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Curse Of Chucky - Thirsty For Gore · Thirsty For More - Movie Review

• 0:07
  Speaker 1: Music Music Music Hello, everyone, and welcome to Curse of
• 0:34
  Speaker 1: Child's Play for more.
• 0:35
  Speaker 2: Hello, together's to be. Hello, everyone, and welcome to Thirsty
• 0:40
  Speaker 2: for Cool. I, of course, am your.
• 0:43
  Speaker 1: Host, Milenko.
• 0:46
  Speaker 3: And I'm Alex. Nice to meet you.
• 0:48
  Speaker 2: And today, we are talking about the aptly named Curse
• 0:53
  Speaker 2: of Chucky, 2013's Curse of Chucky, Don Mancini's Curse of Chucky.
• 1:07
  Speaker 1: Don Mancini's Curse of Chucky.
• 1:11
  Speaker 3: Don Mancini's Curse of Chucky, dude. kirsten dunst.
• 1:19
  Speaker 1: Dude curse of chucky i don't know man i i
• 1:22
  Speaker 1: i don't know i i i need you to justify this.
• 1:26
  Speaker 3: Is a movie what do you mean dude oh my
• 1:28
  Speaker 3: god meta modern chucky it's amazing this is meta modern
• 1:33
  Speaker 3: yes it is dude yes it is wait why you
• 1:36
  Speaker 3: don't you didn't like this.
• 1:37
  Speaker 1: Movie no i didn't like this movie.
• 1:40
  Speaker 3: Whoa dude i fucking loved this movie I love this movie. Well,
• 1:48
  Speaker 3: I mean, I have to justify it throughout the... Well,
• 1:50
  Speaker 3: I mean, I can't do this if you're going to
• 1:52
  Speaker 3: be like, and then they fucking do this.
• 1:55
  Speaker 1: And I don't know, man.
• 1:57
  Speaker 3: It's just like.
• 1:57
  Speaker 1: I never, I never, I've never, I've never presented a
• 2:00
  Speaker 1: movie in that way ever.
• 2:02
  Speaker 3: Okay, okay, okay. Ever.
• 2:03
  Speaker 1: No, come on.
• 2:04
  Speaker 3: We both have.
• 2:05
  Speaker 1: We both have. I never do that. I always, I
• 2:09
  Speaker 1: go above and beyond talking about movies that I hate. Listen, dude.
• 2:13
  Speaker 1: You're more.
• 2:14
  Speaker 3: I was, I was, I was... You're right. You're right.
• 2:17
  Speaker 3: I do that. I was initially very skeptical with the
• 2:22
  Speaker 3: highly stylized and very 2013 color grading and like, look
• 2:29
  Speaker 3: of this movie and shot digitally and yeah digital chucky.
• 2:32
  Speaker 1: With with the bad house that they made a.
• 2:37
  Speaker 3: Modern so one of the characteristics of modernism of this
• 2:40
  Speaker 3: movie dude is that it is digital chucky another thing
• 2:42
  Speaker 3: that what are you talking about digital chucky another thing
• 2:46
  Speaker 3: is dude and like how this looks the look of
• 2:49
  Speaker 3: this it looks very saw x and It looks very, like,
• 2:53
  Speaker 3: it's got that tone shift. The tone shift was so
• 2:57
  Speaker 3: key for this movie, and it's what really made it work.
• 3:02
  Speaker 3: Pairing down the stakes of just one house, just one family,
• 3:06
  Speaker 3: it's kind of like a back-to-basics Chucky, but also, like,
• 3:09
  Speaker 3: it's almost like a pivot while maintaining the, like, insane
• 3:13
  Speaker 3: lore of all of the other ones. So it's, like,
• 3:16
  Speaker 3: acknowledging the, like, series as a whole while at the
• 3:21
  Speaker 3: same time, like, giving us this, like, incredible stakes and
• 3:26
  Speaker 3: pivot turn and also, like, giving us a different kind
• 3:29
  Speaker 3: of family dynamic lens through which to see the Chucky story.
• 3:34
  Speaker 3: I just thought it was so cool. Again, it had the, like,
• 3:36
  Speaker 3: queer element. And this one has, like, a disability rights element.
• 3:40
  Speaker 1: It's just, like, really.
• 3:42
  Speaker 3: I think like perfect and like so perfectly done. Fiona
• 3:45
  Speaker 3: Dourif is like inspired casting. The Chucky rebrand face is
• 3:51
  Speaker 3: just unbelievable, dude. The Chucky face of all things. The
• 3:55
  Speaker 3: Trisha Paytas face that like. So do I think I'm transgender?
• 3:59
  Speaker 1: Yes, a thousand percent. Do I identify with my natural-born gender?
• 4:03
  Speaker 1: A thousand percent.
• 4:04
  Speaker 3: Fucking face-maxed Chucky. Face-maxed Chucky. No, it's so ugly. Lip
• 4:11
  Speaker 3: injections Chucky. He looks like Trish Paytas, dude. I thought
• 4:16
  Speaker 3: it was amazing. The Chucky face was actually... The first
• 4:21
  Speaker 3: thing that, when I saw it, I was like, gummy Chucky?
• 4:24
  Speaker 3: Are we gonna get a gummy Chucky? A buck-toothed, grin
• 4:27
  Speaker 3: Chucky in this? But, like, as it was going on,
• 4:30
  Speaker 3: I was like, this is actually such an inspired choice. Anyway,
• 4:34
  Speaker 3: I'm sorry, we should get into it.
• 4:36
  Speaker 1: Chucky goes to Turkey in this one.
• 4:41
  Speaker 3: Definitely, like, looks maxing Chucky, for sure.
• 4:44
  Speaker 1: Yeah, so we get this....
• 4:48
  Speaker 3: No, I'm just kidding.
• 4:51
  Speaker 1: We get a shot of a mysterious package coming to
• 4:54
  Speaker 1: Fiona Dorff's house.
• 4:56
  Speaker 3: I mean, a Chucky Box style package.
• 4:59
  Speaker 1: Yeah, a classic Chucky Box. Yeah, I mean, when it
• 5:03
  Speaker 1: comes to Fiona Dorff and her.
• 5:08
  Speaker 1: I mean, disability rights, Chucky, it's not really, like, it's
• 5:12
  Speaker 1: just kind of, like.
• 5:13
  Speaker 3: No, I mean, well, like, we have a protagonist in
• 5:16
  Speaker 3: the movie that is disabled, which is cool. I think it's, like,
• 5:20
  Speaker 3: in keeping with, like, how this movie sort of likes
• 5:22
  Speaker 3: to trailblaze cultural themes in a way that is, like,
• 5:26
  Speaker 3: you know... I think empowering, you know, or like, or
• 5:29
  Speaker 3: at least like they included in the story and it's
• 5:31
  Speaker 3: interestingly written and it's not like, you know, but.
• 5:34
  Speaker 1: That's, that's, that was my biggest problem with the movie
• 5:37
  Speaker 1: is that it felt boring. Like what felt bad to
• 5:40
  Speaker 1: me about this movie.
• 5:42
  Speaker 3: In, in, You're so wrong, dude. I was excited the
• 5:45
  Speaker 3: entire time watching this movie. I couldn't wait to talk
• 5:47
  Speaker 3: to you about it.
• 5:48
  Speaker 1: Well, I'm excited to talk about it.
• 5:50
  Speaker 3: Dude, the only disappointment in talking about it is realizing
• 5:54
  Speaker 3: that you're not as excited as I am.
• 5:56
  Speaker 1: But in a way, I'm excited to talk about it.
• 5:59
  Speaker 3: In a way, I'm happy because I feel like I
• 6:01
  Speaker 3: can make you like this movie, dude. I feel like
• 6:03
  Speaker 3: I can make you... Okay, one thing. Let's start with
• 6:06
  Speaker 3: the casting, dude. I think that these actors and their
• 6:09
  Speaker 3: performances specifically are amazing. And like, It's kind of like,
• 6:16
  Speaker 3: I think in keeping with the metamodern twist, again, I'm
• 6:18
  Speaker 3: going to stick on this because I do think there
• 6:20
  Speaker 3: is a case to be made for it. They're so
• 6:24
  Speaker 3: melodramatic and they're so serious about it, but it's not
• 6:28
  Speaker 3: the satire of part five, right? It's, wait, part five? Seed?
• 6:34
  Speaker 1: Yeah.
• 6:34
  Speaker 3: Yeah, part five. It's, like, it gives us, like, the
• 6:37
  Speaker 3: genre pivot and the tonal pivot that, like, I think
• 6:40
  Speaker 3: the series desperately needed while still keeping the ridiculousness. And so,
• 6:46
  Speaker 3: in keeping with that, you get these performances that are
• 6:49
  Speaker 3: kind of, like, it seems like, you know, when actors
• 6:55
  Speaker 3: send in, like, acting reels or they send them self-tapes
• 6:59
  Speaker 3: yeah self-tapes it gives very self-tape vibe it gives like
• 7:03
  Speaker 3: you're not acting with anyone else you're just in your
• 7:06
  Speaker 3: own vignette and i love that i thought it was
• 7:10
  Speaker 3: so good fiona dorif in as nika in the wheelchair
• 7:15
  Speaker 3: sees you know we've got her mom set us up here.
• 7:17
  Speaker 1: Uh the the package comes and it's sort of like
• 7:23
  Speaker 1: what's this what's going on And....
• 7:29
  Speaker 3: Thanks, Alex. You are saying it like you hate it.
• 7:32
  Speaker 1: Well, it's a lot of, like, hey, what's going on? You're, like,
• 7:38
  Speaker 1: I don't know. I love the micro-expressions. The elevated micro-expressions.
• 7:43
  Speaker 1: It's very, like... But also, like, even the disability element is, like, oh,
• 7:48
  Speaker 1: my God. You have a terrible life.
• 7:51
  Speaker 3: Yeah, yeah.
• 7:52
  Speaker 1: You don't... You've never done anything with your life.
• 7:57
  Speaker 3: That's true.
• 7:58
  Speaker 1: It's a little bit like, oh, okay, I guess.
• 8:02
  Speaker 3: Well, yeah, the movie definitely sets a value up on
• 8:07
  Speaker 3: her life and how she's used it being disabled.
• 8:10
  Speaker 1: Because the guy comes to hand the Chucky doll, and
• 8:14
  Speaker 1: this hot wheelchair lady answers the door, and she's like...
• 8:19
  Speaker 1: Was he hitting on me? This, like, weird nerd loser
• 8:24
  Speaker 1: delivering this baggage?
• 8:26
  Speaker 2: I'm like, that guy?
• 8:26
  Speaker 3: This guy? She was excited about this guy flirting with you?
• 8:29
  Speaker 1: But it's like, I mean, she's got those Dorif features.
• 8:32
  Speaker 1: The beautiful blue eyes. She's got those Dorif balls. The
• 8:38
  Speaker 1: only thing that Greeks know how to play with is
• 8:40
  Speaker 1: each other's balls.
• 8:43
  Speaker 3: I can't wait to talk about fucking young face, soft face.
• 8:49
  Speaker 3: That was amazing. I can't wait to talk about... No,
• 8:55
  Speaker 3: you're lying.
• 8:56
  Speaker 1: I never kid you. It totally is. It totally is.
• 9:01
  Speaker 3: You can tell that Dom NCD loves Tommy Wiseau. I
• 9:05
  Speaker 3: think he made him look extra Tommy.
• 9:09
  Speaker 1: In fact, that you're tearing me apart is definitely a
• 9:12
  Speaker 1: reference to you're tearing me apart. Now in retrospect, it's like,
• 9:17
  Speaker 1: oh no, he's just dressed him like Tommy Wiseau.
• 9:21
  Speaker 3: He realized that part one Brad Dorff looked a little
• 9:25
  Speaker 3: Wiseau-ish and so he Wiseau-ed him.
• 9:29
  Speaker 1: Yeah, it's like, Fiona and Mama Fiona are like... oh,
• 9:36
  Speaker 1: what's this package? It doesn't say who it's from. And
• 9:39
  Speaker 1: then it's the amalgamation of several different Chucky faces. It's
• 9:47
  Speaker 1: like a somewhat like old, like the first good guy
• 9:52
  Speaker 1: doll Chucky.
• 9:53
  Speaker 3: It's more reverted to good guy doll Chucky, but with
• 9:56
  Speaker 3: a different mouth. With a slightly different mouth. Opened mouth
• 9:59
  Speaker 3: still with a... way thicker hair at the front yeah
• 10:02
  Speaker 3: he's gone to turkey and he's.
• 10:05
  Speaker 1: Buck-toothed yes and i feel like he was slightly buck-toothed
• 10:09
  Speaker 1: in the or it's like.
• 10:10
  Speaker 3: Well this this mouth moves kind of like this.
• 10:13
  Speaker 1: I'm doing a like a like a pecking motion with
• 10:16
  Speaker 1: my hand it is very pecking.
• 10:19
  Speaker 3: I like looks maxed Chucky. I do. I also like
• 10:25
  Speaker 3: when he's.
• 10:29
  Speaker 1: Oh, oh, like when he's in between... Closed mouth, no
• 10:32
  Speaker 1: lip smile Chucky.
• 10:33
  Speaker 3: Curvy mouth smile Chucky.
• 10:35
  Speaker 1: And, you know, Fiona is like, oh, Alice will love him.
• 10:41
  Speaker 1: And then the mom, for some reason, throws the doll out. Uh.
• 10:47
  Speaker 3: Yeah, so I get the feeling that this family, they
• 10:52
  Speaker 3: just try and show it through small ways, but I
• 10:57
  Speaker 3: like that they showed and didn't tell as much, but
• 11:00
  Speaker 3: they did so in kind of a real modern way,
• 11:03
  Speaker 3: like in a real Netflix way, where it's very hammy
• 11:06
  Speaker 3: the way they're showing certain things, like emotions, which I
• 11:09
  Speaker 3: thought was kind of also served to give the movie
• 11:14
  Speaker 3: this interesting... off-kilter feel because it really plays out once
• 11:20
  Speaker 3: again like.
• 11:21
  Speaker 1: A horror movie. Yeah.
• 11:24
  Speaker 3: A very 2013 horror movie. It's very The Conjuring Chucky.
• 11:29
  Speaker 1: The thing that I think really irritates me about the
• 11:33
  Speaker 1: second half of the Chucky series is that the first
• 11:38
  Speaker 1: ones are very set in a contemporary time and they
• 11:42
  Speaker 1: embody that and make it feel very.
• 11:48
  Speaker 1: Somehow it feels much more timeless. Whereas the post... uh,
• 11:55
  Speaker 1: Bride of Chucky in that era, they go back to
• 11:58
  Speaker 1: this like Gothic aesthetic of like, but this is what
• 12:00
  Speaker 1: real horror movies look like rather than like the horror being, I,
• 12:05
  Speaker 1: I'm a poor mom with, you know what I mean?
• 12:08
  Speaker 1: Or like I'm in foster care or I'm in the military.
• 12:12
  Speaker 1: You know what I mean? There's like things like that
• 12:14
  Speaker 1: and it becomes much more lore. But then this one
• 12:18
  Speaker 1: does a reversal in terms of like, we don't get,
• 12:22
  Speaker 1: It rests on its lore-les a little bit too much with, like,
• 12:27
  Speaker 1: a story that doesn't interest me as much.
• 12:30
  Speaker 3: It gives you a contained story, and then it crams
• 12:32
  Speaker 3: all of the lore in at the end.
• 12:34
  Speaker 1: At the end, yeah.
• 12:35
  Speaker 3: Which I really liked, because it was, like, stark reveal, Chucky.
• 12:39
  Speaker 3: And it did, like, it tried to do kind of, like,
• 12:43
  Speaker 3: both Final Destination-style reveals... And, like, Saw X style reveals of, like,
• 12:50
  Speaker 3: we've included all of it. We listened to you, the audience,
• 12:53
  Speaker 3: and we brought it back to horror. But we also
• 12:55
  Speaker 3: included all of the lore. So, you can't be mad
• 12:57
  Speaker 3: at us about anything. We've covered all of our bases.
• 13:00
  Speaker 1: Well, let's say, yeah, it does feel like we've covered
• 13:03
  Speaker 1: all our bases, Chucky. And, like, she throws away the doll.
• 13:08
  Speaker 1: She goes upstairs. This is very, like, expedited stuff.
• 13:12
  Speaker 3: I think it's a narcissist mom. And the sister's also
• 13:15
  Speaker 3: a narcissist.
• 13:16
  Speaker 1: The sister's definitely a narcissist.
• 13:17
  Speaker 3: We've got to talk about the sister being a.
• 13:19
  Speaker 1: You always do this!
• 13:21
  Speaker 3: Family dynamics, Chucky. I love the... You always do... It's
• 13:25
  Speaker 3: about you!
• 13:26
  Speaker 1: But the thing is.
• 13:27
  Speaker 3: We've definitely had one or two of these arguments. On
• 13:30
  Speaker 3: the show, dude.
• 13:31
  Speaker 1: So... There's Fiona wakes up. I'm just going to call
• 13:36
  Speaker 1: her Fiona. I don't care. Nika is not her name.
• 13:38
  Speaker 3: It's Fiona. I connected with the character Nika. I didn't
• 13:41
  Speaker 3: even know she was Fiona until the, I mean, I
• 13:43
  Speaker 3: forgot everything about this movie. It wasn't registering at all
• 13:46
  Speaker 3: that it was Dr. Robbie, uh, Chucky.
• 13:49
  Speaker 1: Oh yeah. It is Dr.
• 13:50
  Speaker 3: Robbie Chucky. And I just didn't.
• 13:52
  Speaker 1: And Dr. Robbie's mom in the show is Brad Dorff.
• 13:57
  Speaker 3: I know.
• 13:57
  Speaker 1: Yeah. So Chucky is her dad in the show.
• 14:00
  Speaker 3: Chucky pussy, dude.
• 14:02
  Speaker 1: Um, Yeah, so Nika goes out to check on her mom.
• 14:07
  Speaker 1: It's like nighttime after the mom has thrown out the dummy,
• 14:10
  Speaker 1: and she goes downstairs.
• 14:12
  Speaker 3: Dummy.
• 14:13
  Speaker 1: She goes downstairs in her old-timey... uh elevator the house
• 14:21
  Speaker 1: the house was insane it's just the house was like.
• 14:26
  Speaker 3: And like it like also like had this like very
• 14:28
  Speaker 3: like weird scale like super giant um and like it
• 14:33
  Speaker 3: never even though you could tell it was always the
• 14:35
  Speaker 3: same house based on like the decor and stuff i
• 14:38
  Speaker 3: never felt like we were in the same room twice
• 14:40
  Speaker 3: even though like the entire movie is set it basically
• 14:43
  Speaker 3: in this one house.
• 14:44
  Speaker 1: Yeah well that's the thing that that made it feel
• 14:47
  Speaker 1: weird to me was that there You're right. I'm glad
• 14:51
  Speaker 1: you noticed the scale because obviously it's a set, right?
• 14:54
  Speaker 1: And it's like they shot the exterior of a house.
• 14:57
  Speaker 1: And that can be really cool and interesting, but the
• 15:01
  Speaker 1: set decoration was bad too.
• 15:06
  Speaker 3: I didn't think it was bad. I thought it was
• 15:07
  Speaker 3: trying to set a very specific tone and very specific
• 15:10
  Speaker 3: world because it gives this kind of like... Even the
• 15:13
  Speaker 3: way that they're all acting, it gives this kind of
• 15:15
  Speaker 3: like hollow quality where you're like... they're almost, like, vessel-like,
• 15:21
  Speaker 3: but then the hyper-specificity of some of the, like, details
• 15:24
  Speaker 3: and things that happen give them subsequently so much character,
• 15:28
  Speaker 3: so they kind of live in this, like, two-dimensional, or, like,
• 15:31
  Speaker 3: four-dimensional space where they're, like, you know, on one hand, they're, like, fucking, like, these, like,
• 15:36
  Speaker 3: hollow avatars, and then on the other hand, they're, like,
• 15:38
  Speaker 3: These very specific and well-developed characters that have their own
• 15:44
  Speaker 3: universe in this movie and then in the broader series
• 15:47
  Speaker 3: as a whole.
• 15:48
  Speaker 1: I mean, I think that's... To me, that's reaching. You
• 15:52
  Speaker 1: think I'm being generous? I think... Fiona Dourif is the
• 15:56
  Speaker 1: only person that really feels like there's any trying of acting.
• 16:03
  Speaker 3: I disagree, dude. You don't think the mom... You don't
• 16:07
  Speaker 3: think the sister-slash-mom of Amy was acting the shit out
• 16:11
  Speaker 3: of that part and did such a good job? You
• 16:13
  Speaker 3: don't think that the au pair was great? You don't
• 16:16
  Speaker 3: think that Amy the child was fucking great in this movie?
• 16:19
  Speaker 3: You don't think that the absentee dad who wants to, like...
• 16:23
  Speaker 3: surreptitiously divorces his wife and is gathering evidence. He's a
• 16:27
  Speaker 3: great character, dude. You don't think that secret Andy Barkley
• 16:30
  Speaker 3: at the end of this movie is a great character, dude?
• 16:32
  Speaker 3: You don't think that Tiffany slash Jennifer Tilly slash Tiffany, again,
• 16:36
  Speaker 3: is a great character at the end of this movie?
• 16:38
  Speaker 1: No, it's just like, what great character? She doesn't have
• 16:41
  Speaker 1: a character. The ending, he's like four different endings smushed
• 16:45
  Speaker 1: into one. And then a weird post-credits sequence.
• 16:49
  Speaker 3: No, I... I disagree, dude.
• 16:52
  Speaker 1: I mean, that's okay.
• 16:53
  Speaker 3: You can disagree. I thought it was amazing.
• 16:55
  Speaker 1: I mean, I'm glad you did.
• 16:57
  Speaker 3: Okay, okay, okay. Let's continue.
• 16:58
  Speaker 1: So, blood leaks from... Everybody dies with pools of blood.
• 17:03
  Speaker 1: Pools of blood or eyeballs. There's so many eyeball deaths
• 17:06
  Speaker 1: in this. And she sees that her mom has died
• 17:09
  Speaker 1: and calls on this old-timey rotary phone. The police. And
• 17:17
  Speaker 1: then Curse of Chucky is revealed. Don Mancini is Curse
• 17:20
  Speaker 1: of Chucky.
• 17:20
  Speaker 3: It's true.
• 17:21
  Speaker 1: It's a very Don Mancini. It is. It is. And
• 17:25
  Speaker 1: then we get a classic Chucky credits where things don't
• 17:30
  Speaker 1: get explained and police just come and take away the body.
• 17:33
  Speaker 1: And then the sister comes.
• 17:38
  Speaker 3: Yeah. The sister arrives with... The sister arrives, Barbie, with
• 17:43
  Speaker 3: the daughter.
• 17:43
  Speaker 1: Father Frank.
• 17:44
  Speaker 3: Father Frank, Father Intantola, and her child, who is around
• 17:49
  Speaker 3: Andy-aged Amy.
• 17:51
  Speaker 1: Yeah.
• 17:51
  Speaker 3: And who's going to be the new Chucky, dude? Ah,
• 17:54
  Speaker 3: he doesn't want the doll body anymore, dude. Now he wants.
• 17:57
  Speaker 1: Now he's coming back.
• 17:58
  Speaker 3: He's coming back, dude.
• 17:59
  Speaker 1: They've rebooted it. He's back in the doll. Soft reboot.
• 18:04
  Speaker 3: So, yeah, dude, the priest, the fucking condescending, sort of
• 18:09
  Speaker 3: like condescending face, fuckboy-looking priest.
• 18:14
  Speaker 1: It's weird, because also that was something that felt leaned
• 18:18
  Speaker 1: on in ways that were like... Is this going to.
• 18:20
  Speaker 3: What is this? Surprising Catholic elements, dude.
• 18:22
  Speaker 1: Catholic, yeah. Surprisingly Christian elements.
• 18:24
  Speaker 3: She won't go to heaven if she killed herself, dude.
• 18:26
  Speaker 3: She can't go to heaven.
• 18:27
  Speaker 1: That's... And then he, the priest, quickly being like, well,
• 18:31
  Speaker 1: we don't actually... That's not actually the way we do
• 18:34
  Speaker 1: things anymore.
• 18:37
  Speaker 3: The woke priest.
• 18:38
  Speaker 1: Oh, but... He's the new Catholic.
• 18:39
  Speaker 3: He's the Chicago priest, dude.
• 18:41
  Speaker 1: From Chicago. The new priest is from Chicago. The new pope. Yeah. But...
• 18:47
  Speaker 1: Our policy is not to judge, but to pity. It's like, whoa, dude, what?
• 18:53
  Speaker 1: This is how we're treating this?
• 18:56
  Speaker 3: This fucking, like, really handsome priest's, like, super fuckboy energy.
• 19:02
  Speaker 1: Well, it's just, like, stuff like.
• 19:03
  Speaker 3: How it's shot, like, so from above and so from below.
• 19:07
  Speaker 3: I think really setting up Nika's perspective, dude.
• 19:09
  Speaker 1: Yeah. Like, you know, Father Frank, there's really nothing... Not
• 19:15
  Speaker 1: that I don't... want to think of the movies previous
• 19:21
  Speaker 1: to this in ways that where I'm like, was I
• 19:23
  Speaker 1: just like evoking a lot of putting in a lot
• 19:26
  Speaker 1: of stuff into the movie of my own? I mean,
• 19:28
  Speaker 1: of course, but like looking at the, at, at things
• 19:31
  Speaker 1: like introducing a Catholic element and it doesn't pay off
• 19:35
  Speaker 1: in any way. There's no like sense of like.
• 19:39
  Speaker 3: Can I make an argument for it? Sure. I think
• 19:41
  Speaker 3: it was just to set up both the dynamic of
• 19:44
  Speaker 3: the family and to give the mom's death some kind
• 19:49
  Speaker 3: of higher stakes.
• 19:51
  Speaker 1: Right.
• 19:52
  Speaker 3: Of like, she might not get into heaven. In this family,
• 19:55
  Speaker 3: there is a narrative of that. Yeah.
• 19:58
  Speaker 1: I mean, this is the interesting thing about this movie
• 20:01
  Speaker 1: is that it's all set in one day. Yes.
• 20:03
  Speaker 3: Yes.
• 20:04
  Speaker 1: Uh, and it just, it feels a little bit like
• 20:08
  Speaker 1: lowered stakes, but it feels like it drags because of that.
• 20:12
  Speaker 3: It's just like, did you think that dog movie dragged
• 20:14
  Speaker 3: where the dog was the main character of the movie? No. Well,
• 20:19
  Speaker 3: that had the same kind of like played out in
• 20:21
  Speaker 3: a similar kind of way that this one did.
• 20:23
  Speaker 1: Yeah. But like a perspective shift from like how you
• 20:26
  Speaker 1: get a dog, uh, to tell a convincing story from
• 20:31
  Speaker 1: that perspective is like, a framework that i find more
• 20:34
  Speaker 1: interesting than like kind of i'm like looking at a
• 20:39
  Speaker 1: lot of the seams of this movie and then like
• 20:41
  Speaker 1: having to compare five other movies that are just kind
• 20:45
  Speaker 1: of like the the last one was cartoonish in a
• 20:48
  Speaker 1: way that i was like this is kind of weird
• 20:51
  Speaker 1: and interesting that like they've taken it to this level
• 20:55
  Speaker 1: it almost felt like a pair of self-parody this feels
• 20:58
  Speaker 1: like it's.
• 21:01
  Speaker 3: It's got... Well, that's why it's metamodern. It's gone beyond
• 21:04
  Speaker 3: the self-parody. The last one was the postmodern version and
• 21:07
  Speaker 3: this one went past that and went back into sincerity.
• 21:11
  Speaker 3: But it doesn't feel sincere.
• 21:13
  Speaker 1: It is sincere. But none of it feels sincere. What's
• 21:15
  Speaker 1: sincere about this?
• 21:17
  Speaker 3: I think the fact that we get introduced to this
• 21:20
  Speaker 3: family and we get to see the inner workings of
• 21:23
  Speaker 3: their dynamic and then we get to see how that
• 21:25
  Speaker 3: plays out with their deaths and how that's connected later
• 21:29
  Speaker 3: on with the Chucky lore... it gave it so much,
• 21:31
  Speaker 3: like it kept raising the stakes in such interesting ways
• 21:34
  Speaker 3: and using like making it a self-contained movie, which is
• 21:38
  Speaker 3: what you said you wanted it to be a self-contained movie.
• 21:41
  Speaker 3: And then, but also including the rest of the story
• 21:44
  Speaker 3: and the lore and positioning it with, this was side
• 21:47
  Speaker 3: quest Chucky. We got to see one of the side quests. Yeah.
• 21:51
  Speaker 3: It's kind of like different universe Chucky. Like what if,
• 21:54
  Speaker 3: you know, the world of Chucky happened and then like,
• 21:57
  Speaker 3: we just got to see a snapshot of like, you know,
• 22:00
  Speaker 3: It was the Barclays. Then it was the Kincaids. Then
• 22:03
  Speaker 3: it was the Tillys. Like, he says it in the movie, dude.
• 22:06
  Speaker 3: I think it's cool.
• 22:08
  Speaker 1: Yeah, but, like, I, like... You know, she comes in.
• 22:13
  Speaker 3: See, this is what I didn't want you to do
• 22:15
  Speaker 3: through the movie. When you're retelling the plot, I didn't
• 22:18
  Speaker 3: want you to hum and haw like this of like...
• 22:20
  Speaker 3: And then she's doing... You are doing that.
• 22:22
  Speaker 1: Well, I'm trying to... Because I'm trying to keep on
• 22:24
  Speaker 1: where the plot is and also trying to think of
• 22:27
  Speaker 1: what I'm going to say about your wrong opinion. No,
• 22:30
  Speaker 1: I'm kidding. Do you think I'm wrong? No, I mean, like,
• 22:34
  Speaker 1: I don't think you're wrong. I just feel like in
• 22:37
  Speaker 1: order for that description of this movie to work for me,
• 22:42
  Speaker 1: there has to be some level of... The acting isn't
• 22:48
  Speaker 1: very good, and the writing isn't very good.
• 22:50
  Speaker 3: I completely disagree with both of those things. I think
• 22:54
  Speaker 3: the acting was great. I think this was one of
• 22:56
  Speaker 3: the best acted Chucky's.
• 22:58
  Speaker 1: And then we get introduced to the dad, Ian, and
• 23:02
  Speaker 1: we get these snippets of dialogue with their nanny.
• 23:06
  Speaker 3: Their au pair.
• 23:07
  Speaker 1: They're au pair, yeah.
• 23:08
  Speaker 3: Live in au pair, $ 400 a week. He doesn't make
• 23:10
  Speaker 3: that much because he's working in a coffee shop. He's
• 23:13
  Speaker 3: a fucking loser. We get a sense that their relationship
• 23:16
  Speaker 3: is on the rocks. Barbie is, like, I guess she
• 23:20
  Speaker 3: makes a lot of money and she's a bitch. That's
• 23:22
  Speaker 3: her personality. But, like, she's also a narcissist. It's more about, like,
• 23:27
  Speaker 3: what her relationship is to everyone else than it is about, like,
• 23:31
  Speaker 3: her backstory.
• 23:31
  Speaker 1: Yeah, it's a very.
• 23:33
  Speaker 3: This.
• 23:34
  Speaker 1: Barb is a very, like... what's her name, Laura Loomer vibe,
• 23:41
  Speaker 1: plastic surgery vibe. I loved all her reactions, her side looks.
• 23:46
  Speaker 1: I don't know, they didn't feel like real sisters to me.
• 23:49
  Speaker 1: They didn't feel like siblings.
• 23:51
  Speaker 3: You didn't think their dynamic was really compelling and interesting?
• 23:56
  Speaker 3: The way that fight plays out right before Barbie's going
• 24:00
  Speaker 3: to get killed, to me, was such a cool sibling moment.
• 24:04
  Speaker 3: I felt like, watching it, I felt like, Dude, siblings.
• 24:09
  Speaker 1: I felt a little bit like when they had that
• 24:12
  Speaker 1: fight of like, you didn't know that, you knew that
• 24:18
  Speaker 1: there was a fucking camera and felt a little bit like,
• 24:22
  Speaker 1: I'm trying to interrupt this character so that for the
• 24:25
  Speaker 1: audience it's not revealed that I know there's a camera
• 24:29
  Speaker 1: and she thinks that Chucky is possessed. It just felt
• 24:32
  Speaker 1: a little bit like, yeah, like kind of like, oh,
• 24:35
  Speaker 1: this is like... Not good. This is not good.
• 24:40
  Speaker 3: Every time you say that, it's shocking to me because
• 24:42
  Speaker 3: I feel like... Does that shock you? It does shock me, yeah.
• 24:44
  Speaker 3: Because I feel like I would have described everything you
• 24:47
  Speaker 3: just said, but in the positive.
• 24:49
  Speaker 1: I mean, fair enough, yeah.
• 24:51
  Speaker 3: Dude, Chucky, MDMA, pupil Chucky. Fucking Requiem for a Dream Chucky.
• 24:57
  Speaker 1: So the little girl has to take a shit in
• 25:01
  Speaker 1: the bathroom upstairs. The au pair and the dad go
• 25:06
  Speaker 1: to let her take a shit. And after she's done,
• 25:10
  Speaker 1: she opens the curtain in the shower and she sees Chucky.
• 25:14
  Speaker 1: And that's where we find out that The au pair
• 25:16
  Speaker 1: is making $ 400 a week. And that the dad secretly
• 25:20
  Speaker 1: hates her for it because it's like, you're fucking my wife.
• 25:24
  Speaker 3: The undermining of the dad fucking the nanny trove is
• 25:28
  Speaker 3: the mom fucking the nanny, dude. Which, you know, great.
• 25:34
  Speaker 3: In keeping with the surprising homosexual elements in this show.
• 25:41
  Speaker 3: It's not surprising. Everyone knows.
• 25:42
  Speaker 1: Barbie and the priest go to interrogate nika for some
• 25:47
  Speaker 1: reason being like we're gonna put you in this home
• 25:51
  Speaker 1: we're gonna sell the house and put you in this
• 25:53
  Speaker 1: home and then she's like wait what you're gonna put
• 25:57
  Speaker 1: me in a home and she's like well you'd you'd
• 26:00
  Speaker 1: be closer and we could see you all the time
• 26:02
  Speaker 1: and it's like dude like people in wheelchairs are fully
• 26:07
  Speaker 1: people you know i think especially hot women in wheelchairs.
• 26:10
  Speaker 3: No i think i think yes i i agree but
• 26:13
  Speaker 3: i think they were trying to show this dynamic with
• 26:15
  Speaker 3: the sister of like how, like sometimes, you know, in
• 26:19
  Speaker 3: a sibling, um, dynamic where one sibling is disabled and
• 26:24
  Speaker 3: the other sibling is, uh, like, um, that's a different
• 26:27
  Speaker 3: kind of disability.
• 26:28
  Speaker 1: Is it?
• 26:30
  Speaker 3: Yeah, is able-bodied or like differently disabled than the other person.
• 26:35
  Speaker 3: Then the other sibling, like a kind of like resentment
• 26:38
  Speaker 3: forms of like, well, mom and dad paid attention to
• 26:42
  Speaker 3: you and you had all the attention, you know.
• 26:45
  Speaker 1: Also, like the... So like.
• 26:50
  Speaker 3: Well.
• 26:53
  Speaker 1: This is about money, isn't it? Well, you know, print
• 26:56
  Speaker 1: media is dead.
• 26:57
  Speaker 3: Dude, I love the fucking print media is dead line.
• 27:01
  Speaker 3: Ian's working at Starbucks. In 2013, everybody was talking about
• 27:04
  Speaker 3: print media being dead.
• 27:06
  Speaker 1: Yeah, of course.
• 27:07
  Speaker 3: I mean, and this guy is just another elder millennial
• 27:10
  Speaker 3: that was the casualty of that time.
• 27:14
  Speaker 1: We're going to have to send Alice to public school?
• 27:19
  Speaker 3: The soft reboot. The close-ups of the mouth-seating. That's later on.
• 27:24
  Speaker 3: That's later on.
• 27:26
  Speaker 1: Um, yeah, it's like a lot of it feels like the,
• 27:33
  Speaker 1: the stuff that was explained in credits in the previous
• 27:38
  Speaker 1: movies are stretched into making it the movie.
• 27:42
  Speaker 3: I agree. You know what I mean? Yeah. Um, But
• 27:46
  Speaker 3: I like it. So, Nika says, like, I'm going to
• 27:50
  Speaker 3: make dinner. For six of us, 6-7. It's 6-7, dude.
• 27:56
  Speaker 1: It is 6-7, Chucky. 2013 is 6-7.
• 28:00
  Speaker 3: And pour the chelsea, Chucky. Also pour the chelsea, Chucky.
• 28:06
  Speaker 1: Yeah, she, like, makes a gross chili sauce. It looked good, though.
• 28:11
  Speaker 1: It did look good.
• 28:12
  Speaker 3: And then there are rad poison. Chucky puts rad poison
• 28:15
  Speaker 3: in one of the chilies. So we get a Russian
• 28:17
  Speaker 3: roulette situation where like, you don't know who's eating the
• 28:21
  Speaker 3: poison chili. And of course, the fuckboy priest who stayed
• 28:25
  Speaker 3: for dinner. And, you know, now God is punishing him for,
• 28:28
  Speaker 3: you know, accepting the grace of others.
• 28:31
  Speaker 1: Yeah exactly that is it also feels like this would
• 28:35
  Speaker 1: you would taste this you would taste this well there's
• 28:40
  Speaker 1: that one fake out where the little girl's like it
• 28:42
  Speaker 1: tastes funny maybe there's too much oregano there's so much
• 28:46
  Speaker 1: oregano in this what's the secret ingredient it's oregano and
• 28:51
  Speaker 1: it's like i don't think i've ever put i don't
• 28:52
  Speaker 1: think oregano goes in chili To be honest.
• 28:57
  Speaker 3: You can put an oregano in anything. Yeah, so, but
• 29:01
  Speaker 3: it generally doesn't go in chili, you're right. They're doing
• 29:03
  Speaker 3: a Euro version. It's a white family.
• 29:05
  Speaker 1: And then when they're all eating dinner and the priest,
• 29:08
  Speaker 1: it like suddenly nods that the priest was an alcoholic
• 29:11
  Speaker 1: and he was like, no, I'm good with my water.
• 29:13
  Speaker 1: It's like, why are we building up?
• 29:15
  Speaker 3: Offering wine to an ex-alcoholic. Yeah. I... I.
• 29:20
  Speaker 1: I.
• 29:24
  Speaker 1: I... You know what, dude? Let me put it this way,
• 29:30
  Speaker 1: just to make it easier for you, because sometimes it
• 29:32
  Speaker 1: feels like when I don't like a movie and you're
• 29:35
  Speaker 1: really excited to talk about a movie, just be excited.
• 29:38
  Speaker 1: It's fine.
• 29:39
  Speaker 3: I'm not judging you.
• 29:40
  Speaker 1: You for for liking the movie i didn't hate it
• 29:43
  Speaker 1: i had a.
• 29:44
  Speaker 3: Good time i love it so much.
• 29:49
  Speaker 1: It's just like bad in ways where it's like oh
• 29:53
  Speaker 1: this is so weird i'm happy i'm happy that you
• 29:57
  Speaker 1: like it i think it's very funny and cute that
• 29:59
  Speaker 1: you like it i want you to be i want
• 30:03
  Speaker 1: you to explain to me why you like it I just,
• 30:07
  Speaker 1: this whole.
• 30:08
  Speaker 3: Scene looks amazing. I love, I love how it's shot
• 30:11
  Speaker 3: and like the circle, like it really does a lot
• 30:14
  Speaker 3: of like interesting tension building and like showing their mouths chewing.
• 30:17
  Speaker 3: It's just like, we've never seen a Chucky like this.
• 30:20
  Speaker 3: And like, we've never seen like Chucky shot this way
• 30:23
  Speaker 3: and like with these ideas. And it just was, it
• 30:25
  Speaker 3: felt very, it felt very fresh for the series. Yeah.
• 30:28
  Speaker 1: And you know what? Like I really do. I wanted
• 30:31
  Speaker 1: this scene. to be good. Like, I mean, for me, like,
• 30:35
  Speaker 1: this idea that there are moments where the dad is like,
• 30:40
  Speaker 1: oh my god, I can't believe this is just vegetables
• 30:45
  Speaker 1: in this chili.
• 30:46
  Speaker 3: I was like, What the fuck is going on? First
• 30:50
  Speaker 3: of all, one thing, they're talking about the chili way
• 30:52
  Speaker 3: too much for it to actually be good.
• 30:54
  Speaker 1: Yeah, exactly.
• 30:55
  Speaker 3: So there's that, there's that, but they're praising her and
• 30:58
  Speaker 3: the sister's like, can you pass the salt? Like, passive-aggressively.
• 31:01
  Speaker 1: Yeah, passive-aggressively.
• 31:02
  Speaker 3: Asks for the salt in a pointed way after the
• 31:05
  Speaker 3: sister was being praised. So you can tell, can't handle, like,
• 31:09
  Speaker 3: the sister getting any positive attention at all. Yeah, 100%.
• 31:12
  Speaker 3: Shows further that she's a narcissist. I'm just like, there's
• 31:15
  Speaker 3: a lot of, like, interesting points like character building in
• 31:18
  Speaker 3: these like subtle moments, you know?
• 31:20
  Speaker 1: Yeah. I think that's a, that's a good point. I, with,
• 31:25
  Speaker 1: with the au pair, I was not a fan of
• 31:28
  Speaker 1: this actor because it just seemed like she's looked like
• 31:33
  Speaker 1: a model. It just felt a little bit like it.
• 31:35
  Speaker 3: Was, it was a bit of a nothing character. I,
• 31:37
  Speaker 3: I do think that, um, let me get another death
• 31:40
  Speaker 3: in this. I think it's in keeping also with the
• 31:43
  Speaker 3: kind of like, um, sort of like, exploitation that Don
• 31:48
  Speaker 3: Mancini is doing of like, Oh yeah. Movies are about hockey.
• 31:52
  Speaker 3: She's like a token hot girl in the movie. And
• 31:54
  Speaker 3: she gets like a nightie scene, you know?
• 31:57
  Speaker 1: Yeah.
• 31:57
  Speaker 3: A hundred percent.
• 31:58
  Speaker 1: Yeah. Where she's just in her underwear.
• 31:59
  Speaker 3: Yeah. So like, I do think she's just kind of
• 32:01
  Speaker 3: there to pay homage to this idea of a, like a,
• 32:05
  Speaker 3: a slasher movie sex pot.
• 32:08
  Speaker 1: Totally. But then we get in contrast to that, we
• 32:10
  Speaker 1: get like rebuilding the lore where the priest is like,
• 32:14
  Speaker 1: you know, I seem to remember these toys in the news.
• 32:18
  Speaker 1: And like the guy being like, oh yeah, they were
• 32:20
  Speaker 1: like Cabbage Patch Kids or Smurfs. And it's like, like
• 32:25
  Speaker 1: the kind of trying to put it in that, like
• 32:30
  Speaker 1: making Chucky real, making Chucky real. But also in the
• 32:33
  Speaker 1: first one, they do such a good job at just
• 32:34
  Speaker 1: being like, well, it's like a very popular doll. And
• 32:37
  Speaker 1: it's like, They just have it stacked.
• 32:39
  Speaker 3: Yeah, but this continues that. This is also like, this
• 32:42
  Speaker 3: was a very popular doll. And that it does so
• 32:44
  Speaker 3: by contextualizing it with dolls that we know that are
• 32:48
  Speaker 3: from real life. Yeah, 100%.
• 32:49
  Speaker 1: And then the weird CGI sweat on the priest.
• 32:55
  Speaker 3: I loved it. And then he touches. It looked real, dude.
• 32:59
  Speaker 1: It looked CGI to me. It looked like hyper real.
• 33:01
  Speaker 3: Yeah.
• 33:02
  Speaker 1: I have an appointment back at the church. What?
• 33:04
  Speaker 3: What?
• 33:05
  Speaker 1: What?
• 33:07
  Speaker 3: Okay, so this was a weird reaction for me. I
• 33:10
  Speaker 3: was like, is the first thing that I would do
• 33:13
  Speaker 3: if I felt really sick and not well, is the
• 33:18
  Speaker 3: first thing that I would do, like, excuse myself? Maybe because, like,
• 33:26
  Speaker 3: they just had someone close to them die. Their mom died. So, like,
• 33:29
  Speaker 3: he doesn't want to be, like, you know, imposing sort of, like,
• 33:35
  Speaker 3: whatever he's going through.
• 33:36
  Speaker 1: Yeah.
• 33:37
  Speaker 3: Because he's dying. He ate the poison.
• 33:39
  Speaker 1: He did eat the poison.
• 33:40
  Speaker 3: Absolutely.
• 33:41
  Speaker 1: And this cop, who also is a nothing cop, but, like,
• 33:46
  Speaker 1: just is... It just feels too loose. Everything is a
• 33:49
  Speaker 1: little too loose. Whereas, like, all of the first three
• 33:53
  Speaker 1: Chucky's are very, like, tight. This is the longest Chucky,
• 33:56
  Speaker 1: by the way.
• 33:57
  Speaker 3: It is the longest Chucky.
• 33:58
  Speaker 1: An hour and 36 minutes.
• 33:59
  Speaker 3: Going past the first movie to go past the hour
• 34:01
  Speaker 3: and 30 mark. Which.
• 34:05
  Speaker 1: It works against it, dude. It totally works against it.
• 34:07
  Speaker 3: I think that maybe some editing could have been done
• 34:10
  Speaker 3: for sure.
• 34:11
  Speaker 1: Like when they cut the priest out of the car
• 34:13
  Speaker 1: and then his head just fucking falls off. I mean,
• 34:16
  Speaker 1: that was great. There was a lot of.
• 34:19
  Speaker 3: Adding that kill is like, oh no. You know what's funny?
• 34:23
  Speaker 3: It actually did exactly what I wanted it to do.
• 34:26
  Speaker 3: It did exactly what the first one did. It had
• 34:30
  Speaker 3: these elements of outrageousness in camp. But it treated the
• 34:33
  Speaker 3: stakes seriously and high. It was like, it matters when
• 34:37
  Speaker 3: people die. We know all these characters and we know
• 34:40
  Speaker 3: this is happening the same night. And it's in one house.
• 34:44
  Speaker 1: This was really a strange choice because it was very.
• 34:50
  Speaker 3: Choice-y.
• 34:52
  Speaker 1: The showing, like the 16mm footage from a family that
• 34:56
  Speaker 1: was clearly in the 80s.
• 34:57
  Speaker 3: Then we see Tommy Wiseau lurking in the background.
• 35:00
  Speaker 1: Yeah, lurking in the background. Brad Dourif as Tommy Wiseau.
• 35:03
  Speaker 3: I was like, did they recast Brad Dourif as Tommy Wiseau?
• 35:06
  Speaker 3: That was my very first thought. Because I was like,
• 35:09
  Speaker 3: I knew the lurker was obviously Charles Lee Ray.
• 35:12
  Speaker 1: Yeah.
• 35:13
  Speaker 3: But I didn't, you know.
• 35:16
  Speaker 3: Yeah, of course.
• 35:16
  Speaker 1: It was so strange. And he looks like that outfit
• 35:21
  Speaker 1: that he's wearing where it's just like a button-up that
• 35:23
  Speaker 1: he clearly brought from home.
• 35:25
  Speaker 3: And the fucking duster. The crusty duster. I never took
• 35:30
  Speaker 3: it off, Tiff. I wore it during fucking.
• 35:34
  Speaker 1: Yeah, I mean, it felt a little bit like wearing
• 35:36
  Speaker 1: it during fucking. Yeah, the fact that it was, like,
• 35:39
  Speaker 1: shot on 16mm, it's like, wouldn't these people have, like,
• 35:41
  Speaker 1: a VHS camera from that era? They'd, like, hook up
• 35:45
  Speaker 1: a 16mm camera. Um.
• 35:49
  Speaker 3: Well, it felt like they wanted it to be set
• 35:52
  Speaker 3: in the 70s.
• 35:53
  Speaker 1: Yeah, totally. It feels like they wanted it to be like, oh,
• 35:57
  Speaker 1: no cell phones. There's always an excuse for the cell
• 36:00
  Speaker 1: phone not to work in this house or whatever.
• 36:04
  Speaker 3: Well, I don't know if you've ever gone into bad
• 36:07
  Speaker 3: reception zones. Yeah, totally. There's like cities with bad reception zones. Yeah,
• 36:11
  Speaker 3: that's true. I mean, the city of Chicago did. Which
• 36:14
  Speaker 3: they mentioned that they're from, dude. Chi-town, let it bang!
• 36:17
  Speaker 1: Outside, let it rain!
• 36:19
  Speaker 3: Yeah, they're from Chicago. Bitch, I'm from Chicago. And they're
• 36:23
  Speaker 3: from the city by the lake, dude. Yeah.
• 36:25
  Speaker 1: And we've got to return to form. It's no longer
• 36:28
  Speaker 1: New Jersey, Chucky.
• 36:30
  Speaker 3: It's actually Chicago, Chucky, but also New Jersey, Chucky.
• 36:35
  Speaker 1: And then we get our first.
• 36:37
  Speaker 3: Lower register, Chucky.
• 36:39
  Speaker 1: We get our first reveal of... Barb being a lesbian
• 36:45
  Speaker 1: with the au pair. And having an affair with the
• 36:48
  Speaker 1: au pair.
• 36:49
  Speaker 3: She's having an au pair, dude.
• 36:50
  Speaker 1: Yeah, she's having an au pair. And, you know, they
• 36:55
  Speaker 1: send the kid off to bed. Chucky's not here! Where's Chucky?
• 37:01
  Speaker 3: It's in keeping with, like, too much mentioning Chucky. And
• 37:06
  Speaker 3: also still hasn't revealed himself yet, Chucky. Other than doing
• 37:10
  Speaker 3: weird things like this. A groovy smile, Chucky.
• 37:15
  Speaker 1: Yeah, it just.
• 37:16
  Speaker 3: You made triangle face, dude. You never make triangle face.
• 37:21
  Speaker 1: And then Chucky ends up sitting on the seat next
• 37:24
  Speaker 1: to the dad. And he's like, oh, here he is.
• 37:27
  Speaker 1: Here's where Chucky was the whole time. Yeah, and it's
• 37:35
  Speaker 1: just like trying to make the dad like a good dude,
• 37:37
  Speaker 1: even though like this guy feels like he would be
• 37:40
  Speaker 1: kind of a scumbag. I think he has.
• 37:43
  Speaker 3: Like a bitterness, a failed midlife bitterness of like, I mean.
• 37:47
  Speaker 1: We all do, dude.
• 37:48
  Speaker 3: Things just didn't work out.
• 37:51
  Speaker 1: You know what? If he played it more like that,
• 37:54
  Speaker 1: I would be down.
• 37:55
  Speaker 3: I think that would be great. If he played it
• 37:58
  Speaker 3: like how... If he played it exactly how Widow's Bay
• 38:03
  Speaker 3: plays it.
• 38:04
  Speaker 1: Oh, dude. You know what? Actually, I will say.
• 38:07
  Speaker 3: Heavy award-winning performance, Widow's Bay.
• 38:10
  Speaker 1: Honestly, that would be a... I think when I think
• 38:15
  Speaker 1: of metamodernism, that's a metamodern show. I mean, I get
• 38:19
  Speaker 1: that from this movie, dude. But I understand through that lens,
• 38:24
  Speaker 1: I can understand an appreciation for this movie... with that
• 38:28
  Speaker 1: kind of idea and aesthetic, but it's just, it's too
• 38:33
  Speaker 1: like budget. It's too loosey goosey half-assed a little bit.
• 38:40
  Speaker 1: It feels a little bit like, I don't know this,
• 38:44
  Speaker 1: you know what I mean? It feels a bit first draft.
• 38:47
  Speaker 1: It feels like if I read this, I'd be like,
• 38:48
  Speaker 1: that was a good first draft. Let's like tighten this
• 38:51
  Speaker 1: movie up a little bit.
• 38:52
  Speaker 3: You know, I, I disagree. But let's continue. Dude, puppeteering, Chucky.
• 38:59
  Speaker 1: Fiona goes to take the doll up to her niece,
• 39:05
  Speaker 1: and Chucky spins his head around, and he gets trapped
• 39:08
  Speaker 1: in the elevator with Fiona.
• 39:11
  Speaker 3: He's very, I like to be hugged.
• 39:13
  Speaker 1: Yeah, it's very, I like to be hugged. And then
• 39:15
  Speaker 1: we get more lesbian scenes. It feels like kind of porno.
• 39:20
  Speaker 1: It feels like a porno.
• 39:21
  Speaker 3: This scene felt porno.
• 39:22
  Speaker 1: The movie feels kind of like a porno, too. Like,
• 39:24
  Speaker 1: it feels like all the sex was cut out of
• 39:26
  Speaker 1: this porno Chucky.
• 39:28
  Speaker 3: What makes you say that like just the way it
• 39:32
  Speaker 3: plays out.
• 39:33
  Speaker 1: A little bit like just the acting feels the most
• 39:37
  Speaker 1: porno it's very like well watch out neuter man yeah
• 39:43
  Speaker 1: exactly And there is like this hyper focus on the sister.
• 39:54
  Speaker 1: What I like is the sister being like, she needs
• 39:57
  Speaker 1: my help. That was interesting in a way that would
• 40:01
  Speaker 1: have been nicer if the mom didn't feel like she...
• 40:07
  Speaker 1: needed to help her but the mom's need the mom
• 40:10
  Speaker 1: needing to help her kid is justified by the ending
• 40:14
  Speaker 1: where we see that charles lee ray actually stabbed please.
• 40:17
  Speaker 3: Do Sorry, but let's get to those reveals. I feel
• 40:22
  Speaker 3: like the movie really earns those reveals, so I don't
• 40:24
  Speaker 3: want to get ahead of ourselves. Yeah, so what's next
• 40:30
  Speaker 3: on the docket, dude?
• 40:31
  Speaker 1: She gets upstairs. Barb comes upstairs and is like, Aunt
• 40:37
  Speaker 1: Nika's tired. Leave her alone. You've over-intended her. That was
• 40:41
  Speaker 1: very mama-coded. Extended yourself.
• 40:43
  Speaker 3: Telling that someone else is tired. How someone feels. Deciding
• 40:46
  Speaker 3: the boundaries of someone else for them.
• 40:48
  Speaker 1: Yeah.
• 40:50
  Speaker 3: Is very narcissistic. Sees her sister as an extension of herself.
• 40:54
  Speaker 3: Sometimes happens in relationships and families with, you know, where
• 40:59
  Speaker 3: the focus of the family is that there is a
• 41:01
  Speaker 3: disabled child in the family.
• 41:03
  Speaker 1: Barb, I'm disabled, not a child. But yeah, and then
• 41:10
  Speaker 1: they're praying in the room, and Chucky... God, what's her
• 41:16
  Speaker 1: name again?
• 41:17
  Speaker 3: Hold on. Barb?
• 41:18
  Speaker 1: No, the kid. Amy?
• 41:21
  Speaker 3: Is it Amy? Amy. That's what I've been calling her.
• 41:25
  Speaker 1: That's Alice. That's what I've been calling her. She's like...
• 41:36
  Speaker 1: mommy chucky told me god doesn't exist and she's like
• 41:41
  Speaker 1: what that we're all gonna the life's.
• 41:44
  Speaker 3: A bitch that life's a bitch and then you die
• 41:46
  Speaker 3: like a stuck pig he's like alice we don't say
• 41:51
  Speaker 3: things like that she's very like just i love the
• 41:53
  Speaker 3: mom's acting you talk about the acting like her acting
• 41:56
  Speaker 3: in this scene like just look at some of the
• 41:58
  Speaker 3: stills of her eye acting like looking at chucky when
• 42:01
  Speaker 3: she's like realizing that chucky like she's having this like
• 42:05
  Speaker 3: weird feeling of like being told something like this by
• 42:09
  Speaker 3: a kid and then looking at the doll that they're
• 42:11
  Speaker 3: talking about and but hearing all of this like fucked
• 42:14
  Speaker 3: up stuff feels like you're like is my kid projecting
• 42:17
  Speaker 3: like weird fucked up murderous fantasies.
• 42:20
  Speaker 1: Onto the doll well like but we got that already
• 42:22
  Speaker 1: right like we've got we got that and in a
• 42:25
  Speaker 1: way better way where it's like hey like don't say
• 42:27
  Speaker 1: that not like huh Well, goodbye, kiss, and then awkwardly
• 42:33
  Speaker 1: kiss the.
• 42:34
  Speaker 3: Well, I just think that's what the parenting is like
• 42:36
  Speaker 3: in that era. In 2013? In 2013, I think parents
• 42:39
  Speaker 3: were way more likely to be like, huh, I don't
• 42:43
  Speaker 3: want to make you feel weird. Whereas before it was like,
• 42:46
  Speaker 3: Whereas before it was like, Jesus Christ, Andy, that's fucked up.
• 42:48
  Speaker 3: We don't talk about shit like that. Like, I actually
• 42:52
  Speaker 3: thought it was interesting.
• 42:54
  Speaker 1: Maybe, but like in that, but what I will say
• 42:57
  Speaker 1: is in that context, you see the reaction as a
• 43:01
  Speaker 1: level of fear towards what's happening rather than like, you know,
• 43:06
  Speaker 1: kind of adding to the fact that I, oh, this
• 43:08
  Speaker 1: person doesn't really care. There's no indication.
• 43:11
  Speaker 3: Here there's fear intention and it's just one night. That
• 43:16
  Speaker 3: time when that was happening with Andy and like his
• 43:19
  Speaker 3: mom reacted that way, it had been going on for
• 43:21
  Speaker 3: a while and someone died. So it was like, no
• 43:24
  Speaker 3: one has died yet. So she's just kind of like,
• 43:27
  Speaker 3: question mark?
• 43:28
  Speaker 1: Yeah, for sure. Sure. Yeah, totally. Or the emoji.
• 43:33
  Speaker 3: The thinking emoji.
• 43:35
  Speaker 1: And then Fiona calls and is like, what?
• 43:39
  Speaker 3: It's in the evidence.
• 43:40
  Speaker 1: It's from the evidence depository. What? And, like, obviously, oh, yeah,
• 43:45
  Speaker 1: we've got... It's referencing. It's referencing the fact that it's evidence.
• 43:49
  Speaker 3: It's the Freddy, Jason, Chucky residence. Evidence residence.
• 43:56
  Speaker 1: But also, we don't get any, like, manipulation, Chucky. We
• 44:00
  Speaker 1: don't get any, like, being carried by the little kid to, like,
• 44:06
  Speaker 1: move to places faster.
• 44:07
  Speaker 3: Chucky doesn't get condescendingly carried in this one.
• 44:10
  Speaker 1: Yeah, he doesn't get hit.
• 44:12
  Speaker 3: Yeah.
• 44:13
  Speaker 1: And, like, you know, he's also being very scary immediately
• 44:17
  Speaker 1: to the girl. Like, he's not really trying to manipulate
• 44:20
  Speaker 1: her in any way.
• 44:20
  Speaker 3: Well, he knows he's going to do it that night, dude.
• 44:23
  Speaker 1: Yeah, that's true.
• 44:23
  Speaker 3: He's going to get his revenge that evening, that same night.
• 44:26
  Speaker 1: And it's like, it also feels a little bit like
• 44:30
  Speaker 1: a pivot from any of Chucky's motivations, from any of them.
• 44:35
  Speaker 3: The revenge motivation, we'll talk about that choice at the end,
• 44:39
  Speaker 3: because it's only revealed at the end why he's getting
• 44:42
  Speaker 3: revenge on this family um but yeah i i do
• 44:46
  Speaker 3: have my feelings about that but i want to hear
• 44:47
  Speaker 3: what you have to say um i the puppeteering of
• 44:51
  Speaker 3: jackie sorry i i know i'm no go ahead jumping
• 44:53
  Speaker 3: ahead it just looked so good well i don't know
• 44:55
  Speaker 3: where we're at uh i can't see the movie the
• 45:03
  Speaker 3: and also yeah yeah yeah um.
• 45:09
  Speaker 1: Yeah. Fiona is, uh, upstairs and she, she, man, some
• 45:14
  Speaker 1: of the choices in this movie are wild because, uh,
• 45:20
  Speaker 1: Barb is sleeping. Sorry.
• 45:27
  Speaker 3: Some of the names.
• 45:28
  Speaker 1: Barb is sleeping with Ian, the husband and, uh, uh,
• 45:37
  Speaker 1: They're in bed together, yeah. They're in bed together. The
• 45:40
  Speaker 1: au pair goes to sleep in the kid's same room.
• 45:46
  Speaker 3: Yeah, she's sleeping with the kid, but she decides that
• 45:49
  Speaker 3: she's going to have a... Video call?
• 45:51
  Speaker 1: A sex chat. A sex video call?
• 45:53
  Speaker 3: Where she disrobes into a pink nightie, or a pink
• 46:00
  Speaker 3: complete bra panty set, where she is.
• 46:07
  Speaker 3: The colors of the room are so bland and damp
• 46:12
  Speaker 3: compared to pink.
• 46:13
  Speaker 1: Yeah, totally.
• 46:14
  Speaker 3: So it really pops. It was such an interesting choice.
• 46:18
  Speaker 3: But the way she does it is so wooden. And
• 46:21
  Speaker 3: the choice of having her do that with the kid
• 46:25
  Speaker 3: in the room with the kid was... It's so weird
• 46:28
  Speaker 3: and kind of, like, sinister.
• 46:30
  Speaker 1: Very strange. And the only reason it is in there
• 46:33
  Speaker 1: is because, oh, we need Chucky to walk across the
• 46:36
  Speaker 1: screen to seem like he passed by the camera so that.
• 46:40
  Speaker 3: I love that. Like, fucking, like, Zoom call Chucky.
• 46:43
  Speaker 1: Zoom call Chucky so that Barb could be like, oh
• 46:45
  Speaker 1: my god, that's my kid. And then she takes her
• 46:48
  Speaker 1: ring off. It's just like a lot of it feels like...
• 46:53
  Speaker 1: I wrote this in this kind of way to like...
• 46:56
  Speaker 1: It's written in as your wife. It's written in as
• 46:58
  Speaker 1: her wife, right? But you don't... You.
• 47:00
  Speaker 3: Usually like written in as your wife. Today, you don't
• 47:02
  Speaker 3: like written in as your wife.
• 47:03
  Speaker 1: Maybe today I don't like written in as your wife.
• 47:05
  Speaker 1: But like... No, it's just like some of the stuff
• 47:08
  Speaker 1: feels like it just doesn't make any sense. Why would you,
• 47:12
  Speaker 1: as a cheating partner... Like, look at your video chat,
• 47:18
  Speaker 1: whether your husband is sleeping right next to you while
• 47:21
  Speaker 1: your au pair is sleeping next to your kid.
• 47:24
  Speaker 3: People do crazy shit, dude.
• 47:26
  Speaker 1: But also, but the fact that this giant house only
• 47:29
  Speaker 1: has two rooms in it.
• 47:31
  Speaker 3: Well, the au pair is hired to be a full-time nanny,
• 47:34
  Speaker 3: so she has to sleep with the kid, too.
• 47:36
  Speaker 1: And then Chucky just knocks over a glass of water
• 47:40
  Speaker 1: and it electrocutes her. And it just feels a little
• 47:44
  Speaker 1: bit like she's sitting in electric for a little bit.
• 47:48
  Speaker 3: It sets up the bad wiring of the old house.
• 47:53
  Speaker 3: I don't buy that. There's no electricity. There's a stormy night.
• 47:57
  Speaker 3: There's no electricity. There's a lot of electrical problems. And Chucky,
• 48:01
  Speaker 3: in general, tries the tooth always with electricity. It's a
• 48:05
  Speaker 3: lot of electricity stuff. But that's in keeping with Chucky.
• 48:09
  Speaker 3: Chucky kills people with electricity.
• 48:10
  Speaker 1: But it's in keeping in a way that feels a
• 48:13
  Speaker 1: little bit more like I can suspend my disbelief a
• 48:18
  Speaker 1: lot more.
• 48:18
  Speaker 3: Okay.
• 48:19
  Speaker 1: Rather than my eyeball is going to cook inside my brain, specifically.
• 48:24
  Speaker 3: Having a Terminator-style half-face electrocution was... An interesting choice. Like,
• 48:31
  Speaker 3: it was very CG, like a goo face.
• 48:35
  Speaker 1: I also really find it.
• 48:36
  Speaker 3: Reminded me of Two-Face from the newer Two-Face.
• 48:39
  Speaker 1: The newer Two-Face. Yeah, that's true. That's true. And Chucky's, like, glam,
• 48:44
  Speaker 1: pasted-on face over the scars.
• 48:47
  Speaker 3: Dude, the fucking Trish Peta's face.
• 48:50
  Speaker 1: Yeah, totally.
• 48:51
  Speaker 3: He's got the, like, lip... She removes the lip injection.
• 48:55
  Speaker 1: Yeah, while Fiona Dorff is looking up... Tommy Wiseau on
• 49:02
  Speaker 1: online and, and also the screen being fuzzy as though
• 49:08
  Speaker 1: it's a TV, like break, breaking it away. That's like
• 49:12
  Speaker 1: a TV cathode. would fucking break. I loved it.
• 49:18
  Speaker 3: It was so stupid.
• 49:20
  Speaker 1: I think, you know, what would have actually been a
• 49:21
  Speaker 1: much more, um, a much more interesting thing if. if
• 49:27
  Speaker 1: they just focused on Barb, if they made Barb the
• 49:30
  Speaker 1: main character, like a bad person, be the main character.
• 49:34
  Speaker 1: And then you're like, cause like, that's an interesting dynamic.
• 49:38
  Speaker 1: Cause like, she's got the husband, she's got the kid.
• 49:41
  Speaker 3: She's got the, we do get a lot of her POV.
• 49:43
  Speaker 3: I think like in a way that at the, on
• 49:46
  Speaker 3: the time that she's on screen, it does feel like
• 49:49
  Speaker 3: she is the main character.
• 49:50
  Speaker 1: Yeah, totally. And her, her being like, uh, Oh, shut up, Ian.
• 49:56
  Speaker 1: don't try and involve me in your sick, twisted fantasies
• 49:59
  Speaker 1: of a lesbian wife with this au pair. And he's like, no,
• 50:04
  Speaker 1: I know you're a lesbian. I put this camera in, Chucky,
• 50:07
  Speaker 1: you fucking idiot. I'm going to take the kid. And
• 50:10
  Speaker 1: he turns out to be the good dad.
• 50:13
  Speaker 3: The threatening with, like, taking a kid is so, like,
• 50:17
  Speaker 3: It's so weird. Like, imagine you're in a relationship with
• 50:20
  Speaker 3: someone who would, like, fucking, like, be like, I'm gonna
• 50:23
  Speaker 3: fucking take you for everything you're worth. If you ever
• 50:26
  Speaker 3: leave me, it's like, whoa, dude, okay. Like, threatened, fucking... Anyway.
• 50:32
  Speaker 1: Yeah, and then him putting the earplugs in specifically to
• 50:36
  Speaker 1: be like, I'm not gonna hear any murder right now.
• 50:42
  Speaker 1: It's funny because....
• 50:45
  Speaker 3: I'm not going to hear any murder right now.
• 50:48
  Speaker 1: Well, like, the thing that suffers with Bride of Chucky
• 50:53
  Speaker 1: as well is that, like, a lot of the characters
• 50:55
  Speaker 1: don't feel likable either. Like, a lot of– everybody's kind
• 50:58
  Speaker 1: of unlikable in the movies post Bride of Chucky. Like– Andy,
• 51:06
  Speaker 1: old Andy, young Andy, and the mom. I like all
• 51:12
  Speaker 1: of those. Even the cop from the first one, I
• 51:14
  Speaker 1: was like, yeah, he's a bit of a doofus, but
• 51:18
  Speaker 1: he's trying. Everybody feels wholeheartedly trying. A lot of these
• 51:22
  Speaker 1: things are very like, movie. It's a movie. Remember, guys?
• 51:26
  Speaker 1: It's a movie. I know. Rather than like, I feel for,
• 51:31
  Speaker 1: you know, X person in movie. I did feel for
• 51:34
  Speaker 1: X person in movie. This, you know, it's sad that
• 51:36
  Speaker 1: this kid, his parents are like fucking divorced. But like,
• 51:40
  Speaker 1: I don't really care. Like, I don't really like any
• 51:42
  Speaker 1: of these people.
• 51:43
  Speaker 3: You know what I mean?
• 51:43
  Speaker 1: It feels a little bit in the same vein as like,
• 51:47
  Speaker 1: I do want these people to kind of die and watch,
• 51:50
  Speaker 1: enjoy the.
• 51:51
  Speaker 3: Watching them die, you know? I didn't think that. I
• 51:55
  Speaker 3: kind of knew they were going to, but I didn't
• 51:58
  Speaker 3: want them to. And they don't all die, actually. It's
• 52:03
  Speaker 3: a weirdly tragic ending, which we'll talk about.
• 52:06
  Speaker 1: Sorry about this.
• 52:10
  Speaker 3: It's just loading. I mean, Fiona Dorff's character has a
• 52:14
  Speaker 3: very tragic ending.
• 52:17
  Speaker 1: Yeah, that I really liked. That I really, really enjoyed.
• 52:21
  Speaker 1: It's like a.
• 52:21
  Speaker 3: Very inspired choice.
• 52:24
  Speaker 1: It felt like Andy. It felt like Andy at the
• 52:27
  Speaker 1: end of the third one.
• 52:30
  Speaker 3: The crushing line was like, she's like, you didn't kill Andy.
• 52:34
  Speaker 3: And he was like, I fucking might as well have.
• 52:36
  Speaker 3: I killed his childhood. I was so fucked up. To
• 52:40
  Speaker 3: hear Chucky acknowledge it. When Chucky finally starts to reveal
• 52:44
  Speaker 3: himself and the way that all of the murders precipitate,
• 52:47
  Speaker 3: it really feels like it plays out Like, you're just like, oh,
• 52:52
  Speaker 3: these are just like the consequences of like this, like
• 52:54
  Speaker 3: now slasher movie. And we get the slasher moment of it.
• 52:58
  Speaker 3: Like we get kind of like the like. It's kind
• 53:01
  Speaker 3: of almost like it felt like a Jason part, you know?
• 53:04
  Speaker 1: Yeah.
• 53:05
  Speaker 3: It felt like he's going to do the killings now.
• 53:08
  Speaker 1: Yeah, totally. This scene is where Barb picks up the
• 53:14
  Speaker 1: doll and also finally confronts her sister about like, what?
• 53:17
  Speaker 1: You knew that there was the... But they keep interrupting
• 53:20
  Speaker 1: each other so that they don't know. One doesn't know
• 53:23
  Speaker 1: that she's talking about the camera in the doll. And
• 53:27
  Speaker 1: the other doesn't know that Chuggie's actually possessed by Charles
• 53:30
  Speaker 1: Lee Ray.
• 53:31
  Speaker 3: It's like a frustrating... It's a frustrating loop where the
• 53:37
  Speaker 3: argument becomes about a different thing. Like, it becomes about
• 53:41
  Speaker 3: the sisterly hurt that exists between the two of them.
• 53:44
  Speaker 3: And they stop listening to each other, kind of. Especially Barbie.
• 53:47
  Speaker 3: Barbie's like... unable to hear her sister because she's just
• 53:51
  Speaker 3: like focused on how hurt by her sister she is
• 53:54
  Speaker 3: yeah and like how sort of like kind of betrayed
• 53:58
  Speaker 3: she feels i guess or like i don't know it
• 54:01
  Speaker 3: feels like there's like a hole in her that she
• 54:04
  Speaker 3: needs to that she needs to fill um and as
• 54:09
  Speaker 3: a result she she walks away and goes into the
• 54:11
  Speaker 3: attic with the doll right.
• 54:14
  Speaker 1: Yeah, she goes into the attic with the doll, but
• 54:16
  Speaker 1: because there's no electricity, the elevator doesn't work. So Nika
• 54:21
  Speaker 1: has to drag herself up the stairs.
• 54:25
  Speaker 3: Oh, man. It was a dramatic shot. Again, a lot
• 54:28
  Speaker 3: of shot from above, Chucky.
• 54:30
  Speaker 1: Yeah, 100%. And then Barb goes to check Chucky's camera,
• 54:39
  Speaker 1: but she ends up pulling out a knife. And she's like,
• 54:42
  Speaker 1: I'm disappointed in Alice. Trying to hide. And there's just
• 54:47
  Speaker 1: wheelchairs everywhere in this house. Spare wheelchairs.
• 54:49
  Speaker 3: Well, yeah.
• 54:50
  Speaker 1: Of course. When you're born.
• 54:52
  Speaker 3: Paraplegic, you have to have a series of... Paraplegic, you
• 54:55
  Speaker 3: have to have a.
• 54:56
  Speaker 1: Series of wheelchairs. And then it cuts to Barb putting
• 55:03
  Speaker 1: the doll down, looking around... for Alice. And then she
• 55:07
  Speaker 1: turns and she, she sees Chucky's like a deformed, like
• 55:12
  Speaker 1: face just kind of peeling.
• 55:14
  Speaker 3: And she fucking like dissolves Chucky's filler. She dissolves all
• 55:22
  Speaker 3: of Chucky's. She, she, the, she flushes out the Botox
• 55:25
  Speaker 3: through his fucking limbic system or lymphatic system. And, uh, she,
• 55:31
  Speaker 3: she gives him a little like, kind of like a
• 55:33
  Speaker 3: lymph drainage massage and, And the color comes back to
• 55:37
  Speaker 3: his face, dude. We see the stitch line, dude, from
• 55:43
  Speaker 3: where the pussy closed over. And he's stitched up, dude.
• 55:47
  Speaker 1: Yeah, and it looks a lot better than the rest
• 55:52
  Speaker 1: of the movie. It looks more like Chucky.
• 55:55
  Speaker 3: We get tiny glimpses of Michael Powers' face in this one.
• 55:59
  Speaker 3: But not a lot of Michael Powers' face.
• 56:02
  Speaker 1: Unfortunately. Unfortunately. And then Barb is like, Alice, Alice is mine.
• 56:08
  Speaker 1: And now she knows there is no God.
• 56:13
  Speaker 3: I kind of felt like the Chucky was so different
• 56:19
  Speaker 3: that I like. it could have been voiced by someone else.
• 56:22
  Speaker 1: I think this Chucky could have been voiced by someone else. Yeah, 100%.
• 56:26
  Speaker 3: Until we see that Brad Dourif is the main Tommy
• 56:31
  Speaker 3: Wiseau in this movie.
• 56:32
  Speaker 1: Yeah, 100%. And it's, you know, he stabs her in
• 56:36
  Speaker 1: the eye and it pops out. And then it rolls
• 56:39
  Speaker 1: down the steps. And the way they designed it to, like,
• 56:44
  Speaker 1: have mushed the way it fell, like, bounced.
• 56:48
  Speaker 3: Totally did.
• 56:48
  Speaker 1: It was so gross.
• 56:49
  Speaker 3: It was so gross. I called it a CGI vault.
• 56:53
  Speaker 1: And then weird Chucky CGI walking down the stairs. Like,
• 56:58
  Speaker 1: very strange looking.
• 56:59
  Speaker 3: Like a fucking Ricketts Chucky.
• 57:01
  Speaker 1: Yeah.
• 57:03
  Speaker 3: I love the way Chucky moved in this one.
• 57:05
  Speaker 1: Yeah.
• 57:05
  Speaker 3: I think it was incredible.
• 57:07
  Speaker 1: It was incredible. It feels very strange. It's like, it's
• 57:12
  Speaker 1: kind of like terrifying. It's scary. It looks kind of
• 57:16
  Speaker 1: like they did Claymation.
• 57:18
  Speaker 3: Yeah, yeah, totally. Because what they did do.
• 57:20
  Speaker 1: Because there's a joltiness.
• 57:21
  Speaker 3: Yeah, there's a joltiness.
• 57:22
  Speaker 1: But what they did do is basically Claymation because they
• 57:25
  Speaker 1: just like a weird, yeah, the like green screen puppeteer.
• 57:30
  Speaker 3: But I also sometimes like when Chucky is, like, they
• 57:33
  Speaker 3: intercut this kind of movement. It's animatronics versus puppeteering, and, like,
• 57:39
  Speaker 3: What I liked was sometimes there was still little person
• 57:41
  Speaker 3: acting in this one.
• 57:43
  Speaker 1: Well, there was like a full tiny person this time.
• 57:46
  Speaker 1: It didn't feel like a little person. It felt like
• 57:48
  Speaker 1: a full person.
• 57:49
  Speaker 3: Yeah, yeah, yeah.
• 57:50
  Speaker 1: A full person. A taller than dwarfism person. And then
• 57:57
  Speaker 1: Fiona goes to Ian and she's like... Like, oh my god,
• 58:03
  Speaker 1: your wife is dead, and I don't know where Alice is.
• 58:05
  Speaker 1: And he's like, what? What are you talking about? And
• 58:08
  Speaker 1: who the fuck is Chucky? And he obviously doesn't believe her.
• 58:14
  Speaker 1: He just sees the dead au pair, and he thinks
• 58:20
  Speaker 1: she's crazy.
• 58:24
  Speaker 3: I kind of like the way Chucky sets Fiona up
• 58:28
  Speaker 3: perfectly for... For, like, to be... Gaslit by the end. No,
• 58:35
  Speaker 3: but even later to get arrested for this crime.
• 58:37
  Speaker 1: Yeah, 100%. And then, like, this stuff I did like,
• 58:48
  Speaker 1: where it's like... The kills? Yeah. Well, the kills are
• 58:52
  Speaker 1: pretty good, but... It felt pretty, like, canon Chucky. Yeah, this.
• 58:56
  Speaker 3: He uses a variety of techniques.
• 58:58
  Speaker 1: Yeah, well, like, this idea that also he's like, I
• 59:03
  Speaker 1: don't know what a Chucky is, okay? I don't know
• 59:07
  Speaker 1: what you're talking about. I don't know what... he's like,
• 59:11
  Speaker 1: a lot of it is like, Chucky's going to do this.
• 59:15
  Speaker 1: And it's like, dude, I don't have the context for this.
• 59:17
  Speaker 1: I don't know what you're talking about. Okay. I don't
• 59:20
  Speaker 1: know where my daughter is.
• 59:21
  Speaker 3: I don't have the context for a Chucky. Yeah, but
• 59:26
  Speaker 3: I like that about it.
• 59:28
  Speaker 1: But also, like, I'm curious as to what Alice... What
• 59:31
  Speaker 1: he has in mind for Alice. Because it's like, are
• 59:34
  Speaker 1: you gonna be... This was what made me angry about
• 59:37
  Speaker 1: the ending. Was because you've got Chucky trying to murder
• 59:43
  Speaker 1: people by turning on the car in the garage. Locking
• 59:49
  Speaker 1: her in. Locking Fiona Dourif in. And then... Um... Ian
• 59:56
  Speaker 1: comes in, he's like, Nico, what are you doing? Like,
• 59:59
  Speaker 1: why are you trying to kill yourself? And then he, like,
• 1:00:03
  Speaker 1: grabs the axe and, like, is like, did you kill Alice?
• 1:00:08
  Speaker 3: I like this part because it's kind of like, it
• 1:00:11
  Speaker 3: creates the tension of a different problem, right? Suddenly, it's
• 1:00:15
  Speaker 3: not like, you know, you just have to be scared
• 1:00:18
  Speaker 3: of Chucky anymore. You're scared of, like, the, like, misunderstanding
• 1:00:21
  Speaker 3: that's happening. And already, like, the sister is set up
• 1:00:25
  Speaker 3: um barb has set up her sister as like incompetent
• 1:00:30
  Speaker 3: unable to do things so like the brother kind of
• 1:00:32
  Speaker 3: is like shit you are a fuck up now or
• 1:00:35
  Speaker 3: something you know or he's thinking you could possibly that
• 1:00:37
  Speaker 3: could possibly be.
• 1:00:38
  Speaker 1: True totally but like we're like an hour and eight
• 1:00:41
  Speaker 1: minutes in and we're just getting that now rather than
• 1:00:44
  Speaker 1: like in the second one when kyle is like oh no,
• 1:00:47
  Speaker 1: he's like a good kid. And the dad is like,
• 1:00:51
  Speaker 1: I don't trust this kid. And he's like looking for reasons.
• 1:00:54
  Speaker 1: Whereas the mom and Kyle, Kyle knows the kid. We'll
• 1:00:58
  Speaker 1: talk about Kyle later on.
• 1:00:59
  Speaker 3: Yeah.
• 1:00:59
  Speaker 1: Oh yeah, of course, dude. Of course.
• 1:01:02
  Speaker 3: What brings you to sacred fellowship, Kyle?
• 1:01:04
  Speaker 1: And then all of a sudden, like we get this
• 1:01:05
  Speaker 1: like heart medicine scene. I hated the heart medicine scene.
• 1:01:09
  Speaker 3: Oh, well, okay. Sorry. We should say that during the
• 1:01:12
  Speaker 3: fight or like before that, Barb has a conversation with,
• 1:01:17
  Speaker 3: her sister about if you have this certain kind of
• 1:01:21
  Speaker 3: type of paralysis, you're more susceptible to having like a
• 1:01:25
  Speaker 3: sudden heart attack or something. So you have to have
• 1:01:27
  Speaker 3: like this medication to like help her out. And she's like,
• 1:01:30
  Speaker 3: you're already under a lot of stress, a really stressful,
• 1:01:32
  Speaker 3: scary thing could set it off. So that's a try
• 1:01:34
  Speaker 3: the tooth moment to tell us that this is going
• 1:01:37
  Speaker 3: to happen in the movie.
• 1:01:38
  Speaker 1: She actually is like, I just never felt the stakes
• 1:01:42
  Speaker 1: of her, like, needing any... She looks so healthy in
• 1:01:47
  Speaker 1: the movie that I'm like, well, you're paraplegic, but, like, whatever,
• 1:01:50
  Speaker 1: you know?
• 1:01:51
  Speaker 3: Well, you know, disabilities look differently, but yes.
• 1:01:54
  Speaker 1: And then she, like, faints, and then Chucky's also obviously
• 1:01:59
  Speaker 1: been doing some work tying her to... shibari chucky dude
• 1:02:03
  Speaker 1: shibari chucky well it's not it's ian actually is doing
• 1:02:05
  Speaker 1: the shibari.
• 1:02:06
  Speaker 3: Oh yeah this time it's bondage.
• 1:02:08
  Speaker 1: Bondage ian because he didn't get enough love at home
• 1:02:11
  Speaker 1: that he has to try new things.
• 1:02:13
  Speaker 3: Yeah and he did the au pair rejected him dude of.
• 1:02:16
  Speaker 1: Course And then he starts looking through the footage of.
• 1:02:21
  Speaker 3: Man, this part was so weird. And then he catches
• 1:02:24
  Speaker 3: up to the live footage.
• 1:02:25
  Speaker 1: Which, I thought that was cool. I thought that was
• 1:02:28
  Speaker 1: really great.
• 1:02:29
  Speaker 3: And him seeing the things happen, like a Chucky hand
• 1:02:33
  Speaker 3: opening the door, like POV Chucky. He's like POV doing
• 1:02:37
  Speaker 3: Bordo Chucky, like getting a blowjob.
• 1:02:40
  Speaker 1: But imagine this. Imagine we had, from the perspective of Barb...
• 1:02:45
  Speaker 1: and we're seeing oh he's like suspicious of Barb and
• 1:02:49
  Speaker 1: like he like you know we get like little bits
• 1:02:52
  Speaker 1: of like the relationship and like you know, some stuff
• 1:02:57
  Speaker 1: that's like driving the narrative forward rather than like, everything
• 1:03:01
  Speaker 1: feels a little bit like, I want to get to
• 1:03:03
  Speaker 1: this cool thing. How could I write it to get
• 1:03:06
  Speaker 1: to this cool thing? Rather than I'm naturally... Oh.
• 1:03:09
  Speaker 3: This is written and this thing happened because this thing happened.
• 1:03:13
  Speaker 1: This thing, yeah. Yeah, like thinking in reverse of things. Yeah,
• 1:03:16
  Speaker 1: it feels very, and then this, and then this, and
• 1:03:19
  Speaker 1: then this.
• 1:03:19
  Speaker 3: But I think that it does that because it's metamodern, dude. Yeah,
• 1:03:25
  Speaker 3: but I do. I do think that, but that's okay.
• 1:03:27
  Speaker 3: You don't agree.
• 1:03:28
  Speaker 1: And then it catches up to, but then it catches
• 1:03:30
  Speaker 1: up to the live stuff and Chucky is like, and
• 1:03:34
  Speaker 1: you better keep your fucking mouth shut. And the kid
• 1:03:37
  Speaker 1: is like, like, thanks, Chucky. And it's like, didn't in
• 1:03:41
  Speaker 1: the last... Hey, Chucky, don't swear. In the last scene,
• 1:03:45
  Speaker 1: didn't you said, you should be fucking scared to this
• 1:03:48
  Speaker 1: kid who's scared, but now she's like having a good time.
• 1:03:52
  Speaker 3: Well, yeah, I don't know.
• 1:03:54
  Speaker 1: Like, chucky stop cursing.
• 1:03:58
  Speaker 3: Dude i downloaded such weird captions for this movie they
• 1:04:01
  Speaker 3: were like really large and a weird font they were
• 1:04:05
  Speaker 3: kind of i was like what is this oh.
• 1:04:09
  Speaker 1: Man but they bring back balding chucky too it's like
• 1:04:12
  Speaker 1: they he ripped out the the or they fell out
• 1:04:16
  Speaker 1: and he had trauma so they didn't grow back.
• 1:04:18
  Speaker 3: It's true the body rejected it dude Dude.
• 1:04:21
  Speaker 1: That's so scary.
• 1:04:22
  Speaker 3: Those people who get, like, balloon heads. There's, like, liquid
• 1:04:28
  Speaker 3: in their head so they can slosh it around inside.
• 1:04:32
  Speaker 1: Oh my god, dude.
• 1:04:33
  Speaker 3: Then you take your PVA glue and you slosh it on.
• 1:04:40
  Speaker 1: Oh, and then it's finally revealed, the live feed, and
• 1:04:44
  Speaker 1: Chucky fucking... uh mushes ian's face with the axe he
• 1:04:49
  Speaker 1: like cuts off is it is it cake it totally
• 1:04:55
  Speaker 1: is is it cake he.
• 1:04:56
  Speaker 3: Fucking crushes eminem crushes his face and like again blood
• 1:05:02
  Speaker 3: starts there's a lot of blood starts in this.
• 1:05:05
  Speaker 1: Movie yeah for sure and no serbian people no serbian
• 1:05:08
  Speaker 1: people Other than kind of like Dorif as Wiseau looked
• 1:05:13
  Speaker 1: a little Serbian. A little bit Serbian. And then, yeah,
• 1:05:17
  Speaker 1: Chucky goes to chop her leg and it gets stuck.
• 1:05:22
  Speaker 1: And she's like, my turn, bitch. And she doesn't feel anything.
• 1:05:26
  Speaker 1: She doesn't know.
• 1:05:26
  Speaker 3: Yeah. So, like, we get, like, you know, my disability
• 1:05:30
  Speaker 3: is my power in this moment. It's true. And I
• 1:05:32
  Speaker 3: think that was, like, you know, that was a cool,
• 1:05:33
  Speaker 3: cool fucking shot.
• 1:05:34
  Speaker 1: And then they knock Chucky's head off, even though canonically, consistently,
• 1:05:39
  Speaker 1: Chucky's been goo inside. Yeah, he was very dull in
• 1:05:43
  Speaker 1: this one. He was very dull. And then he picks
• 1:05:45
  Speaker 1: up his own head and, like, puts it back on.
• 1:05:48
  Speaker 1: And then he pushes her off the stairs and she, like,
• 1:05:52
  Speaker 1: falls down. Oh, man.
• 1:05:53
  Speaker 3: That was, like, harrowing.
• 1:05:53
  Speaker 1: And that undershot of her, like, falling over was, like, cool.
• 1:06:09
  Speaker 3: Like, it was like, did they really shoot this?
• 1:06:11
  Speaker 1: And then she goes, you're Charles Lee Ray. And he goes,
• 1:06:15
  Speaker 1: my friends call me Chucky. You're dead. And then there's
• 1:06:20
  Speaker 1: literally a 20-minute background fill-in. Saw background.
• 1:06:27
  Speaker 3: It's a Saw-style fill-in where, like... you we get a
• 1:06:31
  Speaker 3: how do you do fellow kids so how do you
• 1:06:34
  Speaker 3: do fellow kids with with like the most insane wig
• 1:06:38
  Speaker 3: like the most insane tommy wiseau like teased at the
• 1:06:41
  Speaker 3: sides wig to give it like weird crust volume uh
• 1:06:46
  Speaker 3: he was very crusty chucky in this like charles.
• 1:06:50
  Speaker 1: Lee right And then the guy who's Charles Lee Ray.
• 1:06:52
  Speaker 1: But there's a guy who knows Charles Lee Ray in
• 1:06:56
  Speaker 1: the movie. And it's like, is that supposed to be
• 1:06:58
  Speaker 1: his friend from Chicago? Remember Eddie from Chicago?
• 1:07:02
  Speaker 3: From Chicago.
• 1:07:04
  Speaker 1: And then they cast this fat little girl.
• 1:07:05
  Speaker 3: It's fucking Eddie.
• 1:07:07
  Speaker 1: Oh, my God.
• 1:07:08
  Speaker 3: Tracy Caputo, dude.
• 1:07:09
  Speaker 1: Yeah, it's Eddie Caputo.
• 1:07:11
  Speaker 3: It's Eddie Caputo.
• 1:07:13
  Speaker 1: And then they cast this, like, fat little girl to be, like,
• 1:07:16
  Speaker 1: a clearly, like... Yeah, she's like, oh, this girl grew
• 1:07:23
  Speaker 1: up to hate herself because she was a cute fat
• 1:07:25
  Speaker 1: little girl. That's Barbie. That's Barbie, yeah. You have your
• 1:07:30
  Speaker 1: mother's eyes! And then, yeah, they show this, like, oh,
• 1:07:39
  Speaker 1: he's in this weird cave where he kidnaps the mom.
• 1:07:46
  Speaker 1: And she's the one who... It's revealed that she's the
• 1:07:51
  Speaker 1: one who called the cops that was from the first movie.
• 1:07:56
  Speaker 1: And then showing footage of him young is so weird
• 1:08:00
  Speaker 1: to Goddras. To combine, but it weirdly combined. Yeah, I mean,
• 1:08:05
  Speaker 1: he looks mostly.
• 1:08:05
  Speaker 3: He kind of gave us steps, you know?
• 1:08:07
  Speaker 1: Yeah, he mostly looks the same, except for a little
• 1:08:13
  Speaker 1: bit old man bloat.
• 1:08:15
  Speaker 3: Sorry, I need to pause this for a second, because
• 1:08:17
  Speaker 3: one thing you didn't set up earlier that I just
• 1:08:19
  Speaker 3: remembered that's going to be important right now... is that
• 1:08:24
  Speaker 3: Fiona Dorff's character... What's her name?
• 1:08:29
  Speaker 1: Nika.
• 1:08:30
  Speaker 3: Fiona Dorff's character, Nika, is.
• 1:08:34
  Speaker 1: Smart.
• 1:08:35
  Speaker 3: She went to university and was getting a degree in
• 1:08:39
  Speaker 3: a psychological thing.
• 1:08:41
  Speaker 1: Oh, yeah, yeah.
• 1:08:41
  Speaker 3: Where she was doing her thesis on the completion syndrome
• 1:08:46
  Speaker 3: or something like that.
• 1:08:47
  Speaker 1: Oh, yeah, the... Fuck, what was it?
• 1:08:50
  Speaker 3: It's kind of like a, it's like a theory that
• 1:08:52
  Speaker 3: like men or males need to finish something, need to
• 1:08:57
  Speaker 3: finish a job. Yeah. Like, something to that effect. It's
• 1:09:02
  Speaker 3: like a psychological study or something. Yeah, totally. But it's
• 1:09:06
  Speaker 3: important because we'll see why. Well, tell us why, dude. Well,
• 1:09:12
  Speaker 3: because here, during this, like, huge lore drop at the end,
• 1:09:16
  Speaker 3: we get that, like, he was... you know, became a
• 1:09:20
  Speaker 3: part of the family kind of, and like, was like
• 1:09:23
  Speaker 3: weirdly holding the mom hostage, uh, and kind of like
• 1:09:28
  Speaker 3: terrorizing them, I guess it was that what was going on. Yeah.
• 1:09:32
  Speaker 1: Why would you want to destroy this family? You destroyed
• 1:09:36
  Speaker 1: my family. And it's just, like, it's just too much
• 1:09:39
  Speaker 1: of this is just, like, I'm going to explain. This
• 1:09:43
  Speaker 1: is the twist. This is the twist of the movie. Like,
• 1:09:46
  Speaker 1: it just feels like there's no setup. There's no, like,
• 1:09:51
  Speaker 1: feeling that it's, like.
• 1:09:52
  Speaker 3: Right. Well, like, just that he was, like, involved. I think, like,
• 1:09:57
  Speaker 3: to me, it read okay because it was tying up loops. Like,
• 1:10:01
  Speaker 3: we get, it's kind of, it becomes interquel Chucky because, like...
• 1:10:04
  Speaker 3: It's very interquel Chucky. We get, like, we get incepted
• 1:10:06
  Speaker 3: scenes where, like... Right after this, it drives him to
• 1:10:10
  Speaker 3: go to the toy store where he gets shot and murdered.
• 1:10:13
  Speaker 3: But so, like, are we to believe that during this.
• 1:10:14
  Speaker 1: And he doesn't have the amulet in this one, dude.
• 1:10:19
  Speaker 1: You saw it so prominently in the first movie, dude.
• 1:10:24
  Speaker 1: Remember in the first movie where there's a picture of
• 1:10:26
  Speaker 1: Charles Lee Ray dead and he's got an amulet on him?
• 1:10:30
  Speaker 3: Incepted kill.
• 1:10:31
  Speaker 1: And then he stabs the pregnant lady with... With a
• 1:10:35
  Speaker 1: butcher's knife. With a knife. And then Fiona's immediately like,
• 1:10:40
  Speaker 1: you did this to me. And he's like, yep, that's right. I,
• 1:10:44
  Speaker 1: Charles Lee Ray, did this to you.
• 1:10:48
  Speaker 3: And he's come to finish the job, dude. He wants
• 1:10:51
  Speaker 3: like the entire family to suffer.
• 1:10:54
  Speaker 1: Yeah.
• 1:10:54
  Speaker 3: And he wants to get rid of all of them.
• 1:10:57
  Speaker 3: I mean, who cares, dude? They never explained anything in
• 1:11:00
  Speaker 3: the other Chucky's. Who cares about his... You don't think
• 1:11:03
  Speaker 3: that this is a good motivation? I think Chucky becoming, like,
• 1:11:06
  Speaker 3: cosmically vindictive because he's just, like, wants to settle old
• 1:11:10
  Speaker 3: bets because now he's eternal Chucky is a great reason to, like.
• 1:11:14
  Speaker 1: Yeah, I mean.
• 1:11:14
  Speaker 3: To veer off into this storyline.
• 1:11:16
  Speaker 1: Honestly, like, there are some times where I write out a... Like, treatment.
• 1:11:22
  Speaker 1: And I'm like, this is a really good treatment. But
• 1:11:24
  Speaker 1: then when I, like, kind of write the first draft,
• 1:11:27
  Speaker 1: I'm like, this is not a good movie. Like, it
• 1:11:30
  Speaker 1: has all the things that I really appreciate. And the
• 1:11:33
  Speaker 1: thing that you're right about is, it's not that I
• 1:11:38
  Speaker 1: think that you're wrong about how you feel about the movie.
• 1:11:42
  Speaker 1: I want to be able to feel all those things
• 1:11:44
  Speaker 1: about this movie. It's just a bad movie. You know
• 1:11:47
  Speaker 1: what I mean? Whereas, like, for me, all of the ideas...
• 1:11:50
  Speaker 1: I disagree.
• 1:11:51
  Speaker 3: I actually don't think it's a bad... I disagree with
• 1:11:53
  Speaker 3: that on principle.
• 1:11:54
  Speaker 1: No, I mean, I think that's totally fine. I'm just
• 1:11:58
  Speaker 1: saying that all the stuff that interests me... What I'm
• 1:12:03
  Speaker 1: watching a movie is about how it makes me feel, right?
• 1:12:08
  Speaker 1: And then the ideas and conceptualizations kind of happen afterwards,
• 1:12:12
  Speaker 1: where it's like, oh, okay, I can sort of justify this.
• 1:12:15
  Speaker 1: But this movie didn't really make me feel anything but
• 1:12:19
  Speaker 1: resentment towards it, because I have such a nice canon
• 1:12:22
  Speaker 1: of stuff that, to me, is... interesting ideas presented in
• 1:12:27
  Speaker 1: an interesting way, rather than.
• 1:12:29
  Speaker 3: And you don't think this one did that?
• 1:12:31
  Speaker 1: No, I don't. I just think that nobody has any
• 1:12:35
  Speaker 1: motivation for anything except for Chucky, and we only get
• 1:12:37
  Speaker 1: his perspective in the last 15 minutes of the movie. Well, yeah,
• 1:12:40
  Speaker 1: they do.
• 1:12:40
  Speaker 3: They have a whole family dynamic. They have a whole.
• 1:12:43
  Speaker 1: Well, the dynamics are motivations. They have no goal. They
• 1:12:47
  Speaker 1: have no thing in the movie, right? It's just all
• 1:12:49
  Speaker 1: kind of... They don't even have a mystery to follow, right?
• 1:12:52
  Speaker 3: Okay, that's fair.
• 1:12:53
  Speaker 1: Whereas, like, if the movie was set from the perspective
• 1:12:57
  Speaker 1: of Barb and the husband, the husband has motivation for this.
• 1:13:01
  Speaker 1: The wife, the mom has motivation to get the house.
• 1:13:04
  Speaker 1: You know what I mean? Like, there's much stronger motivations
• 1:13:07
  Speaker 1: on their part.
• 1:13:08
  Speaker 3: We got to speed run this because you have to
• 1:13:10
  Speaker 3: leave soon.
• 1:13:11
  Speaker 1: Okay.
• 1:13:11
  Speaker 3: Oh, yeah.
• 1:13:11
  Speaker 1: Don't worry about it.
• 1:13:12
  Speaker 3: I was just going to say, you know, like this
• 1:13:14
  Speaker 3: ending where she gets Arkham Asylum. Oh, yeah.
• 1:13:17
  Speaker 1: It's very Arkham Asylum. She like traps herself in the
• 1:13:20
  Speaker 1: elevator and then Chucky's like cutting her fingers and shit
• 1:13:23
  Speaker 1: while being closed in. Yeah.
• 1:13:28
  Speaker 3: And then the cop comes and there's like the most
• 1:13:31
  Speaker 3: insane zoom on his face that I've ever seen. It
• 1:13:34
  Speaker 3: was such a weird choice, but like I think actually
• 1:13:37
  Speaker 3: pretty inspired. Good director, Don Mancini, on this one. I
• 1:13:40
  Speaker 3: think it was well-directed, dude. Do you at least agree
• 1:13:43
  Speaker 3: with that?
• 1:13:43
  Speaker 1: I don't know. It's just like it feels off. All
• 1:13:49
  Speaker 1: of it feels very off. I'd have to think about
• 1:13:51
  Speaker 1: it a lot more.
• 1:13:52
  Speaker 3: Well, I hope I've given you some food for thought.
• 1:13:55
  Speaker 3: I think so.
• 1:13:55
  Speaker 1: Chucky gets stabbed. But again, I'm like, is this going
• 1:14:00
  Speaker 1: to be... a thing where I'm like, is he going
• 1:14:04
  Speaker 1: to survive? Like, why? What is he getting stabbed into
• 1:14:07
  Speaker 1: if his head has already come off, you know? And
• 1:14:12
  Speaker 1: then when I did, like, this thing where she pulls
• 1:14:15
  Speaker 1: out the knife and the, like, stuffing or whatever, I
• 1:14:19
  Speaker 1: was like, that's a really good choice. That was really,
• 1:14:22
  Speaker 1: really nicely done. And then... Yeah, we get Chucky is, like,
• 1:14:29
  Speaker 1: sitting there and, like.
• 1:14:32
  Speaker 1: Fiona Dorff getting sent in to the criminally insane. It
• 1:14:36
  Speaker 1: was like, it just like, again, like so much of these,
• 1:14:39
  Speaker 1: these things, this was cool. I liked all of this,
• 1:14:43
  Speaker 1: like her getting sent into the criminally insane. Like then
• 1:14:47
  Speaker 1: we get, Okay, well, Tiffany is back. She's gonna fucking
• 1:14:52
  Speaker 1: cut the.
• 1:14:54
  Speaker 3: Okay, so it's kind of like a secret interquel ending
• 1:14:57
  Speaker 3: where it's a fake-out interquel ending where we get a
• 1:15:01
  Speaker 3: parallel scene to how Officer Bailey stole the evidence of
• 1:15:05
  Speaker 3: Chucky in order to send it to... tiff but now
• 1:15:07
  Speaker 3: tiff is in the back and she cuts the throat
• 1:15:09
  Speaker 3: of officer of this incepted officer bailey and then we
• 1:15:13
  Speaker 3: get that she's been on basically a revenge mission and
• 1:15:16
  Speaker 3: it kind of this is what's cool because it makes
• 1:15:19
  Speaker 3: the title make sense of curse of chucky the curse
• 1:15:21
  Speaker 3: is actually that she's like aiding and abetting his murders
• 1:15:24
  Speaker 3: and like now as jennifer tilly just like going and
• 1:15:27
  Speaker 3: like like fedexing him to all of these exotic locations
• 1:15:31
  Speaker 3: for him to like settle old scores which you know
• 1:15:35
  Speaker 3: It's outrageous, but it's no more outrageous than what the
• 1:15:39
  Speaker 3: other Chucky movies have been and is a motivation so far.
• 1:15:43
  Speaker 3: So I just thought it was like really fun way
• 1:15:45
  Speaker 3: to bring back the camp at the end. Yeah.
• 1:15:48
  Speaker 1: I mean, honestly, I don't, I don't disagree with that aspect.
• 1:15:51
  Speaker 1: It's just that the vehicle for the things you're describing
• 1:15:55
  Speaker 1: isn't good. It's kind of like a Tesla where it's like, wow,
• 1:16:00
  Speaker 1: these are so many good ideas here in a really
• 1:16:02
  Speaker 1: crappy car. You know what I mean? I like that idea.
• 1:16:08
  Speaker 1: I think those are cool ideas.
• 1:16:10
  Speaker 3: Birchbeckler's cool idea.
• 1:16:11
  Speaker 1: Cool idea. Yeah, exactly. I think that even the FedExing
• 1:16:17
  Speaker 1: Chucky everywhere is like a really– that's a great idea.
• 1:16:20
  Speaker 1: It's just why not– To have, like, side missions. Yeah,
• 1:16:27
  Speaker 1: why not just have... Like, why not play in the
• 1:16:32
  Speaker 1: box that you've been given rather than, like, having this, like,
• 1:16:36
  Speaker 1: weird roundabout, like, wraparound... So far, I have a theory
• 1:16:43
  Speaker 1: that I'm gonna dislike every other Chucky movie. Because so far,
• 1:16:47
  Speaker 1: it has been.
• 1:16:47
  Speaker 3: Well, we only have one left, right? Yeah.
• 1:16:49
  Speaker 1: So, hopefully, Cult of Chucky is going to be even
• 1:16:53
  Speaker 1: better than this one. Because, like, for me, I liked
• 1:16:56
  Speaker 1: the first one, didn't really like the second one. The
• 1:16:59
  Speaker 1: third one, I loved. The fourth one, I didn't. The
• 1:17:01
  Speaker 1: fifth one, I was like, yeah, you know, I mean,
• 1:17:04
  Speaker 1: maybe I'm bad.
• 1:17:04
  Speaker 3: You know what I mean? I was first one I loved.
• 1:17:07
  Speaker 3: Second one, I also kind of was disappointed by. Third one,
• 1:17:11
  Speaker 3: I loved. Fourth one, I loved. Fifth one, I was like, eh,
• 1:17:17
  Speaker 3: I don't know. And then this one I loved. So,
• 1:17:20
  Speaker 3: so far, I'm more like, I more like this series
• 1:17:24
  Speaker 3: than you do.
• 1:17:25
  Speaker 1: So, what about this? i'm gonna challenge you now yeah
• 1:17:29
  Speaker 1: i'm gonna challenge you let's hear it um okay chucky
• 1:17:35
  Speaker 1: in a little girl and then a post-credit sequence where
• 1:17:39
  Speaker 1: he's just back as himself and gets sent to andy
• 1:17:44
  Speaker 1: it feels like what is he how they do he
• 1:17:46
  Speaker 1: demoing about when when is this stuff happening why is
• 1:17:50
  Speaker 1: there a post-credit sequence in this movie where andy gets
• 1:17:54
  Speaker 1: fucking where andy has a shotgun i think like i
• 1:17:57
  Speaker 1: mean i love the thing i don't think we need
• 1:17:59
  Speaker 1: to take the andy uh um stuff as canon i
• 1:18:03
  Speaker 1: will say that well okay okay I was very excited
• 1:18:08
  Speaker 1: about you finding out that Andy was in this, but
• 1:18:10
  Speaker 1: you spoiled that about yourself.
• 1:18:12
  Speaker 3: Seeing Andy's face made me cry today.
• 1:18:14
  Speaker 1: I was like, he's still good, dude.
• 1:18:17
  Speaker 3: Dude, he's amazing. He's actually a really good actor. He's
• 1:18:20
  Speaker 3: a really good actor. He's the same embodied Andy, dude.
• 1:18:24
  Speaker 3: Seeing someone that many years later.
• 1:18:26
  Speaker 1: I was like, oh no. I started crying, I swear.
• 1:18:30
  Speaker 3: I was like, but him like methodically deciding that him
• 1:18:34
  Speaker 3: doing his completion anxiety dude and like carrying out because
• 1:18:38
  Speaker 3: she in four implies that she informed andy that chucky's
• 1:18:41
  Speaker 3: real and he's back and he's gonna get him did
• 1:18:43
  Speaker 3: you did you get that no fiona notified andy ah.
• 1:18:49
  Speaker 1: Of course of course that's why she's looking up that's.
• 1:18:52
  Speaker 3: Why she mentions the completion anxiety because she's like people
• 1:18:56
  Speaker 3: need to complete a thing and you're you're gonna see
• 1:18:58
  Speaker 3: the results of.
• 1:18:59
  Speaker 1: That right right nice so.
• 1:19:01
  Speaker 3: Seeing that came come together at the end felt very
• 1:19:03
  Speaker 3: much like i was like.
• 1:19:04
  Speaker 1: Yeah Well, you know what? This was the last movie
• 1:19:18
  Speaker 1: that I've seen. I don't think I've seen Cult of Chucky.
• 1:19:26
  Speaker 1: I might have, but I don't think so.
• 1:19:28
  Speaker 3: How many Dambalas would you give it?
• 1:19:30
  Speaker 1: Well, I mean, probably like three Dambalas.
• 1:19:33
  Speaker 3: What?
• 1:19:34
  Speaker 1: Because there's no voodoo. There's no... It's very like... ignore
• 1:19:39
  Speaker 1: a lot of the lore.
• 1:19:41
  Speaker 3: Well, listen, I like Pivot Chucky. I like Total Shift Chucky.
• 1:19:44
  Speaker 3: I'm going to say, I'm going to give it a 7.5.
• 1:19:48
  Speaker 1: 7.5?
• 1:19:48
  Speaker 3: Yeah, absolutely, dude. I fucking love this movie. And I
• 1:19:51
  Speaker 3: would give it a 10 out of 10, dude. 10
• 1:19:53
  Speaker 3: out of 10? I would give this movie a 10
• 1:19:55
  Speaker 3: out of 10.
• 1:19:55
  Speaker 1: Wow! I loved it. I loved it. It was so true.
• 1:20:00
  Speaker 1: I'm so happy. I'm very happy.
• 1:20:08
  Speaker 3: How much would you give it as a movie?
• 1:20:09
  Speaker 1: Probably a five. Maybe even a four, dude. It's like
• 1:20:15
  Speaker 1: such a bad movie.
• 1:20:17
  Speaker 3: It's such a bad movie.
• 1:20:20
  Speaker 1: I didn't hate it. I didn't hate it. I just,
• 1:20:22
  Speaker 1: I really found it very forgettable. A lot of it
• 1:20:25
  Speaker 1: felt very forgettable to me. Well, I mean, as I
• 1:20:28
  Speaker 1: disagree with... But this conversation felt....
• 1:20:34
  Speaker 3: Chucky.
• 1:20:36
  Speaker 1: Chucky. Chucky. I love that. I think, honestly, I love
• 1:20:43
  Speaker 1: your reaction to it. I love the fact that you
• 1:20:46
  Speaker 1: loved it so much. It makes me laugh so much
• 1:20:50
  Speaker 1: that you loved it.
• 1:20:50
  Speaker 3: I just want to say some stuff for the end.
• 1:20:53
  Speaker 3: I think that, like... I think that this movie... Here,
• 1:21:00
  Speaker 3: hold on. Let me just read it again, what I
• 1:21:02
  Speaker 3: had to say. Oh, I just want to say that
• 1:21:08
  Speaker 3: I really like the picture of Kyle and Catherine.
• 1:21:11
  Speaker 1: Weeks at the end.
• 1:21:12
  Speaker 3: Oh, yeah, totally.
• 1:21:12
  Speaker 1: Yeah, at the end with the production stills.
• 1:21:15
  Speaker 3: I was down.
• 1:21:17
  Speaker 1: For some reason, I was okay with it being production
• 1:21:20
  Speaker 1: stills in this one. It felt appropriate. I'm pretty excited
• 1:21:26
  Speaker 1: about the next one.
• 1:21:28
  Speaker 3: I was... I've been so excited to watch every single one, honestly.
• 1:21:31
  Speaker 3: And today, I was overcome with... I was so excited
• 1:21:35
  Speaker 3: to talk to you about this movie.
• 1:21:37
  Speaker 1: Yeah, yeah. So, I'm pretty excited for the ending. And
• 1:21:41
  Speaker 1: we're going to do the show, too. You know what? Like,
• 1:21:45
  Speaker 1: I've seen a lot of scenes from the show.
• 1:21:47
  Speaker 3: If you want.
• 1:21:48
  Speaker 1: Looks pretty good.
• 1:21:48
  Speaker 3: If you want, I wouldn't mind just watching the whole
• 1:21:51
  Speaker 3: series that's been released. There's no other episodes. And just
• 1:21:55
  Speaker 3: talk about the series as a whole.
• 1:21:56
  Speaker 1: Just.
• 1:21:57
  Speaker 3: It can also be kind of like amusing on Chucky.
• 1:21:59
  Speaker 3: It doesn't need to be like.
• 1:22:00
  Speaker 1: I think that's a good idea.
• 1:22:01
  Speaker 3: Just like a one episode. It's like a one-off Chucky special.
• 1:22:04
  Speaker 1: Yeah. Alright.
• 1:22:07
  Speaker 3: See you guys next week.
• 1:22:10
  Speaker 1: I can be late, but....
• 1:22:13
  Speaker 3: I was really shocked that you had the reaction to
• 1:22:16
  Speaker 3: this movie that you did because I just– I was
• 1:22:19
  Speaker 3: expecting– I don't know. I don't know what I was expecting.
• 1:22:22
  Speaker 3: I just thought that like watching it, I felt like
• 1:22:26
  Speaker 3: so many of the choices were so inspired. And it's
• 1:22:29
  Speaker 3: exactly the kind of thing that I felt like you
• 1:22:32
  Speaker 3: were– you said that you were looking for or wanting
• 1:22:36
  Speaker 3: to see in a Chucky movie that were realized that
• 1:22:39
  Speaker 3: I felt like you didn't really like– When they actually happened,
• 1:22:42
  Speaker 3: you didn't really care that much.
• 1:22:45
  Speaker 1: Yeah, I mean, I think that there's a certain level of...
• 1:22:51
  Speaker 1: Not feeling. There's a certain level of craftsmanship that I
• 1:23:00
  Speaker 1: need to be lulled into a movie. And it feels
• 1:23:04
  Speaker 1: just kind of like it was a very.
• 1:23:08
  Speaker 1: Budget very even even with with the budgetness it was
• 1:23:12
  Speaker 1: very it felt a little compromised uh in ways that
• 1:23:16
  Speaker 1: the other ones didn't feel compromised like it it was
• 1:23:21
  Speaker 1: like low budget in a bad way like you like
• 1:23:26
  Speaker 1: you can kind of see the seams of everything but
• 1:23:30
  Speaker 1: but i mean You've given me a lot to think about.
• 1:23:35
  Speaker 1: I'm very happy with how excited you were about it.
• 1:23:41
  Speaker 1: It didn't change my mind too much. At other times,
• 1:23:46
  Speaker 1: I feel like you've changed my mind in ways where
• 1:23:49
  Speaker 1: I'm like, I can rethink about this in a different way,
• 1:23:55
  Speaker 1: but I just feel like I have too much context
• 1:23:57
  Speaker 1: for what both that what I want Chucky to be
• 1:24:02
  Speaker 1: and also what, what Chucky has been so far. And like,
• 1:24:08
  Speaker 1: like having those kind of blinders on maybe is like
• 1:24:13
  Speaker 1: making it very difficult for me to like transcend the,
• 1:24:18
  Speaker 1: the experience that I had with it. Uh, but yeah, I,
• 1:24:21
  Speaker 1: I just like there, there's a little bit of, uh,
• 1:24:26
  Speaker 1: Of a disconnect that I feel with digital, Chucky. Digital
• 1:24:31
  Speaker 1: seemed like it was like a barrier for me. So
• 1:24:36
  Speaker 1: I might have to think about it. That's why I'm
• 1:24:37
  Speaker 1: like kind of excited for the next one because it's like, well,
• 1:24:40
  Speaker 1: I'm past that barrier. I can sit and enjoy this
• 1:24:43
  Speaker 1: a little more. You know what I mean? And I
• 1:24:45
  Speaker 1: feel like the shitty thing about the first one and
• 1:24:49
  Speaker 1: the second one so closely together, watching it so closely together,
• 1:24:54
  Speaker 1: it made me enjoy the second one less, which I've
• 1:24:59
  Speaker 1: historically enjoyed quite a bit.
• 1:25:03
  Speaker 3: Dude, the biggest shock of this series is that the
• 1:25:06
  Speaker 3: second one is mid.
• 1:25:07
  Speaker 1: Yeah, and it's just kind of like– this one– again,
• 1:25:14
  Speaker 1: you brought up some stuff where I'm like, okay, well,
• 1:25:17
  Speaker 1: those are interesting ideas. I don't know how much I'm–
• 1:25:21
  Speaker 1: I don't like seeing this as a good representation of
• 1:25:27
  Speaker 1: those ideas, but I can see them. I can see
• 1:25:29
  Speaker 1: that they could be there, but I'd have to watch
• 1:25:33
  Speaker 1: it again, which I'm like, I don't know if I'm
• 1:25:35
  Speaker 1: going to watch this for a long, long time. So
• 1:25:37
  Speaker 1: we'll see. I think that's fair. Yeah.
• 1:25:40
  Speaker 3: Yeah, I mean, I would give it a second chance
• 1:25:43
  Speaker 3: if I were you. I've been really excited to, like,
• 1:25:46
  Speaker 3: even with Anna, because she skipped Seed of Chucky, and
• 1:25:53
  Speaker 3: I really actually want to watch it with her again. Because, like,
• 1:25:59
  Speaker 3: even though I remember it being probably among my least favourites,
• 1:26:05
  Speaker 3: I'm like, I still want to see it. Like, I
• 1:26:07
  Speaker 3: still want her to see it, you know?
• 1:26:08
  Speaker 1: Yeah, I mean, I would be interested in her perspective
• 1:26:12
  Speaker 1: on that one. Because I think that.
• 1:26:16
  Speaker 3: By the way, she was loving this one.
• 1:26:19
  Speaker 1: Yeah, I mean, fair enough. I want to know her
• 1:26:22
  Speaker 1: views on this one. It's all, like, to me, something
• 1:26:27
  Speaker 1: that I forgot to say, and that's why I'm recording
• 1:26:30
  Speaker 1: this and I'm going to send it to you.
• 1:26:32
  Speaker 3: Like, it....
• 1:26:35
  Speaker 1: I'm not giving it enough... I'm not giving it enough...
• 1:26:42
  Speaker 1: I'm being a little too hard on it, I realized,
• 1:26:44
  Speaker 1: because of the fact that if we look at something
• 1:26:47
  Speaker 1: like the Freddy series or the Jason series, they take
• 1:26:52
  Speaker 1: more wild choices than... Chucky does and I judge them
• 1:27:04
  Speaker 1: a little bit less. Uh, I don't know. I don't know.
• 1:27:09
  Speaker 1: I'd have like, I'm, I'm like thinking about it being like,
• 1:27:13
  Speaker 1: you know, there's like a whole Jason movie where Jason's
• 1:27:15
  Speaker 1: like a weird alien thing that travels from people to people.
• 1:27:21
  Speaker 1: Like those are choices that, that like if Chucky made them,
• 1:27:25
  Speaker 1: I might be a little bit more harsh towards Chucky,
• 1:27:28
  Speaker 1: but like, yeah, You know, I feel like when I
• 1:27:33
  Speaker 1: watch Jason be like a weird alien monster, it's like
• 1:27:39
  Speaker 1: it's a through line. You know what I mean? Whereas
• 1:27:41
  Speaker 1: like this felt like it just didn't have a through
• 1:27:43
  Speaker 1: line and it's all kind of compacted at the end,
• 1:27:46
  Speaker 1: you know?
• 1:27:47
  Speaker 3: Right. What's compact? Oh, it's just kind of like thrown
• 1:27:52
  Speaker 3: together at the end.
• 1:27:53
  Speaker 1: Yeah. Yeah. Like there's stuff that that doesn't. I say
• 1:27:58
  Speaker 1: this a lot, but like, I feel like if a
• 1:28:00
  Speaker 1: thing doesn't like cohere at the end, like there have
• 1:28:04
  Speaker 1: been movies that I've watched where I'm like, I don't
• 1:28:07
  Speaker 1: like this. And then like something happens at the end
• 1:28:09
  Speaker 1: where it like fuses all of the ideas I hated
• 1:28:13
  Speaker 1: into an idea. I'm like, Oh my God, actually, this
• 1:28:17
  Speaker 1: is fucking awesome.
• 1:28:18
  Speaker 3: That's what that's the, I, and I love, I love
• 1:28:21
  Speaker 3: when that happens. I love– I've had books where that
• 1:28:24
  Speaker 3: happens where I'm reading it. I'm like– I'm reading it
• 1:28:28
  Speaker 3: and the whole time I'm like I fucking hate this garbage.
• 1:28:31
  Speaker 1: This is dumb.
• 1:28:32
  Speaker 3: And then I keep reading it. I'm like, oh, no.
• 1:28:34
  Speaker 3: This is amazing.
• 1:28:35
  Speaker 1: Yeah. Like sometimes where it can like feel like, oh,
• 1:28:39
  Speaker 1: my god. This is like a fucking slog. And then
• 1:28:41
  Speaker 1: you get to, and you're like, wow, all of that
• 1:28:43
  Speaker 1: was justified somehow. Um, yeah, I'm, I'm, I'm curious about what,
• 1:28:48
  Speaker 1: what case things I'm curious about, what other things. Uh,
• 1:28:51
  Speaker 1: and yeah. So like, if you want, I can send
• 1:28:53
  Speaker 1: you this and you can put this in. Sure.
• 1:28:55
  Speaker 3: Yeah. I mean, this was, this was my, this was like,
• 1:28:58
  Speaker 3: I think, uh, My favorite one, maybe after the first one.
• 1:29:05
  Speaker 1: Oh, wow. What? Really? Wow. I don't know.
• 1:29:09
  Speaker 3: That's great. I did really like it. Like my experience
• 1:29:15
  Speaker 3: of it right now feels like that. I mean, I
• 1:29:17
  Speaker 3: give it a 10, dude. The only other one I
• 1:29:19
  Speaker 3: gave a 10 was the first one. But yeah, like,
• 1:29:23
  Speaker 3: you know, it is still, it is still like it
• 1:29:26
  Speaker 3: suffers from the, like, from just the idea of being
• 1:29:30
  Speaker 3: a simulacrum, which, you know, like, it's very simulacrum, which
• 1:29:34
  Speaker 3: we talk about a lot, but I feel like. the
• 1:29:38
  Speaker 3: ideas that it allows itself to explore kind of ends
• 1:29:42
  Speaker 3: up justifying it, which is a lot of what I've
• 1:29:45
  Speaker 3: noticed being a theme in Chucky is like, it's like,
• 1:29:49
  Speaker 3: it allows itself to be justified by the themes that
• 1:29:52
  Speaker 3: it explores.
• 1:29:53
  Speaker 1: Yeah, for sure.
• 1:29:55
  Speaker 3: And, and so I, you know, like, can I fault
• 1:29:58
  Speaker 3: it too much for being like a part seven of
• 1:30:01
  Speaker 3: a movie? You know what I mean? I don't know.
• 1:30:02
  Speaker 1: It's hard. Yeah. That's the thing.
• 1:30:05
  Speaker 3: Yeah, like, you know, the fact that it's still doing
• 1:30:07
  Speaker 3: stuff that, to me, kind of, like, hits a ping
• 1:30:10
  Speaker 3: and there's an excitement. And, like, it's... You know, this
• 1:30:15
  Speaker 3: is what I was going to say. You know, it
• 1:30:16
  Speaker 3: felt like it wasn't condescending fan service. It felt very
• 1:30:21
  Speaker 3: thoughtful fan service.
• 1:30:22
  Speaker 1: You know what? I agree with that. I 100% agree
• 1:30:26
  Speaker 1: with that. It did... it's very, very different than a
• 1:30:33
  Speaker 1: lot of the other ones. And that's a good thing.
• 1:30:36
  Speaker 1: I will always, I will always think to myself like, Hey,
• 1:30:41
  Speaker 1: like you tried and failed, but you tried. Uh, and that's,
• 1:30:46
  Speaker 1: and that's, I, I definitely agree with that. Like, I
• 1:30:49
  Speaker 1: think that that's, that's a very, um, yeah, that's a very,
• 1:30:54
  Speaker 1: that's a very good point. It's not like the other ones, uh,
• 1:30:57
  Speaker 1: But at the same time, it is trying to take
• 1:31:00
  Speaker 1: the lore in a different direction. Yeah. Why not? Right. Yeah. Yeah.
• 1:31:06
  Speaker 3: And it's like it's like, you know, if you can
• 1:31:08
  Speaker 3: make a good movie and then also if you can
• 1:31:10
  Speaker 3: if you were able to see the acting in that
• 1:31:13
  Speaker 3: movie as good, I think it would have changed your
• 1:31:19
  Speaker 3: idea of the movie.
• 1:31:21
  Speaker 1: But I think you were a little... Forgive me if.
• 1:31:24
  Speaker 3: I'm presuming, but I feel like you were a little
• 1:31:26
  Speaker 3: dismissive of it too early in order to give the
• 1:31:32
  Speaker 3: acting choices a chance and things like that.
• 1:31:35
  Speaker 1: Yeah, I mean, like, maybe. Maybe. Yeah. I could think
• 1:31:40
  Speaker 1: about that. I don't know how I felt about... Yeah,
• 1:31:45
  Speaker 1: the acting and the writing, I don't know how I
• 1:31:47
  Speaker 1: felt about it, but... I'll, I'll, I'll, I mean, I
• 1:31:52
  Speaker 1: don't know.
• 1:31:52
  Speaker 3: Yeah. I just, I, yeah, I don't know. I don't
• 1:31:55
  Speaker 3: know what to me would like, I just felt like
• 1:31:59
  Speaker 3: I got what the.
• 1:32:00
  Speaker 1: Movie was doing.
• 1:32:01
  Speaker 3: And then I feel like the, the actors were just
• 1:32:04
  Speaker 3: delivering what, what the, what the movie wanted to say.
• 1:32:07
  Speaker 3: You know what I mean?
• 1:32:08
  Speaker 1: Fair enough, dude.
• 1:32:09
  Speaker 3: Uh, yeah.
• 1:32:09
  Speaker 1: I'd have to think about it more, but yeah, anyway, I'll,
• 1:32:12
  Speaker 1: I'll send this to you. Uh, but I also, I'll
• 1:32:14
  Speaker 1: stop this now.