Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 2003's Love, Actually

Transcript

2003's Love, Actually · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave, the
• 0:06
  movie talk show where each week one of us takes the movie off
• 0:08
  our shelf, presents it to the other, and discusses it at
• 0:11
  length. This week we've got coming off
• 0:19
  of my Shelf, 2003's Love, Actually, written and directed
• 0:24
  by Richard Curtis, starring too many to name.
• 0:27
  We'll start just with Hugh Grant and Liam Neeson Thompson.
• 0:31
  Good choices. And we'll dig into who else is
• 0:34
  in it as the time goes on. But here we are, David, back on
• 0:37
  the couch, one more week, here we go.
• 0:40
  How are you doing, my friend? And what are your initial
• 0:42
  impressions of this particular film this holiday?
• 0:45
  I'm not doing that great. Had a bad sleep score last
• 0:48
  night. Phil -8.6 on the O ANS.
• 0:51
  Yikes. Not.
• 0:52
  Good, no negative. Anything I suspect is bad unless
• 0:55
  you're playing. Golf let us true, and that's
• 0:57
  where I get a lot of positives. Actually, ironically, I think
• 1:01
  it's the eating of the sodium or the sugars after 8:00 at night.
• 1:05
  As you get older, you you can't do it.
• 1:08
  That's what it is. Otherwise I'm fine.
• 1:11
  I had heard of this movie before.
• 1:14
  This is my history. You.
• 1:15
  Want you know, I want to dig in. Let's do it.
• 1:19
  I had the impression from hearsay.
• 1:23
  Might have been my sister, my brother, you people, the
• 1:27
  Internet. People are saying.
• 1:28
  People were talking about this movie and I got the sense that
• 1:31
  it was pretty good. Yeah, it's a Christmas classic.
• 1:33
  They'll. Say, well, I'm pretty sure that
• 1:35
  word classic was thrown around. Yeah, absolutely.
• 1:37
  It's the ultimate Yeah, Christmas comedy.
• 1:39
  And I'd seen like bits and pieces of it on TV during my
• 1:43
  cable subscription years until I finally had to give it up.
• 1:47
  It's just not worth. It no, you really not.
• 1:50
  But I hadn't seen it in full. Coincidentally, I haven't had
• 1:53
  cable since 2003. There it is.
• 1:56
  Whoa, yeah, set me up there. And that's my history with it.
• 2:03
  And I'm going to preface this episode because A, that's my new
• 2:07
  word. Everyone's, everyone's prefacing
• 2:09
  these days. I want to preface.
• 2:11
  I want to be part of the preface people, everyone's preference,
• 2:16
  everything, everyone's prefacing, and I feel left out.
• 2:19
  OK, get in there. Get in there early with a good
• 2:21
  breakfast. Last week, by the end of the
• 2:25
  episode you had blood coming out of your mouth because you had
• 2:30
  bitten your tongue so many times over the course of two hours due
• 2:35
  to the Mark Wahlberg again effect.
• 2:37
  Yeah, yeah, yeah, yeah. Bleeding out of my eyes too.
• 2:42
  And I appreciated that. So along with that and the fact
• 2:45
  that it is Christmas season, I'm going to be nice today.
• 2:49
  Great. Because my initial thoughts of
• 2:53
  this movie is it's pretty bad actually.
• 2:57
  See what I did there? Yeah, yeah.
• 2:58
  Absolutely. I don't think there's much love
• 3:00
  at all in this movie. I think it's misleading and I
• 3:03
  was misled by all those people who kept saying it's a good
• 3:06
  movie, it's classic. Did I watch the wrong movie?
• 3:10
  Wow, coming in pretty hot, pretty against the grain.
• 3:14
  We we're kind of reversing roles here.
• 3:16
  As much as I hate to admit it, the movies that you bring off
• 3:19
  the shelf are great. They are typically safe bets to
• 3:25
  not hating them. Sure.
• 3:26
  You don't have Bruce Willis in it.
• 3:28
  You don't have Mark Wahlberg. You don't have an action movie
• 3:31
  with no plot or just too much plot.
• 3:33
  Sure. And I have tendencies to bring
• 3:37
  off movies that arguably aren't very.
• 3:39
  Good. I'll admit it right here.
• 3:41
  People are saying yeah. So this is quite the old
• 3:45
  switcheroo, OK in my opinion. I'm very curious to know why
• 3:51
  you've chose this movie now out of all times of the year.
• 3:55
  I don't. I can't figure it out, Phillip.
• 3:57
  It's hard to imagine. I know.
• 3:59
  This is the Christmas movie of the year, my man.
• 4:02
  And in 2003, I loved this movie. And everybody did.
• 4:09
  Really. Now, if you had asked me prior
• 4:11
  to this week, I could have sworn it came out in 2004.
• 4:15
  I don't know why, but somehow this movie in 2004 felt like a
• 4:19
  thing. But it isn't.
• 4:21
  There you go. Because the people I was hanging
• 4:23
  around with 2004, I felt like we had all seen this together and.
• 4:26
  When I looked at you were hanging out with the wrong
• 4:28
  crowd, if I recall. That rough year.
• 4:30
  But this movie I loved at the time, and it's a strange movie
• 4:33
  because I think you might be surprised to find out that my
• 4:38
  appreciation and love of this movie has only declined in the
• 4:43
  last 22 years. Yet Despite that, there's enough
• 4:46
  in it that I really, really enjoy.
• 4:49
  OK, but fundamentally it's like, how did I like this movie?
• 4:53
  So. Much thank you.
• 4:56
  I'm like Phillip, deep down you must know this isn't very good.
• 5:01
  Yeah, I think funding. Must know 100.
• 5:04
  Percent, 100%. You're not an idiot.
• 5:07
  Of all I've gone on record saying as such, you're a bit of
• 5:10
  a film connoisseur, and I've grown to almost respect it.
• 5:14
  So I take your opinions about movies somewhat serious.
• 5:16
  So I'm glad to hear that your love for this movie has, like
• 5:21
  cars depreciated. Especially trucks.
• 5:24
  Actually, more specifically, they depreciate pretty quickly
• 5:27
  after you buy them. Why wouldn't they?
• 5:29
  Why, Yeah, why wouldn't they? Question.
• 5:32
  That's the question, I don't have the answer.
• 5:34
  Yeah, yeah, it's shocking, but we'll get into all the reasons
• 5:36
  why right after we talked. All faithful.
• 5:39
  I believe we're on a positive streak on.
• 5:41
  IMDb of of successfully 4 brothers was a good one.
• 5:45
  Yeah, you recall? Yeah, the synopsis Reads follows
• 5:49
  the lives of eight very different couples in dealing
• 5:51
  with their love lives in various loosely interrelated tales, all
• 5:55
  set during a frantic month before Christmas in London,
• 5:58
  England. Yeah, that's a win.
• 6:00
  I'd say so. I mean, I have issues with the
• 6:02
  syntax starting a paragraph with follows.
• 6:04
  Is there a syntax error? Yes, absolutely.
• 6:07
  But otherwise, yeah, that's pretty much it.
• 6:10
  Good job, IMDb. We'll catch you next week.
• 6:12
  We glossed over or we didn't talk about Curtis.
• 6:16
  Richard. Curtis.
• 6:16
  Richard Curtis, writer, Director.
• 6:18
  Yeah. He ultimately came to fame as a
• 6:21
  writer for Notting Hill and Four Weddings and a Funeral, and this
• 6:26
  is his directorial debut. He went on to make other movies,
• 6:28
  of course, In Time and The Boat That Rocked and a few other
• 6:32
  things, but. JT in time.
• 6:35
  No, this one is Rachel McAdams. Oh yes.
• 6:38
  Now you mentioned that I did come across that in his bio.
• 6:40
  That's right. So he is not someone necessarily
• 6:43
  with a particular flair. Obviously his strong suit is the
• 6:46
  writing. Yeah.
• 6:47
  He's made his whole entire career on it.
• 6:48
  I think this movie is written well, and it's directed well
• 6:51
  enough. It has problems with its
• 6:54
  characters and the structure and.
• 6:57
  The story. Ultimately, the story is a
• 7:01
  little sprawling and has a lot of pitfalls that I just don't
• 7:04
  think, hold up. We'll get into them.
• 7:05
  You know, I, I hasten to use the term problematic because I don't
• 7:09
  really live in that world ultimately.
• 7:11
  Like I don't really judge things like that in my day-to-day life.
• 7:14
  But when watching this movie, I think to myself, why are some of
• 7:18
  these characters saying the things they're saying?
• 7:20
  Why are they doing the things they're doing?
• 7:21
  What is happening? And when I think back to 2003, I
• 7:25
  accept it because that's what the world was.
• 7:28
  You were young. And have only kind of grown more
• 7:31
  aware and like we're a little more conscientious overtime.
• 7:35
  You're a 24. You would do nothing about love
• 7:38
  and didn't realize that none of this has anything to do with
• 7:40
  love much. It's more chemicals and other
• 7:43
  things. Yeah.
• 7:45
  Some pheromones. Yeah, so you've.
• 7:46
  Changed Well as a guy that loved love and loved movies about
• 7:51
  love, you can imagine this was a movie that kind of spoke to me
• 7:53
  for. Sure.
• 7:54
  Well, something that I thought of actually about you and this
• 7:57
  director that you may have in common is you both like the idea
• 8:00
  of love and I'm right there with you.
• 8:02
  Yeah, absolutely. I mean, that's certainly a fair.
• 8:04
  Assessment as an 18 year old, as a 12 year old in in 45 year old,
• 8:08
  yeah, just the idea of it is always.
• 8:10
  The greatest thing? Intriguing.
• 8:11
  I wouldn't go that far. What's left if not love?
• 8:14
  PlayStation. You love your PlayStation.
• 8:18
  I just think it fails in portraying actual real love.
• 8:24
  Really, we have to dig into that because I think it actually does
• 8:26
  a pretty good job. The messiness, the dirtiness,
• 8:28
  the suspicion, the jealousy, the.
• 8:31
  Yeah, those are all great idea. Toxicol conversations and such.
• 8:34
  I think for everything I like in this movie, unfortunately
• 8:38
  there's two things I don't. So that's kind of the.
• 8:40
  Sure. That's 33.33% overall.
• 8:45
  Like just scored. It's a 3.3 out of 10 apparently.
• 8:48
  It's certainly going to break the 6-7 mold.
• 8:50
  This week, certainly. Yeah, clearly it sounds like it.
• 8:53
  I won't go quite that low. But yeah, as you know, I spent
• 8:58
  many, many years working at an airport.
• 9:00
  No. Yep.
• 9:01
  And the listeners know that. And I have to say that this
• 9:05
  sentiment in 2003, this is 8 years prior to my working at an
• 9:10
  airport, was some of the reasons why I wanted to work at an
• 9:12
  airport. And consequently, when I worked
• 9:16
  at the airport, I saw this every day.
• 9:18
  It completely fulfilled me. I'd watched people come back
• 9:21
  from wars, come back from the Olympics, I'll come back from
• 9:24
  trips, boyfriends and girlfriends, flags, flowers,
• 9:28
  signage. All of that was happening 1015
• 9:32
  feet away from me as I worked in the baggage office.
• 9:34
  And every time I could just feel the love emanating from that
• 9:38
  area. Real magical stuff in the.
• 9:40
  Airport. I was going to ask you about
• 9:41
  that. I've been to Heathrow, if you
• 9:43
  can believe it. It's shocking they've even, I
• 9:46
  know, put off this continent. We're traveling less five years
• 9:49
  than they did a whole lifetime before, and I didn't see any
• 9:52
  love when I was at Heathrow. Wow, I'm an anxious guy.
• 9:56
  I head. Down I grabbed my.
• 9:58
  Saying get the fuck. Out I am just a whirlwind of
• 10:01
  emotions and feelings. I don't know what anybody else
• 10:04
  is doing. I saw people running, I saw
• 10:06
  people waiting. I saw people yelling no love.
• 10:10
  No love, no love. You're really missing out.
• 10:13
  You need to open your eyes. It's happening.
• 10:15
  Everywhere. I'll be at an airport next
• 10:17
  weekend, great. I will look for love.
• 10:20
  And if I find love in that airport, multiple airports, I'll
• 10:23
  be in like 4 or five, I'll issue a correction.
• 10:27
  Yeah, the sentiment. Is it's not looking for it, then
• 10:29
  maybe you're. Not gonna find it, right?
• 10:31
  I mean, ultimately, it's not love of you or for you
• 10:33
  necessarily. It's that love really is, as
• 10:36
  they say in the movie, all around.
• 10:38
  It really is. Especially in those kind of
• 10:40
  moments, these heightened moments where you've been away
• 10:43
  for months, weeks, days, and someone's there with a sign.
• 10:46
  Your kids are running down the escalator, see their
• 10:47
  grandmother, of course. It's magical.
• 10:50
  That exists. I'm just saying there's a lot
• 10:51
  more people just on regular business trips that have to do
• 10:53
  it, and that's the people I see. The ones in a rush got to catch
• 10:57
  my next flight. Sure got to be at that meeting
• 10:59
  in Tokyo. Yeah.
• 11:00
  You know, I don't see the. Yay, Daddy.
• 11:03
  So. Well, again, I spent hours and
• 11:06
  hours and days there. Who can compete with somebody
• 11:08
  who worked? At the air.
• 11:09
  Fucking magical. You're going to see it all, and
• 11:11
  I imagine during Christmas. Oh my gosh.
• 11:13
  We had a little mariachi band sometimes.
• 11:15
  We had Dickensian carolers walking up and down.
• 11:18
  We had a string quartet. They built the big tree.
• 11:20
  It's just incredible. It grips me every single time I
• 11:23
  watch this movie. It's like the first hook.
• 11:25
  And there are other off ramps throughout the movie where
• 11:28
  things don't connect that deeply or have decimated over time.
• 11:32
  But this scene, this commentary, nails it every single time.
• 11:45
  Out of the 8 couples we get Billy.
• 11:48
  First, Yeah. Billy Mack.
• 11:49
  I like Billy Mack. Yeah.
• 11:51
  He's steals the show. This is one of the things I
• 11:53
  remember from watching it on TV is this character.
• 11:56
  He stood out for me then. So he's great.
• 11:58
  He's great in a movie called Still Crazy.
• 11:59
  That's the first time I saw him. I believe it's the same year,
• 12:01
  the year before. And Bill Nye is not a guy I knew
• 12:04
  at all. But those two movies in the same
• 12:06
  year, I was just like, this is my guy.
• 12:07
  Yeah. And I don't really follow him
• 12:09
  much anymore, but for those couple of years I was just like,
• 12:11
  this guy is incredible. It's a fun character.
• 12:13
  So much fun. It looks like he's having an
• 12:15
  absolute blast. Yeah, it's movements, all his
• 12:17
  gesticulations. Ohhhhh yeah.
• 12:19
  I liked how he's almost sitting, but not quite.
• 12:22
  There's a chair there and he's just about 3 inches from sitting
• 12:26
  on it. Like, that's actually quite a
• 12:27
  good workout. Absolutely Core.
• 12:29
  Yeah, it is core, 100%. And he's got the arms and like,
• 12:32
  yeah, yeah. It's a great scene.
• 12:34
  And I'll tell you as much as I may have given you the
• 12:37
  impression that I did not like this movie.
• 12:39
  When you said I didn't like this movie, is would the impressive
• 12:42
  body. I will say it's not starting off
• 12:44
  on the wrong foot, OK? I enjoy generally the 1st 30
• 12:47
  minutes of this movie and it starts with Billy Mack here and
• 12:50
  now. Yeah, I think it's a great way
• 12:51
  to set up the movie. I think we have a an ability to
• 12:54
  kind of know that he is obviously a little over what
• 12:56
  he's doing. He's aware that it sucks, which
• 12:59
  I like, and he's struggling, which makes sense because he's
• 13:01
  just like, I know the old one is like, yeah, but this is a new
• 13:03
  one. And it's characters gets better
• 13:05
  and better, totally. We use that throughout the
• 13:08
  titles basically to set up all of the characters.
• 13:11
  Yeah, each one gets their own introduction.
• 13:13
  Yeah. They all deserve it.
• 13:15
  Well, it's a big cast in terms of size, but also in terms of
• 13:18
  talent. These are all actors that have
• 13:20
  careers prior and I've gone on to large, you know, careers
• 13:23
  after so. Absolutely.
• 13:25
  And the first one we get is Colin Firth.
• 13:27
  I love Colin. Firth and his wife, whom nobody
• 13:29
  knows. She's not in it.
• 13:31
  For long. Not in it for long, but she's
• 13:33
  not feeling well. Seemed fine to me and.
• 13:35
  Watching it the second time, eventually she's, yes, she's in
• 13:39
  a rush to get him out of the house and then we move over to
• 13:43
  Liam Neeson, whose wife? Dead.
• 13:46
  Yeah, he's always trying to one up.
• 13:48
  Yeah. Calling first.
• 13:49
  You know. Your wife is sick.
• 13:51
  Mine is dead. That's right.
• 13:53
  He's a little upset about this. He calls his good friend Karen.
• 13:57
  Karen, played by Emma Thompson. What a joy to see.
• 14:00
  Her the great Emma Thompson. Let's just call it what it.
• 14:02
  Is ain't no argument here. So she is now setting up that
• 14:06
  she's the mother of this child who has the lobster, the
• 14:09
  nativity. Play bullshit lobster Christmas
• 14:13
  pageant, I'm out. That's right, stupid.
• 14:16
  Speaking of Cooper, we also have Colin.
• 14:19
  He delivers some sandwiches to an office where Alan Rickman and
• 14:23
  Laura Linney both work. Yeah, then we have Jack and
• 14:26
  Judy, who are stand-ins for porno.
• 14:31
  Erotic. Erotic at the very least.
• 14:33
  I don't know if it's hardcore. I always found that quite
• 14:37
  interesting, the whole stand in thing.
• 14:39
  I didn't quite get it. Seinfeld has a couple episodes
• 14:42
  with Kramer to stand in and Mickey playing the kid and it's
• 14:46
  just all for lighting. Absolutely.
• 14:48
  It's a great job or you can get it.
• 14:50
  Yeah, I mean, you don't need to act, you just gotta.
• 14:52
  You just have to beat the physical size and shape and
• 14:55
  shadow and shade of somebody else.
• 14:57
  Yeah, and I got a kick out of. It.
• 14:59
  Yeah, I think it's great. Yeah.
• 15:00
  I think it's the stupidest subplot in the whole movie.
• 15:03
  And it's just there to show Joanna Pages boobs.
• 15:06
  And I'm OK with that. I'm sure you are, fundamentally.
• 15:09
  But it serves no purpose. If I look at this movie as a
• 15:11
  whole, and we'll get to the other stages in a moment, but if
• 15:14
  I look at just this segment, everything about this segment
• 15:18
  can go and the movie doesn't change.
• 15:20
  That's correct. And that's how I feel.
• 15:21
  About that, yeah, you can leave this one on the cutting room
• 15:23
  floor, as they say in the business, Phil, that's right.
• 15:26
  And you could probably do what with a few and you have better
• 15:29
  quality by trimming the quantity.
• 15:31
  Potentially, but from Jack and Judy we go to the wedding of
• 15:34
  Juliet and Peter, whose best man is Mark.
• 15:37
  These are a lot of names. Keira Knightley, Chiwetel
• 15:40
  Ejiofor. As you may recall from he was
• 15:43
  not one of the brothers. No, he was coincidentally the
• 15:46
  antagonist, and I don't know when you chose to do this movie,
• 15:49
  but imagine you've had it on your short list for a while.
• 15:52
  Oh yeah, and it's just another wonderful.
• 15:54
  Coincidence. It's such a bizarre state of
• 15:55
  affairs. Sometimes it's not the only.
• 15:57
  Thing we find these connections like how did this happen?
• 15:59
  It's weird. Movies been around for a long
• 16:01
  time. Yeah, wasted though in this
• 16:02
  movie, Yes, certainly. Yes, to be clear about that
• 16:04
  part. Coming from watching him in Four
• 16:07
  Brothers where he is all personality, all gravitas, he
• 16:11
  was the highlight of that movie. If you recall for me, like 1 of
• 16:13
  the absolutely the real high points of performance.
• 16:16
  And here he is, completely nondescript, completely flat.
• 16:20
  He could have been Victor Sweet and we don't even know it.
• 16:22
  That's right, like he that could be his name in the movie.
• 16:25
  Have a lot to bring to the table, not unlike Mark here, who
• 16:29
  spent most of the next 15 years of his life playing Rick Grimes
• 16:34
  on The Walking Dead but just got locked into this series and
• 16:38
  wrote it out for as long as possible and he still milking it
• 16:41
  so. People do that.
• 16:42
  Look at Victor Newman. Totally, Yeah, yeah, 60 years.
• 16:46
  Brilliant, brilliant guy. And the introduction to this
• 16:50
  point of Keira Knightley, luminous is the word I have.
• 16:54
  And I don't actually like her that much as an actor.
• 16:56
  And I don't know that I find her the most beautiful girl in the
• 16:58
  world. But in this particular shot, as
• 17:00
  she comes from the fog and the low light, it's luminous.
• 17:05
  I looked up button in the dictionary and it's just a
• 17:11
  picture of her. Uh-huh.
• 17:13
  Because she is as cute as one. Hmm, interesting.
• 17:16
  Yeah. I love Keira Knightley now.
• 17:20
  I am a. Fan.
• 17:20
  I mean, she's a poor man's. Padme.
• 17:22
  Yeah, another one, Yeah, But hey.
• 17:25
  Who's to say to say, I mean, she gets criticized for her teeth,
• 17:29
  does she? She has been not by me.
• 17:32
  This is another They say the Internet is a cruel.
• 17:34
  Cruel world, you pull these gems out and like they hate her
• 17:38
  teeth. They don't like this guys.
• 17:39
  Hair, OK, She smiles, and she's looking like she's trying not to
• 17:43
  show them and that's what makes her so adorably cute.
• 17:46
  Gotcha that I'm not trying to show my teeth but I have to and.
• 17:49
  As a button, yeah. She smiles a lot this movie, so
• 17:52
  I don't. And I think she's got a
• 17:53
  beautiful smile. I think she's a beautiful
• 17:55
  actress. I think she's amazing and.
• 17:57
  She was in a movie, I think the year before this that I saw
• 17:59
  called The Whole. What's that about?
• 18:02
  It's about a group of teenagers who in London who have a weekend
• 18:06
  getaway from school and they find a whole.
• 18:09
  Yeah, it's like an old vault or an old tunnel system or
• 18:12
  something like that, and they get locked in there for two
• 18:14
  days. It's not ideal.
• 18:16
  And their friendships and their relationships disintegrate and
• 18:18
  there's some violence in there. It's really unknown movie, but I
• 18:21
  really got a kick out of it. And finally, we've got Hugh
• 18:24
  Grant, Richard Curtis Staple from Notting Hill in 4 Weddings
• 18:28
  and a Funeral. He plays the Prime Minister,
• 18:30
  just elected, it seems, just coming into office, meeting his
• 18:34
  staff and his chief caterer, Natalie.
• 18:36
  Natalie Little chubby? If you say so.
• 18:40
  We'll get to that. Later thighs like tree trunks.
• 18:43
  That's right. She's another actually pretty
• 18:45
  luminous character. Yeah.
• 18:47
  Great smile. I like her energy.
• 18:49
  You know, Swearing girl next. Door, I think would be the term.
• 18:52
  Literally next door to Mia. A little unnecessarily.
• 18:56
  But yes, the payoff. Right.
• 18:59
  Yeah, that reeled me back in, buddy.
• 19:01
  Let me tell you. Like, wait a minute, they are
• 19:03
  connected, everything is connected, awesome stuff.
• 19:06
  They're all connected ultimately to the wedding, right?
• 19:08
  Which is the first real set piece, if you can call it that,
• 19:10
  That was all montage. You're setting up the stage,
• 19:12
  who's who, where are they at? And Mark is constantly saying
• 19:17
  there's no surprises, there's no surprises, there's no surprises.
• 19:20
  Brazilian hookers, you know. Was a bit of a surprise.
• 19:24
  Bit of a surprise that there were men, sure.
• 19:26
  Hey, he takes ownership, he acknowledges.
• 19:29
  No judgment here. Rough.
• 19:30
  Couple of days certainly, and we get a scene that I find defying
• 19:34
  logic to me yet completely warm. OK, missed the defying logic
• 19:40
  part. The idea that certain sections
• 19:43
  of the stands have instruments, Tubas if you will.
• 19:47
  Yeah, of course. But like a horn section and a
• 19:51
  section, everything, all of these things are all in the
• 19:55
  wedding pews. I think to myself, this wedding
• 19:58
  has a third less people. Because who are these strangers
• 20:02
  sitting in the? That's the trade off buddy.
• 20:04
  I Do you want your drunk uncle there or do you want someone
• 20:07
  playing the tuba? I think.
• 20:08
  It's fantastic, but I'm saying if I turn around and I look
• 20:10
  behind me at a wedding, were I to have had one, I might have
• 20:15
  noticed that a third of the people in the audience, I don't
• 20:18
  know. That's it.
• 20:20
  Fooled me. And I'll tell you why, because I
• 20:23
  was busy thinking about this reels that's come up a couple
• 20:27
  times in my algorithm, in my feed.
• 20:29
  And it's in tourist areas in France and other places, and
• 20:34
  people are just walking the streets and all of a sudden
• 20:37
  someone starts singing Bohemian Rhapsody as an example.
• 20:40
  OK, Then up in the windows, yeah, people come out with their
• 20:44
  trombones and you get the guitar and people just keep popping up
• 20:48
  and it's this whole thing, which I think is real flash mob.
• 20:50
  Is that what it's called? OK, being orchestrated for the
• 20:53
  tourists. Flash mob.
• 20:55
  OK, say it again. Flash mob.
• 20:57
  Flash mob. Yeah, It's like a stage
• 20:59
  situation. Everybody knows choreography,
• 21:01
  everybody knows music, everybody knows the thing.
• 21:03
  There's a beautiful one at the Vancouver Report that doesn't
• 21:06
  set around Christmas time, OK, where out of the blue people
• 21:10
  drop their suitcases and dance and there's a band and it's a
• 21:12
  whole thing. I'll post it on the Facebook.
• 21:14
  Page How long has this been happening?
• 21:15
  For at least for 25 years, you know, I I think it had a peak in
• 21:19
  that early to mid 2000s and then dissipated overtime.
• 21:22
  But for a chunk of time, it was a big, big deal, OK.
• 21:25
  But that was what I was thinking about during that scene, so the
• 21:28
  logistics of it, I'm letting it slide.
• 21:29
  By it doesn't bother me because it's so sweet and that song All
• 21:33
  you need is love the The Beatles song.
• 21:35
  There is a lot of accurate movie that can.
• 21:37
  You need more. I don't think.
• 21:39
  So I think you do. The line in that where they say
• 21:43
  nowhere you can be, that isn't where you're meant to be is a
• 21:46
  line that through the ups and downs of the last 10 years of my
• 21:50
  life, have spoken to me in very distinct and powerful ways.
• 21:56
  That's funny you've had your ups and downs for the last 10 years.
• 21:58
  Didn't notice Same guy pulled 10 years to me.
• 22:02
  Maybe that's the problem, Maybe so.
• 22:05
  I'm not the most observant guy either.
• 22:06
  Yeah, well, you don't find love in airports.
• 22:09
  I mean, you're obviously a head case.
• 22:13
  The argument. Alright, Phil, just so I can
• 22:16
  stay focused here, let's check in with each of the couples.
• 22:22
  Sure. What are the characters?
• 22:23
  Characters, couple, whatever. Yeah, most of them are couples.
• 22:26
  But not one. Guy Well, first one I guess, if
• 22:29
  you wanna go in somewhat of an order, here is Colin Firth's
• 22:32
  character, Jamie. That's the one.
• 22:34
  Yep. Very efficient storytelling.
• 22:36
  Correct. He gets home after the wedding.
• 22:38
  Pre yeah. Post wedding, pre reception.
• 22:40
  Exactly the old in between. Because he's a good husband.
• 22:43
  Checking out his sick wife. Exactly I would do that my wife
• 22:47
  wouldn't do to me though. Is fine my brother there?
• 22:51
  Certainly not. Certainly.
• 22:52
  Not. In her dialogue is simply to
• 22:54
  say, hey, I am cheating on you. Yeah, it's not real at all.
• 22:57
  I wanna have you 2 times before you come on.
• 23:00
  Yeah, it serves a purpose, but it's very scripted.
• 23:02
  Yeah, this is one of those couple stories.
• 23:05
  Doesn't do it for me. But that's something that occurs
• 23:07
  in real life, those affairs, those sibling things.
• 23:10
  And when it happens, you want to go off the grid.
• 23:12
  So he just goes to a cottage. He says I'm going to write a
• 23:16
  book and live in France for a while.
• 23:18
  Yeah, I got the impression he was not in the USA.
• 23:21
  No. Well, no one in this movie is
• 23:23
  so. That's a good point, Phillip.
• 23:26
  So you're just getting the impression of.
• 23:28
  That is challenging. No one's in Oklahoma today, but
• 23:32
  you're right. And who I would kick off the
• 23:35
  movie? Colin.
• 23:38
  Not Firth. No, the character character
• 23:41
  Colin, who is easily the Francis candidate for me.
• 23:46
  I would. Agree if you was in it more.
• 23:47
  He is in it enough to make it. Wow.
• 23:50
  Francis Canada, really. Absolutely, definitely a
• 23:52
  nominee. Boils my skin.
• 23:55
  Interesting. I had a terribly big issue with
• 23:57
  his storyline. We'll get there for.
• 23:59
  Sure, but with him himself I thought he was perfectly fine.
• 24:03
  I'm going to have to go the other way on this.
• 24:04
  One hard to believe but I hate him.
• 24:06
  I hate every moment he's on screen except this 1.
• 24:09
  Yeah, I was going to say like. Come on, he's catering.
• 24:13
  Bumps into the caterer. Uh-huh.
• 24:16
  All of that is funny. Yeah.
• 24:17
  You know, dodgy food, OHS, you know, wish you had done this
• 24:21
  one. I did.
• 24:22
  It's a good joke and it's a good moment, but I would sacrifice it
• 24:25
  for the greater good. I wasn't sure if I was supposed
• 24:38
  to laugh at the funeral scene. I was confused and I found that
• 24:42
  with the writing on this movie in a few spots, I wasn't sure
• 24:45
  what I was supposed to do. Interesting.
• 24:47
  Is this trying to be funny? I don't know what I'm supposed
• 24:50
  to be feeling right now. Well, that's my experience at
• 24:52
  funerals. I've.
• 24:53
  Made a lot. Of jokes at funerals.
• 24:54
  And then I've also trying to balance the fact that like, Oh
• 24:57
  yeah, there's my dead mom over there.
• 24:59
  Like I'm really sad and I'm really emotional.
• 25:01
  And then also you got a couple of 1 liners in there just to try
• 25:05
  and change it. Up.
• 25:06
  You got a microphone. Well, do it a bit, a little bit
• 25:08
  sometimes. What's the deal?
• 25:10
  You know, I've only really been, and I'm very fortunate for this,
• 25:14
  primarily at funerals that are for people 8090.
• 25:17
  Like they had a good run. Yeah, they had a life.
• 25:20
  So I've been very fortunate, knock on wood, that I've been in
• 25:22
  that. Experience a couple exceptions.
• 25:24
  Make any jokes in here over there.
• 25:25
  No, I'm friendly, I'm nice, but I can't do.
• 25:30
  That I'm not like doing attendance.
• 25:32
  Like you. Are set up here, I'm just, you
• 25:33
  know, you have the guy next to you, my brother or somebody can
• 25:36
  make a joke about something that happens at all.
• 25:38
  So clearly he and his wife there have somewhat of a relationship
• 25:41
  where it is playful because she talks about not over your dead
• 25:44
  body over mine. Like that's a funny line.
• 25:47
  And I love that song. And so it obviously is a
• 25:50
  counterpoint to the somber bit and watching Neeson, who I think
• 25:55
  partly because we've watched a couple of his shitty, like the
• 25:58
  Commuter, these kind of shitty revenge movies.
• 26:01
  You like commuter? That's the train one, yeah.
• 26:03
  I didn't like the ending, if you recall.
• 26:05
  I like Servingman. Second source code you like.
• 26:07
  We went through a whole train phase.
• 26:08
  I did. Source code I prefer, but
• 26:10
  watching him perform it's a reminder that he used to be a
• 26:15
  real actor. Absolutely.
• 26:17
  And what he's been doing now, it's totally fine.
• 26:18
  But watching The Naked Gun or watching him in Commuter?
• 26:21
  Or taking 3. He's obviously done something
• 26:23
  different and it's fine, like his career, his own.
• 26:25
  But in this moment, in this scene, watching him stare out
• 26:29
  with the slideshow going behind him and eventually picking up
• 26:32
  the casket, it's really a powerful short moment.
• 26:36
  And having the ability to counterbalance that with what
• 26:39
  eventually becomes his relationship with his son.
• 26:43
  Sam. Sam becomes his new plot if you
• 26:47
  will, and how playful and open he is to him.
• 26:50
  Absolutely. I find is a really great
• 26:52
  performance. Yeah, Liam Neeson is amazing in
• 26:55
  2003. He's amazing in the late 90s.
• 26:58
  Qui gon Jin like come on. Jesus.
• 27:01
  Christ, I forgot about that. But moving away from the
• 27:04
  funeral, that's up the energy a little bit here, Phil.
• 27:08
  And we had the wedding. Yeah.
• 27:09
  And you know what pairs well with the wedding?
• 27:12
  The reception. Reception.
• 27:13
  Yeah. Yeah, you know better than
• 27:15
  anybody I. Assume we're sober.
• 27:16
  For your own Yeah, I'll tell you one thing about that.
• 27:20
  The DJ makes or breaks the evening.
• 27:23
  You're putting that much on the. DJ And when they're not up for
• 27:26
  the task, you feel it. And this movie calls it out for
• 27:30
  what it is. And I stand by it.
• 27:33
  You come into a DJ, you give them a couple of requests.
• 27:35
  You know what? Don't play these three songs
• 27:37
  just off the books. Just take them off.
• 27:40
  That's an easy request. To absolutely and you know what?
• 27:43
  After the father and daughter dance, play something up tempo,
• 27:47
  bring it up. Let's just go.
• 27:49
  We don't need the rest of it. Let's go.
• 27:51
  And then you get Louis Armstrong.
• 27:53
  What a wonderful world. You pay the money.
• 27:55
  You pay the money and that's a song that I.
• 27:58
  Love, of course. Why someone who doesn't?
• 28:00
  Like exactly but it's so generic and trite and does not belong
• 28:04
  where I specifically said do not play something slow and soft and
• 28:09
  he did it and it pisses me off still to this day.
• 28:12
  I can see. The And so when Laura Linney is
• 28:14
  talking about how terrible this DJ is, Oh my God, dredged up
• 28:18
  some old DJ. Now he didn't play puppy love.
• 28:21
  So I will say I probably had a better situation.
• 28:24
  Yeah, that was bad. And of course, you've got the
• 28:26
  stupid scene of the DJ making that passion face.
• 28:30
  That was funny, though, actually, when you're trying to
• 28:32
  be funny and have a moment like that.
• 28:33
  I appreciate that. Now, Mark.
• 28:35
  Yeah. Yeah.
• 28:37
  She asked him if she was in love with him, right.
• 28:39
  Yeah. OK.
• 28:40
  Because he's constantly just staring at the two of.
• 28:42
  Them OK and she just. Picked the wrong he doesn't talk
• 28:45
  to her at all. She's being.
• 28:47
  Mean to her so as hell. That's how you play it.
• 28:49
  That's how you play it, buddy. Pull her hair while you're.
• 28:52
  At it. That's right, from Grade 2 all
• 28:54
  the way on. You know who's always the life
• 28:57
  of the party is Alan Rickman, who guy we have yet to talk
• 29:01
  about despite him being a Christmas staple.
• 29:03
  I was gonna mention it to you that we glossed over Rickman.
• 29:07
  Yeah, it's shocking. It's a sin.
• 29:09
  I think we know why though. We're used to him being such a
• 29:12
  big character. Certainly the.
• 29:14
  Two die Hard talked about is Hans Gruber and the Sheriff of
• 29:17
  Nottingham are very big character.
• 29:19
  He's theatrical, right? Yes, stage theatre, but he plays
• 29:23
  a completely different character.
• 29:24
  He's kind of frumpy, frumpy, grumpy and also.
• 29:28
  Yeah, yeah, yeah, yeah. That's the lesser known, the
• 29:32
  frumpy dwarf that no one talks. About how did you like him in
• 29:35
  this though? I don't really like him in this.
• 29:37
  I'm sorry. You're not alone by your fault.
• 29:39
  I think he's so laconic. I think he's so dialed down and
• 29:43
  he has really one of my least favorite lines in the whole
• 29:45
  movie, which we'll get to, but. There's a lot to choose from.
• 29:47
  So so that I think hurts him generally.
• 29:50
  I think he's fine in it, don't get me wrong, but I think the
• 29:53
  energy is so low that I feel like he's not getting there.
• 29:57
  He's too low. I thought his he would play
• 29:59
  that. Perfectly.
• 30:00
  I, I think he's totally, Oh no, you can't go back now.
• 30:03
  I think he's totally fine. He said he was terrible, but
• 30:06
  he's not. I don't really love the
• 30:08
  performance. OK, well I think he nailed.
• 30:09
  It alright, well tell me. Why?
• 30:11
  I got the sense this is an unhappy middle-aged guy.
• 30:15
  Yeah, it has no joy left in his life.
• 30:17
  I get that for sure. Yeah, believe me, I look at
• 30:19
  across the couch here. And I see I'm fine compared to
• 30:22
  him. I'm doing quite well just.
• 30:24
  Fine 100. Percent.
• 30:24
  Maybe I'm just being lenient because Alan Rickman or because
• 30:27
  people on the Internet didn't like.
• 30:28
  Him. Oh yes.
• 30:29
  I have to be. I have to go the opposite.
• 30:32
  I think maybe less than just the character is maybe something I
• 30:35
  don't like. OK.
• 30:36
  I thought that was one of the strongest storylines.
• 30:38
  I think so too. And it, but it's mostly it's an
• 30:41
  Emma Thompson thing. But what he's doing there
• 30:43
  ultimately is to establish Laura Linney's storyline, her arc, if
• 30:47
  you will. She's in love with Carl for 30
• 30:50
  minutes less than she's worked at this particular office, which
• 30:53
  I thought was a cute introduction.
• 30:54
  Yeah, it's something. And he's saying you should go
• 30:58
  and make your move. Yeah, I would assume Harry would
• 31:01
  have had this conversation a year and a half ago though.
• 31:04
  Sure, like waiting till last Christmas or well, there's been
• 31:07
  lots of opportunity. It's been almost three years and
• 31:09
  now they're having this conversation.
• 31:11
  Yeah, my bigger issue with that is she asks does Carl know and
• 31:16
  he flippantly says yes. So to me the ball is as much in
• 31:20
  Earls Court. If not more because of
• 31:23
  traditional CIS male. Didn't want to say it.
• 31:26
  Yeah. You know, paradigms, yeah, but
• 31:29
  there is that piece of thinking, OK, if they both have the exact
• 31:32
  same information. Uh-huh.
• 31:34
  And he's done nothing. And she doesn't know that he
• 31:36
  likes her at all because they're not having this conversation
• 31:39
  with Carl, saying everyone knows you're in love with Laura.
• 31:41
  I'm in the same room that's just a.
• 31:42
  Tactic. So if he has more information
• 31:44
  than you would imagine that he would be more willing at any
• 31:47
  other point to make the move. Because just a noteworthy thing.
• 31:49
  I don't think it derails the entire plot line.
• 31:52
  What? Bothered me more about this
• 31:54
  scene is when she leaves the room and her phone rings with
• 31:57
  that Nokia ringtone, which I love.
• 32:00
  Classic Jurassic Park Three. I know you haven't seen it.
• 32:02
  Spoiler alert. And she asks Maya.
• 32:06
  Yes. To turn down that Mia.
• 32:08
  Yeah, Mia. I got it.
• 32:09
  I got it. Yeah.
• 32:10
  To turn down the radio. Yeah.
• 32:12
  You don't need to take the call there.
• 32:14
  This is a mobile phone. Don't interrupt Mia's
• 32:19
  entertainment. Go over there and take your
• 32:22
  effing call. That makes complete sense to me.
• 32:25
  Hated. It really the second time I
• 32:27
  watched it for maybe it was the sleep score, I don't know.
• 32:30
  But it really that's me and I had to pause the movie and take
• 32:34
  a break. Wow, I had to pee.
• 32:36
  OK, Yeah. So drink a lot of coffee and a
• 32:39
  break Anyway. A lot of sleep.
• 32:40
  Score. Drink a lot of.
• 32:41
  Coffee, you know, Mia is listening to Billy Max Christmas
• 32:44
  song and so the idea I think was also turn that shit down because
• 32:49
  they all made like ugly faces at it.
• 32:50
  But that's a good point about you have a mobile phone.
• 32:52
  Get out of there. Didn't quite Take Me Out so
• 32:54
  deeply as you, but it is something to nitpick for sure.
• 32:57
  I was in the cell phone business, buddy.
• 32:59
  Some very sensitive. You forget, so was I.
• 33:03
  You were reading. Movies.
• 33:05
  I was in the store. Yeah, there's a reason cell
• 33:07
  phones were happening. I was.
• 33:08
  There uh huh. Not in that section though.
• 33:10
  No, you're way over to in the candy section.
• 33:13
  Possible. And if it were just me there, I
• 33:14
  would send them someplace else. So yeah, I mean, yeah, I was in
• 33:17
  the. Biz but adjacent very loosely.
• 33:19
  I can scan this phone and sell it to you but don't want to put
• 33:24
  up signing you up on any contract.
• 33:25
  It's too much work. That's right, I will scam.
• 33:27
  You could pay full. Price.
• 33:28
  You gotta buy it out right right For the best at that time
• 33:31
  anyway. Oh man.
• 33:33
  But now that you mentioned that, was Billy on the radio?
• 33:36
  I. He's bit of the through line
• 33:38
  throughout. There's video, there's the song
• 33:40
  always playing. It's the only way you connect to
• 33:41
  anybody. I just like when he's on screen
• 33:43
  because the next scene is him doing the radio interview.
• 33:47
  Great scene. After they tease him, make fun
• 33:49
  of the song, it sucks and he's like actually Billy is my next.
• 33:53
  Guest a very candid conversation, and that radio
• 33:56
  station is not used to that. Not Wadford.
• 33:58
  Ever been to Watford? No.
• 33:59
  You really should. Probably went through it on my
• 34:01
  way from Gatwick. Or from Heathrow into town,
• 34:04
  probably. I think they have a soccer team.
• 34:06
  Probably. Yeah.
• 34:07
  A football club. Probably not a very good one.
• 34:09
  I don't know. Wow.
• 34:10
  More Liverpool over there and Chelsea.
• 34:12
  Manchester City. Yeah, there's lots, lots of.
• 34:14
  Yeah, yeah. You know what I'm talking about.
• 34:16
  Went to a Chelsea game. But ultimately calls the record
• 34:20
  crap. I just love Billy's attitude
• 34:23
  towards it because I know that this is going to work.
• 34:28
  This song will become #1 Even if I hadn't seen this movie, just
• 34:32
  because that's the way it works, you hate on your own shit,
• 34:36
  people will like it totally. That's.
• 34:37
  The people want to believe that you're shooting straight with
• 34:40
  them. One of the things though that I
• 34:42
  dislike holy is the Britney Spears joke.
• 34:45
  Oh. Yeah, that's one that's sort of
• 34:46
  interprete when I think about 2003 Britney Spears and then
• 34:50
  like what Chick went through with like the paparazzi and
• 34:54
  shaving her. Head and the kids and the like
• 34:56
  all that life. Her dad Why you taking a shot
• 34:58
  at. Yeah, this movie does a couple
• 34:59
  of things and I think one of them is taking shots at America
• 35:02
  in general and I think she's caught in the crossfire.
• 35:05
  Could be for some reason as we'll get to some other American
• 35:07
  stuff soon. Totally.
• 35:08
  I like Britney. I don't know her.
• 35:10
  Yeah, I don't know her either. I just felt like this is a cheap
• 35:13
  easy joke and the movie does make some cheap easy jokes and
• 35:17
  it sticks out when it happens No place for it.
• 35:19
  Just leave her alone. It's not funny.
• 35:21
  Wasn't then, wasn't now. Exactly.
• 35:23
  But he is funny. Billy's basically kills this
• 35:25
  whole Billy's great overall. That's right.
• 35:27
  Now speaking into scripts on his phone.
• 35:30
  Speaking of cheap and easy, we've got Natalie.
• 35:33
  I don't know about that buddy, Take it easy.
• 35:36
  More about the jokes So we have an opportunity here to show what
• 35:40
  is clearly a beautiful woman. Yeah, she's nice.
• 35:42
  I like her brunette, right? You know how I feel about
• 35:44
  brunette generally. But we get her explaining her
• 35:48
  boyfriend situation as unpleasant, unhealthy.
• 35:52
  He turned out not to be very nice.
• 35:53
  Not very nice. Called her fat.
• 35:55
  Often called her fat thighs like tree trunks.
• 35:58
  Yeah, yeah. And this is a running theme
• 36:01
  throughout the movie and it starts.
• 36:02
  Pick up on that. Here this movie and we'll get to
• 36:06
  it throughout, but I'm shocked, and this goes into the things I
• 36:09
  was saying was I don't remember in 2003.
• 36:11
  It's sticking out quite so badly.
• 36:12
  But the more times I watched this movie over the years, these
• 36:15
  are the things I just have 0 patience for.
• 36:18
  So many fat jokes. I don't think they're fat jokes
• 36:21
  because they would have to be funny to be a joke.
• 36:24
  I guess but a lot of fat comments and shaming this movie
• 36:28
  at times feels like it hates women.
• 36:30
  Like there, it's really angry towards a little bit women and
• 36:34
  weird days and it pops up here and there and this is the first
• 36:37
  instance where I just was like, God, it just turns my stomach to
• 36:39
  see that it's more than subtle. Absolutely.
• 36:41
  It's so. On the maybe not so much about
• 36:44
  hating women, I think that's a little strong, but the fat
• 36:47
  jokes, it was glaring to me like they went out of their way to
• 36:51
  do. It and not just to her like they
• 36:53
  did to her. There's multiple multiple
• 36:55
  throughout. If I'm a young person watching
• 36:57
  this movie this holiday Christmas classic.
• 37:00
  Yeah and that's true. And just this through line of
• 37:02
  you're ugly or you're fat feels incongruous.
• 37:07
  What? I want to watch a Christmas
• 37:08
  movie. It's pretty bad when Hugh
• 37:09
  Grant's like the honorable one in the movie.
• 37:10
  He's the one that's always defending.
• 37:12
  Absolutely. What are you talking about?
• 37:13
  Yeah, he gets my favorite line a little later.
• 37:16
  But not to take anything away from some sweet scenes, they do
• 37:20
  exist in this movie. I learned something from you
• 37:22
  over this last five years, Phil, if you can believe it or not, is
• 37:25
  even if I really dislike a movie.
• 37:27
  Yeah, I think it's really bad. It's terrible.
• 37:31
  There are still moments in the movie that are good, and it's
• 37:34
  worth talking about. And I'm referring to one that
• 37:37
  just happened just before this one say I believe was on a park.
• 37:40
  Bench. Yes, that's right.
• 37:42
  Which I like benches generally speaking, especially those that
• 37:46
  are situated in a park. You've made this very.
• 37:49
  Clear. I have not.
• 37:50
  I have not and you know I haven't, but I am making it
• 37:52
  clear now. Put it on the record.
• 37:55
  Daniel and Sam, do you think it makes a difference that it's his
• 37:58
  stepson? I'm just asking this because I
• 38:01
  thought it was his real son and then he mentions his stepson but
• 38:04
  I think it works either way. I think it totally does.
• 38:06
  In fact, it leads to what I think is a pretty cool moment
• 38:09
  that unfortunately is deflated right after which we'll get to
• 38:11
  as time goes on. There's something about the
• 38:13
  stepson's father, stepfather relationship, hmm, that you take
• 38:17
  the mom out, you take the left blood relationship.
• 38:20
  Sure. And how do you fit in?
• 38:22
  And I think that's a great dynamic that I would have rather
• 38:24
  actually watched more of the storyline is.
• 38:27
  Great, Yes, it is one of the better ones for sure.
• 38:28
  But I think there's room in that type of story for a whole other
• 38:33
  movie. Yeah, because the way relates.
• 38:35
  Because the way he talks to him, it's like your buddies, you
• 38:38
  know, he swears, yes. Not in a bad.
• 38:39
  Way. No, of course it's appropriate.
• 38:41
  What he's saying to me, I really do like their relationship.
• 38:44
  They're almost like on the same. Level, yeah, trying to relate to
• 38:48
  one another. You don't know how long they
• 38:49
  were together, but it doesn't really matter because you can go
• 38:53
  a long way with performance. I think the point of actors, you
• 38:55
  don't need a time three months together or.
• 38:58
  Whatever. I mean, the relationship he has
• 39:00
  with that kid, if him and his mom were together for two weeks
• 39:04
  versus 10 years, I think it matters.
• 39:06
  What matters? But you don't need to see a
• 39:07
  title card to show you. You can get the vibe that these
• 39:10
  two people have been around a lot longer than two weeks
• 39:13
  because of the relationship and performances that we have on the
• 39:16
  screen. I just say 1 kill.
• 39:17
  You have a title card. OK I don't know.
• 39:19
  Takes 2 seconds. That line of dialogue.
• 39:22
  Hey, son. Yeah, I know we've been together
• 39:25
  for 7 1/2 years now, but how do you feel today?
• 39:28
  There you go. It's good writing.
• 39:32
  Mark it down. But it is a very sweet scene.
• 39:35
  You're right. He gets to confess to him that
• 39:38
  he's in love. And he thought it was something
• 39:39
  much worse. And the kids like.
• 39:41
  What could possibly be worse than?
• 39:43
  This and as a kid, you know what?
• 39:44
  That's a That's a great. Line.
• 39:45
  It's a perfect. Love is terrible when it's not a
• 39:49
  two way thing or you don't know it is anyway.
• 39:52
  Like it's it's torment. Totally.
• 39:53
  Yeah, I remember. Even older than this guy.
• 39:56
  You're pacing back and forth, you're dialing.
• 39:58
  You want to invite them to something, you get a number.
• 40:00
  Maybe you're like sweating. You don't know how to react at
• 40:03
  school. Worse.
• 40:04
  I remember this girl Megan whom I was completely infatuated with
• 40:07
  it at 8-9 years old and she was like I like you this much was
• 40:12
  holding her hands in a certain way.
• 40:14
  And we went to March break and I couldn't wait to get back to
• 40:16
  school afterwards a week later and it was like, how much do you
• 40:19
  like me now, you know? And it was like this much have
• 40:23
  been cut into like 1/3 or even though I was like.
• 40:25
  Jesus cold. So much time to make up, but
• 40:29
  that's the kind of world you're like, life and death stuff.
• 40:32
  It all feels like love. I remember getting a postcard
• 40:34
  and sending it with like sweethearts.
• 40:37
  This is what a 10 year old brain does.
• 40:38
  Matters so much. Where is she now?
• 40:41
  I don't know. OK, I keep in touch.
• 40:43
  No. No.
• 40:44
  Not since elementaries. Well, not after she.
• 40:46
  No, after that. My gosh, yeah.
• 40:48
  Come on. So things are felt so deeply at
• 40:50
  that age that I totally buy this scene.
• 40:52
  Yeah. Neeson.
• 40:53
  His fear is I can't relate to this kid because there isn't
• 40:56
  that buffer anymore. And that's something I can
• 40:58
  relate to on some. Level.
• 40:59
  It's like Jerry, George and Elaine, if you remember that,
• 41:01
  that's. Right.
• 41:02
  We're Jerry. You can't take one out of that.
• 41:05
  Equation. Yeah, he's the linchpin.
• 41:06
  George and Elaine are just talking to each other, have
• 41:08
  nothing to talk about. Nothing.
• 41:09
  So they end up just talking about Jerry and then they get
• 41:12
  into repeats rather quickly. Yeah, that's an appropriate use
• 41:15
  of a Seinfeld reference, and I commend you after five years of
• 41:17
  finally snuck it in at a time that it made sense and it didn't
• 41:22
  derail the conversation. Another good one, and another
• 41:24
  five years. You know somebody who haven't
• 41:34
  seen for a while, Who's that? Billy Bob Thornton?
• 41:36
  We haven't done anything since Simple Plan.
• 41:39
  That's right, which she was phenomenal, amazing Academy
• 41:42
  Award nominated role I thought could have won.
• 41:44
  And he was great in Armageddon as.
• 41:45
  Well, he was so good and simple plan.
• 41:50
  I think as much as I don't think any of this is necessary in the
• 41:54
  movie, he plays a good president, totally.
• 41:56
  And he gets this talk about their special relationship,
• 41:59
  which you and I have spoken about in their archives.
• 42:02
  Another TV movie off Dave show. OK.
• 42:04
  You're complaining when we did it?
• 42:06
  Or maybe you? Were what comes from it luckily
• 42:08
  is a great scene of patriotism and pride and certainly by
• 42:12
  comparison to GW and certainly the president currently, you
• 42:15
  want more world leaders to do this.
• 42:18
  Oh, absolutely right. And so it allows for a great
• 42:21
  scene and a great speech in that.
• 42:22
  Respect performance just never would never happen, so to me
• 42:25
  it's completely unrealistic. These are movies.
• 42:27
  David I know that, but they gotta be sometimes.
• 42:30
  They have to be somewhat grounded unless it's a cartoon.
• 42:36
  Or have four brothers in the world other than.
• 42:38
  That Have you been to Detroit? That's Detroit, buddy.
• 42:41
  But I agree, like Hugh Grant David, great name by the way.
• 42:46
  It's pretty good. I would kill to have a leader
• 42:48
  like this. Yeah, they just don't exist.
• 42:50
  They don't exist on stage. They exist behind the meeting,
• 42:53
  behind the doors. Maybe.
• 42:54
  They couldn't go on public television and do.
• 42:57
  That happens. No, not even on TVO.
• 42:59
  That's and that's television that matters, just so you know.
• 43:03
  In case you're wondering. Yeah, yeah, again, it's none of
• 43:06
  this would really happen, but it's a yay, yay for.
• 43:09
  Beautiful. I love it.
• 43:10
  I love that scene. I love the speech.
• 43:11
  That's a good speech. Yeah, well, that's all the
• 43:14
  movies again, like it's a fantasy.
• 43:15
  These are movies. This is definitely a fantasy
• 43:18
  movie, which is a little bit misleading because I thought it
• 43:20
  was Love Actually, but it's fantasy actually.
• 43:22
  Actually, that's the problem. Bullshit, actually.
• 43:27
  OK, Yeah, that's the problem. I think what we need to do is
• 43:31
  talk about Emma Thompson. She's a fantasy.
• 43:33
  She's the most real thing in this.
• 43:35
  She's. Incredible.
• 43:36
  Incredible. You just took my word, you
• 43:38
  bastard. Edit it out, you won't even
• 43:40
  know. And I'm not a big Emma Thompson
• 43:44
  guy. Interesting, generally speaking.
• 43:46
  Sure, you probably haven't seen a lot of her movies.
• 43:48
  I'd get her mixed up with the one that last name is Thomas and
• 43:51
  she was in the first Mission Impossible.
• 43:53
  They look nothing alike, but she's also a British actress.
• 43:56
  Kristen Scott Thomas. Yes, that's.
• 43:57
  It from English Patient. I want to talk about her.
• 44:02
  Too. Let's talk about what I talk.
• 44:03
  About. Strong British female leads.
• 44:06
  OK, yeah, she's excellent. Now, in this moment, she's
• 44:09
  opening up to Rickman, who can't for the life of me understand
• 44:14
  why someone might still be listening to Joni Mitchell.
• 44:16
  I never did. And she's incredible.
• 44:18
  Canadian icon. That's true.
• 44:20
  And Cameron Crowe is going to be making a movie about her in the
• 44:23
  near future. Alrighty.
• 44:25
  Root, which is wonderful. If you get a chance, you can
• 44:27
  listen to songs like Coyote which is great.
• 44:30
  Both Sides Now is incredible, particularly this version in the
• 44:32
  movie and a song I love called A Case of You, which is something
• 44:36
  to listen to as well. It's an incredible.
• 44:38
  Anyway, she's wonderful. And I think to myself, in the
• 44:41
  modern age, everybody's listening to old shit.
• 44:44
  Yeah. Like, you know, like, if you
• 44:45
  can't be criticized for that. Yeah.
• 44:47
  Like Joni Mitchell, sure, But she's iconic singer-songwriter,
• 44:50
  has been around for a long time, Brilliant songs.
• 44:52
  As a person that listens almost exclusively to older music, and
• 44:54
  I get maybe a little offended. You were offended, but I think
• 44:57
  generally speaking, people know those songs.
• 44:59
  So it feels a little like you shouldn't be that surprised.
• 45:01
  Taking a shot at Canada. That's what this writer's doing.
• 45:04
  Ultimately. She's your wife.
• 45:05
  You've lived in that house together.
• 45:07
  You probably have heard Joni Mitchell at some point.
• 45:10
  In platinum blonde, maybe another.
• 45:11
  Good could be. Absolutely there the one a
• 45:14
  couple of Junos. Yeah, Speaking of fantasies, a
• 45:16
  little earlier, you, you alluded to you want things grounded in
• 45:20
  reality, which is not really how I would place your particular
• 45:24
  taste often. What are you talking about?
• 45:27
  Everything I do is grounded in reality.
• 45:29
  Die Hard Looper, everything can be like it's grounded.
• 45:34
  That's true. That's true.
• 45:35
  Yeah. This movie has a fair amount of
• 45:37
  contrivance where you you can't argue.
• 45:39
  That no little bullshit, no bullshit.
• 45:42
  What isn't bullshit is The Pointer Sisters and Hugh Grant
• 45:46
  just can't control himself. And this is your favorite scene
• 45:48
  in the movie? I want you to tell me.
• 45:49
  Why? It's on the record.
• 45:51
  I see your notes right here. Love it.
• 45:53
  I see 3 exclamation. Mark, this is what I wrote down.
• 45:56
  What are we even doing here? Like I don't understand what I'm
• 46:00
  watching anymore. It was harmless and it's a good
• 46:03
  song. Yeah, great song. 45 minutes in
• 46:06
  the movie Little Pick Me. Up, but I have no idea why it's
• 46:08
  here. I don't need him to dance.
• 46:10
  Apropos of nothing, it's a silly scene.
• 46:13
  It does take a lot of time. I will take 10 scenes like this
• 46:18
  versus anything with Colin. Not Firth.
• 46:21
  No, no, be clear. There is instance in this movie
• 46:25
  though I felt confused to what the director was trying to do.
• 46:30
  Are you trying to be funny? Is this a Toronto comedy?
• 46:33
  Well, that's what I was confused because I didn't get that I
• 46:36
  don't get romantic comedy out. Of this, what is missing from
• 46:38
  that equation? Romance and comedy.
• 46:40
  Interesting, don't find anything funny.
• 46:42
  Here and there, but I wouldn't label this as a romantic comedy.
• 46:45
  It's just not at that level. For me, literally on the box
• 46:49
  art, it reads the ultimate romantic comedy.
• 46:51
  So. That's very misleading.
• 46:53
  Clearly very misleading. I will say that it is not as
• 46:56
  funny as it could be. Could be for that should be that
• 47:00
  type of thing, huh? Romance, love at first sight.
• 47:03
  Yeah, yeah, yeah. I believe in those kinds of
• 47:06
  things. So as a person that has
• 47:08
  literally felt that twice in his life, it matters.
• 47:11
  Those are things that I fully agree.
• 47:13
  With I love, Love at First sight.
• 47:14
  Absolutely. Yeah.
• 47:15
  That's just how it's portrayed in this movie that actually let
• 47:18
  me backtrack a little bit. This Hugh Grant I actually like.
• 47:23
  Yeah, I was worried there sound like it.
• 47:24
  But yeah, you get the wrong idea.
• 47:26
  He's dancing. Like, I don't care about that.
• 47:29
  But we glossed over at the beginning is their introduction.
• 47:32
  That moment. I'm like, OK, this is your story
• 47:35
  and I'm with it. OK.
• 47:37
  Absolutely. Everything else about it is
• 47:39
  rushed. That's the problem.
• 47:41
  OK, that'll rushing lately lot of movies.
• 47:44
  This two hour and 15 minutes, so maybe it's trying to cram too
• 47:46
  much in, I don't know, but there are elements of this that I
• 47:49
  don't really feel are rushed and there are elements that are
• 47:51
  calling and deserve to be excised.
• 47:55
  We're in agreeance on that one. That's right.
• 47:57
  Now, Speaking of Colin, not the character, but the actor Colin
• 48:00
  Firth. He's in France at the cottage
• 48:03
  with the Portuguese housemaid. Does he even need a housemaid?
• 48:07
  Like how big of a mess is he making?
• 48:08
  Also, how big is the house? Not that.
• 48:10
  Big I question it all. He likes Portuguese women.
• 48:12
  I don't know, it makes sense to me.
• 48:14
  Like apparently. But his goals are to write the
• 48:17
  book. It's a little bit of a subtle
• 48:19
  jab somewhere in the subtext of the scene, but I'm pretty sure
• 48:23
  he has an alternate version of the first chapter of this book,
• 48:28
  and I think that's important. Anytime you're starting to write
• 48:30
  a novel, make sure you've got alternate version of the first
• 48:32
  chapter. I thought it was bad enough that
• 48:35
  in Wonder Boys they had book in the car and it flew out of the
• 48:41
  car because the door opened, but you would anticipate that
• 48:43
  happening. This is even worse because you
• 48:45
  have it outside. With a rock on.
• 48:48
  It and it's clearly windy. It's just a recipe for.
• 48:51
  Disaster. It's her fault.
• 48:52
  Of course it's her fault. She's he's got a rock on it.
• 48:55
  The paper weight is on the paper.
• 48:57
  They still risky. Of course it's risky, I'm
• 48:59
  saying. But he took the measures.
• 49:01
  It's her fault. Ohe, yeah.
• 49:03
  I don't think they get together. If that's the case.
• 49:07
  I don't think so. No.
• 49:08
  You want talk about fantasy? Yeah, that's the fantasy.
• 49:11
  That's bullshit. That is bullshit.
• 49:12
  There's no way that I have the patience to put up with someone
• 49:16
  like that. Ad.
• 49:18
  Rocker ad rocker on a windy day. I'm writing my heart out over
• 49:23
  here, which is a tramp stamp, and I think that's he's taken by
• 49:26
  that. Speaking of 2003.
• 49:29
  I'm thinking this guy falls in love with this woman in this
• 49:33
  instance, seemingly because of the stamp tramp.
• 49:36
  Is that what it? Is the tramp stamp tramp?
• 49:37
  Stamp. Yeah, the camera pan like pulls
• 49:40
  down just to. She looks she looks good in
• 49:43
  underwear, which course we both do as well, of course.
• 49:46
  Absolutely. But we're not on YouTube, guys.
• 49:49
  Because we're both in our underwear right now, right?
• 49:52
  And This is why I prefaced this conversation with telling you
• 49:57
  that the Hugh Grant and Natalie story I liked because I knew we
• 50:01
  were going to take 180° turn here.
• 50:03
  Because this is the worst, worst relationship story in the movie.
• 50:10
  It's completely ungrounded, not reality.
• 50:14
  Makes no sense. It really irritated me.
• 50:17
  What did you think of them both saying the same thing in
• 50:20
  different languages unknowingly? I think that this movie thinks
• 50:24
  that this scene in this relationship is very cute.
• 50:27
  And they think it's enough. Oh, I mean, I think it's enough
• 50:29
  because they just expect you to, you know?
• 50:31
  Expect me to what? Again, these are romantic
• 50:34
  movies. You just assume people are going
• 50:35
  to get together or not together. But I think the writing of it is
• 50:38
  what they would call too clever by half.
• 50:41
  It's so specific and designed so that I think people will look at
• 50:46
  that and go, oh, that's cute. Oh, look at them.
• 50:49
  Yeah. That's the hijinks to cover up
• 50:51
  the fact that it's completely unbelievable.
• 50:53
  Yeah, I don't think about things like that as believable or
• 50:55
  unbelievable. Only thing I believed was eels
• 50:57
  like Zulu when he says Shields eels.
• 51:02
  I don't know, raise them. It's definitely.
• 51:06
  This relationship in particular is not one that stands out as
• 51:09
  being. Of a highlight if we decide to
• 51:11
  rate them, I can tell you right now is going to be pretty close
• 51:13
  to the bottom. Boil it.
• 51:15
  You know that's how much it's irking me.
• 51:17
  I felt like I had missed a scene with them.
• 51:19
  Oh sure, because it's rushed yeah, yes, but when I watched
• 51:25
  the second time, like, no, I didn't miss anything.
• 51:27
  This is just. Not no.
• 51:27
  There's not much happening in this scene.
• 51:29
  Ultimately, it's written in a way that is not particularly,
• 51:32
  for lack of a better term, believable.
• 51:34
  And it has 1 sweet line where you know the best part of my
• 51:37
  day, Driving you home at that. There's no reason why that is
• 51:40
  the case. No, but I like that it's there.
• 51:43
  No reason why she's there at all.
• 51:45
  The house is perfectly clean without her.
• 51:47
  Now this next scene. I believe this part.
• 51:50
  This part because Keira Knightley's in it.
• 51:53
  And if you had a camera in your hand, Come on.
• 51:56
  All Kira all the time. I KTV.
• 51:58
  I'm creepy. The creepy guy, not just
• 52:02
  kidding, but I can see someone being infatuated with their best
• 52:07
  friends wife. Sure, Yeah, yeah.
• 52:09
  I'm not personally, no, of course, but she's absolutely.
• 52:12
  Beautiful. I was once at a bus stop at
• 52:14
  school and my friend's ex-girlfriend was at the same
• 52:18
  bus stop. We hadn't seen each other in a
• 52:20
  few months since obviously she stopped hanging around and there
• 52:22
  was a moment where I thought maybe you make a move.
• 52:24
  And I took a poll and my friends were like don't, don't fucking
• 52:28
  do it. Don't do it.
• 52:29
  Don't touch. It.
• 52:30
  You're not supposed to obviously, but I think that it's
• 52:33
  a normal to have that thought. It's just you don't execute it.
• 52:36
  Yeah, obviously. This guy executed it all day
• 52:39
  long. All night long.
• 52:40
  It's a little extreme and I find it uncomfortable.
• 52:45
  Yeah, I don't really like Marks performance.
• 52:50
  No marks. Terrible.
• 52:50
  The squinting eyes and the delivery, everything about him I
• 52:53
  think is. Bad You don't like the squint.
• 52:55
  We know that exactly. But I think Kira watching this
• 52:58
  and watching her face piercing it together.
• 53:01
  It's challenging to play scared and flattered at the same.
• 53:05
  Time. Totally.
• 53:05
  Yeah, yeah, yeah. Like am I going to be murdered?
• 53:07
  Right. Yeah, exactly.
• 53:08
  Am I going to be a hostage? But she nailed it.
• 53:11
  Yeah, I think she's really good. She's nominated for this, wasn't
• 53:13
  she? No.
• 53:14
  OK. But he says it's a self
• 53:16
  preservation thing. You need to let yourself out.
• 53:18
  I think that's what you do. So I'm going to treat you like
• 53:21
  shit as a self preservation thing.
• 53:23
  That's the right move. I don't think it is.
• 53:25
  And I think that even worse moves what happens later?
• 53:27
  But I don't think that's the move.
• 53:29
  What is the move? What are you accomplishing in
• 53:31
  both this guys next two scenes? And we'll get to the last one
• 53:33
  obviously in time, but what is the goal?
• 53:37
  Is it spank material? Right?
• 53:42
  Like you're recording so much footage.
• 53:44
  By disliking her that much, it's a cry for help.
• 53:47
  I want you to know that I like you.
• 53:49
  Sure. And I can't come out and say it.
• 53:51
  Sure. Because if I act normally,
• 53:52
  you'll never know. There's part of him that wants
• 53:55
  her to know. OK?
• 53:57
  Believe me, I know. I've done.
• 53:59
  It sure, I guess that makes sense.
• 54:01
  Yeah. But I just think this guy is
• 54:03
  going to blow up his best friend, their marriage, his
• 54:05
  relationship. Oh, it's not recommended just so
• 54:08
  that she knows something. Love, man.
• 54:11
  It's just pheromones. It's chemicals.
• 54:13
  Just chemicals matters, yeah. I did really good at chemistry,
• 54:16
  by the way. Oh yeah, no, not so much 51%.
• 54:22
  But that this scene I just think is terrible.
• 54:23
  Although we do get Dido and it's been a long time since I've had
• 54:26
  a good Dido song. I never have and it was a nice
• 54:28
  throwback to 2003 where she was. Way too much.
• 54:31
  Just played a lot, I didn't like it.
• 54:32
  She did that Stan song too. She did the backing vocal on the
• 54:35
  Eminem song. She's just a big thing for a
• 54:37
  little while. She was and it disappeared.
• 54:39
  Never heard from her. Again, that's OK.
• 54:41
  OK, I guess. Something about her family and
• 54:43
  her career. But yeah, well, as long as you
• 54:45
  don't have to hear I. Guess I got my own problems.
• 54:48
  You know who else got problems is Hugh Grant, and more
• 54:50
  specifically Natalie. She's about to get
• 54:52
  redistributed. Yeah, that's what you do in that
• 54:54
  situation, I suppose. When he says hey my catering
• 54:58
  manager, do you remember her? And chief of staff says you mean
• 55:02
  the chubby one? Like, come on, what are we?
• 55:03
  What are we doing here? It's.
• 55:05
  Ridiculous, but it does lead to Hugh Grant's best line in the.
• 55:08
  Movie. This is it.
• 55:09
  I love it. What is it?
• 55:10
  Tell me. I couldn't perform it.
• 55:11
  You could do it. You grant.
• 55:14
  But he says, are we calling it chubby?
• 55:17
  You're right, you can't do it. You grant can't do it.
• 55:19
  Can't was. The worst, but it's incredible.
• 55:21
  It just makes me laugh every single time and I'm movie that
• 55:23
  you're saying is not maybe as funny as it could be.
• 55:25
  It's those kind of moments that I think make it more comedic
• 55:28
  than you think it is. Kate, Leo and ice cream Watch
• 55:41
  Titanic for this show. Eric Braden, Yeah.
• 55:43
  Andrew might come. Off next.
• 55:45
  I think it would be a fun one to talk.
• 55:46
  About Well, I think so too. And what's also going to be fun
• 55:49
  to talk about here is the decision Sam makes to play the
• 55:52
  drums. He's thinking, you know what?
• 55:54
  The key to a woman's heart Music.
• 55:56
  It's not a bad idea. Look at Billy Mack.
• 55:58
  He shagged Britney Spears. Allegedly, I think it's a good
• 56:02
  plan. I think so too.
• 56:03
  I'd love to learn an instrument. He's a smart kid and this
• 56:06
  reinforces that. I really like this relationship,
• 56:09
  the playfulness between them two, it's solid stuff.
• 56:12
  You really get the sense that Neeson is like in full support
• 56:14
  of whatever is going on here. I think is a really sweet
• 56:17
  relationship that this movie builds and it really delivers.
• 56:19
  100%. Grounded Rickman at the
• 56:22
  Christmas party. Are they already a thing?
• 56:24
  No, she is just like throwing herself at him at all times, and
• 56:28
  he is bewildered by this, and confused at times, and excited
• 56:33
  and exhilarated. She makes it.
• 56:35
  Really clear in that scene in particular when she's sitting
• 56:37
  down she like spreads her legs and it's all for you like these
• 56:41
  are very clear sizes there's like gonna.
• 56:43
  Be dark corners for dark deeds. Yes, yes, yes.
• 56:47
  She's a little extra to me. I find her way too much in this
• 56:50
  movie. She's terrible.
• 56:51
  If it was 2003 and I was Alan Rickman, I might think
• 56:53
  differently. But in watching the movie, I'm
• 56:55
  thinking tone it down well. And that's what ultimately Emma
• 56:58
  Thompson says to him, right? There's this great moment when
• 57:00
  they return from the Christmas party that she says to him.
• 57:04
  Careful there. I thought that was strange.
• 57:07
  Oh, tell me. You shouldn't have to tell your
• 57:10
  husband, hey, don't cheat on me. Just a reminder.
• 57:12
  I don't think that it's specific.
• 57:14
  Don't cheat on me. I think sometimes men or women
• 57:17
  actually don't really know. Do.
• 57:20
  As an example, you just said Mark wants Juliet to know, but
• 57:25
  Peter is sitting on the couch not having a fucking clue what's
• 57:28
  happening. And so she is saying you may
• 57:31
  think I don't have a fucking clue what's happening.
• 57:34
  I. Do know, I do know.
• 57:36
  You need to be careful. Or maybe you're oblivious.
• 57:39
  Maybe Rickman, you don't see what's happening because oht,
• 57:43
  you know how it is, OK. We just flirt.
• 57:45
  And she's saying, I see what's happening.
• 57:48
  Fair warning. Be careful.
• 57:49
  Make the right call. Yeah, be aware.
• 57:51
  I know. And if you don't already know,
• 57:54
  you need to know that this thing is circling around.
• 57:57
  So I really love that scene. And it's another case of Emma
• 58:00
  Thompson. Just sort.
• 58:00
  Of hey, I wasn't question. I think you were.
• 58:02
  No, I was not tired of it. And Speaking of tired, Carl is
• 58:07
  pretty tired of waiting for Laura Linney.
• 58:10
  Oh my God. To make the move, here we are
• 58:12
  back at the Christmas party. They finally get a chance to.
• 58:14
  Dance. Uh huh.
• 58:16
  And then what happens after the dance, David?
• 58:18
  They get a little frisky. Hey, don't you dare jump over
• 58:21
  the fact that soon as they start dancing, it changes to a slow
• 58:25
  song. Yeah, talk about contrivance.
• 58:28
  That never happens. They just cut that fast song
• 58:30
  right in the middle and now it's a slow song.
• 58:33
  As soon as they every time with these guys.
• 58:35
  Oh my God, What I'm saying is we're on the wrong foot and.
• 58:40
  Stop most argument, it happens all the time.
• 58:43
  Maybe. Come on.
• 58:44
  But you're right, they do have a moment where we do get to see a
• 58:48
  little bit more of lore than we expected.
• 58:50
  Sure. Yeah, I'm fine with that.
• 58:52
  Again, not my type, but I'll watch it.
• 58:55
  I have to look at the screen. Got it was the movie.
• 58:57
  Not going to look away. We joke about the Francis
• 58:59
  character from Swiss Family Robinson just being super
• 59:04
  annoying. That's what Francis means.
• 59:06
  Yeah, someone who is annoying. The worst case is it ruins the
• 59:09
  movie. In other cases, it's just an
• 59:10
  irritant. But exactly.
• 59:12
  Usually just an irritant. Yeah.
• 59:13
  This is a Francis scene. Oht.
• 59:16
  We've never done that. Bold.
• 59:18
  I was just really irritated by everything happening in this
• 59:23
  scene. Tell me why.
• 59:24
  Very frustrating. The phone rings.
• 59:26
  Yeah, that happens. The phones do.
• 59:27
  Ring absolutely if you're about to engage in sexual intercourse
• 59:32
  a you would turn off. Your ringer not in this
• 59:34
  relationship. That's the point.
• 59:35
  That's. The problem it's not the point,
• 59:36
  it's. The problem it is the point, but
• 59:38
  please consider. Answers at the first time.
• 59:41
  OK fine. It's the second ring that
• 59:44
  bothers me. That phone call can wait, and
• 59:47
  maybe it's just me and my love making. 5 minutes.
• 59:51
  What you need? Sure.
• 59:52
  You can call that number back. They'll leave a voicemail.
• 59:55
  Nothing is going to change in that time period.
• 59:59
  Just have sex. 20 minutes. Half an hour. 5 minutes for me.
• 1:00:04
  I'm just saying. Yeah, yeah, yeah, yeah.
• 1:00:05
  Because we learn later she can't do anything about that
• 1:00:09
  situation. Sure.
• 1:00:10
  About her brother. She can't make it better at that
• 1:00:14
  moment. Sure.
• 1:00:15
  Enjoy your life. At least to a certain extent.
• 1:00:17
  I think it's just way too much that it ruins her love life.
• 1:00:22
  Come on. I will agree with you and that
• 1:00:24
  it is. The iPad's gonna happen if she
• 1:00:27
  doesn't. Pick up that I think it is and
• 1:00:29
  the problem with and I've had some experience with this is
• 1:00:31
  that phone call from your challenged on whatever level
• 1:00:34
  your sibling or your in law, whatever the case may be.
• 1:00:37
  Those calls happen and you don't know what's on the other side of
• 1:00:40
  those calls and we only get a little trace of it in the
• 1:00:43
  hospital soon after this. But this is a person that's
• 1:00:46
  clearly in self harm. He's into that phone call could
• 1:00:49
  be anything at any time because of the volatility of that
• 1:00:52
  relationship. Her parents are gone.
• 1:00:55
  We're in London. He needs me.
• 1:00:56
  I am the only one. You take on that caretaker role
• 1:00:59
  to the point where it is your overriding.
• 1:01:02
  It's crippling, yeah, but that's the point.
• 1:01:05
  So to put it in Francis category to me is like, this scene
• 1:01:09
  doesn't happen. These things aren't real and
• 1:01:11
  it's annoying. I can appreciate a frustration
• 1:01:14
  because you want her to be happy.
• 1:01:16
  I didn't want her to get laid at the very.
• 1:01:18
  Least I was thinking of Carl. But and that too, but
• 1:01:21
  fundamentally that relationship and that relationship with a
• 1:01:24
  person in hospital or with some mental illness or whatever the
• 1:01:28
  case may be, self harm OCD, whatever it is, those things,
• 1:01:32
  those calls can be life changing and life altering in the moment.
• 1:01:36
  And it is not as easy to ignore that call when it is the
• 1:01:42
  relationship that's going to last the longest.
• 1:01:45
  And I've been in that type of situation where those phone
• 1:01:47
  calls happen. It doesn't matter what's going
• 1:01:49
  on because the consequence of it could be something worse and you
• 1:01:52
  just can't fuck around with it. You're making me feel bad.
• 1:01:55
  That's just that's from my experience with that type of
• 1:01:57
  phone. Call where I was coming from is
• 1:02:00
  she's beyond her help totally. And at this point, I'm assuming
• 1:02:04
  this has been going on for quite a long time, very long time.
• 1:02:07
  I think now you're just enabling it at that point where if it
• 1:02:10
  hasn't got better by now, I think it's time that you at
• 1:02:14
  least try have some boundaries and try to live your life a
• 1:02:18
  little bit. I'm not saying ignore every
• 1:02:21
  phone. Call.
• 1:02:22
  Give me 20 minutes to have sex. That's it.
• 1:02:25
  I don't think that's unreasonable.
• 1:02:27
  I think it's a little bit too much, little too on the nose,
• 1:02:31
  and it's just frustrating that you can't have, again, 5 minutes
• 1:02:35
  of quiet time. Then maybe I'm a terrible
• 1:02:37
  person, but I don't love this whole story.
• 1:02:41
  The dynamic with her and her brother or like the Carl.
• 1:02:43
  Thing, the whole thing, the whole thing, yeah, it's.
• 1:02:45
  Just it's really strange. I mean, only in that, of course,
• 1:02:48
  as is our our norm here. I love it, gonna love it, but
• 1:02:52
  all the frustrations I have are all from empathy and not from
• 1:02:56
  plot contrivance, bullshit characterization, shitty
• 1:02:59
  performance bad right? Like all of the movie Ness of it
• 1:03:02
  doesn't bother me at all. I actually think it's actually
• 1:03:05
  very real and very grounded. Whatever feelings I have about
• 1:03:08
  frustration and stuff is coming from.
• 1:03:10
  I want you to get laid. You've got your dream night
• 1:03:12
  happening with this guy that you've.
• 1:03:14
  Loved for exactly. And the fact that it isn't is
• 1:03:17
  the point of the scene in that those phone calls don't get
• 1:03:20
  better. Exactly.
• 1:03:21
  The person doesn't get better exactly.
• 1:03:23
  And you can't pull away. Kermit.
• 1:03:25
  That's the character though. That's not like a contrivance.
• 1:03:27
  That's reality of those are people that do that.
• 1:03:29
  And so that's why I actually think it's a really emotional
• 1:03:32
  and beautiful scene when she goes to the hospital afterwards
• 1:03:36
  to sit with him and he lunges at her to attack her and he.
• 1:03:39
  She gave up sex for that. Yeah, that's what I'm saying.
• 1:03:42
  Don't do that, my darling. This kind of empathy, this
• 1:03:44
  trying to calm him down. They're trying to kill me here.
• 1:03:46
  No, they're not. It's OK.
• 1:03:48
  All of that is, to me, heartbreaking.
• 1:03:50
  Real in real emotional ways as opposed to anger ways, which it
• 1:03:54
  seems like you're presenting as. Like Francis, this is terrible,
• 1:03:57
  doesn't believable, blah blah blah.
• 1:03:58
  And that I I. Disagree.
• 1:04:00
  No that's perfectly fine. I just think at that point you
• 1:04:03
  need to have sex. You just need to fuck this.
• 1:04:07
  Guy, if you're dealing with that day in and day out, sure, you
• 1:04:11
  need a release. Yeah.
• 1:04:12
  And I think we can both agree and many others would, that
• 1:04:15
  that's a pretty darn good option.
• 1:04:16
  And this is like the guy that you've been pining for for 2 1/2
• 1:04:20
  years. I.
• 1:04:21
  Totally agree, love this guy at first sight.
• 1:04:23
  And you're telling me you can't spare 5 minutes and just let the
• 1:04:27
  call go? That phone will ring again.
• 1:04:30
  In 10 minutes to meet the problem and it may be an
• 1:04:32
  enabling thing, but it goes both ways.
• 1:04:35
  So if she picks up every time, hmm, because of what might
• 1:04:39
  happen on that other side of that conversation, let's say,
• 1:04:41
  right, the other end of the phone call, if she doesn't pick
• 1:04:44
  up the phone, what happens on the other side of that
• 1:04:47
  conversation? I think your problem goes away.
• 1:04:49
  Ohe Jesus Christ, dark dark. It's a movie.
• 1:04:52
  It's not real film. No, but those are real.
• 1:04:55
  Like I said, I'm sure I've had those relationships in my life
• 1:04:57
  with those calls are happening and you just drop everything,
• 1:05:00
  unfortunately. 5 minutes. All you need, sure, let's bring
• 1:05:05
  a little levity. And who can do that better than
• 1:05:08
  introducing Rowan Atkinson? Mr. Bean himself shows up.
• 1:05:12
  We can both agree that we can. It's a national treasure,
• 1:05:16
  absolutely. To the British people, 100%.
• 1:05:18
  I would say he's a top five British people ever to exist.
• 1:05:22
  Very high on the list. It's such a standalone moment in
• 1:05:26
  the movie, but it's fucking. Great, he deserves.
• 1:05:28
  To know what you think of this. Scene I have high expectations
• 1:05:31
  anytime Atkinson is on screen. OK, Mr. Bean or Black Adder,
• 1:05:36
  like, he's just so funny, right? He's not that in this scene, but
• 1:05:40
  he is still captivating. Yeah, I find this seemed to be
• 1:05:44
  hilarious and I find whatever anxieties.
• 1:05:47
  Oh, God, yes, Rickman. Rickman is just like, can we
• 1:05:50
  please just Oh my God, looking back and forward-looking back
• 1:05:53
  and forth. And even if it wasn't lascivious
• 1:05:56
  what's happening, you still want to get the gift before the
• 1:05:59
  person that's with you. This would just drive me
• 1:06:01
  bonkers, But from an audience that's just hilarious to watch
• 1:06:04
  and the little flourishes and the final touches and the almost
• 1:06:07
  done, it's like, what? What else could it possibly?
• 1:06:09
  I'm just gonna put it in my pocket.
• 1:06:11
  But I think it's a funny scene, particularly after we've had a
• 1:06:14
  couple of maybe more low key sad, potentially scenes.
• 1:06:18
  Frustrating, frustrating scenes. Exactly.
• 1:06:21
  We have an opportunity to lighten the mood.
• 1:06:23
  I find this scene very funny to watch.
• 1:06:24
  Now we find out that Harry still purchases this gift.
• 1:06:28
  Yes, absolutely. And Emma Thompson, great actor,
• 1:06:32
  the great, The way she goes into that pocket and finds the gift.
• 1:06:38
  The only thing I don't like about this and there's a lot of
• 1:06:40
  things I haven't liked and this is just going to be 1.
• 1:06:42
  More long list? Yep.
• 1:06:43
  The packaging is the same for the 2 gifts.
• 1:06:45
  In a box. In a box undercut me.
• 1:06:51
  I don't know if you remember this as a kid, but when you're
• 1:06:53
  unwrapping, you can tell like, OK, this is a Tendo game.
• 1:06:57
  Yeah, this as CD. This is whatever.
• 1:07:00
  I used to have a lot of action figures and toys.
• 1:07:01
  And you can like, Oh yeah, this is.
• 1:07:02
  The cardboard back and this is the plastic front.
• 1:07:05
  Yeah, yeah, yeah, totally. So it's not a really big deal,
• 1:07:08
  but this really is a pivotal moment in their relationship.
• 1:07:13
  Absolutely. Because he was not careful.
• 1:07:16
  No, no, she finds out that she's not the recipient of the
• 1:07:21
  jewelry. She's the recipient of the Joni
• 1:07:23
  Mitchell CD, who she loves. Yeah, this scene is incredible.
• 1:07:27
  To me, well, I mean Emma Thompson's in it.
• 1:07:29
  Yeah, just like everything about it.
• 1:07:30
  I love the setup. I love starting out with that
• 1:07:32
  Mister Bean scene, dealing with her getting excited that when
• 1:07:36
  she confirms that there's the jewelry in it.
• 1:07:38
  Yeah, So she sets it up so that. OK, we're gonna pick a gift.
• 1:07:41
  I'm gonna grab this one. All of that is what makes the
• 1:07:44
  scene even better. It's the build up.
• 1:07:46
  It's the anticipation. It's that.
• 1:07:47
  I know this happened. I've already warned you about
• 1:07:50
  this other. Thing Here we are.
• 1:07:52
  It's a great set. I'm going for the gift I know
• 1:07:54
  you bought and opens it up and the look on her face is just
• 1:08:00
  incredible. Hmm.
• 1:08:01
  The pain and he is almost proud of himself.
• 1:08:06
  Look at me, I did the. Thing it's not a bad gift it's.
• 1:08:09
  Clear about gift. It's just not the gift.
• 1:08:11
  He thinks he's playing it well and the way she plays it is
• 1:08:14
  heartbreaking. It's devastating watching her go
• 1:08:17
  into the room. That song is playing both sides
• 1:08:20
  now, that particular haunted version that was re recorded for
• 1:08:22
  this release, and she doesn't know what to do.
• 1:08:24
  She's just standing in the room crying and fighting it, crying
• 1:08:28
  and fighting it and crying and fighting it, finally gathering
• 1:08:31
  composure. You half of the kids.
• 1:08:33
  Exactly for the life, right? Like this is your world makes
• 1:08:36
  the bed. It's a nothing thing, but it's
• 1:08:38
  like I need some stability and makes something neat and orderly
• 1:08:42
  because my life just got blown up.
• 1:08:44
  All of that is conveyed in a couple of looks is fucking
• 1:08:48
  incredible. Her performance in everything up
• 1:08:50
  until this point is in excellent.
• 1:08:52
  Like it's her movie. It just steals the show.
• 1:08:54
  I'm not going to disagree with that.
• 1:08:55
  I'm not. Now you're going to try, You'll
• 1:08:57
  attack me. This instance, I would fight you
• 1:09:01
  hard. And you know, to make matters
• 1:09:02
  worse, of course, we cut to Mia, who's trying on her brand new
• 1:09:07
  necklace. Oh yeah, sticking it just to
• 1:09:09
  stick it. Well, I mean, she doesn't see
• 1:09:10
  that, but. It sticks it to the audience.
• 1:09:14
  We've been stuck. The good thing is, though, on a
• 1:09:17
  positive note, yeah. Billy song is #1 Billy made it
• 1:09:20
  to. Number one, number one, the
• 1:09:22
  stand ins, which we haven't talked about because there's no
• 1:09:24
  reason to. Nope.
• 1:09:25
  They had a great first date. Wonderful.
• 1:09:26
  Their fear of intimacy is moving along.
• 1:09:29
  They have a kiss that's. Very cute, not quite button.
• 1:09:31
  Cute, not cute. Oh heavens no, not even close.
• 1:09:34
  Jamie is a shitty relative. Oh yeah.
• 1:09:36
  Just drops off the gifts and leaves his brothers a little
• 1:09:39
  shittier. Yeah, well, if I walk in and I'm
• 1:09:41
  like, oh hey, you're the guy that fucked my wife, maybe I
• 1:09:43
  don't want to be. Here, but he knew he was going
• 1:09:45
  to be there affair. He could have saved all this
• 1:09:48
  trouble. There's a moment where she
• 1:09:50
  kisses him. There is your opportunity.
• 1:09:53
  Portuguese at the time, but. Apparently they're saying the
• 1:09:56
  same thing anyways, just whatever.
• 1:09:59
  And then my friends. Here it is.
• 1:10:01
  Showcase scene. Highlight of the moment.
• 1:10:04
  Every movie has it. This used to be in my algorithm
• 1:10:07
  for awhile. The cue cards cards.
• 1:10:09
  Hated it, it's disgusting. Tell me why you don't.
• 1:10:12
  Like it? Is this where it came from
• 1:10:13
  though? Technically, if you go all the
• 1:10:14
  way back, I would say that it's Bob Dylan, his music video OK
• 1:10:18
  for rainy day women. They had cue cards.
• 1:10:20
  In it, his whole music video is him just dropping cue cards.
• 1:10:23
  So he's the problem. I would say he's the OG.
• 1:10:25
  Yeah. And you like him, 6463?
• 1:10:28
  But here we are a cue cards with Kira.
• 1:10:30
  So like a good game show as Peter?
• 1:10:33
  Hmm. Are you buying the fact that
• 1:10:35
  these carolers? Are just he's clearly checked
• 1:10:39
  out. It doesn't.
• 1:10:39
  This guy doesn't fucking matter. He's not even getting off the.
• 1:10:42
  Couch, he's so not using this movie.
• 1:10:44
  It may as well be Victor Sweet. I just treat it as if he's just.
• 1:10:47
  Sweet is used in the movie though, so I don't know what you
• 1:10:49
  mean. By that, I don't know either.
• 1:10:50
  OK, But my point is maybe she's better off with Merck.
• 1:10:53
  If it's Victor, Sweet because he's a terrible person.
• 1:10:56
  I don't know. Sure.
• 1:10:57
  Yeah. Yeah.
• 1:10:58
  A year later, Different movie, different character.
• 1:11:00
  She's better off. That's what I'm getting at.
• 1:11:03
  Not the long way on this. The real question is how did you
• 1:11:07
  like the cue card scene? It's garbage.
• 1:11:10
  Yes. It's the worst.
• 1:11:11
  I don't understand. It's presented as like this most
• 1:11:13
  romantic gesture, this kindness, this sweetness, this beautiful
• 1:11:17
  moment. I'm getting nauseous just
• 1:11:18
  thinking. About it and I don't really
• 1:11:19
  understand why if you don't think anything of it, it can
• 1:11:23
  just be that and maybe in 2003 it was just that, which is why
• 1:11:26
  it's ubiquitous because people would watch it and they go Oh my
• 1:11:28
  God, this is beautiful it's cute say it's carolers and because
• 1:11:31
  it's Christmas and on Christmas you always tell the truth you're
• 1:11:34
  perfect these are all great sweet lines they're just not the
• 1:11:37
  lines of somebody that you're husband's best friend what's
• 1:11:40
  worse is that she rewards. Him, the pity kiss.
• 1:11:44
  For this exchange. Yeah, PK.
• 1:11:47
  Runs after him for a kiss. Yeah, you don't do that.
• 1:11:50
  What is the point? He writes, without hope, without
• 1:11:53
  agenda? I want to tell you that you're
• 1:11:56
  the most perfect, beautiful, wonderful person I've ever known
• 1:11:58
  in my entire. Life reverse psychology by.
• 1:11:59
  The way totally and it works because she works out, gives him
• 1:12:02
  a kiss, does work. I'm telling.
• 1:12:04
  You. So what does this mean for
• 1:12:05
  Peter? What does this mean for Mark?
• 1:12:07
  And what's worse is it comes on the heels of what Emma Thompson
• 1:12:11
  and Rickman have gone through and are about to deal with,
• 1:12:14
  which we'll get to obviously soon.
• 1:12:16
  I do not understand why this scene is the sweet, romantic
• 1:12:20
  thing it is. And I think the kiss is the
• 1:12:22
  worst thing you could do to somebody in this instance.
• 1:12:24
  And what's even worse than that? Chicks, man.
• 1:12:27
  Is him saying enough? I'm good now.
• 1:12:30
  There's no fucking way. There is zero way that that is
• 1:12:35
  enough. Yeah, we can definitely.
• 1:12:36
  Agree on this is starting something completely off the
• 1:12:39
  rails. And hey, you want to open up
• 1:12:42
  their marriage? That's cool, You do you.
• 1:12:44
  Hmm. But Mark is going to be doing
• 1:12:46
  Juliet, and Peter's not gonna have any fucking idea.
• 1:12:48
  Yeah, that's not fair. Peter should at least know and.
• 1:12:50
  Get in there, get in, get in there.
• 1:12:53
  Or not. But this is not a I'm good now,
• 1:12:56
  I've accomplished what he didn't have.
• 1:12:58
  A goal, he said. Without hope or without agenda,
• 1:13:00
  but one kiss. I'm good now.
• 1:13:02
  Fuck that. This will destroy.
• 1:13:03
  Them and you know, barf bag sales went up that year after
• 1:13:06
  that scene. People love that scene.
• 1:13:08
  I think now I think people turned around, but it's.
• 1:13:10
  Not. 20 years, people. Have loved all my God my
• 1:13:13
  stomach. It could have been the hot dogs.
• 1:13:15
  That's shocking to me is there are scenes in 2003, I'm sure
• 1:13:17
  that this was one of them that I felt moved and because he did
• 1:13:20
  love sweet. I love kind.
• 1:13:22
  I love love you're so nice kind of moments.
• 1:13:24
  But I think in hindsight, I just think, like, God, this isn't
• 1:13:26
  telling me what I wanna. Hear Was I ever that young?
• 1:13:28
  As I say. You know what's funny is this
• 1:13:30
  changes to the most harmless relationship in the world?
• 1:13:35
  Billy and his manager. Yes, that's right, because it's
• 1:13:38
  not romantic. No love, far as I know.
• 1:13:41
  No, I wouldn't say. But he decides to go to Joe's
• 1:13:44
  apartment, which is the name of a really good movie if you
• 1:13:46
  haven't seen it coming off the shelf next year.
• 1:13:50
  Wow. Leave it up to TV film.
• 1:13:52
  Jerry O'Connell. Joe's apartment.
• 1:13:54
  Oht. I'm thinking of something else
• 1:13:55
  with Jack Lemmon. Oh, that's the apartment.
• 1:13:58
  That's the apartment. Big difference.
• 1:13:59
  A great movie. That's a Billy Wilder.
• 1:14:01
  There we go. Academy Award winner that one,
• 1:14:04
  Shirley McClain. But instead of going to Billy
• 1:14:06
  Elton, Billy Elton's, instead of going to other parties, he
• 1:14:12
  realizes that Joe has manager Chubby Joe.
• 1:14:16
  That's it. Another fat guy.
• 1:14:17
  Yeah, he wants to spend Christmas with him.
• 1:14:19
  Yeah, I love that. It's nice other than the.
• 1:14:22
  Chubby rumor, of course. I really like that relationship.
• 1:14:24
  It runs throughout. Yeah, obviously it's a little
• 1:14:27
  mean spirited at times, but that's exactly.
• 1:14:30
  Yeah, that was a very believable relationship.
• 1:14:33
  Grounded I'm in. Everything with Billy is
• 1:14:36
  absolutely fantastic. It's a short, sweet scene.
• 1:14:38
  And then we have to go back to the Prime Minister.
• 1:14:42
  Yeah, he's alone. Yes, single.
• 1:14:45
  Like most prime ministers. That's right.
• 1:14:46
  Uh-huh. Four in the history of Britain
• 1:14:49
  have been single. Britain is a young. 200 years,
• 1:14:53
  you know the last time in the USA if I read this right now
• 1:14:56
  some have died while in office obviously, but to be like
• 1:14:58
  completely single going in was 1887 I think Wow, hell of a year
• 1:15:03
  doesn't it was not who was the president?
• 1:15:05
  It doesn't happen. I don't know.
• 1:15:06
  I forget who it was. So it's a hard premise to accept
• 1:15:10
  in a movie that the Prime Minister would be single.
• 1:15:13
  Again, things like that I wouldn't even think.
• 1:15:15
  That you knew I was going to bring that up?
• 1:15:17
  Well, sure, being single is really not an option.
• 1:15:19
  It is not if you want to get a totally reasonable, it just
• 1:15:21
  doesn't. Make any now again.
• 1:15:22
  I would love this guy to be the Prime Minister.
• 1:15:26
  Sure, something out on the town singing, doing his.
• 1:15:30
  Thing. Well, maybe not the singing, but
• 1:15:31
  man, he gets a lot of Christmas cards.
• 1:15:34
  Looking at he's young and. He's single and he's single.
• 1:15:36
  So you're gonna. Think yeah, we did mention that
• 1:15:38
  he was single. Uh huh.
• 1:15:39
  Yeah, not since 8/3/20 strever. 1887, which prompts him to ask
• 1:15:46
  for his driver. Yeah, he sees Natalie.
• 1:15:48
  Natalie says that she is his, which I love.
• 1:15:51
  The card on the card, of course, in a voiceover.
• 1:15:54
  Yeah, sure. You gave the impression that she
• 1:15:55
  walked in. That's what I'm saying.
• 1:15:57
  Well, people have seen. The movie I would hope not, but
• 1:15:59
  they're saying do not watch this movie.
• 1:16:01
  Just listen to this and you'll get the gist of.
• 1:16:03
  It so he needs to go and track her down.
• 1:16:05
  She's in the dodgy end. We call it venue.
• 1:16:07
  Right. And he goes knocking on the
• 1:16:10
  doors and I think this is another really cute scene, this
• 1:16:13
  idea. Really, really cute.
• 1:16:14
  Yeah. Different families.
• 1:16:15
  Oh my God, are you? I love all of.
• 1:16:16
  That it's not incredibly funny, but it is sweet and it's nice
• 1:16:20
  and I appreciate it being in the.
• 1:16:21
  Movie and the singing of good Onsolis.
• 1:16:25
  Fantastic. It's great.
• 1:16:26
  It turns around. He's got this baritone behind
• 1:16:28
  him all of a sudden, like what the that's fantastic.
• 1:16:31
  He bumps into Mia, the neighbor of Natalie.
• 1:16:33
  Natalie. Why not?
• 1:16:35
  It's the interconnectedness, man.
• 1:16:36
  Why not? Why exactly?
• 1:16:37
  Why not? Exactly.
• 1:16:38
  The whole thing, Magnolia is the same.
• 1:16:40
  These are the worlds, you know, our neighbors are our neighbors.
• 1:16:43
  Oh my God, you worked with so and so?
• 1:16:44
  That's crazy. I worked with them someplace
• 1:16:46
  else. That's the world.
• 1:16:47
  Not really, but go on. It's 100% of the.
• 1:16:49
  World really is Mia your neighbor?
• 1:16:51
  No, but it's not the world. It's not so inconceivable that
• 1:16:55
  these two people would live next to 1.
• 1:16:57
  Another with everything that's happened in this movie
• 1:16:59
  up-to-date, yeah, this is the most believable thing.
• 1:17:02
  Yeah, that's happened. Just throw it away sometimes is
• 1:17:04
  like. Please I'm like this is really
• 1:17:06
  not all that far. Fetched, not actually in
• 1:17:08
  comparison. You're absolutely right.
• 1:17:09
  And he finally fine Sir, with her family.
• 1:17:12
  Yes, all 12 of them. There's a lot of them there.
• 1:17:15
  It's Christmas. Of course he's gonna have lots
• 1:17:17
  of people there. Yeah, but they still call her
• 1:17:19
  Chunky and. Yeah, they did.
• 1:17:21
  That again still says something about even with those thighs or
• 1:17:24
  something, like, what the fuck is wrong?
• 1:17:27
  What is up with this movie? Get it?
• 1:17:29
  It's crazy because we're cut from there and we're going into
• 1:17:33
  Portugal again. And you know the reason why we
• 1:17:35
  went to Portugal. Because they didn't have the
• 1:17:38
  conversation before that. And so they had another
• 1:17:41
  opportunity to call. Come on.
• 1:17:43
  Chubby, chubby, fat, ugly, all of these things over and over.
• 1:17:46
  Again, the sister Dunkin' Donuts green or something?
• 1:17:49
  Yeah, it's like it's daughter. Brutal to me, how that?
• 1:17:53
  Goes I believe the fact the father would sell his daughter
• 1:17:57
  that part in Portugal. Absolutely. 2003, Sure.
• 1:18:00
  But fundamentally everyone in the UK, everyone that we've met
• 1:18:03
  is coming down and into the Christmas party.
• 1:18:05
  It's Christmas pageant time, everybody's showing up, and
• 1:18:08
  that's kind of a nice intersection.
• 1:18:10
  We finally get to meet Joanna. Truth, yeah, she starts singing
• 1:18:14
  All I Want for Christmas Is You, which is a just a banger of a
• 1:18:17
  song and she's a great singer. She sings incredibly well,
• 1:18:20
  crowds enjoying it and she has this great moment where she
• 1:18:23
  points to Sam all I want for Christmas is you and he's a big
• 1:18:25
  smile of course. And then she continues you and
• 1:18:29
  you and you and he makes the check in the angry face.
• 1:18:33
  I like that dynamic between the two.
• 1:18:35
  But the song ends as all songs do.
• 1:18:39
  That's why Dave impression very good.
• 1:18:42
  So the song ends and people disperse is very excited.
• 1:18:46
  And we got another last really quiet moment with Emma Thompson
• 1:18:51
  and Alan Rickman where she basically says, what would you
• 1:18:54
  do if you were me? And he's playing the fool,
• 1:18:57
  right? I don't what?
• 1:18:58
  What could you possibly mean? Don't be coy.
• 1:19:00
  Yeah, and she calls him out and basically says, would you stick
• 1:19:03
  around? Maybe it's just a necklace.
• 1:19:05
  Maybe it's a necklace and sex. Or worse, maybe it's a necklace
• 1:19:08
  and love. That's correct, I wrote that
• 1:19:11
  down. And he says like I screwed up a
• 1:19:14
  classic fool. Yeah, that's not enough.
• 1:19:16
  Well, I like his. Delivery of fool like sure he
• 1:19:20
  crumbles. Yeah, like I am an idiot.
• 1:19:22
  Like you fucked it up. He's a weak man.
• 1:19:24
  Yeah, that's it. But I think he needs a little
• 1:19:26
  bit more groveling maybe. You've been really critical of
• 1:19:28
  Alan Rickman today. No, I think he's great.
• 1:19:30
  I don't know. Check the tape.
• 1:19:32
  She's very mature, and she's tough.
• 1:19:34
  Yeah, she's tough. She's betrayed that.
• 1:19:35
  Yeah. Yeah.
• 1:19:36
  I like that quality in her as a character.
• 1:19:39
  Yeah, he gets off a little bit easy, but yeah, I think that's
• 1:19:41
  the thing. But, I mean, they've got work to
• 1:19:43
  do, let's say. But like, he's not.
• 1:19:45
  I feel like his remorse. I feel that he's aware that he
• 1:19:49
  fucked it up. He's a human being, and he made
• 1:19:51
  a bad call. Sure.
• 1:19:52
  The reality is, in a lot of situations, when you get older,
• 1:19:56
  you start to feel less attractive.
• 1:19:58
  It doesn't matter if you're happily married of.
• 1:19:59
  Course. When you have someone who's
• 1:20:01
  younger and takes interest, attention to, at the very least
• 1:20:05
  you're going to find it flattering.
• 1:20:06
  It's when you take it further than that is when you obviously
• 1:20:09
  get into trouble. And in this case, he was weak
• 1:20:12
  and he did allow it to go further than a.
• 1:20:14
  Ditch, and as a guy that pays attention to money, my CD cost a
• 1:20:19
  lot less than that. That necklace, Yeah.
• 1:20:23
  So as wrong as that is, yeah, I do get the sense that that's
• 1:20:27
  repairable. Yeah, and it seems so in the
• 1:20:29
  epilogue. Address it to a certain extent,
• 1:20:31
  Yeah. But it's just another hallmark
• 1:20:33
  of her as an actor. It's.
• 1:20:34
  Yeah. And this relationship is being
• 1:20:36
  the most ground resting. Well, sure.
• 1:20:39
  That too. It's most interesting of the of
• 1:20:42
  the movie. The rest is like you're saying,
• 1:20:43
  flights of fantasy. And yes.
• 1:20:45
  And this is real things too, but this is real things, right?
• 1:20:48
  Yeah. It's ugly.
• 1:20:49
  Sometimes it's dark and sometimes it's beautiful.
• 1:20:53
  And it's can be all of those things at the same time.
• 1:21:04
  Whatever you watch as a young child, be it Star Wars, it
• 1:21:08
  affects you and how you may react to things for the rest of
• 1:21:11
  your. Life shapes you.
• 1:21:13
  Shapes you. It really does.
• 1:21:14
  You're like, if I watch a Star Wars movie, I want to be an
• 1:21:16
  astronaut. No, such a love story.
• 1:21:19
  I want to be in love. I don't get astronaut out of
• 1:21:21
  Star Wars. I get a soldier, I get a father
• 1:21:25
  son relationship. I get Star Wars.
• 1:21:28
  Yeah, Darth Vader and. Luke not in Star Wars.
• 1:21:31
  No, I'm talking about the whole. Oh, I'm sorry, I thought you
• 1:21:33
  talk about the. Movie.
• 1:21:33
  No, not A New Hope specifically. Got you.
• 1:21:36
  Got you. The way I look at sand people, I
• 1:21:40
  mean. Completely changed after.
• 1:21:41
  That absolutely. And that's wrong of me.
• 1:21:43
  That is wrong of me. They're not bad.
• 1:21:45
  They are. Good people, not both sides.
• 1:21:48
  Sure, they killed Anakin's mom. In the Jawas and they're fine,
• 1:21:51
  they're all good. Don't worry about it.
• 1:21:54
  But anyways, that's just, like a funny side note.
• 1:21:55
  Sure. I actually really like this
• 1:21:58
  storyline. Yeah, it's one of my favorites.
• 1:22:01
  And we find out she's leaving that night.
• 1:22:03
  Joanna. Absolutely.
• 1:22:04
  Nothing to lose buddy. That's it.
• 1:22:06
  Like literally you have literally off.
• 1:22:07
  The table, absolutely. Love the best thing you could do
• 1:22:10
  is greatest it's very movie ish, but it's a perfect blend yeah
• 1:22:13
  this is a fantasy and. Love, I think you're right.
• 1:22:16
  I think ultimately this is incredibly well structured and
• 1:22:19
  partly because the kid is so enjoyable and his relationship
• 1:22:23
  with Neeson is so believable. Yeah.
• 1:22:26
  So by the time you get to this, you're like, yeah, this kids in
• 1:22:27
  love. Yeah, you are rooting for.
• 1:22:29
  This yeah 100. Percent.
• 1:22:30
  I'm not rooting for almost anything in this.
• 1:22:32
  Movie except this. It's why it's at the end.
• 1:22:35
  Ultimately, I do question his ability to navigate an airport
• 1:22:39
  at such a young age. I struggle with it, look past
• 1:22:43
  it. Yeah, sure.
• 1:22:45
  But you get lost. You don't go to the right gate.
• 1:22:50
  Confused. This worked.
• 1:22:52
  Out really well, but I do appreciate the distractions that
• 1:22:55
  get him in there. Sure.
• 1:22:57
  Mr. Rowan Atkinson comes back for sure, like a little guardian
• 1:23:00
  Angel. Almost exactly.
• 1:23:02
  Didn't even have a ticket. And then you have Billy on TV,
• 1:23:05
  which is distracting the other guys.
• 1:23:06
  Watching him get naked on the screen.
• 1:23:08
  Exactly. There's a lot of FAA regulations
• 1:23:10
  being broken here, sure, but when you're a kid, you're going
• 1:23:13
  to get a slap on the. Wrist don't leave anything on
• 1:23:15
  the table. Yeah.
• 1:23:16
  For sure Craig Armstrong score in this.
• 1:23:19
  It is so good. It peaks at just the perfect
• 1:23:22
  times. A few years back at the Oscars,
• 1:23:25
  they put together a montage. You know, I love montage,
• 1:23:27
  particularly in the movies. And they used three different
• 1:23:31
  scores. And it ends with this particular
• 1:23:34
  score playing. I could be moved to tears and
• 1:23:36
  get chills in my arms. Goosebumps, how powerful this
• 1:23:41
  score is, how memorable this score is, how perfect this score
• 1:23:46
  is for this movie. But also just in general, the
• 1:23:48
  uplift, the heroism, the everything about this score.
• 1:23:52
  I just door and I love the soundtrack to obviously Otis
• 1:23:55
  Redding, as I mentioned earlier, love.
• 1:23:56
  But the music in this movie is incredible.
• 1:23:58
  You're looking at me as though you disagree fully.
• 1:24:00
  So let's have it. No, no, like a big old dump.
• 1:24:03
  I just. Said I was gonna ask you, did
• 1:24:05
  you like the music? And I think you answered it.
• 1:24:07
  That, that, that that was it. Music is good, period.
• 1:24:12
  Absolutely. It's the scenes that it's
• 1:24:14
  representing. It's trash.
• 1:24:16
  In this particular moment, it's perfectly fine because I love
• 1:24:20
  this storyline, so I'm with it. It's the Portuguese 1.
• 1:24:24
  I don't want to say glossed over it.
• 1:24:25
  I said that twice now and now. Ignored us perhaps?
• 1:24:29
  Yeah, it sucks. When everyone's following him
• 1:24:32
  and he's proposing and all that stuff and this grand score, it's
• 1:24:35
  a fantastic score, but this whole thing is bullshit.
• 1:24:38
  You have a real problem with. Dissociating.
• 1:24:41
  I do it's. Just the music, man, doesn't
• 1:24:44
  matter what. It's trying to make me feel
• 1:24:46
  something that I shouldn't feel. What music doesn't every single
• 1:24:48
  movie ever? But it hasn't earned it in that
• 1:24:51
  scene. Sure, this earned.
• 1:24:52
  It. Yeah, no, I agree.
• 1:24:53
  This is a better sense why didn't mention the score until
• 1:24:55
  now. Because it is, I think, the best
• 1:24:59
  use of it. Yeah, it's the time I feel the
• 1:25:01
  most uplift. And I think part of it is that
• 1:25:04
  it ends with one of my all time favorite songs.
• 1:25:06
  We're at the epilogue movies kind of wrapping up.
• 1:25:08
  We got our final looks at the cast of characters while The
• 1:25:12
  Beach Boys, God only knows is playing over the you.
• 1:25:15
  Like The Beach Boys? Huge fan.
• 1:25:17
  Sadly we lost Brian Wilson this year.
• 1:25:19
  Well you did. He died, I feel.
• 1:25:21
  Bad, you must have loved Full House.
• 1:25:23
  Oh, for sure. The original, of course, yeah.
• 1:25:25
  Yeah, because they're. Stamos is still touring with the
• 1:25:28
  band right now. I believe it.
• 1:25:29
  Yeah. Yeah.
• 1:25:30
  Good. I love that episode when they
• 1:25:32
  were on singing Kokomo. Absolutely.
• 1:25:33
  On more than one. Well, sure.
• 1:25:34
  Saw Brian Wilson live a few times.
• 1:25:36
  Do you like the Beastie Boys? Not as much.
• 1:25:39
  OK, I do like sabotage. A lot.
• 1:25:41
  That's the only fun, actually. Yeah.
• 1:25:43
  Typical. Yeah, but no sabotage here,
• 1:25:45
  luckily. So here it is, your last looks.
• 1:25:48
  What are your sort of thoughts on how things tie up here as we
• 1:25:51
  wrap up the movie? We've got a big cast.
• 1:25:54
  We have everybody gathering at Heathrow.
• 1:25:56
  Bring it full circle. It's a month later.
• 1:25:58
  Yeah. It's a month.
• 1:25:59
  Later, Yeah. Where you at?
• 1:26:01
  I'm going to sum this last set of scenes with two words, and I
• 1:26:05
  appreciate if you don't ask me to explain.
• 1:26:06
  OK, hot garbage. All right?
• 1:26:10
  This is absolutely terrible. I hated.
• 1:26:12
  It you have to, you have. To that's why.
• 1:26:15
  You have to, you can't. It's so too harsh term.
• 1:26:18
  It is harsh that you would have to back that up.
• 1:26:20
  You're otherwise it's really you're right, you're right.
• 1:26:23
  And it's really OK. It doesn't matter.
• 1:26:25
  No, it's not OK. But that's so explain to me.
• 1:26:27
  Nothing about this is OK. Maybe there is one OK thing in
• 1:26:29
  here. Tell me all about it.
• 1:26:30
  OK, Let's talk about the worst one first, OK?
• 1:26:33
  Colin. Yeah, we're not gonna talk
• 1:26:35
  about. Colin Well, yeah, because it's
• 1:26:37
  hot. Garbage.
• 1:26:37
  Yeah, that'll give you the whole.
• 1:26:38
  Thing. Is complete, makes him hot.
• 1:26:40
  Garbage. Oh my God.
• 1:26:41
  Tell me more. Bring up the next Let's.
• 1:26:44
  Go. I like how you know.
• 1:26:45
  Senator terrible. I course I know I've said
• 1:26:48
  nothing good about calling this entire fucking episode.
• 1:26:51
  You can't afford it. This is my time to defend him.
• 1:26:54
  No, no, this is great. When he comes off this with
• 1:26:57
  Shannon Elizabeth and Denise Richards, this is the moment.
• 1:27:00
  I want to hear you say that that whole storyline was hot garbage.
• 1:27:04
  It was absolutely. I think I said it worse than hot
• 1:27:07
  garbage earlier. It was nice to see Denise
• 1:27:09
  Richards. Though no it's not.
• 1:27:10
  I know it's never nice to see her.
• 1:27:12
  Next up, Liam Neeson with Claudia Schiffer, the hall pass,
• 1:27:17
  but she's not playing Claudia Schiffer.
• 1:27:19
  She's playing Karen or Carol. I don't remember which one it
• 1:27:22
  is. It looks like Claudia Schiffer.
• 1:27:25
  So it is wins, Yeah, but this dumb?
• 1:27:28
  OK. It's just cute.
• 1:27:29
  I like that it's just. Silly cute.
• 1:27:31
  I don't at all. Clearly.
• 1:27:33
  What's next? The Prime Minister at the
• 1:27:35
  airport, questionable, you think questionable.
• 1:27:38
  And with that relationship, I'm with you.
• 1:27:40
  I love at first sight. But now because they got exposed
• 1:27:43
  at the theatre with the kiss, what if she has a different
• 1:27:48
  stance on abortion? What if they have nothing in
• 1:27:50
  common? What's a month later?
• 1:27:52
  I know, but because of that public kiss, you have to stick
• 1:27:54
  it out. He was single before.
• 1:27:57
  Yeah, but you have to stay with her.
• 1:27:58
  Why Optics? But he was single before.
• 1:28:02
  Yeah, but you can't get caught kissing this random girl.
• 1:28:04
  You have to. Oh no, we're in love.
• 1:28:06
  Yeah, and then it didn't work out because she wants to murder
• 1:28:08
  the. Children I know, but you have to
• 1:28:09
  put in like 6-7 months I'm. Just saying they seem happy.
• 1:28:12
  As much as I enjoy love at first sight, the reality is you could
• 1:28:16
  find out like she's a Republican, like there's a lot
• 1:28:19
  of things that you don't know about this person and you're all
• 1:28:22
  in before you know anything about her.
• 1:28:24
  That's. Risky.
• 1:28:25
  Yeah. The heart doesn't care about
• 1:28:27
  those things. The Prime Minister, so there's
• 1:28:29
  more at stake. Sure.
• 1:28:30
  You're saying like a background check.
• 1:28:32
  You're saying like the oppo research is going to come in and
• 1:28:34
  just fucking eviscerate her and her fat thighs?
• 1:28:37
  I think she's gorgeous. Yeah, but he would not be at
• 1:28:40
  that airport. That part, I'll grant you.
• 1:28:42
  I mean, Air Force One, when it visited Ottawa, it landed at the
• 1:28:45
  airport like anything else. But you definitely get a
• 1:28:48
  discrete, you know, snipers on the rooftop kind of thing.
• 1:28:52
  Not, not just hanging out in the baggage.
• 1:28:56
  Exactly. You know, that's a little crazy.
• 1:28:57
  All Willy nilly. That's right.
• 1:28:59
  That's the worst of it. OK, Harry went on a trip.
• 1:29:03
  We don't know where he went. It doesn't matter.
• 1:29:04
  Doesn't matter. The main thing is, is he's in
• 1:29:06
  this scene with everybody. Else and she gets to say I'm
• 1:29:09
  happy to have you back and she's fine, but but I will say that
• 1:29:13
  her look is that of someone who listened to her earlier self and
• 1:29:18
  said, would you just stand there knowing that something had been
• 1:29:20
  forever broken? She looks like something's been
• 1:29:23
  forever broken and I love that. She's not incredibly.
• 1:29:25
  Fine. I love that.
• 1:29:26
  The movie doesn't, for all of its faults, doesn't take the
• 1:29:30
  easy way out. It shows these two together,
• 1:29:33
  sure, but things have changed. Rather than just they come off
• 1:29:37
  the plane together, happy from some vacation that they all went
• 1:29:40
  on. We get a moment of where she
• 1:29:42
  gets to show it's not fixed. It's only a month later and the
• 1:29:45
  stuff is still in the air. It's fine, and there's nothing.
• 1:29:48
  Exactly. And I think that's a testament
• 1:29:50
  to this movie in ways that it doesn't always do.
• 1:29:52
  That I should have saved that one for last because that's the
• 1:29:54
  best one. Yeah.
• 1:29:55
  Certainly, My apologies. Now I'm all out of order.
• 1:29:58
  We have the Portuguese woman and Colin Worth.
• 1:30:01
  Yeah, maybe picked the wrong man.
• 1:30:03
  Maybe it's funny. Yeah, I guess.
• 1:30:05
  I think that is funny. And Mark stole tagging along.
• 1:30:07
  That part is the worst part to me.
• 1:30:10
  What the fuck is he doing? There.
• 1:30:12
  Oh no. Phil, it doesn't make any sense.
• 1:30:14
  I'm hoping you explain it. I will take a column because
• 1:30:16
  Colin comes home. That's that makes sense.
• 1:30:19
  But for Mark to just still be hanging out as a throuple unless
• 1:30:22
  they've categorized themselves as such?
• 1:30:24
  They have not. He still feels like a hanger on,
• 1:30:27
  which means they're likely still carrying the secret, if you
• 1:30:29
  will, that this kiss happened and that it is enough and
• 1:30:32
  everything's fine, which we know it isn't.
• 1:30:34
  I don't buy it for a second. It pisses me off that he's
• 1:30:37
  there. He should be, if anything, there
• 1:30:39
  with like somebody, or separate at least.
• 1:30:42
  But the fact that he's there as they come off from their
• 1:30:44
  honeymoon or something and all of it just makes me really.
• 1:30:47
  Uncomfortable makes me. Sick.
• 1:30:48
  That is a bad. Storyline.
• 1:30:50
  So we're not doing great. We have 3 bad ones, two OK ones,
• 1:30:54
  I think because we're out here. Not the.
• 1:30:56
  Not that I'm counting the stand-ins.
• 1:30:58
  They're getting married. Yeah, they're happy.
• 1:31:00
  That's perfectly fine. Perfectly fine.
• 1:31:02
  Doesn't need to be relevant. It's irrelevant.
• 1:31:05
  Get a happy ending. Yep, maybe you'll finally get a
• 1:31:07
  shag in, he says. That's good writing.
• 1:31:11
  Absolutely. I think that's everybody.
• 1:31:13
  There's a few characters that thankfully don't show up.
• 1:31:15
  Yeah, no, they're. Busy.
• 1:31:17
  Yeah, Laura Linney's just answering your phone.
• 1:31:19
  Yeah, yeah, probably couldn't get away or she's in the
• 1:31:23
  hospital still because maybe her brother slit his wrists or had
• 1:31:25
  to be tied down for the. Night wow man, telling you man
• 1:31:28
  that's. The shit that goes.
• 1:31:29
  On, I don't doubt it. Seems like you.
• 1:31:30
  Do I don't doubt. It I don't think you're given
• 1:31:33
  that particular relationship. Enough credit.
• 1:31:35
  I just think she should make 5 minutes sex.
• 1:31:37
  That's all I was saying. That's all I was saying.
• 1:31:40
  That's perfect, David, you've made it very clear.
• 1:31:42
  But why don't you just summarize if you could the your your
• 1:31:46
  feelings on the? Movie happily, happily.
• 1:31:48
  Now this movie wasn't all bad is questionable.
• 1:31:51
  Check the tape. My opinion of this movie.
• 1:31:53
  Again, it's just my opinion, me and many critics.
• 1:31:56
  Yeah, you and many people are saying.
• 1:31:59
  I think why people like this movie because it is masked by
• 1:32:02
  known actors and a good soundtrack.
• 1:32:06
  Great soundtrack. Yeah, it is.
• 1:32:08
  And I think those two things could give you the illusion that
• 1:32:12
  this is a pretty good movie. And Emma Thompson is amazing in
• 1:32:15
  this movie. But I don't think doing quantity
• 1:32:18
  over quality is a recipe for a good movie.
• 1:32:22
  I only really connected to two out of eight.
• 1:32:24
  That's 25% for those wondering. The movie is relatively
• 1:32:29
  entertaining. I will give it that.
• 1:32:31
  I was never really bored, so that's a bit of a win.
• 1:32:35
  I really like the first 30 minutes, but it just fell off
• 1:32:38
  the rails. I just had too many moments.
• 1:32:39
  Like, come on, guys, that's not plausible.
• 1:32:42
  Like it doesn't have to always be plausible.
• 1:32:44
  I understand that. But this movie is set in real
• 1:32:48
  life. That's the problem.
• 1:32:49
  We're not in a Galaxy far, far away.
• 1:32:52
  We're not in Harry Potter. We're not in a cartoon here.
• 1:32:56
  We're in a movie that's representing real life.
• 1:32:58
  Heathrow is a real airport. 90% of the shit that happens in this
• 1:33:02
  movie would not happen. And that's just too much for me.
• 1:33:06
  And despite the great performances by a couple of the
• 1:33:08
  actors, Neeson and Thompson, I'll say their names because
• 1:33:11
  they're absolutely amazing. But if my favorite story about
• 1:33:15
  love, which is apparently this movie is supposed to be about,
• 1:33:17
  is with the 10 year old kid, I think there's a bit of a
• 1:33:20
  problem. That's my opinion of it.
• 1:33:22
  Dave, you ignorant slut. For those who don't know, it's a
• 1:33:26
  quote in a movie. Right, Dave, I couldn't disagree
• 1:33:30
  as much as much. You know, I have to say you've
• 1:33:34
  made some salient points and I agree with you on some of it.
• 1:33:37
  But fundamentally, I can't get on board for the things that you
• 1:33:41
  find so upsetting or so distracting or so derailing of
• 1:33:45
  the movie. There are things in this movie I
• 1:33:46
  think that are completely extraneous that completely
• 1:33:49
  undermine its goals, particularly the fat shaming,
• 1:33:52
  the particularly the Colin character certainly, and all of
• 1:33:55
  that has no interest the porn. Funny that these two.
• 1:33:59
  I did find that funny. I didn't, so it's like
• 1:34:02
  extraneous. Again, unnecessary.
• 1:34:04
  Irony of it. Was, of course, and it's a
• 1:34:06
  chance to show more boobs on screen.
• 1:34:07
  Like I get the principles behind it, but it's not really relevant
• 1:34:10
  to the story they're trying to tell.
• 1:34:11
  The things that work, I think work incredibly well.
• 1:34:14
  I find most of it to be enjoyable.
• 1:34:17
  Like you're saying, light, funny enough, great soundtrack, great
• 1:34:20
  performance, generally speaking, great cast.
• 1:34:23
  But where it falters, I think it really stumbles.
• 1:34:27
  And I think that by having like you're saying too much float,
• 1:34:30
  too much stuff in the middle. I don't care about many of these
• 1:34:33
  storylines that a smaller version of this same movie with
• 1:34:36
  the characters I care about are the storylines that matter.
• 1:34:39
  I think this movie is an A+ as it is.
• 1:34:42
  I think it's sitting at a C minus.
• 1:34:44
  And I think as I watch it over and over and over again every
• 1:34:47
  year because I do enjoy watching it strangely.
• 1:34:49
  Yeah. But the things I like I like
• 1:34:51
  more and the things I don't like I dislike more.
• 1:34:54
  And that gap is widening. And that's why I probably in
• 1:35:00
  2003, I probably gave it an OK, sure.
• 1:35:02
  Yeah, right. And.
• 1:35:03
  It's a lot of people. Did it's more and more watching
• 1:35:05
  that I'm like this doesn't work, that doesn't work, I don't like
• 1:35:07
  that and now it's at AC minus and now.
• 1:35:09
  Is C for classic? Because I don't think it's fair
• 1:35:13
  to call this movie a classic. There's too much wrong with this
• 1:35:16
  movie. That's a good point.
• 1:35:18
  You want to watch it, you enjoyed, its entertaining.
• 1:35:20
  I'm not going to take that away from anybody.
• 1:35:21
  Sure, what I feel about it doesn't really matter in the
• 1:35:23
  grand scheme of things, but I draw the line at classic, at
• 1:35:28
  calling this movie a classic. I find calling Elf.
• 1:35:31
  Same year I think. Yeah.
• 1:35:32
  And I think calling that a classic is a bit of a stretch.
• 1:35:35
  Wow. Yeah, well, maybe I have a
• 1:35:37
  tougher classic threshold. Threshold.
• 1:35:39
  Yes, thank you. And then a lot of people.
• 1:35:41
  Maybe. I think we throw around the word
• 1:35:43
  classic little too liberally. Elf to me is classic.
• 1:35:47
  I'll give that to you. This one probably not in the
• 1:35:50
  grands I needed. To hear that from you, I really
• 1:35:52
  do. But this classic episode has to
• 1:35:55
  come to an end, David, and we do appreciate you listening.
• 1:35:59
  As always, please follow us on the Facebook page, share the
• 1:36:02
  podcast with anybody you know next time at the airport.
• 1:36:05
  Just toss the podcast out to your friends and family over the
• 1:36:08
  holidays for sure. We'd appreciate it and talk to
• 1:36:10
  you next. Week and I care about people in
• 1:36:12
  mental hospitals. Questionable.
• 1:36:14
  If you go back, do not. Think your sensitivity 5
• 1:36:18
  minutes, 5 minutes, OK.