evil,
• 1:10
  Speaker 1: exclusively in theaters September 18th.
• 1:14
  Speaker 2: Hello, everyone, and welcome to a special crossover episode of
• 1:17
  Speaker 2: the CultureCast and Movie Meltdown. I am one of your hosts,
• 1:20
  Speaker 2: Chris Dashew of the CultureCast, and I am joined by
• 1:22
  Speaker 2: the host of Movie Meltdown, Brian Renfro.
• 1:25
  Speaker 1: Hello, and I have decided if we're doing these crossover
• 1:29
  Speaker 1: episodes from this point on, I don't know about you,
• 1:32
  Speaker 1: I'm just going to refer to them as Culture Meltdown.
• 1:35
  Speaker 2: Well, that term might have a different meaning.
• 1:39
  Speaker 1: No, I feel like given the two of us involved,
• 1:42
  Speaker 1: that seems about right. I mean, that's where we're going
• 1:44
  Speaker 1: to end up, isn't it? I mean, it's just culture meltdown.
• 1:47
  Speaker 1: It's all things falling apart and then we're in the
• 1:50
  Speaker 1: middle of it. So that seems about right.
• 1:52
  Speaker 2: Well, speaking of things falling apart and being in the
• 1:55
  Speaker 2: middle of it, on this episode of the CultureCast X
• 1:58
  Speaker 2: Movie Meltdown, we're going to be talking about 2026's most
• 2:02
  Speaker 2: recent film directed by horror auteur darling Zach Krieger. We're
• 2:06
  Speaker 2: talking about Resident Evil. So the film is written and
• 2:09
  Speaker 2: directed by Zach Krieger. He also shares a co-writing credit
• 2:12
  Speaker 2: with Shea Hatton. The film is based on the video
• 2:16
  Speaker 2: game of the same name, The World of the Video Game,
• 2:18
  Speaker 2: more aptly for those fans of the video game of
• 2:21
  Speaker 2: which I consider myself one for all of you who
• 2:24
  Speaker 2: are throwing your headsets across the room because neither one
• 2:27
  Speaker 2: of us are apparently Resident Evil fans. Trust me, I'm
• 2:29
  Speaker 2: a Resident Evil fan, and we'll get to how much
• 2:31
  Speaker 2: of a Resident Evil fan I am when we talk
• 2:33
  Speaker 2: about the film more specifically. But the film stars more
• 2:36
  Speaker 2: or less just Austin Abrams as Brian, a man who
• 2:40
  Speaker 2: is tasked with taking a mysterious cooler from... wherever he is,
• 2:45
  Speaker 2: to Raccoon City. We don't know where he's coming from,
• 2:47
  Speaker 2: but he's going to Raccoon City. If you know anything
• 2:50
  Speaker 2: about Resident Evil, you know what Raccoon City means, especially
• 2:53
  Speaker 2: when this film in other parts of the world is
• 2:56
  Speaker 2: being called Resident Evil. Night Zero should give away more
• 2:59
  Speaker 2: or less what this film is about. We will be
• 3:02
  Speaker 2: spoiling the film. But before we talk about spoilers or
• 3:05
  Speaker 2: specifics of the film, because this is the only time
• 3:08
  Speaker 2: I ever do this anymore, Brian, would you suggest people
• 3:11
  Speaker 2: go and check the film out? The transactional nature of
• 3:14
  Speaker 2: the film part, you know what I mean?
• 3:15
  Speaker 1: I had a couple of people, and most of the
• 3:19
  Speaker 1: time I don't interact with humans in the real world.
• 3:21
  Speaker 1: This is all I do is talk on this show
• 3:23
  Speaker 1: and talk to other geeks in the internets. That's all
• 3:26
  Speaker 1: I do. But at least twice over the last few days,
• 3:28
  Speaker 1: people have asked if I've seen anything or what I
• 3:31
  Speaker 1: did this weekend. And I'm just like, oh, I saw
• 3:32
  Speaker 1: Resident Evil. And they've both been like, oh, hey, so
• 3:36
  Speaker 1: what's your take on it? Should I go see it?
• 3:38
  Speaker 1: And to both, I said, yeah. I mean, one was
• 3:41
  Speaker 1: way more a hardcore film person. So that I sort
• 3:44
  Speaker 1: of laid into the reasons why. The other one was
• 3:46
  Speaker 1: way more casual. And even then I was like, if
• 3:50
  Speaker 1: it seems like that's the kind of thing you're into,
• 3:53
  Speaker 1: then yes, you should definitely go check it out. So
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  Speaker 1: I would say that to pretty much anybody, like unless
• 3:58
  Speaker 1: you have a problem with like horror and or gore,
• 4:01
  Speaker 1: I don't know who otherwise would not be entertained by
• 4:04
  Speaker 1: this movie.
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  Speaker 2: I feel like if you're asking me or you or
• 4:08
  Speaker 2: someone who watches film, should I see this movie? You
• 4:10
  Speaker 2: are already like slightly amenable.
• 4:12
  Speaker 1: To the idea of watching it.
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  Speaker 2: Cause like you said, like someone who's not into horror
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  Speaker 2: is not going to be like, should I watch this
• 4:17
  Speaker 2: zombie movie? Like, shh, I mean, or monster zombie movie again,
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  Speaker 2: like resident evil is so always been its own thing.
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  Speaker 2: I would say, yes, I would say, yes, go see it.
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  Speaker 2: And I would also say that, and you know, this is,
• 4:32
  Speaker 2: this is where I ruffle some feathers and this is
• 4:34
  Speaker 2: where I make my kind of opening salvo here. And
• 4:36
  Speaker 2: you and I can kind of pick it apart. And
• 4:38
  Speaker 2: I'm sure you'll have some kind of statements of this
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  Speaker 2: caliber as well. And this on these new movie episodes
• 4:43
  Speaker 2: is really the only time where subjectiveness comes into things.
• 4:46
  Speaker 2: Because again, like part of this is a transactional question. Like,
• 4:49
  Speaker 2: should you go see a film in theaters? Because unlike
• 4:52
  Speaker 2: Christopher Nolan and his cadre of like cinephile Froot Loops,
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  Speaker 2: I think you can watch a movie anywhere. Where you
• 5:00
  Speaker 2: watch a film does not dictate whether or not you
• 5:02
  Speaker 2: enjoy it and it doesn't diminish the creator's intent at
• 5:05
  Speaker 2: all whether or not they say it does is unimportant
• 5:08
  Speaker 2: like in enjoy cinema however wherever because for the longest
• 5:13
  Speaker 2: time there was no other way to see it and
• 5:15
  Speaker 2: so now we're going to deny ourselves the ability to
• 5:17
  Speaker 2: watch it anywhere fuck that just broadly so on these
• 5:20
  Speaker 2: episodes it's a little bit different than a normal episode
• 5:22
  Speaker 2: of the culture cast because normally on the culture cast
• 5:24
  Speaker 2: their movies that are easily rentable or you can find
• 5:27
  Speaker 2: them on YouTube with a lot of the TV movies
• 5:29
  Speaker 2: if we talk about a TV movie But this is
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  Speaker 2: a new movie. And so it's a little bit different,
• 5:34
  Speaker 2: at least in some of the subjectiveness of this, because,
• 5:37
  Speaker 2: you know, people are also here for the hot take,
• 5:39
  Speaker 2: as it were, or our opinion, because that's what, you know,
• 5:42
  Speaker 2: what you want to know about a new movie is
• 5:44
  Speaker 2: whether or not you should go see it. And sometimes
• 5:45
  Speaker 2: that is based on the opinion of the person watching it.
• 5:48
  Speaker 2: So all of that out of the way, I think
• 5:50
  Speaker 2: that this movie is probably my favorite Zack Kreger movie
• 5:52
  Speaker 2: I've seen.
• 5:54
  Speaker 1: Again, those are they're all kind of different. But like
• 5:57
  Speaker 1: this is the one I keep hearing people throw around.
• 6:00
  Speaker 1: Best video game movie, period, maybe? Question mark? Period or
• 6:04
  Speaker 1: question mark. You decide at home.
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  Speaker 2: And I know which side of the line I'm on
• 6:09
  Speaker 2: on that one. I think I'm on the question mark
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  Speaker 2: side because that's a statement that has no further conversation
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  Speaker 2: based around it. Like, why is it the best? Most
• 6:18
  Speaker 2: people can't answer that. Because it's the most well-reviewed? Like,
• 6:21
  Speaker 2: that's not a real reason. I... I don't know if
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  Speaker 2: I agree with it being the best video game movie.
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  Speaker 2: I think it hasn't been out long enough for me
• 6:30
  Speaker 2: to make that determination. And I've seen it twice, so
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  Speaker 2: it's not one of those things where it's like, I
• 6:34
  Speaker 2: don't really know how repeat, repeat, repeat viewings will hold
• 6:38
  Speaker 2: up because I liked Weapons the first time I saw it.
• 6:40
  Speaker 2: And I have not enjoyed it as much in subsequent viewing.
• 6:44
  Speaker 2: I did not like Barbarian when I saw it, and
• 6:45
  Speaker 2: I still don't like. So, you know, with Resident Evil,
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  Speaker 2: my hope is that it is sustained from how I
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  Speaker 2: felt the first time I watch it to every other time,
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  Speaker 2: or at least my enjoyment might increase. But with the
• 6:58
  Speaker 2: other films that he's done, I have not enjoyed them
• 7:01
  Speaker 2: to begin with, or I have soured on them.
• 7:03
  Speaker 1: As time has gone on. See, I liked pretty much
• 7:06
  Speaker 1: everything he's done. I've said many times on my show,
• 7:09
  Speaker 1: I like the first half of Barbarian way more than
• 7:12
  Speaker 1: the second. And I still like the second, but it's
• 7:15
  Speaker 1: so its own thing in that first half. And then
• 7:18
  Speaker 1: so it takes a hard turn.
• 7:20
  Speaker 2: It's like a good idea that goes too far. It's
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  Speaker 2: like a student film that became more than it should
• 7:26
  Speaker 2: have been, which is exactly what it was. It was
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  Speaker 2: like a short script that he was working off of.
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  Speaker 2: And then he expounded it into a bigger idea. The
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  Speaker 2: first half of it is so tense and so well
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  Speaker 2: put together and so well acted and so well shot
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  Speaker 2: so that it holds on to that creepy tension. Then
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  Speaker 2: I'm like, this is great. And then once you get
• 7:45
  Speaker 2: to the point of knowing what's going on, you're like, Oh, OK. Like,
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  Speaker 2: it's just it's fine if there's nothing wrong with it.
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  Speaker 2: It's a perfectly good horror movie, but it just does
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  Speaker 2: things that seem a little more normal. If you're the
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  Speaker 2: kind of person that watches a lot of horror movies,
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  Speaker 2: you're like, oh, it's one of these.
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  Speaker 1: All right, fine. And it's still stylish and kind of
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  Speaker 1: creative in the way it does it. But it's just
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  Speaker 1: it's so a normal traditional horror movie from that point on.
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  Speaker 1: whereas almost like annoyingly so frankly like yeah i just
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  Speaker 1: expected it to continue to do something weird and different
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  Speaker 1: and it just kind of it's a little more traditional
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  Speaker 1: at that point which again is it's not a problem
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  Speaker 1: like most people that are even regular horror fans probably
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  Speaker 1: aren't that nitpicky about it i just the bar was
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  Speaker 1: already set so high in that first half i just
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  Speaker 1: wanted it to kind of keep nailing that move and
• 8:31
  Speaker 1: it just, yeah, it's fine. It's just normal. How did
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  Speaker 1: you feel about Weapons? I really like Weapons and I
• 8:36
  Speaker 1: haven't revisited it much, but I saw in theater was
• 8:42
  Speaker 1: kind of blown away and it just sort of goes
• 8:45
  Speaker 1: to show you what a impressive filmmaker he is just
• 8:49
  Speaker 1: kind of based on these three movies because he's doing,
• 8:52
  Speaker 1: especially from the first two to this latest one, it's
• 8:56
  Speaker 1: like it changes gears. You look at how sort of
• 9:00
  Speaker 1: artsy the way that it handles weapons, whereas it's broken
• 9:04
  Speaker 1: up into pieces. It's not exactly linear. It's it's told
• 9:07
  Speaker 1: in different character perspectives. So it's doing way more of
• 9:11
  Speaker 1: an art house horror movie type of thing versus, OK,
• 9:14
  Speaker 1: now we're handing you this giant property and it's just
• 9:16
  Speaker 1: a roller coaster. It's just it doesn't bother trying to
• 9:20
  Speaker 1: do that stuff. It doesn't care about doing that stuff.
• 9:22
  Speaker 1: It just takes an entirely different turn. And that Again,
• 9:26
  Speaker 1: it's just kind of impressive that he's pretty versatile as
• 9:29
  Speaker 1: as directing goes. So from that angle, but back to weapons. Yeah,
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  Speaker 1: I think it's really well done. I do like the
• 9:36
  Speaker 1: way that it's kind of that same thing. I think
• 9:39
  Speaker 1: what it was doing in that first half of of
• 9:41
  Speaker 1: that other movie. What the hell is this? Oh, barbarian barbarian.
• 9:44
  Speaker 1: There we go. In the first half of Barbarian, it
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  Speaker 1: just holds on to so well that I feel like
• 9:50
  Speaker 1: the tone and the creepiness that's in that first half
• 9:53
  Speaker 1: of Barbarian is throughout weapons. And then you get that last,
• 9:57
  Speaker 1: you know, 15, 20 minute grand finale. that's just like,
• 10:00
  Speaker 1: all right, well, we came for a show and here's
• 10:02
  Speaker 1: your show. So I think that one just holds up
• 10:06
  Speaker 1: pretty well all the way through. And then, as I said,
• 10:09
  Speaker 1: then we get here and it does an entirely different
• 10:12
  Speaker 1: approach to putting together a horror movie.
• 10:14
  Speaker 2: But I would actually push back on that just a
• 10:16
  Speaker 2: little bit because, and I was thinking about this since
• 10:18
  Speaker 2: I watched Resident Evil and I went back and I
• 10:21
  Speaker 2: rewatched Weapons and Barbarian in preparation for this episode because
• 10:24
  Speaker 2: I wanted to kind of see if I could see
• 10:26
  Speaker 2: the through line.
• 10:27
  Speaker 1: And it's there.
• 10:29
  Speaker 2: Remember the thing about Barbarian and Weapons that did kind
• 10:32
  Speaker 2: of get leveled against those films is they're weird in
• 10:34
  Speaker 2: the tone, right? The tone is kind of all over
• 10:37
  Speaker 2: the place.
• 10:37
  Speaker 1: And.
• 10:38
  Speaker 2: You know what I will say as someone who has
• 10:40
  Speaker 2: been a fan of Resident Evil since Resident Evil 4
• 10:43
  Speaker 2: came out on the GameCube and I didn't even have
• 10:45
  Speaker 2: a GameCube and I went and sat and hung out
• 10:48
  Speaker 2: at my friend's place and we played through Resident Evil 4.
• 10:50
  Speaker 2: I couldn't tell you how many times on his GameCube
• 10:53
  Speaker 2: growing up. And then when it came out for PlayStation 2,
• 10:56
  Speaker 2: I played it incessantly. So I'm not going to say
• 10:59
  Speaker 2: like I'm an old head Resident Evil fan, because I
• 11:01
  Speaker 2: know that there are people out there that would be like, well,
• 11:02
  Speaker 2: I've been a fan since Resident Evil 1. First off,
• 11:05
  Speaker 2: nobody wants to play those games anymore. Tank controls are
• 11:07
  Speaker 2: not fun.
• 11:08
  Speaker 1: Like, they're just not. I'm sorry.
• 11:10
  Speaker 2: Like... Even if you don't want to play a game
• 11:11
  Speaker 2: that's running and gunning and blowing zombies away like all
• 11:14
  Speaker 2: of the Resident Evil games post for pre seven were.
• 11:19
  Speaker 2: And then essentially they started doing the exact same thing
• 11:22
  Speaker 2: with Village and then with the most recent one. Like
• 11:25
  Speaker 2: even even if you are someone who's liked those games
• 11:28
  Speaker 2: from the beginning and you want to like hold it
• 11:30
  Speaker 2: against me that I've liked it since the kind of
• 11:32
  Speaker 2: fun one in most people's opinion. Resident Evil's tone has
• 11:36
  Speaker 2: always been fucking weird. It's always been fucking weird. It's
• 11:40
  Speaker 2: always been kind of jokey, tongue-in-cheek. It knows... I wouldn't
• 11:44
  Speaker 2: say it knows it's a video game, but it acts
• 11:47
  Speaker 2: like it knows more than it's leading on. And, man,
• 11:51
  Speaker 2: I can tell you the one thing this movie nails
• 11:53
  Speaker 2: more than anything else, and I'm not saying it only
• 11:55
  Speaker 2: nails this, but in terms of, like, tone, this is
• 11:58
  Speaker 2: the first time I've watched a video game movie that
• 12:00
  Speaker 2: I feel like gets that it's.
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  Speaker 1: A video game movie. Genuinely.
• 12:03
  Speaker 2: And that's... What are we, like, 30 fucking years into
• 12:06
  Speaker 2: making video game movies now since the Super Mario Bros
• 12:10
  Speaker 2: movie came out?
• 12:11
  Speaker 1: The true classic. I don't mind that movie. I love
• 12:14
  Speaker 1: that movie. That movie's perfectly fine. That movie gets dragged
• 12:18
  Speaker 1: for the wrong reasons. Yeah. But that's my favorite part,
• 12:22
  Speaker 1: like because it's not like again, it's somebody gave me
• 12:25
  Speaker 1: the name and then went, all right. I mean, you
• 12:28
  Speaker 1: can work in a few things along the way, but
• 12:30
  Speaker 1: you don't really have to do anything at all in
• 12:33
  Speaker 1: the game. And they went, OK, cool. That was my
• 12:35
  Speaker 1: favorite part. I was just like, this has little to
• 12:38
  Speaker 1: nothing to do with the video games. And that makes
• 12:40
  Speaker 1: it kind of more awesome because now it's just weird
• 12:43
  Speaker 1: for the sake of weird and funny. I don't even
• 12:45
  Speaker 1: think they know how weird it is. And the video
• 12:47
  Speaker 1: game wasn't exactly like the deepest story anyways.
• 12:51
  Speaker 2: That's the part that cracked me up. It was like
• 12:53
  Speaker 2: reading the reviews about Super Mario Brothers. Like the fans
• 12:56
  Speaker 2: were disappointed. Like what was the story in Mario? Oh,
• 12:59
  Speaker 2: he's looking for Princess Peach in another castle. That's about it.
• 13:03
  Speaker 2: That's about it. Well, and now we've seen them do it.
• 13:07
  Speaker 1: Like I finally got around to watching those animated wins
• 13:09
  Speaker 1: and I'm like, this is much closer to what they
• 13:12
  Speaker 1: probably wanted 30 years ago. And you know what? It's fine. Like,
• 13:16
  Speaker 1: but I'm not, I'm not like, it is a me,
• 13:18
  Speaker 1: a Mario. I'm like, yep, that sure is Mario. Look,
• 13:21
  Speaker 1: there's the princess. Like, it's just, I don't know. They're,
• 13:24
  Speaker 1: they're fine. But like between the two, which would I
• 13:27
  Speaker 1: rather watch? Hell yeah. I'd rather watch the live action movie.
• 13:30
  Speaker 1: I'll watch that right now.
• 13:32
  Speaker 2: There is something to be said for, especially in this
• 13:36
  Speaker 2: day and age, with how I think sterilized and sanitized
• 13:41
  Speaker 2: films are, there is something to be said for weird filmmaking,
• 13:44
  Speaker 2: still making it through the cracks, especially in big budget films.
• 13:48
  Speaker 2: And this film, Resident Evil, I think it's actually a
• 13:51
  Speaker 2: pretty weird movie. It is a rather weird film. And
• 13:54
  Speaker 2: that's the thing, for all of the things I've said
• 13:56
  Speaker 2: about me not resonating with Zach This is the first
• 14:00
  Speaker 2: film of his where I'm like, I resonate with this completely.
• 14:03
  Speaker 2: And this was made by a fan of Resident Evil.
• 14:05
  Speaker 2: That's the one thing I do want to say before
• 14:07
  Speaker 2: we kind of talk spoilers is that and I don't
• 14:09
  Speaker 2: know how much of the discourse you saw online, but
• 14:11
  Speaker 2: there was a subsection of people that were dragging this
• 14:14
  Speaker 2: movie before it came out because they were convinced that
• 14:16
  Speaker 2: Craig or wasn't a Resident Evil fan a as if
• 14:19
  Speaker 2: that really matters.
• 14:20
  Speaker 1: I was going to say like that has to be like,
• 14:23
  Speaker 1: that's not normally how J.J. Abrams was a huge fan
• 14:25
  Speaker 1: of Star Wars. And we saw that how that fucking
• 14:27
  Speaker 1: turned out. Same with Rian Johnson. Like he also made
• 14:30
  Speaker 1: Star Trek and he didn't really care about that. So
• 14:32
  Speaker 1: you can do either, obviously. Right.
• 14:35
  Speaker 2: And I would actually say that that first Star Trek
• 14:37
  Speaker 2: movie is much better than anything he did with Star Wars,
• 14:40
  Speaker 2: which goes to show like, yeah, your investment in things.
• 14:43
  Speaker 2: may or may not influence your ability to do a
• 14:45
  Speaker 2: good job.
• 14:46
  Speaker 1: So mileage may vary.
• 14:48
  Speaker 2: But I for me, this is my favorite Zack Craig
• 14:52
  Speaker 2: film by a wide margin. It is also a film
• 14:55
  Speaker 2: that I think is and this is the funny part,
• 14:59
  Speaker 2: because I think that Resident Evil has kind of become
• 15:01
  Speaker 2: this in the modern day it is a perfect representation
• 15:05
  Speaker 2: of resident evil the video game in terms of its
• 15:07
  Speaker 2: influence on the industry because there aren't really any bigger
• 15:10
  Speaker 2: horror games than resident evil it's like resident evil and
• 15:13
  Speaker 2: silent hill and that's it and.
• 15:15
  Speaker 1: I still feel like resident evil is the go-to like
• 15:18
  Speaker 1: it's it's the reason everybody else started making all the
• 15:21
  Speaker 1: other horror games It is the original. It's the progenitor.
• 15:25
  Speaker 2: And what's funny is, so rarely are the progenitors still
• 15:28
  Speaker 2: able to hang and bang 36 years later.
• 15:31
  Speaker 1: Yeah, really. And that's the thing.
• 15:33
  Speaker 2: I mean, Resident Evil 1 came out in the early
• 15:36
  Speaker 2: 90s on PlayStation 1. And it was, you know, there
• 15:39
  Speaker 2: was a lot of things about that game that were
• 15:41
  Speaker 2: really mind-blowing at the time that if you were to
• 15:44
  Speaker 2: watch it now, you would just be like, well, that
• 15:45
  Speaker 2: just seems dorky and dumb. But at the time, they
• 15:49
  Speaker 2: were a big deal. It's like Mortal Kombat 1.
• 15:51
  Speaker 1: Mortal Kombat.
• 15:52
  Speaker 2: or Mortal Kombat, the original game, not Mortal Kombat 1,
• 15:54
  Speaker 2: but Mortal Kombat, the original game, now it's like, what
• 15:57
  Speaker 2: were people getting so upset about?
• 15:58
  Speaker 1: Like, pixelated sprite blood?
• 16:00
  Speaker 2: Like, compared to what it is now, and that's the thing, like,
• 16:03
  Speaker 2: not every game franchise survived long enough to have.
• 16:07
  Speaker 1: It kind of become.
• 16:09
  Speaker 2: like we were talking about on the last episode with Halloween,
• 16:12
  Speaker 2: a legacy IP. And Resident Evil is like Halloween. It
• 16:17
  Speaker 2: is kind of part and parcel with the horror genre
• 16:20
  Speaker 2: in the medium that it is part of. I mean,
• 16:22
  Speaker 2: you could say Silent Hill, but I think, like you said,
• 16:25
  Speaker 2: I think it's Resident Evil. It is the high watermark
• 16:29
  Speaker 2: for survival horror games because it kind of created the genre,
• 16:33
  Speaker 2: more or less.
• 16:34
  Speaker 1: And just the style of it as well. It did
• 16:38
  Speaker 1: something that video games, a few might have been doing
• 16:41
  Speaker 1: a similar style of game. Metal Gear Solid was about
• 16:44
  Speaker 1: the only other one, really. But it also worked those
• 16:48
  Speaker 1: two in. The way that you move around and are
• 16:51
  Speaker 1: looking for what you're looking for and trying to get
• 16:53
  Speaker 1: to where you're going also factored into the horror of it,
• 16:56
  Speaker 1: which you didn't really have before Resident Evil. You didn't
• 17:00
  Speaker 1: worry about oh, am I about to get eaten by
• 17:02
  Speaker 1: a zombie? That I literally can't see. That I'm literally
• 17:03
  Speaker 1: looking for ammo.
• 17:05
  Speaker 2: And that I can't see because it's waiting in the
• 17:07
  Speaker 2: corner of the screen because it's a static camera.
• 17:10
  Speaker 1: So it's, yeah, it's a different take on just the
• 17:13
  Speaker 1: video game aspect of it at that time, too, that
• 17:16
  Speaker 1: then they have to translate into movies or not, depending
• 17:18
  Speaker 1: on how it goes.
• 17:19
  Speaker 2: Yeah, and so I think for me, like I said,
• 17:22
  Speaker 2: this is the first time I've watched a video game
• 17:24
  Speaker 2: movie that I feel like understands video game logic. And
• 17:29
  Speaker 2: this could exist within the world of the video game
• 17:33
  Speaker 2: as we've already seen it. I'm not saying like, well,
• 17:35
  Speaker 2: this is a, a resident evil, like, you know, prequel,
• 17:38
  Speaker 2: but it's a prequel to a resident evil timeline that
• 17:41
  Speaker 2: the movie wants to tell, which.
• 17:43
  Speaker 1: It's running simultaneous. Essentially. Yeah.
• 17:46
  Speaker 2: It's like, I mean, it's, you know, the way I
• 17:47
  Speaker 2: look at it is like a Jurassic park, right? Like
• 17:50
  Speaker 2: the Jurassic park books, uh, there was Jurassic Park and
• 17:52
  Speaker 2: Lost World. Those were not referencing the movie. The second
• 17:56
  Speaker 2: book was influenced by the success of the first movie, sure,
• 17:59
  Speaker 2: but those books were a parallel timeline to the movie
• 18:04
  Speaker 2: timeline of telling something else. And I don't see this
• 18:06
  Speaker 2: any differently. This movie is just serving as a opening
• 18:11
  Speaker 2: chapter in a retelling of the Raccoon City outbreak story,
• 18:16
  Speaker 2: which is from Resident Evil. Why couldn't we just do
• 18:19
  Speaker 2: video game movies like they do Marvel Cinematic Universe movies
• 18:22
  Speaker 2: where it's like we're just amalgamating things?
• 18:24
  Speaker 1: We don't.
• 18:25
  Speaker 2: And, you know, again, to go back to the Zack
• 18:27
  Speaker 2: Krieger not being a video game fan or Resident Evil
• 18:31
  Speaker 2: more specifically. Oh, well, it's not a Leon movie or
• 18:33
  Speaker 2: it's not a it's like Jesus Christ. Like, I'm sorry
• 18:36
  Speaker 2: to tell you that. Well, and that's the thing, like
• 18:39
  Speaker 2: for the mainstream audiences, do they even know who those
• 18:42
  Speaker 2: characters are? They probably know what Resident Evil is, but
• 18:46
  Speaker 2: I'm not sure that mainstream knows who Leon S. Kennedy
• 18:50
  Speaker 2: and Jill Valentine and Chris Redfield are.
• 18:52
  Speaker 1: I know who they are. Just the really old ones.
• 18:55
  Speaker 1: But I mean, there's been a lot of generations of
• 18:57
  Speaker 1: kids that have grown up playing them since then that
• 18:59
  Speaker 1: maybe aren't that tied to those old timey characters anymore.
• 19:03
  Speaker 1: But they know what Resident Evil is and they want
• 19:05
  Speaker 1: to play the game. So, yeah. Yeah.
• 19:07
  Speaker 2: And yeah, like, you know, seven, seven and eight don't
• 19:10
  Speaker 2: feature any of those legacy characters for the most part
• 19:13
  Speaker 2: in major roles.
• 19:14
  Speaker 1: They're in like minor supporting character roles.
• 19:16
  Speaker 2: Resident Evil 9 is the one that brings Leon back, sure,
• 19:20
  Speaker 2: but at the same time, that was seen as an
• 19:22
  Speaker 2: old head thing.
• 19:23
  Speaker 1: It's for the older fans.
• 19:24
  Speaker 2: Because again, for a lot of, like you said, for
• 19:27
  Speaker 2: a kid playing Resident Evil who's 12 right now, Resident
• 19:31
  Speaker 2: Evil 4 came out when I was your age. You
• 19:33
  Speaker 2: weren't even alive.
• 19:35
  Speaker 1: It's like watching a silent film for them. Yeah, whatever,
• 19:39
  Speaker 1: old people stuff. There's nothing wrong with that. They're not
• 19:41
  Speaker 1: even going to go play the original Resident Evil four.
• 19:44
  Speaker 1: They're going to play the like the remake version that
• 19:46
  Speaker 1: came out.
• 19:47
  Speaker 2: A couple of years ago. And that's the point. That's
• 19:49
  Speaker 2: what they want. They want you to engage with these
• 19:52
  Speaker 2: things in the most recent version of it. And and
• 19:56
  Speaker 2: I think that this movie does a good job at
• 19:59
  Speaker 2: representing the modern interpretation of Resident Evil 4. at least
• 20:03
  Speaker 2: an amalgamation of probably, let's say, seven, eight and nine.
• 20:07
  Speaker 2: So the last three games, the ones that I think
• 20:10
  Speaker 2: in terms of recent games have been very successful. Seven
• 20:13
  Speaker 2: was a massive boon. Eight was immensely successful. Nine is
• 20:17
  Speaker 2: possibly up for game of the year. I don't know
• 20:19
  Speaker 2: if it will win it. It shouldn't win it. It's fine.
• 20:22
  Speaker 2: But it does some things like bringing back Leon, which
• 20:25
  Speaker 2: is something that everybody wanted if you're a fan of
• 20:27
  Speaker 2: Resident Evil.
• 20:28
  Speaker 1: Is he in this movie? No.
• 20:29
  Speaker 2: Zach Krieger said he wasn't going to be. This is
• 20:31
  Speaker 2: not that kind of movie. And I think that's the
• 20:34
  Speaker 2: smart thing. Zach Krieger essentially made a movie that someone
• 20:36
  Speaker 2: else can take over now and do something else with and.
• 20:39
  Speaker 1: Be completely different.
• 20:40
  Speaker 2: Like, okay, now have a James Cameron type come in
• 20:44
  Speaker 2: and make aliens for this universe and have it be
• 20:47
  Speaker 2: about the stars, characters from Resident Evil. Introduce Leon or
• 20:50
  Speaker 2: Chris Redfield. Now that you've gotten... people that have never
• 20:54
  Speaker 2: seen this before to understand what's going on somewhat. This
• 20:58
  Speaker 2: has been successful enough that you could just have literally
• 21:01
  Speaker 2: anybody come in and do this.
• 21:03
  Speaker 1: You know what I mean?
• 21:04
  Speaker 2: Like broadly, realistically, like that's where I view this film
• 21:08
  Speaker 2: is like, it's a weird thing that this film exists
• 21:10
  Speaker 2: this way, but it could serve as a mold for
• 21:13
  Speaker 2: future things coming out where it's like, we don't necessarily
• 21:16
  Speaker 2: have to tell anyone. the same character's story in every movie,
• 21:19
  Speaker 2: but the universe can be shared. And like, that's not
• 21:22
  Speaker 2: a thing that we've really seen in a lot of
• 21:23
  Speaker 2: these cinematic universes. There's always these like crossover characters, but
• 21:27
  Speaker 2: maybe instead of characters, it's the event that's the crossover.
• 21:30
  Speaker 2: That's the thing that's fueling the entire thing. And I
• 21:34
  Speaker 2: think they might actually have something on their hands here that.
• 21:36
  Speaker 1: Could be that for horror.
• 21:38
  Speaker 2: You know, we've kind of had takes on that with Conjuring,
• 21:41
  Speaker 2: the Conjuring universe and stuff like that. But Given that
• 21:44
  Speaker 2: this has been successful and well regarded, this could be
• 21:47
  Speaker 2: that now for like horror and horror video games and
• 21:50
  Speaker 2: just video game movies in general.
• 21:52
  Speaker 1: I think this was the best thing he could have
• 21:55
  Speaker 1: done in general. Like, again, I give him credit for
• 21:57
  Speaker 1: just knowing how to tell a good story, but also
• 22:00
  Speaker 1: just for like the deck stacked against you that he
• 22:04
  Speaker 1: was coming into. Yeah. Then get there and be like, well,
• 22:14
  Speaker 1: I mean, I'm damned if I do, and I'm damned
• 22:16
  Speaker 1: if I don't. If I put in the story you
• 22:18
  Speaker 1: want me to tell, you're going to be mad because
• 22:20
  Speaker 1: I did the same story. If I don't tell it,
• 22:22
  Speaker 1: you're going to be mad because it's not there. You
• 22:24
  Speaker 1: want these characters. You don't want these characters. Like there's
• 22:26
  Speaker 1: so much nitpicking to it where we get to this
• 22:30
  Speaker 1: and it's like, what if we just throw all that out?
• 22:32
  Speaker 1: And here's what we're going with. It's a vibe. If
• 22:34
  Speaker 1: you get the Resident Evil vibe, you're invested in this movie.
• 22:39
  Speaker 1: And like whether you've got specific characters, whether you've got
• 22:42
  Speaker 1: a specific scenario that pops up, you know, whatever, who cares?
• 22:45
  Speaker 1: But like once you're that invested in the feel of
• 22:49
  Speaker 1: what he's trying to do, And just the overwhelming like
• 22:52
  Speaker 1: creepiness of it and the way that he shoots it
• 22:55
  Speaker 1: and the way that you're sort of thrown into this
• 22:57
  Speaker 1: ride that like, yeah, that's that's the best thing you
• 23:00
  Speaker 1: could do, because then you don't have to worry about
• 23:02
  Speaker 1: all this other nitpicky stuff that every fanboy out there
• 23:05
  Speaker 1: is going to get into. You're like, yeah, OK, but
• 23:07
  Speaker 1: I'm not doing that. Like, I'm not even bothering with
• 23:09
  Speaker 1: all that. I've picked my own thing, here's my character,
• 23:12
  Speaker 1: here's the story I'm trying to tell, and I'm gonna
• 23:15
  Speaker 1: follow that till the end of this movie. And that's
• 23:18
  Speaker 1: what he did. And I'm like, that's the best thing
• 23:20
  Speaker 1: he could have.
• 23:20
  Speaker 2: It's surprising that almost like a film being entertaining will
• 23:25
  Speaker 2: get people in the door. A well-made, competent, entertaining film
• 23:30
  Speaker 2: We'll get people to resonate with it and get people invested.
• 23:32
  Speaker 2: It's not about some fucking IP, you know, holding to
• 23:36
  Speaker 2: the IP like it's mythology, like Dave Filoni at Star Wars.
• 23:39
  Speaker 2: Like you can do something interesting with it. It doesn't
• 23:42
  Speaker 2: have to be like gospel every time we do anything.
• 23:46
  Speaker 1: I'm sorry. This is this year is the perfect example
• 23:49
  Speaker 1: of that, because at least, you know, the big one
• 23:51
  Speaker 1: to punch we had of horror earlier is. Backrooms was
• 23:54
  Speaker 1: pretty well established. It had its own online fandom for years.
• 23:58
  Speaker 1: But Obsession is just a horror movie. Like it was
• 24:00
  Speaker 1: just a well told basic story that we've kind of
• 24:05
  Speaker 1: seen the core version of it several other times. But
• 24:08
  Speaker 1: it put its own spin on it and it did
• 24:09
  Speaker 1: it stylishly and well done. And people were like, oh, oh,
• 24:15
  Speaker 1: what is that? Like it's a brand new thing. But
• 24:17
  Speaker 1: like that's all it took was putting together a good
• 24:21
  Speaker 1: story and telling a good tale. And like it brought
• 24:24
  Speaker 1: people in. And so you see, we didn't need pre-existing IP.
• 24:28
  Speaker 1: We didn't need a bajillion dollar, you know, company backing it.
• 24:33
  Speaker 1: Like all we needed was somebody to do a good thing. story,
• 24:36
  Speaker 1: find good actors, shoot a good movie and audiences discover it.
• 24:40
  Speaker 1: And they're just blown away because we don't, we don't
• 24:43
  Speaker 1: get people doing that anymore. We're so busy focusing on
• 24:46
  Speaker 1: the bigger picture and trying to kill themselves to get
• 24:49
  Speaker 1: this giant name out there and get a million people
• 24:52
  Speaker 1: to show up versus if you do a good enough job,
• 24:55
  Speaker 1: they'll find it on their own. They'll tell people about
• 24:57
  Speaker 1: it all on their own. You don't need that push. Really?
• 25:00
  Speaker 1: They do the marketing for you. If you make a
• 25:02
  Speaker 1: good movie and then they show up in the theater.
• 25:06
  Speaker 1: It's like they've almost discounted the idea that making a
• 25:09
  Speaker 1: good movie is still a successful way to do things.
• 25:11
  Speaker 1: I mean, studios, producers, executives at least, it's like they have,
• 25:18
  Speaker 1: from the beginning maybe, never grasped that. It's just like,
• 25:22
  Speaker 1: I've heard those stories back to the golden age of Hollywood.
• 25:26
  Speaker 1: They were just cranking stuff out because they wanted to
• 25:28
  Speaker 1: make money, could care less about the art involved and
• 25:30
  Speaker 1: the directors and storytelling and all of that. They're just like,
• 25:33
  Speaker 1: how do we make a buck? All right, let's do that.
• 25:35
  Speaker 1: which is fine. I understand it. That's the business. It
• 25:39
  Speaker 1: is essential. You can't make things, especially this expensive, without
• 25:43
  Speaker 1: focusing on that to some extent. But at the same time,
• 25:46
  Speaker 1: it's like, but it's also the other half of it
• 25:49
  Speaker 1: is art. The other half of it is a bunch
• 25:52
  Speaker 1: of weirdo artists trying to tell a story that maybe
• 25:54
  Speaker 1: you haven't seen before. So it's like you have to
• 25:58
  Speaker 1: at least give that half of the focus, half of
• 26:00
  Speaker 1: the the weight of trying to put together this thing.
• 26:03
  Speaker 1: And anytime they leave that part of it out, you
• 26:06
  Speaker 1: kind of feel it when you're sitting in the, in
• 26:08
  Speaker 1: the seats going, wait, what is, what is it? Why
• 26:10
  Speaker 1: did I pay all this money to come sit here
• 26:12
  Speaker 1: and see this?
• 26:13
  Speaker 2: So, yeah, I don't know. I feel like that's, that's
• 26:16
  Speaker 2: a lesson. I wish they would learn.
• 26:18
  Speaker 1: We keep seeing this happen from time to time over
• 26:20
  Speaker 1: the years. And then we were thinking, okay, finally, they're
• 26:23
  Speaker 1: going to learn. And then next season comes out and
• 26:25
  Speaker 1: they do the same dumb, stupid stuff they do. But
• 26:28
  Speaker 1: I don't know. It's frustrating because you keep waiting for
• 26:31
  Speaker 1: them to be like, OK, they're finally going to take
• 26:33
  Speaker 1: the important part of this and give, you know, give
• 26:37
  Speaker 1: the the artist a chance to make what they want
• 26:39
  Speaker 1: to make, to give them freedom to tell the story
• 26:41
  Speaker 1: they want to tell and not, you know. note it
• 26:43
  Speaker 1: to death from studio notes and not come in and
• 26:45
  Speaker 1: cut budgets when they think, you know, this will help
• 26:48
  Speaker 1: you if I take away all your money. Like, so
• 26:51
  Speaker 1: you keep hoping they'll learn the right lesson. And usually
• 26:54
  Speaker 1: they go the entire opposite way.
• 26:56
  Speaker 2: Well, I mean, you mentioned backrooms and obsession. It seems
• 26:59
  Speaker 2: that the, uh, It seems that the lesson that they
• 27:01
  Speaker 2: took from those is, hey, we've never heard of this
• 27:04
  Speaker 2: thing called YouTube before. It's a it's a thoroughly unmined
• 27:08
  Speaker 2: field of it's a brand new thing.
• 27:10
  Speaker 1: Right. It's like you fucking morons.
• 27:14
  Speaker 2: YouTube has been around for so long. Like when I
• 27:16
  Speaker 2: read the headline that Steven Spielberg had had either helped
• 27:21
  Speaker 2: invest in the Walton Files, which is something I covered
• 27:24
  Speaker 2: a billion years ago at the beginning of the pandemic
• 27:27
  Speaker 2: on another show, The Scary Stories We Tell podcast. which
• 27:30
  Speaker 2: it's like, it's an analog horror thing on YouTube. When
• 27:33
  Speaker 2: I read that, I was like, this is absurd. Like,
• 27:36
  Speaker 2: you've got to be kidding me. Like there's, there's no
• 27:38
  Speaker 2: universe where the guy who made that ever thought that
• 27:41
  Speaker 2: he'd be doing something like that. And I'm not saying
• 27:43
  Speaker 2: for good or for bad, but like, it's not, it's
• 27:46
  Speaker 2: not genuine.
• 27:47
  Speaker 1: That's the problem.
• 27:48
  Speaker 2: If it was genuine, it would have been done seven
• 27:50
  Speaker 2: years ago when the guy's content came out. And since
• 27:53
  Speaker 2: it's been over, cause it was, it's been over for
• 27:55
  Speaker 2: a couple of years.
• 27:56
  Speaker 1: You know what I mean?
• 27:56
  Speaker 2: Like, It's now being done because, oh, we know that
• 27:59
  Speaker 2: we can make money, maybe. And then if we don't
• 28:01
  Speaker 2: make money, it'll be, well, it was these YouTube content creators. Like, no, no, no,
• 28:04
  Speaker 2: they've been successful this whole.
• 28:06
  Speaker 1: Time without your help.
• 28:07
  Speaker 2: Like you're now trying to tie your success to their
• 28:10
  Speaker 2: preexisting success. And that's what the whole problem with a
• 28:13
  Speaker 2: lot of this stuff is, is like preexisting success does
• 28:16
  Speaker 2: not guarantee future success ever, especially not in this industry. Like,
• 28:20
  Speaker 2: and that's, if someone tells you that they have a
• 28:24
  Speaker 2: guaranteed success rate in a film industry thing, fucking run.
• 28:28
  Speaker 2: Because that's not a thing. Guaranteed success is not a thing.
• 28:34
  Speaker 1: Just because you're a name also doesn't mean you're going
• 28:37
  Speaker 1: to be able to transfer that over into another thing
• 28:40
  Speaker 1: and make it successful.
• 28:41
  Speaker 2: Oh boy, the producers of all those comedies in the
• 28:44
  Speaker 2: mid-2000s sure tried.
• 28:46
  Speaker 1: From the producers of 40-Year-Old Virgin.
• 28:49
  Speaker 2: What did the producers do on 40-Year-Old Virgin that would
• 28:51
  Speaker 2: make me think they know what they're doing now?
• 28:53
  Speaker 1: Like... what i'm just thinking of youtube people i'm like
• 28:56
  Speaker 1: yeah mr beast is a name but do i want
• 28:58
  Speaker 1: to see him direct a movie no i don't i
• 29:01
  Speaker 1: don't want to see you i want to read a
• 29:02
  Speaker 1: book that he wrote or do i want to engage
• 29:05
  Speaker 1: with him at all fuck no do i want to
• 29:07
  Speaker 1: eat a snack that he made i really don't i
• 29:10
  Speaker 1: i he's gotten so huge and i'm just like i
• 29:12
  Speaker 1: don't i don't get it but that's just me like
• 29:15
  Speaker 1: more power to you you guys enjoy him watch whatever
• 29:18
  Speaker 1: but i'm just like just because he's successful in this
• 29:21
  Speaker 1: corner over here doesn't mean hand him the keys to
• 29:24
  Speaker 1: the kingdom and like, OK, you can do whatever you
• 29:26
  Speaker 1: want now. Go make a hundred million dollar movie. And
• 29:29
  Speaker 1: I'm just like that. Yeah. Just because you're successful in
• 29:33
  Speaker 1: one area, specifically anywhere on the Internet, doesn't mean it's
• 29:36
  Speaker 1: going to translate. And in fact, usually doesn't. It's rare
• 29:39
  Speaker 1: that you get something like we've seen this year with
• 29:42
  Speaker 1: all of these guys that started out as independent filmmakers,
• 29:46
  Speaker 1: especially the YouTube guys that like now are just like
• 29:48
  Speaker 1: found a way. And it's because they're smart and talented
• 29:51
  Speaker 1: is like the reason it's, it's not an accident. Like
• 29:55
  Speaker 1: there are plenty of other idiots that they've handed money
• 29:57
  Speaker 1: to that have made terrible stuff. And Nobody talked about those.
• 30:00
  Speaker 1: So it's like it's because we found interesting filmmakers that
• 30:04
  Speaker 1: actually stuck to their guns and made an important story
• 30:07
  Speaker 1: to them and like told what they wanted to tell.
• 30:10
  Speaker 1: And like, that's why they're good. That's why they're interesting
• 30:13
  Speaker 1: at least.
• 30:13
  Speaker 2: Well, and I think to come back to Resident Evil,
• 30:15
  Speaker 2: you know, we talk about, you know, you being successful
• 30:18
  Speaker 2: elsewhere does not guarantee success here. in another medium and
• 30:24
  Speaker 2: you know or another film even and I would say
• 30:26
  Speaker 2: you know Zach Krieger has been successful in the last
• 30:28
  Speaker 2: two films that he's made and this film is successful
• 30:31
  Speaker 2: immensely successful you know I don't I don't know money
• 30:36
  Speaker 2: wise if it's made as much money as his other
• 30:38
  Speaker 2: two films because his other two films were a lot
• 30:40
  Speaker 2: cheaper than this film you know this is the first
• 30:42
  Speaker 2: zach krieger film that's like a actual i wouldn't say
• 30:45
  Speaker 2: like an actual movie but it's like an actual like
• 30:47
  Speaker 2: creature feature and creature features are not cheap like just
• 30:51
  Speaker 2: by design this is like a studio.
• 30:54
  Speaker 1: Movie yeah yeah not a weird indie movie this is
• 30:57
  Speaker 1: like a legit studio threw some money at it let's
• 31:00
  Speaker 1: make a movie this isn't an a24 valve yeah yeah Yeah,
• 31:04
  Speaker 1: so Weapons had a budget of $ 38.
• 31:06
  Speaker 2: Million, and Barbarian had a budget of $ 4 million. So
• 31:11
  Speaker 2: their budgets together are still only about half of what
• 31:15
  Speaker 2: the budget of this film is. So a little more
• 31:17
  Speaker 2: than half, but just barely. So that's the crazy part.
• 31:20
  Speaker 2: This film has double the budget of anything he's worked
• 31:22
  Speaker 2: on up until this point. This is the most expensive thing.
• 31:26
  Speaker 2: And yet what's funny is it does feel like a
• 31:29
  Speaker 2: bigger film than Weapons or Barbarian, But it still feels
• 31:32
  Speaker 2: like a Zack Kregger film. Well, and the most important thing,
• 31:35
  Speaker 2: I think, is as you're saying that it was like,
• 31:37
  Speaker 2: and yeah, usually that's.
• 31:39
  Speaker 1: The kiss of death. Like, usually you take some cool
• 31:42
  Speaker 1: indie director and then you give them here. Here's a
• 31:45
  Speaker 1: hundred million dollars. Go make this movie. And they're like, oh,
• 31:48
  Speaker 1: how do I? What do I like? They're not used
• 31:51
  Speaker 1: to that. Like the reason their stuff worked so well
• 31:53
  Speaker 1: when they were young is because they were scrappy and
• 31:56
  Speaker 1: like they. They did what they had to do to
• 31:58
  Speaker 1: make it work. So when you load excess on top
• 32:02
  Speaker 1: of them, they're just like, I don't know how to
• 32:03
  Speaker 1: make movies like this. And we get things that usually
• 32:06
  Speaker 1: don't work when we hand all that money to them.
• 32:09
  Speaker 1: So it's again like a credit to this filmmaker that
• 32:12
  Speaker 1: he was like, all right, I think I can figure
• 32:15
  Speaker 1: out a way to make this work because I feel
• 32:17
  Speaker 1: like it's one of the more polished movies I've seen
• 32:21
  Speaker 1: that that came from an indie director, they threw a
• 32:24
  Speaker 1: lot of money at it, and it's still not only
• 32:27
  Speaker 1: as functional as a movie, but it looks really good
• 32:30
  Speaker 1: on that level. To be able to up your game
• 32:33
  Speaker 1: and be like, okay, not only am I going to
• 32:35
  Speaker 1: have a well-shot movie, but I also have to factor
• 32:39
  Speaker 1: in all these effects that you've got a little special effects,
• 32:43
  Speaker 1: but mostly practical makeup effects in these other movies. Whereas
• 32:46
  Speaker 1: you get here and it's like it is a ton
• 32:48
  Speaker 1: of visual effects involved. And like you have to factor
• 32:51
  Speaker 1: that in. And that's enough to like crush an up
• 32:53
  Speaker 1: and coming filmmaker. But like he figured out a way
• 32:57
  Speaker 1: to make it work. And like everything still looks good
• 33:00
  Speaker 1: is the impressive.
• 33:01
  Speaker 2: Well, and he also doesn't do the other thing, which
• 33:04
  Speaker 2: is now that I have a massive budget, I just
• 33:05
  Speaker 2: go ape shit with the effects and I throw effects
• 33:08
  Speaker 2: into every single shot. I mean, that's the thing that
• 33:11
  Speaker 2: Michael Bay and his ilk from the mid 2000s never understood.
• 33:16
  Speaker 2: You don't have to bombard us with action all the time.
• 33:18
  Speaker 2: Just make the action interesting and well done. And it
• 33:21
  Speaker 2: can be like a quarter of your movie. Nobody expects
• 33:25
  Speaker 2: to go see an action movie and it'd be action
• 33:27
  Speaker 2: from start to finish. That's just where's the plot? Where's anything?
• 33:31
  Speaker 2: If that's the case, like where is anything other than that?
• 33:33
  Speaker 2: If that's all you're doing and that's I.
• 33:35
  Speaker 1: Can't even focus on those Michael Bay movies. What's my point?
• 33:39
  Speaker 1: Those Transform movies, you can't even figure out what's going
• 33:42
  Speaker 1: on half the time because he's so busy trying to
• 33:44
  Speaker 1: throw things at the camera, essentially. So frenetic.
• 33:47
  Speaker 2: It's frenetic to the point of seizure-inducing.
• 33:51
  Speaker 1: Seriously. It's too much.
• 33:53
  Speaker 2: And that's the thing that, again, you walk into this
• 33:56
  Speaker 2: trap of, well, I am a filmmaker who hasn't had
• 33:59
  Speaker 2: access to this budget up until this point, and now
• 34:01
  Speaker 2: I have this massive, again, comparatively... budget but i mean
• 34:05
  Speaker 2: again massive for anybody imagine being given essentially access to
• 34:09
  Speaker 2: 75 million dollars of of assets and funds to do
• 34:12
  Speaker 2: things with to make a film and to kind of
• 34:14
  Speaker 2: hire people and work with people you may have always
• 34:16
  Speaker 2: wanted to work with and i think crager does a
• 34:19
  Speaker 2: good job of balancing making a film like you said
• 34:22
  Speaker 2: that looks great that is well created technically and but
• 34:26
  Speaker 2: is also from an artistic standpoint, from an entertainment standpoint,
• 34:30
  Speaker 2: entertaining and like a worthy entry into a now twice
• 34:36
  Speaker 2: in the last five years rebooted Resident Evil franchise. Because
• 34:39
  Speaker 2: this is the second reboot in five years. Because I
• 34:42
  Speaker 2: don't know. Did you see Resident Evil? Welcome to Raccoon City?
• 34:45
  Speaker 1: I did not. I did not hear good things from
• 34:48
  Speaker 1: day one. And I've continued to hear bad things every
• 34:51
  Speaker 1: day since.
• 34:53
  Speaker 2: Well, and that's the crazy part because Johannes Roberts directed Primate,
• 34:58
  Speaker 2: which came out last year and is supposedly amazing. I
• 35:02
  Speaker 2: haven't gotten a chance to watch it yet, but I've
• 35:03
  Speaker 2: heard nothing but good things about it.
• 35:05
  Speaker 1: I've heard good things, yeah.
• 35:06
  Speaker 2: But to your point, Resident Evil Welcome to Raccoon City,
• 35:10
  Speaker 2: not well regarded at all, which is too bad because
• 35:13
  Speaker 2: I remember in the lead up to it, it kind
• 35:15
  Speaker 2: of sounded interesting, kind of.
• 35:16
  Speaker 1: I don't even remember hearing much about it. Like it
• 35:18
  Speaker 1: was already kind of getting down. bad press or at
• 35:21
  Speaker 1: least word of mouth, maybe before it was out. Certainly
• 35:25
  Speaker 1: as soon as it hit, I was already hearing bad
• 35:27
  Speaker 1: things enough that I didn't know much else about it,
• 35:29
  Speaker 1: except I knew it was an attempt of a reboot.
• 35:31
  Speaker 1: They were bringing in some of those recognizable characters, but
• 35:35
  Speaker 1: immediately it was just being shut down. And I was like, okay, well,
• 35:37
  Speaker 1: that's not going to be too high on the list.
• 35:39
  Speaker 1: And I still haven't gotten there. Well, and that's, you know,
• 35:42
  Speaker 1: that's the thing.
• 35:43
  Speaker 2: I think obviously for a lot of people that would
• 35:45
  Speaker 2: clearly have been the case is that I don't think
• 35:48
  Speaker 2: it resonated with the fans the way it was supposed to. I,
• 35:52
  Speaker 2: you know, it did not, it did not make a
• 35:55
  Speaker 2: whole lot of money. It was about a $ 25 million
• 35:57
  Speaker 2: film and it only made about 40, but it was
• 36:00
  Speaker 2: unsuccessful enough that Zach Kreger was brought in to reboot
• 36:03
  Speaker 2: the franchise completely.
• 36:05
  Speaker 1: Almost immediately they were trying to, okay, how do we
• 36:08
  Speaker 1: start over? This isn't working. Yeah.
• 36:11
  Speaker 2: And I think that it's, you know, partially influenced by
• 36:13
  Speaker 2: the fact that we are now living in a time
• 36:15
  Speaker 2: and a place where we are in the days of IP.
• 36:19
  Speaker 2: I mean, I think everybody acknowledges that, like the IP
• 36:22
  Speaker 2: world that we live in, like everything is fueled by IP.
• 36:24
  Speaker 2: And so if you have a director who directs horror
• 36:27
  Speaker 2: and he's successful at directing horror movies and you're like, look,
• 36:29
  Speaker 2: I've got a list of IPs here and you turn
• 36:32
  Speaker 2: the sheet around and push it towards him, which of
• 36:34
  Speaker 2: those IPs would you like to work on? as a
• 36:36
  Speaker 2: big budget film. If I'm Zach Kreger, you know, I
• 36:39
  Speaker 2: see Resident Evil on the list of things and I'm
• 36:42
  Speaker 2: a Resident Evil fan, which I believe he is based
• 36:45
  Speaker 2: on just seeing this film and the conversations that he
• 36:47
  Speaker 2: has had on camera about the video game. I would
• 36:51
  Speaker 2: probably be drawn to this over Nightmare on Elm Street
• 36:55
  Speaker 2: or Jason or something else because this has, in my opinion,
• 36:59
  Speaker 2: and I think this is the part where we talk
• 37:01
  Speaker 2: about Resident Evil broadly because I want to know your
• 37:03
  Speaker 2: kind of exposure to Resident Evil. This is also the
• 37:05
  Speaker 2: first time I think Resident Evil has ever had a
• 37:07
  Speaker 2: good movie done.
• 37:09
  Speaker 1: Because those Milla Jovovich films are fine.
• 37:12
  Speaker 2: They're entertaining at times. Yeah, but the best thing Paul W.S.
• 37:16
  Speaker 2: Anderson has ever done, and will ever probably be, is
• 37:19
  Speaker 2: Event Horizon. Like his video game movie adaptations are fine.
• 37:25
  Speaker 2: But even with that, it's like I would prefer to
• 37:27
  Speaker 2: watch his adaptation of Mortal Kombat because he seems like
• 37:30
  Speaker 2: a pretty supportive husband.
• 37:32
  Speaker 1: I'll give him that boy.
• 37:33
  Speaker 2: Yeah, he's like very boy. Him and Rob Zombie should
• 37:36
  Speaker 2: go have dinner together.
• 37:37
  Speaker 1: Really?
• 37:39
  Speaker 2: They can see and find over which one of their
• 37:40
  Speaker 2: wives is less talented.
• 37:42
  Speaker 1: I found a way to keep her happy and I
• 37:45
  Speaker 1: still get paid to do it.
• 37:46
  Speaker 2: So let's make some more movies. Keep her happy and
• 37:49
  Speaker 2: employed in both of their cases. So Brian, what is
• 37:53
  Speaker 2: your exposure to Resident Evil? Films, video games, any of them?
• 37:56
  Speaker 1: Before that, just I will say the way that you
• 37:59
  Speaker 1: described it, that is also what they do with these directors,
• 38:02
  Speaker 1: because I do remember talking to a director in particular
• 38:05
  Speaker 1: and he had made something kind of successful. And whoever
• 38:09
  Speaker 1: the producers at the time were, they were like, hey,
• 38:11
  Speaker 1: we want to reboot some things. Here's a list. And
• 38:14
  Speaker 1: they gave him a list of all these things. And
• 38:16
  Speaker 1: they were all already sequels. It wasn't really a true reboot,
• 38:19
  Speaker 1: but they're like, you're coming in. You can be six
• 38:22
  Speaker 1: on this one, seven on this one. And he's like, oh,
• 38:25
  Speaker 1: this one only had three. So I picked the one
• 38:27
  Speaker 1: with the lowest number. So that way I wasn't coming
• 38:30
  Speaker 1: in like on the worst end of a franchise that
• 38:34
  Speaker 1: they just beat the horse to death at that point.
• 38:36
  Speaker 1: So that is literally what they do to these directors
• 38:39
  Speaker 1: as they're up and coming. They're just like, here, here's
• 38:42
  Speaker 1: a list of things we're going to make anyway. Which
• 38:44
  Speaker 1: one do you want to be attached to? So that
• 38:46
  Speaker 1: is kind of how they throw it at Which is
• 38:48
  Speaker 1: not surprising.
• 38:49
  Speaker 2: Like, you know, like no one is surprised to learn
• 38:52
  Speaker 2: that because that's that's the business part.
• 38:54
  Speaker 1: Yeah, not surprising at all. But you'd think maybe we
• 38:57
  Speaker 1: were just like worst case scenario. No, that really is
• 38:59
  Speaker 1: what they have. We own all these things.
• 39:02
  Speaker 2: We're not doing a goddamn thing with what of these
• 39:05
  Speaker 2: things do you resonate with?
• 39:07
  Speaker 1: We're going to make some poor bastard do all of these.
• 39:10
  Speaker 1: So which one of these would you like to be
• 39:12
  Speaker 1: poor bastard? Would you want to do the Tetris film?
• 39:16
  Speaker 1: Or do you want to do Far Cry? I would
• 39:20
  Speaker 1: love to see a perspective sheet that these people were
• 39:24
  Speaker 1: offered of the things they didn't choose. Because those, you know,
• 39:28
  Speaker 1: we know what we know by the things we've seen
• 39:30
  Speaker 1: that have come out. But man, I would love to know, like,
• 39:33
  Speaker 1: what were the other things that Kreger was offered or
• 39:36
  Speaker 1: Kane Parsons? Because isn't Kane Parsons the one that's doing
• 39:39
  Speaker 1: the Texas Chainsaw movie, the reboot? Yeah, I think so.
• 39:41
  Speaker 1: I think so.
• 39:42
  Speaker 2: And it's like, I wonder what else he was offered.
• 39:44
  Speaker 2: Because you know it wasn't just that. That's just the
• 39:47
  Speaker 2: thing that he wanted.
• 39:48
  Speaker 1: At the list, they're like, this is Battleship 2. I mean,
• 39:51
  Speaker 1: that's pretty tempting. God damn it. Could you imagine? Yeah,
• 39:56
  Speaker 1: Battleship 2. Fuck me, yeah.
• 39:59
  Speaker 2: Oh, the Hungry Hungry Hippos film. That's the one I've
• 40:02
  Speaker 2: been really waiting for.
• 40:03
  Speaker 1: That is just begging from the director of Jumanji. Welcome
• 40:08
  Speaker 1: to the jungle. We bring you Hungry Hungry Hippos. In
• 40:11
  Speaker 1: a world where hippos have taken over. I mean, I've
• 40:15
  Speaker 1: watched this. It's the sad thing. I know. I'm already
• 40:17
  Speaker 1: kind of on board.
• 40:19
  Speaker 2: I watched the Pelican Brief earlier today and the trailer
• 40:23
  Speaker 2: for it they used.
• 40:24
  Speaker 1: In the corridors of power.
• 40:26
  Speaker 2: And it was just like, man, the trailers back in
• 40:28
  Speaker 2: the day made even the most banal, dumb, boring Julia
• 40:31
  Speaker 2: Roberts movie sound interesting. And now it's like, they couldn't
• 40:35
  Speaker 2: sell me on a battleship to a movie now if
• 40:37
  Speaker 2: they tried. No matter how many times they throw. Gotta
• 40:40
  Speaker 2: get the right voiceover. Innocent to a film nobody wanted.
• 40:44
  Speaker 1: God. Can we get Rihanna back? Let's find out. How
• 40:49
  Speaker 1: much money can we throw at her? And Liam Neeson,
• 40:52
  Speaker 1: and is Josh Duhamel doing anything? Probably not. Probably not.
• 40:56
  Speaker 1: Let's see what we can put together. That's right.
• 40:58
  Speaker 2: So what about Resident Evil for you, though? What's your
• 41:01
  Speaker 2: exposure to Resident Evil?
• 41:03
  Speaker 1: I get points for both. been there from the get-go
• 41:06
  Speaker 1: but i'm not really a gamer and really even that
• 41:09
  Speaker 1: far back kind of wasn't like i played you know
• 41:12
  Speaker 1: your normal uh amount as any dorky kid would but
• 41:15
  Speaker 1: um i was like i had certainly the first half
• 41:19
  Speaker 1: of my life was just bad cheesy pop culture related
• 41:23
  Speaker 1: jobs several of which for Quite a few years there,
• 41:26
  Speaker 1: I was selling video games. So I remember selling, I believe,
• 41:31
  Speaker 1: the very first Resident Evil. And I definitely remember being
• 41:34
  Speaker 1: there for the launch of 2 because it was a
• 41:37
  Speaker 1: big push. Like 2 was kind of the reboot already
• 41:40
  Speaker 1: of like, oh, now we've got... more characters, more gimmicks,
• 41:43
  Speaker 1: more zombie-type fun. So, like, they really were pushing that
• 41:47
  Speaker 1: release of 2. So I remember being there when that
• 41:50
  Speaker 1: 1-2 push in the pop culture hit with Resident Evil, and, like,
• 41:54
  Speaker 1: you really did see people start to respond to that. Like,
• 41:58
  Speaker 1: it was... the horror angle that brought in a different
• 42:01
  Speaker 1: group of gamer people. So I was there for that.
• 42:05
  Speaker 1: Did I play it much? Not really. Just enough to
• 42:07
  Speaker 1: be like, oh, okay. I see what kind of game.
• 42:09
  Speaker 1: It was always just trying to figure out what kind
• 42:11
  Speaker 1: of game it was so I could talk to people
• 42:12
  Speaker 1: and like, oh, this is, here you go. This one's,
• 42:15
  Speaker 1: third person. This one's first person. Like, you know, just
• 42:17
  Speaker 1: your basic rundown of this is how it works. Now
• 42:20
  Speaker 1: leave me alone, which is the way most retail works.
• 42:22
  Speaker 1: But so yeah, I was exposed to it from early on,
• 42:27
  Speaker 1: but didn't play a ton of it. Kind of ever.
• 42:29
  Speaker 1: I've just seen enough to be like, oh yeah, they're
• 42:31
  Speaker 1: still doing those. Man, they keep cranking these things out.
• 42:34
  Speaker 2: Well, so your your exposure to it is is mild
• 42:38
  Speaker 2: compared to mine. So I think that, you know, you
• 42:40
  Speaker 2: and I are game play wise.
• 42:41
  Speaker 1: Right.
• 42:41
  Speaker 2: And you and I are coming at this film from
• 42:43
  Speaker 2: two different directions then, which is good, because I think
• 42:46
  Speaker 2: if you're cool, do we want to transition to some
• 42:48
  Speaker 2: spoilers and some kind of like bigger, bigger, specific thoughts
• 42:52
  Speaker 2: about the film?
• 42:53
  Speaker 1: Definitely. Yeah. Okay.
• 42:54
  Speaker 2: So from here on out, we're spoiling the film. I
• 42:56
  Speaker 2: think Brian and I are both in agreement. You should
• 42:58
  Speaker 2: definitely go check this out. Fan of Resident Evil or not,
• 43:01
  Speaker 2: I think you will have a good time. I think
• 43:03
  Speaker 2: it's closer to a horror action comedy than it is
• 43:07
  Speaker 2: a horror movie. I think it's... not that much of
• 43:11
  Speaker 2: a horror movie in terms of being scary, quote unquote.
• 43:13
  Speaker 2: But again, I think if you get into a vehicle
• 43:15
  Speaker 2: and drive in this day and age, that's scarier than
• 43:17
  Speaker 2: a movie. But I think it's pretty creepy at points.
• 43:20
  Speaker 1: It's creepy. That's for sure.
• 43:21
  Speaker 2: I think it establishes a good tone.
• 43:24
  Speaker 1: It does have its share of jump scares, surprisingly. And
• 43:27
  Speaker 1: I didn't get mad at them. Sometimes they seem cheesy.
• 43:30
  Speaker 1: These were all well-executed. And kind of well-earned for what
• 43:34
  Speaker 1: they were trying to do. I was like, damn it, Zach,
• 43:36
  Speaker 1: he got me on that. And like, rarely do I
• 43:38
  Speaker 1: respond to jump scares, but there's a moment that was like, shit,
• 43:42
  Speaker 1: like I kind of knew it was coming and it
• 43:43
  Speaker 1: still worked.
• 43:45
  Speaker 2: But I think we both agree, check the film out.
• 43:47
  Speaker 2: So let's talk about the film kind of more specifically. What,
• 43:51
  Speaker 2: I mean, let's just talk about the specifics of the film.
• 43:54
  Speaker 2: Austin Abrams, man, good Lord. Like physical comedy, I know
• 43:59
  Speaker 2: was not really part of weapons. I mean, he was
• 44:01
  Speaker 2: kind of involved in the part of the movie that
• 44:03
  Speaker 2: I always am just like, every time I watch it,
• 44:05
  Speaker 2: I'm like, what the fuck is this? Like Alden Ehrenreich
• 44:08
  Speaker 2: just punching him in the side of the fucking head
• 44:10
  Speaker 2: will never not just be like a complete what the
• 44:12
  Speaker 2: fuck moment. But- He is playing so against what the
• 44:15
  Speaker 2: type was the last time I saw him. And it's
• 44:18
  Speaker 2: such like an empathetic, interesting kind of like sad sack
• 44:22
  Speaker 2: character that I don't know. He's like, he's perfectly cast
• 44:25
  Speaker 2: in this movie. And I wouldn't be surprised if we
• 44:27
  Speaker 2: see him in another role like this one.
• 44:29
  Speaker 1: It does totally make use of him because I had
• 44:33
  Speaker 1: seen him and that's the thing I kept going I
• 44:35
  Speaker 1: know I know him and I guess maybe I remembered
• 44:37
  Speaker 1: him from weapons but again it's kind of it's not
• 44:40
  Speaker 1: the same type of character but then going back I
• 44:42
  Speaker 1: was like oh he's been in a ton of other
• 44:45
  Speaker 1: stuff even going back to I was like oh yeah
• 44:46
  Speaker 1: I do kind of remember him in those seasons of
• 44:48
  Speaker 1: The Walking Dead when I was already like. Am I
• 44:50
  Speaker 1: sick of this show yet? So it was right at
• 44:53
  Speaker 1: that point. I remember. No, I do remember him being
• 44:55
  Speaker 1: in there. So like he's been in a lot of
• 44:57
  Speaker 1: stuff over the last several years. But once you get
• 45:00
  Speaker 1: into it with this character, like he's so like and
• 45:03
  Speaker 1: what I feel like you need at the center of
• 45:05
  Speaker 1: this type of movie. He's so every man. And like,
• 45:08
  Speaker 1: he really does just feel like he's there to represent
• 45:13
  Speaker 1: you as you know, which you kind of want from
• 45:15
  Speaker 1: a video game, really. So it's like you want to
• 45:17
  Speaker 1: be thrust in the middle of it. And if you
• 45:19
  Speaker 1: get anybody that's too extreme in any direction. Like it
• 45:23
  Speaker 1: kind of distracts from that versus this guy is so
• 45:27
  Speaker 1: like normal dude dealing with regular guy problems. And you
• 45:30
  Speaker 1: get in the middle of this and you're just like
• 45:32
  Speaker 1: now you're along for the ride because you're sort of
• 45:35
  Speaker 1: attached to him because he's he's an endearing character. You
• 45:38
  Speaker 1: don't have to know that much about him immediately. You're
• 45:41
  Speaker 1: just like, ah, this poor guy. Like, look at him.
• 45:43
  Speaker 1: He's got a crappy job and his girlfriend's knocked up
• 45:46
  Speaker 1: and you don't know what to do about it. And like,
• 45:48
  Speaker 1: he's already just dealing with so much stuff in the
• 45:50
  Speaker 1: first 15 minutes. You're just like, ah, man, I feel
• 45:53
  Speaker 1: for this guy already. And I'm pretty sure there's a
• 45:55
  Speaker 1: zombie outbreak about to happen. So it's, yeah, it's just
• 45:58
  Speaker 1: a lot that he's thrown into and you're totally on
• 46:01
  Speaker 1: board with him as your, as your lead character.
• 46:03
  Speaker 2: Well, I think that that's the thing that is so
• 46:05
  Speaker 2: smart about this movie versus the other Resident Evil movies
• 46:08
  Speaker 2: that are, again, the iconic characters. And, you know, there's
• 46:13
  Speaker 2: Jill and there's Chris and there's, you know, I guess
• 46:15
  Speaker 2: Leon is probably in those later Resident Evil movies. You
• 46:18
  Speaker 2: can't blame me for not watching whatever it was by
• 46:20
  Speaker 2: the time they ended those movies. mila jovovich films like
• 46:23
  Speaker 2: she's just like it was like six or.
• 46:25
  Speaker 1: Seven by the time they barely had any i mean
• 46:27
  Speaker 1: not to not to say the same thing we do
• 46:29
  Speaker 1: about most of these movies but i'm like they even
• 46:32
  Speaker 1: if you were a fan of the middle ones because
• 46:34
  Speaker 1: i came in i saw all of them as they
• 46:36
  Speaker 1: went along but i came in in the middle and
• 46:38
  Speaker 1: was like covering him for the show already by that
• 46:40
  Speaker 1: point and it was like we had fun with those
• 46:42
  Speaker 1: like by the time you get to like three and
• 46:44
  Speaker 1: four and five. Like they're so extreme and crazy. They're fun,
• 46:48
  Speaker 1: but at the same time, they barely have anything to
• 46:51
  Speaker 1: do with, even with the first movie had to, you know,
• 46:53
  Speaker 1: it's like, it's so often its own crazy, uh, Jovovich
• 46:57
  Speaker 1: version of the universe that like they have nothing to
• 46:59
  Speaker 1: do with the video game, the first movie. Like they're
• 47:03
  Speaker 1: just so of their own crazy thing that like, yeah,
• 47:07
  Speaker 1: it's a fun ride too, but it's a very different
• 47:09
  Speaker 1: type of movie.
• 47:10
  Speaker 2: Which, and I think that's the thing, like I don't
• 47:12
  Speaker 2: want to discount those movies. I just haven't seen all
• 47:14
  Speaker 2: of them. I don't remember enjoying them as much as
• 47:17
  Speaker 2: I enjoyed this movie, because they are trafficking in something else,
• 47:21
  Speaker 2: which is these are the competent characters that are the
• 47:24
  Speaker 2: military or military adjacent or cops that are fighting the zombies.
• 47:29
  Speaker 2: And like, again, that's the Chris Redfield. That's the Leon character.
• 47:32
  Speaker 2: And those are kind of power fantasies in the video.
• 47:35
  Speaker 2: Like the character that austin abrams is portraying in the
• 47:38
  Speaker 2: movie is much closer to the character you portray in
• 47:41
  Speaker 2: resident evil 7 and 8 uh which is ethan winters
• 47:44
  Speaker 2: who is like an everyman in both of those games
• 47:47
  Speaker 2: he's just a guy who's essentially like put upon and
• 47:50
  Speaker 2: in eight he's a little bit less put upon and
• 47:53
  Speaker 2: a little bit more competent than he is in seven
• 47:55
  Speaker 2: but he's i feel like this is where the tone
• 47:58
  Speaker 2: of of this film gets a lot of the tone
• 48:03
  Speaker 2: from specifically are the seven video games seven and eight
• 48:06
  Speaker 2: where it's like this is this is the first time
• 48:08
  Speaker 2: where it was in every man before that it was
• 48:11
  Speaker 2: kind of like always like special agents or cops or
• 48:13
  Speaker 2: whatever and it's like seven and eight is just like
• 48:16
  Speaker 2: a guy it's just a guy whose daughter gets kidnapped
• 48:19
  Speaker 2: in eight and in seven his wife has been missing
• 48:22
  Speaker 2: for like a decade and she sends him like a
• 48:24
  Speaker 2: note in the mail like a tape in the mail
• 48:26
  Speaker 2: that says like don't come looking for me and he
• 48:27
  Speaker 2: goes looking for her he's just like a normal dude
• 48:30
  Speaker 2: I love that this movie is like you know what
• 48:32
  Speaker 2: the best thing about the most recent video games is
• 48:35
  Speaker 2: the fact that the guy at the center of it
• 48:37
  Speaker 2: is just so put upon like it's and that's and
• 48:40
  Speaker 2: that is an age old trope like that's not a
• 48:43
  Speaker 2: The thing that makes this movie, I think, successful is
• 48:45
  Speaker 2: it's a video game movie that's trafficking in a trope
• 48:48
  Speaker 2: that we've seen in all kinds of other films, all
• 48:51
  Speaker 2: kinds of other genres, where it's just the everyman drawn
• 48:55
  Speaker 2: into the world's worst problem. What it reminded me of
• 48:58
  Speaker 2: towards the end of it, this movie honestly feels a
• 49:01
  Speaker 2: little bit like Die Hard in a way, where it's
• 49:03
  Speaker 2: like wrong place, wrong time. This guy's just not competent enough.
• 49:08
  Speaker 2: He gets to the 99th percentage and then fucks up.
• 49:13
  Speaker 2: But that's what makes it like Resident Evil. That's what
• 49:15
  Speaker 2: makes it fun is like Resident Evil has that twisted
• 49:17
  Speaker 2: sense of humor. Maybe not as much as this film
• 49:20
  Speaker 2: does in terms of like ending. I don't think a
• 49:23
  Speaker 2: Resident Evil game would ever end this way.
• 49:25
  Speaker 1: Probably not. Probably not.
• 49:27
  Speaker 2: But I mean, you know, in some of the video games,
• 49:29
  Speaker 2: the main characters don't make it all the way to
• 49:31
  Speaker 2: the end. But it's never like this, where it's like,
• 49:35
  Speaker 2: I mean, again, even in Resident Evil 4, Leon is
• 49:37
  Speaker 2: infected with the plaga, but he's cured of it by
• 49:40
  Speaker 2: the end of the game. He doesn't become a fucking monster.
• 49:43
  Speaker 1: And running around.
• 49:44
  Speaker 2: Or I guess we don't really see what happens. We
• 49:47
  Speaker 2: just see him becoming this giant William Birkin-style eyeball monster,
• 49:52
  Speaker 2: and that's that. But the put-upon nature is such a
• 49:55
  Speaker 2: thing we've seen in other films.
• 49:56
  Speaker 1: Again, like a.
• 49:57
  Speaker 2: Diehard, or, I mean, name any of those kind of
• 50:01
  Speaker 2: movies where someone's in a location and then invaders or
• 50:05
  Speaker 2: intruders come into that location and take it over.
• 50:08
  Speaker 1: All of the knockoffs of Die Hard, essentially. Right.
• 50:10
  Speaker 2: Like any Die Hard, like Under Siege, Under Siege 2,
• 50:13
  Speaker 2: like any speed for fuck's sake. Like, again, some of those,
• 50:17
  Speaker 2: the competency of the main character involved is a little
• 50:20
  Speaker 2: bit higher than others. But again, it is still, I mean,
• 50:24
  Speaker 2: Sandra Bullock in that movie is the character in this film.
• 50:27
  Speaker 2: She's just a normal person being tasked with doing an
• 50:29
  Speaker 2: extraordinary thing. Again, this movie doesn't have a happy ending,
• 50:32
  Speaker 2: and I think if you know the video game of
• 50:35
  Speaker 2: Resident Evil, it never could have a happy ending. That's
• 50:38
  Speaker 2: kind of the point of the movie. I'm not saying
• 50:40
  Speaker 2: there are no stakes in the movie, but if you
• 50:42
  Speaker 2: know the basicest of most basic information about Resident Evil,
• 50:45
  Speaker 2: you know that this movie doesn't have an upbeat ending.
• 50:49
  Speaker 1: It just can't. The whole plot itself is kind of dour.
• 50:53
  Speaker 2: There's always so much to do. It's a prelude to
• 50:55
  Speaker 2: a fucking zombie outbreak. What do you think is going
• 50:58
  Speaker 2: to happen? It's like the Pennywise TV show. Like, come on, guys. Like,
• 51:01
  Speaker 2: it's a prequel to the movies. Like, you know, we
• 51:04
  Speaker 2: know what happens in Resident Evil, at least in terms
• 51:06
  Speaker 2: of the Raccoon City outbreak in the video game. What
• 51:09
  Speaker 2: it looks like in the movie, who knows? My hope
• 51:11
  Speaker 2: is we get to see it. But we've seen enough
• 51:14
  Speaker 2: of it already where I'm like, I am invested in
• 51:17
  Speaker 2: what Zack Kreger is interested in telling in the Resident
• 51:20
  Speaker 2: Evil universe. I don't know if he ever does anything
• 51:22
  Speaker 2: else with it. But this movie is so well done
• 51:26
  Speaker 2: where it's like, I would kind of be bummed out
• 51:27
  Speaker 2: if he doesn't make another one.
• 51:29
  Speaker 1: I don't think he's supposed to. I thought he already said,
• 51:31
  Speaker 1: I've done mine and I'm good. Like, I think he's
• 51:35
  Speaker 1: already moved on and has another project on the works
• 51:37
  Speaker 1: by now. So I do see the studio wanting to
• 51:40
  Speaker 1: continue this. Or do I think we're going to get
• 51:42
  Speaker 1: another one? Yes. Do I think Zach's going to do it?
• 51:45
  Speaker 1: Unless they just back a truck up to his house
• 51:48
  Speaker 1: and convince him. But even then, he seems pretty set
• 51:51
  Speaker 1: in his ways. So I don't know. He might be
• 51:53
  Speaker 1: able to hold out on him, but... Before we leave
• 51:55
  Speaker 1: the Austin situation, though, the thing I've heard him described as,
• 51:59
  Speaker 1: and the more I heard, I heard at least a
• 52:00
  Speaker 1: couple different people mention this, and the more it was
• 52:03
  Speaker 1: talked about, I was like, oh no, that's exactly, it's
• 52:06
  Speaker 1: totally right. He's just this franchise's Bruce Campbell. He's just
• 52:10
  Speaker 1: an average dork, he's thrown into this horrific situation, and
• 52:14
  Speaker 1: he gets just pummeled the whole time and like just
• 52:19
  Speaker 1: more terrible things keep he's just it's the worst day
• 52:22
  Speaker 1: ever it just keeps getting worse but every step of
• 52:25
  Speaker 1: the way he survives it every step of the way
• 52:28
  Speaker 1: he keeps like oh man he's definitely almost dead now
• 52:31
  Speaker 1: he's not gonna get out no there he goes he
• 52:33
  Speaker 1: got out of that one so like it's it's very
• 52:36
  Speaker 1: evil dead through your army of darkness of just watching
• 52:39
  Speaker 1: this guy who's just kind of a dork and shouldn't
• 52:41
  Speaker 1: make it this far just continue to to find a
• 52:45
  Speaker 1: way to just kind of luck into up and up
• 52:48
  Speaker 1: survived again. Okay. Moving on with my mission. So like
• 52:52
  Speaker 1: it definitely has that same sort of a scrappy underdog
• 52:55
  Speaker 1: feel to it that he's just like, well, I'm going
• 52:58
  Speaker 1: to make the best of this terrible, terrible night and
• 53:01
  Speaker 1: try to do the one thing I was tasked to do.
• 53:05
  Speaker 1: And then that that's, that's our guy. We're just, we're, we're,
• 53:08
  Speaker 1: we're knee deep in it with this guy.
• 53:10
  Speaker 2: And I think that, you know, the Austin Abrams kind
• 53:13
  Speaker 2: of casting is so smart because like, like we've already
• 53:16
  Speaker 2: talked about the thing, if you know him recently, he
• 53:18
  Speaker 2: played so opposite this in weapons and to see like, I,
• 53:23
  Speaker 2: I can see him in weapons as that character, but
• 53:26
  Speaker 2: now the character that I will kind of like come
• 53:28
  Speaker 2: back to in terms of a performance of his that
• 53:30
  Speaker 2: I resonate with is this one, because he just, like
• 53:33
  Speaker 2: you said, he just kind of portrays the every man
• 53:37
  Speaker 2: in a way that yeah, Bruce Campbell is kind of
• 53:39
  Speaker 2: one of the, better comparisons i think yeah because there's
• 53:42
  Speaker 2: not really i guess i'm just trying to think of
• 53:44
  Speaker 2: like horror male protagonists like that's a is that weird
• 53:49
  Speaker 2: that that's a rare thing.
• 53:50
  Speaker 1: Final guys there aren't that many there's a handful but
• 53:54
  Speaker 1: it's not normally that mark pat not was it mark
• 53:57
  Speaker 1: patton from nine run elm street two is that one
• 54:00
  Speaker 1: yeah but that's its own special world that is his
• 54:02
  Speaker 1: own special thing i was thinking the tommy handoff by
• 54:06
  Speaker 1: the time we get to like the sixth when tommy's
• 54:09
  Speaker 1: the main focus on friday the 13th so like we
• 54:12
  Speaker 1: we get a final guy that's the main character of
• 54:15
  Speaker 1: that one for once but other than that yeah it's
• 54:18
  Speaker 1: usually not a not a dude Yeah. And it's interesting.
• 54:21
  Speaker 1: I mean, obviously, if you've seen the film, Austin Abrams
• 54:23
  Speaker 1: doesn't survive to the end of the movie.
• 54:25
  Speaker 2: I mean, he survives in some capacity. Maybe we don't.
• 54:28
  Speaker 1: Maybe. Maybe. I'm hoping that monster comes back as the
• 54:31
  Speaker 1: star of the sequel. Well, that's I mean, that's my
• 54:34
  Speaker 1: thing is like I hope that they just build upon
• 54:37
  Speaker 1: this in an interesting way. And they don't.
• 54:39
  Speaker 2: Again, if you want this movie to be alien, make
• 54:42
  Speaker 2: the next movie alien. Like make it just be, you know,
• 54:44
  Speaker 2: we're going to take this and we're going to ramp
• 54:46
  Speaker 2: it up. And instead of it being man on the
• 54:48
  Speaker 2: street story, it's going to be people being brought in
• 54:51
  Speaker 2: to deal with it or someone on the street who's
• 54:54
  Speaker 2: more competent than the Uber, the glorified Uber drive. And
• 54:57
  Speaker 2: that's the other thing that's very smart. We essentially have
• 54:59
  Speaker 2: a character that people can relate to in a whole
• 55:02
  Speaker 2: host of reasons, one of them being this kind of
• 55:04
  Speaker 2: every man, but the other thing being a Uber driver.
• 55:07
  Speaker 2: a Postmates Uber delivery driver, which is a very common
• 55:12
  Speaker 2: profession for a lot of people, right? And has been
• 55:14
  Speaker 2: for a while. And I love that this movie utilizes
• 55:17
  Speaker 2: that because we've seen other movies utilize it like that
• 55:19
  Speaker 2: Joe Keery film where he's like killing.
• 55:21
  Speaker 1: People in his car.
• 55:23
  Speaker 2: But I like that this is a believable usage of
• 55:26
  Speaker 2: getting this character into this situation as well. He's like a,
• 55:29
  Speaker 2: you know, he's a medical Uber driver essentially. And it's,
• 55:32
  Speaker 2: you know, double overtime, right? you know, so he's going
• 55:34
  Speaker 2: to get paid more.
• 55:35
  Speaker 1: Like, you know what?
• 55:35
  Speaker 2: I think anybody can understand that. And most people, when
• 55:39
  Speaker 2: they would take a job like this one would not
• 55:40
  Speaker 2: expect zombies to be fucking, you know, cause again, that's.
• 55:45
  Speaker 1: I think maybe one of the more clever things about
• 55:48
  Speaker 1: this is a plot overall is the fact that when
• 55:51
  Speaker 1: I say like, Oh, and it's a crazy ride, which
• 55:53
  Speaker 1: it is, that could happen on any number of dumb
• 55:56
  Speaker 1: action movies. But the fact that this one's through line is,
• 56:00
  Speaker 1: is just this poor sap trying to do his job.
• 56:02
  Speaker 1: So like every step of the way, when you think
• 56:05
  Speaker 1: he just chucked that thing into the woods and go
• 56:08
  Speaker 1: take off, he keeps going, all right, well, got to
• 56:10
  Speaker 1: get this thing there and get them to sign this
• 56:12
  Speaker 1: stupid form. Like he just keeps hammering away at this
• 56:16
  Speaker 1: dumb job that like, I guess somebody's life's on the line.
• 56:20
  Speaker 1: I got to go. take this kidney or whatever it is.
• 56:23
  Speaker 1: And like, he just keeps hammering away at it. And
• 56:26
  Speaker 1: you're just, again, you have to kind of admire him.
• 56:28
  Speaker 1: Like look at that work ethic. Yeah. It's very endearing. Yeah.
• 56:32
  Speaker 1: Most kids these days don't have that kind of work ethic.
• 56:34
  Speaker 1: Good for you, Brian.
• 56:35
  Speaker 2: But I was delivering, I was delivering antidote to the
• 56:39
  Speaker 2: middle of a zombie apocalypse.
• 56:42
  Speaker 1: You don't even understand. That's the equivalent of, I walked up,
• 56:44
  Speaker 1: I walked up both ways uphill to school in the snow.
• 56:47
  Speaker 1: Like I was doing this in a zombie apocalypse. Like, okay.
• 56:50
  Speaker 1: I mean, what if he was a pizza delivery guy?
• 56:52
  Speaker 1: He's like, I got to get this pizza to him.
• 56:56
  Speaker 1: It makes it a little less serious at that point.
• 56:59
  Speaker 1: They're hungry. I mean, they really want this pizza. I
• 57:01
  Speaker 1: got to get it to them. But you can still
• 57:04
  Speaker 1: tie in pizzas at least. So you got to work
• 57:06
  Speaker 1: on that angle.
• 57:08
  Speaker 2: I really like the delivery driver aspect of the movie
• 57:11
  Speaker 2: because I think it just, like we've already alluded to,
• 57:14
  Speaker 2: it just makes his character that much more relatable, likable, and,
• 57:20
  Speaker 2: you know, Again, I'm very empathetic to his character. I mean,
• 57:24
  Speaker 2: he's wearing that clinical, like the clinical delivery vest the
• 57:27
  Speaker 2: entire movie. Like he, he is just, he's a, like
• 57:30
  Speaker 2: you said, he's a dork. He's a dork in the
• 57:32
  Speaker 2: vein of Ash from Evil Dead. And I think that
• 57:34
  Speaker 2: is a very apt comparison. I mean, Ethan Winters in
• 57:38
  Speaker 2: the video game is an Ash comparative. He literally gets
• 57:43
  Speaker 2: his hand cut off at one point and he sticks
• 57:45
  Speaker 2: it back on, a la Ash in Evil Dead, like
• 57:48
  Speaker 2: in a kind of grosser way. But still, when you
• 57:50
  Speaker 2: see that in the video game, You can't help but
• 57:53
  Speaker 2: think about the other famous video game slash horror movie
• 57:57
  Speaker 2: icon who gets his hand cut off and sticks a
• 57:59
  Speaker 2: chainsaw on it. Like, it's just one of those things
• 58:01
  Speaker 2: where it's part of the genre language, the filmic language
• 58:05
  Speaker 2: now that, like, again, the movie... in the video game
• 58:08
  Speaker 2: language so much that I think it's just, I don't know,
• 58:11
  Speaker 2: if you watch this movie and your takeaway is Zack
• 58:13
  Speaker 2: Greger's not a Resident Evil fan, my response to someone
• 58:16
  Speaker 2: who says that is like, did you actually watch the movie?
• 58:18
  Speaker 2: Are you a Resident Evil fan? Are you a video
• 58:21
  Speaker 2: game fan?
• 58:22
  Speaker 1: Like, what? And why? On the one hand, yes, I
• 58:25
  Speaker 1: get it. That's what fans want. We're always at at
• 58:29
  Speaker 1: war with the fans, specifically Internet based fan fandom is
• 58:34
  Speaker 1: just it's ridiculous. It's out of control and it has
• 58:36
  Speaker 1: way too much power in its own little industry there.
• 58:39
  Speaker 1: But like, to me, that's the thing. I was like,
• 58:41
  Speaker 1: do we need that? Like, I think even Zach said
• 58:44
  Speaker 1: that to himself. He's like, I don't need to tell
• 58:47
  Speaker 1: these big legendary character stories. We've got that in the games. Like,
• 58:52
  Speaker 1: if you want that, they're already there. What am I
• 58:54
  Speaker 1: going to do that's going to make it any more,
• 58:56
  Speaker 1: you know, endearing to you than you playing it yourself?
• 59:00
  Speaker 1: So you don't need me to do that. But if
• 59:03
  Speaker 1: I take the general vibe of it, the overall like project,
• 59:07
  Speaker 1: the city, the the mission more or less of, you know,
• 59:10
  Speaker 1: dealing with zombies on the outbreak night, like take that
• 59:14
  Speaker 1: and throw a whole new concept in there and just
• 59:17
  Speaker 1: give you what you want in the overall sense of
• 59:20
  Speaker 1: what's going on in the story. Isn't that better than
• 59:23
  Speaker 1: trying to, you know, be sure and thread the needle
• 59:26
  Speaker 1: on this one specific thing on this guy that you
• 59:28
  Speaker 1: had nothing to do with creating. Like, it's just so
• 59:31
  Speaker 1: catering to all these other people's needs instead of like,
• 59:34
  Speaker 1: he just came up with a story. He's like, this
• 59:36
  Speaker 1: is what I want to tell. And then he does it.
• 59:39
  Speaker 1: And that's why I think it works is like he's
• 59:41
  Speaker 1: not worried about everybody else's crap. He's just like, I
• 59:44
  Speaker 1: just want to tell this story about this guy on
• 59:46
  Speaker 1: this night. And that's it. And he does it, I think,
• 59:49
  Speaker 1: really well.
• 59:50
  Speaker 2: Well, the question becomes like, why can't I have my
• 59:53
  Speaker 2: own things that I tell? Why can't I have my
• 59:55
  Speaker 2: own iconography that I create within myself? The framework, it's
• 59:58
  Speaker 2: not like all of a sudden he's introducing things that
• 1:00:00
  Speaker 2: don't make sense in the framework of Resident Evil as
• 1:00:03
  Speaker 2: we know it. Like maybe one of the zombies looks
• 1:00:06
  Speaker 2: a little bit more left for dead than he does
• 1:00:08
  Speaker 2: Resident Evil. But again, this is kind of a different
• 1:00:11
  Speaker 2: interpretation of Resident Evil. So if they want to go
• 1:00:13
  Speaker 2: with a different kind of zombie, I don't see any
• 1:00:16
  Speaker 2: issue with it. Like the zombie outbreak and what's causing
• 1:00:20
  Speaker 2: it is kind of it seems a little bit more
• 1:00:22
  Speaker 2: amorphous in terms of what it's creating for people to
• 1:00:25
  Speaker 2: deal with. as opposed to a unified thing. So I
• 1:00:29
  Speaker 2: find that really interesting as a film watcher, but I
• 1:00:32
  Speaker 2: could see why someone as a Resident Evil fan would go, well,
• 1:00:35
  Speaker 2: this isn't the T-Virus or it's not named the T-Virus
• 1:00:38
  Speaker 2: or it's, you know, whatever. This isn't William Birkin or
• 1:00:41
  Speaker 2: it's like, okay, but like that still exists.
• 1:00:44
  Speaker 1: And it's in a bunch. You've got plenty of those games.
• 1:00:46
  Speaker 2: Not only do you have plenty, but you have more
• 1:00:48
  Speaker 2: of that than we will ever get in any other format.
• 1:00:51
  Speaker 2: Like you can sit and play the video games over
• 1:00:53
  Speaker 2: and over and over again. to your heart's content, and
• 1:00:56
  Speaker 2: there are multiple versions of some of these games. Now,
• 1:00:59
  Speaker 2: why do you need the movies to be a non-playable
• 1:01:02
  Speaker 2: version of the video game?
• 1:01:03
  Speaker 1: Like, why?
• 1:01:04
  Speaker 2: Just like with The Last of Us, that show was
• 1:01:07
  Speaker 2: okay in the first season, and then in the second season,
• 1:01:10
  Speaker 2: it just completely shits the bed because it's like, well,
• 1:01:12
  Speaker 2: we got to we got to tell the story from
• 1:01:13
  Speaker 2: the video games. Like, but that was like, it's fine.
• 1:01:16
  Speaker 2: You could do that. Or you can just do your
• 1:01:17
  Speaker 2: own thing, which you're now doing anyways. Like you're a
• 1:01:20
  Speaker 2: third season of the show is coming out and they're
• 1:01:22
  Speaker 2: doing their own thing. And the video game creators are
• 1:01:24
  Speaker 2: disavowing the show because it doesn't have anything to do
• 1:01:27
  Speaker 2: with the third game they're working on. It's like, if
• 1:01:29
  Speaker 2: you had just done your own thing from the beginning,
• 1:01:31
  Speaker 2: you would never have had to disavow anything. And that's
• 1:01:33
  Speaker 2: the thing about this, like, because this isn't a Leon
• 1:01:36
  Speaker 2: or a, anybody it's just this guy they don't have
• 1:01:39
  Speaker 2: to be like well from here on out it's like
• 1:01:41
  Speaker 2: well there doesn't have to be any this can just
• 1:01:43
  Speaker 2: be this is effectively now its own thing.
• 1:01:45
  Speaker 1: Well and the virus part of it because I remember
• 1:01:48
  Speaker 1: even seeing the game the very first time at first
• 1:01:51
  Speaker 1: it seemed like okay we're playing up the zombies look
• 1:01:54
  Speaker 1: it's a horror it's a zombie game but like the
• 1:01:56
  Speaker 1: more I got into it I was like wait what's
• 1:01:59
  Speaker 1: this dog like you don't normally have zombie dogs so
• 1:02:02
  Speaker 1: obviously they started like immediately like What about this? And
• 1:02:06
  Speaker 1: then I started seeing all these other characters that came
• 1:02:08
  Speaker 1: out of the game and like, okay, a lot of
• 1:02:10
  Speaker 1: these aren't your traditional zombies. So you guys are already
• 1:02:13
  Speaker 1: doing a much bigger concept here than your basic zombie outbreak.
• 1:02:18
  Speaker 1: So like from the get go on the game, they're
• 1:02:21
  Speaker 1: not doing traditional zombie stuff. So it's like, if they
• 1:02:24
  Speaker 1: have freedom to already do whatever they want on the game,
• 1:02:27
  Speaker 1: why does he have freedom to do what he wants?
• 1:02:29
  Speaker 1: Like it's not massively too far off in its own direction,
• 1:02:34
  Speaker 1: but he's not worried about, you know, I got to
• 1:02:36
  Speaker 1: work this specific zombie in from this game. It's like,
• 1:02:39
  Speaker 1: who cares? Like it's, it's a creature. It's going to
• 1:02:42
  Speaker 1: kill you. That's all you need to know. Just go
• 1:02:44
  Speaker 1: with it as a horror movie at that point. But yeah, I,
• 1:02:46
  Speaker 1: I was like the game initially wasn't really hard pressed
• 1:02:50
  Speaker 1: on like the specifics of the creatures because it immediately
• 1:02:53
  Speaker 1: started sort of bastardizing them by the nature of the virus.
• 1:02:57
  Speaker 1: So it's like, I like that he just went, oh, well,
• 1:02:59
  Speaker 1: I can kind of use that to make whatever weird
• 1:03:01
  Speaker 1: creature I want. And then that's what he does. I'm like, good.
• 1:03:04
  Speaker 1: That's what we want. Like, why wouldn't you want to
• 1:03:07
  Speaker 1: see new, creative, weird looking zombies? Like, that's what we're
• 1:03:10
  Speaker 1: here for, right? Like, we've already seen the other stuff. Like,
• 1:03:13
  Speaker 1: give us something new and weird. That'll be fun.
• 1:03:15
  Speaker 2: No, we want to just see a T-virus zombie and
• 1:03:20
  Speaker 2: a nemesis zombie. It's like, I don't need to see
• 1:03:22
  Speaker 2: any of that. And frankly, I've already seen it. Like,
• 1:03:25
  Speaker 2: if you want to go see it, you go watch
• 1:03:27
  Speaker 2: those Paul W.S.
• 1:03:28
  Speaker 1: Anderson movies.
• 1:03:28
  Speaker 2: Like, that's front and center in those movies. For those
• 1:03:31
  Speaker 2: movies being Mila Jovovich things and Alice kind of being.
• 1:03:35
  Speaker 1: Her own character... those films.
• 1:03:37
  Speaker 2: Do still have Chris Redfield and Jill and Claire and
• 1:03:42
  Speaker 2: all those characters from the video games are represented in
• 1:03:46
  Speaker 2: some capacity, like a lot of them are.
• 1:03:48
  Speaker 1: And people still didn't like it. Right, exactly. It's like, okay.
• 1:03:51
  Speaker 1: If you've learned anything, don't do what he did. Yeah.
• 1:03:54
  Speaker 2: Don't do what the fans want is kind of the point. Like,
• 1:03:57
  Speaker 2: don't don't do what the fans want broadly, because for
• 1:03:59
  Speaker 2: the most part, the fans don't know what they want,
• 1:04:02
  Speaker 2: not because they don't know what they want, but because
• 1:04:03
  Speaker 2: the fans as a unified body can't make a decision
• 1:04:06
  Speaker 2: collectively and they shouldn't be expected. Like, and they say
• 1:04:09
  Speaker 2: these things for different reasons. And to expect that it's
• 1:04:11
  Speaker 2: all one thing is kind of absurd when the thing
• 1:04:14
  Speaker 2: is as prolific as.
• 1:04:15
  Speaker 1: And big as this.
• 1:04:16
  Speaker 2: This isn't like Buckaroo Banzai where you can only interact
• 1:04:19
  Speaker 2: with it in like three different ways. Resident Evil has
• 1:04:21
  Speaker 2: video games, movies, comic books, toys, all kinds of stuff. Like,
• 1:04:25
  Speaker 2: there's so much. Like, you could engage with Resident Evil
• 1:04:28
  Speaker 2: and never play a single fucking video game.
• 1:04:30
  Speaker 1: Like, never. Ever play a video game.
• 1:04:32
  Speaker 2: Yeah.
• 1:04:33
  Speaker 1: And there's no reason to, like, attach yourself to it
• 1:04:37
  Speaker 1: that specifically because, like, it's never followed that. Like, every
• 1:04:42
  Speaker 1: time they would come back with a different movie, they'd
• 1:04:44
  Speaker 1: kind of do their own weird thing. So it's like,
• 1:04:47
  Speaker 1: you've never... you've never been attached to it in one
• 1:04:50
  Speaker 1: specific way. They always bastardized it in each thing that
• 1:04:54
  Speaker 1: came out. So it's like, you don't need, I don't know.
• 1:04:57
  Speaker 1: They just get to, you can't go by the fandom
• 1:05:00
  Speaker 1: when you're making your decisions on what you want to
• 1:05:02
  Speaker 1: create as an artist, because I'm like, the fans just
• 1:05:04
  Speaker 1: like to complain, especially again, I'm mostly Bayesian internet fans
• 1:05:07
  Speaker 1: at this point.
• 1:05:08
  Speaker 2: I mean, those are the ones that we need to
• 1:05:10
  Speaker 2: talk about. They're the vocal fans.
• 1:05:12
  Speaker 1: Well, and they're the ones that for some of the
• 1:05:14
  Speaker 1: films over the years have actually made a difference. And
• 1:05:17
  Speaker 1: it always ends up worse because you listen to them.
• 1:05:20
  Speaker 1: And then the next person that comes along or the
• 1:05:23
  Speaker 1: next film that comes out, they reassess things and they
• 1:05:26
  Speaker 1: start changing it based on who is whining the loudest
• 1:05:29
  Speaker 1: on the Internet. And then they change it and then
• 1:05:31
  Speaker 1: people don't like that either. So I'm like, well, what
• 1:05:33
  Speaker 1: are you doing? Like now you're just ping ponging back
• 1:05:35
  Speaker 1: and forth and like catering to whoever complains the most.
• 1:05:39
  Speaker 1: And then when you come back this way, then the
• 1:05:40
  Speaker 1: other half just complains too. So I'm like, you're not
• 1:05:43
  Speaker 1: getting anywhere listening to the fans. Like just do your
• 1:05:46
  Speaker 1: own thing. If they don't like it, that's fine. You're
• 1:05:48
  Speaker 1: allowed to not like stuff. It's okay. You don't have
• 1:05:51
  Speaker 1: to make everybody like your stuff because you're never going
• 1:05:53
  Speaker 1: to be successful in that. Somebody's always going to be upset.
• 1:05:57
  Speaker 1: Somebody's always going to complain. So you can't base it
• 1:06:00
  Speaker 1: on that. You just got to make a good thing
• 1:06:02
  Speaker 1: and hopefully the people that aren't whiny about it will
• 1:06:05
  Speaker 1: show up and support you.
• 1:06:06
  Speaker 2: If you're, if the thing you make resonates with people,
• 1:06:09
  Speaker 2: that's a success.
• 1:06:10
  Speaker 1: Yeah. Why does it need to be any more than that? Yeah.
• 1:06:13
  Speaker 2: Like, why does it need to be any more than that?
• 1:06:14
  Speaker 2: Why does it have to be this, this whole thing
• 1:06:17
  Speaker 2: where it's like, well, if I do this, this, and this,
• 1:06:19
  Speaker 2: then this, this, and this will happen. Like, you know,
• 1:06:20
  Speaker 2: why don't you just make a good movie? Why don't
• 1:06:22
  Speaker 2: you stop worrying about the messaging of the film or
• 1:06:24
  Speaker 2: all these like, or the, the brand awareness or all
• 1:06:28
  Speaker 2: these things.
• 1:06:28
  Speaker 1: Branding sequels already. And I'm like, you don't know that
• 1:06:31
  Speaker 1: this one's going to work, especially if you make a
• 1:06:34
  Speaker 1: crappy movie. So like, Focus on making a good movie
• 1:06:37
  Speaker 1: and worry about the next step later. Like you can't
• 1:06:40
  Speaker 1: be worrying about that now and like giving up the
• 1:06:44
  Speaker 1: good parts of this movie so that maybe two movies out,
• 1:06:47
  Speaker 1: you can make it all come together. It's like, who cares?
• 1:06:49
  Speaker 1: Just make a good movie now. You can worry about
• 1:06:52
  Speaker 1: that if you even get a chance. Most people don't
• 1:06:54
  Speaker 1: even get a chance to make another movie. So just
• 1:06:57
  Speaker 1: be glad you got to make this one. Make it good.
• 1:07:00
  Speaker 2: Well, and that's I mean, you mentioned it already, like
• 1:07:02
  Speaker 2: the listening to the fans and kind of kowtowing to
• 1:07:05
  Speaker 2: what fans want. And I'm not bad mouthing people here.
• 1:07:08
  Speaker 2: The people that are doing this, they know who they
• 1:07:10
  Speaker 2: are and they don't care. Like they they are they
• 1:07:13
  Speaker 2: are completely unrepentant in their faith. kind of doing of
• 1:07:17
  Speaker 2: this like shitty behavior of like sitting and complaining on
• 1:07:20
  Speaker 2: the internet constantly because they complain about anything they complain
• 1:07:23
  Speaker 2: about the movies then they go and complain about the
• 1:07:25
  Speaker 2: opinions that people have about the movies because they aren't
• 1:07:27
  Speaker 2: the opinions that they have like it's just it's never
• 1:07:29
  Speaker 2: ending right like you've seen it i've seen it i'm
• 1:07:32
  Speaker 2: sure you've you've rustled people's feathers by saying things about
• 1:07:35
  Speaker 2: we are that yeah that's what.
• 1:07:36
  Speaker 1: I was gonna say I can't complain about people having
• 1:07:39
  Speaker 1: an opinion because this is what we do. This is
• 1:07:42
  Speaker 1: why we're here.
• 1:07:43
  Speaker 2: But again, it's I don't expect that anybody's going to
• 1:07:47
  Speaker 2: fucking change anything based on what I say.
• 1:07:49
  Speaker 1: Exactly. I was like the fact that we you know,
• 1:07:52
  Speaker 1: everybody should have an opinion. And that's what I said.
• 1:07:54
  Speaker 1: Like it or don't. be glad if you like it,
• 1:07:57
  Speaker 1: but like, don't expect anyone to cater to your needs
• 1:08:01
  Speaker 1: because you don't like it. Like just enjoy. You're not
• 1:08:04
  Speaker 1: liking it. Go sit at home and be mad about it.
• 1:08:06
  Speaker 1: If that's what you want to do or better yet,
• 1:08:08
  Speaker 1: go find something else you do like, or go play
• 1:08:10
  Speaker 1: the game that you like that they didn't make this movie. Like,
• 1:08:13
  Speaker 1: you know, there's plenty of things you can do that
• 1:08:15
  Speaker 1: are more functional for you as a fan. than just
• 1:08:18
  Speaker 1: getting on the internet and complaining and expecting people to
• 1:08:21
  Speaker 1: undo what they did on this last movie because you
• 1:08:24
  Speaker 1: didn't like it. It's like, if I complain enough, it
• 1:08:26
  Speaker 1: won't exist anymore. We'll retcon it into not happening. I
• 1:08:30
  Speaker 1: don't know. They just come up with all this nonsense.
• 1:08:33
  Speaker 2: Well, I mean, the Sonic movie kind of showed and
• 1:08:36
  Speaker 2: the Zack Snyder cut showed that you can complain enough
• 1:08:40
  Speaker 2: to make a difference. And I think the thing with Sonic,
• 1:08:43
  Speaker 2: I think the thing with Sonic was justified because the
• 1:08:45
  Speaker 2: design of Sonic was not great. But if that's the
• 1:08:48
  Speaker 2: design they wanted to go with, that's their choice and
• 1:08:50
  Speaker 2: people don't have to watch that movie.
• 1:08:51
  Speaker 1: Like it's not your movie. Don't worry about it.
• 1:08:54
  Speaker 2: But the thing with the Snyder cut is like that
• 1:08:57
  Speaker 2: is now the kind of bar that I compare all
• 1:08:59
  Speaker 2: this to.
• 1:08:59
  Speaker 1: Because you know, the Snyder cut didn't exist. They had
• 1:09:03
  Speaker 1: to go and like spend hundreds of at least like
• 1:09:05
  Speaker 1: almost like a, like a hundred million dollars or something.
• 1:09:08
  Speaker 1: It was a ridiculous amount of money to like make
• 1:09:10
  Speaker 1: that movie exist. A God awfully exhausting movie. Like, I
• 1:09:15
  Speaker 1: don't care if you like the movie, but like comparing
• 1:09:18
  Speaker 1: the two, like I watched it eventually. And I was
• 1:09:20
  Speaker 1: just like, oh my god this is just so much
• 1:09:22
  Speaker 1: longer like all the things.
• 1:09:24
  Speaker 2: The original one was only an hour and a half
• 1:09:26
  Speaker 2: brian you didn't want twice to three times as much
• 1:09:28
  Speaker 2: but all.
• 1:09:29
  Speaker 1: The things that i remembered about the movie as a
• 1:09:32
  Speaker 1: whole were in that original movie i'm like when i
• 1:09:35
  Speaker 1: think back and i'm like oh well this part was
• 1:09:37
  Speaker 1: actually kind of cool i'm like oh wait that was
• 1:09:39
  Speaker 1: in the theatrical cut so all this other stuff you
• 1:09:41
  Speaker 1: did i didn't need which is probably why they didn't
• 1:09:45
  Speaker 1: need to make it like Every once in a while,
• 1:09:48
  Speaker 1: you hear a story about like the producers coming in
• 1:09:50
  Speaker 1: and taking away a director's movie. And sometimes I'm like, oh, no,
• 1:09:53
  Speaker 1: I do want to see that. But I'd say more
• 1:09:55
  Speaker 1: often than not, anytime I see a director's cut, I'm like,
• 1:09:59
  Speaker 1: I kind of like it better the other way. Like
• 1:10:02
  Speaker 1: sometimes there's occasionally one that I'm like, OK, this is
• 1:10:06
  Speaker 1: they shouldn't have taken away, you know, this and this.
• 1:10:08
  Speaker 1: But like a lot of the times I'll see when
• 1:10:11
  Speaker 1: they get the chance to throw all this extra stuff
• 1:10:14
  Speaker 1: in that you didn't want. I'm like, yeah, there's a
• 1:10:16
  Speaker 1: reason it got trimmed down because it probably needed to
• 1:10:19
  Speaker 1: get trimmed down. So maybe there's a happy medium out
• 1:10:22
  Speaker 1: there somewhere. But I don't know. Sometimes just throwing a
• 1:10:25
  Speaker 1: whole lot of stuff at something doesn't make it better.
• 1:10:28
  Speaker 1: It's just longer and more exhausting. More is not always better. Brian,
• 1:10:32
  Speaker 1: I don't understand. Yeah, I know. Welcome to America.
• 1:10:35
  Speaker 2: Yeah, to me it's a little absurd because, you know,
• 1:10:38
  Speaker 2: us living in a post-Snyderverse, you know, Snyder Cut universe, like, well,
• 1:10:42
  Speaker 2: they kowtowed to the fans so much, these, like, Yo-Ho
• 1:10:45
  Speaker 2: fans on the internet that just couldn't leave well enough alone,
• 1:10:48
  Speaker 2: and then, like, oh, well, it was a success. We
• 1:10:51
  Speaker 2: got the movie released.
• 1:10:52
  Speaker 1: To what end?
• 1:10:53
  Speaker 2: We all saw it, and it was just more shit.
• 1:10:56
  Speaker 2: It was just more of the same. Like, it was
• 1:10:58
  Speaker 2: more of exactly what we thought it was going to
• 1:11:00
  Speaker 2: be and nothing else, which is exactly why they wanted it,
• 1:11:03
  Speaker 2: because they just... wanted more of the same.
• 1:11:05
  Speaker 1: And you know what? Cool.
• 1:11:06
  Speaker 2: You like eating raw meat? Eat raw meat all you like.
• 1:11:10
  Speaker 2: Some of us want to eat it cooked. And it's
• 1:11:12
  Speaker 2: not my fault that you like to eat raw meat.
• 1:11:15
  Speaker 2: That's the problem. It's like, I don't expect other people
• 1:11:17
  Speaker 2: to do what I want just because I don't like
• 1:11:19
  Speaker 2: what other people want. We've sat here... as movie critics
• 1:11:22
  Speaker 2: for 20 years plus collectively between the two of us.
• 1:11:27
  Speaker 2: And at no point in doing any of this have
• 1:11:29
  Speaker 2: I expected anyone to look at what I say and go, well,
• 1:11:33
  Speaker 2: because he said that I should have made a different movie.
• 1:11:35
  Speaker 2: Like my subjective feelings on a movie are my own.
• 1:11:38
  Speaker 1: Well, and what do they get out of it? Like
• 1:11:40
  Speaker 1: you see everybody gets so up in arms and like
• 1:11:43
  Speaker 1: usually if they get their way and they either put
• 1:11:47
  Speaker 1: out a different cut or they change everything for the
• 1:11:49
  Speaker 1: next movie in the series, Then you get there and
• 1:11:52
  Speaker 1: number one, half the people are still unhappy about it.
• 1:11:55
  Speaker 1: And the other half that maybe it is more or
• 1:11:57
  Speaker 1: less what you want, but I'm like, okay, now what?
• 1:11:59
  Speaker 1: So your life is perfect now because you got your
• 1:12:02
  Speaker 1: cut of the movie that you didn't make. Like what happens?
• 1:12:05
  Speaker 1: Like you can watch it and what you might watch
• 1:12:08
  Speaker 1: it again, somewhere down the line. But like, what, what
• 1:12:10
  Speaker 1: do we get? Like of all the up in arms,
• 1:12:13
  Speaker 1: crazy whining on the internet. I'm like, what does it change? Like,
• 1:12:16
  Speaker 1: Life goes on and they go make other movies. So
• 1:12:19
  Speaker 1: that would have happened with or without your whining and
• 1:12:21
  Speaker 1: your special cut and all this stuff. Like, I don't know.
• 1:12:24
  Speaker 1: Sometimes it just gets to be so much. And I'm like,
• 1:12:26
  Speaker 1: what are we accomplishing with all of this that we
• 1:12:30
  Speaker 1: could be putting our energy towards something more functional? Go
• 1:12:34
  Speaker 1: make a new movie. That's better than all of these
• 1:12:37
  Speaker 1: instead of focusing on rehashing some, you know, extra footage
• 1:12:41
  Speaker 1: that got cut out of something else. Like just, I
• 1:12:44
  Speaker 1: don't know. There's better ways to be productive with your energy,
• 1:12:47
  Speaker 1: I feel.
• 1:12:48
  Speaker 2: Well, and Zach Kreger said as much when because I
• 1:12:51
  Speaker 2: guess it came out that there was a fair amount
• 1:12:53
  Speaker 2: of jokes that were cut out of this movie, which,
• 1:12:55
  Speaker 2: by the way, something we haven't mentioned in all this
• 1:12:58
  Speaker 2: fairly funny movie.
• 1:13:00
  Speaker 1: Pretty much. Yeah.
• 1:13:01
  Speaker 2: I mean, and again, like Resident Evil, I think even
• 1:13:04
  Speaker 2: even when it is at its kind of most horror
• 1:13:08
  Speaker 2: forward facing and not kind of trying to be funny.
• 1:13:12
  Speaker 2: funny it still is like darkly comedic and so i
• 1:13:15
  Speaker 2: i think what's interesting is like the idea of like
• 1:13:18
  Speaker 2: him taking jokes out of the movie is very funny
• 1:13:21
  Speaker 2: to me because it's like it's already a fairly funny
• 1:13:23
  Speaker 2: movie how many more jokes could you have taken out
• 1:13:25
  Speaker 2: well and again.
• 1:13:26
  Speaker 1: That's that's one of those like yes there is a
• 1:13:28
  Speaker 1: a time and a place that you can make those
• 1:13:31
  Speaker 1: sort of adjustments but usually like it's beforehand and like
• 1:13:35
  Speaker 1: we see even when it comes down to the wire
• 1:13:38
  Speaker 1: sometimes and they're doing test screenings and they're like cutting
• 1:13:40
  Speaker 1: things and you know, a week before it's going to hit,
• 1:13:43
  Speaker 1: you know, nationwide release, like they're still trying to piece
• 1:13:47
  Speaker 1: together how they want the ending to go. Like we've
• 1:13:48
  Speaker 1: seen that a lot of times over the years. And like,
• 1:13:51
  Speaker 1: sometimes it's the right call. Like, I'm not saying you can't,
• 1:13:53
  Speaker 1: you know, ever make any adjustments to your movie, but again,
• 1:13:56
  Speaker 1: it should be the director essentially. And it should be
• 1:14:00
  Speaker 1: like up before the movie's out. Otherwise you start getting,
• 1:14:04
  Speaker 1: you know, you're... readjustments after the fact and like crazy nonsense.
• 1:14:09
  Speaker 1: Like I'm like, all right, whatever you made your movie,
• 1:14:11
  Speaker 1: just be done with it now. So like you can
• 1:14:13
  Speaker 1: make those adjustments. And Zach is a great example of that.
• 1:14:16
  Speaker 1: Like he listened to people's feedback and like made a
• 1:14:20
  Speaker 1: better movie because of it. Like, I think if you
• 1:14:23
  Speaker 1: overdid anything, I think that is what's one of the
• 1:14:26
  Speaker 1: things that's really good about this is it, it balances
• 1:14:29
  Speaker 1: everything really nicely that it's not, overly jokey that it
• 1:14:33
  Speaker 1: takes away from the overall action that's going on. But also,
• 1:14:37
  Speaker 1: like I said, I think it's legitimately creepy at a
• 1:14:40
  Speaker 1: lot of points. And like those two work hand in hand,
• 1:14:44
  Speaker 1: like the comedy and horror, as we've seen over the years,
• 1:14:47
  Speaker 1: like can work together really well and make an effective movie.
• 1:14:51
  Speaker 1: But you got to balance it just right. And like,
• 1:14:53
  Speaker 1: I think he does that in this movie and it
• 1:14:55
  Speaker 1: might have been out of whack without those adjustments. So
• 1:14:58
  Speaker 1: I give him credit for being willing to listen to people,
• 1:15:01
  Speaker 1: but it's beforehand. And it was people, you know, in
• 1:15:04
  Speaker 1: part of the process beforehand, not just people listening. complaining
• 1:15:08
  Speaker 1: after the fact. So it's like, I appreciate it being
• 1:15:11
  Speaker 1: part of that structure beforehand that they're like, OK, what
• 1:15:14
  Speaker 1: do we need to do to make this movie work?
• 1:15:16
  Speaker 1: And even he's, you know, open minded enough to slice
• 1:15:19
  Speaker 1: off some of the stuff that he's more well known for.
• 1:15:22
  Speaker 1: I mean, he's a comedy guy at his core and
• 1:15:24
  Speaker 1: like he's willing to let some of that go to
• 1:15:27
  Speaker 1: make it a tighter movie. And I think he did
• 1:15:29
  Speaker 1: it pretty successfully.
• 1:15:31
  Speaker 2: Well, and that's the thing that we, you know, we
• 1:15:33
  Speaker 2: haven't mentioned.
• 1:15:33
  Speaker 1: And for those of you that don't know, Zach Krieger
• 1:15:36
  Speaker 1: got his start with widest kids, you know, which is again,
• 1:15:39
  Speaker 1: like I would say like internet comedy royalty at this
• 1:15:42
  Speaker 1: point in terms of like, you know, they, they, they
• 1:15:45
  Speaker 1: spawned a lot of things, but they're kind of one
• 1:15:47
  Speaker 1: of the OG internet comedy of that era. Yeah. It's
• 1:15:52
  Speaker 1: like there's every 10 years or so there was like
• 1:15:55
  Speaker 1: a new comedy troupe or two or three that came
• 1:15:57
  Speaker 1: along that kind of defined that generation more or less.
• 1:16:00
  Speaker 1: But like, this was one of those that also caught
• 1:16:03
  Speaker 1: on on the internet and like found a new way
• 1:16:05
  Speaker 1: to get it out there. And like, rode that as
• 1:16:08
  Speaker 1: a way to be successful and then also turn it
• 1:16:10
  Speaker 1: into other types of careers like this. I would say
• 1:16:13
  Speaker 1: Zack Kreger and Donald Glover have a lot in common
• 1:16:16
  Speaker 1: in terms of where they got their start versus where
• 1:16:18
  Speaker 1: they are now. Like Donald Glover has created a lot
• 1:16:21
  Speaker 1: of great music, some great TV shows, and he's a
• 1:16:23
  Speaker 1: great actor. And like Zack Kreger, funny actor. I would
• 1:16:27
  Speaker 1: say better director and writer. Like he's funny. He has
• 1:16:30
  Speaker 1: a good sense of comedy, but I think he's a
• 1:16:32
  Speaker 1: great director. And I think he's an even better writer.
• 1:16:34
  Speaker 1: Like that's the thing that gets lost here is like
• 1:16:36
  Speaker 1: he helped write this script. I mean, he doesn't share
• 1:16:39
  Speaker 1: the sole writing credit, which I think for me, it's
• 1:16:42
  Speaker 1: interesting because the other two things that he's made feel
• 1:16:46
  Speaker 1: more like a him thing than this. And I think
• 1:16:49
  Speaker 1: that this benefits from having someone else's hand involved. I
• 1:16:53
  Speaker 1: was kind of surprised just the Shea Hatton, I guess
• 1:16:57
  Speaker 1: is the other writer. And like, he's like back and forth.
• 1:17:00
  Speaker 1: Like there's sometimes when I see it coming together and
• 1:17:03
  Speaker 1: I'm like, okay, that's a good person to pair him
• 1:17:05
  Speaker 1: up with. So like, all of the solid action and
• 1:17:08
  Speaker 1: like forward moving. Like, I feel like that's the guy
• 1:17:11
  Speaker 1: who's knocking out all your John Wicks. You know, your
• 1:17:14
  Speaker 1: John Wicks sequels. Oh yeah, and Ballerina and Zack Snyder stuff.
• 1:17:18
  Speaker 1: And I'm like, so that's the stuff. No, that's the
• 1:17:20
  Speaker 1: ones that worried me. Then I looked down the list.
• 1:17:21
  Speaker 1: I'm like, wait, what is he doing all this Zack
• 1:17:23
  Speaker 1: Snyder stuff?
• 1:17:24
  Speaker 2: I haven't seen those movies though. They might have good
• 1:17:26
  Speaker 2: action scenes.
• 1:17:27
  Speaker 1: I don't know. I've seen. Okay, okay. I think I've
• 1:17:30
  Speaker 1: seen Rebel Moon Part Two, The Stargiver. I saw Goldberg. Again,
• 1:17:35
  Speaker 1: here's a good example. I saw both the original release
• 1:17:39
  Speaker 1: cuts of Rebel Moon 1 and 2. Did not go
• 1:17:42
  Speaker 1: back for the extra four hour Zack Snyder of it all.
• 1:17:45
  Speaker 1: For both of them, for God's sakes. I haven't seen
• 1:17:49
  Speaker 1: Army of Thieves, which is the like spinoff prequel thing
• 1:17:52
  Speaker 1: he did. But I have seen Army of the Dead.
• 1:17:55
  Speaker 1: I enjoy Army of the Dead more than most people.
• 1:17:58
  Speaker 1: I do not pretend like it's a good movie. It's
• 1:18:01
  Speaker 1: an entertaining action movie. You can barely even call it horror,
• 1:18:05
  Speaker 1: even though it is wall to wall zombies. But like
• 1:18:07
  Speaker 1: it is action way before it's horror. So it was
• 1:18:10
  Speaker 1: those that kind of concerned me as I was like
• 1:18:13
  Speaker 1: I was looking into it before I even went to
• 1:18:15
  Speaker 1: see the movie. I'm just like, OK, you know, you
• 1:18:18
  Speaker 1: can't question the John Wick movies like know how to
• 1:18:20
  Speaker 1: make an action movie like those things. And he came
• 1:18:23
  Speaker 1: in from like three, four ballerinas. So like he knows
• 1:18:26
  Speaker 1: how to do that stuff. But yeah, he was on
• 1:18:28
  Speaker 1: a lot of that Zack Snyder stuff that I was like, oh,
• 1:18:31
  Speaker 1: writing is not the strong suit on those movies. So
• 1:18:34
  Speaker 1: that concerned me a little bit. So I think it
• 1:18:37
  Speaker 1: probably also helped to have Zack there to counterbalance whatever
• 1:18:41
  Speaker 1: bad things came out of those other previous silly action movies.
• 1:18:45
  Speaker 1: And like you've got somebody who knows how to tell
• 1:18:47
  Speaker 1: a good story like Zach does to sort of counterbalance
• 1:18:49
  Speaker 1: what he's doing. So again, I think it ended up
• 1:18:51
  Speaker 1: being a really good pairing between the two.
• 1:18:53
  Speaker 2: Well, and I think you hit right upon it, which
• 1:18:55
  Speaker 2: is this film has a lot of really interesting action.
• 1:18:59
  Speaker 2: I wouldn't say it's like, you know, high stakes action
• 1:19:02
  Speaker 2: in a way, but it's it's action done in a
• 1:19:04
  Speaker 2: way where the lead character can't be proficient. Like it's
• 1:19:08
  Speaker 2: part of the part of the film. Part of the
• 1:19:10
  Speaker 2: joy of the film is knowing that he's not proficient.
• 1:19:13
  Speaker 2: He is not an expert at guns. He is not
• 1:19:15
  Speaker 2: an expert at a lot of things. What he's good
• 1:19:17
  Speaker 2: at is tenacity, I guess, or delivering things. But he's
• 1:19:21
  Speaker 2: not just luck. He accidentally lives a lot of times. Yeah,
• 1:19:25
  Speaker 2: he's not he's not proficient as a as a user
• 1:19:28
  Speaker 2: of firearms or parkour or any of the things that
• 1:19:33
  Speaker 2: he's like asked to do in the movie. And yet,
• 1:19:35
  Speaker 2: like you said, he just happens to be lucky and survives.
• 1:19:38
  Speaker 2: And I think that that's, again, like, that's where a
• 1:19:40
  Speaker 2: lot of the comedy comes from, for me, is those
• 1:19:44
  Speaker 2: scenes with action having the tone of a Zack Kreger movie.
• 1:19:47
  Speaker 2: And that's what's so interesting, is the tone of a
• 1:19:49
  Speaker 2: Zack Kreger movie, I think, actually works better here than
• 1:19:52
  Speaker 2: it does in Weapons and Barbarian, because... action and comedy,
• 1:19:57
  Speaker 2: and then for some extent, action and horror or comedy
• 1:20:00
  Speaker 2: and horror. I think if you have all three in
• 1:20:03
  Speaker 2: this kind of like action, comedy, horror mix, I think
• 1:20:06
  Speaker 2: it just, I think they balance each other out a
• 1:20:08
  Speaker 2: little bit better than trying to just balance the two
• 1:20:10
  Speaker 2: against one another. Like action kind of makes it a
• 1:20:13
  Speaker 2: little easier, like an aliens again, like it kind of
• 1:20:16
  Speaker 2: maybe gets lost in all of it is the problem.
• 1:20:19
  Speaker 2: I would say to your point, this movie doesn't lose
• 1:20:21
  Speaker 2: a lot of the horror, thankfully, but it does. It's
• 1:20:25
  Speaker 2: not as scary as it could be because it is
• 1:20:27
  Speaker 2: kind of sort of an action comedy.
• 1:20:29
  Speaker 1: Like, I think it depends on the scene. Like, I
• 1:20:32
  Speaker 1: think especially in the first half of it, like before
• 1:20:35
  Speaker 1: he gets to the city, I feel like a lot
• 1:20:37
  Speaker 1: of that stuff is like really creepy. And a lot
• 1:20:40
  Speaker 1: of it's just the way it's shot. And like your
• 1:20:42
  Speaker 1: basic again points to him for just being a good director,
• 1:20:46
  Speaker 1: having a good cinematographer, because like the the the use
• 1:20:50
  Speaker 1: of what you can't see in some of those early
• 1:20:53
  Speaker 1: scenes is so well done, like whether it's from the
• 1:20:56
  Speaker 1: get go of him driving and you can barely see
• 1:20:58
  Speaker 1: the road. And, you know, he's barely paying attention to
• 1:21:01
  Speaker 1: the road. So you're like you're waiting for you. Like,
• 1:21:03
  Speaker 1: you know, the zombies coming out, you know, he's going
• 1:21:05
  Speaker 1: to hit somebody. We've seen it in the trailer anyway.
• 1:21:07
  Speaker 1: But even then, just the way that it's shot, you're like, oh, God,
• 1:21:10
  Speaker 1: here it comes. Like you can see the bad situation
• 1:21:13
  Speaker 1: in front of him, literally. And then like so you
• 1:21:16
  Speaker 1: get the usage of like him in the car and
• 1:21:18
  Speaker 1: pretty much all you can see is the headlights and
• 1:21:20
  Speaker 1: everything else is dark around them. Or you get once
• 1:21:23
  Speaker 1: he's out of the car and like, as soon as
• 1:21:25
  Speaker 1: he's away from that little area where the headlights are,
• 1:21:27
  Speaker 1: like everything disappears into black and you don't, and like
• 1:21:31
  Speaker 1: your zombie disappears and you're like, I, she was just here. Where,
• 1:21:34
  Speaker 1: where the hell did she go? And like, that is
• 1:21:36
  Speaker 1: like unnerving because if you're again, especially with an every
• 1:21:39
  Speaker 1: man like this, like you put yourself in that position,
• 1:21:42
  Speaker 1: you're just like, well, shit, what do you do? Like
• 1:21:44
  Speaker 1: when you're standing there and you're just like, that lady
• 1:21:46
  Speaker 1: was just here and now she's not. And I'm pretty
• 1:21:49
  Speaker 1: sure she's going to try to eat me in a second. So,
• 1:21:51
  Speaker 1: you know, there's that moment of like, well, if you're him, like,
• 1:21:54
  Speaker 1: what do you do in this scenario? I think that's
• 1:21:56
  Speaker 1: part of what makes this movie work that well. Again,
• 1:21:59
  Speaker 1: I think it's not only because of that every man's sense,
• 1:22:02
  Speaker 1: but maybe even more so with the video game aspect
• 1:22:05
  Speaker 1: of like, you're in that first person, like you're the
• 1:22:08
  Speaker 1: one going, okay, what do I do in this scenario?
• 1:22:11
  Speaker 1: Do I run back to the house? Do I get
• 1:22:13
  Speaker 1: back in the car? Like you've got that decision you
• 1:22:16
  Speaker 1: have to make, which I think always works really well
• 1:22:18
  Speaker 1: with horror. Like sometimes in action, it's a little harder
• 1:22:21
  Speaker 1: to pull that off because they're all, again, parkour experts
• 1:22:24
  Speaker 1: with firearms training. But like in horror, it's a lot
• 1:22:27
  Speaker 1: of times people that don't know what the hell they're doing.
• 1:22:29
  Speaker 1: So like every horror movie that throws out that option
• 1:22:32
  Speaker 1: of like, oh, well, what do you do in this scenario?
• 1:22:35
  Speaker 1: Like that engages you in the story really well. And
• 1:22:39
  Speaker 1: I think this, certainly in that aspect of it, I
• 1:22:42
  Speaker 1: think it's, it really comes together and it just sort
• 1:22:45
  Speaker 1: of makes you engrossed in what's going on in the
• 1:22:47
  Speaker 1: movie itself. Is that what the hell would I do
• 1:22:50
  Speaker 1: in this scenario? So that comes into play.
• 1:22:52
  Speaker 2: Well, and I also think like like you alluded to,
• 1:22:55
  Speaker 2: the beginning of the movie does such a good job
• 1:22:56
  Speaker 2: at setting the stakes. And then they just keep ratcheting
• 1:22:59
  Speaker 2: up the further the movie goes on that by the
• 1:23:01
  Speaker 2: end of it, it is like, well, now this is
• 1:23:03
  Speaker 2: a world ending thing. And like now we have to
• 1:23:05
  Speaker 2: like stop this kind of like zombie outbreak from from happening.
• 1:23:10
  Speaker 2: And it's, you know, this just think about what would
• 1:23:11
  Speaker 2: happen if this thing took over the world. And it's like, well,
• 1:23:14
  Speaker 2: we know that that's what's going to happen. So or
• 1:23:17
  Speaker 2: at least in some capacity, it's going to affect Raccoon City. And,
• 1:23:20
  Speaker 2: you know, because, again, in the video games, depending on
• 1:23:22
  Speaker 2: what version, there's there's a lot of kind of tied
• 1:23:24
  Speaker 2: up in what happens in Raccoon City for the rest
• 1:23:27
  Speaker 2: of kind of the world of Resident Evil. But what's
• 1:23:29
  Speaker 2: interesting is it does start so small. And I think
• 1:23:33
  Speaker 2: that's something that is, again, very indicative of Resident Evil.
• 1:23:37
  Speaker 2: The video games always start really small and really kind
• 1:23:42
  Speaker 2: of not quiet, but as quiet as a Resident Evil
• 1:23:44
  Speaker 2: game can be. I mean, I think of Resident Evil 4,
• 1:23:47
  Speaker 2: I think of Resident Evil 7, I think of Resident
• 1:23:49
  Speaker 2: Evil 8, where they all are kind of quiet and reserved,
• 1:23:54
  Speaker 2: especially even 9 with the non-Leon storyline where you're just
• 1:23:58
  Speaker 2: going around the kind of sanitarium with a flashlight and
• 1:24:01
  Speaker 2: a gun. The film emulates kind of even the progression
• 1:24:05
  Speaker 2: of a Resident Evil game, where it starts out really
• 1:24:08
  Speaker 2: small and by the end of it, you've got a
• 1:24:10
  Speaker 2: machine gun and you're trying to kill all these zombies
• 1:24:12
  Speaker 2: and do all this crazy stuff.
• 1:24:13
  Speaker 1: And even.
• 1:24:14
  Speaker 2: Even the movie understands that and tries to do that
• 1:24:18
  Speaker 2: and tries to emulate that. And I really I appreciated
• 1:24:21
  Speaker 2: that about the movie, that the movie, again, seems like
• 1:24:24
  Speaker 2: it's being made by someone who appreciates Resident Evil, not
• 1:24:27
  Speaker 2: just as the story, but also the vibe and the
• 1:24:29
  Speaker 2: tone and the story progression and the way that Resident
• 1:24:33
  Speaker 2: Evil as a media character.
• 1:24:35
  Speaker 1: Property conducts itself.
• 1:24:37
  Speaker 2: And I think that, again, Zack Kreger does a really
• 1:24:39
  Speaker 2: good job, I think, at giving not just a introduction
• 1:24:42
  Speaker 2: to Resident Evil as a movie franchise, but also, I think,
• 1:24:45
  Speaker 2: Resident Evil as a property. I think if you watch
• 1:24:48
  Speaker 2: this movie, one of the things you're probably... they're hoping
• 1:24:51
  Speaker 2: you take away from it at the end is, like,
• 1:24:53
  Speaker 2: will you go, if you have a video game system
• 1:24:55
  Speaker 2: and buy a Resident Evil game.
• 1:24:56
  Speaker 1: And play it?
• 1:24:57
  Speaker 2: Like, will that be how you engage with this further?
• 1:25:00
  Speaker 2: And I think that's probably part of the hope for
• 1:25:02
  Speaker 2: anybody who made this movie is... we would like for
• 1:25:05
  Speaker 2: people to engage with Resident Evil further, which is why
• 1:25:07
  Speaker 2: it's not just one Resident Evil thing. It's kind of
• 1:25:11
  Speaker 2: taking all of the franchise as a whole and boiling
• 1:25:14
  Speaker 2: it down into, you know, a tone, a vibe, a sense.
• 1:25:18
  Speaker 1: Of being in place.
• 1:25:20
  Speaker 2: It reminds me a lot of Fallout. Like, and again,
• 1:25:22
  Speaker 2: Zach Cherry is in this movie, so, you know, he's
• 1:25:25
  Speaker 2: in Fallout as well. But it reminds me of Fallout,
• 1:25:26
  Speaker 2: and it's like, we're not necessarily telling a story from
• 1:25:30
  Speaker 2: the video game. We're telling a story set in the
• 1:25:33
  Speaker 2: universe of the video.
• 1:25:34
  Speaker 1: Which is more what people want, really. Or I would
• 1:25:38
  Speaker 1: think people want. What little I've seen of, you know, again,
• 1:25:41
  Speaker 1: I'm just watching the show. So, like, I'm mostly engrossed
• 1:25:43
  Speaker 1: in that. And I'm just like, especially something like that.
• 1:25:47
  Speaker 1: The world is so rich that, like, it feels like
• 1:25:49
  Speaker 1: that's where you want to invest your time and then
• 1:25:52
  Speaker 1: not worry about the specifics of the characters. just take
• 1:25:56
  Speaker 1: your characters that you create and then place them in
• 1:25:58
  Speaker 1: this world. And like, that's kind of what we're doing
• 1:26:01
  Speaker 1: in this movie too.
• 1:26:02
  Speaker 2: Well, I think the issue maybe with Fallout is Fallout,
• 1:26:04
  Speaker 2: I think is a prequel or a kind of in
• 1:26:08
  Speaker 2: universe of the video games. I don't think Resident Evil
• 1:26:11
  Speaker 2: is in the universe.
• 1:26:12
  Speaker 1: I think this is like its own thing.
• 1:26:14
  Speaker 2: So I think maybe, and again, like not to say like, well,
• 1:26:16
  Speaker 2: Fallout fans kind of have a justification, but it's like,
• 1:26:19
  Speaker 2: I guess I'm like, well, it reminds me a little
• 1:26:21
  Speaker 2: bit of, to speak to JJ Abrams again, J.J.
• 1:26:24
  Speaker 1: Abrams was Star Trek.
• 1:26:25
  Speaker 2: He didn't have to put his Star Trek movies in
• 1:26:28
  Speaker 2: the Star Trek, like, normal universe. He could have just
• 1:26:30
  Speaker 2: rebooted the goddamn movies and then not had it be like, well,
• 1:26:34
  Speaker 2: this is the timelines interacting through time travel and alternate universes.
• 1:26:38
  Speaker 1: Like, nobody asked for that, dude.
• 1:26:40
  Speaker 2: Like, you, you, unless it was like a studio directive,
• 1:26:43
  Speaker 2: but like, you made that the case. I don't think
• 1:26:45
  Speaker 2: Resident Evil, this movie, takes place in any universe. Fallout
• 1:26:49
  Speaker 2: takes place in that, in the video game universe. So
• 1:26:52
  Speaker 2: I think that's you know, another kind of leg up
• 1:26:55
  Speaker 2: that this has over most things, which is it's seemingly
• 1:26:58
  Speaker 2: just telling the intro to a story we already know,
• 1:27:02
  Speaker 2: but whatever the next thing is, is hopefully going to
• 1:27:05
  Speaker 2: be still kind of its own thing. Maybe it'll have
• 1:27:08
  Speaker 2: a character from the video game in it, but I
• 1:27:11
  Speaker 2: don't want to see them make something that's like, well,
• 1:27:14
  Speaker 2: then we're just adapting resident evil too.
• 1:27:16
  Speaker 1: It's like, but why? Like, yeah.
• 1:27:19
  Speaker 2: If I want to engage with that story, I'll go
• 1:27:21
  Speaker 2: engage with that story. Why is that medium not good enough?
• 1:27:26
  Speaker 1: You don't have to do that. You don't have to
• 1:27:29
  Speaker 1: do that. This has shown us that you can just
• 1:27:32
  Speaker 1: present the universe and then it's your own little sandbox here.
• 1:27:36
  Speaker 1: You've got all the basic things that you like from
• 1:27:38
  Speaker 1: the Resident Evil universe right here. Plus, we've thrown in
• 1:27:41
  Speaker 1: some other parts of it that like you can use
• 1:27:44
  Speaker 1: moving forward. You don't have to. You can go you
• 1:27:47
  Speaker 1: could bring in some more from the video games, but
• 1:27:49
  Speaker 1: not stick to the story so much. But like you've
• 1:27:52
  Speaker 1: got the whole thing is just your sandbox to play
• 1:27:55
  Speaker 1: in now. So like he did his own crazy story
• 1:27:58
  Speaker 1: in this one. And then, like, again, if we're going,
• 1:28:01
  Speaker 1: which as much money as it's made, I'm sure we're
• 1:28:03
  Speaker 1: going into a sequel. Like, yeah, then hand it off and, like,
• 1:28:06
  Speaker 1: let somebody else do their own crazy story and, like,
• 1:28:08
  Speaker 1: connect it as much as you want to, but not
• 1:28:10
  Speaker 1: that much. Like, you don't need it, obviously. As we've seen,
• 1:28:13
  Speaker 1: this is, like, its own freestanding story. So, like, you
• 1:28:15
  Speaker 1: can tell those. You don't have to be tied down
• 1:28:18
  Speaker 1: to the IP. Like, you can just... Use it for
• 1:28:21
  Speaker 1: its overall, you know, universe more or less, and then
• 1:28:24
  Speaker 1: just tell your own story. And that seems to work
• 1:28:27
  Speaker 1: pretty well based on this movie.
• 1:28:28
  Speaker 2: If you were to make a sequel to this movie
• 1:28:32
  Speaker 2: and you wanted it to be as Resident Evil as possible,
• 1:28:35
  Speaker 2: you would have it be someone following the trail that
• 1:28:38
  Speaker 2: this dude is leaving with the fish. and them trying
• 1:28:41
  Speaker 2: to figure out where the fuck he's going because they're
• 1:28:43
  Speaker 2: trying to intercept it for one reason or another and
• 1:28:46
  Speaker 2: you have it built right into this where it's again
• 1:28:49
  Speaker 2: hewing close to what we've already seen but doing something
• 1:28:51
  Speaker 2: different within, again, the framework of a thing that has
• 1:28:54
  Speaker 2: already existed. And that wouldn't be untoward in the Resident
• 1:28:59
  Speaker 2: Evil universe because it is so very common to have
• 1:29:03
  Speaker 2: things redone, retreaded, or re-contextualized in a different way because
• 1:29:08
  Speaker 2: that's a lot of what Resident Evil does. Later games
• 1:29:11
  Speaker 2: end up retconning earlier games. And again, I'm just basing
• 1:29:15
  Speaker 2: this off of video game logic that the movie is
• 1:29:17
  Speaker 2: existing within. There are padlocks in this movie. that they
• 1:29:21
  Speaker 2: cannot break through with guns. That is a video game thing.
• 1:29:24
  Speaker 2: I'm surprised the character was able to swim. If there
• 1:29:27
  Speaker 2: was swimming in this movie, he may not have just
• 1:29:29
  Speaker 2: died when it happened. I love video games of many
• 1:29:32
  Speaker 2: years where jumping into the water is just you die
• 1:29:34
  Speaker 2: and you respawn back on the land. Like, you know,
• 1:29:37
  Speaker 2: he even I don't know how you feel about it,
• 1:29:40
  Speaker 2: but I think maybe mentioning video games was a bit
• 1:29:43
  Speaker 2: too much. But at the same time, like he doesn't exist.
• 1:29:45
  Speaker 1: In a world without video games. That's unreasonable. Well, I
• 1:29:49
  Speaker 1: talked about this with Dr.
• 1:29:50
  Speaker 2: Perlmutter on the last episode when we talked about the
• 1:29:53
  Speaker 2: dog stars, where it's like these characters exist in 2035.
• 1:29:57
  Speaker 2: You're telling me in the years leading up to the apocalypse,
• 1:30:00
  Speaker 2: there weren't apocalyptic fiction that these characters in this universe saw?
• 1:30:06
  Speaker 2: none right like that's not a thing like what so
• 1:30:09
  Speaker 2: it's it's hard i guess in my mind it's like
• 1:30:12
  Speaker 2: it's hard for me to believe that again like i
• 1:30:14
  Speaker 2: don't know no one says zombie in this movie so
• 1:30:16
  Speaker 2: maybe that's not a thing but also they're not really
• 1:30:19
  Speaker 2: traditional yeah right they're not really they're zombies the way
• 1:30:22
  Speaker 2: zombies are in resident evil which is to say you
• 1:30:24
  Speaker 2: know they're mutated human beings caused mutations caused by X, Y, Z, one, two,
• 1:30:31
  Speaker 2: three reason, depending on the game. So and pretty quickly
• 1:30:34
  Speaker 2: we get to the very untraditional by the time he
• 1:30:37
  Speaker 2: kills the two people in the house, which is one
• 1:30:40
  Speaker 2: of the first times we see zombies getting killed. It
• 1:30:43
  Speaker 2: already immediately starts morphing into this other thing that you're like, oh,
• 1:30:47
  Speaker 2: this is not a normal zombie. Like this is definitely
• 1:30:49
  Speaker 2: not a normal zombie movie because look at what's going
• 1:30:53
  Speaker 2: on here. This is a whole different weird thing that's
• 1:30:56
  Speaker 2: taken over. And like it's it's its own entity more
• 1:30:59
  Speaker 2: or less. It's not just one zombie trying to eat
• 1:31:02
  Speaker 2: your brains. Like it is its own thing trying to
• 1:31:05
  Speaker 2: be a bigger thing. Literally as people just start like
• 1:31:09
  Speaker 2: weaving themselves together into this rolling ball of corpses that like.
• 1:31:14
  Speaker 1: That is different than most of your zombie movies. So
• 1:31:17
  Speaker 1: like it definitely sits in a different place just because
• 1:31:20
  Speaker 1: of how weird that aspect of it is. And again,
• 1:31:23
  Speaker 1: that's good. It brings something different to the table that
• 1:31:25
  Speaker 1: like if you're looking for a normal zombie movie, It
• 1:31:28
  Speaker 1: brings that aspect of the game in that's different from
• 1:31:31
  Speaker 1: most of your zombie movies. And isn't that zombie the
• 1:31:34
  Speaker 1: kind of diffused at the neck, two-bodied zombie? Isn't that
• 1:31:38
  Speaker 1: zombie just kind of comedic in its presentation? Like after
• 1:31:41
  Speaker 1: that initial scene where it creeps out of the house,
• 1:31:43
  Speaker 1: which is really effective. When you see it like rolling
• 1:31:47
  Speaker 1: at them, it's like it's kind of goofy. like intentionally
• 1:31:50
  Speaker 1: very silly yeah it's silly and again like that's the
• 1:31:52
  Speaker 1: thing about resident evil that silent hill is not as
• 1:31:56
  Speaker 1: as silly resident evil has always kind of i said
• 1:31:59
  Speaker 1: metal gear solid is kind of the comparative like metal
• 1:32:02
  Speaker 1: gear solid i think is a silly video game like
• 1:32:04
  Speaker 1: it's it's serious but But it's very tongue in cheek
• 1:32:07
  Speaker 1: and it's like inspired by big action movies of the 80s.
• 1:32:12
  Speaker 1: But it has like a Kojima paranoia of the 90s
• 1:32:15
  Speaker 1: flair to it that kind of then went into some
• 1:32:17
  Speaker 1: other weirdo directions that only he could have come up with.
• 1:32:20
  Speaker 1: And Resident Evil is that same thing. Like Resident Evil
• 1:32:23
  Speaker 1: is very weird. It is not just a zombie video game.
• 1:32:26
  Speaker 1: Maybe it was to begin with. But even then, like,
• 1:32:29
  Speaker 1: there were plenty of zombie video games. Something about Resident
• 1:32:32
  Speaker 1: Evil clearly resonated with people more than it just being
• 1:32:35
  Speaker 1: the original. Myspace is not really a thing anymore. The
• 1:32:38
  Speaker 1: original does not mean that it will exist in perpetuitum
• 1:32:41
  Speaker 1: in its form. It should. Yeah, sure. Okay. I'm trying
• 1:32:45
  Speaker 1: to post on my page right now. You know what
• 1:32:48
  Speaker 1: I mean?
• 1:32:48
  Speaker 2: Like, it's, you know, we can always go back and
• 1:32:50
  Speaker 2: fix things and change things and say that this is
• 1:32:52
  Speaker 2: the way it was supposed to be from the get-go. And,
• 1:32:55
  Speaker 2: you know, oh, well, Resident Evil was never, you know,
• 1:32:57
  Speaker 2: it was never an action, you know, video game. That
• 1:33:00
  Speaker 2: was kind of the criticism leveled against it at four, which,
• 1:33:04
  Speaker 2: you know, again, four is more or less critically acclaimed
• 1:33:06
  Speaker 2: as a video game. It's one of the best video
• 1:33:08
  Speaker 2: games ever made. It's one of my favorite video games.
• 1:33:11
  Speaker 2: I go back and replay it every couple of years
• 1:33:13
  Speaker 2: and I don't have as much time as I used
• 1:33:15
  Speaker 2: to to play. campaign style video games anymore but it's
• 1:33:18
  Speaker 2: one that I will still go back and replay because
• 1:33:21
  Speaker 2: it's just it's nostalgic but it is great like it
• 1:33:24
  Speaker 2: is worth revisiting and it's because it its tone is
• 1:33:28
  Speaker 2: so different than the first three but it is exactly
• 1:33:32
  Speaker 2: the tone of the first three which is It is
• 1:33:34
  Speaker 2: its own weird, idiosyncratic thing. And it's just, if you've
• 1:33:39
  Speaker 2: played Resident Evil, you get it. The characters are kind
• 1:33:42
  Speaker 2: of weird and bombastic. The stakes are kind of start small.
• 1:33:46
  Speaker 1: And end big.
• 1:33:47
  Speaker 2: The third act of the game is always kind of
• 1:33:49
  Speaker 2: a letdown. The first act ends up being the best part.
• 1:33:53
  Speaker 2: Like there's a lot of those things that are just
• 1:33:54
  Speaker 2: carry throughs through a lot of the Resident Evils and
• 1:33:57
  Speaker 2: certain people resonate with certain characters and certain people resonate
• 1:34:00
  Speaker 2: with other characters. But the tone of the video game,
• 1:34:03
  Speaker 2: I think, is why people resonate with Resident Evil and
• 1:34:06
  Speaker 2: the movie nails it in a way that I don't
• 1:34:09
  Speaker 2: really think a video game movie has nailed the tone
• 1:34:12
  Speaker 2: of the source material the way this has. I think
• 1:34:15
  Speaker 2: the only thing I've seen that might be close and
• 1:34:17
  Speaker 2: I haven't seen it yet and it's not out yet.
• 1:34:20
  Speaker 2: But that Street Fighter movie looks like it might be
• 1:34:22
  Speaker 2: the next closest thing because it looks fucking dumb. But
• 1:34:26
  Speaker 2: Street Fighter's storyline is not meant to be taken seriously.
• 1:34:30
  Speaker 2: There's minimal storyline.
• 1:34:31
  Speaker 1: Right. It's yeah.
• 1:34:32
  Speaker 2: Like the story has come since the introduction of Mortal Kombat,
• 1:34:36
  Speaker 2: creating a storyline in its game and all the other
• 1:34:39
  Speaker 2: kind of legacy video game like fighting video games have
• 1:34:41
  Speaker 2: been like, well, now we have to do a serious
• 1:34:44
  Speaker 2: or a story at all. And Street Fighter has tried
• 1:34:47
  Speaker 2: to do it as well, but Street Fighter's goofy as fuck.
• 1:34:50
  Speaker 2: There's a guy who can roll into a ball and
• 1:34:52
  Speaker 2: electrocute people, and they're all shooting fireballs out of their hands,
• 1:34:56
  Speaker 2: and there's a guy with a literal flat top, like
• 1:34:59
  Speaker 2: an absurd flat top. That's being turned into a popcorn
• 1:35:02
  Speaker 2: bucket of all things. Like the video game tone is
• 1:35:05
  Speaker 2: hard to replicate in a movie because it almost feels
• 1:35:09
  Speaker 2: antithetical to making not a serious movie, but a movie
• 1:35:12
  Speaker 2: at all. Because it's like, I guess as video game players,
• 1:35:16
  Speaker 2: we're more ready to accept fun because that's factored into
• 1:35:20
  Speaker 2: what we're doing. Sometimes the idea of fun is lost
• 1:35:24
  Speaker 2: to filmmakers and they just don't care about a movie
• 1:35:27
  Speaker 2: being entertaining or, or engaging and it's being made for
• 1:35:31
  Speaker 2: other completely different reasons which I'm not saying is a
• 1:35:33
  Speaker 2: good or bad thing I'm just saying that's the case
• 1:35:35
  Speaker 2: and that's kind of a constant with video games if
• 1:35:38
  Speaker 2: it's not fun people aren't going to play it like
• 1:35:41
  Speaker 2: if a game's not fun I'm not playing it and
• 1:35:43
  Speaker 2: most people aren't playing it because I will go play
• 1:35:45
  Speaker 2: something that is fun and this movie replicates that sense
• 1:35:49
  Speaker 2: of quote fun unquote and I will say this is
• 1:35:52
  Speaker 2: the first time in a film where they've done first
• 1:35:54
  Speaker 2: person and it actually works And it actually feels akin
• 1:35:59
  Speaker 2: to how it would be used in a video game.
• 1:36:01
  Speaker 1: See, that's the thing that I think it does so
• 1:36:03
  Speaker 1: well is not only does it like work for gaming
• 1:36:08
  Speaker 1: fans and like you've listed off all these specific things
• 1:36:11
  Speaker 1: that tie in. If you're a fan of the game,
• 1:36:14
  Speaker 1: the thing that I think is so impressive is they've
• 1:36:17
  Speaker 1: done so many different video game in title movies. And
• 1:36:21
  Speaker 1: then the movie comes out and really it's like once
• 1:36:24
  Speaker 1: you get to almost all of those, like I can't
• 1:36:27
  Speaker 1: imagine most of the time people going to see those
• 1:36:30
  Speaker 1: video game movies that aren't already a fan of the game.
• 1:36:33
  Speaker 1: Whereas this totally works on its own. Like if you've
• 1:36:37
  Speaker 1: never played a Resident Evil game, you've never even like,
• 1:36:41
  Speaker 1: you didn't even know that there was a video game.
• 1:36:43
  Speaker 1: I don't know what world you came from, but like
• 1:36:45
  Speaker 1: you just landed on this planet and they're like, Hey,
• 1:36:48
  Speaker 1: you know what zombies are, right?
• 1:36:49
  Speaker 2: We're going to go see this movie. Like you at
• 1:36:50
  Speaker 2: least kind of understand horror more or less.
• 1:36:53
  Speaker 1: Like, it works 100% on its own, telling this specific
• 1:36:57
  Speaker 1: story that has the tie-ins to the game, but it's
• 1:37:00
  Speaker 1: not necessary. You don't have to be a fan of
• 1:37:03
  Speaker 1: the game to appreciate the movie. The movie totally stands
• 1:37:06
  Speaker 1: on its own as a solid horror movie, as a
• 1:37:09
  Speaker 1: good action story that's being told, and then just the
• 1:37:12
  Speaker 1: comedic moments hold up. So everything is functional and not
• 1:37:17
  Speaker 1: so tied to the original source material that it all
• 1:37:20
  Speaker 1: falls apart if you take one or the other out
• 1:37:21
  Speaker 1: of it. It's still a totally works as its own
• 1:37:24
  Speaker 1: separate thing while at the same time having all these
• 1:37:28
  Speaker 1: great tie-ins for fans. And I think what's also really
• 1:37:30
  Speaker 1: smart on Zach Krieger's part is making the first, let's say,
• 1:37:35
  Speaker 1: third of the film and the second and third acts
• 1:37:39
  Speaker 1: of the film so different, but the first act of
• 1:37:42
  Speaker 1: the film is the most traditional.
• 1:37:44
  Speaker 2: Horror movie of any of the parts. And I think
• 1:37:47
  Speaker 2: that that's also very smart because, again, like you just
• 1:37:49
  Speaker 2: alluded to, if the people that are coming to see
• 1:37:51
  Speaker 2: this aren't Resident Evil fans and.
• 1:37:53
  Speaker 1: Aren't aware of where.
• 1:37:55
  Speaker 2: where the franchise goes in terms of weird shit that
• 1:37:58
  Speaker 2: they start introducing. Cause again, yes, in this movie, it's
• 1:38:01
  Speaker 2: the T virus effectively, and it's growing organs or something
• 1:38:05
  Speaker 2: to that effect in, you know, and in the early
• 1:38:08
  Speaker 2: video games, it is pretty much just a virus. But
• 1:38:10
  Speaker 2: by the time we get to like video game nine and,
• 1:38:13
  Speaker 2: It's been a plague style parasite.
• 1:38:16
  Speaker 1: It's been a.
• 1:38:18
  Speaker 2: Werewolf type thing, but also a plague type parasite. It's
• 1:38:22
  Speaker 2: been a genetically engineered disease from the parasite. Like it's
• 1:38:26
  Speaker 2: been all kinds of different things. And so what's interesting
• 1:38:29
  Speaker 2: is like, even in the video game, like the video
• 1:38:33
  Speaker 2: game always kind of starts out in a way that
• 1:38:36
  Speaker 2: feels familiar if you're a fan of horror. and the
• 1:38:39
  Speaker 2: movie does that same thing i was like it's just
• 1:38:41
  Speaker 2: the zombies coming into a house which is right out
• 1:38:44
  Speaker 2: of night of the living dead like that's that's like
• 1:38:47
  Speaker 2: as time is old a memoriam of zombie movies that's
• 1:38:50
  Speaker 2: the og zombie movie and this movie pays i don't
• 1:38:54
  Speaker 2: think lip service but it pays homage to night of
• 1:38:56
  Speaker 2: the living dead as well which is i think if
• 1:38:59
  Speaker 2: you're talking zombie movies zombie cinema It's one of the originals,
• 1:39:03
  Speaker 2: and it's not the kind of American gold standard for
• 1:39:07
  Speaker 2: zombie movies. And this movie lives within that world as well,
• 1:39:11
  Speaker 2: because the opening of this movie is.
• 1:39:12
  Speaker 1: Right out of Night of the Living Dead.
• 1:39:14
  Speaker 2: Guy in a house, by himself, isolated, being attacked by zombies.
• 1:39:18
  Speaker 2: Guy is not an expert at using guns, and that
• 1:39:21
  Speaker 2: is made readily apparent here. not because he says it
• 1:39:24
  Speaker 2: over and over. I mean, he does say it, but
• 1:39:25
  Speaker 2: it's also apparent just by the way he conducts himself
• 1:39:27
  Speaker 2: and the way he holds himself and his inability to
• 1:39:30
  Speaker 2: use them and any of that. It's like, okay, this
• 1:39:33
  Speaker 2: is something that is so recognizable for a whole bunch of...
• 1:39:38
  Speaker 2: It's leaning into all kinds of different things. And again,
• 1:39:40
  Speaker 2: it's Zack Kreger just being so smart. Like you said,
• 1:39:43
  Speaker 2: if you're not familiar with Resident Evil... He eases you
• 1:39:46
  Speaker 2: into it in this movie. And by the end of
• 1:39:48
  Speaker 2: the movie, it does kind of go.
• 1:39:50
  Speaker 1: Off the rail. But it's earned.
• 1:39:52
  Speaker 2: It's 100% earned by the time we get to the
• 1:39:55
  Speaker 2: umbrella vaccine kind of lab at the top of that building.
• 1:39:59
  Speaker 1: Which again, so video game. My God, we gotta get
• 1:40:02
  Speaker 1: to the 28th floor. You gotta cross the.
• 1:40:04
  Speaker 2: it's like, again, like what's funny is it, it, the
• 1:40:06
  Speaker 2: video game conventions are organically in the bones of this movie.
• 1:40:11
  Speaker 2: You could not remove the video game conventions of this movie.
• 1:40:13
  Speaker 2: And this movie makes sense because it doesn't hit you
• 1:40:16
  Speaker 2: over the head.
• 1:40:17
  Speaker 1: Right.
• 1:40:17
  Speaker 2: But because some things just don't make any sense without
• 1:40:20
  Speaker 2: understanding it's a video game convention, but the movie does
• 1:40:22
  Speaker 2: a good enough job at making you understand where it's
• 1:40:25
  Speaker 2: coming from. That like you just said, it's not beating
• 1:40:28
  Speaker 2: you over the head with it. It's it's introducing it
• 1:40:30
  Speaker 2: organically which is just again zach crager i think is
• 1:40:33
  Speaker 2: just such a smart writer in that regard and that
• 1:40:36
  Speaker 2: he gets what the people who watch and want who
• 1:40:40
  Speaker 2: the people who play these games he understands what they
• 1:40:42
  Speaker 2: want from a movie because he is one of those
• 1:40:45
  Speaker 2: people because it.
• 1:40:45
  Speaker 1: Could very easily just be like so mission oriented like
• 1:40:49
  Speaker 1: a video game they're like okay this is the next
• 1:40:51
  Speaker 1: thing i have to get this i have to go
• 1:40:53
  Speaker 1: in the house and find this and they're they're video
• 1:40:56
  Speaker 1: game movies that do that. But there's just basic movies
• 1:40:59
  Speaker 1: that do that now. That that's just like such an
• 1:41:02
  Speaker 1: easy way of storytelling is just like, okay, fetch quest,
• 1:41:05
  Speaker 1: go get this, do this, then you gotta get to that.
• 1:41:06
  Speaker 1: Fringer things season five, dude. That's like that whole season. Yeah.
• 1:41:10
  Speaker 1: But like those are so... clunky in the way they
• 1:41:13
  Speaker 1: put that together versus you get to this and it's
• 1:41:16
  Speaker 1: like it's happening like you said it's built into it
• 1:41:19
  Speaker 1: in a way that you can't take it out but
• 1:41:21
  Speaker 1: at the same time it never really feels like that
• 1:41:24
  Speaker 1: like unless you're a geek enough to step back and
• 1:41:26
  Speaker 1: be like oh wait okay yeah they're doing this and
• 1:41:28
  Speaker 1: this and this but within the moment while you're watching
• 1:41:31
  Speaker 1: the movie you don't feel it hitting you over the
• 1:41:33
  Speaker 1: head with those things it's just like well yeah he
• 1:41:35
  Speaker 1: needs this and then he is supposed to go there
• 1:41:37
  Speaker 1: because that's where you know it follows through with the
• 1:41:39
  Speaker 1: plot equally as much as sort of the the gimmick
• 1:41:42
  Speaker 1: of this is how video games work, too.
• 1:41:45
  Speaker 2: Well, and that's why I was going to say, like,
• 1:41:47
  Speaker 2: when we talk about, like, let's talk about a film
• 1:41:49
  Speaker 2: like Princess Bride for a moment, right? Like, that's a
• 1:41:51
  Speaker 2: fantasy film. It is, like, a film that has a
• 1:41:54
  Speaker 2: real-world aspect to it, but then there's a fantasy film
• 1:41:57
  Speaker 2: aspect to it. And those two juxtaposition of tones, like,
• 1:42:01
  Speaker 2: they never cross over because they... They cannot cross over.
• 1:42:04
  Speaker 2: And yet it's acceptable for that tone in that movie,
• 1:42:08
  Speaker 2: the part of the movie that's kind of the book
• 1:42:10
  Speaker 2: part to be so fantastical. It's like, well, we just
• 1:42:13
  Speaker 2: accept it as fantasy kind of logic. I think it's
• 1:42:16
  Speaker 2: OK for a movie to operate within an internal logic
• 1:42:19
  Speaker 2: that's akin to something like a video game. Because I
• 1:42:22
  Speaker 2: think that that is probably the right way to make
• 1:42:24
  Speaker 2: a video game is just have it cue to the
• 1:42:26
  Speaker 2: tone of the thing that it's based on or the
• 1:42:29
  Speaker 2: conventions of the thing that's the medium that it's coming
• 1:42:32
  Speaker 2: from and not have to belabor the point.
• 1:42:35
  Speaker 1: When it all depends on who's in charge. That's what
• 1:42:37
  Speaker 1: you always run into in any of these, because I've
• 1:42:40
  Speaker 1: seen that with, again, not even video game movies, just
• 1:42:43
  Speaker 1: like horror movies over the years that like that's something
• 1:42:46
  Speaker 1: that's very lore and very specifics of how whatever are
• 1:42:51
  Speaker 1: we fighting zombies are we fighting vampires werewolves like what
• 1:42:55
  Speaker 1: are the rules everything's based on like how do the
• 1:42:58
  Speaker 1: rules affect in this movie in this world that we're
• 1:43:01
  Speaker 1: in and like you'll see people that don't pay attention
• 1:43:04
  Speaker 1: to that and like the movie falls apart like within
• 1:43:08
  Speaker 1: the the story that they're telling, they like are just
• 1:43:11
  Speaker 1: sort of sloppy in the way that it's structured. And
• 1:43:14
  Speaker 1: like it, you're, you're sitting there noticing as an audience
• 1:43:18
  Speaker 1: where you're like, no, this is not how that should
• 1:43:20
  Speaker 1: go versus you get something like this. And it's like, it's,
• 1:43:23
  Speaker 1: it's all in the structuring, but much like the, the
• 1:43:26
  Speaker 1: reason princess bride works, it's like they built this framework
• 1:43:30
  Speaker 1: of like, this is, this is how it's built. This
• 1:43:33
  Speaker 1: is the storytelling aspect overall, the overarching part of it.
• 1:43:37
  Speaker 1: And within then we're going to cut back and forth
• 1:43:39
  Speaker 1: to this. And then when we're in the fantasy part,
• 1:43:42
  Speaker 1: there are no rules because he's reading a book. Anything's
• 1:43:44
  Speaker 1: fair game. We can do whatever silly thing we want
• 1:43:47
  Speaker 1: and it can have sort of a modern sensibility because
• 1:43:49
  Speaker 1: it's coming from that place that you set up in
• 1:43:52
  Speaker 1: the structure. And that's what we get here, too, is
• 1:43:54
  Speaker 1: like we build this the structure of like this is
• 1:43:57
  Speaker 1: how the world that we're in works. This we were
• 1:43:59
  Speaker 1: introduced with this guy. And this guy's he's not learning
• 1:44:03
  Speaker 1: it because he's like already living in this world. But
• 1:44:06
  Speaker 1: things have gone out of control this night. So as
• 1:44:09
  Speaker 1: things that are being introduced into this world, all of
• 1:44:11
  Speaker 1: a sudden, thanks to the virus, he's been he's being
• 1:44:14
  Speaker 1: introduced to those. And then he's sort of learning and
• 1:44:17
  Speaker 1: we're learning as we go. And it's building this structure
• 1:44:21
  Speaker 1: that by the time you get to the end and
• 1:44:22
  Speaker 1: it's these huge stakes and it's this giant structure. physical
• 1:44:26
  Speaker 1: structure that he's fighting his way through and all these
• 1:44:29
  Speaker 1: different types of weird zombies he has to fight his
• 1:44:31
  Speaker 1: way past and like all of that makes sense because
• 1:44:34
  Speaker 1: it was structured so carefully in the beginning there and
• 1:44:37
  Speaker 1: it all leads to that point and it's again it's
• 1:44:40
  Speaker 1: it's who you give the movie to and if they
• 1:44:42
  Speaker 1: know what they're.
• 1:44:42
  Speaker 2: Doing And I don't want to say like this movie
• 1:44:44
  Speaker 2: is just a bunch of set pieces strung together, but.
• 1:44:47
  Speaker 1: It kind of is. And it works. And it works.
• 1:44:50
  Speaker 2: And again, like, and I think what's weird is again,
• 1:44:53
  Speaker 2: like it, it goes to the video game sensibility that
• 1:44:56
  Speaker 2: the movie lives with an If you are willing to
• 1:44:59
  Speaker 2: be cognizant of this thing that you're making is another thing,
• 1:45:04
  Speaker 2: and that other thing has its own rules that it
• 1:45:07
  Speaker 2: is defined by, why can you not just do that
• 1:45:09
  Speaker 2: in another medium and just, again, not belabor the point,
• 1:45:13
  Speaker 2: but just do it? And that's what this movie, I think,
• 1:45:15
  Speaker 2: makes the case for doing. I have not seen a
• 1:45:17
  Speaker 2: video game movie that does this. That goes, you know what?
• 1:45:20
  Speaker 2: We're just going to live within video game logic. Even
• 1:45:23
  Speaker 2: Detective Pikachu was trying to make like this is the
• 1:45:26
  Speaker 2: real world.
• 1:45:27
  Speaker 1: Like, oh, my God. Like, come fucking come on.
• 1:45:29
  Speaker 2: Like, this is just like, you know what? That's heightened realism.
• 1:45:32
  Speaker 1: And it just is. It just is. Like, I don't know.
• 1:45:35
  Speaker 1: It's just like it's it.
• 1:45:36
  Speaker 2: You know, to go back to the Shea Hatton, it
• 1:45:38
  Speaker 2: does kind of have that John Wick sensibility to it
• 1:45:41
  Speaker 2: where like John Wick exists with an action movie world.
• 1:45:45
  Speaker 1: Its own crazy John Wick world.
• 1:45:48
  Speaker 2: Right, like the logic and reality kind of exist in
• 1:45:51
  Speaker 2: a weird out of whackness. It's very stylized. What's wrong
• 1:45:55
  Speaker 2: with that? Like nothing at all.
• 1:45:57
  Speaker 1: Nothing. That's why they made like five of those movies now. Right.
• 1:46:01
  Speaker 2: And that's why they've made a million Resident Evils because
• 1:46:04
  Speaker 2: that sensibility is what people want. When things go bad,
• 1:46:08
  Speaker 2: we want them to get worse and worse and worse
• 1:46:11
  Speaker 2: and worse. Because at some point it's just like ridiculous.
• 1:46:14
  Speaker 2: And it's kind of become absurd. I mean, that's the
• 1:46:16
  Speaker 2: thing with John Wick. I don't remember which of those
• 1:46:18
  Speaker 2: movies where he's just running through the city and everybody
• 1:46:21
  Speaker 2: in the city is trying to kill him.
• 1:46:22
  Speaker 1: I think every movie. Is that all of them?
• 1:46:26
  Speaker 2: I've seen only the first and second one and I
• 1:46:28
  Speaker 2: barely remember the second one. So I'm just like, is
• 1:46:30
  Speaker 2: that all those movies are? Is him just like running
• 1:46:33
  Speaker 2: around a city? I mean, definitely by two and three.
• 1:46:36
  Speaker 1: Yeah. They like put the word out and like suddenly
• 1:46:40
  Speaker 1: somehow everyone in the city is also like a hit
• 1:46:42
  Speaker 1: man woman. Everyone sees that. That's me. Everyone has like
• 1:46:47
  Speaker 1: a walkie talkie as they're like, Oh wait, got a
• 1:46:50
  Speaker 1: new person to go kill. Hold on. I'll be right back.
• 1:46:52
  Speaker 1: I'll leave my, newspaper guy job to go murder this
• 1:46:56
  Speaker 1: dude and i'll come back in a minute but like
• 1:46:58
  Speaker 1: yeah it it's it would be silly if it wasn't
• 1:47:02
  Speaker 1: so damn entertaining like again it's how you structure it
• 1:47:05
  Speaker 1: you're immersed in this world this is the world we've
• 1:47:08
  Speaker 1: built for you in these movies you either accept that
• 1:47:11
  Speaker 1: or you're in the wrong movie you know it's like
• 1:47:13
  Speaker 1: if it's well done you're fine with it it It
• 1:47:16
  Speaker 1: can be silly in the wrong movie in the wrong hands.
• 1:47:19
  Speaker 1: But like, if you know what you're doing and you
• 1:47:21
  Speaker 1: build this universe and you immerse the characters in it
• 1:47:24
  Speaker 1: and it's cool in this world, everything makes sense, then
• 1:47:28
  Speaker 1: you don't have these problems with it. It's how you structure.
• 1:47:31
  Speaker 2: Well, and I think you also really hit upon something else,
• 1:47:33
  Speaker 2: which is embracing it completely and not being embarrassed that
• 1:47:37
  Speaker 2: this is a video game thing. I mean, there's that
• 1:47:39
  Speaker 2: other kind of weird aspect of adapting something that has
• 1:47:43
  Speaker 2: a pre-existing fan base, which is like, well, I'm embarrassed
• 1:47:46
  Speaker 2: to be adapting a video game into a movie. Like, well,
• 1:47:49
  Speaker 2: then don't do it. Like, you're not the right person
• 1:47:52
  Speaker 2: to be doing this if you're not interested in video
• 1:47:55
  Speaker 2: games to begin with. Like, I, you know, Richard Haddam,
• 1:47:58
  Speaker 2: who's a friend of the show, we co-host a show
• 1:48:01
  Speaker 2: on Weirding Way Media together called Never Tell Me the Oz,
• 1:48:03
  Speaker 2: which is a Harrison Ford podcast. He talks about being
• 1:48:06
  Speaker 2: in the writer's room for.
• 1:48:09
  Speaker 2: DC Titans and some of the people in there were
• 1:48:11
  Speaker 2: not comic book fans. And that's a good thing because
• 1:48:14
  Speaker 2: you do need a balance of people to balance out
• 1:48:18
  Speaker 2: tone and stuff. And I think, you know, know, maybe
• 1:48:20
  Speaker 2: Shea Haddon is not a video game fan at all.
• 1:48:22
  Speaker 2: Maybe he's not a fan of Resident Evil at all.
• 1:48:25
  Speaker 2: And I think that helps because it helps make the tone, again,
• 1:48:30
  Speaker 2: more palatable for everybody. which I think is kind of
• 1:48:33
  Speaker 2: when we talk about something like this, like there are
• 1:48:35
  Speaker 2: things of the Resident Evil video game that don't need
• 1:48:37
  Speaker 2: to be in the movie that are not necessary in
• 1:48:39
  Speaker 2: the movie. And that's because they kind of only work
• 1:48:42
  Speaker 2: in a video. And again, bringing someone else in who
• 1:48:44
  Speaker 2: has a different sensibility as opposed to being like Zack
• 1:48:47
  Speaker 2: Kreger is a fan, I think helps create a tone
• 1:48:51
  Speaker 2: that is more approachable to start with. But as the
• 1:48:55
  Speaker 2: movie goes on, like we've said, it ramps up more
• 1:48:57
  Speaker 2: and more and more to by the end, you're like, OK,
• 1:48:59
  Speaker 2: I'm fully on board with this. movie and where it's
• 1:49:02
  Speaker 2: gone but i don't think it could start like the
• 1:49:05
  Speaker 2: next film can 100 but i think this film like
• 1:49:09
  Speaker 2: it did such a great job of really ratcheting up
• 1:49:12
  Speaker 2: the insanity in a in an interesting kind of drop
• 1:49:16
  Speaker 2: you know drop drop drop metered out way because it
• 1:49:19
  Speaker 2: doesn't overwhelm you with the craziness of what's going on
• 1:49:23
  Speaker 2: immediately like it's oh you're in a house with zombies
• 1:49:25
  Speaker 2: and then all is in the tunnel with the zombies
• 1:49:27
  Speaker 2: and that's that that's like It's always ramping up. It's
• 1:49:29
  Speaker 2: always escalating. And that, again, is like so video game
• 1:49:33
  Speaker 2: of the film. It's that video game logic. And, you know,
• 1:49:35
  Speaker 2: why is he walking through this dark tunnel? Like, because
• 1:49:38
  Speaker 2: it's a video game.
• 1:49:39
  Speaker 1: Because it's creepy. Right, because it's still... Exactly.
• 1:49:42
  Speaker 2: Like, it works on a whole bunch of different levels.
• 1:49:45
  Speaker 2: But ultimately, if you're basing this off of a video game,
• 1:49:48
  Speaker 2: it's intentional audience manipulation. Because if you're playing a video game,
• 1:49:52
  Speaker 2: you're trying to creep the player out. If you're making
• 1:49:54
  Speaker 2: a movie... You're trying to creep the audience out. That's
• 1:49:56
  Speaker 2: intentional manipulation. And that's a good thing. When it's successful,
• 1:50:00
  Speaker 2: it doesn't bother. When it's unsuccessful, it's exactly that.
• 1:50:03
  Speaker 1: It's unsuccessful.
• 1:50:04
  Speaker 2: And man, it sticks out like a sore thumb.
• 1:50:06
  Speaker 1: Well, that's yeah. I mean, that's you're using it for
• 1:50:08
  Speaker 1: the horror or for the video game aspect. But it's
• 1:50:10
  Speaker 1: exactly the same with horror. It's like, why is he
• 1:50:13
  Speaker 1: walking in that dark room? Like, because it's a horror movie,
• 1:50:16
  Speaker 1: because this is what we do in any horror movie.
• 1:50:19
  Speaker 1: Once again, there's rules to horror movies too just like
• 1:50:22
  Speaker 1: the making video games aspect and it's like you once
• 1:50:26
  Speaker 1: you're a fan of that like you you throw the
• 1:50:29
  Speaker 1: regular world rules out the window because you're like well
• 1:50:32
  Speaker 1: now we're in a horror world and like this is
• 1:50:34
  Speaker 1: the kind of thing dumb people do this these dumb
• 1:50:37
  Speaker 1: kids are gonna go do drugs and have sex because
• 1:50:41
  Speaker 1: that's what they do in these movies and that's why
• 1:50:43
  Speaker 1: they're going to die in a minute like it's the
• 1:50:45
  Speaker 1: same thing here why would you walk down that dark
• 1:50:48
  Speaker 1: tunnel there that's probably loaded with zombies because it's a
• 1:50:51
  Speaker 1: horror movie and that's why we're here so it it
• 1:50:55
  Speaker 1: works because you're already kind of invested in the world
• 1:50:58
  Speaker 1: as a whole if you're a fan of horror or
• 1:51:01
  Speaker 1: video games or whatever you've shown up for and again
• 1:51:04
  Speaker 1: not It's not always successful. This is just such a
• 1:51:07
  Speaker 1: good example on both of those planes right there. Well, and,
• 1:51:11
  Speaker 1: you know, I think it's interesting.
• 1:51:13
  Speaker 2: You know, we were talking about this a little bit
• 1:51:14
  Speaker 2: before we started recording, but this is now being called
• 1:51:17
  Speaker 2: like the most successful video game movie of all time
• 1:51:21
  Speaker 2: in terms of like critically. That is so specific of
• 1:51:26
  Speaker 2: a qualifier that it's like, okay, I mean, video game
• 1:51:29
  Speaker 2: movies were never really a genre that were well regarded anyways.
• 1:51:33
  Speaker 2: It's only been in the last five years that video
• 1:51:36
  Speaker 2: game movies have kind of moved out of being ghettoized
• 1:51:40
  Speaker 2: by the film community as like lesser films.
• 1:51:42
  Speaker 1: Just an embarrassment. Yeah.
• 1:51:43
  Speaker 2: Like, oh, look at those Uwe Boll films. Like what
• 1:51:45
  Speaker 2: a fucking bozo he is. Like, I mean, again, I
• 1:51:48
  Speaker 2: know nothing about him as a person. He seems kind
• 1:51:50
  Speaker 2: of like one of those people that likes to get
• 1:51:52
  Speaker 2: a rise out of people intentionally. So whatever, bro, be
• 1:51:55
  Speaker 2: my guest. That's all on you. But like he was
• 1:51:57
  Speaker 2: making video game films and they were kind of like, yeah,
• 1:52:00
  Speaker 2: just kind of put in a corner somewhere and like,
• 1:52:03
  Speaker 2: you know, pat on the head like they're stupid. And again,
• 1:52:05
  Speaker 2: people spent time, effort and money to make those movies.
• 1:52:08
  Speaker 2: Not everybody who was making those movies was making them
• 1:52:10
  Speaker 2: for the right reasons. But there had to have been
• 1:52:12
  Speaker 2: some people that were. And it's just like, why after
• 1:52:15
  Speaker 2: the Super Mario Brothers movie were video game movies regaled to,
• 1:52:19
  Speaker 2: or yeah, I guess not regaled, but like, why were
• 1:52:22
  Speaker 2: they put in such a low position by everyone? Because
• 1:52:26
  Speaker 2: one movie was bad.
• 1:52:27
  Speaker 1: Well, and again, not even bad. Because so many of
• 1:52:29
  Speaker 1: them were, really.
• 1:52:30
  Speaker 2: Now that's like, what, just failure after failure? Double Dragon
• 1:52:33
  Speaker 2: was one film too many? I mean, nobody was like, man,
• 1:52:36
  Speaker 2: I can't wait to go see Doom because.
• 1:52:40
  Speaker 1: You saw the trailer of all people. Well, that's what
• 1:52:42
  Speaker 1: I'm saying. Like they brought in real actors for that one.
• 1:52:45
  Speaker 1: But I was like, it's still not going to save
• 1:52:47
  Speaker 1: it if you just don't care. And you're just like,
• 1:52:49
  Speaker 1: I don't know, swing the camera around and it'll be
• 1:52:52
  Speaker 1: first person, right?
• 1:52:53
  Speaker 2: Actors who are hilariously bigger now than they were then.
• 1:52:56
  Speaker 1: So yeah, I was like, that's another one of those,
• 1:53:00
  Speaker 1: like you can go down that list of those early
• 1:53:02
  Speaker 1: video game movies and it's like all they were banking
• 1:53:05
  Speaker 1: on was the name recognition. Like they didn't care about
• 1:53:08
  Speaker 1: the story. Half the time you're lucky if you could
• 1:53:10
  Speaker 1: piece together a story out of that. So like I
• 1:53:12
  Speaker 1: look back like fondly on the Mario Brothers movie because
• 1:53:16
  Speaker 1: it had a story. It made no sense and it
• 1:53:18
  Speaker 1: had nothing to do with the video games, but it
• 1:53:21
  Speaker 1: 100% had its own crazy story it was telling. So
• 1:53:23
  Speaker 1: like you get to some of those other knockoff, whatever
• 1:53:26
  Speaker 1: video game they could get the IP for and slap together.
• 1:53:29
  Speaker 1: And like, I think that was the thing is like,
• 1:53:31
  Speaker 1: nobody really put any work into him for so long.
• 1:53:35
  Speaker 1: I mean, the craft people did, they still built sets and,
• 1:53:38
  Speaker 1: you know, people showed up for craft services, but like,
• 1:53:40
  Speaker 1: as far as the crafting a good movie, like nobody really, again,
• 1:53:44
  Speaker 1: because it was so ghettoized that people were just like, well,
• 1:53:47
  Speaker 1: there's no point in putting any effort into this. Nobody's
• 1:53:50
  Speaker 1: going to like it anyway. Like, Nobody's going to have
• 1:53:52
  Speaker 1: any respect for it. You know, it might make money
• 1:53:54
  Speaker 1: the opening weekend, but nobody's going to like put this
• 1:53:57
  Speaker 1: up for best picture at the end of the year.
• 1:53:59
  Speaker 1: So why bother? It's like. I feel like a lot
• 1:54:02
  Speaker 1: of those early movies, like just nobody set the bar
• 1:54:05
  Speaker 1: very high. So why would we try to do anything
• 1:54:07
  Speaker 1: any different? And then you get to like the last
• 1:54:10
  Speaker 1: few years of like, even, even like you said, even on,
• 1:54:14
  Speaker 1: you know, your premier cable stations are just like, Oh,
• 1:54:16
  Speaker 1: well we can take this and make a entire series
• 1:54:20
  Speaker 1: out of it. And then like that raised the bar
• 1:54:22
  Speaker 1: and like, You just get people sort of expanding on
• 1:54:25
  Speaker 1: what you can do with a video game property. And
• 1:54:27
  Speaker 1: like we finally reached that point. But it took a
• 1:54:30
  Speaker 1: lot of years and a lot of people not caring
• 1:54:32
  Speaker 1: about those movies to get to that point.
• 1:54:34
  Speaker 2: Do you know what number out of the first 10
• 1:54:38
  Speaker 2: Resident Evil was in terms of video game adaptations? Super
• 1:54:42
  Speaker 2: Mario being number one, Double Dragon hilariously being number two.
• 1:54:45
  Speaker 2: Do you know where Resident Evil is in that list
• 1:54:48
  Speaker 2: of out of 10? It's insane how low it is.
• 1:54:51
  Speaker 1: No, but I mean... Again, they were still just kind of...
• 1:54:56
  Speaker 1: wading into that territory that far back. It's the film.
• 1:55:00
  Speaker 1: That's fucking crazy. And it's pretty far removed even there.
• 1:55:04
  Speaker 1: Like I remember watching that first one and just going,
• 1:55:06
  Speaker 1: I mean, it's got aspects of it. Sure. But like,
• 1:55:10
  Speaker 1: it was still pretty different than what, you know, you
• 1:55:13
  Speaker 1: were expecting if you were a big video game person.
• 1:55:16
  Speaker 1: So it's like, they're already sort of veering off in
• 1:55:18
  Speaker 1: a weird direction, even on the first one. And that's,
• 1:55:21
  Speaker 1: The most focused, maybe. As they go on, they just
• 1:55:24
  Speaker 1: get crazier and more over-the-top anyway, so.
• 1:55:27
  Speaker 2: They kind of lose sight of Resident Evil after, I think, three.
• 1:55:31
  Speaker 1: Yeah, pretty quick.
• 1:55:32
  Speaker 2: The second one is Raccoon City with Nemesis and everything,
• 1:55:35
  Speaker 2: and that's kind of still Resident Evil-y, but by the
• 1:55:38
  Speaker 2: time they get to the third one, it's just something
• 1:55:40
  Speaker 2: else entirely. Which is why I think that's when I
• 1:55:42
  Speaker 2: started kind of liking them, because I didn't see three initially.
• 1:55:46
  Speaker 2: I went back and watched three, I think, after I'd
• 1:55:48
  Speaker 2: seen the fourth one, and it's like the post-apocalyptic world
• 1:55:52
  Speaker 2: at that point. It's like the closest to a Mad
• 1:55:54
  Speaker 2: Max or something, because they're out in the desert- They've
• 1:55:56
  Speaker 2: walled themselves off. Zombies are all surrounding them trying to
• 1:55:59
  Speaker 2: kill them. So like it's way more zombie apocalypse movie
• 1:56:03
  Speaker 2: than anything Resident Evil. And then by four, it just
• 1:56:06
  Speaker 2: becomes a crazy action movie and adds all these extra
• 1:56:09
  Speaker 2: sci-fi elements to it. So like there's again, there's way
• 1:56:13
  Speaker 2: more fun stuff in the bigger, dumber ones that come later.
• 1:56:16
  Speaker 2: But like it totally veers way far away from the
• 1:56:19
  Speaker 2: video game storyline. Yeah, it's and that's the thing. It's
• 1:56:23
  Speaker 2: like it set the tone poorly for adapting Resident Evil
• 1:56:28
  Speaker 2: because it did what I think so many of those
• 1:56:32
  Speaker 2: early video game movies, and I mean, frankly, a lot
• 1:56:35
  Speaker 2: of the video game movies even up until recently did,
• 1:56:37
  Speaker 2: which is, I mean, again, just adapt the video game. Like,
• 1:56:41
  Speaker 2: adapt the story from the video game. Don't do anything else.
• 1:56:44
  Speaker 2: Don't make it something else. Don't have characters that no
• 1:56:48
  Speaker 2: one has ever seen before. It has to be characters
• 1:56:50
  Speaker 2: from the video game. You can't have Anyone else like
• 1:56:53
  Speaker 2: why they had to do that? For so long, I
• 1:56:56
  Speaker 2: will never understand. Because why keep doing it if it's
• 1:56:59
  Speaker 2: not successful?
• 1:57:00
  Speaker 1: Especially that far back, because there wasn't even, like, the
• 1:57:03
  Speaker 1: internet sounding board yet. Like, that far back, nobody was
• 1:57:07
  Speaker 1: even complaining. They just didn't go see half of them
• 1:57:09
  Speaker 1: because the trailer looked bad. But, like, you didn't even
• 1:57:12
  Speaker 1: have the backlash that far back. So it's weird that
• 1:57:15
  Speaker 1: they just kept hammering away at that idea for no
• 1:57:18
  Speaker 1: real reason other than, I guess, they were just like, well,
• 1:57:20
  Speaker 1: we assume this is what everybody wants out of these. And.
• 1:57:24
  Speaker 2: I guess, and that's kind of the part I wanted
• 1:57:26
  Speaker 2: to speak to specifically as a Resident Evil fan. I
• 1:57:29
  Speaker 2: don't really know what I wanted from a Resident Evil movie.
• 1:57:33
  Speaker 2: Because all I wanted is something that, you know, I
• 1:57:36
  Speaker 2: went into this movie wanting it to be made by
• 1:57:38
  Speaker 2: somebody who liked Resident Evil.
• 1:57:40
  Speaker 1: That's it.
• 1:57:41
  Speaker 2: I just wanted it to feel like it was made
• 1:57:43
  Speaker 2: by somebody who understood how... fucking weird the game sees
• 1:57:47
  Speaker 2: what are you buying what are you selling like all
• 1:57:49
  Speaker 2: the weird shit from the video game that is just
• 1:57:52
  Speaker 2: weird flat out strange odd bizarre idiosyncratic in a way
• 1:57:57
  Speaker 2: that can only be described as you know overwhelmingly Japanese
• 1:58:01
  Speaker 2: or overwhelmingly Japanese like some of it's just like Japanese
• 1:58:04
  Speaker 2: and American culture mixing in a way that kind of
• 1:58:07
  Speaker 2: yields weird thing and that has kind of been the
• 1:58:10
  Speaker 2: case a lot of the time when you have American
• 1:58:14
  Speaker 2: style things being transposed through the lens of other cultures
• 1:58:17
  Speaker 2: I mean look to go back to the Metal Gear
• 1:58:19
  Speaker 2: Solid of it all Metal Gear Solid is an American
• 1:58:22
  Speaker 2: action film through the lens of a Japanese action film
• 1:58:25
  Speaker 2: fan Resident Evil is is a American horror film through
• 1:58:29
  Speaker 2: the lens of a Japanese horror fan. Like it's again,
• 1:58:32
  Speaker 2: it's the meeting of the Japanese and American culture that
• 1:58:35
  Speaker 2: makes these kind of weird things, but not weird in
• 1:58:38
  Speaker 2: a bad way. It's just weird because like those two
• 1:58:40
  Speaker 2: kind of cultures are not opposed to one another, but
• 1:58:44
  Speaker 2: they're very different. And the sensibilities are very different, especially
• 1:58:48
  Speaker 2: when it comes to comedy and humor and and quirky comedy.
• 1:58:54
  Speaker 2: And I think a lot of that comes out in
• 1:58:57
  Speaker 2: Metal Gear Solid and Resident Evil and Monster Hunter and
• 1:59:01
  Speaker 2: a whole host of other video game franchises that are
• 1:59:06
  Speaker 2: Japanese creators looking at American culture and crafting their own thing.
• 1:59:10
  Speaker 2: And that's what Resident Evil is. It is a mixing
• 1:59:12
  Speaker 2: of two very distinct things.
• 1:59:14
  Speaker 1: And the movie.
• 1:59:16
  Speaker 2: still feels like it. It has that sensibility of a
• 1:59:18
  Speaker 2: Japanese video game, but again, it is very clearly being
• 1:59:22
  Speaker 2: shot in Prague.
• 1:59:23
  Speaker 1: I mean, Colorado. Well, that's on the comedy thing. That's
• 1:59:27
  Speaker 1: another thing I wanted to get to is like, I
• 1:59:29
  Speaker 1: think what works so well on that front is also
• 1:59:32
  Speaker 1: the real world of it where, because we're already dealing with,
• 1:59:38
  Speaker 1: you know, very every man character, but like, it's also
• 1:59:41
  Speaker 1: the way he approaches these like insane things that are
• 1:59:45
  Speaker 1: going on in front of him. And once again, it's
• 1:59:48
  Speaker 1: kind of that, well, what do you do when that, when,
• 1:59:51
  Speaker 1: when this is completely impossible to, And yet you're watching
• 1:59:54
  Speaker 1: it happen in front of you. Like, how do you react?
• 1:59:58
  Speaker 1: And I think, number one, like, Austin does such a
• 2:00:00
  Speaker 1: good job of just totally, you totally buy this character
• 2:00:04
  Speaker 1: being thrown in the middle of this and how he reacts.
• 2:00:07
  Speaker 1: And usually how he reacts is, what the hell is this?
• 2:00:10
  Speaker 1: He's just he's like overwhelmed and kind of flabbergasted, but
• 2:00:15
  Speaker 1: also like just sort of narrating his own insane reaction
• 2:00:20
  Speaker 1: to it. Like he's just he handles it so real
• 2:00:23
  Speaker 1: world that like I think you wouldn't get that from
• 2:00:27
  Speaker 1: a lot of other movies. I think that's also part
• 2:00:29
  Speaker 1: of why so many of those other attempts at early
• 2:00:33
  Speaker 1: video game movies fail, because it's the same thing with
• 2:00:35
  Speaker 1: coming into filmmaking. As you said, when they were like
• 2:00:38
  Speaker 1: ghettoize it like they also can't crack a smile because
• 2:00:42
  Speaker 1: they don't want you to think this isn't serious. Right.
• 2:00:45
  Speaker 1: So if you're coming into making a movie, oh, we
• 2:00:48
  Speaker 1: have to do this is the the real story. This
• 2:00:51
  Speaker 1: is like real world seriousness. And I'm like, yeah, but
• 2:00:54
  Speaker 1: look what's going on. This is insane. So like you're.
• 2:00:58
  Speaker 1: character needs to respond in a realistic way which is
• 2:01:01
  Speaker 1: what the hell is this like you know it needs
• 2:01:03
  Speaker 1: to have that real world response of like i don't
• 2:01:06
  Speaker 1: understand this this is ridiculous why is it happening in
• 2:01:09
  Speaker 1: front of me versus everyone being dead serious all the
• 2:01:12
  Speaker 1: time because you're trying to make a serious movie.
• 2:01:15
  Speaker 2: And that's the i guess that the other thing you
• 2:01:17
  Speaker 2: know to go back to the fallout of it all
• 2:01:19
  Speaker 2: fallout's tone as a show is very similar to the
• 2:01:21
  Speaker 2: sh the tone of the video games, at least the
• 2:01:24
  Speaker 2: more reasonable, I would say all of them, I guess, broadly,
• 2:01:27
  Speaker 2: which is like darkly comedic and kind of weird in
• 2:01:30
  Speaker 2: its own idiosyncratic way. And I think that the thing
• 2:01:34
  Speaker 2: that makes that show so good is that it embraces
• 2:01:36
  Speaker 2: the weirdness of the video game. It doesn't try to like,
• 2:01:38
  Speaker 2: like you just said, normalize it. Because I think normalizing
• 2:01:41
  Speaker 2: it robs these things of their charm and what makes
• 2:01:44
  Speaker 2: them interesting.
• 2:01:45
  Speaker 1: If I want anything, I think it was a zombie movie. Yeah.
• 2:01:48
  Speaker 2: Like if I want to watch a zombie movie, I
• 2:01:49
  Speaker 2: would just watch a zombie movie.
• 2:01:50
  Speaker 1: Yeah. If I want to watch a weird movie.
• 2:01:52
  Speaker 2: With zombies that is very clearly Resident Evil and like
• 2:01:56
  Speaker 2: Resident Evil in tone, this movie, I think now checks
• 2:01:59
  Speaker 2: that box.
• 2:01:59
  Speaker 1: It does.
• 2:02:01
  Speaker 2: I think this is the highest compliment you can give
• 2:02:03
  Speaker 2: this movie. This movie feels like a Resident Evil video game.
• 2:02:05
  Speaker 2: You're not getting to play it, but there are shots
• 2:02:08
  Speaker 2: in this movie that are directly from the video game
• 2:02:12
  Speaker 2: in terms of right over the shoulder. And the character's
• 2:02:14
  Speaker 2: readying himself and doing something and he's walking and it's,
• 2:02:17
  Speaker 2: you know, he's right in the center of the frame
• 2:02:19
  Speaker 2: and then he's on the left-hand side of the frame
• 2:02:21
  Speaker 2: and it like shifts to the, the camera shifts to
• 2:02:23
  Speaker 2: the right. Like if he were aiming, like that's done
• 2:02:26
  Speaker 2: so well that it's like this, this just feels like
• 2:02:29
  Speaker 2: a video.
• 2:02:29
  Speaker 1: But it doesn't, again, it doesn't hit you over the
• 2:02:32
  Speaker 1: head with it, with the, the, noticing that that's what
• 2:02:36
  Speaker 1: they're doing because I've seen video game movies try to
• 2:02:39
  Speaker 1: do that and try to replicate something that's so video
• 2:02:42
  Speaker 1: game where this one it's just again it's just stylish
• 2:02:46
  Speaker 1: enough it's just him being a. a good director that
• 2:02:49
  Speaker 1: like knows how to shoot this, that still makes it
• 2:02:51
  Speaker 1: an engaging scene as a, as a moviegoer, but is
• 2:02:55
  Speaker 1: just close enough to what you're used to seeing in
• 2:02:57
  Speaker 1: your POV shot on the video game too, that it
• 2:03:00
  Speaker 1: like it works from both angles. And like that again
• 2:03:03
  Speaker 1: is such a feat that he has done in this,
• 2:03:06
  Speaker 1: in this movie that somehow both of these things are
• 2:03:09
  Speaker 1: kind of coming in at a 10 when you expected
• 2:03:12
  Speaker 1: a free on both of them, you know?
• 2:03:14
  Speaker 2: I'm surprised that he did a first person shot in
• 2:03:17
  Speaker 2: this movie like several times. I'm shocked because, again, like
• 2:03:20
  Speaker 2: it got so maligned in that doom that I was like,
• 2:03:24
  Speaker 2: I don't think anyone will ever do that again because
• 2:03:26
  Speaker 2: they really dragged it in the doom movie. But then
• 2:03:28
  Speaker 2: I watch this movie and I see how you can
• 2:03:30
  Speaker 2: do it well.
• 2:03:31
  Speaker 1: Yeah.
• 2:03:32
  Speaker 2: It just takes not belaboring the point. You don't beat
• 2:03:36
  Speaker 2: it to death and have it be five minutes of
• 2:03:37
  Speaker 2: your movie. You have it be like a cutaway shot.
• 2:03:40
  Speaker 2: And you could compare that to like a Paul Greengrass,
• 2:03:42
  Speaker 2: even if you're talking about like someone doing kind of these.
• 2:03:45
  Speaker 2: interesting movements with the camera on weapons or on guns
• 2:03:49
  Speaker 2: or in a character's like close-up like he was doing
• 2:03:51
  Speaker 2: that long before someone else was trying to you know
• 2:03:54
  Speaker 2: adapt it into something else but like this movie again
• 2:03:57
  Speaker 2: lives in that world of utilizing the camera in an
• 2:04:00
  Speaker 2: interesting way that is trying to ape something else without
• 2:04:04
  Speaker 2: ripping it off completely and making it so noticeable that
• 2:04:07
  Speaker 2: it's distracting I mean it's it's So ripping it off
• 2:04:10
  Speaker 2: at this point is kind of not really a great
• 2:04:12
  Speaker 2: way of putting it. It's just, is this distracting? Is
• 2:04:15
  Speaker 2: this making me think of the other thing as opposed
• 2:04:17
  Speaker 2: to this?
• 2:04:18
  Speaker 1: Which it doesn't. Like it uses it like as effective
• 2:04:21
  Speaker 1: filmmaking techniques because he will also like just sort of
• 2:04:24
  Speaker 1: whip the camera around as a reveal sometimes of like
• 2:04:28
  Speaker 1: him being over here, not knowing what's going to be
• 2:04:30
  Speaker 1: happening on this side. And the camera itself will like
• 2:04:33
  Speaker 1: quickly move over as he's essentially looking over there and
• 2:04:36
  Speaker 1: be like, Oh God. So like, one of the most
• 2:04:39
  Speaker 1: effective things. And I think one of the creepiest shots
• 2:04:43
  Speaker 1: is when he's in the house and like, he hears the,
• 2:04:46
  Speaker 1: the woman now getting back up out of the car
• 2:04:49
  Speaker 1: that just starts booking towards the house. Like she is
• 2:04:51
  Speaker 1: just moving so fast. And like, that is unnerving because
• 2:04:55
  Speaker 1: you're just like, whoa, what? Okay. And you know, what's happening.
• 2:04:59
  Speaker 1: So again, it's playing with this tension and it's playing
• 2:05:02
  Speaker 1: with like, you know, how ridiculously fast she's moving and,
• 2:05:07
  Speaker 1: You know, you're in the house and she knows you're
• 2:05:10
  Speaker 1: in the house. She's coming at you. She's coming over
• 2:05:12
  Speaker 1: that fence. You know how long it's going to take
• 2:05:14
  Speaker 1: for her to get in here and up the stairs
• 2:05:16
  Speaker 1: and to the room. And like, it's like he's playing
• 2:05:19
  Speaker 1: with that timing and the camera angle of her coming
• 2:05:22
  Speaker 1: at the house. And like, it's again, it's just filmmaking
• 2:05:25
  Speaker 1: like at its finest because you're, you're, it's using the
• 2:05:29
  Speaker 1: way that he shoots it and the way that he
• 2:05:32
  Speaker 1: moves the camera to In conjunction with the character and
• 2:05:35
  Speaker 1: the timing and the tension and it all just comes together.
• 2:05:39
  Speaker 1: That was one of my favorite scenes is just that
• 2:05:41
  Speaker 1: moment of her coming at the house. And he knows
• 2:05:44
  Speaker 1: he's got a limited amount of time to find the
• 2:05:47
  Speaker 1: shells for the shotgun or put together some sort of
• 2:05:50
  Speaker 1: plan before she dies. comes barreling up the stairs because
• 2:05:53
  Speaker 1: she's going to take his head off. And like that,
• 2:05:55
  Speaker 1: somebody's got to get their head taken off one or
• 2:05:57
  Speaker 1: the other. So we have to see who's it going
• 2:06:00
  Speaker 1: to be.
• 2:06:01
  Speaker 2: And I think you just mentioned something that is so
• 2:06:04
  Speaker 2: smart by Zack Krieger is just his usage of the
• 2:06:08
  Speaker 2: camera and the way that it moves. It's just it's
• 2:06:11
  Speaker 2: he's a seasoned filmmaker at this point. This is his
• 2:06:14
  Speaker 2: third film, but he has not been doing this for
• 2:06:16
  Speaker 2: 40 years. The usage of the camera in this film
• 2:06:19
  Speaker 2: is so, again, well done and well thought out that
• 2:06:22
  Speaker 2: it's it's by it feels like it's by someone who's
• 2:06:24
  Speaker 2: been doing this much longer than he is. But I think, again,
• 2:06:27
  Speaker 2: he just understands the conventions of the narrative and the
• 2:06:32
  Speaker 2: expectations of the audience and kind of what he would
• 2:06:35
  Speaker 2: want clearly as a fan of the video game that
• 2:06:37
  Speaker 2: like it just it works. It just works over and
• 2:06:40
  Speaker 2: over again. These kind of little moments of kind of
• 2:06:43
  Speaker 2: video game infusion into the movie where there's shots that
• 2:06:46
  Speaker 2: mimic the video game or angles that mimic the video
• 2:06:50
  Speaker 2: game or the camera.
• 2:06:51
  Speaker 1: Acts like it would in a video game.
• 2:06:52
  Speaker 2: I mean, that's probably the way of putting it is
• 2:06:54
  Speaker 2: the camera in this movie acts like a camera in
• 2:06:57
  Speaker 2: a video game does in a lot of ways. Like
• 2:06:59
  Speaker 2: it's there are scenes that the camera in the video
• 2:07:02
  Speaker 2: game and the camera in this movie are one for
• 2:07:04
  Speaker 2: one in how they'd be presenting it if you were
• 2:07:07
  Speaker 2: playing this or.
• 2:07:07
  Speaker 1: If you were watching. Yeah, it's just effective. And he
• 2:07:10
  Speaker 1: knows that. And like, he just went all in on that.
• 2:07:13
  Speaker 1: And that's why those scenes work as well as they do.
• 2:07:16
  Speaker 2: Yeah, it's again, I think for me, this is probably
• 2:07:20
  Speaker 2: my favorite horror movie of the year so far because
• 2:07:22
  Speaker 2: it's the one I was not expecting the least out of. But,
• 2:07:25
  Speaker 2: you know, we we talked last week on the Rob
• 2:07:28
  Speaker 2: Zombie Halloween 2 episode about giving the guy who's been
• 2:07:31
  Speaker 2: successful elsewhere in something else, a big name franchise and
• 2:07:36
  Speaker 2: letting him go and see what happened. This movie, man.
• 2:07:39
  Speaker 2: is a stunning example of how you can do that.
• 2:07:43
  Speaker 2: And I'm not saying Rob Zombie's Halloween wasn't, but Rob
• 2:07:45
  Speaker 2: Zombie's Halloween made a shitload of money. It was successful.
• 2:07:48
  Speaker 2: It was immensely successful. Second one, not so much. And again,
• 2:07:52
  Speaker 2: obviously there was a lot of stuff going on behind
• 2:07:54
  Speaker 2: the scenes with Zombie that affected his ability to properly
• 2:07:56
  Speaker 2: finish that trilogy. But the reasons that Krieger got off
• 2:08:00
  Speaker 2: this film and this ip is the same reason rob
• 2:08:02
  Speaker 2: zombie got offered the ip for halloween he made something
• 2:08:05
  Speaker 2: else that was successful namely a indie horror film that
• 2:08:08
  Speaker 2: made tons of money and then secondly you know crager
• 2:08:12
  Speaker 2: comes around and makes a horror film that's so well
• 2:08:14
  Speaker 2: regarded it wins one of the actresses.
• 2:08:16
  Speaker 1: An oscar yeah well you know This also, like, again,
• 2:08:20
  Speaker 1: you were listing some of the other people along those lines.
• 2:08:23
  Speaker 1: We didn't mention the Jordan Peele of it all. I mean,
• 2:08:26
  Speaker 1: that's just become sort of a move now of finding
• 2:08:28
  Speaker 1: these guys that are that are well-versed in comedy and
• 2:08:32
  Speaker 1: they're just giving them a chance to make film. And
• 2:08:35
  Speaker 1: then they've all kind of, or at least many of
• 2:08:37
  Speaker 1: them are sort of also drawn to horror in particular.
• 2:08:40
  Speaker 1: So like handing these guys that just learn how to
• 2:08:43
  Speaker 1: tell a story and, and use humor as part of
• 2:08:47
  Speaker 1: the storytelling. I think that also just kind of makes
• 2:08:49
  Speaker 1: you a better storyteller because if you got people that
• 2:08:52
  Speaker 1: can only tell this like dead serious drama story, it
• 2:08:56
  Speaker 1: like it, it just adds so much to it and
• 2:08:58
  Speaker 1: adds another level of realism if you also know how
• 2:09:01
  Speaker 1: to work in comedy. So like you get somebody like
• 2:09:05
  Speaker 1: Jordan Peele who did that same thing and sort of
• 2:09:07
  Speaker 1: came into it with a different, from a different perspective,
• 2:09:10
  Speaker 1: but found a way to sort of make it work as,
• 2:09:12
  Speaker 1: as a comedic tone that then works even better as
• 2:09:15
  Speaker 1: a horror tone. So it's, yeah, I don't know. I
• 2:09:17
  Speaker 1: just thought that was interesting just working in as some
• 2:09:20
  Speaker 1: of these, you know, this last 15, 20 years of
• 2:09:23
  Speaker 1: up-and-coming filmmakers. But then I was also going to see
• 2:09:25
  Speaker 1: what you thought about the cast, because again, majority of
• 2:09:29
  Speaker 1: it is all just Austin on his own. But you
• 2:09:32
  Speaker 1: mentioned the Zach Cherry of it all, but I was
• 2:09:34
  Speaker 1: really excited with the little... almost a cameo Paul, Paul
• 2:09:38
  Speaker 1: Walter Hauser.
• 2:09:39
  Speaker 2: Because wrestling's own Paul Walter Hauser.
• 2:09:43
  Speaker 1: He's just, well, I mean, he's just, he's been an
• 2:09:45
  Speaker 1: actor for years and like, he's, he's not what you
• 2:09:48
  Speaker 1: would expect to become the actor that he has. I mean,
• 2:09:52
  Speaker 1: he's led films now and like he, he's not what
• 2:09:56
  Speaker 1: would have at one point been your, you know, leading man,
• 2:09:58
  Speaker 1: Marvel money, baby. And like, he's just becomes a, because
• 2:10:02
  Speaker 1: he's such a good actor. Like they, they realize it
• 2:10:05
  Speaker 1: and we're like, Oh, well he can also do this.
• 2:10:08
  Speaker 1: So like they keep giving him different things. And then
• 2:10:10
  Speaker 1: on top of that, he's like crazy and decides to
• 2:10:13
  Speaker 1: do wrestling. So like, like actually do wrestling, like real wrestling,
• 2:10:17
  Speaker 1: actually like, as I would say, like, you know, David
• 2:10:20
  Speaker 1: Arquette was doing wrestling there for a while.
• 2:10:22
  Speaker 2: He's doing wrestling as much or more than David Arquette
• 2:10:26
  Speaker 2: is like, it's like, Taking metal chairs upside the head
• 2:10:29
  Speaker 2: level of wrestling.
• 2:10:30
  Speaker 1: Yeah.
• 2:10:30
  Speaker 2: The old school backyard version of wrestling. Getting broke, getting, getting,
• 2:10:34
  Speaker 2: getting read the hard way. And like, yeah, like take, yeah, it's, it's,
• 2:10:38
  Speaker 2: I don't know, like Paul Wolterhauser has, he's in a
• 2:10:40
  Speaker 2: lot of ways, like for a while there, it was
• 2:10:43
  Speaker 2: McConaughey and then it was Pedro Pascal.
• 2:10:45
  Speaker 1: Yeah.
• 2:10:45
  Speaker 2: And now it feels like Paul Walter Hauser. It's just
• 2:10:48
  Speaker 2: like in everything, but not in, again, not in a
• 2:10:50
  Speaker 2: bad way. I think they can kind of overdo it. And,
• 2:10:52
  Speaker 2: you know, to mention Pedro Pascal and Paul Walter Hauser
• 2:10:55
  Speaker 2: in the same breath, they were both in the Fantastic
• 2:10:57
  Speaker 2: Four film together.
• 2:10:58
  Speaker 1: But look at the different places they turned up in. No,
• 2:11:03
  Speaker 1: no kidding.
• 2:11:03
  Speaker 2: Well, I was going to say, like, talk about getting
• 2:11:05
  Speaker 2: cut out of a movie more or less entirely.
• 2:11:07
  Speaker 1: Well, and then who shows up as the fancy, handsome
• 2:11:10
  Speaker 1: leading man? And who's a mole man forced to live underground?
• 2:11:14
  Speaker 1: I know, right? It's a very different place than that movie. Yeah.
• 2:11:18
  Speaker 2: But to speak to Paul Walter Hauser in this film,
• 2:11:20
  Speaker 2: like he's great. He's not, you know, he's not given
• 2:11:23
  Speaker 2: much to do. I don't think anyone other than Austin
• 2:11:26
  Speaker 2: Abrams has really given much to do, but I think
• 2:11:28
  Speaker 2: him and Austin Abrams have the most interesting chemistry of
• 2:11:31
  Speaker 2: any of the characters because it's the most prolonged I
• 2:11:33
  Speaker 2: would say it's like 15 you know 15 minutes it's
• 2:11:36
  Speaker 2: it's one of the shorter it's one of the longer
• 2:11:38
  Speaker 2: set pieces in the film with other characters but it's
• 2:11:40
  Speaker 2: one of the shorter set pieces in the film in
• 2:11:42
  Speaker 2: terms of what's actually going on yeah yeah But I
• 2:11:45
  Speaker 2: do love that Paul Walter House also plays like an
• 2:11:47
  Speaker 2: NPC because he's like, go, come on, go.
• 2:11:50
  Speaker 1: We need you to go. It's like, shut up, dude. Like,
• 2:11:53
  Speaker 1: but get out of the car when I'm done checking
• 2:11:55
  Speaker 1: my inventory. He has so much personality. That's I think
• 2:11:59
  Speaker 1: if you would have just given it to some random.
• 2:12:01
  Speaker 1: bit player that you hired for cheap like yeah no
• 2:12:04
  Speaker 1: you're those same those same lines might be there but
• 2:12:08
  Speaker 1: you just be like whatever like you totally forget about
• 2:12:10
  Speaker 1: that oh yeah totally be.
• 2:12:12
  Speaker 2: In the next resident evil as this kind of character
• 2:12:14
  Speaker 2: because it totally works it's like dickhead pseudo middle management,
• 2:12:19
  Speaker 2: bureaucrat asshole. Like who was like, you know, you go
• 2:12:22
  Speaker 2: do it, you go do it.
• 2:12:23
  Speaker 1: Don't make me do it. And it's like, Oh God,
• 2:12:25
  Speaker 1: that can be its own joke too. It's like, he
• 2:12:27
  Speaker 1: just keeps getting worked into a wall. Just put like
• 2:12:29
  Speaker 1: a weird, funny mustache on him this time. And next
• 2:12:32
  Speaker 1: time he has a silly haircut, like you just, you
• 2:12:34
  Speaker 1: make him a different ridiculous character each time. And each
• 2:12:38
  Speaker 1: time he's there to say stupid things and get himself
• 2:12:42
  Speaker 1: killed first and foremost. Exposition film. You go do that
• 2:12:46
  Speaker 1: and go down that alley there. But even from the beginning,
• 2:12:52
  Speaker 1: he was just like, shoot him. Just shoot him. It's
• 2:12:56
  Speaker 1: the kind of stuff that given to the wrong actor,
• 2:12:59
  Speaker 1: it would just be silly. But he just adds so
• 2:13:01
  Speaker 1: much personality to it because... He's a legitimately good actor
• 2:13:05
  Speaker 1: that like it's it was just he brought so much
• 2:13:07
  Speaker 1: fun to that little middle section that if they both
• 2:13:10
  Speaker 1: would have been the same as the cop military lady
• 2:13:13
  Speaker 1: like she was fine but like she only worked because she.
• 2:13:17
  Speaker 1: was opposite of him. And like, she didn't have to
• 2:13:19
  Speaker 1: say hardly anything to counterbalance his silly over the top
• 2:13:23
  Speaker 1: behavior the whole time they're in the car together.
• 2:13:25
  Speaker 2: I was just kind of disappointed that she is not
• 2:13:28
  Speaker 2: in the movie more. Callie Reese is, she's so good
• 2:13:31
  Speaker 2: in that, was it like the fourth season of True
• 2:13:34
  Speaker 2: Detective that I was like, oh, like, oh, she's in
• 2:13:36
  Speaker 2: this movie. And then she's like, not really.
• 2:13:38
  Speaker 1: Not for much. Not for much now.
• 2:13:40
  Speaker 2: And again, you know, it works because, you know, she
• 2:13:43
  Speaker 2: is recognizable and she does die rather ignominiously.
• 2:13:46
  Speaker 1: But so what?
• 2:13:47
  Speaker 2: Like it works. It's a it's a it's a video
• 2:13:49
  Speaker 2: game movie. Like, you know, I don't you know, it
• 2:13:52
  Speaker 2: it's totally OK to introduce a character and then kill
• 2:13:55
  Speaker 2: them off immediately like that.
• 2:13:56
  Speaker 1: And then. In horror terms, too. It's just like, yeah,
• 2:13:59
  Speaker 1: go down that dark alley over there. We'll see you
• 2:14:02
  Speaker 1: in a minute. You might as well. I'll be right back. Yeah, exactly.
• 2:14:06
  Speaker 1: You could disappear. And in horror movie terms, yeah, it's fine.
• 2:14:10
  Speaker 1: She's dead. We all know that. Did you notice? Go check.
• 2:14:12
  Speaker 1: And there she is.
• 2:14:13
  Speaker 2: Did you notice the Zack Kreger cameo in the film?
• 2:14:17
  Speaker 2: Or did you hear the Zack Kreger cameo in the film?
• 2:14:19
  Speaker 2: Not the spousal one, because we get one of those, too.
• 2:14:23
  Speaker 2: It's a, no, it's a, uh, it's, it's, he is
• 2:14:26
  Speaker 2: the intercom man that talks to Austin Abrams to get
• 2:14:29
  Speaker 2: him to come up to the lab. And I was like,
• 2:14:31
  Speaker 2: I remember when I was watching it, I was like,
• 2:14:33
  Speaker 2: that totally sounds like Zach Kreger. And then when I,
• 2:14:35
  Speaker 2: when I looked on Wikipedia, I was like, oh, cause
• 2:14:37
  Speaker 2: it was like, it is him.
• 2:14:39
  Speaker 1: Like, which is funny.
• 2:14:40
  Speaker 2: Cause I was like, it doesn't sound like Zach Cherry.
• 2:14:42
  Speaker 2: Zach Cherry has a very distinguished like way of talking.
• 2:14:45
  Speaker 2: Like it's very distinguishable. Like I was like, but that
• 2:14:47
  Speaker 2: sounds like Zach Kreger is like, nope, that is that.
• 2:14:49
  Speaker 1: Yeah, that is him. No, mine, I was looking down
• 2:14:51
  Speaker 1: the list there and I was like, wait, Sarah Paxton's
• 2:14:54
  Speaker 1: in this? Right. Sarah Paxton's awesome. And then I was like,
• 2:14:57
  Speaker 1: oh no. Bradley Cooper in this movie, 10 Cloverfield Lane.
• 2:15:01
  Speaker 1: It's the pregnant girlfriend voice on the phone that you
• 2:15:03
  Speaker 1: can barely hear is voiced by Sarah Paxton, which I
• 2:15:07
  Speaker 1: don't think I knew until this point is his wife. Yeah, that's,
• 2:15:10
  Speaker 1: what is it?
• 2:15:11
  Speaker 2: Who's the chick that's married to Mike Flanagan? She's in
• 2:15:15
  Speaker 2: all of his stuff.
• 2:15:16
  Speaker 1: Like, it's, you know. That's the best way to get
• 2:15:18
  Speaker 1: a job, as we've seen from Mila. God, good God
• 2:15:22
  Speaker 1: in heaven.
• 2:15:22
  Speaker 2: Like, what's funny is Cherry Moon Zombie takes all the flack,
• 2:15:26
  Speaker 2: but we've just given, like, three more examples of people
• 2:15:29
  Speaker 2: that are, you know, kind of like.
• 2:15:30
  Speaker 1: I mean, we didn't even dig into Underworld. What do
• 2:15:32
  Speaker 1: you want, man? This is what you do. Dear God. Oh, Lord.
• 2:15:37
  Speaker 1: But I thought that was fun, though, because this one
• 2:15:39
  Speaker 1: is so minor, you don't even know it's her. So
• 2:15:42
  Speaker 1: it's not like, once again, not hitting you over the head.
• 2:15:44
  Speaker 1: It's only a joke when you look way down the
• 2:15:47
  Speaker 1: list on IMDb and go, oh, wait, that was her? So, like,
• 2:15:50
  Speaker 1: that's a fun little inside joke there. But, like... Again,
• 2:15:53
  Speaker 1: I kind of wish she was in it. She's a
• 2:15:55
  Speaker 1: great actress and has done some really cool parts. So
• 2:15:59
  Speaker 1: I wouldn't have any problem with her showing up. But again,
• 2:16:02
  Speaker 1: it's like you don't overplay your hand. Who am I,
• 2:16:04
  Speaker 1: Rob Zombie? So he just finds a nice way to
• 2:16:07
  Speaker 1: tuck her in there where you don't really notice it
• 2:16:10
  Speaker 1: so much. It's not 2011 anymore. I love the innkeepers.
• 2:16:14
  Speaker 2: Man, you know what's crazy? Sarah Paxton at one point
• 2:16:17
  Speaker 2: was in one of those horror movies. One of those
• 2:16:20
  Speaker 2: slow burn, elevated horror movies. And now she's playing the girl.
• 2:16:24
  Speaker 1: She's amazing in innkeepers. I love her in innkeepers. Yeah,
• 2:16:27
  Speaker 1: that movie's great. But it's such a slow burn movie. Mm-hmm. Yeah. No,
• 2:16:32
  Speaker 1: End Keepers is great.
• 2:16:33
  Speaker 2: It's just wild. Like she's kind of come full circle.
• 2:16:35
  Speaker 1: Like now she's married to the guy who's making all
• 2:16:38
  Speaker 1: of like the elevated horror movies of a certain like ilk.
• 2:16:41
  Speaker 2: It's very, it's very ironic, I guess. Cause you know,
• 2:16:44
  Speaker 2: End Keepers is, what is that?
• 2:16:45
  Speaker 1: Ty West? Yeah, I think so. Who's gone on to make,
• 2:16:49
  Speaker 1: Ty West isn't the one that was making all the
• 2:16:50
  Speaker 1: Godzilla movies. That's Adam Wingard. Yeah. Wingard made those. Ty
• 2:16:54
  Speaker 1: West is still knocking some out, but like. No, he's
• 2:16:57
  Speaker 1: the one who made Maxine. Okay. Right. i enjoyed that
• 2:17:03
  Speaker 1: for what it is i know he's the one who's
• 2:17:06
  Speaker 1: directing the johnny depp christmas carol movie yeah that's the
• 2:17:09
  Speaker 1: thing that makes no sense to me i i i
• 2:17:12
  Speaker 1: heard that and went okay i want to most of
• 2:17:15
  Speaker 1: the time i want to see whatever ty west is
• 2:17:17
  Speaker 1: working on i don't know on this one man like
• 2:17:20
  Speaker 1: i am so sick of johnny depp in general and
• 2:17:23
  Speaker 1: like how many times do i need to see a
• 2:17:24
  Speaker 1: christmas carol like the keep every five years knocking out
• 2:17:28
  Speaker 1: another version of it over and over again. So, yeah,
• 2:17:32
  Speaker 1: I don't know.
• 2:17:33
  Speaker 2: They don't think you're going to get sick of a
• 2:17:34
  Speaker 2: story from 1875.
• 2:17:36
  Speaker 1: I guess not. They've only done one or two times. Right,
• 2:17:41
  Speaker 1: only a handful of adaptations that they've ever done of
• 2:17:44
  Speaker 1: one of the most popular pieces of literature of all time.
• 2:17:47
  Speaker 2: Well, and again, it's it's it's johnny depp which you
• 2:17:50
  Speaker 2: know makes it a big budget you know movie which
• 2:17:53
  Speaker 2: is just ty west just wanted his own godzilla movie
• 2:17:55
  Speaker 2: he wanted his own big monster movie he got it
• 2:17:57
  Speaker 2: with johnny depp and sam i mean you know good
• 2:18:00
  Speaker 2: on zach crager for being given a big budget and
• 2:18:02
  Speaker 2: not turning it into like a a complete CGI slop fest.
• 2:18:06
  Speaker 2: The thing I did want to say, I'm not, I
• 2:18:08
  Speaker 2: think the CGI at the end of the movie is
• 2:18:10
  Speaker 2: not great when it's him as the monster.
• 2:18:12
  Speaker 1: It also is silly in a way that you're fine
• 2:18:16
  Speaker 1: with by that point because it's become so big and
• 2:18:19
  Speaker 1: crazy and we've just gone through a nursery filled with
• 2:18:23
  Speaker 1: zombie babies and blood bags. So by the time we
• 2:18:26
  Speaker 1: get there, I'm like, yes, it's this silly now. Just
• 2:18:28
  Speaker 1: go to town with your giant eyeball monster. I guess
• 2:18:31
  Speaker 1: I would have preferred it be a practical effect. I mean,
• 2:18:34
  Speaker 1: I always went practical.
• 2:18:36
  Speaker 2: But I'm saying, like, I'm saying, I think if you're
• 2:18:38
  Speaker 2: trying to make it silly and kind of give it
• 2:18:40
  Speaker 2: a little bit of, like, comedy, unintentional or, you know, otherwise,
• 2:18:44
  Speaker 2: why not just have it be a practical effect? I
• 2:18:46
  Speaker 2: think a practical effect would have worked just that little
• 2:18:49
  Speaker 2: bit better, right?
• 2:18:50
  Speaker 1: Then we're back to Evil Dead 2. It's like, then
• 2:18:52
  Speaker 1: deliver over the top, crazy, physical, practical effects. Which I
• 2:18:57
  Speaker 1: think they kind of do. Like, he's ripping people's arms off. Yeah.
• 2:19:00
  Speaker 2: Which is Zach Cherry with the desk, which I think
• 2:19:03
  Speaker 2: is always a very funny way to kill someone. But
• 2:19:07
  Speaker 2: I think like, I don't know. I found the end
• 2:19:09
  Speaker 2: of the film CGI to be, I mean, again, I
• 2:19:12
  Speaker 2: don't know when this happened, but all of a sudden
• 2:19:14
  Speaker 2: CGI just looks bad now.
• 2:19:16
  Speaker 1: It just, I don't know. I guess there's just so
• 2:19:18
  Speaker 1: much of it. Or maybe the engines have just started
• 2:19:21
  Speaker 1: to run on that cheaper level and now they just
• 2:19:23
  Speaker 1: don't upgrade. They're just like, yeah, just go ahead and
• 2:19:25
  Speaker 1: use that same one we've been using on these last
• 2:19:27
  Speaker 1: five or ten movies.
• 2:19:29
  Speaker 2: He looks plastic. He looks plastic. It's like an action figure. Frankly,
• 2:19:34
  Speaker 2: it looks like a video game.
• 2:19:36
  Speaker 1: Again, it looked silly, but at that point I was
• 2:19:39
  Speaker 1: just kind of willing to go with it because the
• 2:19:41
  Speaker 1: movie had taken a I mean, that's fair.
• 2:19:43
  Speaker 2: I will, I will give it that like it, it
• 2:19:45
  Speaker 2: does kind of earn it, but I will say like, again,
• 2:19:48
  Speaker 2: as someone who loves good practical.
• 2:19:50
  Speaker 1: Effects, I would have preferred a practical. Oh yeah. I
• 2:19:53
  Speaker 1: definitely would have preferred it. And, and was kind of like,
• 2:19:56
  Speaker 1: I was wondering how far into it, it was going
• 2:19:59
  Speaker 1: to go, but it, again, it does as much as
• 2:20:01
  Speaker 1: it can for like, it's asking a lot. Like there's
• 2:20:05
  Speaker 1: only so much you can do with practical effects when
• 2:20:07
  Speaker 1: you need a giant ball made of rolling bodies. Like there's,
• 2:20:12
  Speaker 1: there's a lot that's going to take to make some
• 2:20:15
  Speaker 1: of that stuff happen practically versus the ease and probably
• 2:20:19
  Speaker 1: an expensiveness of switching to CG. So again, who knows
• 2:20:23
  Speaker 1: how much control he had over that by the end
• 2:20:25
  Speaker 1: of it anyway, but yeah.
• 2:20:27
  Speaker 2: Yeah, I mean, it's like it's like a lot of
• 2:20:30
  Speaker 2: other CGI things like you look at it, you look
• 2:20:32
  Speaker 2: at it for too long and it just starts to
• 2:20:34
  Speaker 2: it just starts to look a little uncanny and it
• 2:20:36
  Speaker 2: starts to look a little fakey.
• 2:20:38
  Speaker 1: And that's fine.
• 2:20:38
  Speaker 2: I they don't again, they do kind of the jaws.
• 2:20:41
  Speaker 2: They don't give us a real great look at it
• 2:20:43
  Speaker 2: at any point. Like we never really see it all
• 2:20:46
  Speaker 2: in one shot until right at the end of the movie.
• 2:20:49
  Speaker 2: And that's the point where I'm like, I probably could
• 2:20:52
  Speaker 2: have done without that. But that's the way you ended
• 2:20:54
  Speaker 2: the movie. So what am I like? What am I
• 2:20:56
  Speaker 2: going to do? What do I say to that? But
• 2:20:58
  Speaker 2: it is one of those things where by the end
• 2:20:59
  Speaker 2: of the movie, I'm like, I don't need to see
• 2:21:01
  Speaker 2: him in full shot because it looks kind of dorky.
• 2:21:05
  Speaker 2: But again, it is like you said, it's based off
• 2:21:07
  Speaker 2: of a video game design that is video gamey and
• 2:21:10
  Speaker 2: kind of goofy in its own right. So I guess
• 2:21:13
  Speaker 2: I'm not too terribly surprised. And it does earn it
• 2:21:16
  Speaker 2: by the end. It's just I don't know. I'm always
• 2:21:18
  Speaker 2: going to I'm always going to bring up wanting practical effects.
• 2:21:21
  Speaker 1: Always, always. And I will always take that over the alternative.
• 2:21:26
  Speaker 1: But again, I think there's they keep setting the bar
• 2:21:30
  Speaker 1: so much higher in what they're asking for movies to
• 2:21:33
  Speaker 1: do now that like there's some things I don't know,
• 2:21:37
  Speaker 1: which I've seen some pretty amazing things be done practically
• 2:21:40
  Speaker 1: over the years. So like I don't ever say it's impossible,
• 2:21:43
  Speaker 1: but like. it gets so time consuming and so like
• 2:21:47
  Speaker 1: financially overwhelming to keep trying to do that. When, you know,
• 2:21:52
  Speaker 1: studios are just like, ah, just knock it out with CG.
• 2:21:54
  Speaker 1: Who cares? Like, right. So it's gotta be such a
• 2:21:57
  Speaker 1: fight to get anything made practically anymore that like it's, yeah, I'm,
• 2:22:01
  Speaker 1: I'm impressed when I see stuff that is still, you know,
• 2:22:03
  Speaker 1: as practical as it can be. So yeah, I'm just,
• 2:22:06
  Speaker 1: there's so much of it now. It's hard to, to,
• 2:22:09
  Speaker 1: I barely acknowledge it on that level anymore. I'm like, yes,
• 2:22:12
  Speaker 1: of course that's where we end up. So like, I,
• 2:22:15
  Speaker 1: I'm kind of used to it. I don't say that.
• 2:22:17
  Speaker 1: I like that. I'm kind of used to it, but eventually,
• 2:22:19
  Speaker 1: you know, we just have to accept that's what movies
• 2:22:21
  Speaker 1: look like sometimes. Yeah. Which is amazing.
• 2:22:23
  Speaker 2: I mean, again, to say like, you know, it, like
• 2:22:25
  Speaker 2: I said, it just kind of all CGI kind of
• 2:22:27
  Speaker 2: looks bad now in general. Like I don't, I don't understand,
• 2:22:32
  Speaker 2: but it just kind of does like, think about like
• 2:22:34
  Speaker 2: fucking Marvel stuff from this year, like that Punisher TV show.
• 2:22:37
  Speaker 1: It, That's Marvel. They have essentially an infinite wallet. And
• 2:22:41
  Speaker 1: that's what passes for good. Like, come on. Like, for real?
• 2:22:45
  Speaker 2: This is a big budget studio thing.
• 2:22:47
  Speaker 1: It's like, what are we doing here?
• 2:22:50
  Speaker 2: Again, it's just like, I think we're at the point
• 2:22:51
  Speaker 2: where it's like, we can't do anything about it. Like,
• 2:22:53
  Speaker 2: it's just, we can't be impressed anymore by the quality
• 2:22:56
  Speaker 2: of CGI.
• 2:22:57
  Speaker 1: Because there's nothing to be impressed by. When AI exists, like,
• 2:23:01
  Speaker 1: I guess, I don't know. It's still amazing to me, though,
• 2:23:03
  Speaker 1: that in 1993, they could put together... maybe the best
• 2:23:08
  Speaker 1: fake version of these things we'll ever see. Cause I
• 2:23:11
  Speaker 1: still watch the stuff from, from Jurassic park. And I'm
• 2:23:13
  Speaker 1: just like, how, how is it this good? Like how
• 2:23:17
  Speaker 1: I'm with you.
• 2:23:17
  Speaker 2: I watched Jurassic park two weeks ago and I thought
• 2:23:20
  Speaker 2: the same thing.
• 2:23:21
  Speaker 1: I was like, how is this still the bar? Yeah.
• 2:23:23
  Speaker 1: I mean, that was the first time too, essentially. I mean,
• 2:23:26
  Speaker 1: they toyed with it and other things, but the first
• 2:23:28
  Speaker 1: full on. engrossed in the whole movie this is our
• 2:23:32
  Speaker 1: focus this is how we're gonna do it and yet
• 2:23:35
  Speaker 1: it's so damn good looking like it's just amazing i'm
• 2:23:39
  Speaker 1: still impressed with.
• 2:23:40
  Speaker 2: That and there aren't a lot of things that still
• 2:23:42
  Speaker 2: look that good to this day no.
• 2:23:45
  Speaker 1: The fact that i mean rarely can you look back
• 2:23:47
  Speaker 1: at any effects from 93 and be like yep that
• 2:23:50
  Speaker 1: holds up but i'm like damned if it doesn't in
• 2:23:52
  Speaker 1: that movie like So.
• 2:23:54
  Speaker 2: So much of Jurassic Park holds up, and it's because
• 2:23:58
  Speaker 2: of the quality of the CGI.
• 2:24:00
  Speaker 1: And that's the thing.
• 2:24:01
  Speaker 2: As I'm sitting here talking about the CGI in a
• 2:24:03
  Speaker 2: movie that came out a week ago, it doesn't look
• 2:24:05
  Speaker 2: as good as Jurassic Park.
• 2:24:07
  Speaker 1: What the hell are we doing? That's the part that's crazy.
• 2:24:09
  Speaker 1: That's why I was like, I think maybe it's just
• 2:24:10
  Speaker 1: different engines now. And they just... They were putting so
• 2:24:14
  Speaker 1: much time and effort and care into that version because
• 2:24:18
  Speaker 1: they didn't know how to do it yet. They were
• 2:24:20
  Speaker 1: learning it and creating it that they put that much
• 2:24:23
  Speaker 1: time and effort into it. Whereas now it's just a program.
• 2:24:26
  Speaker 1: It's just you hit some keys and like that can
• 2:24:28
  Speaker 1: be made probably pretty damn quickly comparatively. So. think it's
• 2:24:33
  Speaker 1: just a cheaper, faster engine that they have running now
• 2:24:37
  Speaker 1: that throws these things together that like nobody puts that
• 2:24:40
  Speaker 1: kind of time and effort in. And that's why it's
• 2:24:42
  Speaker 1: going to look like that now.
• 2:24:43
  Speaker 2: Yeah, I don't think using CGI means it's going to
• 2:24:47
  Speaker 2: look good or anything else. The people behind it still
• 2:24:50
  Speaker 2: have to make something. They still have to engage in
• 2:24:53
  Speaker 2: the creation of it. And there are people that don't care.
• 2:24:55
  Speaker 2: Like every other job in the world, there are people
• 2:24:57
  Speaker 2: that just don't care. And sometimes you hire people that
• 2:25:00
  Speaker 2: aren't going to do a good job and you've spent
• 2:25:02
  Speaker 2: the money and you can't do anything about it.
• 2:25:04
  Speaker 1: And it is what it is.
• 2:25:05
  Speaker 2: And I'm assuming that there are plenty of projects where
• 2:25:07
  Speaker 2: that happens and the filmmaker just goes, all right, like
• 2:25:10
  Speaker 2: we can't.
• 2:25:11
  Speaker 1: This is the movie I'm making. Like, what are you
• 2:25:12
  Speaker 1: going to do?
• 2:25:13
  Speaker 2: Yeah, we can't pay for any more. So we got
• 2:25:15
  Speaker 2: to use what we've got. And I'm not saying this
• 2:25:18
  Speaker 2: is one of those films, but I've just I guess
• 2:25:20
  Speaker 2: I'm not super engaged with CGI anymore. And that's I
• 2:25:24
  Speaker 2: think that's I think that's just kind of always been
• 2:25:25
  Speaker 2: the case as I've done this podcast. But I think
• 2:25:28
  Speaker 2: as I've gotten older, if I'm going to look at
• 2:25:30
  Speaker 2: something like that, I'll just go look at a video game.
• 2:25:32
  Speaker 1: I think I've just gotten numb to it now. Like,
• 2:25:34
  Speaker 1: I just expect it from super big budget stuff, so
• 2:25:37
  Speaker 1: when I see it, like, sometimes other people will be
• 2:25:39
  Speaker 1: complaining about it, and I'm just like, oh, yeah, I mean,
• 2:25:42
  Speaker 1: I guess... It's just fucking noise now. Like, I just
• 2:25:44
  Speaker 1: shrug it off. I'm just like, yeah, well, that's what
• 2:25:46
  Speaker 1: we were gonna go see. Like, you saw the trailer, right? Like,
• 2:25:49
  Speaker 1: it was in the trailer, too, so this is what
• 2:25:52
  Speaker 1: we're watching now. Like, I don't... Again, it's not an excuse,
• 2:25:55
  Speaker 1: but I still wanna see new movies, so, like, I'm
• 2:25:58
  Speaker 1: gonna end up seeing a lot of CG now. Like,
• 2:26:00
  Speaker 1: it's just... I try to accept what it is I
• 2:26:03
  Speaker 1: have to do. Like I can complain a good amount
• 2:26:06
  Speaker 1: and I do on the internet. But yeah, I mean,
• 2:26:09
  Speaker 1: eventually you just have to kind of come to terms
• 2:26:11
  Speaker 1: with it as much as you have to and like
• 2:26:13
  Speaker 1: watch the movies you want to watch.
• 2:26:15
  Speaker 2: And I think also this film doesn't use it like,
• 2:26:18
  Speaker 2: to the point where it becomes obnoxious.
• 2:26:20
  Speaker 1: And I think some of it looks pretty good. The
• 2:26:22
  Speaker 1: earlier stuff, I feel like the bodies attaching to each
• 2:26:27
  Speaker 1: other look pretty damn good. And I'm like, I don't
• 2:26:30
  Speaker 1: know how much of that they were factoring in, because
• 2:26:33
  Speaker 1: I'm assuming there's a body there to start with, but
• 2:26:35
  Speaker 1: obviously the tentacles moving around, I'm guessing, is all CG.
• 2:26:40
  Speaker 1: So the more it gets engrossed in that world, the
• 2:26:43
  Speaker 1: harder and harder it is to do anything that's not
• 2:26:46
  Speaker 1: a lot of CG. Yeah.
• 2:26:47
  Speaker 2: And I think you're right. Like for the CGI that
• 2:26:50
  Speaker 2: they use for the most part, I think it's great.
• 2:26:52
  Speaker 2: I think, you know, again, we we don't see a
• 2:26:55
  Speaker 2: lot of super duper mutated stuff like we would in
• 2:26:59
  Speaker 2: the video game yet, because I think, again, like you
• 2:27:02
  Speaker 2: got to get the audience to that point where they
• 2:27:03
  Speaker 2: are going to accept that this dude looks like that
• 2:27:06
  Speaker 2: by the end of the movie. Because again, like that's,
• 2:27:08
  Speaker 2: that's not a traditional zombie design. Like this is very known.
• 2:27:12
  Speaker 2: This is Resident Evil.
• 2:27:13
  Speaker 1: Like it is its own thing.
• 2:27:15
  Speaker 2: Like if you can't tell what the giant eyeballs and
• 2:27:18
  Speaker 2: the claws and the tentacles and all the weird shit,
• 2:27:20
  Speaker 2: that's a Resident Evil thing. Like that's just part and
• 2:27:22
  Speaker 2: parcel with that area of the world of Resident Evil.
• 2:27:26
  Speaker 2: Like Resident Evil one, two, and three, I think are
• 2:27:29
  Speaker 2: kind of the games that feature the tentacles and the eyeballs.
• 2:27:33
  Speaker 2: Once we get to four, it's kind of like parasites
• 2:27:36
  Speaker 2: and other kind of ways of having the virus present itself.
• 2:27:40
  Speaker 2: And again, people wanted to be like, well, this isn't
• 2:27:42
  Speaker 2: a Resident Evil thing. What's the creature design then? What
• 2:27:46
  Speaker 2: is it inspired by, if not that? It's more the
• 2:27:49
  Speaker 2: thing than anything else. Which is exactly what Resident Evil
• 2:27:53
  Speaker 2: was inspired by.
• 2:27:54
  Speaker 1: It's body horror. It's Carpenter's The Thing, which... It basically
• 2:27:58
  Speaker 1: is just, it creates whatever the hell sort of creature
• 2:28:01
  Speaker 1: it wants to be in that moment so that it
• 2:28:04
  Speaker 1: can finish absorbing people and come back to a human form. So, like,
• 2:28:07
  Speaker 1: it really doesn't care what it looks like. That's why
• 2:28:09
  Speaker 1: it looks to be the weirdest freaking things you've ever seen,
• 2:28:13
  Speaker 1: because it doesn't need to stay that way. It's just transitional,
• 2:28:16
  Speaker 1: where this, I don't know, again, the virus itself is transitional,
• 2:28:20
  Speaker 1: I suppose, because it's turning them into whatever weird mutated
• 2:28:23
  Speaker 1: thing it needs to be, so.
• 2:28:25
  Speaker 2: And again, it's fun because we get something that's very
• 2:28:28
  Speaker 2: different from just another zombie movie. It's got, again, a
• 2:28:32
  Speaker 2: tone and a feel that other zombie movies have not
• 2:28:35
  Speaker 2: really done.
• 2:28:36
  Speaker 1: A lot of the time we get a zombie movie.
• 2:28:37
  Speaker 2: It's groups of people or people in a situated location.
• 2:28:41
  Speaker 2: And this does kind of have a forward momentum to
• 2:28:44
  Speaker 2: it that feels like a video game. It changes scenery
• 2:28:47
  Speaker 2: rather often. Like a video game does like it.
• 2:28:51
  Speaker 1: I don't know.
• 2:28:51
  Speaker 2: I'm excited to see what Zack Kreger does beyond this.
• 2:28:56
  Speaker 2: And I like you said, he's not coming back to this,
• 2:28:58
  Speaker 2: but I'm also excited to see what someone else does
• 2:29:01
  Speaker 2: with this because this is not the end of this.
• 2:29:04
  Speaker 2: This has made far too much money and it will
• 2:29:06
  Speaker 2: continue to make money when it's released international because I
• 2:29:10
  Speaker 2: think international audiences will resonate with it as well because
• 2:29:13
  Speaker 2: Resident Evil is a international franchise. It is a franchise
• 2:29:17
  Speaker 2: started by a Japanese video game company that is as
• 2:29:20
  Speaker 2: popular in Japan, if not more so than it is here.
• 2:29:23
  Speaker 2: And I'm sure it will make a buku bucks over there, too,
• 2:29:26
  Speaker 2: because it's a it's a great movie that employs comedic
• 2:29:29
  Speaker 2: physical comedy, which is it's language lists like that does
• 2:29:33
  Speaker 2: not need a language to be understood, like physical comedy
• 2:29:36
  Speaker 2: breaks down the barriers of language pretty easily.
• 2:29:39
  Speaker 1: And a lot of the.
• 2:29:40
  Speaker 2: Film's success is the physical comedy of Austin Abrams. I
• 2:29:43
  Speaker 2: won't be surprised if he is in more comedic thing
• 2:29:47
  Speaker 2: or if someone puts him in something more overtly comedic
• 2:29:50
  Speaker 2: in this part of his career.
• 2:29:52
  Speaker 1: That's the thing. As you were describing the way he
• 2:29:54
  Speaker 1: was operating earlier and how good he is at doing this,
• 2:29:58
  Speaker 1: I'm trying to distance myself from this movie and go...
• 2:30:02
  Speaker 1: I could very easily see like the next big thing
• 2:30:05
  Speaker 1: for him being like a rom-com because he's still 100%
• 2:30:08
  Speaker 1: super charming and like, look at him. So I'm like,
• 2:30:11
  Speaker 1: you're gonna cast him against some super hot girl. And like,
• 2:30:16
  Speaker 1: you could have so much chemistry if you get the
• 2:30:19
  Speaker 1: right person and put together a fun rom-com and like,
• 2:30:21
  Speaker 1: he can obviously do comedy. So like, I could very
• 2:30:24
  Speaker 1: easily see that being one of the next things he does.
• 2:30:27
  Speaker 1: And I think he would be great at it because again,
• 2:30:29
  Speaker 1: like you said, he's so charming in this movie. He's
• 2:30:33
  Speaker 1: so just kind of effortlessly charming. He's like a less
• 2:30:36
  Speaker 1: creepy Caleb Landry Jones. Which is to say, I don't
• 2:30:40
  Speaker 1: know if Caleb Landry Jones is creepy in person or not,
• 2:30:43
  Speaker 1: or as a human being, but Caleb Landry Jones plays
• 2:30:45
  Speaker 1: creepy characters and stuff. And Austin Abrams is kind of
• 2:30:48
  Speaker 1: creepy in weapons, but a little bit like sympathetic here.
• 2:30:51
  Speaker 1: He's just like straight up sympathetic as a character. Well,
• 2:30:54
  Speaker 1: and shouldn't be this charming. Like that's the thing. Like
• 2:30:57
  Speaker 1: once again, if you gave this role to the wrong person,
• 2:31:00
  Speaker 1: like he's just going to be like run of the
• 2:31:02
  Speaker 1: mill guy wandering around. Like you're not going to be
• 2:31:05
  Speaker 1: engaged in him, but because he brings that to this
• 2:31:08
  Speaker 1: role and like he's, He like approaches everything sort of humorously,
• 2:31:13
  Speaker 1: but like just to himself because he's usually the only
• 2:31:17
  Speaker 1: one there till you get further into the movie. And
• 2:31:19
  Speaker 1: like he's just sort of has his own weird take
• 2:31:22
  Speaker 1: on what's going on in front of him. And like that,
• 2:31:24
  Speaker 1: I think, is part of what, you know, makes him
• 2:31:27
  Speaker 1: so endearing. And like you're just like you do feel
• 2:31:29
  Speaker 1: for him going through all this crazy stuff. And then
• 2:31:31
  Speaker 1: he also is just charming enough that you're like, man,
• 2:31:34
  Speaker 1: come on, I'm rooting for this guy. So, yeah, he
• 2:31:37
  Speaker 1: definitely brings that.
• 2:31:38
  Speaker 2: And, you know, having watched effectively the only other thing
• 2:31:41
  Speaker 2: I've seen him in, in terms of this level of
• 2:31:43
  Speaker 2: notoriety being weapons. If you watch that movie, he is
• 2:31:47
  Speaker 2: not the one where I'm like, I would watch a
• 2:31:48
  Speaker 2: film with him as the lead.
• 2:31:50
  Speaker 1: I want to see more of that guy. Right. But
• 2:31:52
  Speaker 1: yet it totally works.
• 2:31:54
  Speaker 2: Like that was the one thing I was concerned about
• 2:31:57
  Speaker 2: going into the movie was like, is that guy from
• 2:32:00
  Speaker 2: weapons really going to be like a believable sympathetic, like
• 2:32:04
  Speaker 2: every man lead?
• 2:32:05
  Speaker 1: Totally. 100%.
• 2:32:07
  Speaker 2: Like, yeah, it's he, he really just has a believably
• 2:32:11
  Speaker 2: like organic quality to him. That is not replicatable in
• 2:32:17
  Speaker 2: a lab. Like that just kind of like effortless charisma
• 2:32:19
  Speaker 2: is something that you either have or don't have as
• 2:32:21
  Speaker 2: an act. And I, like you said, I think, I
• 2:32:24
  Speaker 2: think he's well suited for rom-coms or like, future kind
• 2:32:28
  Speaker 2: of comedy action, comedy, horror adjacent things like he because
• 2:32:34
  Speaker 2: of his size, you could pair him opposite someone who's
• 2:32:36
  Speaker 2: bigger than him, too, and have that be kind of
• 2:32:38
  Speaker 2: like the difference between the two of them is their
• 2:32:40
  Speaker 2: height and not like a Kevin Hart, the rock level
• 2:32:44
  Speaker 2: of disparity between the two. But I mean, again, you
• 2:32:47
  Speaker 2: pair him opposite someone who is a little bit more
• 2:32:50
  Speaker 2: intimidating in size. You could do something like that, too.
• 2:32:53
  Speaker 2: He is a actor who I'm excited to see what
• 2:32:56
  Speaker 2: he does further because he carries.
• 2:32:58
  Speaker 1: This movie on his own.
• 2:32:59
  Speaker 2: And it's, he's being asked to do a lot, but I,
• 2:33:01
  Speaker 2: it looks, it's so effortless. And I think that's a
• 2:33:04
  Speaker 2: huge credit to Zack Kreger and him as an actor
• 2:33:07
  Speaker 2: and just being able to operate on all cylinders in
• 2:33:10
  Speaker 2: terms of being charming, empathetic, but also entertaining and believable
• 2:33:17
  Speaker 2: as a lead. And you want to see, you don't
• 2:33:20
  Speaker 2: want to see bad things happen to him, but by
• 2:33:22
  Speaker 2: the end of.
• 2:33:22
  Speaker 1: The movie, you're bummed.
• 2:33:24
  Speaker 2: But it also is, you also understand like, well, that's
• 2:33:26
  Speaker 2: just what happens in a thing like, Yeah.
• 2:33:28
  Speaker 1: It's it's sort of like and we've seen it sort
• 2:33:32
  Speaker 1: of happening because we see him like infected pretty early on,
• 2:33:36
  Speaker 1: like he's got the bite pretty early and we see
• 2:33:39
  Speaker 1: him kind of every once in a while look down
• 2:33:40
  Speaker 1: and scratch at it and like it's getting worse and
• 2:33:43
  Speaker 1: like so. We know it's coming and your only hope is,
• 2:33:47
  Speaker 1: you know, they've got a cure at the lab and
• 2:33:49
  Speaker 1: maybe that'll pull it out at the end. But you
• 2:33:51
  Speaker 1: kind of know this is almost like operatic in the
• 2:33:55
  Speaker 1: way that you're being presented by the, you know, a
• 2:33:57
  Speaker 1: silly opera, but nonetheless, very like huge in tone of
• 2:34:01
  Speaker 1: like how. over the top, crazy, gross action horror is
• 2:34:06
  Speaker 1: going on here. So by the end, are we going
• 2:34:08
  Speaker 1: to see him like, you know, like doing the Kong
• 2:34:11
  Speaker 1: roaring at the camera by the end of it as
• 2:34:13
  Speaker 1: the planes are flying? Like, it's very King Kong end
• 2:34:17
  Speaker 1: of the movie, pretty much. Whereas, you know, by the
• 2:34:20
  Speaker 1: time we've gone through that crazy journey with him, then, OK,
• 2:34:23
  Speaker 1: this is how we're going out. So like you just
• 2:34:25
  Speaker 1: kind of have to accept it.
• 2:34:28
  Speaker 2: And, you know, by the end of it, you do,
• 2:34:29
  Speaker 2: like you said, it's kind of Shakespearean in a way.
• 2:34:32
  Speaker 1: It's, like, tragic, right?
• 2:34:34
  Speaker 2: Like, the guy with the kid who has, you know,
• 2:34:36
  Speaker 2: accepted that he wants to be a father now and
• 2:34:38
  Speaker 2: wants to go and, like, have a family is, like,
• 2:34:40
  Speaker 2: now he just dies and turns into a monster who...
• 2:34:43
  Speaker 2: you know, is going to be the father, you know,
• 2:34:46
  Speaker 2: metaphorically of the virus spreading further. So, you know, it's like,
• 2:34:50
  Speaker 2: you know, it's again, kind of, it is operatic to
• 2:34:53
  Speaker 2: dumb opera, like you said, but it is operatic in
• 2:34:56
  Speaker 2: a way. But again, I think that's what's so smart
• 2:34:58
  Speaker 2: about Zach Kreger as a writer. And as a director
• 2:35:01
  Speaker 2: is he understands how to take advantage of things we've
• 2:35:05
  Speaker 2: seen before in a million different ways. But he is
• 2:35:09
  Speaker 2: using it in creating a version of this franchise that
• 2:35:14
  Speaker 2: could can and will and does work as a film.
• 2:35:18
  Speaker 2: And no one else really influences.
• 2:35:20
  Speaker 1: Right. Yeah. Yeah. Yeah.
• 2:35:40
  Speaker 2: I just think it takes a lot of willpower to
• 2:35:43
  Speaker 2: make a movie like this because you've got to really
• 2:35:45
  Speaker 2: be invested for longer than just, well, I'm making this movie.
• 2:35:49
  Speaker 2: There's a lot of investment here that comes from just
• 2:35:51
  Speaker 2: being a fan of this thing.
• 2:35:53
  Speaker 1: Yeah. Well, next up, The Flood is what they're saying
• 2:35:56
  Speaker 1: for him, which is a high-concept sci-fi thriller, and they're
• 2:36:01
  Speaker 1: shooting for August of 2028, so I don't know if
• 2:36:04
  Speaker 1: he's going to have anything in between now and then. No.
• 2:36:07
  Speaker 1: But that is what they're listing as his next directorial project. Huh. Interesting.
• 2:36:12
  Speaker 1: I'd heard the title in the last couple of days,
• 2:36:14
  Speaker 1: but I also thought there was something else that's similarly titled.
• 2:36:18
  Speaker 1: I'm trying to figure out what that was because I
• 2:36:20
  Speaker 1: was like, it can't be that because that's coming out
• 2:36:22
  Speaker 1: like in a couple of months. I'm not surprised that
• 2:36:25
  Speaker 1: he's just working on more horror stuff and, you know,
• 2:36:28
  Speaker 1: making more horror movies or sci-fi movies. and kind of
• 2:36:31
  Speaker 1: probably just ratcheting up the budget and ratcheting up the
• 2:36:37
  Speaker 1: level of production value. The film that you're talking about
• 2:36:41
  Speaker 1: is being produced by Amblin, New Line, and Vertigo, which is,
• 2:36:44
  Speaker 1: I mean, New Line and Amblin? Jesus Christ. Okay. And
• 2:36:50
  Speaker 1: it's a space movie.
• 2:36:51
  Speaker 2: So it means it's automatically like double to triple the
• 2:36:54
  Speaker 2: budget of Resident Evil.
• 2:36:55
  Speaker 1: Massive budget, comparatively, yeah.
• 2:36:58
  Speaker 2: So it's, you know, Zack Krieger is not hurting. And
• 2:37:01
  Speaker 2: that's a good thing. Like, I like to see directors
• 2:37:04
  Speaker 2: who start out as, you know, someone making, you know,
• 2:37:07
  Speaker 2: a film like Barbarian that was what, like a couple million?
• 2:37:10
  Speaker 1: Four million, you said. Yeah, something like that.
• 2:37:12
  Speaker 2: And it's like now he's going to be working on
• 2:37:14
  Speaker 2: a film that undoubtedly is like Going to be at
• 2:37:16
  Speaker 2: least 100, probably more if it's a space movie for
• 2:37:20
  Speaker 2: God's sake.
• 2:37:21
  Speaker 1: So good for him.
• 2:37:22
  Speaker 2: You know, I you know, we we kind of ended
• 2:37:24
  Speaker 2: last episode with a well, we don't know how this
• 2:37:27
  Speaker 2: is going to pan out in the in the week
• 2:37:29
  Speaker 2: to come with. Resident Evil versus Halloween. But man, filmmakers
• 2:37:33
  Speaker 2: have come a long way since Rob Zombie loved Halloween enough.
• 2:37:36
  Speaker 1: To reboot it. Yeah. Yeah. It's a different take. Yeah.
• 2:37:40
  Speaker 1: And it's not here comes the flood. That's the one
• 2:37:42
  Speaker 1: I was like, there's some flood movie coming out. I
• 2:37:45
  Speaker 1: think it's the beginning of twenty twenty seven. That's like
• 2:37:48
  Speaker 1: a Denzel Washington, Robert Pattinson action heist movie. I was like,
• 2:37:53
  Speaker 1: what the hell is that?
• 2:37:54
  Speaker 2: That's the one where they're like robbing a bank during
• 2:37:57
  Speaker 2: like a typhoon or something.
• 2:37:59
  Speaker 1: Which isn't there already? Wasn't there like a 90s movie? Yeah. Yeah.
• 2:38:03
  Speaker 1: It wasn't Hard Rain? No, that's another one. What's the
• 2:38:06
  Speaker 1: one with Christian Slater? There's a Christian Slater one where
• 2:38:09
  Speaker 1: they're robbing in the middle of a typhoon or something. Oh, yeah.
• 2:38:13
  Speaker 2: I was going to say, wasn't there a movie that
• 2:38:14
  Speaker 2: came out recently where they were robbing in the middle
• 2:38:16
  Speaker 2: of a hurricane? Like the Hurricane Truck Heist or something?
• 2:38:19
  Speaker 2: Isn't that the name of a movie?
• 2:38:20
  Speaker 1: Like literally, isn't that the name? God. Look, whatever. You
• 2:38:24
  Speaker 1: want to just make the same movie like 8 million
• 2:38:27
  Speaker 1: times over, be my guest, whatever. Fine.
• 2:38:29
  Speaker 2: How many more London have fallen or White House have
• 2:38:32
  Speaker 2: fallen movies are there?
• 2:38:33
  Speaker 1: Like five more with Gerard Butler? Probably. Eventually, they'll switch
• 2:38:38
  Speaker 1: him out with an even lesser actor and they'll still
• 2:38:41
  Speaker 1: keep making them. Sam Worthington? Yeah, sure. Zai Courtney? These
• 2:38:47
  Speaker 1: guys have to work too, damn it. I know, right?
• 2:38:49
  Speaker 2: Somebody's got to put Vegemite on toast.
• 2:38:51
  Speaker 1: My God. No, you know, it's funny.
• 2:38:54
  Speaker 2: This is, I think, set a good example for future
• 2:38:57
  Speaker 2: filmmakers as to how to adapt a video game successfully.
• 2:39:01
  Speaker 2: And this is not like the first successful video game movie.
• 2:39:04
  Speaker 2: I would say like Detective Pikachu kind of had that beat.
• 2:39:07
  Speaker 2: Like Detective Pikachu came out and was pretty good. It
• 2:39:09
  Speaker 2: was actually surprisingly.
• 2:39:11
  Speaker 1: And let's talk about the amount of money those Mario
• 2:39:13
  Speaker 1: Brothers animated movies made because that is ridiculous how much money.
• 2:39:19
  Speaker 1: And I was like that. And I ended up seeing
• 2:39:22
  Speaker 1: the second one with a group of kids. There was
• 2:39:25
  Speaker 1: like a my nephew's birthday party was at one of those.
• 2:39:29
  Speaker 1: And I'm like, all right, this will be an interesting
• 2:39:31
  Speaker 1: way to see it. And, like, they were into it. So,
• 2:39:33
  Speaker 1: I mean, like, it still registers with kids. Like, Mario
• 2:39:36
  Speaker 1: still works. Like, no matter how many years go by, like,
• 2:39:39
  Speaker 1: a whole new crop of kids shows up and, like,
• 2:39:41
  Speaker 1: a whole bunch of them are still into Mario. So,
• 2:39:44
  Speaker 1: the fact that, like, they were just thrilled with going
• 2:39:47
  Speaker 1: to see Mario, like, it kind of was amazing. So, like...
• 2:39:51
  Speaker 1: just that. And it's again, they're fine. Like it's telling
• 2:39:54
  Speaker 1: the Mario story and even less of a focused version
• 2:39:58
  Speaker 1: in that second one. They were already like, OK, I
• 2:40:00
  Speaker 1: guess we got to come up with something else to
• 2:40:02
  Speaker 1: do now. But the second one is just oh it's
• 2:40:06
  Speaker 1: not i don't know it's it's still made a billion
• 2:40:10
  Speaker 1: dollars but yeah it made so much money so i'm
• 2:40:13
  Speaker 1: like kids will show up for that stuff so second again.
• 2:40:17
  Speaker 2: Whether a movie of all time my yeah.
• 2:40:20
  Speaker 1: That's why i was like you can you can argue
• 2:40:22
  Speaker 1: whether it was a critical success but financially like you're
• 2:40:25
  Speaker 1: hard pressed to find something making more money than those
• 2:40:27
  Speaker 1: mario brothers movies Well, other than the other Mario Brothers movie,
• 2:40:31
  Speaker 1: it's other than the- Mario Brothers and Mario Brothers. Masterpiece
• 2:40:34
  Speaker 1: that is the original Super Mario Brothers versus these animated
• 2:40:39
  Speaker 1: things that they make.
• 2:40:40
  Speaker 2: What's crazy is, and I think this is a good
• 2:40:43
  Speaker 2: spot to kind of bring the conversation of video game
• 2:40:47
  Speaker 2: movies to a close with the top 10 video game
• 2:40:50
  Speaker 2: movies by gross. So it's Mario Brothers at number one
• 2:40:55
  Speaker 2: with 1.3 billion.
• 2:40:55
  Speaker 1: Of course.
• 2:40:57
  Speaker 2: Then that second Mario Brothers movie with another billion. And
• 2:41:01
  Speaker 2: then the Minecraft movie with almost a billion as well.
• 2:41:05
  Speaker 1: That's what I'm saying.
• 2:41:06
  Speaker 2: These kids keep going. And then it takes a hard
• 2:41:09
  Speaker 2: half of a jump down. It's now only $ 500 million.
• 2:41:13
  Speaker 2: For Sonic the Hedgehog 3, Pokemon Detective Pikachu is at
• 2:41:18
  Speaker 2: $ 500 million as well. Warcraft, almost $ 500 million.
• 2:41:22
  Speaker 1: $ 430.
• 2:41:23
  Speaker 2: Rampage, $ 430. This is the one that's surprising here. Uncharted,
• 2:41:29
  Speaker 2: $ 400 million.
• 2:41:29
  Speaker 1: Yeah, I don't know anybody who liked that movie. I
• 2:41:31
  Speaker 1: didn't even know anybody who saw that movie. Oh. Yeah,
• 2:41:35
  Speaker 1: pretty much.
• 2:41:36
  Speaker 2: Sonic the Hedgehog 2, $ 400 million. And then this one
• 2:41:39
  Speaker 2: is also relatively surprising. And it's also surprising because the
• 2:41:43
  Speaker 2: popularity of the lead, I think, is higher now than
• 2:41:46
  Speaker 2: it was at the time that this movie came out.
• 2:41:49
  Speaker 1: But the Angry Birds movie. Oh, God. Yeah, yeah. Look,
• 2:41:56
  Speaker 1: they can't all be Tekken. I know that's your favorite, but.
• 2:41:59
  Speaker 2: Dude, number 11 is the one that will blow your mind.
• 2:42:02
  Speaker 2: Number 11, Prince of Persia, the Sands of Time. Which
• 2:42:06
  Speaker 2: is uncharacteristically the worst of all of those movies.
• 2:42:10
  Speaker 1: People love some Gyllenhaal.
• 2:42:12
  Speaker 2: They love some Gyllenhaal as a Persian man.
• 2:42:15
  Speaker 1: There's nobody more Persian than Gyllenhaal. Well, all those A's
• 2:42:20
  Speaker 1: and L's and H's clearly belie the sense of a
• 2:42:24
  Speaker 1: Muslim man. What's crazy is, yeah, of those movies, the
• 2:42:29
  Speaker 1: best of those movies probably is Rampage. I'm just kidding.
• 2:42:35
  Speaker 1: No one would ever.
• 2:42:36
  Speaker 2: I think the best of those movies is probably Detective Pikachu.
• 2:42:38
  Speaker 2: Maybe the Super Mario Brothers movie and Detective Pikachu 1A, 1B.
• 2:42:42
  Speaker 1: I mean, it makes me want to go play Rampage,
• 2:42:45
  Speaker 1: if that helps. No kidding. If ever there's a game
• 2:42:48
  Speaker 1: I did want to play, I did love and spent
• 2:42:51
  Speaker 1: a good amount of quarters smashing up some buildings back
• 2:42:53
  Speaker 1: in the day.
• 2:42:53
  Speaker 2: I saw that movie in theaters.
• 2:42:57
  Speaker 1: It's not as bad as I would have thought because
• 2:42:59
  Speaker 1: Jesse Dean Morgan is pretty good in that movie. I
• 2:43:02
  Speaker 1: watched it eventually and I'm like, yeah, I mean, in
• 2:43:05
  Speaker 1: a world where the American versions of Godzilla exist, like
• 2:43:09
  Speaker 1: this is not really any different. So enjoy it if
• 2:43:12
  Speaker 1: you want. It's fine. Like it's a movie. All right.
• 2:43:16
  Speaker 1: I guess I never really thought about it as like
• 2:43:18
  Speaker 1: a kind of like dumbed down kaiju. I mean, pretty much.
• 2:43:22
  Speaker 1: I mean, that's to me, that's what the game was.
• 2:43:24
  Speaker 1: It was like when you were a kid that grew
• 2:43:26
  Speaker 1: up watching Godzilla movies, this is your chance to play
• 2:43:29
  Speaker 1: as the monster and go smash up some buildings. So like,
• 2:43:32
  Speaker 1: I love the game for that reason. But then the
• 2:43:35
  Speaker 1: movie was like, yeah, that's kind of like those characters.
• 2:43:41
  Speaker 2: What's crazy looking at this list, Super Mario Brothers obviously
• 2:43:45
  Speaker 2: is at the top now and 1.3 billion is a
• 2:43:48
  Speaker 2: hard number to beat. But Detective Pikachu and Warcraft were
• 2:43:52
  Speaker 2: both number one at one point in time. They both
• 2:43:55
  Speaker 2: peaked at number one. And what's crazy is Prince of
• 2:43:57
  Speaker 2: Persia also was at number one at one point.
• 2:44:00
  Speaker 1: Well, again, the bar was low further back.
• 2:44:02
  Speaker 2: Oh, the bar was really low. And what's crazy about
• 2:44:06
  Speaker 2: the Angry Birds movie is the lead in that movie
• 2:44:08
  Speaker 2: was Jason Sudeikis, of all people, who is like undoubtedly
• 2:44:11
  Speaker 2: more popular now than he's ever been. Well, in an
• 2:44:14
  Speaker 2: entirely different world.
• 2:44:16
  Speaker 1: But yeah, yeah.
• 2:44:17
  Speaker 2: Yeah, still for recognizable still for a role that he
• 2:44:20
  Speaker 2: was in. But yeah, now it's it's in front of
• 2:44:21
  Speaker 2: the camera as opposed to doing a voice. But yeah,
• 2:44:24
  Speaker 2: it's a video game movies have come a long way.
• 2:44:27
  Speaker 2: And I guess I guess at the end of this
• 2:44:30
  Speaker 2: nearly three hour podcast, I guess I would be willing
• 2:44:33
  Speaker 2: to say that this is probably the best video game
• 2:44:35
  Speaker 2: movie I've ever seen.
• 2:44:36
  Speaker 1: I mean, yeah, like I said, you go farther back,
• 2:44:40
  Speaker 1: the bar is pretty low, but even compared to the
• 2:44:42
  Speaker 1: new ones, the new ones all just made a lot
• 2:44:45
  Speaker 1: of money, but they weren't necessarily worlds better. They weren't terrible.
• 2:44:50
  Speaker 1: They weren't terrible, I guess. I don't know.
• 2:44:54
  Speaker 2: I guess there's one other one we should mention is
• 2:44:56
  Speaker 2: Five Nights at Freddy's.
• 2:44:57
  Speaker 1: That's true. It wasn't a game I was invested in
• 2:45:01
  Speaker 1: because it came along way later, but... Kids loved it,
• 2:45:06
  Speaker 1: and kids, once again, crossover. They were willing to make
• 2:45:09
  Speaker 1: a trip to the theater, which is not always what
• 2:45:12
  Speaker 1: kids do anymore. It made so much money, it escaped bad. Yeah,
• 2:45:17
  Speaker 1: and got a sequel, for God's sakes. And it might
• 2:45:20
  Speaker 1: be getting another sequel? Which wouldn't surprise me, yeah. It's
• 2:45:23
  Speaker 1: like people actually responded to it, so... Well, it.
• 2:45:26
  Speaker 2: Made like $ 400 million, or $ 300 million, so it probably
• 2:45:31
  Speaker 2: will get another sequel.
• 2:45:32
  Speaker 1: You can't argue when it pulls in the cash. No.
• 2:45:36
  Speaker 1: And that's the thing.
• 2:45:37
  Speaker 2: I think we're living in that kind of golden age
• 2:45:39
  Speaker 2: of video game movies because of the Super Mario Brothers
• 2:45:43
  Speaker 2: movie and Detective Pikachu. And now I think Resident Evil
• 2:45:47
  Speaker 2: will continue to push that kind of... conversation forward and
• 2:45:51
  Speaker 2: something like the last of us or the god of
• 2:45:53
  Speaker 2: war tv show or fallout like they're all good examples
• 2:45:57
  Speaker 2: of good versions of video game properties being adapted that
• 2:46:02
  Speaker 2: aren't prince of persia or uncharted or a fucking Need
• 2:46:06
  Speaker 2: for Speed movie.
• 2:46:07
  Speaker 1: You remember that?
• 2:46:08
  Speaker 2: Aaron Paul is in something else.
• 2:46:11
  Speaker 1: Again, why?
• 2:46:12
  Speaker 2: Because people liked him in Breaking Bad.
• 2:46:14
  Speaker 1: Because F1 was almost like a real movie, but we
• 2:46:17
  Speaker 1: can do one too, you know?
• 2:46:19
  Speaker 2: Was F1 a video game movie or was that just
• 2:46:21
  Speaker 2: like a sports movie?
• 2:46:22
  Speaker 1: Just cars. I think they were just like, they're making
• 2:46:24
  Speaker 1: car movies now. Ford versus Ferrari and did this one
• 2:46:28
  Speaker 1: and every year they kept coming out with another one
• 2:46:31
  Speaker 1: or two cars. Well, there was a Gran Turismo movie.
• 2:46:33
  Speaker 1: Remember that? It had David Harbour in it. Sure.
• 2:46:36
  Speaker 2: And it was and Neil Blomkamp directed it, man. Remember
• 2:46:39
  Speaker 2: when Neil Blomkamp was like, I'm going to direct that
• 2:46:42
  Speaker 2: alien movie with Sigourney.
• 2:46:43
  Speaker 1: Never mind. Yeah, he directed.
• 2:46:46
  Speaker 2: Instead, he directed the Gran Turismo movie and Chappie. Man,
• 2:46:50
  Speaker 2: talk about a guy who just like nosedived right off
• 2:46:54
  Speaker 2: a cliff. Like and I didn't even like District 9.
• 2:46:56
  Speaker 2: I fucking can't stand that movie. but dude, like district
• 2:47:00
  Speaker 2: nine people liked, and then everything else past that's just
• 2:47:02
  Speaker 2: been like, nah, man, I'm good. I don't want to
• 2:47:04
  Speaker 2: see some fucking robot running around with, with, I don't know,
• 2:47:08
  Speaker 2: with Ninja from, uh, from Deontward.
• 2:47:11
  Speaker 1: That's the thing. I was never more impressed that a
• 2:47:15
  Speaker 1: movie came together than chappy. I was just like, I,
• 2:47:19
  Speaker 1: by the time you get to the end and what
• 2:47:22
  Speaker 1: happens at the i'm just like how did you guys
• 2:47:24
  Speaker 1: get them to give you money to make this like
• 2:47:26
  Speaker 1: this is amazing on that level alone you got this
• 2:47:30
  Speaker 1: movie made for what is happening on screen right now
• 2:47:33
  Speaker 1: i'm impressed Yeah, $ 50 million.
• 2:47:36
  Speaker 2: Well, because again, to speak to someone being given a
• 2:47:40
  Speaker 2: lot of money when they made something on very little,
• 2:47:43
  Speaker 2: District 9 was like a $ 30 million movie and made
• 2:47:45
  Speaker 2: like 200. And was nominated for an Oscar.
• 2:47:49
  Speaker 1: Which is crazy.
• 2:47:50
  Speaker 2: And then Elysian came out and I'm pretty sure the
• 2:47:52
  Speaker 2: only people that went and saw Elysian were the people
• 2:47:54
  Speaker 2: who saw District 9 and thought it was going to
• 2:47:56
  Speaker 2: be good like that movie. so yeah yeah it's video
• 2:48:01
  Speaker 2: game movies are just it's it's hard and it's hard
• 2:48:03
  Speaker 2: to make good ones but I think to your point
• 2:48:05
  Speaker 2: like Resident Evil might be the first good one I've
• 2:48:09
  Speaker 2: seen where it's like this is actually I would say
• 2:48:11
  Speaker 2: like it it adapts the source material well it exists
• 2:48:15
  Speaker 2: within a world that feels like a video game world
• 2:48:19
  Speaker 2: and it it does something with the source material that
• 2:48:22
  Speaker 2: is not a direct adaptation. But it's not also that
• 2:48:25
  Speaker 2: meta shit that they did with Minecraft and Jumanji, where
• 2:48:29
  Speaker 2: it's like, well, it's like a half and a half.
• 2:48:31
  Speaker 2: I'm not saying it's a bad thing. I think the
• 2:48:33
  Speaker 2: Minecraft movie honestly worked better than it had any reason
• 2:48:36
  Speaker 2: to because it was.
• 2:48:36
  Speaker 1: Pretty much- And I just hate the Jumanji. They know
• 2:48:40
  Speaker 1: what they are and they're not trying to do much more.
• 2:48:43
  Speaker 1: Minecraft is just pretty much branded Jumanji. It's just Jumanji
• 2:48:47
  Speaker 1: with a brand name attached to it. Yeah.
• 2:48:49
  Speaker 2: It even has Jack Black, for fuck's sake. And it
• 2:48:52
  Speaker 2: has the other non-Samoan actor who's not The Rock. It's
• 2:48:56
  Speaker 2: got Hawaiian Jason Momoa. Again, they trade one... Here's the thing.
• 2:49:03
  Speaker 2: Jason Momoa is ten times more charismatic than The Rock
• 2:49:05
  Speaker 2: ever has been and ever will be. And I think
• 2:49:07
  Speaker 2: that that shows in something like Minecraft, which, by the way...
• 2:49:11
  Speaker 2: Should not have been that funny, but it is quite
• 2:49:13
  Speaker 2: funny because Jason Momoa is fucking hilarious.
• 2:49:16
  Speaker 1: He's just a funny actor.
• 2:49:17
  Speaker 2: Like they gave him the ability to be funny, which
• 2:49:19
  Speaker 2: is not something I would have ever thought was possible
• 2:49:22
  Speaker 2: from the guy who is playing Aqua, bro.
• 2:49:24
  Speaker 1: See, that's the thing. If they let him get out
• 2:49:26
  Speaker 1: of his own way, like he started taking himself to
• 2:49:29
  Speaker 1: see like he started thinking he was as cool as
• 2:49:32
  Speaker 1: he they kept trying to make him. in some of
• 2:49:35
  Speaker 1: the stuff. And it's like, if you let him be
• 2:49:37
  Speaker 1: a goofball, like he is, like he seems to be like,
• 2:49:40
  Speaker 1: it's okay. But like when he starts taking himself too seriously,
• 2:49:44
  Speaker 1: it's like, Oh no, this is, this is insufferable. Stop.
• 2:49:47
  Speaker 2: Which is Aqua Bro, pretty much like writ large. Those
• 2:49:51
  Speaker 2: movie birds.
• 2:49:52
  Speaker 1: Yeah.
• 2:49:54
  Speaker 2: But, you know, I think to your point, like this,
• 2:49:56
  Speaker 2: this is a video game movie that now we can
• 2:49:58
  Speaker 2: kind of like put on the shelf and be like,
• 2:50:00
  Speaker 2: this is a good example of a video game thing
• 2:50:03
  Speaker 2: that I think anyone, anyone can approach within reason. Maybe
• 2:50:07
  Speaker 2: it's a little gross for the lay person. Yeah, but
• 2:50:10
  Speaker 2: I mean, again, like it's it's a fun romp in
• 2:50:14
  Speaker 2: the vein of Evil Dead and Dead Alive and those
• 2:50:18
  Speaker 2: kind of action. Well, more comedy horror, but I would
• 2:50:22
  Speaker 2: say horror comedy. This is less comedy horror and more
• 2:50:24
  Speaker 2: horror comedy. So it's definitely leans more into the horror
• 2:50:27
  Speaker 2: than the comedy. And there's some action to it. But
• 2:50:29
  Speaker 2: the action, I think, is as much action as Resident
• 2:50:32
  Speaker 2: Evil is known for early on, which is to say
• 2:50:34
  Speaker 2: it's peppered in there.
• 2:50:35
  Speaker 1: But that's not the point.
• 2:50:36
  Speaker 2: And maybe that's what the next film will be, will
• 2:50:39
  Speaker 2: be more akin to a Resident.
• 2:50:40
  Speaker 1: Evil 4 or 8.
• 2:50:42
  Speaker 2: Or second half of 9, where it's this big bombastic
• 2:50:46
  Speaker 2: action film and you got people with machine guns gunning
• 2:50:49
  Speaker 2: down zombies and backflipping them and suplexing them, all kinds
• 2:50:52
  Speaker 2: of wild... Leon in Resident Evil 4, if he shoots
• 2:50:55
  Speaker 2: a zombie in the kneecap and the zombie falls to
• 2:50:57
  Speaker 2: his knees, Leon picks him up and suplexes him backward.
• 2:51:00
  Speaker 1: And their head explodes. Like you do. Exactly.
• 2:51:03
  Speaker 2: It's like this game is not trying to be fucking serious.
• 2:51:06
  Speaker 2: And I'm glad that the movie understands that. And as
• 2:51:10
  Speaker 2: someone who's been effectively, for as long as I can remember,
• 2:51:14
  Speaker 2: a video game player, a resident evil fan like this
• 2:51:17
  Speaker 2: film i think was made for someone like me by
• 2:51:20
  Speaker 2: someone like me and i think while it does work
• 2:51:23
  Speaker 2: for someone like me ultimately more importantly i think it
• 2:51:26
  Speaker 2: would work for a pretty big audience of people that
• 2:51:29
  Speaker 2: don't know anything about resident evil but this is a
• 2:51:31
  Speaker 2: great way to kind of get them up to speed about.
• 2:51:33
  Speaker 1: It yeah i think that's that's the impressive part is
• 2:51:36
  Speaker 1: like i said it works in both ways it's a
• 2:51:39
  Speaker 1: total tie-in if you want it to be Or it
• 2:51:41
  Speaker 1: just works as a fun horror comedy roller coaster, essentially,
• 2:51:45
  Speaker 1: that like by the end, you're just like, that was
• 2:51:47
  Speaker 1: a great movie. Like it was just a fun ride.
• 2:51:50
  Speaker 1: Even if you weren't invested in the video game part
• 2:51:52
  Speaker 1: of it, it doesn't rely on you being a video
• 2:51:55
  Speaker 1: game fan. It can just be there to be a
• 2:51:58
  Speaker 1: fun horror comedy. And it is that.
• 2:52:01
  Speaker 2: So, until the next time Brian and I talk about
• 2:52:04
  Speaker 2: a new movie, which will be pretty much immediately next
• 2:52:07
  Speaker 2: week when we talk about a film that has no
• 2:52:09
  Speaker 2: zombies in it, but it does have.
• 2:52:11
  Speaker 1: It is a horror movie, apparently. It's... There's somebody undead.
• 2:52:16
  Speaker 1: I don't know. Yeah, I know.
• 2:52:17
  Speaker 2: It might be our lead by the time we're done. Yeah,
• 2:52:19
  Speaker 2: I don't know what the hell is going on, but
• 2:52:21
  Speaker 2: apparently someone was like, hey, that guy who was catching
• 2:52:24
  Speaker 2: all the rapists in the mid-2000s, wouldn't it be crazy
• 2:52:27
  Speaker 2: if he was the villain in a horror movie? And
• 2:52:29
  Speaker 2: that's how primetime comes. So on the next episode of
• 2:52:32
  Speaker 2: the CultureCast with Brian, anyways, we do another crossover with...
• 2:52:35
  Speaker 2: We're going to be talking about primetime, the Robert Pattinson,
• 2:52:39
  Speaker 2: Chris Hansen film, which is two names that I would
• 2:52:42
  Speaker 2: never have thought would work together.
• 2:52:43
  Speaker 1: But yet here we are. Yeah. The preview before this
• 2:52:48
  Speaker 1: movie was the longer version of, of that, that I
• 2:52:53
  Speaker 1: had seen before. And I was just like, yeah, this
• 2:52:55
  Speaker 1: is just insane. Like it is a full on horror
• 2:52:59
  Speaker 1: presentation of, of this story that does not seem like
• 2:53:02
  Speaker 1: it should be a horror. I mean, it's horrific things
• 2:53:05
  Speaker 1: were going on, but not, not the way that they're
• 2:53:08
  Speaker 1: wrapping this up in this movie. So it's going to
• 2:53:11
  Speaker 1: be interesting to see where they go and how we
• 2:53:14
  Speaker 1: take it.
• 2:53:14
  Speaker 2: And I'm curious if it will just be branded nightcrawler.
• 2:53:18
  Speaker 1: Which, yeah, I mean, it's, It's definitely, I mean, that
• 2:53:21
  Speaker 1: seemed like it was pretty crazy at the time because
• 2:53:24
  Speaker 1: I thought Nightcrawler was pretty well done. But this looks
• 2:53:27
  Speaker 1: like it's taking that idea and just like dirtying it
• 2:53:30
  Speaker 1: up even more.
• 2:53:32
  Speaker 2: Which is crazy because this is now based off of
• 2:53:34
  Speaker 2: a real person, ostensibly. Even though Chris Hansen, I think,
• 2:53:37
  Speaker 2: would say nay nay and would sue you or take
• 2:53:40
  Speaker 2: out ads in front of the movie. So until then, Brian,
• 2:53:45
  Speaker 2: where can people find you and the things that you
• 2:53:46
  Speaker 2: work on?
• 2:53:47
  Speaker 1: Well, as of since the last episode, they are now
• 2:53:52
  Speaker 1: available at your stop. So, you know, you should be
• 2:53:56
  Speaker 1: over at the Weirding Way media picking up all your shows.
• 2:53:59
  Speaker 1: But in addition to that, if you want something more direct,
• 2:54:02
  Speaker 1: you can also go to MovieMeltdown.com and I have updated it.
• 2:54:06
  Speaker 1: We've got the links that take you to the Weirding
• 2:54:09
  Speaker 1: Way feed and then all of the specific episodes of
• 2:54:11
  Speaker 1: our individual show. So, yeah, definitely go there or go
• 2:54:15
  Speaker 1: find us on your social medias. And I usually post
• 2:54:18
  Speaker 1: each day what the new episode is and what we've
• 2:54:21
  Speaker 1: got coming up if you're trying to follow along. So, yeah.
• 2:54:24
  Speaker 1: Just get on any of that and you'll see what
• 2:54:26
  Speaker 1: we've got coming up next.
• 2:54:27
  Speaker 2: Well, and as for me, like Brian just said, weirdingwaymedia.com
• 2:54:31
  Speaker 2: is where you can go to check out this show
• 2:54:34
  Speaker 2: and the crossovers to come with Brian, where we talk
• 2:54:36
  Speaker 2: about primetime or the past episodes where we talked about Halloween.
• 2:54:41
  Speaker 2: one and two on two separate episodes which if that's
• 2:54:44
  Speaker 2: a thing that you want to go listen to you
• 2:54:45
  Speaker 2: totally should because there's a lot of great conversation that
• 2:54:48
  Speaker 2: brian and i have about rob zombie and his effect
• 2:54:51
  Speaker 2: on horror films and remaking films it's a whole thing
• 2:54:54
  Speaker 2: and we talk about the movies obviously but the movies
• 2:54:56
  Speaker 2: are a lot of times just a jumping point to
• 2:54:58
  Speaker 2: have a conversation about the things that the movie is
• 2:55:00
  Speaker 2: about uh not saying those movies aren't good aren't i
• 2:55:03
  Speaker 2: also saying that.
• 2:55:04
  Speaker 1: But but they open up a lot of doors to
• 2:55:07
  Speaker 1: have conversations about a lot of different avenues and areas
• 2:55:12
  Speaker 1: and things that came about in conjunction with those movies.
• 2:55:15
  Speaker 1: And then we also talk about those movies.
• 2:55:17
  Speaker 2: Sorry, we don't recap the movie completely. If you want that,
• 2:55:20
  Speaker 2: Chris Stuckman is on you. And yeah, like rate and
• 2:55:25
  Speaker 2: review this show on iTunes, then Spotify in that order
• 2:55:28
  Speaker 2: that helps the most. Head on over to patreon.com slash
• 2:55:32
  Speaker 2: culturecast if you want to kick a couple dollars my way.
• 2:55:35
  Speaker 1: Every little bit helps.
• 2:55:36
  Speaker 2: But more importantly, just like, rate and review this show,
• 2:55:40
  Speaker 2: Brian's show, any of the weirding way media shows that
• 2:55:42
  Speaker 2: you listen to on iTunes and then Spotify.
• 2:55:46
  Speaker 1: Yeah.
• 2:55:47
  Speaker 2: And make sure to come back for the next time
• 2:55:48
  Speaker 2: that Brian and I do a crossover where we talk
• 2:55:50
  Speaker 2: about Chris Hansen, the pedo slayer.