Latest / Frightmares / Ep. 357 - The Haunting (1963)

Transcript

Ep. 357 - The Haunting (1963) · Frightmares

• 0:00
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:05
  Speaker 1: excessive foul language. Viewer discretion is advised enjoy the show.
• 0:49
  Speaker 2: Welcome back to Frightmar's podcast. I'm your host Austin Proctor
• 0:52
  Speaker 2: and joining me today for episode three point fifty seven
• 0:55
  Speaker 2: is my lovely wife, Gabrielle Proctor.
• 0:57
  Speaker 1: I'm here.
• 0:58
  Speaker 2: You're here today. We are discussing the Haunting from nineteen
• 1:03
  Speaker 2: sixty three. Where the real villain here is Victorian architecture,
• 1:07
  Speaker 2: a texture art What did I say architecture? Is that right?
• 1:11
  Speaker 3: You said textureture, architecture, architecture?
• 1:15
  Speaker 2: Yeah, I said architecture.
• 1:18
  Speaker 1: You added an exit there.
• 1:19
  Speaker 2: First episode of the year off to a great start.
• 1:21
  Speaker 1: It's already how a building feels?
• 1:24
  Speaker 2: Did you hear the punchline? Though? Where there the real
• 1:28
  Speaker 2: villain here is the Victorian architecture.
• 1:33
  Speaker 1: Fuck, it's how a building just like you know, textually?
• 1:37
  Speaker 1: Does it feel smooth? Rough? Does it feel homophobic?
• 1:40
  Speaker 2: Uh? Yeah, we'll get into that, more about that later. Uh,
• 1:43
  Speaker 2: this episode is already homophobic feeling of a building that
• 1:49
  Speaker 2: the episode is already late because it's supposed to drop
• 1:52
  Speaker 2: on Wednesday, and it is Wednesday. We're doing it so
• 1:55
  Speaker 2: far behind on everything, so new year, kind of new format,
• 1:59
  Speaker 2: same excellent conversation. I wanted to get into some I
• 2:03
  Speaker 2: don't know, housekeeping things. I guess just wanted to go
• 2:05
  Speaker 2: over some small changes. One, we're gonna be loosening up
• 2:08
  Speaker 2: on the rule that I completely made up. As Lacey
• 2:10
  Speaker 2: pointed out to me, she like, my eyes have been
• 2:14
  Speaker 2: opened ever since she said, it's a rule that you
• 2:16
  Speaker 2: made up. And it is very true that a movie
• 2:18
  Speaker 2: must be listed horror on IMDb, just to kind of
• 2:21
  Speaker 2: broaden our scope of what we review. What.
• 2:24
  Speaker 3: I like that I've said that to you, but apparently
• 2:26
  Speaker 3: you needed a completely different person to say it to
• 2:29
  Speaker 3: you for that too.
• 2:31
  Speaker 2: I don't ever remember you saying that to me, or
• 2:34
  Speaker 2: maybe I do, and then someone else validating you made
• 2:37
  Speaker 2: me be like, well, shit, maybe maybe we should. So
• 2:40
  Speaker 2: we're gonna make that. It's not like we're gonna be
• 2:42
  Speaker 2: reviewing fucking rom coms or like westerns at okay, but
• 2:47
  Speaker 2: you know, like an example horror movie or a horror
• 2:51
  Speaker 2: adjacent movie like Close Encounters are the third kind. Yeah,
• 2:55
  Speaker 2: I don't think it's necessarily listed horror on IMDb, but
• 2:58
  Speaker 2: any alien invasion to me, horrifying. We're also going to
• 3:02
  Speaker 2: be dialing back the segmented format we normally do, where
• 3:05
  Speaker 2: we hit all these specific fucking points just to give
• 3:08
  Speaker 2: the episode a more natural flows, as opposed to me
• 3:12
  Speaker 2: stopping a conversation sometimes, you know, to talk about a
• 3:15
  Speaker 2: fucking favorite character. And last, but not least, we are
• 3:19
  Speaker 2: introducing the Nightmare Index. Let me explain from here on out,
• 3:23
  Speaker 2: I'm going to make a running list based on our ratings,
• 3:25
  Speaker 2: IMDb's ratings, and letterbox ratings to determine a score for
• 3:28
  Speaker 2: each movie. Then they'll get added to the list, and
• 3:31
  Speaker 2: I'll tell you where that movie falls. Obviously, since this
• 3:33
  Speaker 2: is the first episode, you know, like the first few
• 3:36
  Speaker 2: episodes are going to be like this is where it is.
• 3:37
  Speaker 2: There's not much to compare it to, but as time
• 3:39
  Speaker 2: goes on, there will be more and more. So Let's
• 3:42
  Speaker 2: say I give a movie a four, you give it
• 3:44
  Speaker 2: a three point five. It has a three point two
• 3:46
  Speaker 2: on Letterbox and a six point nine and IMDb obviously
• 3:49
  Speaker 2: you have to have the IMDb score because out of
• 3:52
  Speaker 2: ten is fucking stupid. And then you add them all up,
• 3:55
  Speaker 2: you know, divide it by four. So the example in
• 3:57
  Speaker 2: this instance would be a three point five to four
• 3:59
  Speaker 2: out of five. We're gonna do two decimal points to
• 4:01
  Speaker 2: you know, get a really good list going here. So
• 4:04
  Speaker 2: what he's saying is, ah, here we go.
• 4:07
  Speaker 1: We're taking out the format and we're adding in math.
• 4:11
  Speaker 2: No one has to do math.
• 4:13
  Speaker 1: I think you're gonna have to, Yeah.
• 4:15
  Speaker 2: Very simply. I've already I've already just sh okay, it's
• 4:18
  Speaker 2: very very very simple. Anyways, math math.
• 4:22
  Speaker 3: Uh.
• 4:22
  Speaker 2: And we do have a theme for the entire year,
• 4:25
  Speaker 2: which we have dubbed the Monsters of the Month Club,
• 4:28
  Speaker 2: where we're gonna be tackling a different monster, entity being
• 4:31
  Speaker 2: or antagonist in horror movies. Obviously, this month Hauntuary manner
• 4:36
  Speaker 2: not necessarily a monster, but you know, it's an entity.
• 4:39
  Speaker 2: It is an entity. It's just it was just easier
• 4:42
  Speaker 2: to say Monsters of the Month Club than the Air
• 4:44
  Speaker 2: Welcome than the Entity of the Month Club. So yeah,
• 4:48
  Speaker 2: so it might not be necessarily a physical monster, but
• 4:51
  Speaker 2: like I said, we have I think I said it's
• 4:52
  Speaker 2: already with vampires and werewolves and ghosts. Oh my, so
• 4:58
  Speaker 2: wait till we get to the O. I know, oh my,
• 5:01
  Speaker 2: this is gonna be a lot of fun. So yes,
• 5:02
  Speaker 2: I do present to you for January contrary manner where
• 5:06
  Speaker 2: every door creaks, every shadow whispers, and the rent is
• 5:08
  Speaker 2: paid in screams. Oh, without further ado, let's jump into
• 5:15
  Speaker 2: the cold open. This is gonna be where we talk
• 5:23
  Speaker 2: about what we've recently watched, and we're gonna be talking
• 5:26
  Speaker 2: spoilers about things. So if you don't want to hear spoilers,
• 5:30
  Speaker 2: I'm gonna have There's always time stamps in the comments,
• 5:33
  Speaker 2: but we have to talk about it. Welcome to Darry
• 5:35
  Speaker 2: because Jesus Christ, what a fucking show.
• 5:39
  Speaker 1: Yeah, that was.
• 5:40
  Speaker 3: I mean from the get go that first episode. You
• 5:42
  Speaker 3: and I were just like jaws dropped and were.
• 5:44
  Speaker 1: Like, I don't know what's gonna happen after this.
• 5:47
  Speaker 2: Can you talk about that for the rest of the episode. Yeah.
• 5:51
  Speaker 2: You don't even fucking see Pennywise until like episode four.
• 5:55
  Speaker 2: I think he doesn't even pop like as the as
• 5:58
  Speaker 2: you know Pennywise.
• 5:58
  Speaker 1: It was like five or six. It was way back
• 6:00
  Speaker 1: in there, mane. It was it was.
• 6:01
  Speaker 2: Deep in there and then he pops up in here,
• 6:04
  Speaker 2: Like I hate this so much more than I like
• 6:07
  Speaker 2: in horror way. Obviously, I thought it was an I
• 6:09
  Speaker 2: think it's one of the strongest seasons first seasons to
• 6:12
  Speaker 2: any show ever. That's my hot take on that. It's
• 6:15
  Speaker 2: so goddamn good.
• 6:16
  Speaker 1: Oh yeah, absolutely, so stressful.
• 6:18
  Speaker 3: It's like, you know, you already kind of knew what
• 6:22
  Speaker 3: to expect with the first two movies, and you're like, Okay,
• 6:27
  Speaker 3: I know what I'm kind of getting into, and they're like, no,
• 6:30
  Speaker 3: you fucking don't.
• 6:32
  Speaker 1: How about that? On crack best of luck?
• 6:36
  Speaker 2: And while the CG at many times is very wonky,
• 6:39
  Speaker 2: the imagery that's on screen is so horrifying. Yeah, yeah,
• 6:43
  Speaker 2: I forgive it. Honestly, they're having way too much fucking
• 6:45
  Speaker 2: fun with all these crazy monsters, and I'm here for it.
• 6:49
  Speaker 2: And they're gonna be doing season two and three, and
• 6:52
  Speaker 2: like I speculated to I don't know if I speculated
• 6:54
  Speaker 2: to you, but I know I speculated to Spenser that
• 6:57
  Speaker 2: because this one took place in nineteen sixty three, and
• 6:59
  Speaker 2: they like one or two scenes from nineteen oh eight,
• 7:02
  Speaker 2: and I was like, Okay, my prediction is that season
• 7:04
  Speaker 2: two is gonna go to thirty five and season three
• 7:06
  Speaker 2: is nineteen o eight, And they confirm that that is
• 7:08
  Speaker 2: exactly what's happening. It makes sense, which is it? Well, yeah,
• 7:11
  Speaker 2: but I just I was like, why would they introduce
• 7:13
  Speaker 2: me to something in nineteen oh eight because there's only
• 7:16
  Speaker 2: that they have that one scene where he walks into
• 7:18
  Speaker 2: the woods with that kid, never go back to that again.
• 7:21
  Speaker 2: And I'm like, are they gonna fucking are they gonna
• 7:23
  Speaker 2: wait till season three to expand on that, because like
• 7:26
  Speaker 2: that'd be crazy talk about a setup. But man, it's
• 7:30
  Speaker 2: such a great show. So many strong performances too, from
• 7:33
  Speaker 2: all the child actors. I don't think there's one like
• 7:35
  Speaker 2: weak performance from the kids.
• 7:38
  Speaker 1: No, they did.
• 7:39
  Speaker 3: They did excellent work, and with some of the most
• 7:42
  Speaker 3: heartbreaking scenes, parts of those were improvised by the kids,
• 7:45
  Speaker 3: and you're like, Jesus, what are you gonna do as adults?
• 7:47
  Speaker 2: All Right, all right, p Richie sweet.
• 7:50
  Speaker 3: Freaky Ricky, No Richie, because it is Richie. She names
• 7:53
  Speaker 3: her son Richie.
• 7:54
  Speaker 2: Yeah, yeah, yeah, yeah.
• 7:55
  Speaker 1: Time is Someone's like, that's his father, like bro, no.
• 7:59
  Speaker 2: No, yeah. Time is not linear for old Pennywise there
• 8:03
  Speaker 2: it's very much a lah arrival where the at the
• 8:07
  Speaker 2: end of towards the end of that movie spoilers on that.
• 8:09
  Speaker 2: I guess they were, you know, they reveal that time
• 8:10
  Speaker 2: isn't linear for the aliens or whatever.
• 8:13
  Speaker 3: Yeah, it's more like the good Place where it looks
• 8:15
  Speaker 3: like Jeremy Blaramy written in cursive.
• 8:18
  Speaker 2: Yeah, and I think they I know they said they're
• 8:21
  Speaker 2: not going to do like crank out a season every year,
• 8:24
  Speaker 2: but they're also not gonna pull a Stranger Things and
• 8:26
  Speaker 2: wait fifteen years to release seasons because it's just ridiculous.
• 8:30
  Speaker 3: So I max two years between seasons honestly makes the
• 8:34
  Speaker 3: most sense because you want to make sure people are
• 8:36
  Speaker 3: still interested, right, but not, you know, take do it
• 8:41
  Speaker 3: so quick that it's rushed and.
• 8:42
  Speaker 2: Exactly like Yellowjackets has been almost a two year gap,
• 8:45
  Speaker 2: been every season and it's a very strong show.
• 8:48
  Speaker 3: Yeah, I believe there was a two year gap for
• 8:51
  Speaker 3: House of the Dragon, which I actually bothered didn't I
• 8:54
  Speaker 3: didn't watch Game of Thrones. I watched part of Game
• 8:56
  Speaker 3: of Thrones, but I'm like House of the Dragon, I'm
• 8:58
  Speaker 3: in for that.
• 8:59
  Speaker 2: For some re you just read spoilers for everything in
• 9:03
  Speaker 2: Game of Thrones instead of watching the show, And that
• 9:05
  Speaker 2: actually sounds like a great idea because I tried, I
• 9:07
  Speaker 2: have tried.
• 9:08
  Speaker 1: Oh, I followed along.
• 9:10
  Speaker 3: I got to the point where two of the characters
• 9:13
  Speaker 3: met up, and then I was just getting it was
• 9:15
  Speaker 3: too distracting and I couldn't focus on anything else I
• 9:17
  Speaker 3: was doing. So I was like, I give up, I
• 9:18
  Speaker 3: have to stop watching this.
• 9:19
  Speaker 2: Done.
• 9:20
  Speaker 3: But I had already read all the spoilers for everything,
• 9:23
  Speaker 3: So there's some stuff I don't know, but.
• 9:24
  Speaker 1: I know all the important stuff.
• 9:26
  Speaker 2: Good Ford, if you want to check out it. Welcome
• 9:29
  Speaker 2: to Darry It is on Max. And I have to
• 9:32
  Speaker 2: say the Ritchie giving Pennywise the middle Finger was one
• 9:36
  Speaker 2: of the greatest greatest shots yep from twenty twenty five.
• 9:40
  Speaker 2: Oh yes, so great.
• 9:41
  Speaker 1: MVP move What do you do to me now? I'm
• 9:43
  Speaker 1: a ghost bitch?
• 9:44
  Speaker 2: Yeah. And also I have to say that I did
• 9:47
  Speaker 2: not expect to get this much of like Dick Henlan
• 9:49
  Speaker 2: Hanlan's story Handlin. Who am I thinking of Handlin? The
• 9:55
  Speaker 2: fuck is Handlin? It's a different book Dick Hallerin it's
• 10:00
  Speaker 2: a lot of like just the continuity between his story
• 10:03
  Speaker 2: in The Shining Doctor Sleep and this. Apparently we need
• 10:07
  Speaker 2: to watch Castle Rock because if you go, like, it's
• 10:11
  Speaker 2: really good apparently, and I've always wanted to watch it.
• 10:13
  Speaker 2: But if you go watch Castle Rock, it'll like some
• 10:16
  Speaker 2: of the things in Welcome to Dary will just like
• 10:18
  Speaker 2: blow your mind.
• 10:19
  Speaker 1: I don't know. I want to see it.
• 10:21
  Speaker 2: I did not expect to get this much information on
• 10:24
  Speaker 2: the character from the Shining and I love it and
• 10:26
  Speaker 2: it's so it's so consistent, and I'm here for it
• 10:29
  Speaker 2: because how much trouble can a hotel be? Next Stranger Things?
• 10:34
  Speaker 2: The hot button issue issue? I don't know a hot
• 10:36
  Speaker 2: button thing right now is Stranger Things? Love it or
• 10:39
  Speaker 2: hate it? It's back. I don't know. It was fun.
• 10:45
  Speaker 2: I don't like it. I'm fine with it. I didn't
• 10:46
  Speaker 2: hate it. I didn't love it. I'm just I don't know.
• 10:48
  Speaker 2: I gave the finale and I specifically rated the finale
• 10:52
  Speaker 2: episode like a three point five on letterbox because you
• 10:55
  Speaker 2: can rate it weirdly. You can rate the finale.
• 10:58
  Speaker 1: Because it was in theaters.
• 10:59
  Speaker 2: Remember, Oh yeah, true. I don't know. I mean parts
• 11:03
  Speaker 2: of a lot of me liked the things they were doing,
• 11:06
  Speaker 2: Like I particularly liked the wormhole explanation. I thought that
• 11:09
  Speaker 2: was fun. Apparently a lot of people hated that. I
• 11:11
  Speaker 2: thought it was stupid. Kind of took everything the upside
• 11:14
  Speaker 2: Down was and made it different. But we really never
• 11:17
  Speaker 2: knew what the upside down was.
• 11:18
  Speaker 3: Never mystical they just used it only felt mystical because
• 11:23
  Speaker 3: they were using D and D to make it make sense. Yeah,
• 11:28
  Speaker 3: but Hawkins had a science lab.
• 11:32
  Speaker 1: It was all science science.
• 11:35
  Speaker 3: Now, there's some mystical elements to it, like you know,
• 11:38
  Speaker 3: how the hell there was this magic stone thing, Like,
• 11:42
  Speaker 3: there's some elements of wonder to it. But there's a
• 11:45
  Speaker 3: lot of signs involved, and I feel like people kind
• 11:48
  Speaker 3: of forgot that.
• 11:49
  Speaker 2: Well when you take three years in between each fucking season.
• 11:53
  Speaker 2: I mean when they were showing clips from the first
• 11:55
  Speaker 2: season and the finale, I was like, Christ, are those
• 11:58
  Speaker 2: even the same people? Yeah? I mean it spend ten
• 12:00
  Speaker 2: years of this show twenty six well okay, nine, I
• 12:03
  Speaker 2: guess because it started in twenty sixteen. I was still
• 12:07
  Speaker 2: working at Ikea then. Yeah, my god, I don't know.
• 12:10
  Speaker 2: It's fine. I still have one question, though, why vekna
• 12:14
  Speaker 2: I don't get it. World domination? Okay, what's the next
• 12:17
  Speaker 2: step after that? You enslaved the entire human population to
• 12:21
  Speaker 2: do what? What's the end goal? Like that was my
• 12:24
  Speaker 2: biggest thing. I just didn't like, Okay, you want to
• 12:27
  Speaker 2: merge these worlds, that's great. Why I don't understand there's
• 12:33
  Speaker 2: really I don't know maybe they explained it and I
• 12:34
  Speaker 2: missed it. Fucking I don't know. But and then I
• 12:38
  Speaker 2: have to say that Will stopping everything in the midst
• 12:41
  Speaker 2: of the world ending just to come out. It was
• 12:42
  Speaker 2: like timing Will, like, well, we all knew it, and
• 12:46
  Speaker 2: we're all okay with it. It's fine. Maybe tell us that,
• 12:49
  Speaker 2: you know, after the world's not in like right in
• 12:51
  Speaker 2: the middle of their planning.
• 12:52
  Speaker 3: Is like, by the way, I just thought it was.
• 12:55
  Speaker 3: And granted, I've never had to come out.
• 13:00
  Speaker 2: Now with that attitude.
• 13:01
  Speaker 1: Any day now. I don't know that experience.
• 13:05
  Speaker 3: But to say the phrase he showed me just unimaginable horrible,
• 13:11
  Speaker 3: awful things sounds a lot more like body mutilating horror,
• 13:17
  Speaker 3: watching all your friends die in front of your face.
• 13:19
  Speaker 3: And then it was what he showed me was that
• 13:22
  Speaker 3: I told you guys that I was gay, and then
• 13:25
  Speaker 3: we never spoke again. Yeah, And I was like, I
• 13:27
  Speaker 3: can understand why personally that would feel absolutely devastating and heartbreaking,
• 13:33
  Speaker 3: unimaginable horrible things.
• 13:35
  Speaker 1: That scale felt a little skewed. I like, I don't
• 13:39
  Speaker 1: know that i'd.
• 13:39
  Speaker 3: Phrase it like that, but you know, I've never lived
• 13:41
  Speaker 3: that experience. Maybe that is the most horrific thing will
• 13:44
  Speaker 3: could possibly think of, which is weird given everything they've
• 13:47
  Speaker 3: been through, but not my place to judge, but yeah,
• 13:53
  Speaker 3: he did spend an inordinate amount of time getting to
• 13:56
  Speaker 3: the point in that conversation. Yeah, those shout out to
• 14:02
  Speaker 3: Finnwillheart's face the entire time. He's like, yeah, so I
• 14:05
  Speaker 3: liked somebody just side.
• 14:07
  Speaker 1: I like, yeah, who was that?
• 14:10
  Speaker 2: Also? I don't know what happened to the demo bats
• 14:12
  Speaker 2: in season four, but those fucking they introduced those to
• 14:16
  Speaker 2: kill Eddie and then they were gone. That was very strange.
• 14:18
  Speaker 1: Yeah, I think so, because Vecna.
• 14:23
  Speaker 3: Had been kind of ever laying low, nobody could find him.
• 14:26
  Speaker 3: The theory is that most of those creatures had been
• 14:29
  Speaker 3: absorbed into that giant physical because remember when Vecna meets
• 14:33
  Speaker 3: the mind Flare, it is just a big cloud of smoke.
• 14:36
  Speaker 3: So now he's got a giant, fleshy body in that
• 14:39
  Speaker 3: other world. So the idea is that maybe they were
• 14:43
  Speaker 3: growing them to absorb into that giant body, because that
• 14:47
  Speaker 3: giant body had to come from somewhere. Shit all on
• 14:51
  Speaker 3: that planet and people are like, ah, if he likes
• 14:55
  Speaker 3: the cold, and why is he on that Mars?
• 14:57
  Speaker 1: Like planet Mars is cold.
• 14:59
  Speaker 2: It's cold. Fun fact, everything beyond Earth it is much colder.
• 15:02
  Speaker 1: Yeah. And fun fact, a desert doesn't equal hot.
• 15:06
  Speaker 2: No, quite literally, there are desert like a Antarctica is
• 15:11
  Speaker 2: considered a desert. Yeah. Fun fact. There you go, so
• 15:15
  Speaker 2: stranger things. It's fine. It could have been so much worse.
• 15:20
  Speaker 2: It really could have. But I feel like it could
• 15:22
  Speaker 2: have been better in some ways. But I'm not gonna
• 15:24
  Speaker 2: sit here and say it was terrible. It sucks because
• 15:26
  Speaker 2: I couldn't come up with anything better. And I love
• 15:28
  Speaker 2: when people are online saying it sucked, and I'm always like,
• 15:30
  Speaker 2: give me a better ending, then let's hear your thoughts.
• 15:32
  Speaker 2: If it was so terrible, then you have to have
• 15:34
  Speaker 2: something that you would have wanted to see lay it out.
• 15:38
  Speaker 2: I get nothing other than that. I saw a few
• 15:42
  Speaker 2: new movies that I just want to briefly touch on.
• 15:44
  Speaker 2: I saw something called we Bury the Dead. It was
• 15:46
  Speaker 2: a screener sent over from Pixel Scene Media. It is
• 15:48
  Speaker 2: a new kind of zombie esque movie with Daisy Ridley.
• 15:51
  Speaker 2: I quite enjoyed it. It had a very interesting storyline.
• 15:54
  Speaker 2: It was nice to see Daisy Ridley and something again,
• 15:57
  Speaker 2: even though she's done seven things between the last Star
• 15:59
  Speaker 2: Wars movie in this movie, nah, I haven't heard of
• 16:02
  Speaker 2: any of them except for one thing, So that's weird.
• 16:04
  Speaker 2: Watch a movie called Sorority of the Damned sense over
• 16:07
  Speaker 2: by Avy Entertainments, starring Felyssa Rose. It is a horror
• 16:10
  Speaker 2: comedy and if you couldn't tell by the title, yes,
• 16:13
  Speaker 2: it is a very much a B movie, very much
• 16:16
  Speaker 2: Night of the Demons meets like, hmm, Sorority row maybe
• 16:21
  Speaker 2: seems likely? Seems likely? And then we watched Mutilator too.
• 16:25
  Speaker 2: Let me tell you, I don't usually say don't bother
• 16:29
  Speaker 2: with movies. My thing is everyone should check out a
• 16:32
  Speaker 2: movie and I like it. Just because it didn't work
• 16:36
  Speaker 2: for me doesn't mean it won't work for you.
• 16:38
  Speaker 1: Maybe we didn't get.
• 16:39
  Speaker 2: It, maybe I didn't get it, maybe I missed the bit.
• 16:43
  Speaker 2: But it's not gonna be something that I recommend. I
• 16:46
  Speaker 2: won't be like, hey, you need to watch this, because
• 16:49
  Speaker 2: boy it was. It's like Buddy Cooper tried to capture
• 16:52
  Speaker 2: the magic twice because the original Mutilator very camp be,
• 16:55
  Speaker 2: very cheesy, great practical effects, and you pointed out something
• 16:58
  Speaker 2: very interesting. It's like when you have a polished movie
• 17:01
  Speaker 2: with a crystal clear image and like nice sound design
• 17:03
  Speaker 2: and lighting, and you have that acting that's from the
• 17:06
  Speaker 2: eighties doesn't fit. It just feels weird.
• 17:10
  Speaker 3: When you have low budget acting with high uh. And
• 17:13
  Speaker 3: I'm not saying it's like high budget, but when when
• 17:16
  Speaker 3: the film looks good yeah quality, Yeah, the production quality
• 17:19
  Speaker 3: it's pretty decent, but you're acting and your storyline isn't there.
• 17:25
  Speaker 1: Everything kind of needs to be on the same level
• 17:29
  Speaker 1: level to a certain.
• 17:31
  Speaker 3: Extent, Like if I have a absolutely insane, like Christopher
• 17:38
  Speaker 3: Nolan looking film, but I got the people who are
• 17:43
  Speaker 3: who've never done anything but commercial work their whole life,
• 17:47
  Speaker 3: and it shows I don't care how nice the film looks. Now,
• 17:51
  Speaker 3: I'm really I'm really struggling to believe these are real
• 17:55
  Speaker 3: people and that they're not reading que cards.
• 17:59
  Speaker 2: Yeah. I think we're in this weird period of time
• 18:02
  Speaker 2: where it's incredibly not easy. I don't and I don't
• 18:05
  Speaker 2: mean easy, I just mean it's it's very easy to
• 18:08
  Speaker 2: make a movie look pretty high quality these days. Yeah,
• 18:11
  Speaker 2: because we have literally, I mean people you can film
• 18:13
  Speaker 2: something on your.
• 18:14
  Speaker 3: Phone, and quality of cameras has gone up while the
• 18:17
  Speaker 3: cost has gone down exponentially.
• 18:19
  Speaker 2: Yeah, and while we both know lighting isn't easy if
• 18:23
  Speaker 2: you have someone who knows how to light a scene.
• 18:24
  Speaker 2: I mean, it's very easy to make a I'd say,
• 18:26
  Speaker 2: I say easy in air quotes to make a movie
• 18:28
  Speaker 2: look good, just because we have so much more stuff
• 18:30
  Speaker 2: readily available. So we're in this weird period where things
• 18:33
  Speaker 2: look great. But for example, like the Popeye the what
• 18:36
  Speaker 2: was it Popeye's Revenge looks pretty good terrible movies, so
• 18:40
  Speaker 2: we're in this very weird period, at least in the eighties.
• 18:43
  Speaker 2: If a movie wasn't good, you're like, well, I can tell,
• 18:46
  Speaker 2: because you know, the quality is not that great on
• 18:49
  Speaker 2: some of them.
• 18:49
  Speaker 3: But anyways, yeah, what I need to do is there's
• 18:52
  Speaker 3: this guy who reviews these awful like Christian movies that are.
• 18:58
  Speaker 2: Like Christian horror movies.
• 19:00
  Speaker 1: No, not Christian horror movies.
• 19:01
  Speaker 3: They're just these Christian movies that just have really silly plots,
• 19:06
  Speaker 3: Like one is the Christian version of Fifty Shades of Gray,
• 19:09
  Speaker 3: which is kind of just creepy stalking minus the sex.
• 19:14
  Speaker 1: And I'm gonna show you a clip of one of
• 19:16
  Speaker 1: those later.
• 19:17
  Speaker 2: Okay, it was like.
• 19:18
  Speaker 1: Watching that, that's fun. Yeah, but there's a guy who
• 19:21
  Speaker 1: used how terrible they are?
• 19:23
  Speaker 2: Oh, I love that. Okay, I'll have to check that out. Yeah,
• 19:25
  Speaker 2: all right, Well, well enough of that, I suppose let's
• 19:28
  Speaker 2: move on to the body count. There it is, coming
• 19:34
  Speaker 2: in with all hot new sound effects. This is the
• 19:37
  Speaker 2: IMDb round up. We're just naming it more fun Things.
• 19:40
  Speaker 2: This is The Haunting from nineteen sixty three, release on
• 19:43
  Speaker 2: September eighteenth of that year in the US. Rated G
• 19:47
  Speaker 2: no sex and nudity, mild violence and gore, mild profanity,
• 19:50
  Speaker 2: mild alcohol, drugs and smoking, and moderate frightening and intense scenes,
• 19:53
  Speaker 2: coming in at an hour and fifty two minutes. Listed
• 19:55
  Speaker 2: as a straight up horror movie. Directed by Robert Wise,
• 19:59
  Speaker 2: who also directed The Daily Yar Stood Still nineteen fifty one,
• 20:02
  Speaker 2: West Side Story nineteen sixty one. And The Sound of Music.
• 20:06
  Speaker 2: Oh that's why I didn't want you to look him up. Well,
• 20:08
  Speaker 2: there you go, because the sound of music, I thought
• 20:10
  Speaker 2: was like, that's everything. That's a wild difference from the
• 20:13
  Speaker 2: sound of music to what nothing.
• 20:17
  Speaker 1: Go ahead, finish your sentence.
• 20:19
  Speaker 2: That was done.
• 20:20
  Speaker 1: Oh.
• 20:20
  Speaker 3: I just think it's funny that when we were watching
• 20:22
  Speaker 3: this movie, yeah, certainly wouldn't have picked sound of music.
• 20:25
  Speaker 1: Guy.
• 20:26
  Speaker 3: Yeah, But what I think is funny here is when
• 20:30
  Speaker 3: one of the characters walked up on screen. I've seen
• 20:33
  Speaker 3: West Side Story once. I looked over looked at him
• 20:38
  Speaker 3: and like that guy.
• 20:39
  Speaker 1: I know that guy.
• 20:40
  Speaker 3: Well, he's in that musical, and for the life of me,
• 20:43
  Speaker 3: West Side Story just would not enter my head.
• 20:45
  Speaker 1: I just had guys and dolls in there.
• 20:46
  Speaker 2: But if you said it was remade and then I
• 20:48
  Speaker 2: took me a second, I was like, west that'd sorry.
• 20:50
  Speaker 1: Yeah.
• 20:50
  Speaker 3: So eventually you've helped me figure out what the hell
• 20:52
  Speaker 3: movie I was thinking of because I go to sung
• 20:54
  Speaker 3: you bits of the songs.
• 20:56
  Speaker 1: But it was like, yeah, see that movie.
• 20:57
  Speaker 3: Once clocked that guy immediately West Side Story and same director,
• 21:01
  Speaker 3: so obviously they're like working together.
• 21:03
  Speaker 2: Oh I see. I was like, what's the point of sorry?
• 21:07
  Speaker 2: I was like, are we getting somewhere with this?
• 21:09
  Speaker 1: Because he was in West Side Story?
• 21:11
  Speaker 2: Lost in the Sauce. This is written by Nelson Gidding,
• 21:13
  Speaker 2: who also wrote The Andromeda Strain. This is based on
• 21:16
  Speaker 2: the Haunting of Hill House written by Shirley Jackson. Composed
• 21:19
  Speaker 2: by Humphrey Searle, who also did four episodes of Doctor
• 21:23
  Speaker 2: Who in nineteen sixty five. Cinematography by Davis Bolton. He
• 21:27
  Speaker 2: also did the cinematography for a movie called Children of
• 21:30
  Speaker 2: the Damned. Nice, edited by Ernest Walter, who did not
• 21:34
  Speaker 2: do anything else I recognized, but he was the visual
• 21:36
  Speaker 2: coordinator on Superman nineteen seventy eight, which is really cool,
• 21:41
  Speaker 2: starring Julie Harris as Eleanor Lance. She was in one
• 21:44
  Speaker 2: hundred and sixty five episodes of Whatever the fuck knots
• 21:47
  Speaker 2: Landing Is as Lily May Clements. Then we have Claire
• 21:51
  Speaker 2: Bloom as Theodora. She was in Clash of the Titans
• 21:53
  Speaker 2: as Hera.
• 21:54
  Speaker 1: Nineteen yeah one, I haven't seen that forever.
• 21:56
  Speaker 2: Richard Johnson as doctor John Mark Away who was who
• 21:59
  Speaker 2: played another doctor, and Lucy Alfulci Zombie as doctor Minard,
• 22:04
  Speaker 2: Russ Tamblin as Luke Sanderson. He was in West Side
• 22:08
  Speaker 2: Story as Riff. And then I don't know why I
• 22:11
  Speaker 2: put many more people on here, because that's really it.
• 22:14
  Speaker 2: I mean, you do have Russ Tamblin as Sorry, Fay
• 22:17
  Speaker 2: Compton as Missus Sanderson, who was also an Othella as
• 22:19
  Speaker 2: Amelia estimated Othello Sorry, estimated budget of one point four
• 22:26
  Speaker 2: million dollars, apparently only grossing eight hundred and forty seven dollars.
• 22:31
  Speaker 2: I don't think that's accurate. But that's that is not
• 22:33
  Speaker 2: a typo. Not a typo. This was filmed in various
• 22:39
  Speaker 2: cities around England in the UK, and you can watch
• 22:42
  Speaker 2: this on Amazon, Apple TV and Fandango at Home for
• 22:45
  Speaker 2: a three ninety nine rental movies that came out around
• 22:47
  Speaker 2: the same time. Let me blow your mind with a
• 22:50
  Speaker 2: whole bunch of shit you've never heard of. Come blow
• 22:52
  Speaker 2: your horn, Cleopatra, I've heard of that. I think Blood Feast,
• 22:57
  Speaker 2: a Great Escape. It's a mad, mad, mad mad world.
• 23:00
  Speaker 2: And the Sword and the Stone I've seen too. Sorry,
• 23:02
  Speaker 2: I didn't mean stuff you haven't heard. I mean very
• 23:05
  Speaker 2: little things. Those are two different. You've seen the Sword
• 23:07
  Speaker 2: in the Stone and you've seen the Great Escape.
• 23:09
  Speaker 1: Oh I have?
• 23:10
  Speaker 2: Yeah? Whatever the fuck? Cume blow your horn? Is it
• 23:12
  Speaker 2: sounds fun? IMDb summary. Hillhouse has stood for ninety years
• 23:16
  Speaker 2: and appears haunted. Its inhabitants have always met strange, tragic ends. Now,
• 23:20
  Speaker 2: doctor John Markaway has assembled a team of people who
• 23:22
  Speaker 2: he thinks will prove whether or not the house is haunted.
• 23:26
  Speaker 2: This is the Haunting from nineteen sixty three. I don't
• 23:29
  Speaker 2: know if I'm gonna play the trailer anymore because I've
• 23:32
  Speaker 2: been hit with copyright, like where it partially blocks it
• 23:35
  Speaker 2: on YouTube. So I'm like, you know, in an attempt
• 23:38
  Speaker 2: to not have a Spotify deal with, you know, do that,
• 23:42
  Speaker 2: because they've done that on like the Rocky Horror Picture episode.
• 23:44
  Speaker 2: I had to take out all the music from that
• 23:45
  Speaker 2: episode because they're like it was copyright. I'm like, I'm
• 23:47
  Speaker 2: the fucking what the thing you can use tontize? I'm
• 23:51
  Speaker 2: not monetized. Isn't this fair use? So I think, in
• 23:55
  Speaker 2: an attempt to not deal with that later because that
• 23:57
  Speaker 2: episode was three years ago and I got hit with
• 23:59
  Speaker 2: that six months ago, I think we're just gonna skip
• 24:01
  Speaker 2: the trailer. So let's hop into the autopsy. Yeah, blood
• 24:08
  Speaker 2: gut sounds, we're gonna start. We're still gonna start with
• 24:11
  Speaker 2: overall thoughts. So hit me with your overall thoughts on
• 24:15
  Speaker 2: the haunting.
• 24:16
  Speaker 3: Well, let's see, I only have my movie related knowledge
• 24:21
  Speaker 3: of the story. They all break it down, don't worry,
• 24:25
  Speaker 3: they all differ from each other. So kind of going
• 24:27
  Speaker 3: in vaguely blind, you kind of gotta wait to see
• 24:30
  Speaker 3: what the characters are going that they're gonna do, to
• 24:32
  Speaker 3: get an idea of where you're headed. I already knew
• 24:36
  Speaker 3: Mike Flanagans was his own creation around that story, so
• 24:39
  Speaker 3: that that kind of eliminated that. But I thought this
• 24:43
  Speaker 3: had a lot of really cool and interesting things, especially
• 24:46
  Speaker 3: for the time how they decided to tell the story.
• 24:50
  Speaker 3: I was briefly distracted by the fact that it was
• 24:53
  Speaker 3: in black and white, given the year, but then you
• 24:55
  Speaker 3: explained to me that that was an intentional choice.
• 24:57
  Speaker 2: Yep, Director, I thought it just was a better choice. Yeah,
• 25:01
  Speaker 2: I agree, gotcha.
• 25:03
  Speaker 1: I'm like the movies were full on in color at
• 25:05
  Speaker 1: this point, so what happened.
• 25:09
  Speaker 3: But the overall story felt really thin to me, Like
• 25:14
  Speaker 3: it didn't feel like there was way too much that
• 25:16
  Speaker 3: just didn't get explained. A lot of stuff you just
• 25:19
  Speaker 3: had to kind of make assumptions on if you even
• 25:22
  Speaker 3: got to a point where you.
• 25:23
  Speaker 1: Could make assumptions.
• 25:24
  Speaker 3: A lot of unsaid things, which to a certain extent
• 25:28
  Speaker 3: I'm totally cool with, but after a certain number of them,
• 25:32
  Speaker 3: I'm like, Okay, you're gonna have to explain, like, like
• 25:34
  Speaker 3: maybe one thing so I know what's going on too,
• 25:38
  Speaker 3: And that did not happen.
• 25:40
  Speaker 2: All right, Well, my over our thoughts are I think this,
• 25:43
  Speaker 2: See I'm kind of the opposite. I think this is
• 25:45
  Speaker 2: a masterfully told story with some of the wildest camera
• 25:48
  Speaker 2: work for the time I've ever seen, and not in
• 25:51
  Speaker 2: a bad way by any means, because they were really
• 25:53
  Speaker 2: having fun with it. I'm still torn on the ending though.
• 25:56
  Speaker 2: I felt like there was a lot of tension that
• 25:58
  Speaker 2: filled like they built up so much tension that kind
• 26:00
  Speaker 2: of just fizzled out. But maybe we'll get down to
• 26:04
  Speaker 2: I don't maybe we'll maybe we'll figure it out as
• 26:06
  Speaker 2: we go along. So the story itself, let's kind of
• 26:10
  Speaker 2: tell you about it, because I don't know how many
• 26:12
  Speaker 2: people know this. I didn't know this, You didn't know this.
• 26:14
  Speaker 2: So this has nothing to do with the House Unhaunted
• 26:19
  Speaker 2: Hill that is a film by William Castle. Shirley Jackson
• 26:23
  Speaker 2: wrote the Haunting of Hillhouse, so those two movies have
• 26:27
  Speaker 2: nothing in common, even though they have very similar titles. Yes,
• 26:30
  Speaker 2: because there is a nineteen fifty nine House on Hunt
• 26:32
  Speaker 2: and Hill and the remake, which we've talked about on
• 26:33
  Speaker 2: this show, those are separate from the Haunting of Hillhouse.
• 26:36
  Speaker 2: This is the actual first adaptation of Shirley Jackson's book.
• 26:40
  Speaker 2: Because the book is written in nineteen fifty nine and
• 26:43
  Speaker 2: the movie was nineteen sixty three. So the Hillhouse book
• 26:46
  Speaker 2: is about four people, and this one it's John Montague,
• 26:50
  Speaker 2: Eleanor Vance, Theodora, and Luke Sanderson, so very minor changes
• 26:58
  Speaker 2: to the names. There. They are investigating a famously haunted
• 27:01
  Speaker 2: mansion Hillhouse, who experience increasingly terrifying supernatural events that blur
• 27:05
  Speaker 2: the lines between psychological horror and genuine ghosts, focusing heavily
• 27:09
  Speaker 2: on the fragile perspective of protagonist Eleanor Vance, as the
• 27:12
  Speaker 2: house seems to target her. So that makes the movie
• 27:15
  Speaker 2: make so much more sense because I was thinking it
• 27:18
  Speaker 2: was going to be something similar to what Mike Flanagan did,
• 27:22
  Speaker 2: which is a very loose adaptation of Shirley Jackson's novel,
• 27:27
  Speaker 2: shifting focus from paranormal investigators to the Crane's family multi
• 27:32
  Speaker 2: generational trauma haunted by the infamous house. Though they both
• 27:37
  Speaker 2: explore psychological horror, mental health, and ambiguity around literal versus
• 27:41
  Speaker 2: metaphorical ghosts. While the novel features strangers studying the house,
• 27:46
  Speaker 2: the serious centers on siblings and their parents, using the
• 27:49
  Speaker 2: house as a backdrop for family drama and individual struggles
• 27:52
  Speaker 2: with grief, addiction, anxiety. So That was the very confusing
• 27:57
  Speaker 2: thing for me when we started this, because I'm like, Okay,
• 28:01
  Speaker 2: Nell and THEO, they don't know each other. They were
• 28:05
  Speaker 2: sisters in Mike, What's happening here? So I had to
• 28:08
  Speaker 2: look it up. So I hope that all made sense.
• 28:13
  Speaker 2: So when you went into this, you said you knew
• 28:16
  Speaker 2: Mike Flannagan kind of did his own thing.
• 28:18
  Speaker 3: Yeah. I was aware that he had pulled focus from
• 28:21
  Speaker 3: the original source material to the Crane Family. I was
• 28:25
  Speaker 3: also aware that he took a lot of liberties with
• 28:30
  Speaker 3: who was in the Crane family because obviously the Crane
• 28:33
  Speaker 3: Family was a lot smaller.
• 28:35
  Speaker 2: And but oh that's true. Yeah, there was only like
• 28:39
  Speaker 2: four of them total.
• 28:40
  Speaker 1: Yeah.
• 28:41
  Speaker 3: And the thing is is, I think, you know, Mike
• 28:45
  Speaker 3: is absolutely capable of making a faithful adaptation, but he
• 28:50
  Speaker 3: also is really skilled at recognizing what's important. Like when
• 28:57
  Speaker 3: he made Doctor Sleep and he's you know, he said,
• 28:59
  Speaker 3: you know, we cannot ignore the movie.
• 29:03
  Speaker 1: We can't ignore it. That's what the people know, right, And.
• 29:06
  Speaker 2: The people know. I feel like the people know the
• 29:08
  Speaker 2: movie more than the book exactly.
• 29:10
  Speaker 3: So in this case, I feel like, instead of focusing
• 29:15
  Speaker 3: on the people investigating the house after in the aftermath
• 29:19
  Speaker 3: of all the things that have happened there. He chose
• 29:22
  Speaker 3: to focus on what happens to a family trying to
• 29:26
  Speaker 3: live in this house with all that weight and all
• 29:28
  Speaker 3: that energy and whatnot. Like, he chose to focus on
• 29:33
  Speaker 3: a stronger point while still keeping that what power does
• 29:38
  Speaker 3: that house hold? Integrity live because they all have that
• 29:42
  Speaker 3: that what power is in that house? What can it
• 29:46
  Speaker 3: make you do? What control does it have? What lies there?
• 29:50
  Speaker 3: What makes it so strong? Because the first it's just
• 29:53
  Speaker 3: a house. Yeah, every house is just a house. This
• 29:55
  Speaker 3: house was evil from the get go.
• 29:58
  Speaker 2: Well let's be specific, this is a fucking like Victorian man.
• 30:01
  Speaker 2: Well yeah, but I'm saying just just in kise people. Yeah, yeah,
• 30:04
  Speaker 2: every house is a house.
• 30:05
  Speaker 3: This house was made and is somehow evil from day one.
• 30:09
  Speaker 2: Right because because the very beginning of the movie, it
• 30:11
  Speaker 2: starts out and I really like that too. I feel
• 30:13
  Speaker 2: like I didn't look this up and it probably should have,
• 30:16
  Speaker 2: But the opening narration feels like like it had to
• 30:19
  Speaker 2: have been like the first chapter, like the first couple
• 30:21
  Speaker 2: sentences out of the book, because the way it's being
• 30:23
  Speaker 2: read makes me feel like it was something that was
• 30:26
  Speaker 2: written by Shirley Jackson. Because it's like this house was
• 30:28
  Speaker 2: built ninety years ago and we'll stand for ninety more
• 30:31
  Speaker 2: and it's just been evil since it was made, and
• 30:33
  Speaker 2: you're like, all right, yeah, I feel like it sets
• 30:36
  Speaker 2: up the movie though, very well, because I don't know,
• 30:40
  Speaker 2: I just I guess I expected to see something in
• 30:43
  Speaker 2: this movie, but it was very much like the house
• 30:46
  Speaker 2: is alive and the house is doing this. There aren't
• 30:49
  Speaker 2: ghosts in this house. This house is just fucking crazy
• 30:52
  Speaker 2: evil I don't know.
• 30:53
  Speaker 3: And even then, what the house does is limited to
• 30:57
  Speaker 3: mostly doors for some reason, and noises specifically noises and doors,
• 31:04
  Speaker 3: and you don't really see anything, but everyone's afraid. It's
• 31:11
  Speaker 3: like a looming presence in the house. And it's funny
• 31:14
  Speaker 3: because like one of their biggest proofs that they're haunted
• 31:20
  Speaker 3: is cold spots. Fun fact, those houses aren't like Hella insulated,
• 31:25
  Speaker 3: so a cold spot in a mansion would not be
• 31:29
  Speaker 3: that weird. I mean, Jesus, this is a brand new
• 31:34
  Speaker 3: house we live in. There's fucking cold spots in here.
• 31:37
  Speaker 1: Okay.
• 31:38
  Speaker 3: Our room is arctic cold, my office will be arctic
• 31:43
  Speaker 3: cold one day, burning hot the next day.
• 31:45
  Speaker 1: Doesn't make any sense for house. Well, like, I know,
• 31:50
  Speaker 1: our house.
• 31:51
  Speaker 3: It's really about where the sun is and whether or
• 31:53
  Speaker 3: not it has a chance to warm up during the day.
• 31:55
  Speaker 3: But you know, Victorian houses, they're made of wood. They're
• 31:59
  Speaker 3: not like super crazy insulated. They're not filled with fiberglass
• 32:04
  Speaker 3: and brick. Fucking man like their brick and wood and
• 32:06
  Speaker 3: you know they're not They're not insulated, don't.
• 32:10
  Speaker 2: I don't think homes were like foam insulated like.
• 32:12
  Speaker 3: Fun fact, Again, a lot of those houses would be
• 32:18
  Speaker 3: insulated with like I don't know specifically Torrian, but older
• 32:21
  Speaker 3: houses would be insulated with like straw, sometimes newspaper, or
• 32:28
  Speaker 3: sometimes they just hang shit on the walls, like tapestries,
• 32:31
  Speaker 3: because you why not hang a big carpet on the
• 32:34
  Speaker 3: wall that'll.
• 32:34
  Speaker 1: Keep the colds from coming through. Cold spots are just
• 32:37
  Speaker 1: not unusual, That's what I'm saying.
• 32:38
  Speaker 2: Be a great place to record a podcast with all
• 32:40
  Speaker 2: those carpets on the wall, great for deadening sound You've got.
• 32:44
  Speaker 1: Of taking all this down and just getting some really big.
• 32:47
  Speaker 2: Tapestries, I could just hang up four carpets around us
• 32:50
  Speaker 2: and box us in real nice yeah, just.
• 32:52
  Speaker 3: Right around the room, but leave everything on the walls.
• 32:55
  Speaker 3: So yeah, it wouldn't be weird.
• 32:56
  Speaker 1: Or hot.
• 32:58
  Speaker 3: But yeah, really, the biggest evidence you see that the
• 33:03
  Speaker 3: place is haunted is the breathing door.
• 33:06
  Speaker 1: That's it. That was I mean, it was so cool.
• 33:09
  Speaker 2: That was so impressive for nineteen sixty three, and I
• 33:12
  Speaker 2: can clearly tell that the haunted mansion definitely stole that
• 33:15
  Speaker 2: idea for the ride.
• 33:16
  Speaker 3: Yeah, so cool, that's it. That's that's your strongest evidence.
• 33:21
  Speaker 3: You don't see ghosts. Someone writes something in chalk that
• 33:24
  Speaker 3: could have been anybody. You hear loud banging noises that
• 33:28
  Speaker 3: could have been anybody. Nothing moves, there's no nothing moves
• 33:32
  Speaker 3: aside from that door breathing. And they're like, well, this
• 33:34
  Speaker 3: door closed itself. Nobody saw that.
• 33:36
  Speaker 2: Shit, Well there's a there's a door that swings open
• 33:38
  Speaker 2: when they're in the atrium or whatever wherever. The fucking
• 33:43
  Speaker 2: statue of the Cranes is. Yeah, door like swings open.
• 33:45
  Speaker 2: Who goes? Probably the wind?
• 33:47
  Speaker 1: Yeah, which who knows? Totally possible. Like nothing is concrete.
• 33:51
  Speaker 3: You have to decide if you believe, because most of
• 33:55
  Speaker 3: your this is definitely happening stuff is coming from Nell's
• 33:58
  Speaker 3: inner monologue.
• 33:59
  Speaker 2: Yeah, that's what I didn't understand at first, because at
• 34:03
  Speaker 2: first you hear narration, which I believe is Mark Away
• 34:06
  Speaker 2: because he mentioned something about I wanted to meet missus
• 34:08
  Speaker 2: Sanderson and then he popped up on screen and then
• 34:11
  Speaker 2: you don't have any narration until the end. But then
• 34:14
  Speaker 2: you get inner monologues from Nell, and I was wondering, Okay,
• 34:16
  Speaker 2: it's like everyone gonna have an inner monologue, But until
• 34:20
  Speaker 2: I read the synopsis myself, it is the story is
• 34:23
  Speaker 2: centered around Nell, who as a character. I what is
• 34:27
  Speaker 2: the fucking deal with this lady? Zero to one hundred
• 34:31
  Speaker 2: like insanely quick?
• 34:33
  Speaker 1: Oh, someone said her gay panic was off the charts.
• 34:37
  Speaker 3: Oh, I mean no, probably not that, but it just
• 34:40
  Speaker 3: literally and I don't want to really say hysterical because
• 34:43
  Speaker 3: it is sexist, but.
• 34:45
  Speaker 2: I don't feel she was being hysterical.
• 34:47
  Speaker 3: Because she'd be totally fine and then in a panic
• 34:50
  Speaker 3: and we're freaking out why is everybody doing this?
• 34:52
  Speaker 1: And then now I'm fine again? Like girl.
• 34:54
  Speaker 2: See, I didn't find it. Usually when i'm when like
• 34:56
  Speaker 2: women are called hysterical and movies there she just was
• 35:00
  Speaker 2: getting so animated. I look at that as being animated,
• 35:04
  Speaker 2: not hysterical, because usually hysterical is like, oh woe is me?
• 35:07
  Speaker 2: She just got so quickly.
• 35:10
  Speaker 1: Yeah, well that's there's like scales on that.
• 35:12
  Speaker 2: But yeah, I mean there was a fainting couch that
• 35:15
  Speaker 2: she didn't even faint onto.
• 35:17
  Speaker 3: Come on, she did wake up there the Yeah, but
• 35:22
  Speaker 3: she would go from strong assertive to panicked and just
• 35:26
  Speaker 3: really animated and really nervous and why is everybody acting
• 35:28
  Speaker 3: this way? And then she'd get defensive and she'd get upset,
• 35:30
  Speaker 3: then she'd come back down again. I'm like, girl, I
• 35:33
  Speaker 3: think you need medication, because, like, I'm tired watching you
• 35:37
  Speaker 3: go through this like whirlwind of emotion every ten seconds.
• 35:41
  Speaker 3: I think when we were watching it, I was like,
• 35:43
  Speaker 3: I bet she has whiplash.
• 35:45
  Speaker 2: Yeah, I think you need some mood balancers there, because
• 35:48
  Speaker 2: you seem just off all the time. Maybe Edith snickers,
• 35:51
  Speaker 2: you'll you'll act more like yourself, but you and you
• 35:55
  Speaker 2: kind of get a good look at her character, but
• 35:59
  Speaker 2: not really, we don't really get much explanation other than
• 36:02
  Speaker 2: the fact that she's clearly not respected in her family,
• 36:06
  Speaker 2: her sister and I guess her brother and their kid,
• 36:10
  Speaker 2: who was a very fuck that kid is so annoying.
• 36:13
  Speaker 2: And they never explained the blinking either. When she's like,
• 36:15
  Speaker 2: god damn it, Auntie nell is blinking and what was
• 36:19
  Speaker 2: with the blinking?
• 36:20
  Speaker 3: But she was blinking so much in the beginning that
• 36:23
  Speaker 3: we were just like you, I gotta stop looking at
• 36:25
  Speaker 3: her because she's making me blink too much, and I
• 36:27
  Speaker 3: don't like it.
• 36:28
  Speaker 2: I thought it was maybe a nervous tick or something.
• 36:30
  Speaker 2: But then it doesn't really happen ever, gets mentioned, never
• 36:33
  Speaker 2: gets mentioned. She's just extremely keyed up. And I guess
• 36:37
  Speaker 2: it's from her family who were just kind of rude
• 36:40
  Speaker 2: to her. They kind of demean her. But her temperament
• 36:42
  Speaker 2: was stressing me out. I was like, pick a lane, lady,
• 36:46
  Speaker 2: can you just be more in the middle because these
• 36:48
  Speaker 2: two extremes are just too much for me to handle.
• 36:50
  Speaker 2: And she did have some sort of Poulter guest experience
• 36:53
  Speaker 2: when she was ten. I wouldn't call this a Poulter
• 36:55
  Speaker 2: guest experience. I would call this a fucking act of
• 36:58
  Speaker 2: God where it rained on her house. Sounds like Stephen
• 37:02
  Speaker 2: King kind of ripped that idea off for Kerry if
• 37:04
  Speaker 2: you ask me anyways, And she just refuses to acknowledge
• 37:07
  Speaker 2: that it happened. It gets brought up by doctor Mark
• 37:09
  Speaker 2: Away and she's like, Nope, didn't happen. Didn't happen, So
• 37:12
  Speaker 2: it's like I don't never mentioned and then never mentioned again.
• 37:15
  Speaker 3: Yeah, the only supernatural stuff that you get from is
• 37:22
  Speaker 3: from THEO because she's got some esp and that was interesting.
• 37:26
  Speaker 3: They don't overuse it, but sometimes they it feels like
• 37:32
  Speaker 3: it gets picked up and put down at random exactly.
• 37:36
  Speaker 3: But she's the only one who really shows any kind
• 37:39
  Speaker 3: of indication because if you think about, oh, this is
• 37:42
  Speaker 3: set up, it's so odd. So this this doctor, he's
• 37:46
  Speaker 3: an anthropologist. Yeah, an anthropologist decides to get two psychic women,
• 37:52
  Speaker 3: one who's proven she has some uh gifts and then
• 37:56
  Speaker 3: one who had an experience when she was ten that
• 37:58
  Speaker 3: somehow he found out about out and then the dude
• 38:03
  Speaker 3: who owns the house all get together.
• 38:05
  Speaker 2: So they can the air of that house loose.
• 38:09
  Speaker 1: Find out if the house is haunted.
• 38:11
  Speaker 3: So, bro, you just picked two random ass women, brought
• 38:14
  Speaker 3: them out to the middle of nowhere with no with
• 38:17
  Speaker 3: a random other guy to lock them in this big
• 38:19
  Speaker 3: ass house where you can't find anything, and that was
• 38:22
  Speaker 3: your scientific study.
• 38:23
  Speaker 1: You're a terrible anthropologies.
• 38:25
  Speaker 2: Well remember he had the no I think it was
• 38:27
  Speaker 2: not a one point setter. Were the only people here.
• 38:30
  Speaker 2: It's like well, there was a few others, but they never,
• 38:32
  Speaker 2: you know, they they didn't show up.
• 38:34
  Speaker 1: Yeah never, where'd they go?
• 38:36
  Speaker 2: Yeah? Where'd they go? What happened with them?
• 38:38
  Speaker 3: And he brings no equipment. He conducts literally no studies.
• 38:43
  Speaker 2: God, he really doesn't.
• 38:44
  Speaker 1: He doesn't.
• 38:45
  Speaker 3: He doesn't run any tests. They're literally just chilling out
• 38:48
  Speaker 3: in the house to see if anything happens. He is
• 38:51
  Speaker 3: conducting absolutely no studies on this house. And he bro
• 38:56
  Speaker 3: doesn't bring so much as a fucking Ouiji board or
• 38:59
  Speaker 3: tarot deck in there. He literally just the one scientific
• 39:03
  Speaker 3: thing he does is, hey, did everyone notice this cold spot?
• 39:06
  Speaker 1: Come stand here? That's very terrible answer, very accurate.
• 39:11
  Speaker 2: Now, terrible anthropologist, Now that you're saying this out loud,
• 39:14
  Speaker 2: it's so accurate. I really wasn't. I guess I was
• 39:17
  Speaker 2: intrigued by the story because throughout the whole runtime, I
• 39:22
  Speaker 2: was constantly looking around the camera for something. And I
• 39:25
  Speaker 2: think that's what this movie does very well, is you're
• 39:28
  Speaker 2: constantly looking for something and then you don't get it,
• 39:31
  Speaker 2: so you never stop looking. But then by the end
• 39:34
  Speaker 2: it feels kind of like a slap in the face,
• 39:36
  Speaker 2: Like God, I spent all this time being anxious and
• 39:39
  Speaker 2: I didn't even get like a payoff for it. So
• 39:40
  Speaker 2: it's like part of me likes the ambiguity of is
• 39:43
  Speaker 2: this home haunted or is it just all in their heads?
• 39:47
  Speaker 2: But then it's like it's almost too much ambiguity. What
• 39:51
  Speaker 2: are we doing here?
• 39:52
  Speaker 1: And fuck?
• 39:53
  Speaker 3: His wife shows up midway through their thing and is like, hey,
• 39:58
  Speaker 3: the reporters have sniffed you out, snitched out that he's
• 40:00
  Speaker 3: sitting in this house because he's not doing shit in here,
• 40:04
  Speaker 3: and so then she goes out there, but he's immediately
• 40:06
  Speaker 3: annoyed she's there. She's clearly so far over his bullshit
• 40:11
  Speaker 3: because she's like, all right, let's see this haunted house.
• 40:14
  Speaker 2: She was such a throwaway character though there was no
• 40:17
  Speaker 2: reason for.
• 40:18
  Speaker 3: Her, and it was so funny because if you think
• 40:20
  Speaker 3: about it from her perspective, if this is the kind
• 40:22
  Speaker 3: of study, if this is the kind of quality of
• 40:25
  Speaker 3: work he's doing, and he is balancing his whole career
• 40:30
  Speaker 3: on proving that ghosts exist, and he's not actually doing
• 40:34
  Speaker 3: any work. He's just you know, thrown it out there
• 40:37
  Speaker 3: for everybody with no evidence and no effort to actually
• 40:41
  Speaker 3: collect the evidence. Just well, if the fact that he
• 40:45
  Speaker 3: says that Nell might have to leave because if she
• 40:48
  Speaker 3: is having delusions, it'll ruin the study. What fucking study, bro, Like,
• 40:52
  Speaker 3: I'm sorry, You've got psychics in a house, no real witnesses,
• 40:57
  Speaker 3: and no equipment. You're recording nothing. So when his wife
• 41:01
  Speaker 3: shows up and she's like, yeah, let's go see this
• 41:04
  Speaker 3: haunted fucking house, put me in the spookiest room, I
• 41:07
  Speaker 3: mean to me, she like comes off as this, oh,
• 41:10
  Speaker 3: his nagging wife shit up. Uh, But really she's all right,
• 41:14
  Speaker 3: let's see this shit you're constantly talking about and ruining
• 41:18
  Speaker 3: your career over. Oh.
• 41:19
  Speaker 2: I didn't take her as a nagging wife at all.
• 41:20
  Speaker 2: I took her exactly.
• 41:22
  Speaker 3: No, I thought you said, who okay, I think that's
• 41:25
  Speaker 3: how she's meant to be.
• 41:26
  Speaker 2: Oh yeah, I didn't take her like that at all.
• 41:28
  Speaker 2: I would be doing the same thing, because you're right,
• 41:30
  Speaker 2: if if this is the caliber of study he's bringing
• 41:33
  Speaker 2: to the table with no real equipment or really not
• 41:36
  Speaker 2: doing anything, I'd probably be very annoyed too. But I mean,
• 41:39
  Speaker 2: what what do I don't even know what they had
• 41:40
  Speaker 2: access to. He was in the nineteen sixties in terms
• 41:43
  Speaker 2: of like paranormal investigative resources.
• 41:47
  Speaker 3: Even on the base level of we're talking like to
• 41:51
  Speaker 3: ask sleep with microphones and shit.
• 41:53
  Speaker 1: You could be you could have recording equipment.
• 41:57
  Speaker 3: You could I mean you need to log things like
• 42:01
  Speaker 3: log experiences, document them. You could be checking temperatures in
• 42:05
  Speaker 3: the house because thermometers still exists, bro, you know they
• 42:11
  Speaker 3: could Yeah, they could absolutely be doing recordings. They could
• 42:14
  Speaker 3: be holding seances to see if they make any contact,
• 42:19
  Speaker 3: taking film or photographs.
• 42:22
  Speaker 2: True spirit photography.
• 42:23
  Speaker 3: Yeah, exactly, they they have. Oh what the hell are
• 42:29
  Speaker 3: those the rods you know that you hold in your hand.
• 42:31
  Speaker 2: Oh yeah, the two like brass rods you and you
• 42:33
  Speaker 2: ask the Yeah. I don't know, but I know I
• 42:35
  Speaker 2: know what you're talking about.
• 42:36
  Speaker 1: Yeah, cross and don't cross. They have those. Yeah, so
• 42:41
  Speaker 1: many different ways, bro.
• 42:42
  Speaker 2: Braught cigarettes, he did bring cigarettes.
• 42:45
  Speaker 3: Yeah, and they're worried about table service. And but at
• 42:50
  Speaker 3: no point do they actually get to conducting a study.
• 42:53
  Speaker 3: As soon as Nell starts freaking out, which he wants
• 42:56
  Speaker 3: to see something spooky, someone experiences something hmm and needs
• 43:01
  Speaker 3: immediate like, well we got to send her home.
• 43:03
  Speaker 2: Yeah that was kind of strange.
• 43:05
  Speaker 1: Ah what yeah, but go ahead, Oh.
• 43:07
  Speaker 2: No, I was gonna say. According to a quick Google search,
• 43:10
  Speaker 2: apparently nineteen fifty nine is when the modern in is
• 43:16
  Speaker 2: when EVPs like that was, Like the first recorded EVP
• 43:20
  Speaker 2: was nineteen fifty nine, Frederick Jurgensen's pivotal discovery of voices
• 43:25
  Speaker 2: on his recordings. So there you go. I don't know
• 43:28
  Speaker 2: how accurate that is, but this is nineteen sixty three,
• 43:30
  Speaker 2: so I'm sure. I just that's the thing. It's like,
• 43:33
  Speaker 2: I don't know, that's so long ago. I don't know
• 43:36
  Speaker 2: exactly what was known back then about hunting ghosts per se.
• 43:42
  Speaker 2: I got a lot of haunted house movies around that time.
• 43:44
  Speaker 2: I mean Haunting of Hill House was I mean that
• 43:46
  Speaker 2: was also, like I said, or sorry House on Haunted Hill,
• 43:49
  Speaker 2: but that was the ending of that movie.
• 43:51
  Speaker 1: Is there was a certain point that like holding sandces
• 43:55
  Speaker 1: and stuff and doing that was trendy and like the
• 43:57
  Speaker 1: Victorian era, those were spooky bitches.
• 44:01
  Speaker 3: Okay, they love doing that shit. So it's not like
• 44:03
  Speaker 3: that stuff didn't exist. And it's divining ruds.
• 44:06
  Speaker 2: Oh yeah, those, I got there. It's fine, nailed it.
• 44:08
  Speaker 3: So and she also like to shoot out the one
• 44:12
  Speaker 3: person who's experiencing something and to adamantly be opposed to
• 44:16
  Speaker 3: anyone going in the room that is marked to be
• 44:19
  Speaker 3: the most haunted. Why would you not go in the
• 44:22
  Speaker 3: most haunted room if you're trying to prove anything. And also, yeah,
• 44:26
  Speaker 3: because at the end of the day, he's gonna have
• 44:27
  Speaker 3: word of mouth, which in fact does nothing.
• 44:31
  Speaker 2: I mean, wasn't that the thing back then in ninety
• 44:33
  Speaker 2: sixty three, that's all you had was word of mouth? Yeah,
• 44:36
  Speaker 2: my word for it. Yeah, those are some strong points
• 44:41
  Speaker 2: that I really didn't think about until now.
• 44:44
  Speaker 1: You're very focused on the camera work. I think it's
• 44:48
  Speaker 1: such good camera work.
• 44:49
  Speaker 2: It was some of the most unique camera work I
• 44:52
  Speaker 2: have ever seen. And it's a movie that is sixty
• 44:56
  Speaker 2: three years old. That's crazy to me.
• 44:58
  Speaker 3: I just want to point out that the at the
• 45:00
  Speaker 3: time this movie came out, my dad was our daughter's age.
• 45:05
  Speaker 1: Yeah, almost to the month.
• 45:06
  Speaker 2: Oh wow, that's weird, isn't it weird? It's weird. Yeah. Also,
• 45:10
  Speaker 2: you know, because every so every movie this year, I've
• 45:12
  Speaker 2: been buying physical copies for so I have a physical
• 45:15
  Speaker 2: copy of this and we watched it on Blu Ray
• 45:16
  Speaker 2: and it looks great, yeah, being for being sixty seven
• 45:19
  Speaker 2: years old. Yeah, Like, the quality of film is great,
• 45:23
  Speaker 2: and the camera work is just so looney tunes, but
• 45:27
  Speaker 2: in a good way. And I really feel like they
• 45:30
  Speaker 2: made that house. It's like the conjuring. Remember when you
• 45:33
  Speaker 2: said that opening shot, it feels like the house is
• 45:35
  Speaker 2: watching them. Yeah, I feel like James Want had to
• 45:37
  Speaker 2: have seen the Haunting and kind of drew inspiration from that,
• 45:40
  Speaker 2: because it's not just the opening scene with the Haunting,
• 45:43
  Speaker 2: it is the entire time that they're at the house.
• 45:47
  Speaker 2: This house feels like it is watching them, just based
• 45:49
  Speaker 2: on the camera and how it moves and how things
• 45:52
  Speaker 2: are placed. It feels like a character of its own,
• 45:56
  Speaker 2: this house. Oh yeah, for sure, it's the main It's like,
• 45:58
  Speaker 2: even though Nell's the main character, like now, that house
• 46:01
  Speaker 2: is the main character of this movie.
• 46:03
  Speaker 3: Respectfully, if they hadn't given her an inner monologue, Nell
• 46:07
  Speaker 3: would be the least interesting character.
• 46:10
  Speaker 2: Yeah, and I'm wondering why I would have. Honestly, I
• 46:13
  Speaker 2: would have loved to see it from Theo's point of
• 46:15
  Speaker 2: view so much more.
• 46:16
  Speaker 1: Actually, I'm glad they didn't do it from Theo's perspective
• 46:19
  Speaker 1: because she, like I said when we were watching it,
• 46:20
  Speaker 1: she has such a black cat energy. She holds things
• 46:24
  Speaker 1: back and but also says anything she feels like she
• 46:27
  Speaker 1: wants to.
• 46:28
  Speaker 3: She she knows what to give and take. She has
• 46:32
  Speaker 3: a lot of confidence. But when I really like her character.
• 46:37
  Speaker 2: Oh yeah, And of course in Mike Flanagan's that's played
• 46:40
  Speaker 2: by his wife Kate Siegel, who does an incredible job.
• 46:44
  Speaker 2: And I love the addition that because really her psychic
• 46:47
  Speaker 2: abilities in the mini series are much more explored than
• 46:52
  Speaker 2: in this movie. And the whole glove thing I thought
• 46:54
  Speaker 2: was fascinating, Like she has to wear gloves. She has
• 46:57
  Speaker 2: to wear gloves because if she doesn't, then she can.
• 46:59
  Speaker 2: It's just too much. It's like sensory overload. Yep. Yeah.
• 47:02
  Speaker 2: But I did love that scene with THEO in this
• 47:04
  Speaker 2: movie where someone mentions to nell I believe, like to
• 47:09
  Speaker 2: not or doctor mark Away, like don't play cards with
• 47:11
  Speaker 2: Luke because he's a card sharp. And then you see
• 47:14
  Speaker 2: THEO playing with Luke and she beats him five times
• 47:17
  Speaker 2: and he's like there's no way, and You're like, that's
• 47:19
  Speaker 2: there's her Clairvoyability's all right, cool.
• 47:21
  Speaker 3: Which I think is funny because you stay straight up,
• 47:23
  Speaker 3: said she identified. When she was given a test, she
• 47:25
  Speaker 3: identified nineteen out of twenty cards that were I don't
• 47:28
  Speaker 3: know why I out of sound specifically, but out of
• 47:31
  Speaker 3: sight and sound, right, and I'm like, yeah, if someone
• 47:33
  Speaker 3: said that, I don't want to play cards with you either,
• 47:38
  Speaker 3: especially for money. But theo is really the most supernatural
• 47:44
  Speaker 3: thing about the entire film.
• 47:46
  Speaker 2: I mean, she was more supernatural, yeah, than the movie,
• 47:49
  Speaker 2: but I think it really does. Like my biggest takeaway
• 47:51
  Speaker 2: from this movie is is this all psychological or is
• 47:55
  Speaker 2: this supernatural like such? You know? And I think the
• 47:58
  Speaker 2: ambiguity is key because you can literally go either way
• 48:01
  Speaker 2: with this one. It can all be psychological like in
• 48:05
  Speaker 2: their heads, or it can be like this house is alive.
• 48:08
  Speaker 2: And I think that's kind of my biggest takeaway is
• 48:09
  Speaker 2: how do you determine, Like, if you watch this movie,
• 48:12
  Speaker 2: what what do you get from it to determine whether
• 48:15
  Speaker 2: this is actually happening or not happening?
• 48:17
  Speaker 3: Yeah, And I think digging into some other parts of it,
• 48:22
  Speaker 3: even if you kept ambiguous, would have made the film stronger.
• 48:25
  Speaker 1: Like, you know, I remember in The Haunting, the remake
• 48:29
  Speaker 1: of The Haunting.
• 48:31
  Speaker 2: Waiting for that one to come up, which we've reviewed
• 48:32
  Speaker 2: on this show. Go check it out.
• 48:34
  Speaker 3: Yeah, she Nell's character, if I recall correctly, the way
• 48:40
  Speaker 3: they bring her in, she thinks she's going for a
• 48:43
  Speaker 3: sleep study, you know, they lie and get those people
• 48:45
  Speaker 3: there and say it's for a sleep study and the
• 48:48
  Speaker 3: weirdest house to sleep study in, but she kind of
• 48:52
  Speaker 3: they I feel like it's kind of insinuated very lightly
• 48:56
  Speaker 3: that Nell kind of has this attracting presence to supernatural.
• 49:00
  Speaker 3: That's that's why the doctor wants her there, because she
• 49:05
  Speaker 3: had this supernatural thing happened to her, and maybe more
• 49:09
  Speaker 3: supernatural things, but honestly, rocks landing on your house and
• 49:13
  Speaker 3: that's the end of that context. Is such a weird
• 49:15
  Speaker 3: pick to be like supernatural? Yeah, because that's weird.
• 49:19
  Speaker 1: Shit like that happens. Sometimes the earth is weird, Okay.
• 49:24
  Speaker 3: But you know, I think it's if it had been
• 49:27
  Speaker 3: more explicitly stated she has this tendency to bring out
• 49:30
  Speaker 3: the supernatural that might have like made her presence there
• 49:34
  Speaker 3: make more sense. And also if we had at any
• 49:38
  Speaker 3: point gotten an explanation for why, because then you because
• 49:42
  Speaker 3: without that information, Okay, she had rocks fall in her
• 49:45
  Speaker 3: house when she was ten, and now she's obsessed with
• 49:48
  Speaker 3: this house but also hates the house but also wants
• 49:51
  Speaker 3: to stay. But also this house is awful, and then
• 49:56
  Speaker 3: stuff seems to be specifically happening to her. But why
• 50:00
  Speaker 3: And then they kind of make it seem like Crane
• 50:03
  Speaker 3: is haunting her, but is he or does she just
• 50:07
  Speaker 3: think it's Crane right, So like if they'd given a
• 50:11
  Speaker 3: couple more pieces to her, different pieces than the case,
• 50:15
  Speaker 3: I think that would have made sense. And a side note,
• 50:17
  Speaker 3: I think it was an absolute waste not to let
• 50:21
  Speaker 3: her fall.
• 50:21
  Speaker 1: Right off that fucking railing.
• 50:23
  Speaker 3: Oh yeah, that the way the film ended to me
• 50:27
  Speaker 3: was so much weaker than if she had looked at him,
• 50:32
  Speaker 3: tilted back and whipped herself right off the back of
• 50:35
  Speaker 3: that railing and been like, yeah, I know you're up
• 50:38
  Speaker 3: here to save me, but I'm out.
• 50:40
  Speaker 2: Well, especially with that really wicked shot when she's looking
• 50:43
  Speaker 2: at that exact spot of the house and the camera
• 50:46
  Speaker 2: is up there and it does this jarring. I don't
• 50:48
  Speaker 2: know how they did this, but it's like a quick
• 50:51
  Speaker 2: edit is like rushed down to her. And I thought
• 50:54
  Speaker 2: that was foreshadowing, like the foreshadowing of her possibly falling
• 50:57
  Speaker 2: out of the windows. So when we got to that point,
• 50:59
  Speaker 2: I was like, oh fuck, they're actually gonna throw her
• 51:01
  Speaker 2: off this roof or whatever, and to just drive away
• 51:05
  Speaker 2: with the steering wheel going back and forth, because the
• 51:07
  Speaker 2: ghosts don't want you to leave, and then you crash
• 51:09
  Speaker 2: into a tree, which somehow equivalates to you tilting the
• 51:13
  Speaker 2: car on its side. It just was okay, and then
• 51:17
  Speaker 2: the then Grace is out there too.
• 51:19
  Speaker 1: Well, now, Grace, what happened to Grace?
• 51:20
  Speaker 3: I would also be more interested in what the hell's
• 51:22
  Speaker 3: going on with Grace?
• 51:23
  Speaker 2: But she pops out of a it's like a heidie hole.
• 51:26
  Speaker 1: So if you look at that room therein it's a
• 51:29
  Speaker 1: tower with a pointed roof.
• 51:31
  Speaker 2: Uh huh.
• 51:32
  Speaker 1: It goes that tower goes all the way up.
• 51:33
  Speaker 3: But somehow she's in a hidie hole on in that
• 51:37
  Speaker 3: technically I think would go out to the outside of
• 51:39
  Speaker 3: that wall. And somehow, despite the hidie hole being between
• 51:45
  Speaker 3: Nell and the doctor, he doesn't see his wife. It
• 51:48
  Speaker 3: is a it's a big ass hidie hole. It's not
• 51:51
  Speaker 3: like she poked a little hole out. It is a
• 51:53
  Speaker 3: straight up door to the top door. It's like a
• 51:56
  Speaker 3: trap door, and it's a couple of feet wide. So
• 51:59
  Speaker 3: if he, like, does he have vision problems on the
• 52:02
  Speaker 3: left side? Uh?
• 52:03
  Speaker 2: I thought that was a strange choice to just have
• 52:05
  Speaker 2: her like it was like a jump scare.
• 52:07
  Speaker 1: But not jump scare. If you were Nell.
• 52:10
  Speaker 2: Yeah, I just was like, what the hell? I was like,
• 52:13
  Speaker 2: is that Grace?
• 52:13
  Speaker 1: Yeah? Fucking going through it?
• 52:18
  Speaker 2: Apparently got Who's the only person in the movie to
• 52:20
  Speaker 2: get lost in the house. No one else got lost?
• 52:22
  Speaker 1: No, remember THEO and Nell did a little bit in
• 52:24
  Speaker 1: the beginning.
• 52:25
  Speaker 2: Well, the doctor and Luke heard a dog outside and
• 52:29
  Speaker 2: they went, you know, there, they saw a dog, so
• 52:31
  Speaker 2: they went to chase the dog, and then THEO and
• 52:33
  Speaker 2: Nell were together. But I don't getting lost to the
• 52:35
  Speaker 2: point of looking like that. Yeah, no one else seemed
• 52:38
  Speaker 2: to get lost, and it.
• 52:41
  Speaker 3: Felt like a waste not to let Nell die there.
• 52:43
  Speaker 3: Like the tragedy. There would have been more tragedy to her,
• 52:47
  Speaker 3: not the house wanting her to stay, her accepting that,
• 52:52
  Speaker 3: and her dying in the house than it was that
• 52:56
  Speaker 3: she crashed her car directly into the tree that the
• 53:01
  Speaker 3: original Miss craned missus Crane died. It was symbolic, but
• 53:05
  Speaker 3: it was not as powerful as if she had fallen off,
• 53:08
  Speaker 3: especially since she was the caretaker. If she died where
• 53:11
  Speaker 3: the caretaker for the last Crane Woman died, that would
• 53:16
  Speaker 3: have been more powerful. Now I don't know what the
• 53:17
  Speaker 3: fuck happens in the book though, Okay, so that's true.
• 53:20
  Speaker 2: I have not read the book or she did state that.
• 53:22
  Speaker 2: It just it really did just feel like a waste
• 53:24
  Speaker 2: to have her drive into a tree. I don't know.
• 53:26
  Speaker 2: I get the symbolism, I understand it. It's fine, but
• 53:30
  Speaker 2: it's not very impactful. Plus, she was not going near
• 53:35
  Speaker 2: fast enough down.
• 53:36
  Speaker 1: There, way too strong for that down.
• 53:39
  Speaker 2: A dirt fucking road with a car from the sixties
• 53:43
  Speaker 2: that's made out of just solid steel. There's no way.
• 53:46
  Speaker 2: It just didn't make sense if she had like driven
• 53:49
  Speaker 2: off a cliff or something. Oh sure, but she hid
• 53:51
  Speaker 2: a tree yet probably twenty miles an hour and the
• 53:54
  Speaker 2: car was destroyed. I'm not and I don't get it.
• 53:59
  Speaker 2: I feel like, God, I like this movie so much
• 54:02
  Speaker 2: more before we started diaceticly. But that's what I like
• 54:06
  Speaker 2: about talking about movies because you bring up a lot
• 54:07
  Speaker 2: of good points. Because there was a terrible study on
• 54:10
  Speaker 2: what was going on. I guess he was just relying
• 54:13
  Speaker 2: on people to do kind of the work for him.
• 54:17
  Speaker 1: That's the thing.
• 54:17
  Speaker 3: There was, Like there was a lot of strong interest
• 54:20
  Speaker 3: things in the movie. It just wasn't the plot like
• 54:24
  Speaker 3: theo interesting character. Would love to hear.
• 54:26
  Speaker 2: More about that, right, love her and Mike Flannigan's.
• 54:30
  Speaker 1: Right, THEO very interesting character.
• 54:32
  Speaker 3: The gay panic in that between her and Nell was
• 54:36
  Speaker 3: ridiculous because the second THEO walks on the screen and
• 54:39
  Speaker 3: starts talking to know lesbian one hundred percent of lesbian.
• 54:43
  Speaker 1: There's no way she's not gay and what.
• 54:46
  Speaker 2: Oh no, I was just gonna say something quickly on that,
• 54:48
  Speaker 2: and they there is obviously the queer subtext there, and
• 54:52
  Speaker 2: they had to keep it very subtle because it was
• 54:54
  Speaker 2: nineteen sixties. Yeah, it was the sixties and censorship back then,
• 54:59
  Speaker 2: so it was it was there for sure, but it
• 55:02
  Speaker 2: had to be subtle to get which is crazy to
• 55:04
  Speaker 2: think that lesbian couple wouldn't get past censors. That's a
• 55:09
  Speaker 2: wild time.
• 55:10
  Speaker 1: They couldn't get lesbians kissing on TV until bust.
• 55:13
  Speaker 2: I know, I know, it's just crazy to think so,
• 55:15
  Speaker 2: but you're right, it's totally there.
• 55:17
  Speaker 3: Continue Yeah, I mean, and Nell kind of being into it,
• 55:21
  Speaker 3: but then backing up really hard.
• 55:23
  Speaker 1: She was, you know, on her own tilt, a whirl
• 55:25
  Speaker 1: of feelings.
• 55:26
  Speaker 2: Did you notice though, that every time she backed away
• 55:28
  Speaker 2: it was because of the house, like the house started
• 55:30
  Speaker 2: doing something. Yeah, it's almost like some want them don't
• 55:34
  Speaker 2: be lesbians? And also the house is very misogynistic because
• 55:38
  Speaker 2: not one fucking man has died at this house. Called
• 55:41
  Speaker 2: back to the thing you said at the beginning of
• 55:43
  Speaker 2: the episode all women, because you said that mister Crane
• 55:47
  Speaker 2: died there, but no, he left his daughter and his
• 55:50
  Speaker 2: wife to go to England and died in a pond
• 55:53
  Speaker 2: in England. So this house has not killed one man.
• 55:56
  Speaker 2: Very weird. Yeah, very strange. Sorry, I totally cut you
• 55:59
  Speaker 2: often interrupted you. I apologize.
• 56:01
  Speaker 1: I was just talking about gay people here, guys trying
• 56:03
  Speaker 1: to silence the gays.
• 56:05
  Speaker 2: Talking about the symbolism between them.
• 56:08
  Speaker 3: Yeah, there was a lot of tension between them. THEO
• 56:12
  Speaker 3: is a very strong personality and very unabashed, and I
• 56:18
  Speaker 3: think that if this were made today, I mean obviously
• 56:21
  Speaker 3: that we did do one, but if this movie had
• 56:23
  Speaker 3: been made today, they would have it would have been
• 56:25
  Speaker 3: a lot stronger, would have their relationship felt really similar
• 56:30
  Speaker 3: to the girls in Blind manner.
• 56:33
  Speaker 2: Yeah, well, THEO is a lesbian.
• 56:35
  Speaker 1: I'm not talking about hunting Viilla.
• 56:37
  Speaker 3: No, no, no, I know, well, I know that I'm
• 56:39
  Speaker 3: saying I know that they made or lesbian. I'm saying
• 56:41
  Speaker 3: that the way that that played out, where like there's
• 56:43
  Speaker 3: a lot of tension and then they kiss. I feel
• 56:46
  Speaker 3: like their relationship would have played out more that way
• 56:49
  Speaker 3: had it been allowed at the time.
• 56:50
  Speaker 2: Well, shout out to Mike Flanning again for just fully
• 56:53
  Speaker 2: establishing that Theo is a gay character, because it's true
• 56:58
  Speaker 2: to the book or at least the queer subtext of
• 57:00
  Speaker 2: the book in the movie. So to just make her
• 57:03
  Speaker 2: outright gay was I thought that was That's a that
• 57:06
  Speaker 2: makes me respect the choice of that much more because first,
• 57:09
  Speaker 2: so you know, when I when I watch it, I
• 57:11
  Speaker 2: was like, oh, she's gay, Okay, cool, But now there's
• 57:13
  Speaker 2: actually actually a reason behind it because of the sorts material.
• 57:16
  Speaker 2: So that's like makes me appreciate my plan again even more.
• 57:19
  Speaker 1: Oh Jesus.
• 57:20
  Speaker 3: Even in the remake of The Haunting, Catherine Zada Jones
• 57:24
  Speaker 3: is given strong lesbian vibes, and I think they straight
• 57:27
  Speaker 3: up say she has a girlfriend and a boyfriend or
• 57:30
  Speaker 3: something like that.
• 57:30
  Speaker 2: Oh my, now we have to rewatch that.
• 57:34
  Speaker 1: Sure. Oh no, I'll watch a cheese fest any day
• 57:36
  Speaker 1: of the week. Every time that came out in sci fi, like, hell, yeah,
• 57:39
  Speaker 1: what time is that?
• 57:40
  Speaker 2: Some of the most terrible cg'll.
• 57:42
  Speaker 1: Oh, it's just oh god, it's awful.
• 57:45
  Speaker 2: It's terrible.
• 57:45
  Speaker 3: But you know they also were like, yeah, no, there's
• 57:49
  Speaker 3: no way Theo's not gay the way she's assertively gay
• 57:55
  Speaker 3: as much as she could be at that time.
• 57:57
  Speaker 2: Yeah, that's fair. I mean, yeah, so part of me
• 58:01
  Speaker 2: really enjoys like I don't even know anymore. Well, I
• 58:06
  Speaker 2: don't even know if I like this movie anymore. I
• 58:07
  Speaker 2: don't understand so much of it from how the style
• 58:12
  Speaker 2: of the movie is great, but really, when you break
• 58:14
  Speaker 2: it down, I don't and I don't even have any answers,
• 58:17
  Speaker 2: And that's the whole point is the is the you
• 58:20
  Speaker 2: you know that he's leaving it for the audience to
• 58:22
  Speaker 2: make their minds up. Sometimes I like ambiguity, sometimes I don't.
• 58:25
  Speaker 2: I don't know where I said with this one. I
• 58:27
  Speaker 2: just wish certain events would have played out differently. I'm
• 58:30
  Speaker 2: okay with not seeing a ghost because it kept me
• 58:32
  Speaker 2: on edge the entire time because I can't That's fine.
• 58:35
  Speaker 2: I kept searching for a fucking ghost. And I really
• 58:38
  Speaker 2: think Flannagan was pulling from this movie obviously, because did
• 58:42
  Speaker 2: you notice in a lot of the shots that there
• 58:44
  Speaker 2: was a statue and frame?
• 58:46
  Speaker 1: Yeah, that's what we were talking about.
• 58:47
  Speaker 3: It feels like it felt like the house was watching them,
• 58:49
  Speaker 3: and the statues felt like the eyes.
• 58:53
  Speaker 2: Well, I mean, I mean, I'm specifically what you're talking about,
• 58:55
  Speaker 2: specifically from Flannagan's because of all of those hidden ghosts.
• 58:59
  Speaker 2: It's it's like he saw the movie and it was like, Ooh,
• 59:01
  Speaker 2: I could make this fun and have ghosts that were
• 59:05
  Speaker 2: just not talking about in the background of like forty
• 59:07
  Speaker 2: two different shots.
• 59:09
  Speaker 3: Oh, there's so many more ghosts that every time someone's like,
• 59:11
  Speaker 3: here's some more ghosts, you didn't notice. Like Jesus Christ
• 59:13
  Speaker 3: was just like an army of extras, like all right,
• 59:16
  Speaker 3: ghost people.
• 59:17
  Speaker 1: Hi.
• 59:18
  Speaker 2: I feel like Flannagan was like, all right, this is
• 59:19
  Speaker 2: where the SHOT's gonna be. Fucking get the best hiding
• 59:22
  Speaker 2: spot you possibly can.
• 59:24
  Speaker 3: Just put your fingertips right here. Yeah, you don't even
• 59:27
  Speaker 3: need to be all the way, just just a little
• 59:29
  Speaker 3: bit right there, all right, ghost.
• 59:32
  Speaker 2: Yeah, ghosts. So I think I think he definitely pulled
• 59:34
  Speaker 2: from the statues of this movie and did that. And
• 59:37
  Speaker 2: then of course that brilliant moment when we both looked
• 59:40
  Speaker 2: at each other and you were like, Flanagin, you brilliant bastard.
• 59:43
  Speaker 2: When Nell was dancing around the atrium or whatever the
• 59:45
  Speaker 2: fuck that thing's called. That's exactly what Nell did in
• 59:49
  Speaker 2: the miniseries when she's convinced she's dancing with her husband
• 59:54
  Speaker 2: that died right.
• 59:55
  Speaker 1: In the h in the miniseries.
• 59:56
  Speaker 2: Yeah, and for the longest not for the longest time,
• 59:59
  Speaker 2: but for quite some time. You know, if you've seen
• 1:00:01
  Speaker 2: the miniseries, you know the correlation between because I don't
• 1:00:04
  Speaker 2: want to spoil it, you know the correlation between the
• 1:00:06
  Speaker 2: who the Bent Neck Lady is. And I really thought
• 1:00:09
  Speaker 2: at one point we were gonna get that from this
• 1:00:11
  Speaker 2: movie because of how many like that one girl who
• 1:00:14
  Speaker 2: hung or the one yeah who hung herself. I was like,
• 1:00:16
  Speaker 2: holy shit, are we gonna get like Bent Neck Lady?
• 1:00:19
  Speaker 2: And we don't. And I was like, damn it. So
• 1:00:20
  Speaker 2: that's entirely Mike Flanagan's own like stuff going on. So
• 1:00:25
  Speaker 2: I was I don't So, I don't know. I expected
• 1:00:27
  Speaker 2: certain things even though I didn't know the source material.
• 1:00:30
  Speaker 2: And it's just I'm kind of in the middle with
• 1:00:32
  Speaker 2: this movie. I don't know. Yeah, I feel like it
• 1:00:35
  Speaker 2: has a lot of good but it has equally as
• 1:00:37
  Speaker 2: much questions.
• 1:00:39
  Speaker 3: Yeah, Like I said, there's a lot of great stuff
• 1:00:41
  Speaker 3: about this there's just stuff that's not that wasn't that strong,
• 1:00:44
  Speaker 3: that could have been stronger.
• 1:00:46
  Speaker 2: Yeah, okay, Well I don't really have much else here.
• 1:00:51
  Speaker 2: I would talk about the tropes of Haunted House movies,
• 1:00:53
  Speaker 2: but I mean, really, at this point, I don't I
• 1:00:55
  Speaker 2: don't think there's established tropes in sixty three. I don't know.
• 1:00:58
  Speaker 2: This movie's a little bit hass my knowledge of when
• 1:01:01
  Speaker 2: tropes were established. I think that's probably a good stopping point.
• 1:01:05
  Speaker 2: Is there anything that you didn't get to mention that
• 1:01:08
  Speaker 2: you wanted to mention before we wrap up here?
• 1:01:10
  Speaker 3: No?
• 1:01:10
  Speaker 1: I don't think so.
• 1:01:11
  Speaker 2: Okay, So that is the Haunting from nineteen sixty three.
• 1:01:15
  Speaker 2: Let's move on to the final cut post review stuff
• 1:01:19
  Speaker 2: here taglines that is way too long of a tagline.
• 1:01:23
  Speaker 2: I don't know why I even put that on here.
• 1:01:25
  Speaker 2: At Hillhouse, the dead don't stay quiet. You may not
• 1:01:28
  Speaker 2: believe in ghosts, but you can't deny terror and scream.
• 1:01:32
  Speaker 2: No one will hear you run and the footsteps will
• 1:01:34
  Speaker 2: follow you. For in Hillhouse, the dead are restless? But
• 1:01:37
  Speaker 2: are they? But are than that?
• 1:01:39
  Speaker 1: Really?
• 1:01:40
  Speaker 2: Because at one point you hear fucking baby crying? Did
• 1:01:43
  Speaker 2: a baby die? That I was unaware of I don't
• 1:01:45
  Speaker 2: remember a baby does.
• 1:01:46
  Speaker 1: I don't remember that either.
• 1:01:48
  Speaker 2: Anyways. Trivia director Robert Wise read a review of Shirley
• 1:01:52
  Speaker 2: Jackson's novel The Haunting of Hillhouse in Time magazine and
• 1:01:55
  Speaker 2: decided to get the rights to the novel. He later
• 1:01:57
  Speaker 2: met the writer herself to talk about ideas for the film.
• 1:02:00
  Speaker 2: He asked her if she had thought of other titles
• 1:02:02
  Speaker 2: for the novel, because the title would not work for
• 1:02:04
  Speaker 2: the film. She told him that the only other title
• 1:02:06
  Speaker 2: she'd considered was simply the Haunting, So that's what why
• 1:02:08
  Speaker 2: is decided to use. Most of the film was shot
• 1:02:11
  Speaker 2: through lens that added curvature to the walls, making the
• 1:02:13
  Speaker 2: house seem even more strange. This is what you call
• 1:02:15
  Speaker 2: a Oh my god, it just left my head.
• 1:02:18
  Speaker 1: That's a long name for Lynz.
• 1:02:19
  Speaker 2: What fucking h Carpenter used in Halloween. Oh my god,
• 1:02:24
  Speaker 2: Michael is going to be so pissed at me when
• 1:02:25
  Speaker 2: he hears this. What the fuck is the name of
• 1:02:28
  Speaker 2: that lens? Aperture said, I said it last night, and
• 1:02:31
  Speaker 2: when I was like, ooh.
• 1:02:32
  Speaker 3: This lens, Oh my god, Dialapa, that's a dinosaur.
• 1:02:39
  Speaker 2: I think a diameter anamorphic.
• 1:02:43
  Speaker 1: Oh got it.
• 1:02:44
  Speaker 2: God, anamorphic lens. You said dados or something. Oh my god,
• 1:02:51
  Speaker 2: anamorphic lens. Holy cow. Anyways, its Ana morphs. We talked
• 1:02:58
  Speaker 2: about this. Robert Wise the film in black and white
• 1:03:01
  Speaker 2: because he loved the He loved the depth and rich
• 1:03:03
  Speaker 2: atmospheric quality of black and white, and it just felt
• 1:03:05
  Speaker 2: suitable for the genre. Director Martin Scorceas he named this
• 1:03:09
  Speaker 2: his favorite horror film, and that just make that tracks.
• 1:03:13
  Speaker 2: For some of the scenes in which characters are tormented
• 1:03:15
  Speaker 2: by loud, ghostly sounds coming from the house, Robert Wise
• 1:03:17
  Speaker 2: had the sounds on playback so that the actors could
• 1:03:19
  Speaker 2: react to them authentically. It was a technique they found
• 1:03:22
  Speaker 2: especially useful and effective for creating just the right mood
• 1:03:25
  Speaker 2: of terror. And listening to the audio commentary on the Haunting,
• 1:03:28
  Speaker 2: I can tell you he talks exactly about that. So
• 1:03:30
  Speaker 2: this is one hundred percent true, because some of these
• 1:03:32
  Speaker 2: I'm like, act no goose that I could find interesting.
• 1:03:37
  Speaker 2: Rated seven point four out of ten on IMDb. For
• 1:03:42
  Speaker 2: our purposes, it will be a three point seven out
• 1:03:44
  Speaker 2: of five, three point eight out of five on Letterbox,
• 1:03:49
  Speaker 2: has a an eighty seven percent on the Tomatometer and
• 1:03:53
  Speaker 2: an eighty two percent audience score, What did you give
• 1:03:55
  Speaker 2: this movie?
• 1:03:56
  Speaker 1: And a half?
• 1:03:57
  Speaker 2: Three and a half. That's where I'm at. Like usually
• 1:03:59
  Speaker 2: when I say I'm in the middle on movies, it's
• 1:04:01
  Speaker 2: usually a two and a half. But I can't deny
• 1:04:04
  Speaker 2: how good the movie was shot. So with that, we
• 1:04:07
  Speaker 2: have a frightmare index, a nightmare index of three point
• 1:04:11
  Speaker 2: six three. We're gonna round up because it's three point
• 1:04:14
  Speaker 2: sixty five, so we'll say three point sixty three for
• 1:04:17
  Speaker 2: the nightmare index. This is the first movie on that,
• 1:04:19
  Speaker 2: so it falls right at number one. Yay for now,
• 1:04:23
  Speaker 2: It's not gonna get interesting until you know, we get
• 1:04:25
  Speaker 2: later into the year. Two movies in similar movies according
• 1:04:29
  Speaker 2: to IMDb, we have The Innocence nineteen sixty one, The
• 1:04:33
  Speaker 2: Changeling from nineteen eighty, The Haunting of Course, the remake
• 1:04:36
  Speaker 2: nineteen ninety nine, House on Haunted Hill from nineteen fifty nine,
• 1:04:38
  Speaker 2: and Carnival of Souls. Similar movies according to Letterbox, you
• 1:04:42
  Speaker 2: would not believe it when I tell you, but The
• 1:04:44
  Speaker 2: Haunting from nineteen ninety nine, fourteen oh eight, The Changeling,
• 1:04:48
  Speaker 2: The Woman in Black, and the others. Let's do some
• 1:04:51
  Speaker 2: funny reviews. Did you get any yes? Ah shit, I'll
• 1:04:55
  Speaker 2: let's use well, how many do you have? Four? All right,
• 1:04:57
  Speaker 2: I'll go first. Then four stars from Ashton Eleanor really
• 1:05:01
  Speaker 2: walked into Hill House and not even one second later
• 1:05:03
  Speaker 2: said I love my new forever home. Yeah what was
• 1:05:06
  Speaker 2: with that? She was?
• 1:05:07
  Speaker 1: I love, That's what I'm saying. They don't explain it.
• 1:05:09
  Speaker 2: She just expected when she was on her way there
• 1:05:11
  Speaker 2: to like, maybe I won't have to leave. This isn't permanent.
• 1:05:14
  Speaker 2: It's a study.
• 1:05:15
  Speaker 1: Like missing some chunk information about now.
• 1:05:20
  Speaker 2: Go ahead. Uh.
• 1:05:21
  Speaker 3: Three and a half stars from Lexi Ribbon. Let's get
• 1:05:26
  Speaker 3: one thing straight.
• 1:05:27
  Speaker 2: THEO is not Yeah, I had that one. That's great.
• 1:05:31
  Speaker 2: Three and a half from Cinema Void A House that
• 1:05:34
  Speaker 2: was born bad and each trauma for Breakfast faces its
• 1:05:37
  Speaker 2: biggest challenge yet. Loud lesbian Lodgers.
• 1:05:42
  Speaker 1: Three and a half stars from Horror Syndrome.
• 1:05:45
  Speaker 3: God damn it, Hukraine really didn't want these two women
• 1:05:49
  Speaker 3: scissoring in his house.
• 1:05:50
  Speaker 2: Yep, bad that one too. Four stars from Slayer in Salem.
• 1:05:55
  Speaker 2: I don't like that name. It's too hard to say.
• 1:05:58
  Speaker 2: Aunty ellis blinking. Aunty Elli's blinking. What a punishable kid.
• 1:06:03
  Speaker 3: Five stars from fell At last, something is really really
• 1:06:07
  Speaker 3: really happening to me, really cool documentary documentary about how
• 1:06:12
  Speaker 3: lesbians have eesp uh?
• 1:06:17
  Speaker 2: Is that all four? Did you do? Oh? Okay, that's right,
• 1:06:21
  Speaker 2: you took two of mine? That's why? Yeah, go ahead?
• 1:06:23
  Speaker 1: Four stars from Lee Gay Gay Gay gay.
• 1:06:31
  Speaker 2: Jesus Christ, Oh my goodness. If you enjoy the show,
• 1:06:35
  Speaker 2: please rate and review on your favorite podcast app of choice.
• 1:06:38
  Speaker 2: Follow us on Facebook, Instagram, TikTok, slash your threads and
• 1:06:41
  Speaker 2: YouTube at Framemares Podcast. Our email is day Spooky at
• 1:06:44
  Speaker 2: outlook dot com. You can follow me personally on letterbox
• 1:06:47
  Speaker 2: at doctor Pructer.
• 1:06:48
  Speaker 1: You are Watson L and P ninety bo. Yeah.
• 1:06:51
  Speaker 2: If you'd like to expand your movie podcast listening, check
• 1:06:55
  Speaker 2: out the Shameless Pictures Show, The Dead Eyed Millennial Film Club,
• 1:06:58
  Speaker 2: and one week as well. Next week, Michael and I
• 1:07:02
  Speaker 2: will be doing something called the Nesting. Oh my god,
• 1:07:05
  Speaker 2: I forgot an explanation, so real quick, real quick, I'm
• 1:07:08
  Speaker 2: so sorry. We have five movies a month. We have
• 1:07:12
  Speaker 2: an Essential Viewing, a Deep Cut, a Modern, a International,
• 1:07:18
  Speaker 2: and a wild Card. These are all curated by me
• 1:07:21
  Speaker 2: and what I am deeming to be these choices. It's
• 1:07:24
  Speaker 2: not necessarily like this I felt was essential because most
• 1:07:27
  Speaker 2: people have probably seen Mike Flanigan's The Hunting of Hill House,
• 1:07:31
  Speaker 2: and I bet you those people haven't seen this. So anyways,
• 1:07:34
  Speaker 2: long story short, that's what we're doing. Totally forgot to
• 1:07:36
  Speaker 2: say that up top. Next week, Michael and I will
• 1:07:38
  Speaker 2: be doing the nesting from nineteen eighty one, So until then,
• 1:07:41
  Speaker 2: stay tuned and stay spooky
• 1:08:00
  Speaker 1: To