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In a Violent Nature · Citizen Frame

• 0:00
  Music.
• 0:20
  This man, he... Foucault, you don't know what you just did, okay?
• 0:25
  That's his mother's necklace. It's the only thing holding his soul at rest.
• 0:28
  Okay, fine. Then we'll just give it back. You can't just give it back. He's awake now.
• 0:33
  He's awake. He's going to be coming for all of us. We have... There he is.
• 0:39
  Hello, everyone. Welcome back to another exciting episode of Citizen Frame.
• 0:45
  Today, we are peppering in a new release. Spoiler field, new release, people.
• 0:51
  There's not much of a spoil here. There's not much of a plot.
• 0:54
  It is a slasher film at the end of the day, but it's a special kind of slasher film.
• 1:00
  As you all know that I love my slasher genre.
• 1:04
  Don't care how bad it is. Don't care if it's Tubi. Don't care if it's a Hulu.
• 1:08
  Don't care if it's a video on demand.
• 1:09
  Don't care if it's a B movie, a D movie, a C movie.
• 1:13
  If it's a slasher film, I'm going to see it. or either pretty much enjoy it, no matter what.
• 1:22
  So, why genuine question what attracts you to the slicer genre?
• 1:27
  Genuine question, I'm not like raking about or anything. Is this a genuine question?
• 1:33
  Yeah, 100%. I'm just kidding. I'm not taking this. I don't know.
• 1:38
  I think it's because I think I remember spending my summers as a kid when we
• 1:44
  had sleepovers with your friends and stuff and we'd always go to the horror wall.
• 1:49
  When you're a kid, that's your go-to is the horror.
• 1:52
  Yep, 100%. And the video shop. My go-tos have always been Halloween,
• 1:56
  Friday the 13th, prom night.
• 1:58
  I remember seeing prom night for the first, and they're all slashers, Terra Train.
• 2:02
  I was quickly a Jim Lee fan.
• 2:04
  It was always the go-to. I don't know why. It just always has been.
• 2:09
  I'll always have a soft spot for the Friday the 13th, not the Freddy's,
• 2:13
  but really because of, of nostalgia reasons, you know, grew up with them.
• 2:17
  See, I don't think Freddy's a slasher.
• 2:19
  I know, but it's, you're so, yes, I know what you're saying.
• 2:22
  He's not really a masked sort of. Yeah, to me, a slasher, even Friday the 13th
• 2:27
  was no longer a slasher after four.
• 2:30
  Yeah, no. To me, a slasher is a real person behind a mask.
• 2:36
  Going after you. So I don't think people really realize there's different sub genres in horror.
• 2:41
  Slasher isn't, you know, every horror film. It's. The first Nightmare on Elm
• 2:46
  Street is definitely not a slasher.
• 2:48
  None of them are. Nightmare on Elm Street is a fantasy horror.
• 2:51
  Yeah. No, slasher is reality, believe it or not, of a madman or a woman going
• 3:00
  after somebody and killing them. What makes it horror is you put a mask on them.
• 3:06
  Yeah. Once you do that, you're giving it a slight fantasy element.
• 3:11
  So that turns the crime drama as it would be or a crime thriller into a slasher
• 3:18
  and the body count and the cliches of, you know, teen, teeny boppers and virgins and shit.
• 3:26
  Yeah. Drink and all that sort of thing. Don't take drugs. Don't have sex.
• 3:29
  But yeah, I, yeah, slasher films get passes from me.
• 3:34
  They're my guilty pleasures. Most slasher films are terrible,
• 3:36
  but you, but when it comes to the genre, the first four Friday 13s,
• 3:43
  we all know how you feel about the Halloweens and the Scream.
• 3:46
  They have, quite frankly, some of the most successful franchises in the biz.
• 3:51
  I enjoyed the recent Eli Roth one. Thanksgiving. Yeah, Thanksgiving,
• 3:54
  which we recently talked about.
• 3:56
  There's another one we might get to. I think we might put it up for Halloween
• 3:59
  month. It's called Founders Day.
• 4:02
  Yes, I've heard of it. It's not bad, guys. Not bad. Check it out.
• 4:06
  I might put that in for our Halloween one.
• 4:08
  But another, you know, I know what you did last summer is the Urban Legends.
• 4:13
  It's just, and a lot of them are smarter than the people think.
• 4:17
  They're fun whodunits, you know. They all have that Agatha Christie kind of
• 4:22
  feel to them and the gore.
• 4:24
  Yeah, the first two screams, and I suppose the first Friday that they're paint,
• 4:29
  and yeah, I mean, obviously Halloween's a classic, so it is,
• 4:32
  you know. With that being said...
• 4:36
  They're being chimed out a lot now on Tubi, which is not a bad little network,
• 4:41
  but they do a lot of independent, their own little direct.
• 4:43
  Yeah, just pumping them out. They're almost like Lifetime movies, but they're a slasher.
• 4:48
  But they're not bad. They're still violent and stuff. They're not like,
• 4:51
  you know, but they're not great either.
• 4:54
  Yeah. Axe, of course, as well, is a slasher. Yeah. Axe will be a slasher.
• 4:58
  But anyways, my point is that you don't see a lot of slashers going to the cinema anymore.
• 5:04
  Founders Day went on for a little bit. You had obviously X and Thanksgiving
• 5:08
  both did well in the cinema and the screams, of course, and of course the screen franchise,
• 5:15
  but it's, but when they do come out, it's still going to be the same formerly basic, basic story.
• 5:23
  But this one does something a little different.
• 5:28
  And what I really appreciate what
• 5:32
  this filmmaker did was he obviously
• 5:36
  turned the tables by the point of view of the killer which
• 5:39
  we've had snippets of that with halloween peeping tom and
• 5:43
  black christmas and so forth there there's an episode of the x-files actually
• 5:47
  does it where it's taken from the point of view of the monster of the week but
• 5:51
  yeah i mean it's been done before yeah but in small doses or no one's even seen
• 5:56
  them so this whole film is kind of geared around the day in the life of Jason Voorhees,
• 6:03
  Henry Portrait of a serial killer, it's from the point of view as well of the killers yeah and.
• 6:11
  It's got some issues of course, it's independent but this filmmaker Chris Nash,
• 6:17
  he's an effects artist by trade, he does a lot of that comes across here,
• 6:21
  yeah he does a lot of short films,
• 6:24
  this is his first really big outing and for him to do this and just it's it
• 6:30
  gets a lot of things right and,
• 6:34
  it's and the the main thing is
• 6:37
  the sound and the camera work it's trust me guys because it's the point of view
• 6:43
  of the killer it's not through the eyes it's behind them all right or it might
• 6:47
  pan around them and you'll get some cutaways to the other campers but it's really
• 6:52
  not about them it's It's about him and it's cameras following behind them. Basically.
• 6:57
  There's no, for a lot of it, there's no Blair witch style here. It's all steady canned.
• 7:03
  So don't worry about, Oh God, I hate found footage kind of stuff.
• 7:07
  It's not, it's some great cinematography here. Some shot in Ontario. Yeah. It's quite a bit.
• 7:13
  Yeah. Yeah. Shot in Canada, Ontario. Yeah. Yep. Yep.
• 7:19
  Let's just jump into it. Chris Nash. Yep. And In A Violent Nature.
• 7:24
  Is it In Violent Nature or In A Violent Nature? In A Violent.
• 7:27
  In A Violent Nature. I don't know. My brain freeze there.
• 7:31
  So we got a bunch of characters. We don't need the other names.
• 7:36
  The only one we care about is Johnny, which is played by the big man himself, Rye Barrett.
• 7:42
  Yes. He's a big fucker. Yeah, he's a stuntman or something that has his typical
• 7:46
  horse slicers to hire a stuntman to play the killer. Yeah, I don't think he
• 7:49
  was. I think he's always played.
• 7:51
  Well, he plays like big monsters and stuff. Yeah, yeah, I'm sure he was.
• 7:55
  He's like rent-a-big-guy, basically. Yeah, he'd be a big fucker.
• 7:59
  But he is built a lot like Kane Hodder. Very broad. Oh, totally. Very broad.
• 8:04
  You could definitely be mirrored this character around Jason,
• 8:07
  especially when he revealed the face.
• 8:11
  100%. This is Jason Voorhees with a fireman's mask on.
• 8:15
  This is Jason Voorhees. This is, well, the basic story is when a group of teens
• 8:21
  take a locket from a collapsed fire tower in the woods, they unwittingly resurrect
• 8:25
  the rotting corpse of Johnny, eventual spirit spurred by a horrific 60-year-old crime.
• 8:30
  The undead killer soon embarks on a bloody rampage to retrieve the stolen locket.
• 8:35
  Yes. It's a story, quite simple.
• 8:38
  The director, really what he does is the film itself is really about the long
• 8:48
  shot and he has a lot of shots that linger and he does that to misdirect you sometimes.
• 8:55
  He does that to show you a really creepy, different angle of a shot we just
• 9:01
  saw, or he does it maybe one too many times.
• 9:05
  Yeah yeah well what he does i think too many times is
• 9:08
  just scenes of continual walking of the killer a
• 9:11
  bit like a video game you know and i'm not even a gamer but you
• 9:14
  know these video games where you're like basically you're you're you're playing
• 9:19
  a character but you can actually see them in front of you if that makes sense
• 9:22
  it's a bit like that no yeah i know what you're talking i know yeah i know what
• 9:24
  you're like a first person shooter first person shooter kind of thing yeah it
• 9:29
  is it actually is done like that and i i would agree with you i think what he was trying to do...
• 9:35
  Guys, it does linger sometimes a little too much with the walking.
• 9:38
  It becomes a bit tedious.
• 9:40
  It doesn't ruin the film. A,
• 9:43
  I think he was trying to do it because of length to be a film like this.
• 9:48
  A proper feature? Yeah, to be
• 9:49
  a film. You have to have a certain amount of minutes to be a feature film.
• 9:53
  But it doesn't hurt the film. I can see people's complaint going a little too
• 9:59
  long there, but he does make up for it.
• 10:01
  I think it hurts it, but at the same time,
• 10:06
  at first, it's a strange one for me I've only watched this once,
• 10:10
  but I would like to see it again and I will watch it again because I have no
• 10:13
  doubt I'm pretty certain that I will have a different not a different view of
• 10:17
  it, but I will probably appreciate it more.
• 10:19
  But I appreciate what this guy's doing with this experimental type of film.
• 10:24
  Experimental type of slasher. And I very much respect it. I don't think he pulls it off overall.
• 10:31
  That's sick bullshit. Doesn't pull it off. Of course he does pull it off.
• 10:36
  Overall, in some respects he does but not overall for me.
• 10:39
  But again, I might change my mind. We'll talk about it again. Let's tweet some.
• 10:44
  So, yeah. So the resurrection scene is really nice.
• 10:49
  Yes, it's well done. What he does extremely well in this is that he removes a lot of the sounds.
• 10:56
  And the only sound you really have is the sound you get in maybe the woods or
• 11:01
  the forest. And his fucking thumping.
• 11:05
  Practical effects here as well are a big plus point. Well, yeah,
• 11:09
  it's the, it's the heart of the film, really.
• 11:11
  And if that didn't work, this film wouldn't work.
• 11:14
  So his, his competency with how he directed in the crew itself,
• 11:19
  he used brought their a game.
• 11:22
  So, but this resurrection scene is, is just so simple.
• 11:26
  Probably a guy sitting on a little hole and he's doing legal action,
• 11:30
  but the way he shoots it and the hands coming out and the dead rotted leaves.
• 11:36
  Leaves johnny coming from his grave it's it's
• 11:40
  not flashy but no that's
• 11:43
  what works yeah it's more grounded and it
• 11:47
  feels actually it's not over the top spectacular or dramatic it actually feels
• 11:52
  like the way if someone was to like to pull themselves out of a shallow grave
• 11:58
  after being buried there for so many years or whatever it actually feels hard
• 12:01
  to probably it It feels rough and raw and how it would probably happen in reality.
• 12:05
  I mean, I'm going to happen. Yes, that's exactly right.
• 12:08
  Even the, the old tower of this, see Johnny was killed.
• 12:13
  By. He was pushed off it. By, yeah, some assholes in town because he wasn't.
• 12:18
  He had learning difficulties. Learning difficulties. And so that's pretty much his burial ground.
• 12:25
  And which is again, going back piggybacking on the Friday 13th, you know, so did Jason.
• 12:32
  And he was slightly deformed, Jason. Yeah.
• 12:35
  So it, there's some, it does, it plays, it almost plays like a snuff film without it being a snuff film.
• 12:48
  Trust me, if you guys know what I'm talking about, you'll, once you see it,
• 12:51
  you'll know what I'm talking about.
• 12:54
  So he, when he gets up and when he's walking through the woods and what he does
• 12:58
  to show time is this, he shows you the edits,
• 13:01
  like he'll be walking through the woods and he'll He'll do a quick cut and he's
• 13:05
  in, you can, you can tell he's clearly in another area of the woods to show how, how he walks and.
• 13:11
  Or there'll be a change in the sort of, you know, it's like.
• 13:14
  Day to night. Night is starting to fall. Yeah. Yeah.
• 13:17
  And so the first place he goes is he's walking, you see all these traps and stuff.
• 13:22
  And again, another nice thing he does, he, he does plant the seed where this
• 13:28
  guy's doing a little hunting by setting these traps for these animals,
• 13:32
  which you're not allowed to do. Obviously animal cruelty,
• 13:35
  So he's going to this person's house first. Now the first, the first we find
• 13:39
  out we see him from a distance. And then another thing that really works is the sound guys.
• 13:43
  Cause these guys are a distance far away, but you can clearly hear what they're
• 13:47
  saying. Cause we have to hear what they're saying.
• 13:49
  It's the ranger who will be introduced to later telling this older man, fucking trailer trash.
• 13:55
  You can't leave these traps here. You'll be arrested. Get rid of these traps.
• 13:59
  Now he's having an argument with him. He's this old school bigot.
• 14:04
  And the ranger leaves. And he just starts walking.
• 14:07
  And I love these long walks because you know he's about to do something.
• 14:13
  So you go with these walks. And that's why the longevity of the walks do work for me most of the time.
• 14:19
  And he just, one long shot of him walking to this guy's house,
• 14:23
  walks into this guy's house, we see his locket, another locket.
• 14:27
  And that locket was the one his father had.
• 14:29
  This man that's in this, the reason he's in this man's house is because this
• 14:33
  is the man who killed his father.
• 14:35
  Yes and he tried to get the Well is he cause Or is he like maybe the son of
• 14:40
  him Because don't forget the original events of this Happened in the 1950s Yeah
• 14:45
  but this is 60 years ago So he probably would have been He's in his teens.
• 14:50
  He's about 80 years old this gold dude But Cause he finds his dad's locket Cause
• 14:57
  he has that little flashback And obviously the old man comes in What the fuck
• 15:01
  And tries to shoot him Now,
• 15:04
  we always make fun of the films where Jason's walking, right?
• 15:10
  And they're running. Well, how the fuck's Jason catching up? Yeah, exactly.
• 15:13
  Well, but here, this film does kind of show you how it works.
• 15:20
  Because you got this guy running at full speed as best he can.
• 15:23
  Now, the trap, obviously, that's more of an ironic twist for his death.
• 15:29
  But when he's walking, he just has these long fucking steps and he almost could
• 15:35
  be running. He just doesn't have to.
• 15:37
  And the way he paces, it shows that he could actually catch up with someone.
• 15:43
  Maybe if someone was more athletic, there'd be a problem. Yeah.
• 15:46
  Well, it's an old horror trope anyway. I mean, Frankenstein's monster,
• 15:49
  you know, zombies, the old school Romero zombies, they always caught up with you. Yeah.
• 15:53
  But at least they're sort of playing with it a bit here. You know?
• 15:56
  Yeah. Yeah, and they have a, when he's going to grab a locket,
• 15:59
  his father's locket, before he's disturbed, you see this nice shot with the
• 16:05
  hand, his hands, his hands all dropped and stuff.
• 16:07
  He's going to grab the locket, obviously the old man, the intervener, and shoots him.
• 16:12
  And that same shot is used when the man's screaming, don't hurt me,
• 16:15
  don't hurt me, and you see his hand going toward his face.
• 16:19
  And then it quickly cuts to his hand. Same shot, but back to the locket.
• 16:24
  And the hand's now all bloodied and gooey because he just tore this man's face off.
• 16:29
  Off screen. Off screen. Yeah. And you didn't need to see it.
• 16:33
  I would like to have seen it. But you didn't need to see it because you know what's just happened.
• 16:38
  Although, in saying that, I mean, it is a bit of a weird mix in that where the
• 16:44
  cutaway from this gruesome death, but I suppose it is.
• 16:47
  But later on you do see in full graphic sort of detail other deaths let's just
• 16:53
  say yeah all you do you go girl and the guy with the rock the guy with the rock is the best.
• 17:01
  I mean some of these were so funny now I had a problem with one of the deaths
• 17:05
  and we'll get to it it's the rangers I thought it was way too fucking long that's
• 17:08
  the scene I had a problem with why do I mind that,
• 17:11
  what effects though we'll get into these here in a second And there is a fucking,
• 17:16
  so when he's walking, doing his, he sees a car coming by and he hears these campfire people.
• 17:24
  Yes. And he knows that they're the ones who took his mother's locket. Yeah.
• 17:31
  It's called the White Pine Slaughter. That was the name of their deaths.
• 17:35
  The original massacre, yes. The original of his death. Yeah.
• 17:40
  And the men who did it were rangers, fire And yes, that's why that's why he
• 17:49
  breaks into the fire rangers to get the mask because that's the mask they would
• 17:54
  have used. Well, that's why he breaks into the fire rangers.
• 17:55
  Like to fight fires back then. Yeah, whatever they used to fight fires back then.
• 17:59
  Yeah. There's what really, really I like about this film.
• 18:07
  It's not just, most of it is behind him.
• 18:10
  But when you see him stop, right, and he's in the woods, and he's about to come
• 18:15
  up to this campfire, and he comes up really close.
• 18:18
  It's not like he's just walking and he's going to go hide behind a big rock
• 18:22
  or something. He's very close to these people.
• 18:25
  But what the camera does, they let the audience know that he can still be seen,
• 18:30
  even though he's this hulking giant, he's only a few feet away.
• 18:33
  The camera then pans to the other side of the fire pit as they're on the campfire.
• 18:40
  And you can see where we were just were behind him, but you can see him in the background.
• 18:45
  Just a faint little shadow.
• 18:47
  Fucking wonderful shot. They even catch it whenever they do the selfie on their phone.
• 18:53
  That's right. As a reference to later on. That's right. And just,
• 18:57
  just, just those are the shots I really love.
• 19:01
  Now he's got some, uh, a shot where, how about when, oh, what's his name?
• 19:09
  What's his name? What's Ethan?
• 19:10
  Ethan. I think Evan, I think his name was when he fucking cuts his head off, half his head.
• 19:16
  He was pretty fucking annoying to be fair. Yeah. He was like basically all of
• 19:20
  them, you know, you're sort of on the side of Johnny here.
• 19:24
  Oh yeah. Yeah. Yeah, you already hated these guys. They already have some infighting.
• 19:28
  They're already kind of obnoxious.
• 19:31
  So you want them to get it. And that's another thing. The dialogue works enough
• 19:35
  for us just to hate these fuckers. We don't need to see any more of them.
• 19:39
  But it also works against it, which we'll come to later on with the final scene.
• 19:43
  While I appreciate it, I think it works against it as well at the end. But go ahead.
• 19:50
  So the girl, there's a scene where, yes, it's Evan. No, it's not there. It's Evan.
• 19:56
  He walks out. He's got his headphones on or something.
• 19:59
  Yes. And he comes around and beheads him. Well, half his head.
• 20:03
  Well, half his head, yeah.
• 20:05
  And these- Good effect. Really good effect. These effects are spot on.
• 20:10
  Top quality practical effects. All practical.
• 20:13
  Yeah. All of it. Yeah. Old school. And I really like- That's one of- Probably
• 20:18
  one of my favorite thing about this, actually.
• 20:20
  Old school practical effects are done really well and realistically.
• 20:23
  When he just grabs Aaron's body and just drags him along and he chucks his hip
• 20:29
  through the ranger station glass just to get it open.
• 20:34
  Just not a carer in the world and just so casual.
• 20:38
  Yeah, he's like a dumb brute. You know what I mean? And it's just like,
• 20:41
  to him, that's just like sort of like an animal, throwing an animal carcass away.
• 20:47
  You know? My favorite, my second favorite shot of the film is the lake.
• 20:53
  But at the same time. Again, 100%, let's call him back to Freddy the 13th.
• 20:58
  I mean, this is Camp Crystal Lake.
• 21:00
  Yeah. No, I mean, that's what, yeah. Yeah. So the scene where he just,
• 21:05
  we see it from, again, his point of view, all the way across the lake,
• 21:08
  we see the girls swimming, whatever.
• 21:10
  And he just walks right into the water until we don't see him anymore.
• 21:14
  And again, the camera just lingers, lingers, lingers.
• 21:19
  And we heard their conversation from across the lake. Cause we can hear it clearly,
• 21:22
  which is a great sound again.
• 21:24
  And one of the girls leaves and it cuts to the other side of the lake.
• 21:28
  Well, now we see her swimming near the dock.
• 21:31
  Yeah. And now she's pulled under.
• 21:35
  And it's just great. Cause you don't know when it's going to happen.
• 21:38
  You don't know how it's going to happen.
• 21:40
  It's a wonderful shot. A hundred percent. However, what I like,
• 21:44
  however, hold me two seconds. Hold me two seconds here.
• 21:47
  However, I think the shot is kind of a wasted opportunity.
• 21:50
  Even though i'm still good i wish
• 21:53
  that the camera stayed on him
• 21:57
  walking and you know he's in the lake he's
• 22:00
  disappeared but i like to see him coming back up on the other side i thought
• 22:05
  that would have been creepy but what i did like about this probably the best
• 22:09
  is that there's a moment where pauses just on the lake for like several beats
• 22:14
  and then her dead body comes up oh yeah once he
• 22:19
  pulls her under you're like where is she where is she and then yeah where's
• 22:23
  the struggle yeah yeah but you don't see the struggle you just but you see the
• 22:27
  aftermath where's her body your dead body just floats to the top and then he
• 22:31
  goes to the other girl who just left there and this
• 22:34
  fucking kill is wow yeah it's brutal will you all done the special effects wise,
• 22:42
  yeah i don't know i'm trying to figure out how he did it but well uh he basically
• 22:48
  puts this hook thing around her head.
• 22:50
  And, but it also goes through her stomach. He goes through her stomach first.
• 22:54
  And he takes the head. Yeah.
• 22:56
  Then the head goes through the stomach, the empty stomach or something.
• 23:01
  Wonderful, wonderful effects. Yes. Period.
• 23:06
  And I do like when he stabs her, she turns around and just looks at him like,
• 23:11
  what the, what the fuck just happened? She's like unaware shock.
• 23:15
  It wasn't like this screaming or she's, She just takes a hit and just,
• 23:20
  what the fuck just happened? Kind of creepy, actually.
• 23:25
  But the kill is so overkill. It kind of, you know, you kind of miss the moment.
• 23:29
  It's completely over the top. Oh, God, yeah. It is.
• 23:34
  But again, I think it's more that this kill is more not even for the dramatic
• 23:39
  effect of the kill itself, but more as a special effects showcase.
• 23:43
  You know, it's like, look what we can do. Again, not because it is great effects,
• 23:48
  practical effects, but this is more memorable.
• 23:51
  This scene for the effects, as opposed to the actual shock and the dramatic
• 23:55
  effect of the kill itself.
• 23:57
  Does that make sense? Well, you got to realize these guys are effects artists.
• 24:01
  So yeah, at the end of the day, they got to put their craft in.
• 24:04
  There, but yeah, it's, it's pretty brutal. And then you've got this, this moment.
• 24:11
  Um, this is my favorite shot. There's a lot, I actually have a lot of favorite
• 24:14
  shots in this film and it's where.
• 24:17
  These two assholes are fighting and they throw the car keys and he, he sees this car keys,
• 24:24
  he picks them up and he, he sits down and it calms him because all it is,
• 24:29
  is this little pink car and he's so enthralled with this pink car because he's
• 24:34
  a child at the end of the day. Yeah.
• 24:36
  And so he's sitting there playing with it and there's a quick focus shot in
• 24:41
  this one scene that is so fucking brilliant and just creepy.
• 24:48
  Now his face is all blurred at this point. You don't really,
• 24:51
  cause he took off his mask.
• 24:52
  He's playing with the little, the key and he takes his mask off and his face
• 24:57
  is all blurred, but you can see, but you can see the car perfectly.
• 25:00
  It's in focus and he's playing with it and And you don't see it coming.
• 25:04
  You don't think it's coming because you never reveal the killer's face until
• 25:07
  the ending final shot of the film usually.
• 25:09
  So that's always a slasher cliche.
• 25:12
  But this one they don't. They quickly focus out of the pink car and show you
• 25:17
  his face without even a hesitation.
• 25:20
  And it's great makeup. Yeah, it is. And it creeps you out because you didn't expect it.
• 25:26
  You didn't expect it. So they removed that cliche. And it's actually a really
• 25:31
  nice scene about Johnny and where his mind really is. Yeah, it's a child.
• 25:36
  This is where the audience becomes sympathetic with Johnny.
• 25:40
  Like, you know, Jason, to a certain extent, you know, where he was drowned and stuff, you know.
• 25:46
  So this is where you have the sympathy with Johnny whenever you see him just
• 25:50
  like a child playing with a toy car.
• 25:51
  Yeah. Oh, it was good stuff.
• 25:55
  Then that follows up with the other two, they start realizing the two girls
• 26:02
  are dead or something's going on. So they go to the ranger's office.
• 26:05
  There's a shot where he goes, Johnny, even though he's a childlike mentality,
• 26:11
  it's got some sense because he's, he puts that, that branch in the car horn
• 26:15
  to get them out of the cabin to see who he was playing with our car.
• 26:19
  Yeah. And there's a nice little shot where you You follow him around the cabin
• 26:24
  and there's a shot of a window that he walks past.
• 26:28
  Because what he's doing, he's walking around the cabin and he's going to ambush
• 26:31
  the person who comes out to the car.
• 26:33
  Is he just reflection? No, it's not his reflection, but people thought it was.
• 26:38
  It's the other guy in the cabin he wasn't expecting.
• 26:41
  He walks past the cabin window and it's one of the guys, one of his buddies.
• 26:46
  So he doesn't see him. He doesn't know he's there. So it's a little mistake there by Johnny.
• 26:54
  It's just It's a creepy shot too Because you didn't expect to see somebody in
• 26:58
  the window Because it's almost a jump scare Even though the person you're jumping from You go ooh,
• 27:05
  He's not a villain he's just Well he's about to be a victim Mm-hmm.
• 27:11
  The ranger death thing comes up around this time. Yeah, this is,
• 27:14
  these two guys are the ones you get it with, you know, the hatchet and the leg.
• 27:20
  That's right. And then I love how, you know, you see it off camera.
• 27:23
  He just chucks the hatchet.
• 27:26
  Yeah. And then you turn and he's got, his buddy's got the hatchet in his head
• 27:30
  and then he just takes the rock and crushes his head.
• 27:32
  Yeah. Those two are annoying as fuck. So I'm glad they- No, none of them are.
• 27:36
  Well, they all are. I would say all of the teenagers here are,
• 27:41
  Our bog standard annoying things, you know?
• 27:44
  Yeah, we got the ranger station here. And you can hear them,
• 27:48
  he's talking to the two survivors and he's telling them, you took the necklace,
• 27:52
  you took the, well, you're fucked.
• 27:54
  He's up now. He wants that back, you're fucked. And then the ranger obviously-
• 28:00
  Why didn't they just give him a back?
• 28:02
  I don't- At this point? He said that nothing you can do, he's up.
• 28:05
  So I think the girl did it in the ending as the last resort.
• 28:11
  Yes and it we find out it works but this ranger
• 28:14
  death he ends up paralyzing him because he
• 28:17
  was going to use the same the same stuff on johnny but
• 28:20
  obviously gets turned and he puts in he injects the ranger with it so he's still
• 28:25
  alive but he cuts his head off and his arm is like fuck me it's you know what
• 28:30
  you know it's really good now it's this is elongated and it is dragged out and
• 28:34
  it does go on too long a little too long a little too long but you know what
• 28:37
  you know what again Again,
• 28:37
  it's another showcase of the special effects because you're really it's like a magic trick.
• 28:42
  A lot of these effects we are trying to see were they swap the dummy with the
• 28:49
  real body, the real person.
• 28:51
  So yes, they're like magic tricks and it's very hard to catch so it is to be fair to them. Yeah.
• 29:01
  When one of the guys One of the guys turns, he goes, hey, fucker.
• 29:08
  And he puts the ax in his face.
• 29:10
  Great death. And he starts whacking on the face for like four hours.
• 29:14
  And you have the survivor. She's just sitting there and she's watching him whack on his face.
• 29:20
  So that's where she decides instead of setting the bear trap and they're going
• 29:24
  to set the bear trap and set him on fire or whatever.
• 29:26
  She decides to take the chance and put the necklace by the canister so he'd
• 29:33
  see it. And then she runs away.
• 29:36
  It ends up working on her behalf.
• 29:38
  This is Chris, I believe. Chris is the female survivor.
• 29:43
  Yeah, the final girl. The final girl. And then she's picked up later by the older woman.
• 29:49
  Who is nice to see. That's Vicky from Friday the 13th part two.
• 29:53
  Friday the 13th part two, yeah. Yeah, good honor. I'd like to see her.
• 29:57
  This is an important scene I want to talk about, the final scene.
• 29:59
  This is the scene I wanted to talk about, yes. Yes.
• 30:03
  The scene works in a couple of ways, but there's one flaw, which the scene really
• 30:09
  would have sold me. Okay. Yep.
• 30:12
  The one flaw, I'll get this out of the way now, and it's kind of,
• 30:15
  it's a double-edged sword.
• 30:17
  I'm kind of glad he went this way, but like I mentioned at the beginning of
• 30:20
  the podcast, he doesn't focus on the campers. to have the focus on Johnny.
• 30:26
  But by not focusing on at least her as one of the campers and really liking
• 30:31
  her, even something to give us some kind of, you relate to her,
• 30:36
  you had to do something, the scene kind of doesn't work.
• 30:39
  You beat me to it. I was going to say the exact same thing. Actually,
• 30:43
  you have no empathy or sympathy with her.
• 30:45
  You don't care because you just do not know enough about her.
• 30:48
  So you neither really care whether
• 30:51
  she lives or dies because we are not invested enough in her as a character so
• 30:57
  yeah totally agree that's actually what i was going to say and that's what while
• 31:00
  i like this experimental sort of way of doing the finale i greatly appreciate
• 31:05
  it again i think this is one of one of the things here that.
• 31:10
  It's a strange one because i do appreciate what they're trying to do but at
• 31:13
  the same time i don't think they pull it off because of the reasons we've just
• 31:16
  given well they do still pull it off I think it would have been a lot more effective
• 31:20
  if they did give her a little more sympathetic,
• 31:23
  you know, make her a little more sympathetic like even have her a phone call
• 31:26
  even have her make a phone call he can hear it and her mom's dying or something give her something,
• 31:32
  to make this, want this character to get away yeah, even when she's in the car she doesn't, she says,
• 31:38
  very little obviously, she's in shock and stuff so we don't even get much from
• 31:42
  her in the car in this final scene the talk one's more by Vicky from Friday
• 31:46
  the 13th 2 Yeah, and I liked her in that too.
• 31:50
  That's what works for me. I like the fact she tells her this bear story.
• 31:54
  I really like the tension of this scene because you don't know who she is.
• 31:58
  The older woman, I thought it was going to maybe be she was like the sister or something of Johnny.
• 32:03
  I think that's what they were trying to play on. I think you didn't know.
• 32:08
  That's what I'm saying. The scene still works. It would have been masterclass
• 32:11
  if they went a different direction, but it still works because she's telling the story of the bear.
• 32:16
  And I thought she was talking, you know. Or Johnny, a metaphor for Johnny. But it's Johnny.
• 32:21
  They don't know it's the bear. They think it is a bear, but.
• 32:25
  The girl, she... Nah, well, there's a suggestion, though, that she knows fine
• 32:28
  rightly it's Johnny, but she doesn't want to, like, mention it.
• 32:30
  You know what I mean? Yeah, maybe, maybe.
• 32:33
  For me, anyway, there's subtext there where she's saying, yeah,
• 32:35
  she's, like, saying, well, see the serial killer, Johnny?
• 32:38
  Let's just call him a burr. And then she tells the story. But I thought there
• 32:42
  was a lot of great tension in that car scene.
• 32:44
  Yeah, because especially when she goes, I'm going to pull over.
• 32:47
  I'm like, oh, here we go. Yeah, yeah.
• 32:49
  I need to bandage your leg. It's bleeding a little too much.
• 32:53
  Yes, yes. And then there's this long shot of her looking into the woods.
• 32:57
  And what's great about this final shot is, not the final shot,
• 33:02
  but this shot is, I talked about it, how every time you cut away from Johnny,
• 33:06
  we're always looking through the trees to see if we can see his face.
• 33:09
  And I was doing that. I was like, where's Johnny? Oh, yeah, totally.
• 33:12
  Where's Johnny? But it's not. And I know the audience is doing that.
• 33:15
  You know what I mean? This is all intentional.
• 33:17
  And you know what? I'm going to go even further. and i'm going to
• 33:19
  suggest that that possibly i mean obviously
• 33:22
  i don't know i'm not inside the filmmaker's head that possibly she
• 33:25
  is a relation of johnny's or something and she decided to spur that girl or
• 33:30
  maybe she she was she was going to like she was looking for johnny hoping johnny
• 33:34
  would come out and get the girl but then she realized that johnny wasn't there
• 33:38
  whenever she looks into the trees she knew she knew a lot more than she let
• 33:43
  on let's just say about johnny and
• 33:44
  stuff and uh but then she's seen that johnny was now back at rest again or he
• 33:48
  wasn't there so she decided look nope she's getting off she's not going to be
• 33:52
  killed well yeah because it ends with the lock it's gone from the gas tank that
• 33:57
  she does the uh the lock it on no she knew that that older woman knew a lot
• 34:02
  more than she was letting on and she was playing with her a bit,
• 34:05
  the more I think about it. I don't know. I don't know. But that's the great
• 34:09
  thing. It's left to your own imagination.
• 34:11
  Yeah, I mean, I just, I just, I just.
• 34:15
  Yeah, listen, guys. Like I say, what does hurt this is basically the fact that
• 34:20
  you were not invested enough in the car, but I still really appreciated the
• 34:24
  tension of that car ride.
• 34:26
  Yeah, I can't wait to see what this director can do next with the bigger budget,
• 34:34
  not even a bigger budget. You don't need it.
• 34:36
  Just give him some bigger backing and good marketing and see what he can do.
• 34:42
  I hope he does another slasher film.
• 34:45
  Don't do another. Don't do not. Please, if you're listening to this.
• 34:49
  Don't call me on stream. Do not. No, stop with the mainstream.
• 34:52
  Don't. Just don't do a sequel. We don't want it. We don't need it.
• 34:57
  You told the story. Do not make part in violent nature to the risen or,
• 35:03
  you know. This time it's personal.
• 35:04
  Yeah. Yeah. Just don't, don't, the studio will ask you, don't do it.
• 35:08
  Put this one to bed, move on.
• 35:12
  And then give us another slasher, create somebody else for your,
• 35:15
  you know, from your own imagination.
• 35:18
  And I would love to see him do, you know. And give us more plot.
• 35:22
  There's no, there's no plot here, but. Well, you don't need it. And there is plot.
• 35:26
  Don't say there's no plot. There is a plot, but most slasher films are like
• 35:32
  this. Yes, I know, I know.
• 35:33
  So you can't, you know, fault her for that.
• 35:36
  Well, more characterization as well.
• 35:38
  Yeah, if you're going to focus on Chris at the very end, you needed us to feel
• 35:42
  sorry for her, so we needed a little more.
• 35:44
  Now there is some dialogue between her and I think it's Colt.
• 35:48
  Yes, in the cabin. In the cabin. At the start. Yeah, you get a little bit of
• 35:51
  that, but we needed that one little extra piece to where she is.
• 35:58
  Well, more sympathetic and relatable and the audience are on her side.
• 36:02
  Not just some spoiled brat. Yeah. So, but guys.
• 36:06
  It's interesting. Check it out. This, yeah, this is going to be a smash.
• 36:10
  It's made, I mean, it costs a little, made about, I think 8 million in the US already.
• 36:16
  So it's, it's going to find its niche and definitely on video on demand and
• 36:20
  people who buy movies will definitely pick it up. If you're a Slash fam guys,
• 36:24
  Guys, you're going to love it, period.
• 36:25
  You're going to love this film. It's interesting.
• 36:28
  It's a really good take on a sub-genre that most of us already adore.
• 36:36
  And it's something different, guys. It's something different.
• 36:38
  Whether you like it or not, at least they did something different.
• 36:43
  Yeah, what they said in the box, it's avant-garde, slicer.
• 36:46
  That's right. There you go, that fancy word he just said.
• 36:51
  Because as you know i'm very fluent in french and you know many different languages,
• 36:55
  I used to be very fluent in drunk or shit talk, but now past that mantel over
• 37:00
  to Ciarán now, he does a shit talk.
• 37:02
  Yeah, you're definitely fluent in bullshit. Is that the?
• 37:07
  All right, guys, we're going to wrap this one up. We are going to return to
• 37:11
  bad cinema, and that's with Street Fighter.
• 37:15
  Yeah. And then we're going to end with Alan Quatermain, and then we're going
• 37:20
  to hit the Twister films with the new one coming out, and Maxine to wrap up
• 37:25
  our little trilogy there.
• 37:27
  And that's all I've got for you. All right, guys, listen, give us a shout at,
• 37:31
  citizenframe underscore podcast on Instagram. And of course, always on Facebook.
• 37:36
  That's all I've got. Anything you need
• 37:37
  to add? No. Well, the new issue of Phantasmagoria is out. Go grab that.
• 37:42
  Issue number 24. Oh, yeah. Apart from that. Yeah. That's out.
• 37:45
  Available throughout the world from Amazon. It's in Technicolor, guys.
• 37:49
  A glorious Technicolor. Our first color interior. Ooh, you know, snazzy.
• 37:56
  Yep. And great reviews of Frogman. Yeah. Who did that? I can't remember. Oh, some genius.
• 38:04
  He's got a lot of avant-garde. Avant-garde. Avant-garde. I don't even know how
• 38:10
  to pronounce the word. I don't even know what it means.
• 38:13
  He's an avant-garde film critic. He likes to critique in an avant-garde manner.
• 38:21
  It's Ciarán. I'll tell you what. But if I write another review for the magazine,
• 38:24
  this is going to be my go-to. I will be backing this film up a hundred times over.
• 38:29
  We'll view this for the next issue. So. There you go. Regular issue.
• 38:34
  Yeah, I love independent cinema, and I love when independent cinema comes out
• 38:38
  with something like this.
• 38:40
  So kudos to Shudder, who purchased it right away, before it even went to Cannes.
• 38:45
  It went to Cannes and everything, and Shudder bought it. Speak French in Cannes?
• 38:49
  They would know what avant-garde means over there. Yeah. Is that right?
• 38:54
  Well, that's why you brought it. Our French listeners will also know.
• 38:57
  Speaking of listeners Welcome to our We must have a new listener or two In Sweden Greetings Sweden,
• 39:08
  Abba's from Sweden aren't they,
• 39:12
  Sorry who Abba Maybe it's Abba Maybe Abba likes us Dolph Lundgren Dolph Swedish
• 39:20
  I thought he's Danish No he's Swedish,
• 39:25
  I'm almost certain he's Swedish No, he's not. So, hello, Dolph. No, he's not.
• 39:31
  I'm near certain he is. Hold on, hold on. Dolph Lundgren.
• 39:36
  Yeah. Oh, he is Swedish. Thank you. Again.
• 39:40
  Well, at least I'm admitting it. I'm not just trying to, you know.
• 39:42
  Well, you can't deny it. He's from Spanga, Sweden.
• 39:47
  Right. So, hello, Dolph. Oh, my God. Maybe Dolph's downloading us.
• 39:51
  Oh, shit. I hope he doesn't hear our Masters of the Universe podcast.
• 39:54
  Listen, I loved He-Man. He hated it. He was a jerk. He said you couldn't act.
• 39:59
  Dolph, you were brilliant in it.
• 40:01
  Dolph, you were fantastic in it.
• 40:04
  See, should have got the Oscar. Yeah, I love you, Dolph.
• 40:08
  Don't come over to Belfast and beat me up, please. The fucker's like almost
• 40:12
  70 and he looks fucking fantastic.
• 40:14
  Yeah, yeah. Don't come over to Belfast and break us like you did with the Apollo Creed.
• 40:19
  I must break you. Yeah. Go for it.
• 40:25
  All right, guys. Thanks for joining us and we'll see you next time.
• 40:28
  Music.