Latest / Cage Match: A Roundabout Way of Meeting Nicolas Cage / Pay the Ghost

Transcript

Pay the Ghost · Cage Match: A Roundabout Way of Meeting Nicolas Cage

• 0:00
  Oh, God.
• 0:05
  Oh, my God.
• 0:22
  I do want to say off the bat.
• 0:25
  I am impressed with the special effects in this film.
• 0:31
  While they're not great, they are definitely well above
• 0:35
  the lowest tier Nick Cage special effects we've ever seen.
• 0:38
  White Jag.
• 0:40
  Rude. Yeah.
• 0:42
  As far as like CG animals go, yes, the vultures were better done.
• 0:47
  The first few vulture shots.
• 0:49
  I was like, is that a real fucking bird?
• 0:52
  Until it flies.
• 0:53
  And then you're like, oh, look at that.
• 0:55
  It looks like one of those rubber bats on a string.
• 0:58
  Yeah. Just dangling across.
• 1:00
  So obviously, we're talking about 2015's pay the ghost.
• 1:03
  Or as I like to call it, pay the bills.
• 1:05
  Oh, hi. Oh.
• 1:09
  But accurate. I mean, it is in that window.
• 1:11
  Yeah, it's a it's a terrible 2015.
• 1:13
  Well, also real quick, welcome back to Cage magical and roundabout
• 1:16
  way of meeting Nicolas Cage.
• 1:17
  I'm Sean here with my co-host Nick and our producer Peter.
• 1:22
  And it's been a bit of a stun this.
• 1:24
  So just going to throw that in there in case anyone's forgot.
• 1:27
  I mean, it's mostly just been a long time for us.
• 1:29
  It's been like a month since we recorded.
• 1:32
  But we're back, bitches.
• 1:33
  Anyway, yeah.
• 1:34
  Pay the Ghost 2015 starring Nicolas Cage and Laurie from The Walking Dead.
• 1:41
  Also, I mean, also, she was Anita Dick in Letter Kenny.
• 1:45
  Oh, nice.
• 1:47
  Yeah, it was funny.
• 1:48
  Had you not mentioned that she was from The Walking Dead,
• 1:50
  I would have done exactly what you did, Sean, and I would have just been like,
• 1:53
  why do I know her face? Yeah.
• 1:56
  She's not a great actress.
• 1:58
  No, she wasn't.
• 1:59
  And then I saw she was Laurie from The Walking Dead.
• 2:02
  I'm like, that's why she's annoying.
• 2:04
  She was just like, in my opinion, a terrible wife.
• 2:07
  Well, so I had got confused with the dynamics of this.
• 2:10
  Like what was the kid Charlie?
• 2:14
  Was he actually Nick Cage's kid or was it her kid?
• 2:17
  And Nick Cage was like husband to or something.
• 2:20
  It was his kid.
• 2:21
  Yeah, I think it was like they're being like their child.
• 2:24
  It's my son. You lost my son.
• 2:27
  It was like, you know, I mean, she is grieving.
• 2:31
  Yeah. You want you want to have that fight then?
• 2:34
  You want to argue semantics then?
• 2:37
  Yeah. I mean, that's a good point.
• 2:40
  I would definitely pull out the paternity test because if it wasn't my child,
• 2:43
  I'd be like, well, why the fuck didn't you protect him?
• 2:46
  Yeah, this is your fault.
• 2:48
  Yeah. You sent him off with a strange person.
• 2:50
  Yeah. To a carnival.
• 2:54
  Everybody knows you don't let your kids go out with a literary professor.
• 2:59
  Yeah, exactly. How old is Charlie supposed to be?
• 3:01
  I think he's supposed to be like six or eight or something like that.
• 3:06
  You know, he's he was supposed to start second grade.
• 3:09
  Oh, so he's like eight the year after. So he was in first grade.
• 3:12
  So that's a good question.
• 3:13
  So he comes back from well, let's do a plot summary and then I want to get into that
• 3:17
  because I'm really confused.
• 3:18
  What grade of school does he go into then?
• 3:21
  Like it's been a year that he was gone.
• 3:23
  Yeah. But he didn't learn anything.
• 3:25
  He didn't age. He hold him back. Yeah, that's true.
• 3:27
  The basic premise of this film is
• 3:30
  Nicolas Cage is a workaholic English professor
• 3:34
  who's a good father, but just busy.
• 3:38
  Like all intents and purposes, we don't see him be like a horrible father.
• 3:41
  He's just busy.
• 3:43
  He's in a busy time of his life.
• 3:45
  Yeah. And he's trying to get tenure. So it kind of makes sense.
• 3:49
  It's Halloween.
• 3:50
  His kids like wants to go out and really wants to be with dad,
• 3:53
  but he gets home late.
• 3:54
  So he takes his kid to a Halloween fair
• 3:58
  carnival across the street.
• 4:00
  And then the kid goes missing hard cut to a year later.
• 4:03
  That's the first half hour of the film.
• 4:05
  Hard cut to a year later.
• 4:07
  And like Nick Cage has got his all string boarded up.
• 4:11
  He's in his like shitty bachelor apartment because he's a strange from his wife.
• 4:15
  And he's trying to like he starts seeing hearing his son, Charlie,
• 4:18
  like out on the streets in New York and starts seeing these signs to pay the ghost.
• 4:23
  And it turns into a really bad like fucking Silent Hill
• 4:28
  in the like the back half and is generally not great.
• 4:35
  The one piece of this that really, really bugged me.
• 4:38
  I mean, I get when movies need to have like some exposition machine,
• 4:42
  but I hated when they were at the Celtic like ceremony and they're like
• 4:46
  talking to that lady and she's like, I'm just a teacher for Montauk or whatever.
• 4:49
  And then she's like, here's all the information.
• 4:52
  Everything I wrote that in my notes.
• 4:55
  I was like, oh, my God.
• 4:56
  And then immediately after that, the second half of the story
• 5:00
  gets filled in by his like literary research partner.
• 5:05
  Exactly.
• 5:06
  Just like, oh, here's the second half.
• 5:09
  And it's like a long scene, too.
• 5:11
  And she's just and this happens and then this happens.
• 5:13
  And the rules of the veil is opened at this point,
• 5:16
  but only for this amount of time and three children are taken
• 5:19
  and those children can come back within one year.
• 5:22
  It's like, how the fuck?
• 5:24
  How do you know all this stuff?
• 5:25
  It turned from like this is a fun school activity to witchcraft is real.
• 5:30
  And I know about it.
• 5:32
  Also, that was the nicest alleyway New York has ever seen.
• 5:36
  It's so spacious.
• 5:37
  Yeah, it's a real like no wonder.
• 5:39
  Like people should be moving into that alleyway.
• 5:42
  There is just room for activities.
• 5:44
  Lots of activities, lots of burning.
• 5:46
  Yeah. Yeah.
• 5:47
  So the thing that bugged me about this movie, I mean, there's several things.
• 5:51
  The other thing that bugged you one extremely specific thing that bugged me.
• 5:55
  The fucking vultures like Nick Cage goes into that, like broken down
• 6:01
  hovel to like find the homeless people in the pay the ghost sign.
• 6:04
  Mm hmm.
• 6:04
  There's just like three vultures on a dumpster and he's not like just chewing away.
• 6:08
  Huh. New York vultures.
• 6:11
  Yeah. What the fuck?
• 6:12
  Those don't live there.
• 6:13
  They don't. If I saw a vulture in New York City, I'd be like, that's fucking weird.
• 6:17
  Something is wrong here.
• 6:18
  Your entire life of living in New York and all of a sudden you just start seeing vultures.
• 6:23
  Vultures. Something bad is going on.
• 6:25
  These are harbingers of doom.
• 6:27
  Like what the fuck is happening in New York City right now?
• 6:30
  I mean, I'm not like a superstitious person, but if I started seeing something that was
• 6:36
  was even like vaguely Omen ish Omen Omenesk Omenesk Omenesk.
• 6:41
  I prefer Ruben Esk.
• 6:43
  Ooh. With sauerkraut and corned beef inside.
• 6:47
  Yeah, exactly.
• 6:49
  Oh, yeah, it's like a chocolate covered Ruben.
• 6:53
  I would try that, but that does sound repulsive.
• 6:56
  I would I would I would definitely try that.
• 6:59
  This is mildly fucking fucking pedantic.
• 7:01
  But when does that stop me?
• 7:03
  Something that really bugged me was the kids fucking pirate costume.
• 7:06
  Just give me shitty fucking eye patch.
• 7:08
  Why are you like painting a fucking eye patch on the kid?
• 7:10
  When I was a kid, we suffered for our Halloween costumes.
• 7:14
  I could barely breathe in most of my mask and like the isolates were so tiny.
• 7:17
  I was wandering into traffic.
• 7:19
  Now you got these soft kids with their fucking fake like,
• 7:22
  how do you know these kids are soft?
• 7:24
  Batman forever muscles like on their costumes.
• 7:28
  I had to work for those muscles as a kid.
• 7:31
  You were young Hercules.
• 7:33
  So I want to just wrap up that
• 7:36
  a little teacher scene with the exposition dump
• 7:40
  with when he showed her that symbol, the maiden mother crone thingy.
• 7:47
  And she's like, oh, it's this.
• 7:49
  It's the most devastating of all symbols here.
• 7:52
  I happen to have a pendant with that featured.
• 7:55
  I'm just wearing it right now.
• 7:57
  Why there's some fucking weird choices in how they give us all the information.
• 8:04
  So then the other exposition dump that you were talking about with his like research,
• 8:07
  buddy, yeah, right before she gets tossed out the window by the right.
• 8:10
  But then she walks past that statue of like the bustiest
• 8:14
  bare breasted woman being like burned at the stake.
• 8:17
  I think I want to go to this college.
• 8:20
  This place is great.
• 8:21
  I will say that scene specifically because my brain is my brain.
• 8:24
  Like when she comes out of the office, hair pulled back,
• 8:27
  wearing that like slightly too short overcoat.
• 8:30
  And I'm just like, I've seen this adult documentary.
• 8:35
  And then there was the booby statue.
• 8:37
  I'm like, I've definitely seen this adult documentary.
• 8:39
  And then she went down all the way down all the way.
• 8:43
  And now, again, that was just why did the ghost need to kill her?
• 8:47
  I think because she had like because she figured out her name.
• 8:50
  Yeah. Like in the names of power.
• 8:52
  Or yeah, or maybe we got to ask that teacher like a
• 8:56
  I don't like my story being told.
• 8:58
  Ghost, I guess.
• 8:59
  Well, I mean, maybe it's like too much of a clue.
• 9:02
  Same reason she killed the psychic medium.
• 9:03
  But the real answer is just to progress the plot.
• 9:06
  Yeah, that's boring, though.
• 9:09
  Ultimately, just that's where this movie.
• 9:13
  I could forgive this movie if one you cut the fucking 30 minute intro.
• 9:18
  Yeah, tight 60 would be great.
• 9:21
  There's no chemistry between him and his wife at the beginning of this.
• 9:26
  No, the kids, not a terrible actor.
• 9:30
  I don't hate the kid.
• 9:32
  Oh, man, I thought that kid was awful.
• 9:34
  I hate that.
• 9:35
  Yeah. Yeah.
• 9:37
  But I will say, like and then like lay off the fucking CG,
• 9:42
  like go shit at the end and have it be a little bit more mysterious and spooky,
• 9:45
  because I'm not a horror movie guy, so it's not hard to like spook me.
• 9:50
  But there were a few like creepy scenes in this film,
• 9:52
  like when the Razor Scooters just like doing its own thing in the house.
• 9:56
  I'm like, oh, yeah, that's scary.
• 9:57
  I don't like that.
• 9:59
  There's a couple of jump scares that then like that.
• 10:01
  You got me. I hate jump scares, though.
• 10:03
  Yeah, I know. It feels like such a cheap.
• 10:05
  It is cheap.
• 10:06
  This movie could have been better if you cut out the jump scares
• 10:08
  and focused more on like actually creating an element
• 10:13
  or like a feeling of terror.
• 10:16
  Yeah, that's the thing.
• 10:17
  Scary movies aren't for me either in a lot of ways.
• 10:19
  And I think the ones that are most effective to me are the ones that do just have that
• 10:23
  like persistent build of dread where it's just like, oh, God, I am so uncomfortable right now.
• 10:28
  Like, where is the release from this?
• 10:32
  It's like death.
• 10:33
  It's scare edging.
• 10:34
  You scare edging. Exactly.
• 10:37
  But like I think this movie does it decently.
• 10:40
  Again, this CG isn't the worst.
• 10:43
  The worst CG is the witch.
• 10:45
  I mean, the ghosty kids were not the best either.
• 10:47
  But well, when they start flying, yeah, that's bad.
• 10:49
  But like when he's in the fucking like void with all of the ghost children,
• 10:55
  that was legitimately spooky.
• 10:57
  It was. That was actually a cool, cool little shot and scene.
• 11:00
  What is up with that bridge?
• 11:02
  Because honestly, there's no supports to it.
• 11:05
  It just like goes and goes.
• 11:07
  No, well, on the last day of salmon,
• 11:11
  there are bridges that can float.
• 11:13
  This movie turns into Silent Hill.
• 11:15
  But like when he's walking through all the dead kids,
• 11:18
  all I can think about is the episode of The Simpsons,
• 11:23
  a streetcar named Marge, where Maggie's in the daycare
• 11:28
  and they can't have their pacifiers and like they do the mission of possible,
• 11:32
  like get all the pacifiers Homer goes to pick up the babies.
• 11:35
  And they're all in one room sucking their pacifiers in unison.
• 11:38
  So you just have that loud echoing pop and Homer just like creeps through,
• 11:43
  picks up Maggie, goes out, close the door, just goes,
• 11:45
  Oh, baby.
• 11:50
  But so like I didn't.
• 11:51
  Yeah, I mean, large parts of this movie I found mostly inoffensive,
• 11:55
  like the acting's not great.
• 11:57
  Nick Cage clearly doesn't care that much.
• 11:59
  Yeah, he's in his like slow dad run phase.
• 12:02
  Yeah, he's speaking of inoffensive.
• 12:04
  How did you feel about Mia's mom's broken English?
• 12:07
  Clearly, she's a native English speaker trying to do broken.
• 12:12
  Yeah. Oh, God, that is rough.
• 12:14
  Yeah, it's like, please don't do that.
• 12:16
  Like, hmm, maybe I am a soft boy.
• 12:19
  I don't know if I can handle listening to this.
• 12:22
  Like borderline races.
• 12:25
  I did. So you guys know how much I hate whenever like there's a large time jump
• 12:30
  and everyone like look the exact same.
• 12:34
  I do appreciate that the detective they let have a little stubble.
• 12:38
  Yeah, that's nice. That's good.
• 12:40
  Yeah. The passage of time really working hard on growing a beard.
• 12:43
  He sucks at it, apparently.
• 12:45
  Yeah. Well, maybe they have rules.
• 12:47
  Yeah. Stupid cops.
• 12:48
  Cops don't have rules.
• 12:50
  Speaking of stupid cops,
• 12:52
  that cop at the carnival when he's telling him
• 12:55
  and that cop just like, I don't know, maybe he went home.
• 12:58
  Fucking stop bothering me.
• 13:00
  It's like you think I got to I got to care about a kid being lost.
• 13:02
  Yeah. Fuck you.
• 13:04
  We're right back to bad cop.
• 13:05
  And I would say bad kid.
• 13:07
  Yeah, I agree.
• 13:08
  I'm just going to jump into that right here.
• 13:10
  It probably wasn't his fault so much, but you know.
• 13:13
  What Charlie?
• 13:14
  Well, he didn't like choose to get abducted by the witch.
• 13:17
  Hey, man.
• 13:18
  He was just sitting there looking all juicy and Protestant.
• 13:21
  That which is definitely going to take him.
• 13:23
  I'm assuming he's like, you know, probably.
• 13:25
  I said, yeah, I don't know what a Protestant looks like.
• 13:28
  I was like, I kept getting tripped up by Charlie's room because it's just like,
• 13:32
  here's the child's room starter pack.
• 13:35
  Here's dinosaurs.
• 13:36
  Here's animals.
• 13:38
  Here's an Iron Man.
• 13:40
  Here's like sports wallpaper.
• 13:42
  I'm like, none of those things go together.
• 13:44
  But it's just like a wall runner.
• 13:46
  Like, yeah, it's like trim.
• 13:49
  It's a false horizon for your bedroom.
• 13:54
  This movie was weird to me because like it is bad.
• 13:57
  Like, it's not a good movie by any means, but I did not have a bad time watching it,
• 14:01
  which is a very strange thing to kind of square.
• 14:03
  Like, I wasn't sad about it.
• 14:05
  I didn't like get offended in a major way.
• 14:08
  The CG was fine.
• 14:10
  You know, like the acting is pretty mid, but like nothing about it was like
• 14:15
  this sucks, you know.
• 14:18
  I mean, like I said, inoffensive, which I think is worse because it's just going to like
• 14:22
  we're never going to think about this movie.
• 14:23
  The movie is going to be forgettable.
• 14:25
  But it's funny because all the other people that we talk to who do cage podcasts are like,
• 14:28
  oh, pay the ghost fucking sucks.
• 14:30
  And I was kind of like hyped for bad.
• 14:33
  And it was just I mean, I think.
• 14:35
  And again, I think there's a argument that like something this mid is worse than something
• 14:40
  so terrible that we could get like we can actually milk it for content.
• 14:45
  Yeah, they like fully missed the mark on being a good movie and a bad movie.
• 14:51
  And what we ended up with was like Ghostnado.
• 14:55
  And I mean, you did get a ghostnado in there.
• 14:58
  Yeah. Also, OK, I want to talk about I want to talk about blind sewer man.
• 15:03
  Oh, yeah, please talk about blind sewer man.
• 15:05
  So when Nick Cage sees the pay the ghost side and like goes underground
• 15:09
  and finds this like unhoused encampment,
• 15:13
  they seem to be led by this one blind guy with dreadlocks
• 15:17
  who only speaks out of the corner of his mouth.
• 15:20
  But like, you know, seems to know about like the ghost.
• 15:24
  And like it seems to be the only person who knows what's going on.
• 15:27
  It's like, what does pay the ghost?
• 15:28
  Means like, follow me.
• 15:29
  He like picks up a torch.
• 15:31
  Blind guy just walks over to like a bucket fire bucket, picks up a torch.
• 15:34
  No problem.
• 15:35
  And just wanders wanders Nick Cage through the hall.
• 15:39
  Later, we find out the guy had a flashlight the entire time.
• 15:43
  Torch is way more dramatic, though.
• 15:45
  Yeah, I did like when he pulled out the flashlight later and hands it to Nick Cage
• 15:50
  and is just like, you'll need this more than me.
• 15:52
  It's like, well, wait a minute, let's go back to that torch scene
• 15:55
  where you Bogart in the torch, because this is during the day
• 15:58
  when he like goes down the first time.
• 16:00
  But later on at night, when he's trying to, you know, get to the bridge
• 16:03
  between worlds, that room that needed a torch fully lit.
• 16:07
  Oh, yeah, true.
• 16:08
  Well, he had time like he knew Nick was going to be back.
• 16:10
  He fired up the generator.
• 16:12
  Yeah. Yeah.
• 16:12
  This is another fucking weird only Sean cares about this
• 16:16
  because there's something wrong with my brain.
• 16:18
  I really hated that when they were having the dramatic
• 16:20
  like scene in the tunnel with the torch, the source of light
• 16:23
  is between the two of them.
• 16:24
  But you always see both their shadows cast behind each person.
• 16:28
  I didn't notice that.
• 16:28
  I thought that was just showing that the like gateway was being opened
• 16:32
  because then the witch does the jump scare or whatever,
• 16:34
  because the shadows shift around behind him in that scene
• 16:36
  and then the witch pops out.
• 16:38
  And then it's the end of the scene because he's like,
• 16:40
  well, I think it's time to.
• 16:41
  Well, I think it's time to go.
• 16:43
  Yeah, it's also behind that guy.
• 16:45
  I don't know what else this DP has done, but I don't think he's
• 16:49
  yeah, getting a whole lot of work.
• 16:51
  I didn't do a good deep dive into
• 16:54
  to what anyone did from this.
• 16:55
  I couldn't even tell you who directed this movie.
• 16:57
  Yeah, OK.
• 16:58
  Turns out it was the side mouth itself.
• 17:02
  So I hated his.
• 17:02
  Homeless. I hated his white guy dreads,
• 17:05
  but I think I've just got a bias against white guy dreads.
• 17:08
  Unless you're Perry Farrell in 1989, you can't pull them off.
• 17:11
  But that was pre Internet.
• 17:12
  So yeah, it's OK to have dreads pre Internet.
• 17:16
  Now post Internet. Look at Perry Farrell.
• 17:17
  It's not good.
• 17:19
  It's getting in fights with Dave Navarro on stage.
• 17:22
  Yeah, everybody knows Perry Farrell can't take Dave Navarro.
• 17:25
  Look at it.
• 17:26
  I mean, Perry Perry Farrell waited till after Dave's long covid.
• 17:29
  So maybe that's when he thought he should take a shot.
• 17:34
  So in this movie also ends with fucking sequel bait
• 17:37
  with his like research assistant who has like been impaled on rebar
• 17:43
  coming back to life, conveniently left out in the middle of the college commons
• 17:48
  just thrown out of a window into a nobody noticed square.
• 17:56
  Just here's where we keep our rebar.
• 17:59
  When I was watching this movie and we got to the end there
• 18:02
  and like they pull the kids out of the fucking gate.
• 18:06
  I was like, oh, man, that kid is never going to act right again.
• 18:10
  Like his life is fucked.
• 18:12
  And then immediately, oh, we were just at the carnival.
• 18:15
  It's like, oh, wait, no, no.
• 18:17
  Convenient memory loss. Yeah. OK.
• 18:19
  Because you're right. No trauma here.
• 18:21
  So jacked up.
• 18:23
  We finally got back to it.
• 18:24
  It's been a year.
• 18:25
  The kid has no memory of being abducted for a year.
• 18:29
  So he just thinks it's the same fucking day.
• 18:33
  Yeah, except somehow dad's wearing different clothes, not dressed like a cowboy.
• 18:36
  Kids don't pay attention.
• 18:38
  Yeah. Right. What happened to your cowboy costume?
• 18:41
  I'm assuming pictures of data missing from the home.
• 18:44
  Like there's been a year of estranged relationship.
• 18:47
  It's a good point.
• 18:48
  Mom's a discarification now because she's got like a big mother maiden crone
• 18:53
  brand on her.
• 18:54
  All of his friends are going to be a year older.
• 18:56
  Like cops are going to have questions.
• 19:00
  I was thinking about that, too.
• 19:01
  Like what does Nick Cage explain to the cops?
• 19:03
  He brings three children back from the underground magically.
• 19:07
  And it's just like, don't worry about it.
• 19:09
  I saved the day.
• 19:10
  What's that kid going to think when he finds out that some lady
• 19:13
  died in his bedroom while she while he was gone?
• 19:16
  Just burned from the inside out. Yeah.
• 19:18
  I don't know, man. Just smoked.
• 19:20
  It's like, why does my room smell so funny?
• 19:23
  Yeah, it's just it's such a weak little thing at the end.
• 19:29
  The story has like promise.
• 19:32
  It was just so poorly executed, I feel that like there's plot holes all over.
• 19:38
  There's the need for those large exposition dumps like it
• 19:42
  needs so much.
• 19:44
  Even when you break down the aspects of a horror film and like Nick Cage
• 19:50
  getting blamed for like the kid going missing, like it would make sense
• 19:53
  if he was a negligent father, if he wasn't paying attention,
• 19:56
  but he was just buying his kid an ice cream while holding the kid's hand.
• 19:59
  Like there's no arc to like Nick Cage's character.
• 20:02
  Like he doesn't learn a lesson because of any of this.
• 20:05
  Nope, nothing at all.
• 20:07
  Just like we didn't learn anything.
• 20:09
  I mean, we learned we don't like this movie.
• 20:12
  I learned that pagan rituals are being carried out by school
• 20:16
  teachers in the alleyways of New York.
• 20:18
  I mean, that sounds accurate.
• 20:19
  During that scene, did anyone what does anyone else like
• 20:22
  Nick Cage is going to kick a woman?
• 20:25
  Oh, man.
• 20:28
  That would have been hilarious.
• 20:30
  He just roundhouse kicks her into the fire.
• 20:35
  He didn't give us good enough information.
• 20:37
  Sister Beach shows up in a bear costume again, because it's Halloween.
• 20:40
  He's like, oh, not again.
• 20:42
  I've seen this movie. Wow.
• 20:46
  All right. Any final thoughts on this sucker?
• 20:49
  I wish it was worse.
• 20:51
  I kind of wish it was worse, too.
• 20:52
  Yeah, I don't think this would I think pushing this into the
• 20:55
  it's a better movie category makes it still just sort of like a soft better.
• 20:59
  I think if you went really like worse, worse, it would be fun.
• 21:03
  Yeah, you would need some like serious talent behind this to make it good.
• 21:07
  Like like that guy who made The Witch.
• 21:09
  If he rewrote and redirected and changed most of this movie,
• 21:16
  then that would be great.
• 21:17
  But kept Nick Cage.
• 21:18
  I did have this one thought about this film, and I'm kind of going to try
• 21:21
  and carry it forward.
• 21:22
  Well, now this had been a better thought to have like in the 32 or 64.
• 21:28
  It doesn't really make sense in the Master Eight scene is we know
• 21:31
  we like these films at this point.
• 21:32
  But just I was thinking like, why is Nick Cage in this movie?
• 21:36
  Like he brings nothing to this film.
• 21:39
  The only reason he's here is because he's a name.
• 21:41
  He is the only name in this film.
• 21:43
  Like you're only going to watch this movie because Nick Cage is in it.
• 21:46
  But yeah, he's just a working actor.
• 21:48
  Nothing in this film.
• 21:50
  So it could have been any other schlubby dad in this film.
• 21:54
  And the film would have been the same.
• 21:55
  Oh, yeah, they definitely put out like shotgun sprayed
• 21:59
  this to every like talent agent or whatever.
• 22:03
  And Nick Cage was the first one to raise his hand.
• 22:06
  He's like, oh, yeah, I did buy something last week.
• 22:08
  I need to pay this off.
• 22:10
  This makes sense for him.
• 22:12
  I saw like a nine second, like little interview clip of him talking
• 22:15
  like about being inspired by the exorcist for this film.
• 22:19
  And I'm like, you almost had it.
• 22:21
  If you would have cut out the ghost NATO maybe.
• 22:25
  Ghost NATO, man.
• 22:28
  I'm just oh, that was the other thought I had during the end of this movie
• 22:30
  when the ghost NATO started, I'm like, this is how Ghostbusters ends.
• 22:35
  Yeah. Also, wait, pay the ghost.
• 22:38
  What are they? Oh, they're paying the ghost with their children.
• 22:40
  That's yeah.
• 22:41
  I was like, what are they paying the ghost with my children?
• 22:43
  Yeah, I thought there was going to be some like balancing of scales with that.
• 22:46
  But no, it's just about paying her back for her kids getting burned at the stake.
• 22:51
  Now, is she stopped?
• 22:53
  Like, I mean, we know like, no, she's back.
• 22:56
  She's alive in the in the league.
• 22:59
  But it's like the ghost back like, well, like, is she still a ghost
• 23:04
  or is she now in the body in the corporeal world in that lady's body?
• 23:10
  We'll have to wait for the signal what her boobs are like,
• 23:13
  because, you know, I assume women would be interested in that, too.
• 23:17
  I've seen that adult documentary.
• 23:19
  Yeah, I think my recommendation is don't watch it.
• 23:22
  But if it's on TV at a bar or something in the background,
• 23:25
  pay slight attention because it's kind of fun and stupid.
• 23:28
  Yeah, that seems fair.
• 23:30
  It's not super interesting as far as bad movies go.
• 23:35
  But it's not good enough to like demand your attention.
• 23:39
  No couple of fun little scares.
• 23:41
  But otherwise, toothless, toothless is a good word for it.
• 23:45
  All right. So next episode, when we're back,
• 23:48
  we're going to be back to the regular bracket back to the master eight.
• 23:52
  It's going to be a little bit of a different format again, because why not?
• 23:55
  And first up, we've got the the action head to head of Conair and Red Rock West.
• 24:02
  Fuck, yeah. Only bangers from here on out.
• 24:04
  It's true. It's all good shit from here on out.
• 24:06
  Get ready to have strong opinions,
• 24:09
  because we're probably going to offend you somewhere.
• 24:12
  Yeah. I mean, if we haven't yet. Good.
• 24:16
  So here's a thought I had recently.
• 24:19
  If we do the live record for the last episode,
• 24:22
  Peter can't edit out any of the things we say.
• 24:26
  We're not doing a live record of anything.
• 24:29
  Peter doesn't trust us that far. Come on.
• 24:33
  All right. Well, thanks for listening, everybody.
• 24:35
  If you want to chat with us on social media, it's cage underscore match underscore pod.
• 24:39
  We are on Patreon at cage match and special thanks to our Sparkle buddies,
• 24:43
  Josh, Sean, Josie, Rico, Matt, Adam and Bill, and to our cage dancers,
• 24:47
  Ira, John Freeman, Lance, Nathan and Cameron.
• 24:50
  Whoo. Still got it. Nice.
• 24:53
  That was close. It's been a while.
• 24:56
  Yeah. Join us to Master 8. Yeah.
• 25:01
  Master 8 with us.
• 25:03
  Bye. I don't get it.
• 25:05
  Bye bye.
• 25:14
  Yeah. Yeah.
• 25:16
  The I think that was from the great escape is what they lampooned in that.
• 25:19
  But yeah. Yeah.
• 25:21
  I couldn't remember.
• 25:22
  This would have been before Mission Impossible.
• 25:24
  The movie is that's the like, done, done.
• 25:27
  No, that's a different song. Never mind.
• 25:28
  No, that was it.
• 25:30
  Was it? That's the one.
• 25:32
  Yeah. Yeah. But for.
• 25:34
  All right. So we don't have the rights to it.
• 25:36
  Ah, shit. They're going to come for us.
• 25:38
  A movie from 1945.
• 25:41
  We're almost there.