Latest / The Kulturecast / The Bride! (2026) — "My darlings, a revolution is coming!"

Transcript

The Bride! (2026) — "My darlings, a revolution is coming!" · The Kulturecast

• 0:04
  Speaker 1: Weiry vera.
• 0:45
  Speaker 2: What's my name? I can't remember. I don't want this.
• 0:58
  Speaker 1: I don't want any of it. Frank, It's fine. It's
• 1:02
  Speaker 1: the dead end of revenge.
• 1:08
  Speaker 2: What did you go to the projection booth?
• 1:09
  Speaker 1: Time?
• 1:10
  Speaker 2: Your host Mike White join me once again. Is mister
• 1:12
  Speaker 2: Chris Dasher.
• 1:13
  Speaker 1: Hi, I'm here, I am, I'm here, Mike. I'm ready
• 1:17
  Speaker 1: to talk about films with you. New films, films that
• 1:20
  Speaker 1: have come out this year, which we haven't have we
• 1:23
  Speaker 1: talked about anything else this year.
• 1:25
  Speaker 2: New No, The Bride has brought us back from the grave.
• 1:29
  Speaker 1: Good God in Heaven, it sure has.
• 1:32
  Speaker 2: On this special episode, we are looking at Maggie Jillen
• 1:35
  Speaker 2: Hall's twenty twenty six The Bride, and yes, I said
• 1:38
  Speaker 2: that with an exclamation point, Inspired by Mary Shelley's eighteen
• 1:42
  Speaker 2: eighteen book and James Wales's nineteen thirty five film. The
• 1:45
  Speaker 2: film stars Jesse Buckley as Ida and Mary Shelley herself.
• 1:49
  Speaker 2: You can also call her Penelope where you can call
• 1:51
  Speaker 2: her the Bride, or you can.
• 1:53
  Speaker 1: Call her Hell.
• 1:54
  Speaker 2: You can call her Stacey, Mary, Jo Lisa. But that's
• 1:58
  Speaker 2: not her name. That's not her name.
• 2:00
  Speaker 1: Oh, how you could call her touretts too, if you
• 2:03
  Speaker 1: wanted to call her that as well.
• 2:04
  Speaker 2: We sure are. Yeah, anyway, we are definitely delving into
• 2:08
  Speaker 2: identity and the importance to a woman to own her
• 2:11
  Speaker 2: own name and image, especially in an era where there's
• 2:14
  Speaker 2: an act in Congress, the Safeguard American Voter Elegibility Act,
• 2:19
  Speaker 2: which threatens toudition franchise any woman voter who has ever
• 2:22
  Speaker 2: taken another name in her life. And there I go
• 2:25
  Speaker 2: getting political again.
• 2:27
  Speaker 1: Also all already, Mike House, I would you we've been
• 2:31
  Speaker 1: at this for less than five minutes.
• 2:35
  Speaker 2: Also along for the ride or the dances Christian Bale
• 2:38
  Speaker 2: as Frank aka Frankenstein's Monster aka Dietrich. Though that one
• 2:42
  Speaker 2: might be a joke.
• 2:43
  Speaker 1: I don't know.
• 2:44
  Speaker 2: It's tough to tell to tell jokes from non jokes
• 2:47
  Speaker 2: in this one. The film is brimming with ideas, and
• 2:50
  Speaker 2: we will be sharing some of those and spoiling the
• 2:52
  Speaker 2: film as we go along. So if you don't want
• 2:54
  Speaker 2: anything ruined, please turn out the podcast and come back
• 2:56
  Speaker 2: after you've seen the movie. And if you wait for
• 2:58
  Speaker 2: a couple of days, I have a feeling it's going
• 3:00
  Speaker 2: to be streaming pretty soon. Chris, what were your initial
• 3:04
  Speaker 2: impressions of the Bride.
• 3:06
  Speaker 1: Wow, that was brutal. Mike that streaming suit, Well it's
• 3:14
  Speaker 1: a box office bomb, jinx, you owe me. Well that'll
• 3:19
  Speaker 1: be between me and sounds good. What did I think
• 3:22
  Speaker 1: of a movie that feels intentionally polarizing? One could say, well,
• 3:27
  Speaker 1: this is Maggie Gillenholmes. She's an a tour and she's
• 3:30
  Speaker 1: doing her own thing. And this is written and directed
• 3:33
  Speaker 1: by someone who has a clear vision for things, has
• 3:37
  Speaker 1: an idea for what they want, knows how to achieve
• 3:41
  Speaker 1: what they want, and has gone about it in a
• 3:43
  Speaker 1: way where I mean, look, Maggie Jillenhall, this is her
• 3:47
  Speaker 1: second film that she's direct She directed a short film
• 3:51
  Speaker 1: in two thousand and seven to a short film in
• 3:53
  Speaker 1: twenty sixteen twice and then twenty twenty one The Lost Daughter,
• 3:57
  Speaker 1: and then this is her I mean again, second directorial film.
• 4:01
  Speaker 1: But in a lot of ways, I would say most
• 4:03
  Speaker 1: people this would be their first directed and written Maggie
• 4:06
  Speaker 1: jillen Hall film they're ever seeing. It is a movie
• 4:09
  Speaker 1: unlike a lot of other movies I've ever seen it,
• 4:12
  Speaker 1: both good and bad. I think it has some interesting
• 4:16
  Speaker 1: things going on. I think it has some interesting ideas.
• 4:20
  Speaker 1: I'm not sure how well executed it is. I don't
• 4:23
  Speaker 1: know if it's I don't think it's really to say.
• 4:28
  Speaker 1: I don't think it's Maggie Jillen Hall. I think is
• 4:30
  Speaker 1: to not be truthful because I think if you're willing
• 4:33
  Speaker 1: to put directed and written by on the movie, and
• 4:36
  Speaker 1: you're willing to be as forthright as the promotion well
• 4:40
  Speaker 1: materials are for this movie, here comes the motherfucking Bride. Like,
• 4:44
  Speaker 1: all right, guys, this is Pride of Frankenstein movie. I'm
• 4:48
  Speaker 1: not gonna say it's cringe, but it is kind of
• 4:53
  Speaker 1: cringe like it is. I think, on the face of it,
• 4:56
  Speaker 1: the movie is a tad cringey, but that's it reminds
• 4:59
  Speaker 1: me in a lot of ways of when we talked
• 5:01
  Speaker 1: about Joker Mike, Like it's it's a movie that's like
• 5:04
  Speaker 1: it's trying to be a thing, and it's trying really
• 5:07
  Speaker 1: hard to be that thing. And I'm not saying it
• 5:10
  Speaker 1: doesn't achieve that thing. I think there will be people
• 5:12
  Speaker 1: who dress up like this character for years to come,
• 5:15
  Speaker 1: and hot topic will be replete with bride stuff at
• 5:18
  Speaker 1: some point when people reapprise this movie. Because this movie's
• 5:20
  Speaker 1: not a bad movie by any stretch of the imagination.
• 5:23
  Speaker 1: I just think it's totally the movie Maggie Gillenhall wanted
• 5:26
  Speaker 1: to make for good and for bad, and when that's
• 5:29
  Speaker 1: the case, just like Joker, just like so many other
• 5:32
  Speaker 1: writer director films, you take the good with the bad,
• 5:35
  Speaker 1: and sometimes there's more good than bad. I think this
• 5:37
  Speaker 1: movie treads about sixty forty maybe fifty five forty five,
• 5:42
  Speaker 1: but it's I could definitely see, especially with Jesse Buckley's performance,
• 5:46
  Speaker 1: how this movie would be immediately polarizing for literally anyone.
• 5:51
  Speaker 1: And you either get on board with the movie from
• 5:53
  Speaker 1: the moment it opens or you don't. And if you don't,
• 5:57
  Speaker 1: the movie's really not concerned with getting you back on
• 5:59
  Speaker 1: board a point, and there's nothing wrong with that. I
• 6:03
  Speaker 1: do applaud that as a kind of point of matter,
• 6:07
  Speaker 1: which is a director has made a film that they
• 6:09
  Speaker 1: believe in and a film that they clearly wanted to make.
• 6:12
  Speaker 1: But there are parts of this movie that don't resonate
• 6:15
  Speaker 1: with me, and clearly there are parts of this movie
• 6:17
  Speaker 1: that don't resonate with other people. I will say the
• 6:19
  Speaker 1: most unfortunate thing about this movie is the budget was
• 6:22
  Speaker 1: ninety million dollars did you really think a movie like
• 6:26
  Speaker 1: this was gonna make that budget back? For real? It
• 6:30
  Speaker 1: this is a over budgeted art house film in a
• 6:33
  Speaker 1: lot of ways, or an overbudgeted vanity project like this
• 6:37
  Speaker 1: reminds me of toys. It's like, look at all this
• 6:40
  Speaker 1: crazy stuff we can do. But that doesn't translate to
• 6:43
  Speaker 1: people coming to see the movie unfortunately. So I just
• 6:47
  Speaker 1: here at the opening. I think it's an interesting experiment,
• 6:51
  Speaker 1: and I think it's an interesting film, but I don't
• 6:53
  Speaker 1: ultimately think it's the kind of movie that is going
• 6:56
  Speaker 1: to be initially popular. But I do see this movie
• 6:58
  Speaker 1: becoming popular over time, genuinely, and I'm sure you would agree,
• 7:01
  Speaker 1: Like I think this movie's gonna find its audience in
• 7:03
  Speaker 1: the long run, for good and for bad, but I
• 7:06
  Speaker 1: do think it will find it.
• 7:07
  Speaker 2: So I think the movie has definitely already started to
• 7:10
  Speaker 2: find its audience. And it's a real shame when it
• 7:13
  Speaker 2: comes to anything directed by a woman where there's this,
• 7:18
  Speaker 2: it's like twofold. There's there's the bros on the one
• 7:22
  Speaker 2: side that are just like, see a woman can't direct
• 7:25
  Speaker 2: a film, Look at how badly this is doing, YadA YadA, YadA.
• 7:28
  Speaker 2: And then there's the women on the other side that
• 7:32
  Speaker 2: are just like, you know, all you people are just
• 7:34
  Speaker 2: coming to shut down women directed movies and just you
• 7:38
  Speaker 2: come at this and you go, see, it never works,
• 7:40
  Speaker 2: and that's why we don't get money, and that's why
• 7:42
  Speaker 2: we can't do this, and that's why we can't take
• 7:44
  Speaker 2: big swings and all this. And it's like, all right,
• 7:46
  Speaker 2: I'm somewhere in the middle, like I already like on YouTube,
• 7:50
  Speaker 2: you look at the YouTube reviews and like ninety percent
• 7:52
  Speaker 2: of them are thumbnails of confused men with their hands up,
• 7:58
  Speaker 2: going it sucks or it didn't work or what a failure,
• 8:01
  Speaker 2: box office bomb, all these kind of things. Were angry
• 8:04
  Speaker 2: about things, and then you've also got reviewers who are
• 8:08
  Speaker 2: shutting down discourse about the film. Like there's an article
• 8:13
  Speaker 2: that I'm going to quote from by bj Colangelo. The
• 8:17
  Speaker 2: Bride was going to be a box office Sorry, the
• 8:20
  Speaker 2: Bride was never going to be a box office smash.
• 8:22
  Speaker 2: It was always going to be your new favorite movie
• 8:25
  Speaker 2: on slash film. And she said the Bride flop because
• 8:28
  Speaker 2: and this is a quote from the article, the Bride
• 8:30
  Speaker 2: flop because misogyny is alive and well and we've seen
• 8:34
  Speaker 2: time and again with films like Heather's Jawbreaker, Josie and
• 8:37
  Speaker 2: the Pussycats, Jennifer's Body, and Lisa Frankenstein. And I'm surprised
• 8:41
  Speaker 2: she didn't put the Charlie's Angels movie in there too.
• 8:45
  Speaker 2: Movies about ungovernable women that embrace being the most are
• 8:50
  Speaker 2: never rewarded at the box office, yet have the power
• 8:53
  Speaker 2: to completely change the brain chemistry of those who resonate
• 8:56
  Speaker 2: with them. And I'm sorry, but like Jennifer's I know,
• 9:01
  Speaker 2: people always go back and they're just like, Jennifer's Body
• 9:03
  Speaker 2: was so fucking great, and it's like if Sam and
• 9:05
  Speaker 2: Dean Winchester or Moulder and Scully had shown up in
• 9:08
  Speaker 2: that movie, then maybe it would have been somewhat entertaining,
• 9:11
  Speaker 2: but it was just it had no engine to that movie,
• 9:15
  Speaker 2: and it was just like such.
• 9:16
  Speaker 1: A I don't know, you're disappointed twenty sixteen Ghostbusters didn't
• 9:20
  Speaker 1: get mentioned. I don't you understand that they just it's like, no,
• 9:24
  Speaker 1: well that was directed by a man though, so oh right,
• 9:27
  Speaker 1: we're just talking about female directed movies, I think. But yeah,
• 9:31
  Speaker 1: so so she posts this. Bja posts this on Blue
• 9:35
  Speaker 1: Sky with the text that said the Bride was always
• 9:39
  Speaker 1: going to become a barometer film that people used to
• 9:42
  Speaker 1: make judgment calls about someone, rather than actually engaging to
• 9:45
  Speaker 1: learn why they feel the way they do. As such,
• 9:48
  Speaker 1: I know that I should explain myself further, but I
• 9:50
  Speaker 1: would prefer not to. So then I shared it, and
• 9:54
  Speaker 1: I was just like, Okay, you're talking about this film
• 9:56
  Speaker 1: becoming a barometer that people used to make judgment calls
• 9:59
  Speaker 1: about someone. So I played along with that, and I
• 10:02
  Speaker 1: was just like, well, I guess I'm an asshole because
• 10:04
  Speaker 1: I didn't like this movie. So then she wrote back
• 10:08
  Speaker 1: and said, piggybacking off an article about women's anger and
• 10:11
  Speaker 1: the way our industry doesn't finance women filmmakers to become
• 10:15
  Speaker 1: to make big swings or allow a runaway sorry, or
• 10:18
  Speaker 1: allow a runway to try and then judge our views
• 10:22
  Speaker 1: on films as a barometer of our character instead of
• 10:24
  Speaker 1: engaging with us. Is to say, guess I'm an asshole
• 10:28
  Speaker 1: is certainly a choice. And I'm like, what, yeah, you
• 10:31
  Speaker 1: talking about it being a barometer Like It was the
• 10:34
  Speaker 1: strangest interaction I got. Maybe she didn't know where I
• 10:37
  Speaker 1: was coming from, but I was already like, okay, you're
• 10:39
  Speaker 1: just shutting down any sort of discussion about this stuff.
• 10:42
  Speaker 2: So I'm like, it's okay.
• 10:43
  Speaker 1: There was a point where bj Colangelo was disenfranchising bisexual
• 10:47
  Speaker 1: people on Twitter and saying we didn't exist, which which
• 10:50
  Speaker 1: was super great. So I think both you and I
• 10:53
  Speaker 1: probably have lost any opportunity to do any sort of
• 10:56
  Speaker 1: work with some DVD extra work. But that's okay, you
• 11:00
  Speaker 1: know what they say. I tend to rather have an
• 11:03
  Speaker 1: open discourse about things, and not liking a piece of
• 11:07
  Speaker 1: media does not discount an argument or a conversation to
• 11:12
  Speaker 1: be had. There are much bigger issues right now. Then
• 11:16
  Speaker 1: I didn't like a movie. That's a reason for me
• 11:19
  Speaker 1: to just roast you on the internet. Wait a second here,
• 11:22
  Speaker 1: like do you hear do you hear yourself? I guess?
• 11:28
  Speaker 1: Is my point? Like, and that's the problem here, Like
• 11:30
  Speaker 1: it's it does remind me of Ghostbusters twenty sixteen, because
• 11:33
  Speaker 1: we come back to this idea of like, well, if
• 11:35
  Speaker 1: you didn't like this thing, then you're a certain way
• 11:37
  Speaker 1: and it's like in and look, we're all guilty of it.
• 11:40
  Speaker 1: I you know, like Mike, like you and I even
• 11:42
  Speaker 1: like just because someone is X does not make them
• 11:45
  Speaker 1: why And it is very hard in this day and
• 11:48
  Speaker 1: age to get around that, because there are certain things
• 11:51
  Speaker 1: that if you are X, then you know why is
• 11:54
  Speaker 1: the case. There are certain things that are almost hard
• 11:57
  Speaker 1: to get around that not being the case if X
• 11:59
  Speaker 1: is the way that it is for someone. A movie
• 12:02
  Speaker 1: that comes out that cost hundreds of millions of dollars
• 12:06
  Speaker 1: to make and produce, that doesn't make any money because
• 12:10
  Speaker 1: they didn't know how to promote it or any number
• 12:12
  Speaker 1: of reasons, is not a thing that is a barometer
• 12:15
  Speaker 1: for anything other than, frankly, the success or failure of
• 12:19
  Speaker 1: the studio who released the fucking movie. Thank you very
• 12:22
  Speaker 1: much for coming to my ted talk good night. I
• 12:25
  Speaker 1: don't know why it's anything else, like it doesn't It
• 12:28
  Speaker 1: doesn't even matter, because there is no other reason to
• 12:31
  Speaker 1: call this anything other than a movie that got made
• 12:34
  Speaker 1: that they did not understand what they were making, and
• 12:37
  Speaker 1: they did not read the room about the kinds of
• 12:40
  Speaker 1: people that go see movies like this. People that watch
• 12:43
  Speaker 1: this kind of movie are gonna watch it after it
• 12:45
  Speaker 1: comes out on vod and other places, not in the
• 12:49
  Speaker 1: fucking theaters. And that has willed out once again here.
• 12:52
  Speaker 1: And I'm sorry that it's all it's women director, It's
• 12:55
  Speaker 1: say women directors. This is like fucking Greta Gerwig mid
• 12:58
  Speaker 1: Barbie that she made it hundreds of millions of dollars.
• 13:01
  Speaker 1: So let's not And this is a property, for God's sakes.
• 13:05
  Speaker 1: This is not just you know, Metropolis, for fuck's sake.
• 13:08
  Speaker 1: This is a movie that is based on a pre
• 13:10
  Speaker 1: existing property from eighteen eighteen at the earliest, and nineteen
• 13:15
  Speaker 1: thirty five at what some people would consider the latest.
• 13:18
  Speaker 2: Yeah, no, absolutely, And yeah it's you. You don't like
• 13:21
  Speaker 2: that movie, You're a misogynist. It's like, really, I just
• 13:25
  Speaker 2: thought that all the quef jokes could have been paired
• 13:27
  Speaker 2: back to like, you know, half as many. Maybe I
• 13:30
  Speaker 2: don't know, like.
• 13:31
  Speaker 1: I really enjoyed all the wanton soup jokes. They just
• 13:34
  Speaker 1: kept throwing at us over and over and over again,
• 13:36
  Speaker 1: like I'm I'm I guess I'm sorry that that's not
• 13:39
  Speaker 1: something that I came to see Ghostbusters for. And it
• 13:42
  Speaker 1: wasn't to see men fighting ghosts. I came to see
• 13:44
  Speaker 1: something funny and engaging, and it wasn't right. Yes, I'm
• 13:48
  Speaker 1: not saying because you liked it, you're a certain way,
• 13:51
  Speaker 1: but because I didn't like it, I must be a
• 13:53
  Speaker 1: certain way. How is that remotely an okay thing for
• 13:56
  Speaker 1: anyone to get to at this point in criticism. And
• 14:00
  Speaker 1: like you said, all this does is just shut down
• 14:03
  Speaker 1: criticism more or less completely. I mean, I don't know
• 14:06
  Speaker 1: how else to describe it. But my god, if you're
• 14:08
  Speaker 1: gonna do this, people can't have a discourse about anything.
• 14:11
  Speaker 1: I guess we should just close up shop on the
• 14:13
  Speaker 1: podcast and leave.
• 14:14
  Speaker 2: All right, Well, next time we get together. Wait, wait, no,
• 14:17
  Speaker 2: let's talk about this movie. I've got a lot of
• 14:19
  Speaker 2: thoughts on this. Yeah, this movie has a lot of
• 14:21
  Speaker 2: this movie he too, he too.
• 14:24
  Speaker 1: This movie has a lot. One might say it's replete
• 14:27
  Speaker 1: with them. It has a plethora, a plethora of thoughts.
• 14:32
  Speaker 2: Yeah. It reminds me of when Jeffrey Jones as the
• 14:36
  Speaker 2: Emperor listened to that song by Tom Holse's Amadaeis and
• 14:41
  Speaker 2: he's just like, there's too many notes, you know, just
• 14:44
  Speaker 2: get rid of some of the notes. And I would
• 14:46
  Speaker 2: honestly be okay with them getting rid of some of
• 14:49
  Speaker 2: the notes in here, and some of it. Some of
• 14:51
  Speaker 2: this movie just hits me very hard in the face
• 14:54
  Speaker 2: with just how pretentious it is as far as like
• 14:57
  Speaker 2: we're going to name all these characters after these things
• 15:00
  Speaker 2: try and figure out, and there's certain things where I'm
• 15:02
  Speaker 2: just like, is this supposed to be a reference? Like
• 15:05
  Speaker 2: the mob boss who we meet right up front, who
• 15:08
  Speaker 2: apparently has no friends, who's just kind of sitting there
• 15:10
  Speaker 2: at the bar rather than being with all of his
• 15:12
  Speaker 2: boys and the women and everything. His last name's Lupino,
• 15:16
  Speaker 2: and I'm like, Okay, is this a Lupino or are
• 15:19
  Speaker 2: we doing that? And then of course his whole thing,
• 15:22
  Speaker 2: Lupino's whole thing is he loves to cut out I
• 15:25
  Speaker 2: would say people's tongues, but I think it's exclusively women.
• 15:28
  Speaker 2: I think he loves to cut off women's tongues. And
• 15:31
  Speaker 2: that is just so heavy handed when it comes to
• 15:33
  Speaker 2: the oh see, he's silencing women. He is literally silencing
• 15:39
  Speaker 2: women by cutting out their tongues. And it's just like,
• 15:42
  Speaker 2: so many of these things are so heavy handed. I'm like, oh, okay,
• 15:46
  Speaker 2: it feels like, I mean, the movie is very much
• 15:50
  Speaker 2: a fairy tale, so I can't, you know, jump to
• 15:53
  Speaker 2: any sort of logic as far as like, oh, well,
• 15:55
  Speaker 2: Frank talks doctor Euphronius into you know, how him out
• 16:00
  Speaker 2: pretty easily. There's not a whole lot of discussion here.
• 16:03
  Speaker 2: Not a lot of moral quandary when it comes to this.
• 16:06
  Speaker 1: And yeah, it's it's a doctor Euphonium.
• 16:10
  Speaker 2: Oh sorry, yes, who obviously is based off of the
• 16:13
  Speaker 2: doctor Pretorius who was in Brida Frankenstein, the incredibly gay
• 16:18
  Speaker 2: actor that played him. And I kept thinking that there
• 16:20
  Speaker 2: was like a relationship between Annett Bennings character Euphronius and
• 16:25
  Speaker 2: her maid. But then later on she's like, well, I
• 16:28
  Speaker 2: was married and this and this and this. I'm like, oh, okay,
• 16:32
  Speaker 2: any sort of backstory would be good about this doctor
• 16:35
  Speaker 2: and why she knows all this, and like her story
• 16:39
  Speaker 2: about how they she and her husband were doing all
• 16:42
  Speaker 2: these experiments. That sounds really fascinating. I almost would like
• 16:45
  Speaker 2: to watch that movie instead.
• 16:46
  Speaker 1: Well, and that's the thing, it's there's such a like
• 16:50
  Speaker 1: I will give Maggie Gillenhole a lot of credit for
• 16:53
  Speaker 1: creating a very interesting world that I think is very
• 16:57
  Speaker 1: distinct and unique. I mean, the success is that this
• 17:00
  Speaker 1: movie has, I think are balanced directly with the failures
• 17:03
  Speaker 1: that it has, because in a lot of ways, the
• 17:05
  Speaker 1: successes that the film has are the set design and
• 17:09
  Speaker 1: I think just the framework and the idea of Okay,
• 17:12
  Speaker 1: we have Mary Shelley essentially as a demon or a
• 17:15
  Speaker 1: demonic entity or a possessive entity who is possessing this
• 17:20
  Speaker 1: woman's body and again externalizing as Turets in the most
• 17:26
  Speaker 1: I think, if you were to talk about it in
• 17:27
  Speaker 1: modern day terms. But then in the.
• 17:29
  Speaker 2: Film happening two weeks after the BAFTA Awards, the disastrous
• 17:34
  Speaker 2: baft Awards, you know, like, I know, I've seen this
• 17:38
  Speaker 2: type of character before. I know, obviously Ed Norton in
• 17:43
  Speaker 2: Motherless Brooklyn had tourettes, but there are other characters where
• 17:46
  Speaker 2: when they're losing their mind, they just start spouting off
• 17:49
  Speaker 2: these things. And I think Father Malone on Midnight Viewing
• 17:53
  Speaker 2: compared her to a really coked up Robin Williams, which
• 17:58
  Speaker 2: I can totally see.
• 17:59
  Speaker 1: Yeah, I heard him say that, and I would agree,
• 18:02
  Speaker 1: Oh yes, beautiful thing. Oh yes, franky Sysons, Oh yes,
• 18:04
  Speaker 1: beautiful thing. Like okay, all right, chill, just.
• 18:07
  Speaker 2: Weird when she gets into these fits, because they have
• 18:10
  Speaker 2: to tell me.
• 18:10
  Speaker 1: I want to I want to hear what your thoughts
• 18:12
  Speaker 1: are on Jesse Buckley's performance, because I feel like the
• 18:14
  Speaker 1: film lives and dies by how you respond to this,
• 18:19
  Speaker 1: and it's this is not like a oh, from the
• 18:22
  Speaker 1: moment she's on screen, she's like this, like no, you
• 18:25
  Speaker 1: get about five minutes of her not and you get
• 18:28
  Speaker 1: this like I think, very tried, true and frankly lazy
• 18:33
  Speaker 1: character of like, well, she's a sex worker and she's
• 18:36
  Speaker 1: gonna get one over on the big bad mob boss.
• 18:38
  Speaker 1: But you can't do it without the demonic, possessive entity
• 18:40
  Speaker 1: that is Mary Shelley. Like Maggie Chillin'hall I think is
• 18:44
  Speaker 1: it as an eye for things, has an interesting voice
• 18:47
  Speaker 1: and a place that she's coming from. But Maggie Chillenhall
• 18:49
  Speaker 1: needs to learn some subtlety because my god, like it's
• 18:54
  Speaker 1: it's it's like it's like a like someone's first draft
• 18:58
  Speaker 1: of something like han Solo because you're by yourself, like
• 19:02
  Speaker 1: we don't you don't have to hang a lantern on
• 19:04
  Speaker 1: every single thing because it doesn't do a whole lot.
• 19:08
  Speaker 1: And this movie, just because it lacks subtlety, every single
• 19:11
  Speaker 1: kind of Hurrah Women thing it does just kind of
• 19:14
  Speaker 1: comes off very forced and icky. It reminds me a
• 19:19
  Speaker 1: lot of that moment when Hillary Clinton pulled the hot
• 19:22
  Speaker 1: sauce out of her bag and it's just like come on,
• 19:25
  Speaker 1: like you know, the optics of this. I get what
• 19:27
  Speaker 1: you're doing, but like, nobody's gonna see this and not
• 19:30
  Speaker 1: think you're trying really hard. And this movie, this movie
• 19:33
  Speaker 1: doesn't need to try that hard because Maggie Jillenhall clearly
• 19:36
  Speaker 1: knows what she's doing well.
• 19:38
  Speaker 2: I love Jesse Buckley, I right, every time I see
• 19:41
  Speaker 2: her and stuff, I'm just captivated. And she was so
• 19:45
  Speaker 2: good in that season of Fargo. She was probably the
• 19:48
  Speaker 2: best thing in that season of Fargo for me every
• 19:52
  Speaker 2: time I would see her otherwise. And she's one of
• 19:54
  Speaker 2: these actresses even though she's got a very distinct look.
• 19:57
  Speaker 2: When she's not acting, she can try transformed pretty well
• 20:01
  Speaker 2: and turn herself into other people even when.
• 20:04
  Speaker 1: Wit style, I would say yes.
• 20:06
  Speaker 2: Even when she's Mary Shelley, she doesn't look like Jesse Buckley,
• 20:10
  Speaker 2: very very different though. When she speaks as Mary Shelley,
• 20:14
  Speaker 2: she reminds me of Patsy from ab Fab like Patsy
• 20:17
  Speaker 2: with Tourette's, you know, because she she seems drunk more
• 20:20
  Speaker 2: than she seems angry. And this, I guess this whole
• 20:24
  Speaker 2: metaphor is this is the angry voice that lives inside
• 20:28
  Speaker 2: of every woman that a man like me is trying
• 20:30
  Speaker 2: to silence or whatever, and it's just like, you know,
• 20:33
  Speaker 2: oh yeah, with this, like she's found her power and
• 20:35
  Speaker 2: this you know, takes over and yes, she's able to
• 20:38
  Speaker 2: insult the mob boss and all these things and start
• 20:41
  Speaker 2: off this stuff. I mean, it's so weird that, like
• 20:43
  Speaker 2: she isn't even really murdered at the beginning of the film.
• 20:47
  Speaker 2: It's a slip and fall accident. It's like she went
• 20:49
  Speaker 2: to live in Fall School. Yeah, and then of.
• 20:52
  Speaker 1: Course that's why I gotta take a fucking David provoll
• 20:56
  Speaker 1: as Richie Afril slip the Fall School. You want to
• 20:58
  Speaker 1: go slip at full School.
• 21:01
  Speaker 2: And then of course, after she gets reinvigorated by doctor
• 21:05
  Speaker 2: Euphronius and Frank, she's got a severe case of CMA
• 21:10
  Speaker 2: Convenient Movie amnesia, where it's just like, oh, tell me
• 21:13
  Speaker 2: who I am, remake me in your image, guys, and
• 21:17
  Speaker 2: give me.
• 21:17
  Speaker 1: Get it, get it, get it, get it. It's like
• 21:20
  Speaker 1: it's like get it, get it, like someone like poking
• 21:22
  Speaker 1: you at the movie. You're like, get it, get it.
• 21:24
  Speaker 1: See see It's like yeah, it's yeah, very Nolan esque again.
• 21:28
  Speaker 1: It's like you know, like we yeah, well, it's like
• 21:31
  Speaker 1: you're not that you're not being that clever. And I'm
• 21:33
  Speaker 1: not saying I'm that clever, but you're not that clever,
• 21:36
  Speaker 1: Like just you need to cool.
• 21:37
  Speaker 2: It right well, And how obvious is it that frank
• 21:41
  Speaker 2: is an inceell? I mean, in an interview, Christian Bale's like, oh, yeah,
• 21:45
  Speaker 2: he's like a stalker, and I'm like, no, no, he's
• 21:47
  Speaker 2: totally like an inceell. You know, this whole like uh,
• 21:50
  Speaker 2: you know, the male loneliness epidemic. It's like, I know,
• 21:54
  Speaker 2: like he's been alone for what over one hundred years
• 21:57
  Speaker 2: and that's what he goes through Euphronius with And it's like, Okay,
• 22:02
  Speaker 2: that's a that's a choice. I mean, I understand, like
• 22:05
  Speaker 2: the monster quote unquote from Mary Shelley's Frankenstein is one
• 22:10
  Speaker 2: of the most sympathetic people, characters, creatures ever period. Yeah,
• 22:16
  Speaker 2: and this whole like, you know, I'm rejected by everybody.
• 22:20
  Speaker 2: I just you know, no one understands me. I'm trying
• 22:23
  Speaker 2: to learn how to read, and i want to connect
• 22:25
  Speaker 2: with this family and I want this and I want
• 22:28
  Speaker 2: this bride and then Frankenstein fucking aborts his own creature
• 22:33
  Speaker 2: and kills the bride before she can even live. It's
• 22:36
  Speaker 2: just like, ah, you know, like you feel so much
• 22:39
  Speaker 2: for this guy. I feel for this frank Like he
• 22:42
  Speaker 2: just he does seem like an insult, He seems like
• 22:44
  Speaker 2: a weirdo. And when he gets the bride, he just yeah,
• 22:49
  Speaker 2: like oh well no no, he just lies to her
• 22:51
  Speaker 2: and gaslights her the entire time.
• 22:53
  Speaker 1: Which is really uncomfortable.
• 22:56
  Speaker 2: Oh very very gives her a new name, gets a
• 22:59
  Speaker 2: tattoo of her name on him, and it's like wow, okay,
• 23:03
  Speaker 2: yeah again, it's just like very twenty twenty six when
• 23:07
  Speaker 2: it comes to explaining the dynamics of these relationships.
• 23:10
  Speaker 1: Which I guess, you know, it was a very Night's tale, right,
• 23:13
  Speaker 1: Like it's so anachronistic because this movie is taking place
• 23:16
  Speaker 1: in nineteen thirties Chicago, I guess, but not real nineteen
• 23:20
  Speaker 1: thirty Chicago. Nineteen thirty Chicago, where human beings can be
• 23:23
  Speaker 1: reinvigorated or reanimated per the film's language.
• 23:27
  Speaker 2: And everybody seems to know about Frankenstein because like.
• 23:30
  Speaker 1: Well, Frankenstein exists in this world. Yes, that's the other
• 23:32
  Speaker 1: Like this is also slightly meta, and you know we've
• 23:35
  Speaker 1: already commented. Jesse Buckley plays Mary Shelley, so you have
• 23:40
  Speaker 1: Mary Shelley going, Hey, by the way, I wrote the
• 23:42
  Speaker 1: story Frankenstein on a dare, and then I wrote I
• 23:47
  Speaker 1: would have written something else if I hadn't died. Is
• 23:49
  Speaker 1: essentially what she says. This is what that is, which,
• 23:52
  Speaker 1: by the way, can we just can we just talk
• 23:54
  Speaker 1: about that for a second. What a fucking babe, Ruth
• 23:58
  Speaker 1: shot call point to the fucking outfield that you're doing here,
• 24:02
  Speaker 1: Maggie Gillenhall. Frankenstein is taught in schools two children and
• 24:09
  Speaker 1: adults and everyone in between as a story, like you said, Mike,
• 24:13
  Speaker 1: about a lot of things, and one of them is
• 24:15
  Speaker 1: again like the sympathetic nature of the creature at the
• 24:17
  Speaker 1: center of the story. This is not come on like
• 24:22
  Speaker 1: you really like you. It's almost like in an X
• 24:25
  Speaker 1: Men x Men Apocalypse where they're walking out of Return
• 24:29
  Speaker 1: of the Jedi and they're like, the third Ones always suck,
• 24:31
  Speaker 1: and it's like, so as the movie just essentially hanging lantern,
• 24:34
  Speaker 1: the fact that it knows that this movie sucks. This
• 24:36
  Speaker 1: is that situation where I'm like, I don't think there's
• 24:39
  Speaker 1: any universe where this is going to exceed or even
• 24:41
  Speaker 1: be of the same caliber of Frankenstein. Written by Mary Shelley,
• 24:46
  Speaker 1: but you are calling a shot here that I would
• 24:49
  Speaker 1: not be taking ever. And I just it's it's it's
• 24:52
  Speaker 1: a little I don't know. I don't want to say
• 24:54
  Speaker 1: it's a little. It's a little bit of Hubris, but
• 24:57
  Speaker 1: a lot of Frankly, And I just I don't maybe
• 25:00
  Speaker 1: I'm taking it the wrong way, but it would it's
• 25:02
  Speaker 1: off putting regardless of who's doing it, man or woman,
• 25:05
  Speaker 1: Like I just it's just it's very off putting.
• 25:07
  Speaker 2: Yeah, and it is nineteen thirties Chicago, though she speaks
• 25:11
  Speaker 2: with I would say more of a New York accent naturally. Yeah,
• 25:16
  Speaker 2: And she frankly, she sounds a lot like Harley Quinn
• 25:19
  Speaker 2: to me a lot of times.
• 25:20
  Speaker 1: Well, I was gonna say, that's the that's the performance
• 25:23
  Speaker 1: that this reminds me of. Was like at Margot Robbie
• 25:26
  Speaker 1: at her suicide squad, the first one worst, that's this
• 25:30
  Speaker 1: just like manic horseshit.
• 25:32
  Speaker 2: Sometimes, Well, it's interesting because she talks like Margot Robbie's
• 25:36
  Speaker 2: Harley Quinn, but she looks like Lady Gaga is Harley Quinn,
• 25:40
  Speaker 2: Like when she's got her hair all up and she's
• 25:42
  Speaker 2: got the ink on her face and everything.
• 25:45
  Speaker 1: She looks like, oh my god, I forget, right, I mean,
• 25:48
  Speaker 1: I remember it, but I also you forgot about Joking too.
• 25:51
  Speaker 1: I forgot. I forgot, But the same time, I enjoy
• 25:53
  Speaker 1: that movie, but I forgot it was Lady Gaga.
• 25:56
  Speaker 2: The other musical Joker. I mean, because this movie reminds
• 26:00
  Speaker 2: me of Batman so much. I mean, you've got Batman
• 26:03
  Speaker 2: as Frankenstein.
• 26:05
  Speaker 1: It reminds me of Joker a while, like and which
• 26:07
  Speaker 1: is you know again Batman and Jason like it? It
• 26:09
  Speaker 1: feels very and look it's directed by Maggie jillenhol What
• 26:13
  Speaker 1: was Maggie jillenhol doing at one point a fucking Batman movie?
• 26:17
  Speaker 1: Like she replaced Katie Holmes in a Batman movie with
• 26:21
  Speaker 1: Christian Bale, Like you said, well.
• 26:23
  Speaker 2: And then her uh the in that movie?
• 26:27
  Speaker 1: Uh?
• 26:27
  Speaker 2: I think it was that movie. It was either that
• 26:29
  Speaker 2: Win or Dark Knight Rises, because I know we just
• 26:31
  Speaker 2: talked about that one where you've got the Sons of
• 26:34
  Speaker 2: Batman and that whole I don't wear hocky pats those
• 26:37
  Speaker 2: kind of right, Okay, And it's like that whole thing
• 26:42
  Speaker 2: is like to me, the this movement, you know, like, oh,
• 26:46
  Speaker 2: we're going to imitate Batman. We're going to put on
• 26:48
  Speaker 2: the you know, the the suit and everything. We're gonna
• 26:50
  Speaker 2: go out. We're gonna find crime, you know. Or it's
• 26:53
  Speaker 2: like the Ladies and Gentlemen, the Fabulous Stains where everybody
• 26:57
  Speaker 2: dresses up like our main character, like third degree burns.
• 27:01
  Speaker 2: And it's just like it's so to me, this movement
• 27:04
  Speaker 2: that she creates is so unearned, and it's like, what
• 27:08
  Speaker 2: have they done? They killed a cop, they did dance number,
• 27:11
  Speaker 2: but otherwise, like why is she this folk hero?
• 27:14
  Speaker 1: Is several cops?
• 27:15
  Speaker 2: Mike?
• 27:15
  Speaker 1: They give several cops, including a cop played by Lewis
• 27:18
  Speaker 1: can Sell Me and I kid you not. The character's
• 27:21
  Speaker 1: name is Officer good Man. Wow. The subtlety, the just
• 27:26
  Speaker 1: subtle whiffs of we get it. Like it's just if
• 27:29
  Speaker 1: you were trying to be deep, you missed it and
• 27:32
  Speaker 1: you ended up just feeling like that guy who gets
• 27:35
  Speaker 1: high at a college frat party. And it's just like,
• 27:38
  Speaker 1: don't you you just don't understand Zack Snyder's the Justice League.
• 27:42
  Speaker 1: It's just like, you're right, I don't and I'm not
• 27:45
  Speaker 1: here too understand it because there's nothing to understand. I'm
• 27:49
  Speaker 1: not saying this movie is not trying, but I just
• 27:53
  Speaker 1: think you're missing the point kind of over and over
• 27:57
  Speaker 1: and over again, and you keep really trying to make
• 28:00
  Speaker 1: a lot of points, and I'm not sure. I'm not
• 28:03
  Speaker 1: sure it does any of them very well. I think
• 28:05
  Speaker 1: it tries really hard, though, and sometimes trying really hard
• 28:09
  Speaker 1: instead of being something where you're like, yeah, good for you,
• 28:11
  Speaker 1: it kind of seems like you're flailing, and flailing is
• 28:14
  Speaker 1: not something you want to be feeling when you're watching
• 28:17
  Speaker 1: a two hour long Frankenstide movie.
• 28:20
  Speaker 2: Well, so, nineteen thirties. I was trying to figure out
• 28:23
  Speaker 2: exactly what date it would have been. I think it
• 28:26
  Speaker 2: probably is around thirty five thirty six, just from some
• 28:30
  Speaker 2: of the things that are around that time period, because
• 28:33
  Speaker 2: there are some interesting things where it's like, I mean,
• 28:35
  Speaker 2: Putting on the Ritz was from twenty seven, but it
• 28:39
  Speaker 2: was probably still on the charts, you know, different people
• 28:42
  Speaker 2: doing versions of it long before Taco did his, you know,
• 28:46
  Speaker 2: probably the nail in the Coffin version, and of course
• 28:50
  Speaker 2: major oddly young Frankenstein reference. I'm like, what, it's so strange,
• 28:56
  Speaker 2: But so it's nineteen thirties Chicago, But I don't know
• 28:59
  Speaker 2: why it's it's not weymar Germany because when they have
• 29:03
  Speaker 2: the whole thing that takes place in the alleyway, there
• 29:07
  Speaker 2: are posters up behind them that say vymar that's say Data,
• 29:11
  Speaker 2: that's ay Bauhaus, and it's like, why did you not
• 29:14
  Speaker 2: just set that over there? And that also calls to
• 29:16
  Speaker 2: mind like you mentioned Metropolis, which is also the city
• 29:22
  Speaker 2: that Superman is from. But with Metropolis, it's like she
• 29:26
  Speaker 2: is basically Maria, like especially with the blonde hair and
• 29:29
  Speaker 2: the dancing and all that kind of stuff. And Maria
• 29:32
  Speaker 2: was also this automaton who was brought to life, which
• 29:35
  Speaker 2: was kind of like also an early right of Frankenstein
• 29:38
  Speaker 2: type's story. So yeah, it's like we're doing this, but
• 29:41
  Speaker 2: we're not doing that at the same time. And I
• 29:43
  Speaker 2: guess it's also in nineteen thirties because of Bonnie and Clyde.
• 29:47
  Speaker 2: I mean basically they become Bonnie and Clyde.
• 29:50
  Speaker 1: Get it every time. I'm just like, get it, Oh
• 29:53
  Speaker 1: my god, we get it. I like the idea where
• 29:57
  Speaker 1: this movie went. I like the idea of, Okay, we
• 30:00
  Speaker 1: have these two people on the run. Oh there, it's
• 30:03
  Speaker 1: you know again, it's it's misunderstood what happened like it's
• 30:07
  Speaker 1: a misunderstanding in a way, like it was an accident
• 30:09
  Speaker 1: sort of, and then that they kind of traffic in that
• 30:11
  Speaker 1: from the original story of Frankenstein. But for me, I
• 30:16
  Speaker 1: guess I have a hard time seeing them as equals
• 30:18
  Speaker 1: because it doesn't really feel like she has any agency
• 30:21
  Speaker 1: as a character. And that's a thing that the character
• 30:25
  Speaker 1: of Bonnie has in Bonnie and Clyde is she has agency,
• 30:29
  Speaker 1: and Jesse Buckley's bride doesn't have any agency until like
• 30:32
  Speaker 1: less five minutes of the movie.
• 30:34
  Speaker 2: Well, she's about to get raped on the side of
• 30:36
  Speaker 2: the road by.
• 30:37
  Speaker 1: My officer good man.
• 30:38
  Speaker 2: Yeah, and frank finally decides to shoot the guy. I'm like,
• 30:43
  Speaker 2: how long were you going to wait? How long were
• 30:47
  Speaker 2: you watching this new weird creep?
• 30:50
  Speaker 1: Who? By the way, Bail looks very similar to the
• 30:52
  Speaker 1: Frankenstein from Van Helsing. He's got like the head wrap
• 30:55
  Speaker 1: and everything.
• 30:56
  Speaker 2: Yeah, yeah, I like when he wears the scarf over face.
• 31:01
  Speaker 2: That's very dark man, maybe very dark man. I know
• 31:04
  Speaker 2: father alone mentioned the shadow. I'm trying to think for me,
• 31:09
  Speaker 2: it reminded me of the Lodger the Actually I think
• 31:12
  Speaker 2: that was from nineteen twenty seven. Maybe the Hitchcock film,
• 31:15
  Speaker 2: which was kind of a retelling of the Jack the Ripper.
• 31:18
  Speaker 1: Story go one step further. It's very invisible. Man.
• 31:20
  Speaker 2: Oh yeah, I can see that. I can definitely see that.
• 31:23
  Speaker 1: I'm curious because you know, I think for me that
• 31:27
  Speaker 1: you know the thing that obviously Jesse Buckley is the
• 31:31
  Speaker 1: bride to the titular character in them. What did you
• 31:33
  Speaker 1: think of Christian Bale as Frankens, Because I mean, we
• 31:36
  Speaker 1: mentioned that he's in this movie, We've talked about his
• 31:37
  Speaker 1: character a little bit, but what did you think of
• 31:39
  Speaker 1: him in this movie? Because I honestly feel like he
• 31:41
  Speaker 1: kind of gets lost in this movie. The performance is
• 31:44
  Speaker 1: almost like he has to get out of the way,
• 31:47
  Speaker 1: which is to me very hilarious because Christian Bale not
• 31:50
  Speaker 1: an actor known for getting out of the way, not
• 31:53
  Speaker 1: in terms of like because he's some big personality who
• 31:56
  Speaker 1: can't share the screen with people, but he tends to
• 31:58
  Speaker 1: make big choices too, and so when he is opposite
• 32:02
  Speaker 1: someone who I would say is making a rather big,
• 32:04
  Speaker 1: bold choice, it's surprising to me. I don't think you
• 32:07
  Speaker 1: needed Christian Bale in this movie because they kind of
• 32:10
  Speaker 1: don't do anything with him. It's interesting that it's Christian
• 32:13
  Speaker 1: Bale playing Frankenstein. Sure, but the novelty of that wears
• 32:17
  Speaker 1: off rather quickly.
• 32:18
  Speaker 2: It is. Yeah, I didn't even know, so I didn't
• 32:21
  Speaker 2: watch any trailers me either, didn't know anything about this
• 32:25
  Speaker 2: movie coming in. I didn't know Christian Bale was in
• 32:27
  Speaker 2: it until I see him in the movie or maybe
• 32:30
  Speaker 2: in the credits. So yeah, it was. I was very surprised.
• 32:34
  Speaker 2: And then yeah, I was thinking, for whatever reason, I'm like, oh, okay,
• 32:38
  Speaker 2: he's playing Frankenstein. He's gonna have to die pretty early
• 32:42
  Speaker 2: in the movie, because you don't cast an actor of
• 32:46
  Speaker 2: this caliber to just play second Banana. I mean, it's
• 32:50
  Speaker 2: really because he's not. It's not a buddy cop movie.
• 32:52
  Speaker 2: It's not. When I say Bonnie and Clyde, I mean,
• 32:55
  Speaker 2: it's basically Bonnie. You know, she's the one that gets
• 32:58
  Speaker 2: killed in the hail of bullets. He gets an unceremonious headshot.
• 33:02
  Speaker 2: So yeah, it's it's very much it's the Bonnie Barrow story.
• 33:08
  Speaker 2: And yeah, you're right. It's just felt very odd that
• 33:11
  Speaker 2: would like the amount of time a Net Benning is
• 33:14
  Speaker 2: on screen, I felt would have been appropriate for the
• 33:16
  Speaker 2: amount of time that Christian Bale should have been on screen,
• 33:19
  Speaker 2: but yeah, he's just there all the time. And then
• 33:21
  Speaker 2: his whole thing of falling. I mean, the whole movie
• 33:24
  Speaker 2: is about movies, really, like even the thing that brings
• 33:28
  Speaker 2: her back to life, that gives her the spark of life.
• 33:31
  Speaker 2: I believe those are two tungsten rods, which is what
• 33:34
  Speaker 2: used to light you know, the projector back in the
• 33:36
  Speaker 2: old day, and that's why fire would break out the
• 33:39
  Speaker 2: projection quite a bit, you know. And yeah, we see
• 33:43
  Speaker 2: him multiple times at the movies. Even when a Net
• 33:47
  Speaker 2: Benning is like fixing her leg and everything, she kicks
• 33:49
  Speaker 2: him out and he goes to the movies and sees
• 33:51
  Speaker 2: this Ronnie Reid and then you know there's another leg
• 33:54
  Speaker 2: thing in there, because Ronnie Read's got one leg shorter
• 33:57
  Speaker 2: than the other. I really am fascinated by the Ronnie
• 34:00
  Speaker 2: Read character. But before we talk about that, yeah, just him.
• 34:04
  Speaker 2: He disappears into the movies like literally will appear in
• 34:07
  Speaker 2: the movies many times, like as a background dancer, and
• 34:10
  Speaker 2: then he the second time we see him, he is
• 34:13
  Speaker 2: the main He takes over for Ronnie Reid and becomes
• 34:16
  Speaker 2: the main person on screen, which gives Bail some things
• 34:20
  Speaker 2: to do. I've never really seen Bail being a song
• 34:23
  Speaker 2: dance man.
• 34:24
  Speaker 1: But well he was in Newsi's that's true.
• 34:26
  Speaker 2: It's been a while I remember that. Yeah, was that
• 34:29
  Speaker 2: the musical about like while the Jews burn, we sell newspapers?
• 34:34
  Speaker 1: Was that what that was? That's what Bill Pullman saying.
• 34:37
  Speaker 1: I believe that.
• 34:38
  Speaker 2: Okay, yes, it's.
• 34:41
  Speaker 1: You know, Christian Bale is an actor who I have
• 34:43
  Speaker 1: a lot of respect for because I enjoy a lot
• 34:46
  Speaker 1: of the things that he's done, and I think he's
• 34:47
  Speaker 1: a really interesting actor who makes interesting choices. He's also
• 34:50
  Speaker 1: been in a lot of things I really don't resonate with.
• 34:55
  Speaker 1: I was told recently that I excoriated the Dark Knight
• 34:58
  Speaker 1: Rises on your show, which I mean, I don't know
• 35:01
  Speaker 1: if I excoriated it, but I mean, Christian Bale's Batman
• 35:05
  Speaker 1: is not a character I'm a super big fan of,
• 35:07
  Speaker 1: and his version of Frankenstein. If it wasn't being dressed
• 35:12
  Speaker 1: up with the trappings of Frankenstein, it could literally just
• 35:14
  Speaker 1: be anything like it's unfortunate that he's not allowed to
• 35:19
  Speaker 1: make bigger choices that it's not a frank I mean,
• 35:22
  Speaker 1: I'm not saying I wouldn't want to see it. Jesse
• 35:24
  Speaker 1: Buckley story, just don't have him in it this long
• 35:27
  Speaker 1: because he kind of just doesn't need to be there
• 35:29
  Speaker 1: and kinda does get in the way of her character
• 35:32
  Speaker 1: having any agency. It's like the movie gets to the
• 35:34
  Speaker 1: point where it should have gotten at the end of
• 35:37
  Speaker 1: the movie. It should have gone to that point in
• 35:38
  Speaker 1: like the first half hour. It's a fucking two hour movie.
• 35:42
  Speaker 1: And you get to the point where Frankenstein dies in
• 35:44
  Speaker 1: the last ten minutes. What she's still dragging his bleeding
• 35:48
  Speaker 1: corpse into that room at the end of the movie,
• 35:51
  Speaker 1: which means he just died. Like it's It was shocking
• 35:54
  Speaker 1: to me how late into the film Christian Bale is
• 35:57
  Speaker 1: he's in the entire god damn movie.
• 36:00
  Speaker 2: Was shocked.
• 36:01
  Speaker 1: I was shocked because I expected this to be a
• 36:04
  Speaker 1: movie that's a Jesse Buckley movie, not because I watched
• 36:06
  Speaker 1: a bunch of trailers, but because it's called The Bride
• 36:09
  Speaker 1: and she becomes the Bride at the end of the movie.
• 36:11
  Speaker 1: And look, this movie's not getting a sequel, so why
• 36:13
  Speaker 1: didn't you just make this that movie? Make it? Look
• 36:16
  Speaker 1: this is gonna sound dismissive and it's not meant to be.
• 36:19
  Speaker 1: But more I think speaking to how it should have
• 36:23
  Speaker 1: been approached in terms of the way it could have
• 36:24
  Speaker 1: resonated with people. This should have been the women's answer
• 36:27
  Speaker 1: to Joker. Oh yeah, And that's what it was attempting
• 36:30
  Speaker 1: to be. And it failed like miserably because even Joker
• 36:34
  Speaker 1: had some subtlety, didn't that much, but it had a
• 36:37
  Speaker 1: little bit more than.
• 36:37
  Speaker 2: This, probably more in the first movie than the second movie,
• 36:41
  Speaker 2: I would think.
• 36:42
  Speaker 1: I mean, I like the second movie for different reasons.
• 36:44
  Speaker 1: The second movie is a is a tacit rejection of
• 36:47
  Speaker 1: the first movie completely.
• 36:48
  Speaker 2: Oh yeah, but that's what I like about it, yes,
• 36:51
  Speaker 2: so yeah, yeah. It is weird how much this is
• 36:55
  Speaker 2: tangled up in that DC universe with Joker, with her Quinn.
• 37:00
  Speaker 2: I mean, there are moments of this film that reminded
• 37:02
  Speaker 2: me of the fantabulous emancipation of Harley Quinn as well.
• 37:06
  Speaker 2: And I'm just like.
• 37:07
  Speaker 1: Again about I guess there was some cruel and made
• 37:11
  Speaker 1: the white the black and the yeah and the like
• 37:13
  Speaker 1: the I mean again, like not to say like raw
• 37:16
  Speaker 1: raw feminism, but I mean again, like if you're not
• 37:19
  Speaker 1: gonna have something interesting to say, it does just kind
• 37:21
  Speaker 1: of come off as raw, raw feminine.
• 37:23
  Speaker 2: Well, and it was weird that the antagonists in that
• 37:26
  Speaker 2: movie was Another Woman, where I'm just like, why didn't
• 37:28
  Speaker 2: you make the antagonist male, Like, come on, make it
• 37:31
  Speaker 2: a little interesting, you know, I don't know. And then
• 37:33
  Speaker 2: there are parts of this movie that really reminded me
• 37:36
  Speaker 2: of Poor Things. I mean, especially when in the scene
• 37:41
  Speaker 2: after she's brought back to life and drops the coffee
• 37:45
  Speaker 2: cup and all those things. I just was thinking of
• 37:47
  Speaker 2: poor Things, and I was thinking, yeah, that seems Even
• 37:50
  Speaker 2: though overall I don't think I liked Poor Things that much.
• 37:54
  Speaker 2: I felt that one was too long in the tooth,
• 37:57
  Speaker 2: I still felt it was a little bit more interesting.
• 38:00
  Speaker 2: And I really felt that Bella had a lot more
• 38:03
  Speaker 2: agency than this character does, because, yeah, she's just acted upon.
• 38:07
  Speaker 2: She's given these new names. She finally takes her own
• 38:10
  Speaker 2: name at the end, but yeah, the whole thing is
• 38:13
  Speaker 2: just manipulating her.
• 38:15
  Speaker 1: And what's funny is if you go and read like
• 38:18
  Speaker 1: the Wikipedia synopsis for the film, which plenty of people
• 38:21
  Speaker 1: will go and read, it doesn't mention at any point
• 38:23
  Speaker 1: any of the back and forth about her name, the
• 38:26
  Speaker 1: fact that she gets called anything else. They call her
• 38:28
  Speaker 1: the bride throughout the entire synopsis that is not her name,
• 38:32
  Speaker 1: Like this is, you know what this is. This is
• 38:34
  Speaker 1: in a lot of ways like an origin story, the
• 38:36
  Speaker 1: Bride origin story, Like there ain't gonna be a sequel
• 38:39
  Speaker 1: to these We're not getting the Bride too, that is
• 38:41
  Speaker 1: not happening. Like ever, this movie is a bomb, and
• 38:45
  Speaker 1: there is no amount of going to watch it that's
• 38:47
  Speaker 1: going to turn that around. Now again, it will find
• 38:50
  Speaker 1: its audience once it is on physical media, once it
• 38:54
  Speaker 1: is on Blu ray and four K and all those
• 38:57
  Speaker 1: other things, it will find its audience. That's just not
• 39:00
  Speaker 1: right now, because people aren't paying to see this kind
• 39:02
  Speaker 1: of movie in theaters because I'm not even sure they
• 39:04
  Speaker 1: know what this kind of movie is. Because I don't
• 39:06
  Speaker 1: think this movie knows what it is. It's just kind
• 39:09
  Speaker 1: of a bunch of things thrown into a blender and
• 39:11
  Speaker 1: turned onto high and you know the fact that it's
• 39:15
  Speaker 1: spinning really fast is meant to, you know, kind of
• 39:18
  Speaker 1: dissuade from the fact that you're not really saying anything
• 39:21
  Speaker 1: or doing anything that someone else hasn't done already in
• 39:23
  Speaker 1: a much more interesting way. Even if I don't resonate
• 39:26
  Speaker 1: with those movies, at least those movies have something to say.
• 39:28
  Speaker 1: This movie doesn't really feel like it has anything even
• 39:30
  Speaker 1: to say.
• 39:31
  Speaker 2: Christ, do you honestly think that if this movie made
• 39:34
  Speaker 2: three hundred million dollars that they would make a sequel
• 39:37
  Speaker 2: to it?
• 39:37
  Speaker 1: Yeah? Really, yeah? I just think way this equation works out,
• 39:41
  Speaker 1: more money equals let's do another one.
• 39:44
  Speaker 2: I can't see this ever being a sequel. This feels
• 39:47
  Speaker 2: like such a just statement in and of itself that
• 39:50
  Speaker 2: it would never have anything else to say.
• 39:53
  Speaker 1: Yet Joker to fucking exists, Mike, it does. Yeah, yeah,
• 39:58
  Speaker 1: I mean that movie did not need sequel, and yet
• 40:00
  Speaker 1: it got a seep. So I bet if they had said, oh,
• 40:04
  Speaker 1: Maggie Gillenhall, how much money does this movie make? Six
• 40:07
  Speaker 1: hundred million dollars? Half a billion? This is a runaway success.
• 40:11
  Speaker 1: People the bride Manias run a wild Maggie, Will you
• 40:14
  Speaker 1: come to another one that? Yeah, fucking I will. You know.
• 40:18
  Speaker 1: I'm right. It's unfortunate, and I don't think there's anything like.
• 40:21
  Speaker 1: The problem is this movie didn't really do much with
• 40:23
  Speaker 1: the time that it was given two hours, and so
• 40:26
  Speaker 1: I can't imagine what another movie would say other than
• 40:28
  Speaker 1: what this movie has already said, which is not much.
• 40:31
  Speaker 1: Like there's a lot of posturing and not a lot
• 40:33
  Speaker 1: of substance behind it.
• 40:34
  Speaker 2: There's a lot of stuff in here that I just
• 40:36
  Speaker 2: wish they would have explored more, which is weird to
• 40:39
  Speaker 2: say when we're talking about a two hour movie. Right Like,
• 40:42
  Speaker 2: her her broken neck seems to be healed by the
• 40:46
  Speaker 2: reinvigorating process. Her broken leg does not her broken leg.
• 40:50
  Speaker 2: I don't know.
• 40:51
  Speaker 1: That's the representation of the of like the Frankenstein biomechanical, right, Like,
• 40:57
  Speaker 1: that's the way I interpreted it. There was like the
• 40:59
  Speaker 1: very like easy way of introducing that.
• 41:02
  Speaker 2: I guess so, But there's also this whole thing of
• 41:04
  Speaker 2: like they so she doesn't know that she's dead for
• 41:07
  Speaker 2: the longest time in this movie, and when she does
• 41:09
  Speaker 2: find out that she's been brought back to life, she
• 41:12
  Speaker 2: does talk about, you know, the dead do this, the
• 41:15
  Speaker 2: dead do that. And I'm just like, what does Frankenstein
• 41:18
  Speaker 2: feel about being dead? I mean that famous line from
• 41:21
  Speaker 2: the end of The Bride of Frankenstein, We belong dead.
• 41:24
  Speaker 2: It's like he is a dead person brought back to life.
• 41:27
  Speaker 2: She is as well. What is their feeling of being
• 41:30
  Speaker 2: around these humans? Basically these living beings, the ones who
• 41:33
  Speaker 2: are born with souls? You know, it's it's like, do
• 41:37
  Speaker 2: they heal? If they fuck? Could she get pregnant? Like
• 41:41
  Speaker 2: I'm curious, Like, you know, he pulls out some staples
• 41:44
  Speaker 2: at one point, He's got some open wounds on him,
• 41:46
  Speaker 2: and I'm just like, do these things ever heal? Is
• 41:49
  Speaker 2: there a way for that to happen? Or are you
• 41:51
  Speaker 2: just stuck the way you are? Like if he cut
• 41:54
  Speaker 2: himself shaving in eighteen eighty seven, would he still have
• 41:57
  Speaker 2: an open wound for that today? Does he? Does he
• 42:00
  Speaker 2: have a beard? Does that grow? You know? Does he
• 42:02
  Speaker 2: have to get haircuts because his hair looks awful? I
• 42:05
  Speaker 2: would definitely sue the barber.
• 42:07
  Speaker 1: He his hair, His hair looks great.
• 42:11
  Speaker 2: And the character who the character who I really wanted
• 42:14
  Speaker 2: to know more about. It's such a weird entrance and
• 42:17
  Speaker 2: exit is Ronnie. I want to know more about this
• 42:22
  Speaker 2: Ronnie guy, this Ronnie actor who well, obviously he's played
• 42:27
  Speaker 2: by the director's brother, the incredibly talented Jade Jillenhall. But
• 42:33
  Speaker 2: so he was sick when he was young. He has
• 42:36
  Speaker 2: one leg that's shorter than the other. But yet he
• 42:38
  Speaker 2: becomes a song and dance man, you know, big triumph.
• 42:41
  Speaker 2: They meet him in person, which was kind of a surprise.
• 42:44
  Speaker 2: In New York City after they get chased out of
• 42:47
  Speaker 2: a movie which was not originally as far as I know,
• 42:49
  Speaker 2: released in three D. By everybody's wearing three D glasses
• 42:52
  Speaker 2: and you see them up on screen, this whole thing
• 42:55
  Speaker 2: of them. You know, at first it's just Frank is
• 42:57
  Speaker 2: up on screen, but pretty soon it's Frank and the
• 42:59
  Speaker 2: bride can like are represented in the movies and everything.
• 43:03
  Speaker 2: But with this song dance Man, it's like, you know,
• 43:05
  Speaker 2: Frank's like it's very when I talked about being in
• 43:09
  Speaker 2: so it's a very like awkward thing where it's like, Oh,
• 43:11
  Speaker 2: you're gonna you're gonna be so happy. I'm so much better.
• 43:14
  Speaker 2: He's like ruper pupkin coming up to Jerry in the movie,
• 43:18
  Speaker 2: just like, oh, I'm so much better now, you know,
• 43:20
  Speaker 2: Da da da da da, And like there's a little
• 43:23
  Speaker 2: bit of like, you know, uncomfortable laughter and all this,
• 43:26
  Speaker 2: and you're like, okay, so Jillian Hall is just a jerk.
• 43:29
  Speaker 2: He's just a dickhead movie guy. Like I was hoping, Yeah,
• 43:34
  Speaker 2: I was hoping there'd be way more stuff, Like I
• 43:37
  Speaker 2: wanted to hear the Ronnie story. I wanted to know
• 43:40
  Speaker 2: like was he a child actor? Did he survive child acting,
• 43:44
  Speaker 2: because we are also talking about a director and her
• 43:46
  Speaker 2: brother who were child actors as well. So it's like,
• 43:48
  Speaker 2: what was his experience? Is he a jerk? Is he
• 43:52
  Speaker 2: a nice guy? Is he just embarrassed by this weirdo
• 43:54
  Speaker 2: that's coming over to him? Like I just wanted to
• 43:56
  Speaker 2: know a little bit more about him, and instead I
• 43:59
  Speaker 2: got the whole sub plot with mister Jill and Hall,
• 44:02
  Speaker 2: Peter Sarsguard and Penelope Cruz has Myrna Maloy For some reason,
• 44:07
  Speaker 2: I kept reading all these interviews that called her Myrna
• 44:11
  Speaker 2: Malau and I'm like, was that in the press notes?
• 44:13
  Speaker 2: I don't know where you're getting this name from. Yeah,
• 44:16
  Speaker 2: And I'm like, okay, so is that a reference to
• 44:18
  Speaker 2: Myrna Lloy, who is in The Thin Man where it
• 44:22
  Speaker 2: was eventually the movie series was basically named after William Powell,
• 44:26
  Speaker 2: even though he wasn't The Thin Man, but she was
• 44:28
  Speaker 2: really the brains of the operation. Like I'm just like,
• 44:31
  Speaker 2: I don't need these characters and they just feel so superfluous,
• 44:35
  Speaker 2: and it's this whole like, I mean, I got it
• 44:39
  Speaker 2: in five seconds in the Silence of the Lamps, right
• 44:42
  Speaker 2: when Jack Crawford goes over and starts talking to all
• 44:44
  Speaker 2: the detectives and leaves Clarice there to actually do the
• 44:49
  Speaker 2: detecting work. We'll get the exact same scene in this movie.
• 44:52
  Speaker 1: Right, And I liked it there better because again it's
• 44:54
  Speaker 1: done with some subtlety. Oh it's just a lack of
• 44:57
  Speaker 1: subtlety in everything that's done. Yeah, I mean Jesus Christ,
• 44:59
  Speaker 1: Peter stars guard my Lord his care what what was
• 45:03
  Speaker 1: his character? What? What? What?
• 45:06
  Speaker 2: Like?
• 45:06
  Speaker 1: What limp wristed character was he being asked to play.
• 45:09
  Speaker 1: It's the most strange performance. Like, I I'm not gonna
• 45:14
  Speaker 1: feel bad for this guy, and I don't understand how
• 45:16
  Speaker 1: the movie's trying to get me to because he is
• 45:19
  Speaker 1: a crooked cop who got this woman killed and now
• 45:23
  Speaker 1: he's wanting sympathy and he also slept with her by
• 45:25
  Speaker 1: the way, Like what why? No, no, like that. Don't
• 45:29
  Speaker 1: write this like write this character as someone who needs
• 45:31
  Speaker 1: to have come up and it's not someone who just
• 45:33
  Speaker 1: disappears from the movie halfway through, which is literally what happens.
• 45:38
  Speaker 1: It's like, I have to go now, my planet needs me.
• 45:41
  Speaker 1: Like he poochied himself out of the movie, kind of
• 45:44
  Speaker 1: like Jake Gillenhall like Jake Jillenole's character should have had
• 45:47
  Speaker 1: his head split open by Frankenstein. That's what I was
• 45:49
  Speaker 1: expecting to happen. Yeah, I was expecting Frankenstein to just
• 45:52
  Speaker 1: you know, go full Frankenstein's Monster and kill him. Nope,
• 45:56
  Speaker 1: he just starts dancing like an idiot, you know, and
• 46:01
  Speaker 1: it's it's it's uncomfortable, and it's intentionally uncomfortable. And I
• 46:05
  Speaker 1: understand that, and I appreciate that it succeeds in that regard.
• 46:09
  Speaker 1: But you had this opportunity to do something interesting and
• 46:11
  Speaker 1: you just kind of didn't. You chose not to, you
• 46:14
  Speaker 1: didn't want to.
• 46:15
  Speaker 2: Well, it's funny that so when people see Frankenstein, like
• 46:21
  Speaker 2: when uh, doctor Euphronius's made sees Frankenstein, she screams, and
• 46:26
  Speaker 2: that's kind of like the only time you get that
• 46:29
  Speaker 2: reaction from people. And there are a lot of times
• 46:31
  Speaker 2: during this movie where I'm like, how do people see him?
• 46:35
  Speaker 1: Like?
• 46:35
  Speaker 2: Are they not seeing what the maid saw? You know,
• 46:38
  Speaker 2: He's you know, very obvious when it comes to him
• 46:43
  Speaker 2: approaching Jill and Hall in this and being like, oh,
• 46:46
  Speaker 2: your biggest fan, all this kind of stuff, and I'm like, well,
• 46:48
  Speaker 2: nobody else is reacting like, look at this fucking monster
• 46:51
  Speaker 2: that just.
• 46:52
  Speaker 1: Wants look at this stitched up human being who's also gigantic, right,
• 46:56
  Speaker 1: like all right, and also he looks like Batman.
• 47:00
  Speaker 2: And when Frank starts to dance and do the whole
• 47:04
  Speaker 2: putting on the ritz thing, and then everybody joins in
• 47:07
  Speaker 2: because I'm just like, well, is this just him? Is
• 47:09
  Speaker 2: this all in his head? Is he just the one
• 47:11
  Speaker 2: that's doing this? And then everybody jumps in and I'm
• 47:15
  Speaker 2: waiting for a hard cut at the end of this
• 47:17
  Speaker 2: dance number to just show him and her Frank in
• 47:21
  Speaker 2: the bride just standing there, you know, everybody else's mouth open,
• 47:26
  Speaker 2: aghast at what's happened. But instead, I guess that's the reality.
• 47:30
  Speaker 2: And again, I know how many days ago do you
• 47:32
  Speaker 2: see this movie? This was Saturday?
• 47:34
  Speaker 1: You're still waiting huh.
• 47:36
  Speaker 2: I'm still waiting to find out.
• 47:37
  Speaker 1: Still waiting to find out, because yeah, that was one
• 47:40
  Speaker 1: of those scenes of this movie was like what am
• 47:41
  Speaker 1: I expected to believe is going on here?
• 47:43
  Speaker 2: Do you know? You brought up Ghostbusters twenty sixteen. They
• 47:47
  Speaker 2: also have a forced musical number in that where everybody's
• 47:51
  Speaker 2: possessed by the ghost and I think it's Chris Hemsworth
• 47:55
  Speaker 2: leads the whole dance.
• 47:56
  Speaker 1: That was cut out of the original version of the movie.
• 47:58
  Speaker 1: Oh okay, Fracture's cut the too funny. Further, too funny
• 48:04
  Speaker 1: for mainstream audiences. You know what's interesting, you know, to
• 48:09
  Speaker 1: go to go back to the like this this scene
• 48:11
  Speaker 1: in this movie. It it is a forced musical number.
• 48:15
  Speaker 1: And I mean like forced in terms of like it's
• 48:17
  Speaker 1: forced into this movie. Like it does not it doesn't
• 48:21
  Speaker 1: serve a purpose because it's not given any context whatsoever.
• 48:25
  Speaker 1: And like you said, it is it in Frankenstein's head?
• 48:27
  Speaker 1: Is it not? Like what is happening here? Please explain
• 48:30
  Speaker 1: because you can't. You can't just do this in this
• 48:33
  Speaker 1: kind of movie without explaining explaining it because this is
• 48:37
  Speaker 1: not a musical. If this is a musical, then I
• 48:40
  Speaker 1: assume that the logic is kind of suspended in these
• 48:42
  Speaker 1: moments and we don't need to kind of restrain ourselves
• 48:46
  Speaker 1: to reality because it's a musical number. That's from to
• 48:49
  Speaker 1: this point. That's not been the case in this movie.
• 48:51
  Speaker 1: You have not established any of this, So why do
• 48:53
  Speaker 1: you think you could just do this? I don't understand.
• 48:57
  Speaker 1: It's just tonally makes no sense. Against what I seen
• 49:00
  Speaker 1: up into this point.
• 49:01
  Speaker 2: Well, it is interesting that it has been a musical
• 49:05
  Speaker 2: of sorts because it's the Ronnie Reid stuff is the
• 49:08
  Speaker 2: musical stuff, and then which is almost diegetic, right, Oh yeah,
• 49:13
  Speaker 2: one hundred percent diagetic. Yeah, it's every time they go
• 49:15
  Speaker 2: into because they go to the movies at least like
• 49:18
  Speaker 2: five times in this that ends.
• 49:19
  Speaker 1: Up being like a framing device of like, where are
• 49:21
  Speaker 1: they going?
• 49:22
  Speaker 2: Right exactly? Yeah, because Penelope Cruz's character, Myrna Maloy, she's
• 49:27
  Speaker 2: the only one that's smart enough to put two and
• 49:30
  Speaker 2: two together after she finds the clipping, the Ronnie Reid clipping,
• 49:34
  Speaker 2: to say, oh, they are going to all of these
• 49:36
  Speaker 2: locations from these movies, which means that she must be
• 49:39
  Speaker 2: a huge movie fan because you can't check them out
• 49:42
  Speaker 2: from the video store in nineteen thirty, so she must
• 49:45
  Speaker 2: know all of these movies as well. And yeah, that's
• 49:48
  Speaker 2: she's so her detective work is good. It is that great.
• 49:51
  Speaker 2: I mean, basically, she puts two and two together when
• 49:53
  Speaker 2: it comes to that. But it's definitely way better than
• 49:55
  Speaker 2: Peter Sarsguard.
• 49:56
  Speaker 1: Yeah, Peter Peter Sarsguard's character completely u this necessary written
• 50:01
  Speaker 1: out of the movie halfway through. It does not need
• 50:04
  Speaker 1: to be there.
• 50:04
  Speaker 2: Why it's back at the end.
• 50:06
  Speaker 1: Oh right, you're right, I'm sorry, Yeah.
• 50:08
  Speaker 2: For two seconds, you know, like just to I guess
• 50:12
  Speaker 2: he's now helping these women get their revenge on Lupino.
• 50:17
  Speaker 1: Great, that right, the post credit scene, glad I stuck around.
• 50:20
  Speaker 1: Remember when Sam Jackson coming out was actually a thing
• 50:23
  Speaker 1: that mattered as opposed to whatever. Like again, Peter Sarsguard
• 50:26
  Speaker 1: coming back at the end of the movie proves my point,
• 50:28
  Speaker 1: like there's no point to any of this. His character
• 50:31
  Speaker 1: serves no purpose. Ultimately, if you wanted to make a
• 50:34
  Speaker 1: movie about Jesse Buckley as a bride, just do that.
• 50:37
  Speaker 1: Don't do anything else, don't have Frankenstein, don't need it, Like,
• 50:41
  Speaker 1: don't need it, it's not necessary.
• 50:44
  Speaker 2: Go ahead and embrace this whole split personality thing. Do
• 50:47
  Speaker 2: all of me? Was Steve Martin and Lily Tomlin something
• 50:51
  Speaker 2: you know, because it comes up and it's just basically
• 50:54
  Speaker 2: a plot device. It just comes up the most inopportune times,
• 50:57
  Speaker 2: like when they're hiding on the train as she just
• 50:59
  Speaker 2: starts screaming her head off with this and it's like,
• 51:02
  Speaker 2: all right, now, you know you're gonna get pinched because
• 51:05
  Speaker 2: of this, and that leads to another person's death, that
• 51:07
  Speaker 2: leads to her killing somebody.
• 51:09
  Speaker 1: Yeah, I don't. I don't think that Jesse buckley performance
• 51:13
  Speaker 1: leaves enough room on screen for anybody else to do
• 51:16
  Speaker 1: anything else. And I think that that's the intention, and
• 51:19
  Speaker 1: there's nothing wrong with that. No, but don't have Christian
• 51:22
  Speaker 1: Bale in your movie. Don't don't write yourself into a
• 51:25
  Speaker 1: corner where the character is supposed to have agency, has
• 51:28
  Speaker 1: no agency throughout the entire front, no agency whatsoever throughout
• 51:31
  Speaker 1: the entire And again, when I mean, you have all
• 51:33
  Speaker 1: these other interesting characters that you could you could see
• 51:36
  Speaker 1: Jesse Buckley interacting with. You didn't even mention the most
• 51:40
  Speaker 1: abhorrent thing about Jake Gyllenhall being in this movie. Jesse
• 51:43
  Speaker 1: Buckley doesn't even.
• 51:44
  Speaker 2: Interact with him.
• 51:44
  Speaker 1: No, he interacts with them essentially for like two seconds
• 51:48
  Speaker 1: and that's it. That's it, like literally two seconds in
• 51:51
  Speaker 1: that one scene, Like why why are we even doing this?
• 51:53
  Speaker 1: Like I don't, I don't understand why they didn't just
• 51:56
  Speaker 1: do the thing that they wanted to do because there's
• 51:58
  Speaker 1: no one stopping them from doing that. They instead, they
• 52:02
  Speaker 1: made a story about getting to that point, it's like,
• 52:04
  Speaker 1: you're not going to get to go any further. This
• 52:07
  Speaker 1: was never going to be that kind of movie. So
• 52:08
  Speaker 1: why not just don't pull your punches, don't put Christian
• 52:11
  Speaker 1: Bale in your movie as Frankensiegn just do Jesse Buckley.
• 52:13
  Speaker 1: She can carry the movie. Trust us, she can carry
• 52:16
  Speaker 1: the movie.
• 52:17
  Speaker 2: Oh yeah, no, And I would be very welcome to
• 52:21
  Speaker 2: watch her just completely carry this movie. And again, like
• 52:25
  Speaker 2: trimming some of the fat would not be a bad thing.
• 52:28
  Speaker 2: And I could consider Frank to be fat, you know, Frank.
• 52:32
  Speaker 1: And Christian Bale performance is fat in a movie. Take
• 52:35
  Speaker 1: that in for a second.
• 52:36
  Speaker 2: I mean Frank Scartsguard is Jake Wiles, Penelope Cruise is
• 52:42
  Speaker 2: Murder Malloy. I mean, all of that stuff could just
• 52:45
  Speaker 2: go by the wayside. It really doesn't need to be there.
• 52:48
  Speaker 2: And it's just basically to have this on the lamb stuff,
• 52:51
  Speaker 2: to have more corruption and things.
• 52:54
  Speaker 1: It's just and what are they doing while they're on
• 52:56
  Speaker 1: the lamb? Is it ever really explained? One?
• 53:01
  Speaker 2: Yeah, they don't need to really steal food. Maybe again,
• 53:05
  Speaker 2: do they eate? I don't know. I guess we see
• 53:07
  Speaker 2: them at a restaurant. I guess they process human food. Yes, yeah,
• 53:12
  Speaker 2: like that's I don't know. Actually I don't. I take
• 53:14
  Speaker 2: it back. I don't think we see them at the restaurant.
• 53:16
  Speaker 2: I think we just see Jake and Murder at the restaurant.
• 53:19
  Speaker 2: They need money because he goes into the fountain. It
• 53:22
  Speaker 2: takes all those coins. And there's also so there's that
• 53:26
  Speaker 2: water theme. There's also the water theme of them living
• 53:29
  Speaker 2: in this pool with.
• 53:31
  Speaker 1: No water in it, the pool from Annihilation.
• 53:33
  Speaker 2: Yeah, I was thinking the pool from Oh. I can't
• 53:36
  Speaker 2: even see what it was because I forget the name
• 53:38
  Speaker 2: of it, the Deep End and what. They leave that place.
• 53:42
  Speaker 2: They go to another place, and I'm trying to remember
• 53:44
  Speaker 2: where their other hideout is before they end up, you know,
• 53:48
  Speaker 2: in the car and going all the way to Niagara Falls. Slowly,
• 53:54
  Speaker 2: I turn.
• 53:54
  Speaker 1: Hey, they're going to the most romantic place in the country, Mike,
• 53:57
  Speaker 1: Niagara Falls, right.
• 53:59
  Speaker 2: Ah. Yeah, I'm trying to think of what else I
• 54:02
  Speaker 2: need to say about this one. Yeah, you're right. The
• 54:05
  Speaker 2: only thing she does, Jake Jillenol is just point a
• 54:08
  Speaker 2: gun against his head.
• 54:09
  Speaker 1: Yeah, she does. It's It's wild to me that a
• 54:12
  Speaker 1: character that is as instrumental to a lot of what
• 54:15
  Speaker 1: is going on in this movie. From more or less,
• 54:17
  Speaker 1: the onset of the learning about and meeting Christian Bale's
• 54:21
  Speaker 1: character ultimately does not factor into anything and could have
• 54:25
  Speaker 1: been excised completely from the movie without the movie suffering.
• 54:29
  Speaker 1: Like I think the movie suffers because he's in the
• 54:32
  Speaker 1: movie and takes away from Jesse Buckley's performance as opposed
• 54:35
  Speaker 1: to us getting more of her. We just get Jake Jillenhall.
• 54:38
  Speaker 2: Well, I kind of would have liked to have known
• 54:40
  Speaker 2: what these brides were up to other than just sticking
• 54:44
  Speaker 2: out their tongues. You know. It's like these have Couella.
• 54:48
  Speaker 1: They did that Corilla too.
• 54:49
  Speaker 2: Oh yeah, oh yeah, I totally forgot about that. Yeah.
• 54:53
  Speaker 2: I mean they just want guns in the air and
• 54:55
  Speaker 2: they shout and they scream and they take their shoes
• 54:57
  Speaker 2: off and throw the cars Like I don't know what
• 55:00
  Speaker 2: they're doing. I mean, the one woman looks like she's
• 55:02
  Speaker 2: doing a a a reenactment of the counselor by Rubberin
• 55:08
  Speaker 2: or Kouch against some of the guys front windshield. But
• 55:11
  Speaker 2: I'm not getting it. You know, It's like, I don't
• 55:14
  Speaker 2: know why these folks And you know, you said Kruella
• 55:17
  Speaker 2: and I forgot about that. Black and white fur coat
• 55:19
  Speaker 2: that she just happens to find in the back of
• 55:21
  Speaker 2: a car, and that becomes part of her outfit too.
• 55:23
  Speaker 2: So when you are doing your couple's costumes at Halloween,
• 55:27
  Speaker 2: you're gonna have to get the black like draping, the
• 55:32
  Speaker 2: sunglasses of course, the makeup, the white fright wig, and
• 55:37
  Speaker 2: then now also this red dress with the black and
• 55:40
  Speaker 2: white fur, so that's very important to make sure. And
• 55:43
  Speaker 2: then I don't know, guys, how you're going to do
• 55:45
  Speaker 2: the whole inside out jacket thing that frank is doing,
• 55:47
  Speaker 2: but I'm sure that's going to be the choice.
• 55:50
  Speaker 1: But if you want to dance poorly, which most men
• 55:52
  Speaker 1: dance poorly, you've got it made because Frankenstein dances pretty poorly,
• 55:56
  Speaker 1: as one might expect Frankenstein, would you mentioned the black
• 56:01
  Speaker 1: on the lips of the Bride? Can we talk about
• 56:03
  Speaker 1: that for a second, because this is the moment where
• 56:06
  Speaker 1: I want to ask you about the reinterpretation of the
• 56:08
  Speaker 1: character of the bride of Frankenson, or the motherfucking Bride
• 56:12
  Speaker 1: as the movie likes to so aptly put it. What
• 56:15
  Speaker 1: did you think of the redesign of the character for
• 56:18
  Speaker 1: Jesse Buckley's version of the Bride because we talked about
• 56:22
  Speaker 1: Bail and what he looked like, and I think his
• 56:24
  Speaker 1: flesh toned Frankenstein is fine. It's a little off putting,
• 56:28
  Speaker 1: but it's fine, I guess. But what did you think
• 56:30
  Speaker 1: of what they were doing with her?
• 56:32
  Speaker 2: I mean, you know, you did mention Kruala. She does
• 56:35
  Speaker 2: have that type of look. I mentioned Lady Gaga. She's
• 56:38
  Speaker 2: got that going on.
• 56:39
  Speaker 1: Also met Harley Quinn.
• 56:41
  Speaker 2: Right, yeah, very Harley Quinn. And I'm trying to think of,
• 56:45
  Speaker 2: like which era of Harley Quinn, maybe the Suicide Squad.
• 56:50
  Speaker 1: Eraon well, and also like the versions of her that
• 56:52
  Speaker 1: are in like Arkham Night or the video game like
• 56:55
  Speaker 1: the Batman video games, like very a certain style to
• 57:00
  Speaker 1: Harley Quinn of a certain kind, and the comic book
• 57:03
  Speaker 1: is very much like that and has been like that
• 57:05
  Speaker 1: for a while. She is not a court gesture anymore, folks.
• 57:08
  Speaker 1: She looks more like Margot Robbie or Margot Robbie than
• 57:12
  Speaker 1: she ever has because it's not really else. Nobody else
• 57:14
  Speaker 1: has really played that character, like, not in any sort
• 57:16
  Speaker 1: of substantive way.
• 57:18
  Speaker 2: Right right, But yeah, as far as the stains on
• 57:20
  Speaker 2: the lips and that go down around her arms and everything,
• 57:23
  Speaker 2: and her fingers all black. I kind of like it.
• 57:26
  Speaker 2: I think that that's the very distinct look. Yeah, it's
• 57:31
  Speaker 2: an interesting character had and I I mean, I guess
• 57:34
  Speaker 2: it's just as distinct as the kind of lightning bolts
• 57:37
  Speaker 2: through the hair that Elsa Lancaster had. So yeah, you
• 57:41
  Speaker 2: need something to set her apart as being not of
• 57:44
  Speaker 2: this world, and I think that works pretty well.
• 57:46
  Speaker 1: Yeah, I would agree with you. I think, like I said,
• 57:48
  Speaker 1: I think the art design and set direction are one
• 57:52
  Speaker 1: of the more successful things about the film. And I
• 57:54
  Speaker 1: think the choice, I think the choice to have her
• 57:57
  Speaker 1: look the way that she does is a successful choice
• 58:00
  Speaker 1: that they made. I think she looks interesting. She doesn't
• 58:02
  Speaker 1: look like any other version of the character I've seen.
• 58:04
  Speaker 1: I'm glad they didn't give her the kind of big
• 58:07
  Speaker 1: hair as it were. I'm glad they just gave her
• 58:10
  Speaker 1: a kind of I would say, in between kind of like,
• 58:13
  Speaker 1: you know, stylized hair, but not like so distracting that
• 58:16
  Speaker 1: you'd be like, come on, this looks a little wonky. No,
• 58:20
  Speaker 1: I think she looks great.
• 58:22
  Speaker 2: I'm kind of wondering if Penelope Cruise's look is supposed
• 58:26
  Speaker 2: to be reminiscent of leave her to Heaven just kind
• 58:30
  Speaker 2: of reminded me of the main character from that with
• 58:33
  Speaker 2: the sunglasses and the kind of bob haircut, who is
• 58:37
  Speaker 2: a gingear me in that. So I don't know, I like,
• 58:40
  Speaker 2: I can like that whole subplot just it's like, okay, yeah,
• 58:44
  Speaker 2: this is good. I mean there's this whole thing of
• 58:46
  Speaker 2: how she would have to overcome sexism to become the
• 58:50
  Speaker 2: detective and become, you know, known as that role because
• 58:54
  Speaker 2: the cops just don't accept her as the detective, right,
• 58:58
  Speaker 2: And I'm like, but you also have all of the
• 59:00
  Speaker 2: racism too. I mean, she's a very she's a Latina
• 59:04
  Speaker 2: woman with a very strong accent. I can see people
• 59:07
  Speaker 2: rejecting that even more than her being a woman.
• 59:10
  Speaker 1: Right, Yeah, they don't even make mention of it. No,
• 59:14
  Speaker 1: it's like, oh, by the way, we're not even going
• 59:15
  Speaker 1: to acknowledge the fact that she's clearly Hispanic.
• 59:18
  Speaker 2: Right, right, which I guess fits well with Chicago and
• 59:22
  Speaker 2: the multiculturalism of Chicago. But again, when they're out in
• 59:26
  Speaker 2: the world and taking their road trip, I'm surprised she's
• 59:29
  Speaker 2: not having to put up with rednecks and jerks on
• 59:31
  Speaker 2: the road too. I mean, if we're just.
• 59:33
  Speaker 1: Gonna throw more stuff into the blender? Why not a
• 59:35
  Speaker 1: little green book?
• 59:37
  Speaker 2: Sure? Sure, why not?
• 59:39
  Speaker 1: I mean, I don't know, Like this movie has some
• 59:41
  Speaker 1: original ideas, but a lot of this is us talking
• 59:43
  Speaker 1: about other movies that this movie clearly cops from or
• 59:48
  Speaker 1: is very much influenced by or inspired by. Not to
• 59:51
  Speaker 1: say that that's a bad thing, but like it's not
• 59:54
  Speaker 1: really hiding its influences.
• 59:58
  Speaker 2: No, no, And it's weird because a lot of times
• 1:00:01
  Speaker 2: I love a good reference to things, but this one,
• 1:00:04
  Speaker 2: I mean, Frankly, I guess it's because I got pretty
• 1:00:07
  Speaker 2: bored while I was watching it. It's like around the
• 1:00:10
  Speaker 2: one hour twenty mark, it really slows down to a crawl,
• 1:00:14
  Speaker 2: like after their big thing in New York, and when
• 1:00:17
  Speaker 2: they start to go on the Lamb and then we
• 1:00:19
  Speaker 2: rejoin the cops, it's just like, okay, yeah, what else
• 1:00:23
  Speaker 2: is going to happen? Because, like you said, once they
• 1:00:25
  Speaker 2: go on the lamb, there is no thing to do
• 1:00:28
  Speaker 2: other than I guess, go around to different locations from
• 1:00:31
  Speaker 2: the movies. And even then they don't really spend any
• 1:00:34
  Speaker 2: time with that. It's not like he's Frank's going like,
• 1:00:37
  Speaker 2: oh this is I think he does it once right
• 1:00:39
  Speaker 2: where he's like, this is a spot where this happened
• 1:00:41
  Speaker 2: or something. But it's a weird flex man.
• 1:00:45
  Speaker 1: Yeah. It it like again like when you have the
• 1:00:48
  Speaker 1: bail character of Frankenstein being so front and center and
• 1:00:52
  Speaker 1: the more interesting character is being played by the person
• 1:00:55
  Speaker 1: who's not being given any time as much as he
• 1:00:58
  Speaker 1: is or any agency. I like you said, I in
• 1:01:01
  Speaker 1: the second act of the movie, I just started getting
• 1:01:03
  Speaker 1: extremely bored. I was like, what are what are we
• 1:01:06
  Speaker 1: doing here? Like? What are they doing here? Because I'm
• 1:01:10
  Speaker 1: not sure that the movie is even clear as to
• 1:01:13
  Speaker 1: what it's doing. It kind of feels like it's spinning
• 1:01:15
  Speaker 1: its wheel. And look, it's a very pretty movie, but
• 1:01:17
  Speaker 1: that's not going to get you very far. And I
• 1:01:20
  Speaker 1: think the advertising for this movie is kind of indicative
• 1:01:23
  Speaker 1: of what this movie is, which is a very I
• 1:01:26
  Speaker 1: think messy movie. It's a movie almost without a plot,
• 1:01:29
  Speaker 1: and I would almost say maybe it revels in that
• 1:01:32
  Speaker 1: fact that it doesn't have a plot. And I'm not
• 1:01:34
  Speaker 1: saying that you can't do a vibe movie, but this
• 1:01:37
  Speaker 1: movie's not successful in that regard either. It could have been,
• 1:01:41
  Speaker 1: but it isn't even in that regard.
• 1:01:43
  Speaker 2: Right, Yeah, I'm curious. I didn't look up. One of
• 1:01:46
  Speaker 2: the few things I didn't look up is when drive
• 1:01:48
  Speaker 2: in movie theaters became a thing. I'm sure that they
• 1:01:52
  Speaker 2: are around since pretty much the invention of cars, but
• 1:01:55
  Speaker 2: having the one of the climax of this movie, one
• 1:01:59
  Speaker 2: of I'll take place at the drive in movie theater,
• 1:02:02
  Speaker 2: and then of course you've got her up on screen,
• 1:02:05
  Speaker 2: I'm just like, Okay, well, this is somewhat interesting. And
• 1:02:08
  Speaker 2: I was actually a little surprised by him getting shot
• 1:02:11
  Speaker 2: in the head. But yeah, but then it's like, okay, well,
• 1:02:14
  Speaker 2: if you like that, there's another twenty minutes of this
• 1:02:16
  Speaker 2: movie to go, and I really was feeling it. I
• 1:02:20
  Speaker 2: don't tend to get bored at movies that often, but
• 1:02:22
  Speaker 2: I was definitely just like, how much longer do we
• 1:02:25
  Speaker 2: have to go with this?
• 1:02:26
  Speaker 1: I don't get I don't get bored either with a
• 1:02:28
  Speaker 1: lot of things like this is you know, going to
• 1:02:30
  Speaker 1: the movies is something that especially if you're going to
• 1:02:32
  Speaker 1: pay thirty dollars because I went with another person and
• 1:02:36
  Speaker 1: I went with Ryan actually, and I paid for his ticket. Uh,
• 1:02:40
  Speaker 1: you know, it's not cheap, and so you know, you
• 1:02:42
  Speaker 1: want to get your money's worth, and you want to
• 1:02:43
  Speaker 1: feel like the movie's been entertaining throughout, and for it
• 1:02:46
  Speaker 1: to kind of drag in the second and definitely in
• 1:02:48
  Speaker 1: the third act, it's like, hey, I kind of maybe
• 1:02:51
  Speaker 1: only enjoyed the first thirty minutes of this two hour
• 1:02:54
  Speaker 1: maybe the first forty five minutes if that, which it's
• 1:02:57
  Speaker 1: a shame because for me, I ignore as you do.
• 1:03:01
  Speaker 1: Jesse Buckley is a great act So it's hard to
• 1:03:04
  Speaker 1: see someone who's so talented be it a movie that
• 1:03:06
  Speaker 1: is attempting to utilize her talents in an interesting way.
• 1:03:09
  Speaker 1: But I think ultimately just misses the mark pretty spectacularly,
• 1:03:13
  Speaker 1: which is too bad because to you know, most people's points,
• 1:03:17
  Speaker 1: they don't back one hundred million dollars up to somebody's
• 1:03:20
  Speaker 1: house every day to make a movie like this. I
• 1:03:22
  Speaker 1: know why they did as well as you did, because
• 1:03:24
  Speaker 1: Maggie Jillenhall is a known quantity. She's a good actor,
• 1:03:28
  Speaker 1: she is a good director, she is a good writer.
• 1:03:31
  Speaker 1: I just don't think this is her best effort. But
• 1:03:34
  Speaker 1: I think it's an interesting effort. It didn't have to
• 1:03:37
  Speaker 1: be the best effort for it to be interesting. Interesting
• 1:03:39
  Speaker 1: things are failures more or less all the time. You know,
• 1:03:42
  Speaker 1: it doesn't have to be successful to be interesting, but
• 1:03:45
  Speaker 1: it definitely has to have something about it that's worth
• 1:03:48
  Speaker 1: coming back to to be interesting. At least, this movie
• 1:03:51
  Speaker 1: is not boring throughout at least it's not just making
• 1:03:54
  Speaker 1: no interesting choices at all. But it's not really living
• 1:03:58
  Speaker 1: up to even what I think it wants to, which
• 1:04:00
  Speaker 1: is this kind of feminist rallying cry. And it doesn't.
• 1:04:05
  Speaker 1: It's not that well.
• 1:04:06
  Speaker 2: And again it's so obvious, like when Buckley screaming me too,
• 1:04:11
  Speaker 2: me too, and I'm just like, okay, yeah, we got
• 1:04:14
  Speaker 2: we got this fifteen minutes into this movie. If that late,
• 1:04:18
  Speaker 2: you really don't have to bash me over the head
• 1:04:20
  Speaker 2: with this. And I understand that by me saying that
• 1:04:23
  Speaker 2: makes me sound like I'm this callow asshole, but I'm
• 1:04:26
  Speaker 2: just like, I understand the reference. I get the reference,
• 1:04:29
  Speaker 2: and I get why it's important. I just I don't think.
• 1:04:33
  Speaker 2: I just felt so hamp fisted, you know, felt like
• 1:04:36
  Speaker 2: there could have.
• 1:04:36
  Speaker 1: Been subtlety, whatsoever.
• 1:04:38
  Speaker 2: Way more subtlety. I mean, Lupino could have easily been
• 1:04:42
  Speaker 2: turned into some sort of slimy Hollywood producer a La Weinstein,
• 1:04:46
  Speaker 2: and we could have gone down that route. That probably
• 1:04:49
  Speaker 2: would have been too. That probably would have been way
• 1:04:51
  Speaker 2: too obvious as well having her scream me too. I'm
• 1:04:55
  Speaker 2: just surprised you didn't say hashtag me too, hashtag me too.
• 1:04:59
  Speaker 1: Like this takes place in nineteen thirty six.
• 1:05:01
  Speaker 2: Well, you know when the Monster Mash came out, it
• 1:05:03
  Speaker 2: wasn't nineteen thirty six, That's true. That was my floor.
• 1:05:08
  Speaker 2: My job was on the floor.
• 1:05:09
  Speaker 1: I started fucking laughing so hard. I was like, holy fuck,
• 1:05:15
  Speaker 1: in a ninety million dollar movie. They were working in
• 1:05:18
  Speaker 1: the lab mic late one night.
• 1:05:20
  Speaker 2: What I mean. I grew up with Goofy Gold, this
• 1:05:24
  Speaker 2: ktel collection of nolloty songs. So as soon as I
• 1:05:28
  Speaker 2: heard the chains.
• 1:05:29
  Speaker 1: Rattling, I'm like, oh, same, same, Yeah. Yeah, I'm like, oh,
• 1:05:32
  Speaker 1: well that goddamn Monster Mash.
• 1:05:34
  Speaker 2: Yeah, Boris Peckett and the Cryptkeeper creep crypt Keeper five.
• 1:05:40
  Speaker 1: So yeah, So I'm more a fan of were Wolf
• 1:05:43
  Speaker 1: bar mitzvah. Were Wolf bar mitzvah. Spooky scary boys becoming men,
• 1:05:49
  Speaker 1: men becoming wolves. That's much more Mice feed you.
• 1:05:55
  Speaker 2: It's a family guy thing.
• 1:05:56
  Speaker 1: It's a it's thirty rock. I'm I I'm not shocked
• 1:06:01
  Speaker 1: that they closed the movie with Monster Mash. But it's like,
• 1:06:03
  Speaker 1: you didn't earn that, and there is a universe where
• 1:06:07
  Speaker 1: they earned that, and you and I both know that.
• 1:06:09
  Speaker 1: That's the funny part, Like you could have earned that
• 1:06:11
  Speaker 1: and I would have been on board with it. It's
• 1:06:13
  Speaker 1: just this movie kind of takes itself a little too
• 1:06:15
  Speaker 1: seriously for that, which is funny because I don't think
• 1:06:18
  Speaker 1: this movie really wants to be taken seriously, but it's
• 1:06:22
  Speaker 1: it's it's like it's like someone who does what they
• 1:06:25
  Speaker 1: can to be taken seriously, but when you start taking
• 1:06:27
  Speaker 1: them seriously, they're like, why you're taking me seriously? I'm like,
• 1:06:30
  Speaker 1: wait a second, is that what you wanted? Miah? And
• 1:06:32
  Speaker 1: that's how I feel about this movie. I'm like, I
• 1:06:34
  Speaker 1: think you want to be taken seriously, but yet you
• 1:06:36
  Speaker 1: close your movie with Monster Mash. These things are incongruous
• 1:06:41
  Speaker 1: with one another. So get me to understand this, because
• 1:06:44
  Speaker 1: otherwise I really don't.
• 1:06:45
  Speaker 2: And it's like, at the end of the day, I
• 1:06:47
  Speaker 2: see a lot of people loving this movie, but some
• 1:06:50
  Speaker 2: of some folks I think are just gonna love it
• 1:06:53
  Speaker 2: just for the spite and be like, whoa, hey, nobody
• 1:06:57
  Speaker 2: got this movie before. I'm the one that gets this movie.
• 1:07:01
  Speaker 2: I understand this. They'll probably go through and do the
• 1:07:05
  Speaker 2: exact same game of spot the reference that I was
• 1:07:07
  Speaker 2: doing while I was watching this movie. And just like, hell,
• 1:07:10
  Speaker 2: if more people watch lever to Heaven or Bonnie and
• 1:07:13
  Speaker 2: Clyde or any of these kind of thing, great, that's terrific.
• 1:07:16
  Speaker 2: You know, Return of the Zombie the movie that they're
• 1:07:18
  Speaker 2: watching at the movie theater. And again I'm curious, like, well,
• 1:07:22
  Speaker 2: what do these two dead people think of watching a
• 1:07:24
  Speaker 2: zombie movie? That would have been interesting, you know, and
• 1:07:27
  Speaker 2: it's the only time they go to see something that
• 1:07:29
  Speaker 2: isn't a Ronnie Reid musical. Anyway. Sorry, I'm asking all
• 1:07:33
  Speaker 2: these questions.
• 1:07:34
  Speaker 1: You're asking of a two hour movie. I don't think
• 1:07:37
  Speaker 1: it's improper to be asking this.
• 1:07:39
  Speaker 2: Wow. Yeah, it's just it's so stuffed with stuff. And
• 1:07:43
  Speaker 2: to your point from earlier, again, like another revision or
• 1:07:47
  Speaker 2: two and just refinement of these ideas and maybe again
• 1:07:51
  Speaker 2: making them a little more subtle. This is as subtle
• 1:07:55
  Speaker 2: as the rape scene and the brutalist you know.
• 1:07:59
  Speaker 1: Right, it's a capitalist raping a brutalist who we get it.
• 1:08:04
  Speaker 2: Yep.
• 1:08:04
  Speaker 1: Wow, it's hard for me to watch movies like this
• 1:08:09
  Speaker 1: and do anything other than go. I get that you
• 1:08:11
  Speaker 1: want me to take you seriously, and I want to
• 1:08:13
  Speaker 1: take you seriously, but I'm not sure that you're going
• 1:08:16
  Speaker 1: about it the right way. And not going about it
• 1:08:19
  Speaker 1: the right way, you kind of just turn me off
• 1:08:21
  Speaker 1: completely and don't make me want to engage with you
• 1:08:24
  Speaker 1: in a substantive way. And this movie doesn't get me
• 1:08:27
  Speaker 1: all the way there. But you know what I mean,
• 1:08:28
  Speaker 1: It's like there's part of this where I'm just like,
• 1:08:30
  Speaker 1: you're just You're kind of like that loud person screaming
• 1:08:33
  Speaker 1: for attention in the corner, and I kind of don't
• 1:08:35
  Speaker 1: want to give it to you, not because you don't
• 1:08:37
  Speaker 1: deserve it, but because you're going about it the wrong way.
• 1:08:39
  Speaker 2: Yeah, oh, Chris, any final thoughts about The Bride.
• 1:08:42
  Speaker 1: It will find its audience. We are not necessarily not
• 1:08:46
  Speaker 1: its audience. I think if I rewatch it a couple times,
• 1:08:49
  Speaker 1: I may enjoy it more than the first time I
• 1:08:51
  Speaker 1: watched it, as I'm sure you will. But at the
• 1:08:53
  Speaker 1: same time, I just I can't understand giving this movie
• 1:08:57
  Speaker 1: so much money and then expecting it to make a
• 1:09:00
  Speaker 1: lot of money and it doesn't make a lot of money.
• 1:09:02
  Speaker 1: And that's anyone's fault, but the studio executives, it's not
• 1:09:05
  Speaker 1: Maggie Jillenhole's fault. Like if I were her, fucking run
• 1:09:08
  Speaker 1: with it. They gave you one hundred million dollars to
• 1:09:11
  Speaker 1: make this movie. Hell, yeah, good for you, seriously awesome.
• 1:09:15
  Speaker 1: That kicks ass. However, it doesn't make the money that
• 1:09:18
  Speaker 1: they wanted it to, so I don't know if you're
• 1:09:21
  Speaker 1: going to get another one of these opportunities for a while,
• 1:09:23
  Speaker 1: which is unfortunate because that shouldn't be the case, but
• 1:09:27
  Speaker 1: it's going to be because that's the way the system works.
• 1:09:29
  Speaker 1: And I don't think this movie is that big of
• 1:09:31
  Speaker 1: a failure, but based on the numbers, it will be
• 1:09:34
  Speaker 1: seen as such. And that's unfortunate because Maggie Jillen Hall
• 1:09:37
  Speaker 1: has an eye and I think it's a unique one,
• 1:09:39
  Speaker 1: and I think with some refinement, and I think a
• 1:09:42
  Speaker 1: second or third pass on things, I think she could
• 1:09:44
  Speaker 1: really have even more interesting things to say in a
• 1:09:48
  Speaker 1: more subtle and nuanced way than she did here.
• 1:09:50
  Speaker 2: I don't disagree with any of that, and yeah, more
• 1:09:53
  Speaker 2: power to you. If you love this movie, that's great,
• 1:09:55
  Speaker 2: but just realize that if people don't like the movie,
• 1:09:58
  Speaker 2: it's not that they're coming for you and your values.
• 1:10:01
  Speaker 1: Like, why are we having to tell people that I
• 1:10:04
  Speaker 1: don't get the fuck universe? Are we in? Like what
• 1:10:07
  Speaker 1: dorkest timeline did you and I fall into where people
• 1:10:09
  Speaker 1: would accuse us of doing that when we've spent more
• 1:10:12
  Speaker 1: or less our entire time doing this trying to stop
• 1:10:16
  Speaker 1: people from doing that.
• 1:10:18
  Speaker 2: Right, Yeah, just shutting down discourse and not properly looking
• 1:10:22
  Speaker 2: at stuff.
• 1:10:23
  Speaker 1: Yeah, look, Mike, if you don't like Ghostbusters twenty sixteen,
• 1:10:26
  Speaker 1: it's because you're a misogynistic man.
• 1:10:28
  Speaker 2: Okay, yeah, no, I mean that makes total sense.
• 1:10:31
  Speaker 1: Yeah, one singular thing discounts your entire being just because Okay,
• 1:10:36
  Speaker 1: how dare we ever do anything like that to anyone else?
• 1:10:39
  Speaker 2: Right? Reminds me when I walked out of a movie
• 1:10:41
  Speaker 2: and was told that I have no right to write
• 1:10:44
  Speaker 2: about it, and I was like, I think I do,
• 1:10:46
  Speaker 2: Like pretty much me writing or review saying I walked
• 1:10:49
  Speaker 2: out of this movie should be enough.
• 1:10:51
  Speaker 1: Right. No, No, no, you don't understand. Because you didn't
• 1:10:53
  Speaker 1: watch the whole film, because you left because it didn't
• 1:10:56
  Speaker 1: resonate with you or you were in some way wanting
• 1:10:58
  Speaker 1: to leave, your opinion is invalid. Okay, do people not
• 1:11:03
  Speaker 1: hear the way that they sound when they say these
• 1:11:05
  Speaker 1: kinds of things, realizing that they would not want that
• 1:11:08
  Speaker 1: done to them, but yet they have absolutely no problem
• 1:11:11
  Speaker 1: doing it to other people, primarily because Lol, gotcha Internet
• 1:11:15
  Speaker 1: culture like that BJ works for Slash Film, Like come on,
• 1:11:19
  Speaker 1: I've actually interviewed BJ at one point, like that's you're
• 1:11:23
  Speaker 1: you're better than that, Like your point is valid, Like
• 1:11:27
  Speaker 1: you cannot label someone something just because of one thing,
• 1:11:31
  Speaker 1: and that is unfortunate that we are now living in
• 1:11:34
  Speaker 1: this society. But at the same time, like I guess
• 1:11:37
  Speaker 1: if everyone else is going to do it, we can't
• 1:11:38
  Speaker 1: be surprised when people who are kind of in our
• 1:11:41
  Speaker 1: same sphere of things are doing it anyways.
• 1:11:43
  Speaker 2: So cool. Yeah, I mean, I guess if you don't
• 1:11:46
  Speaker 2: like the Greasy Strangler, I don't like you.
• 1:11:49
  Speaker 1: Right Jesus never seen artist?
• 1:11:51
  Speaker 2: You know that's because you're a bullshit artist.
• 1:11:53
  Speaker 1: I mean we are we all know that.
• 1:11:55
  Speaker 2: Yeah. Well, I want to thank my co host Chris
• 1:11:58
  Speaker 2: for joining me on this discussion of the Bride. So, Chris,
• 1:12:01
  Speaker 2: what have you been up to lately?
• 1:12:02
  Speaker 1: Sir? There's been bullshit artists from day one over at
• 1:12:05
  Speaker 1: patreon dot com, Slash Culturecast, where you can find my
• 1:12:08
  Speaker 1: patreon where I talk about James Bond movies with you
• 1:12:12
  Speaker 1: once a month and sometimes post bonus episodes, and then
• 1:12:15
  Speaker 1: everything else can be found over at Weirdingwaymedia dot com.
• 1:12:18
  Speaker 1: See I didn't reverse this time, where all the other
• 1:12:21
  Speaker 1: things that aren't on my patreon can be found. So yeah,
• 1:12:24
  Speaker 1: go over there and do that. What about you, Mike White, Well, yeah.
• 1:12:27
  Speaker 2: Everything I do is over at Weirdingwaymedia dot com, except
• 1:12:31
  Speaker 2: for the stuff that we do on Patreon. If you
• 1:12:33
  Speaker 2: want to join the Patreon community, visit patreon dot com
• 1:12:36
  Speaker 2: slash Projection Booth or Chris's at patreon dot com slash Culturecast.
• 1:12:41
  Speaker 2: Every donation that we get helps the Projection Booth and
• 1:12:44
  Speaker 2: the Culturecast take over the world.
• 1:13:03
  Speaker 1: Busch the Buds from the books, from the Boss from
• 1:13:06
  Speaker 1: the Books, fro