Latest / Frightmares / Ep. 384 - Monster SeaFood Wars (2020)

Transcript

Ep. 384 - Monster SeaFood Wars (2020) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:15
  Speaker 2: Ever have that one movie everyone assumes you've seen, but
• 0:18
  Speaker 2: you haven't? You know, the one, the classic, the cult favorite,
• 0:23
  Speaker 2: the how have you not seen that movie? Welcome to
• 0:27
  Speaker 2: The Shameless Picture Show. Twice a month, I sit down
• 0:30
  Speaker 2: with the guests who finally cross one of those films
• 0:32
  Speaker 2: off our shame lists. Sometimes it's their first watch and
• 0:36
  Speaker 2: sometimes it's mine, but sometimes it's new for both of us.
• 0:41
  Speaker 2: Then we die the characters, the craft, the cultural impact,
• 0:45
  Speaker 2: and whether it actually lives up to the hype, from
• 0:48
  Speaker 2: legendary classics to cult oddities to the films we somehow
• 0:52
  Speaker 2: missed along the way. Join us as we turn movie
• 0:55
  Speaker 2: shame into movie discussion. This is the Shameless Picture Show.
• 1:05
  Speaker 2: The following podcast will contain spoilers, tangents, hot takes, and
• 1:10
  Speaker 2: excessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:57
  Speaker 3: Welcome back to Fridmar's podcast. I'm your host Austin and
• 2:00
  Speaker 3: joining me today. I don't know what that pause was
• 2:02
  Speaker 3: for episode three eighty four is my Beautiful wife Gabrielle.
• 2:06
  Speaker 3: Hello Proctor, Hi. Today on another installment of Kai June Destroy,
• 2:13
  Speaker 3: we're discussing our modern pick Monster Seafood Wars from twenty twenty,
• 2:17
  Speaker 3: a movie that was eighty four minutes a pure brain
• 2:19
  Speaker 3: rot which I could not escape since I chose it
• 2:22
  Speaker 3: and had no one to blame but myself.
• 2:25
  Speaker 4: Yeah, you did that to you, man, and also to me.
• 2:29
  Speaker 3: I know where this is landing on the nightmare index,
• 2:31
  Speaker 3: but let's get into it before we even talk about movies.
• 2:39
  Speaker 3: You know what, I'll save it. I don't care, I'll
• 2:41
  Speaker 3: save it. It's fine. I'm just gonna apologize to anyone
• 2:44
  Speaker 3: I made watch this movie. I'm just gonna apologize right
• 2:47
  Speaker 3: up front.
• 2:48
  Speaker 4: If you liked it, get it out there.
• 2:49
  Speaker 3: If you like it, then great. Did not, I'm gonna
• 2:52
  Speaker 3: bury the lead very early. Did not enjoy anyways. Watched
• 2:57
  Speaker 3: a whole bunch of stuff over. I had to backlog
• 3:01
  Speaker 3: a bunch of stuff on letterbox, so I gotta go back.
• 3:03
  Speaker 3: We're gonna go back to the fifth of September. There's
• 3:07
  Speaker 3: another song, do.
• 3:08
  Speaker 4: You remember, Yeah, the twenty first night of not the
• 3:11
  Speaker 4: fifth night?
• 3:12
  Speaker 3: Okay, got it. Watch a movie called despiser sent over
• 3:16
  Speaker 3: for av Entertainment. You can see my review on social media.
• 3:19
  Speaker 3: Woo boy, was that a film? I saw with my eyes,
• 3:22
  Speaker 3: or at least I think I did. Picture, if you will,
• 3:25
  Speaker 3: a video game cutscene from two thousand and three, and
• 3:29
  Speaker 3: not like a well engineered game, you know, just like
• 3:32
  Speaker 3: your average two thousand and three cut scene. We're not
• 3:35
  Speaker 3: talking like Gears of War here. That was way ahead
• 3:37
  Speaker 3: of its time. That was about eighty percent of this movie,
• 3:42
  Speaker 3: just cig Hellscape, fully constructed scenes that were like cut
• 3:47
  Speaker 3: scenes to a movie. Although I was impressed at how
• 3:50
  Speaker 3: they like zoom cut into the live action stuff that
• 3:54
  Speaker 3: I was genuinely impressed by, because they would zoom the
• 3:59
  Speaker 3: care like you know, the camera would whoosh forward with
• 4:02
  Speaker 3: motion blur and then cut to a live action shot
• 4:04
  Speaker 3: like exactly the same. I was like, oh, that's actually
• 4:07
  Speaker 3: it was like too impressive.
• 4:09
  Speaker 4: Yeah, I liked that. You were like I was early
• 4:12
  Speaker 4: for CG and I was like, this is the year
• 4:14
  Speaker 4: the Return of the King came out, and you're like, oh,
• 4:17
  Speaker 4: like yeah, no, I'm sorry, but this is It took
• 4:22
  Speaker 4: me a while to figure it out, like this reminds
• 4:23
  Speaker 4: me of something, and it reminded me of a show
• 4:25
  Speaker 4: called Reboot which was on I think it was on
• 4:27
  Speaker 4: Tanami that was out in nineteen ninety four.
• 4:31
  Speaker 3: Yeah, so.
• 4:34
  Speaker 4: There were no excuses for that. But honestly, the movie
• 4:38
  Speaker 4: was so ridiculous it didn't detract.
• 4:40
  Speaker 3: It didn't at all. Somehow I felt like better CG
• 4:44
  Speaker 3: would have made it worse.
• 4:46
  Speaker 4: Some Yeah, the acting and the plot were on par
• 4:50
  Speaker 4: with the CG and the computer generated world. And yeah,
• 4:56
  Speaker 4: because when you get like a really good movie and
• 4:58
  Speaker 4: at the last second it cgi nightmare dating and I
• 5:04
  Speaker 4: don't care if you think it's good or not.
• 5:05
  Speaker 3: I do.
• 5:06
  Speaker 4: Here's at the end you're like, oh, no, that's some
• 5:09
  Speaker 4: CGI they used. That really that really detracts from the
• 5:13
  Speaker 4: film overall. But this is like, nah, this is just
• 5:16
  Speaker 4: the healthscape we're living in.
• 5:17
  Speaker 3: I accepted it. You just accept it.
• 5:19
  Speaker 4: Yeah. After a while you're like, I'm not even noticing it.
• 5:22
  Speaker 4: It's just like, yep, this is what their world looks like.
• 5:25
  Speaker 3: Part CG hellscape, part Melo drama committed to.
• 5:28
  Speaker 4: Both purgatory is uh computer healthscape made of only smooth surfaces?
• 5:35
  Speaker 4: That's probably true.
• 5:37
  Speaker 3: I don't even I don't even want to get into
• 5:39
  Speaker 3: the plot. I watched a movie called Sorcerer, which is
• 5:43
  Speaker 3: a William Friedkin movie. If that name doesn't sound familiar,
• 5:46
  Speaker 3: he directed The Exorcist. I don't think I like William
• 5:48
  Speaker 3: Friedkin's work. I'm just that's what I'm getting at this point.
• 5:51
  Speaker 3: Exorcists not my thing, but it's not your thing either.
• 5:55
  Speaker 4: Yeah, I want to watch it again because I just
• 5:58
  Speaker 4: want one day for me to be like, yeah, I
• 6:00
  Speaker 4: do like.
• 6:01
  Speaker 3: The same thing with me, the same thing with me
• 6:03
  Speaker 3: and hell Raiser. We talked about this last night. I
• 6:05
  Speaker 3: watched that at least once a year, hoping maybe one
• 6:07
  Speaker 3: day it'll click. But it never has and I don't
• 6:08
  Speaker 3: think it ever will. I genuinely think Hell Raiser is
• 6:11
  Speaker 3: a bad movie. I'm just in a mood today. I'm
• 6:13
  Speaker 3: gonna piss everybody off apparently. Anyways, Sorcerer was like great
• 6:17
  Speaker 3: and all. I can see the merit behind why people
• 6:21
  Speaker 3: enjoy this movie. I don't know. It's just one of
• 6:24
  Speaker 3: those things where I'm not the target audience. It gave
• 6:27
  Speaker 3: it like a three star in heart, like, I thought
• 6:28
  Speaker 3: it was good, but it has like a four What
• 6:30
  Speaker 3: does it have? Like a four to one or something
• 6:33
  Speaker 3: like that, double checking now four to three and I'm like,
• 6:37
  Speaker 3: I'm not, okay, whatever, so that get a three star.
• 6:41
  Speaker 3: We watched something called Distempting Madness, which was an alliance
• 6:44
  Speaker 3: or not alliance excuse me, sent over from Pixel Scene Media,
• 6:48
  Speaker 3: which is actually a really good thriller. Mystery wasn't necessarily horror,
• 6:53
  Speaker 3: but it was really good. I just didn't know whose
• 6:55
  Speaker 3: side I was supposed to be on. My review was
• 6:57
  Speaker 3: literally whose side am I supposed to be on? For
• 6:59
  Speaker 3: all this? I don't know. They both seem like terrible people,
• 7:03
  Speaker 3: but that one was really good.
• 7:04
  Speaker 4: I don't know which to preface, which to clarify. Does
• 7:07
  Speaker 4: not justify what he did, just that there's terrible people.
• 7:11
  Speaker 4: It just doesn't justify what happens, but it doesn't make
• 7:14
  Speaker 4: either of them michable.
• 7:15
  Speaker 3: Exactly we watch. I'm not gonna talk about hoppers. I
• 7:20
  Speaker 3: don't care. I watched a movie called New Fears Eve,
• 7:23
  Speaker 3: which was also sent over by av Entertainment, and normally
• 7:27
  Speaker 3: I don't watch holiday horror outside of the holiday, but
• 7:30
  Speaker 3: with a poster like the one that this one has,
• 7:34
  Speaker 3: I couldn't say no. And I really enjoyed it. I
• 7:37
  Speaker 3: was very impressed. I did a review on that as well.
• 7:39
  Speaker 3: You can see on social media. PJ Starks, the director
• 7:43
  Speaker 3: actually reached out to me and we've been chatting, chatting,
• 7:47
  Speaker 3: back and forth about this and that, and we're gonna
• 7:50
  Speaker 3: have him on later in the year to talk about
• 7:51
  Speaker 3: the movie, you know, around the holiday, because it makes
• 7:54
  Speaker 3: more I'm not going to talk about a New Year's
• 7:56
  Speaker 3: Eve movie in fucking July, as much as I want to.
• 8:00
  Speaker 3: I'd rather have it be on theme. But I really
• 8:03
  Speaker 3: enjoy that three and a half stars. Watch a movie
• 8:05
  Speaker 3: called I Usually let the you go first. I don't
• 8:07
  Speaker 3: know what I'm doing. I'm out of it today. Fuck
• 8:08
  Speaker 3: this movie. It's just been rotting in my brain.
• 8:11
  Speaker 4: Oh, finish us first and then I'll go.
• 8:13
  Speaker 3: Jesus, this is totally backwards. Watched a movie called Loner,
• 8:16
  Speaker 3: sent over by Avy Entertainment guy in the woods all
• 8:19
  Speaker 3: by himself. He's an aspiring vlogger who doesn't know shit
• 8:22
  Speaker 3: about vlogging or wilderness survival. It's like, the best way
• 8:26
  Speaker 3: I can describe it as like Blur Witch Project meets
• 8:29
  Speaker 3: Survivor Man, but survive you know less. It's not less stroud.
• 8:32
  Speaker 3: It's like his cousin who doesn't know shit. Really good
• 8:37
  Speaker 3: just to tad on the longside at an hour and
• 8:39
  Speaker 3: forty minutes and didn't fully grasp the ending. Although I
• 8:43
  Speaker 3: think you know the directors also commented on my review
• 8:46
  Speaker 3: of that and said thanks for the review and think
• 8:48
  Speaker 3: I'm gonna have this on Gothic Slayers. Another one sent
• 8:51
  Speaker 3: over by Avy Entertainment that was a fun time. It
• 8:54
  Speaker 3: is literally about two mini golf employees who start battling
• 8:57
  Speaker 3: a demonic cult. Great time. They also comment because I
• 9:00
  Speaker 3: taggled these people. They also commented and said thank you
• 9:03
  Speaker 3: for the positive review, and I planned to have them
• 9:06
  Speaker 3: on the podcast as well. So things are happening, and
• 9:08
  Speaker 3: then we'll talk about the Furious. But I watched The
• 9:11
  Speaker 3: Andromeda Strange from nineteen seventy one and it's one of
• 9:16
  Speaker 3: those movies again just like Sorcerer. I mean, this one
• 9:19
  Speaker 3: only has a three six. But I don't know if
• 9:21
  Speaker 3: it was fine technically impressive for nineteen seventy one with
• 9:25
  Speaker 3: the what they were doing, but there was so much
• 9:28
  Speaker 3: science being thrown around and all of this like jargon
• 9:32
  Speaker 3: that I didn't understand. I was like, I don't this,
• 9:34
  Speaker 3: this is not I'm not at the brain capacity that
• 9:37
  Speaker 3: doesn't even make sense. My level of brain power does
• 9:41
  Speaker 3: not match this movie. And then there was twenty minutes
• 9:43
  Speaker 3: at the end of the movie that was just all
• 9:45
  Speaker 3: sirens sounding because the alarm went off and they had
• 9:47
  Speaker 3: to escape, so it was just sirens for twenty minutes. Oh,
• 9:50
  Speaker 3: I just wanted to bash my head against the wall.
• 9:52
  Speaker 3: Two and a half. I don't know, but that's all
• 9:55
  Speaker 3: I got. Sorry. I usually let you go first. I
• 9:56
  Speaker 3: fucked off, fucked all that up.
• 9:58
  Speaker 4: So go ahead, saving measures. I'll only do movies from
• 10:01
  Speaker 4: this month.
• 10:03
  Speaker 3: Fucking no.
• 10:05
  Speaker 4: Most of these are Secret Life of Pets and you
• 10:08
  Speaker 4: know it.
• 10:08
  Speaker 3: You okay this month, we're seventeen days into the month, yes, sixteen.
• 10:15
  Speaker 4: Well, let me do it. Gee, I'm not always talking
• 10:17
  Speaker 4: about new things. Oh okay, I finally checked out The Girlfriend,
• 10:21
  Speaker 4: the uh you know, one season series. Oh yeah, yeah,
• 10:27
  Speaker 4: it's got Robin Wright. She also directed it, Robin right. Yeah,
• 10:33
  Speaker 4: everybody else knows who Robin Wright is, and so do you.
• 10:36
  Speaker 4: She's Jenny from Forrest Gump. Oh, The Princess Bride.
• 10:40
  Speaker 3: The one thing I've seen her in.
• 10:41
  Speaker 4: She's also in House of Cards.
• 10:43
  Speaker 3: I haven't seen that, will not watch that.
• 10:46
  Speaker 4: Olivia Cook, who is really big in House of Dragons,
• 10:50
  Speaker 4: and it's a it's a movie that it's a show
• 10:52
  Speaker 4: that flips perspective from a overbearing mom to the new
• 10:56
  Speaker 4: girlfriend with a sketchy past. Oh it was high stakes.
• 11:00
  Speaker 4: It was really fun. Definitely recommend that finally saw the
• 11:04
  Speaker 4: movie How Stella Got Her Groove Back. I'm gonna be honest,
• 11:08
  Speaker 4: while I totally get it because it was Tay Diggs,
• 11:10
  Speaker 4: and if Tay Diggs looked at me like that too,
• 11:12
  Speaker 4: I would absolutely fold. But Stella's groove wasn't that groovy.
• 11:17
  Speaker 4: I don't know.
• 11:19
  Speaker 3: So you know, they didn't say Stella gets groovy, they
• 11:22
  Speaker 3: said gives her groove back.
• 11:24
  Speaker 4: Yeah, I didn't feel like she grooved that.
• 11:25
  Speaker 3: Hard that that's a better expression. Yeah.
• 11:30
  Speaker 4: But obviously, since it's Pride Month, I've tried to watch
• 11:32
  Speaker 4: some Pride.
• 11:33
  Speaker 3: Movies, though you lacking this year on that.
• 11:36
  Speaker 4: Yes, you and I still have to watch The Bird
• 11:37
  Speaker 4: Cage and that is an essential. Priscilla Queen of the Desert.
• 11:41
  Speaker 3: Also an essential. Also we need to add Sleigh into
• 11:44
  Speaker 3: that mix as well.
• 11:44
  Speaker 4: Oh absolutely, so at.
• 11:46
  Speaker 3: Least we should watch that.
• 11:47
  Speaker 4: Yeah, because.
• 11:49
  Speaker 3: But we should have done that for Vampire Month. What
• 11:51
  Speaker 3: the fuck.
• 11:54
  Speaker 2: That one?
• 11:54
  Speaker 3: I would have been a great deep cut damn hindsight.
• 11:59
  Speaker 4: But for the month, I start it out strong with
• 12:00
  Speaker 4: Tu Wong Foo. Thanks for everything. Julie Numar, a cinematic masterpiece.
• 12:05
  Speaker 4: Then I decided to go like just way up on
• 12:08
  Speaker 4: the in doorphans there by watching Philadelphia about Tom hanks
• 12:13
  Speaker 4: dying of AIDS. Then to circle background, I checked out
• 12:17
  Speaker 4: a movie called Pride from twenty fourteen about the real
• 12:20
  Speaker 4: life event of gays and lesbians in the eighties in
• 12:25
  Speaker 4: England raising money for the striking coal miners and the
• 12:29
  Speaker 4: friendship that was formed between those two very different.
• 12:32
  Speaker 3: Things and the friends we made along the way. That's
• 12:34
  Speaker 3: like the first time I can say that where I'm
• 12:35
  Speaker 3: not making it a joke.
• 12:37
  Speaker 4: Yeah, it was really sweet. If you want a film
• 12:39
  Speaker 4: that's going to just.
• 12:40
  Speaker 3: Like, is it going to make me cry?
• 12:42
  Speaker 4: No, I don't think it makes you cry. I think
• 12:45
  Speaker 4: it just makes you feel really happy to see when
• 12:47
  Speaker 4: people from different walks of life can find community and
• 12:50
  Speaker 4: love even if they have completely different backgrounds. And it
• 12:55
  Speaker 4: was just really nice to watch that sweet. Yes, also
• 12:59
  Speaker 4: watch Do the Right Thing, which would be the polar
• 13:01
  Speaker 4: opposite of that concept is more like racial tensions for everybody.
• 13:07
  Speaker 4: It was really good. It was Spike Lee's like the
• 13:09
  Speaker 4: film that put him on the map from nineteen eighty
• 13:10
  Speaker 4: nine and I'm still thinking about it. I've told you
• 13:14
  Speaker 4: multiple times I'm still thinking about it. And I watched
• 13:16
  Speaker 4: that a week ago.
• 13:18
  Speaker 3: Interesting. Interesting, yep.
• 13:20
  Speaker 4: And then I also checked out Presumed Innocent, which is
• 13:22
  Speaker 4: a Harrison Ford. It's a crime drama with role Julia,
• 13:29
  Speaker 4: who you might know is Gomez from the Adams Family.
• 13:32
  Speaker 4: Oh yeah, that was pretty good, very silly. Not as silly, however,
• 13:37
  Speaker 4: as Suspect with Share. Also a crime drama where apparently
• 13:43
  Speaker 4: everybody in that film is in a competition to see
• 13:45
  Speaker 4: how many laws they can break and not get caught.
• 13:49
  Speaker 3: Sounds fun while trying.
• 13:50
  Speaker 4: To get an innocent man freed.
• 13:52
  Speaker 3: It was.
• 13:54
  Speaker 4: No, it was it was like, oh, Dennis Quade's a
• 13:57
  Speaker 4: jury member. He is now also wanting to take a
• 14:01
  Speaker 4: side gig as a PI because nobody asked him to.
• 14:04
  Speaker 4: He just decided in his spare time, he's going to
• 14:06
  Speaker 4: investigate this crime.
• 14:08
  Speaker 3: Why just in case.
• 14:10
  Speaker 4: It was very silly, but it was very fun to watch,
• 14:12
  Speaker 4: I mean chairs fun to watch in anything. I also
• 14:15
  Speaker 4: watched her Mermaids again this month.
• 14:17
  Speaker 3: Mermaid is not the one with god name dare Ohannah.
• 14:24
  Speaker 4: No, that's Splash. Splash has Banona writer Christina Ricci and
• 14:29
  Speaker 4: Bob Hoskins in it. You might know I know, the
• 14:34
  Speaker 4: who framed Roger Rabbit.
• 14:35
  Speaker 3: No, No, not that one. I mean, I'm sure he's
• 14:38
  Speaker 3: I'm not sure yet. Yeah, that guy, he's been in
• 14:42
  Speaker 3: so many things. He's also hook Oh yeah, he's in Brazil.
• 14:46
  Speaker 3: But anyway, that one's still really fun to watch as well.
• 14:50
  Speaker 4: Did you did you.
• 14:52
  Speaker 3: See I said, I said, we would talk about it together.
• 14:55
  Speaker 4: Okay, yeah, anyway, The Furious.
• 14:57
  Speaker 3: The Furious, the movie that had one show time when
• 15:02
  Speaker 3: we originally checked, and then the and then the next
• 15:05
  Speaker 3: time I checked it had like four because people want
• 15:08
  Speaker 3: to see this shit? God damn it. What is wrong
• 15:11
  Speaker 3: with people? What is wrong with theaters?
• 15:12
  Speaker 4: They are like, oh, will you you can see that
• 15:14
  Speaker 4: at ten o'clock at night when I'm asleep.
• 15:16
  Speaker 3: Yeah. They had a twelve fifty five, which I said, cool,
• 15:19
  Speaker 3: we'll go to that that was like basically sold out,
• 15:22
  Speaker 3: and then I assumed that they sold it with slid
• 15:24
  Speaker 3: was almost sold out, and then added more or something.
• 15:27
  Speaker 3: People want to see these movies. Stop giving Indian foreign
• 15:30
  Speaker 3: movies two time slots at ten pm. Stop like stop it.
• 15:34
  Speaker 3: Look at the success of back Rooms and obsession, look
• 15:37
  Speaker 3: at that. I hope that changes theater's perspectives on indie films.
• 15:41
  Speaker 3: I mean, obviously, not every indie film is gonna do
• 15:43
  Speaker 3: what Obsession did. It has surpassed the blair Witch project
• 15:47
  Speaker 3: and money nice, No, not nice. That was Stelle was
• 15:51
  Speaker 3: a thirty seven twenty math time that things stood strong numbers.
• 15:57
  Speaker 3: It was. But I don't it's not going to surpass
• 15:59
  Speaker 3: it profit rate, like budget to profit ratio, because blair
• 16:04
  Speaker 3: Witch was like sixty grand and made two hundred and
• 16:07
  Speaker 3: forty eight sixty eight million, and Obsessions at two hundred
• 16:10
  Speaker 3: and seventy five million. I really hope Curry Barker worked
• 16:14
  Speaker 3: out a great deal with Focus Features, you know, because
• 16:16
  Speaker 3: usually directors will take a percentage of the box office. Yeah,
• 16:20
  Speaker 3: because he got paid, you know, he got fifteen million
• 16:22
  Speaker 3: for the movie, so he already has fifteen million. But
• 16:25
  Speaker 3: if he took you know, usually it's like one percent
• 16:27
  Speaker 3: or two percent. If he happened to just take two
• 16:30
  Speaker 3: percent of the box office earnings, my boy is gonna
• 16:34
  Speaker 3: be having fucking five point five more million dollars.
• 16:38
  Speaker 4: See that's why we can't give Heather two percent.
• 16:41
  Speaker 3: No, not for helping edit looking it over, but yeah,
• 16:46
  Speaker 3: the Furious was incredible I mean, it's the most basic
• 16:50
  Speaker 3: setup plot to an action movie. Think of John Wick,
• 16:53
  Speaker 3: but instead of a dog, it's a girl. And she
• 16:55
  Speaker 3: doesn't die, she just gets kidnapped. That's your setup. And
• 16:57
  Speaker 3: then everybody, everybody's it's not just the main guy. Everybody's mad.
• 17:03
  Speaker 4: Yeah. My review is he she we furious?
• 17:05
  Speaker 3: Mine was what the fuck are these guys made out of?
• 17:08
  Speaker 3: Because seriously, especially the one big he could have, he
• 17:14
  Speaker 3: could have easily been a sumo wrestler. He had that
• 17:17
  Speaker 3: Bill guy was a brick shit house like he was huge.
• 17:20
  Speaker 4: Yeah he uh, he's also a stunt double guy. I mean,
• 17:23
  Speaker 4: and when we were watching it, we're like, holy crap,
• 17:26
  Speaker 4: because we're pretty sure. I'm like, this looks like everybody's
• 17:29
  Speaker 4: doing their stunts. This is crazy. And it was like, yeah,
• 17:32
  Speaker 4: you know how in action movies, he might get somewhere
• 17:36
  Speaker 4: between ten to fifteen or like five to fifteen minutes
• 17:39
  Speaker 4: between like action sequences, because they're like trying to give
• 17:43
  Speaker 4: you some towntime. And this movie's like, all right, it's
• 17:46
  Speaker 4: been thirty six a minute and thirty seconds, we're gonna
• 17:50
  Speaker 4: all start fighting again. You're like, oh shit, okay. And
• 17:55
  Speaker 4: then when we looked at it afterwards, it's like, yeah,
• 17:57
  Speaker 4: all these guys have been in action movies. Are stunt
• 18:00
  Speaker 4: move or stunt guys. It was directed by a stunt guy.
• 18:05
  Speaker 4: It shows and it was like, oh, yes, now I
• 18:08
  Speaker 4: see why. They were like, yes, screw the whole like
• 18:11
  Speaker 4: deep plot thing. We've got a plot. It's more than
• 18:14
  Speaker 4: enough motivation to keep us going. Now let's fill it
• 18:17
  Speaker 4: with a fuck ton of fight sequences.
• 18:19
  Speaker 3: And they still made the background story compelling as it
• 18:24
  Speaker 3: as it involved a whole deep, dark, underground business. So
• 18:29
  Speaker 3: they managed to tell a coherent story from A to
• 18:33
  Speaker 3: Z involving a few different layers on, you know, with
• 18:37
  Speaker 3: certain different characters, and have more action than I think
• 18:40
  Speaker 3: I've ever seen and packed into two hours. The ending
• 18:44
  Speaker 3: fighting sequence alone was twenty minutes, twenty five minutes, and
• 18:48
  Speaker 3: it was insane.
• 18:50
  Speaker 4: It was insane, like they're springing over each other. They're
• 18:53
  Speaker 4: like two people are fighting and then they jump up
• 18:56
  Speaker 4: and one another guy slides underneath. There's four guys fighting
• 18:59
  Speaker 4: in this same time, and we're switching off so frequently
• 19:03
  Speaker 4: you're just like, I don't even know who's fighting who specifically.
• 19:07
  Speaker 3: Here's my note to the oscars, because I know they're listening.
• 19:10
  Speaker 3: If this doesn't at least, I mean, it should win.
• 19:14
  Speaker 3: If it doesn't at least get nominated for Best Editing
• 19:18
  Speaker 3: and Best Cinematography. And I'm gonna throw obsession in there.
• 19:22
  Speaker 3: Indi Navarette getting at least nominated for Best Actress fucking riot,
• 19:26
  Speaker 3: because I don't think I have ever seen an action
• 19:30
  Speaker 3: movie with that level of continuity. When it came down
• 19:36
  Speaker 3: to fight scenes and switching the camera and stuff, it was.
• 19:40
  Speaker 3: It was insane. I think I got like two instances
• 19:42
  Speaker 3: where I just said, well, yeah, there was there was
• 19:45
  Speaker 3: that was a little off. But I'd say ninety eight
• 19:48
  Speaker 3: percent of the fight sequences. I don't even understand a
• 19:50
  Speaker 3: how they choreographed all that be, how they got it
• 19:53
  Speaker 3: on camera and see how they edited did it together
• 19:56
  Speaker 3: to make it coherent, like nine points or not? Nine
• 20:00
  Speaker 3: point five four point five out of five. Yeah, no
• 20:02
  Speaker 3: notes except for what was what was the one reason
• 20:05
  Speaker 3: that oh yeah, I know my reason. I can't. I can't.
• 20:08
  Speaker 3: I don't want to spoil it. There's a person that
• 20:10
  Speaker 3: I got attached to that they just decided to say
• 20:13
  Speaker 3: fuck you too, actually a couple, and I was like, well,
• 20:15
  Speaker 3: that's just rude. But anyways, yeah, furious. Go check it out,
• 20:19
  Speaker 3: Go show it some love, tell the theater if that
• 20:22
  Speaker 3: we want more of this, and I mean it has
• 20:24
  Speaker 3: a three point eight out of something like that. It's
• 20:28
  Speaker 3: got a very high rating.
• 20:29
  Speaker 4: Well, it's kind of hard for the other movies right
• 20:31
  Speaker 4: now because you've got Masters of the Universe is still
• 20:34
  Speaker 4: hanging out, which apparently not doing too bad. I think
• 20:38
  Speaker 4: people are enjoying it, which is nice. And then you've
• 20:40
  Speaker 4: got Disclosure Day, so that's gonna take up a bunch
• 20:44
  Speaker 4: of theaters. And Toy Story five, Yeah, is coming out
• 20:49
  Speaker 4: this week, and that is also going to suck up
• 20:51
  Speaker 4: the rest of the theater. So you've got two major
• 20:53
  Speaker 4: box office productions that are.
• 20:55
  Speaker 3: Probably why June is so light on. I mean, the
• 20:58
  Speaker 3: only horror movie really we're getting this year or this
• 21:00
  Speaker 3: year this month is Leviticus, which is going to be
• 21:02
  Speaker 3: totally overshadowed by Toy Story five, Disclosure Day, back Rooms Obsession.
• 21:08
  Speaker 4: So obsessions leaving every theater this week.
• 21:11
  Speaker 3: Okay, Well, then my message to everyone listening is go
• 21:15
  Speaker 3: see Leviticus if you can, if it's in a theater
• 21:17
  Speaker 3: near you. I already have my tickets for next week.
• 21:19
  Speaker 3: I think it's gonna be the sleeperhead of the year,
• 21:21
  Speaker 3: meaning no one's gonna know about it and no one's
• 21:24
  Speaker 3: gonna go see it, but it has like a three
• 21:25
  Speaker 3: eight so wow.
• 21:27
  Speaker 2: Yeah.
• 21:27
  Speaker 3: Yeah.
• 21:28
  Speaker 4: It just it's just what happens with the box office things,
• 21:31
  Speaker 4: like you know, some of them will get excited for
• 21:33
  Speaker 4: and some it's like, ah, you're sucking up space. I mean,
• 21:35
  Speaker 4: I'm stoked for Supergirl.
• 21:37
  Speaker 3: But yeah, I'm I don't know.
• 21:39
  Speaker 4: I love Steven Spielberg, but I didn't really care about
• 21:42
  Speaker 4: Disclosure Day. I had zero interest.
• 21:45
  Speaker 3: I don't even think I saw AWE trailer.
• 21:47
  Speaker 4: I did, and I saw a scene in that trailer
• 21:50
  Speaker 4: that had it just looked like CGI or it just
• 21:54
  Speaker 4: looked like AI, which I mean it likely wasn't, but
• 21:57
  Speaker 4: it just looked like IT. And that was like, uh,
• 22:00
  Speaker 4: can we not make the styles also look like AI
• 22:03
  Speaker 4: if it's not also.
• 22:05
  Speaker 3: AI, don't even get me down that route.
• 22:07
  Speaker 4: It was like, I just please stop, please please.
• 22:10
  Speaker 3: All Right, with all that being said, let's move on
• 22:13
  Speaker 3: to the body account. This is going to be the
• 22:18
  Speaker 3: most boring IMDb round up. Yay, but this is Monster
• 22:23
  Speaker 3: Seafood War from twenty twenty, released on May twenty third
• 22:26
  Speaker 3: of that year, in Japan and then premiered on DVD
• 22:29
  Speaker 3: and the internets in October October fifth, to be exact,
• 22:33
  Speaker 3: twenty twenty one in the States. There is simply no rating,
• 22:37
  Speaker 3: not like unrated, not rated, just there's nothing.
• 22:41
  Speaker 4: I mean, to be fair, there was no violence, no destruction.
• 22:45
  Speaker 3: You know, but I mean, like I'm saying, there was.
• 22:47
  Speaker 3: It literally says it's like under the parent's Guide it
• 22:50
  Speaker 3: says ad content advisory, like they didn't even there's nothing.
• 22:54
  Speaker 4: That's what I'm saying, because there was no there was
• 22:56
  Speaker 4: nothing there to add. There's literally not worth adding.
• 22:59
  Speaker 3: But I'm saying every movie I've ever done since I've
• 23:02
  Speaker 3: been doing this, has had you know, even if it's
• 23:04
  Speaker 3: mild or none, this this did not exist for this movie.
• 23:07
  Speaker 3: That's what I'm trying to say. A runtime of an
• 23:10
  Speaker 3: hour and twenty four minutes, which was twenty minutes too long,
• 23:13
  Speaker 3: listed as a comedy fantasy, sci fi sure directed by
• 23:16
  Speaker 3: Minoro Kawasaki. He also directed things like The World Sinks
• 23:20
  Speaker 3: Except Japan, The Monster X strikes Back, Attack of the
• 23:24
  Speaker 3: G eight Summit, and super Legend God Hikoza three movies
• 23:28
  Speaker 3: that I've that I've seen. He also wrote this, writing
• 23:31
  Speaker 3: two out of the three things I mentioned, excluding the
• 23:33
  Speaker 3: Monster X strikes Back Attack, the G eight Summit also
• 23:37
  Speaker 3: written by Masakazu Megita. They wrote the world sinks except
• 23:44
  Speaker 3: Japan and the ex Monster blah blah blah, it's too
• 23:46
  Speaker 3: long of a title. Then we have eg Subayara, who
• 23:50
  Speaker 3: also wrote or they only have Sorry, they only have
• 23:53
  Speaker 3: eight writing credits, but apparently they created the original Ultraman
• 23:56
  Speaker 3: TV series from like the seventies or something, and then
• 24:00
  Speaker 3: the later twenty nineteen reboot. But this man has one
• 24:03
  Speaker 3: hundred and forty three special effects credits, going all the
• 24:06
  Speaker 3: way back to the original Godzilla and its sequel Godzilla
• 24:09
  Speaker 3: Raids Again, the original King Kong versus Godzilla, Invasion of
• 24:13
  Speaker 3: the Astro Monster, and many more things until nineteen seventy nine.
• 24:16
  Speaker 3: I believe or he passed away in nineteen seventy. So
• 24:19
  Speaker 3: nineteen seventy composed by No Clue, cinematography by no Clue,
• 24:24
  Speaker 3: edited by no one listed, starring no fucking clue. No
• 24:29
  Speaker 3: actor is credited with their name, and no one has
• 24:33
  Speaker 3: photos either, so this is a lot of fun. There
• 24:36
  Speaker 3: are three people that actually have names under them. We
• 24:38
  Speaker 3: have Hurricane Reyuhrikan as a column Monster who I forgot
• 24:43
  Speaker 3: to finish this part out, but that's that's who he was.
• 24:46
  Speaker 3: Then we have Azamoto Izumu as self, and then we
• 24:50
  Speaker 3: have Ayano Christy Yoshida as Nana Hoshiyama. I forgot to
• 24:55
  Speaker 3: say what other things they were in, but honestly they
• 24:58
  Speaker 3: I guarantee they weren't in anything we recognized. Estimated budget
• 25:03
  Speaker 3: of nothing I couldn't find, although according to Google it's
• 25:06
  Speaker 3: speculated at one hundred and fifty thousand. Couldn't find anything
• 25:09
  Speaker 3: on the worldwide box office gross. This was filmed in Tokyo, Japan,
• 25:13
  Speaker 3: and you can watch this on Prime Plex, tub and
• 25:16
  Speaker 3: YouTube TV movies that came out around the same time.
• 25:20
  Speaker 3: According to the US release October fifth, I believe I
• 25:23
  Speaker 3: said No Time to Die, Eternals, Venom, Let there be carnage,
• 25:29
  Speaker 3: The Black Phone, Ghostbusters, Afterlife, Halloween Kills, Army of Thieves,
• 25:34
  Speaker 3: The Eyes of Tammy, fay Antlers, Crimacho, Paranormal Activity next
• 25:39
  Speaker 3: if Ken I didn't realize I was six years ago,
• 25:42
  Speaker 3: VHS ninety four, Black Friday, and dash.
• 25:45
  Speaker 4: Cam, I've only noteteen one.
• 25:47
  Speaker 3: You only haven't seen No Time Time, No Time to
• 25:49
  Speaker 3: Die and Crimacho. Yes, yeah, did it listen to this?
• 25:54
  Speaker 3: IMDb summary? Oh God, do you see this? That's like
• 25:58
  Speaker 3: a do you see this?
• 26:00
  Speaker 4: Yeah, that's like a lot of words.
• 26:01
  Speaker 3: I'm gonna really focus in here and get my shit together. Utah,
• 26:06
  Speaker 3: a young master at the Sukiji fish market accidentally drops
• 26:11
  Speaker 3: his meal mixed of seafood into the Samuda River. Sometime afterwards,
• 26:15
  Speaker 3: sometime meaning about three minutes, a gigantic mutated squid monster
• 26:19
  Speaker 3: arises from the depths and begins to wreak havoc upon
• 26:23
  Speaker 3: an awestrick in Tokyo. Attempts made by the japan Self
• 26:26
  Speaker 3: Defense Forces to stop the creature prove futile. As it
• 26:31
  Speaker 3: seems things couldn't get any worse, an enormous mutant octopus
• 26:34
  Speaker 3: monster emerges from the deep and heads into a clash
• 26:37
  Speaker 3: of the Titans with the gargantuan squid. As a last
• 26:41
  Speaker 3: ditch effort, the government forms the Seafood Monster Attack or SMAT,
• 26:46
  Speaker 3: and an all new plan of attack is immediately put
• 26:49
  Speaker 3: into action. But just as the tide appears to be
• 26:52
  Speaker 3: turning in humanity's favor, a colossal crab monster appears, joining
• 26:57
  Speaker 3: the Monster Seafood Wars and plunging the world into ulinary chaos.
• 27:02
  Speaker 3: This is the autopsy. I don't even know where to
• 27:07
  Speaker 3: begin with this movie. I genuinely don't. I have Okay, well,
• 27:12
  Speaker 3: overall thoughts.
• 27:13
  Speaker 4: What the fuck? What you just said was like what
• 27:18
  Speaker 4: we just saw, but missing, like the movie itself is
• 27:23
  Speaker 4: missing several of these pieces, so context has gone out
• 27:28
  Speaker 4: the window.
• 27:29
  Speaker 3: They also just give you the entire movie. That is
• 27:32
  Speaker 3: the plot, that's the.
• 27:33
  Speaker 4: Whole except let's check in a couple things real quick here. Okay,
• 27:38
  Speaker 4: First of all, he drops it by the river. Raise
• 27:42
  Speaker 4: your hand if you saw him drop anything near a river,
• 27:46
  Speaker 4: or was he riding with a basket? The basket fell
• 27:49
  Speaker 4: and he noticed it was empty.
• 27:50
  Speaker 3: Yeah, he was next to a river. He was going
• 27:52
  Speaker 3: over a bridge, but there was a road on his left,
• 27:56
  Speaker 3: and there was definitely something on his right. But the
• 28:00
  Speaker 3: thing he was carrying it and fell onto the ground,
• 28:03
  Speaker 3: which he then opened and said, oh, someone stole my seafood.
• 28:07
  Speaker 4: It was empty. The box was strapped shut to the bike.
• 28:10
  Speaker 4: There's physically no way for it to have opened on
• 28:13
  Speaker 4: its own.
• 28:14
  Speaker 3: Also, didn't look like there was anything like wet seafood
• 28:17
  Speaker 3: that would have been in.
• 28:18
  Speaker 4: There was a dry, empty box, bone dry. Now I
• 28:22
  Speaker 4: will say when that scene took place. First off, didn't
• 28:25
  Speaker 4: even notice the river. Second, oh, well, it did look
• 28:28
  Speaker 4: like someone bumped him, however, so I could maybe assume
• 28:33
  Speaker 4: that the bad guy who made them monsters did that
• 28:37
  Speaker 4: to him. Yeah, However they never say that. It's never established.
• 28:43
  Speaker 4: And also he'd have to have known where he was anyway. So,
• 28:46
  Speaker 4: as far as we're concerned, the food, which by the way,
• 28:51
  Speaker 4: was a squid, an octopus, and a crab, Yeah, magically
• 28:55
  Speaker 4: blipped out of the wood basket and went into the
• 28:58
  Speaker 4: river without any knowing. If they're all dead, how did
• 29:01
  Speaker 4: they get in the river?
• 29:03
  Speaker 3: Exactly? They're all things that were dead, yep. So, and
• 29:07
  Speaker 3: then they got into the river and then became big
• 29:11
  Speaker 3: and has started attacking.
• 29:13
  Speaker 4: Not to and not to mention when they get big,
• 29:16
  Speaker 4: which happened several minutes later movie wise.
• 29:20
  Speaker 3: Not even minutes, but I have a timeline here.
• 29:24
  Speaker 4: When that happens. He's still trying to pick his bike
• 29:28
  Speaker 4: up and still going where are they? They are straight
• 29:31
  Speaker 4: up at least six blocks away and giant, And you're like,
• 29:36
  Speaker 4: how okay, First off, they got big really fast, and second,
• 29:40
  Speaker 4: how did they get that far away? And he still
• 29:43
  Speaker 4: hasn't recovered from the fact that he fell over twenty
• 29:47
  Speaker 4: seconds ago.
• 29:48
  Speaker 3: And yeah, the monster started fighting, and then it cuts
• 29:51
  Speaker 3: back to him picking up his bike and I said, oh,
• 29:53
  Speaker 3: so this has happened in thirty second seconds. Okay, got it.
• 29:59
  Speaker 4: And for for some reason which I did not get
• 30:02
  Speaker 4: during the plot of this, uh, they do the last
• 30:06
  Speaker 4: ditch effort, and then the tide appears to be turning,
• 30:09
  Speaker 4: except a colossal crab joints. Basic logic tells you if
• 30:13
  Speaker 4: you've got three animals and two of them have turned
• 30:17
  Speaker 4: into giant monsters, then the third one's probably a giant
• 30:21
  Speaker 4: monster too.
• 30:22
  Speaker 3: That they didn't mention until he uppeared, And Utah was like, oh,
• 30:27
  Speaker 3: that's the crab I dropped, and they're all like, what
• 30:29
  Speaker 3: do you mean? Yeah, that would have been important to
• 30:32
  Speaker 3: fucking note. Also, what took him so much longer?
• 30:35
  Speaker 4: And this thing is such a disjointed mess, And they
• 30:39
  Speaker 4: were cutting to random things and then cutting back, and
• 30:41
  Speaker 4: then cutting to people describing the events in a past
• 30:45
  Speaker 4: tense and then cutting back because clearly they didn't have
• 30:48
  Speaker 4: the budget to actually show all of it. But so
• 30:51
  Speaker 4: you've got this whole thing, well, like we're fighting for
• 30:54
  Speaker 4: our lives, trying to follow this plot, and it's a
• 30:57
  Speaker 4: it's a mess of a plot is a mess. And
• 31:01
  Speaker 4: they start talking about this dude. They like he briefly
• 31:04
  Speaker 4: shows up at someone saying, he just fucks off. He
• 31:05
  Speaker 4: sees the giant he doesn't look at the giant monsters.
• 31:08
  Speaker 4: He gets on the bike. Uh, he sees them, goes home,
• 31:11
  Speaker 4: and then his friend's like, oh, you're gonna get arrested
• 31:14
  Speaker 4: for making giant monsters. He's like, I didn't do that,
• 31:17
  Speaker 4: his friend who's playing blindfolded video games or for reasons,
• 31:20
  Speaker 4: for reasons for the fifth Eye, Yeah, the fifth mind,
• 31:24
  Speaker 4: not that.
• 31:26
  Speaker 3: Yeah, And our description and feelings about this movie are
• 31:31
  Speaker 3: probably gonna make about as much sense as the movie. Yeah,
• 31:34
  Speaker 3: so follow me for the cues. Okay, we're gonna play
• 31:38
  Speaker 3: it and be or whatever, fucking Marty McFly says. But
• 31:42
  Speaker 3: he follow me for the changes.
• 31:44
  Speaker 4: Uh, but he just kind of goes off about his
• 31:48
  Speaker 4: business like nothing happened. The sense of urgency in this
• 31:51
  Speaker 4: movie is at a zero the whole time they skew
• 31:55
  Speaker 4: off into a full on ten minute ordeal about everybody eating.
• 31:59
  Speaker 3: The monster me longer, I have I have a whole
• 32:02
  Speaker 3: Oh you tied it? Oh I was like, I went
• 32:05
  Speaker 3: back this morning and it got an official timeline because
• 32:08
  Speaker 3: I wanted to. I wanted to, Actually, I wanted to
• 32:10
  Speaker 3: be accurate. So I'll get there. Don't worry.
• 32:12
  Speaker 4: Yeah, because not only does it that go nowhere and
• 32:15
  Speaker 4: have nothing to do with anything, no, which frequently happens.
• 32:18
  Speaker 4: They frequently keep bringing things up that have nothing to
• 32:21
  Speaker 4: do with anything. They even bring up a love trial
• 32:25
  Speaker 4: triangle thing that also seemingly goes nowhere nowhere, And yeah,
• 32:30
  Speaker 4: you bring up them eating the meat. If they'd be like, oh,
• 32:33
  Speaker 4: people are getting deformed because they're eating the meat they
• 32:35
  Speaker 4: shouldn't have been eating, would have been cool. Nope, that
• 32:37
  Speaker 4: has nothing to do with anything.
• 32:39
  Speaker 3: They're just eat It's just the most delicious seafood they've
• 32:42
  Speaker 3: ever had. I really was hoping people were gonna start
• 32:44
  Speaker 3: turning into crazy monsters and that would have been great.
• 32:46
  Speaker 3: That would have been fucking great.
• 32:48
  Speaker 4: Yeah, that would have been some doctor who type shit
• 32:50
  Speaker 4: right there. And then at a certain point, once they've
• 32:54
  Speaker 4: like defeated everything anyway there in the it's like we
• 32:57
  Speaker 4: turned the National Stadium into a seafood bowl. The seafood
• 33:02
  Speaker 4: They've just superimposed a bowl of seafood with the three
• 33:06
  Speaker 4: different meats into the National Stadium. I guess because now
• 33:11
  Speaker 4: all the monsters are even larger, like one tentacle is
• 33:16
  Speaker 4: stretched out, would be longer than the length of the stadium,
• 33:20
  Speaker 4: because that makes sense. But also the stadium they fight
• 33:23
  Speaker 4: at in the movie is a completely different stadium than
• 33:26
  Speaker 4: the one that they end up in. It is if
• 33:30
  Speaker 4: you looked at it on one of them is an
• 33:31
  Speaker 4: open like high school stadium and the other was an
• 33:33
  Speaker 4: actual event stadium.
• 33:35
  Speaker 3: So with that being said, overall that because you did
• 33:38
  Speaker 3: not give me them.
• 33:39
  Speaker 4: At all, Sorry, it's a disjointed mess.
• 33:44
  Speaker 2: I was trying.
• 33:44
  Speaker 4: There's some parts that made me chuckle, but I like
• 33:48
  Speaker 4: I was waiting desperately for the story to kick in,
• 33:52
  Speaker 4: for the point to happen. None of those things took place,
• 33:58
  Speaker 4: and it was like, this has to be a pair,
• 34:00
  Speaker 4: but it was so as a parody. It was so weak.
• 34:05
  Speaker 4: It didn't even feel like it would be a like
• 34:07
  Speaker 4: it has to be, But is it?
• 34:09
  Speaker 3: It is? I I have many things to say about
• 34:14
  Speaker 3: this movie. I was worried because I almost gave up
• 34:18
  Speaker 3: on this about twenty five minutes in and I said no, no, no,
• 34:23
  Speaker 3: I have to I did this to myself. I have
• 34:26
  Speaker 3: no one else to blame. I have to give through
• 34:28
  Speaker 3: this and this shows that I just, you know, also
• 34:31
  Speaker 3: don't like everything because I give a lot of things
• 34:33
  Speaker 3: on this show a very high rating. So I do
• 34:35
  Speaker 3: have a lot of things and a lot of stuff
• 34:37
  Speaker 3: to say about this one. And I did some you know,
• 34:40
  Speaker 3: like I said, I did some digging. So I think
• 34:43
  Speaker 3: we need to start off with. First of all, what
• 34:46
  Speaker 3: did we just watch? Yep, that seems like the best
• 34:48
  Speaker 3: place to start. Also, this takes place during the I
• 34:51
  Speaker 3: don't know how to say this. I know it's High
• 34:53
  Speaker 3: Si Era, but I think this is the Raiwa Era.
• 34:57
  Speaker 3: It's r e i w A. And they actually bring
• 35:00
  Speaker 3: up what era they're in in this movie, which just
• 35:03
  Speaker 3: was silly, even on a parody level. They bring up
• 35:06
  Speaker 3: that we're in the Reuwa Era.
• 35:08
  Speaker 4: I want to explain what that is, though, I'm about
• 35:10
  Speaker 4: to okay, because I was gonna say, I don't know.
• 35:11
  Speaker 3: What that is. Well, you know, you have the show
• 35:13
  Speaker 3: a era which was started with Godzilla nineteen fifty four,
• 35:17
  Speaker 3: went to nineteen seventy five. We already covered the High
• 35:20
  Speaker 3: Si Era from eighty four to ninety five because that's
• 35:22
  Speaker 3: when godzillaver Space. Godzilla came out in that time. I
• 35:25
  Speaker 3: don't think we're going to cover anything from the Millennium era,
• 35:27
  Speaker 3: but the Raiwa era is twenty sixteen to the present.
• 35:32
  Speaker 3: It is ambitious reinventions, including live action, political satires and anime,
• 35:36
  Speaker 3: beginning with hidiaki's Ano's shin Godzilla, an award winning reboot
• 35:42
  Speaker 3: exploring modern bureaucratic response to a mutating monster. It also
• 35:45
  Speaker 3: includes the highly successful standalone World War two piece Godzilla
• 35:49
  Speaker 3: Minus One, as well as a trilogy of three D
• 35:52
  Speaker 3: animated films and the retro stylized Godzilla Minus Color and
• 35:56
  Speaker 3: then Godzilla Minus Zero is supposed to be coming out
• 35:58
  Speaker 3: this or next year. The Raiway era does not include
• 36:03
  Speaker 3: the Monster Verse. That is a whole separate era because
• 36:06
  Speaker 3: that is the Americanized version. So that's the era we're in.
• 36:10
  Speaker 3: And it makes sense because you know the political satires.
• 36:13
  Speaker 3: I guess this would be a political satire. But anyways,
• 36:15
  Speaker 3: what did we just watch? As a Kaiju fan? I
• 36:19
  Speaker 3: do love I haven't seen a lot, but I do
• 36:20
  Speaker 3: love giant monsters fighting. Seeing the poster card or title card,
• 36:25
  Speaker 3: whatever you're gonna call it, with a giant squid, an octopus,
• 36:27
  Speaker 3: and a crab. That is the whole reason I picked
• 36:31
  Speaker 3: this movie from the letterbox A little banner I saw that,
• 36:34
  Speaker 3: I saw the three point one. I said, there's no
• 36:36
  Speaker 3: way this is a fucking miss fuck the plot, which
• 36:39
  Speaker 3: I probably should have read, but you know, you know me,
• 36:42
  Speaker 3: I like to go in blind. You give me one
• 36:45
  Speaker 3: still image from a movie, and I can tell that
• 36:47
  Speaker 3: those are guys in suits in twenty twenty, and it
• 36:49
  Speaker 3: has a three point one. There's no fucking way this
• 36:51
  Speaker 3: movie's bad. One of the rare instances that a letterbox
• 36:56
  Speaker 3: rating can't be trustworthy. But so I really was like,
• 37:01
  Speaker 3: this movie cells itself. You have something that sounds like
• 37:04
  Speaker 3: it was discovered on a dusty old VHS shelf, that
• 37:07
  Speaker 3: becomes an instant cult favorite, and the expectation is gonna
• 37:10
  Speaker 3: be ridiculous fun. Except the reality for me was considerably
• 37:14
  Speaker 3: far more complicated, because the film's biggest surprise isn't the
• 37:19
  Speaker 3: weirdness that was guaranteed. I knew there was gonna be weirdness,
• 37:23
  Speaker 3: it's how often the movie scenes uninterested in the very
• 37:27
  Speaker 3: concept that it's appealing. Instead of a giant celebration of monsters,
• 37:32
  Speaker 3: it frequently feels like a collection of disconnected comedy sketches
• 37:36
  Speaker 3: that are occasionally interrupted by kaiju.
• 37:39
  Speaker 4: Attacks, very very occasionally.
• 37:42
  Speaker 3: Three times three times I counted, we get fights in
• 37:47
  Speaker 3: the entire movie, lasting for you know, the first one's
• 37:50
  Speaker 3: a couple of minutes, the second one a couple of minutes,
• 37:51
  Speaker 3: and then the ending one is the longest one, but
• 37:54
  Speaker 3: like three maybe four times max. So before we dive
• 37:59
  Speaker 3: into all of the film's shortcomings, it's like, apparently Minoru
• 38:04
  Speaker 3: Kawasaki has a filmmaking style. I had to do some
• 38:09
  Speaker 3: digging to get these answers, and apparently this is not
• 38:12
  Speaker 3: an accidental incompetence, it's deliberate absurdity because his career is
• 38:18
  Speaker 3: built around parody, nonsense, intentionally bizarre concepts. So sure that
• 38:23
  Speaker 3: makes this movie make sense. But my question was whether
• 38:28
  Speaker 3: the movie understands it's silly, or whether it being intentionally
• 38:32
  Speaker 3: silly automatically make something entertaining, because I didn't know, like,
• 38:36
  Speaker 3: does does this film know it's being silly or is
• 38:39
  Speaker 3: it just being silly and hoping it's entertaining That one
• 38:43
  Speaker 3: The second one.
• 38:44
  Speaker 4: Yeah, it felt like they were trying to be quirky
• 38:47
  Speaker 4: and weird, but it just came off kind of off
• 38:50
  Speaker 4: putting and strange, and so many of the conversations felt
• 38:55
  Speaker 4: like you were like, not only does this not feel
• 38:57
  Speaker 4: like a conversation someone would have like, I feel a
• 39:01
  Speaker 4: little weird being here for it.
• 39:02
  Speaker 3: In some places, I also feel the translation was not done. No,
• 39:06
  Speaker 3: I don't think it was not trans subbed. Well yeah,
• 39:10
  Speaker 3: and you know me, dumb Fund is my favorite. There's
• 39:12
  Speaker 3: so many movies that don't really feel, I don't feel,
• 39:16
  Speaker 3: deserve a four point five to five on a technical level,
• 39:20
  Speaker 3: like Franken Hooker five stars, Chopping Them All five stars,
• 39:23
  Speaker 3: Frost Spider, Wrath of the Wind to Go four and
• 39:25
  Speaker 3: a half stars, Silent and Deadly Night Too Hot take
• 39:27
  Speaker 3: my favorite one four and a half stars. Those movies
• 39:30
  Speaker 3: really aren't deserving of that rating, but they those are
• 39:33
  Speaker 3: solely the time I had with them. Franken Hooker is
• 39:37
  Speaker 3: a five star experience. Frostpder, Wrath of the Wind to
• 39:41
  Speaker 3: Go is a four and a half star experience for me.
• 39:45
  Speaker 3: Ludicrous premises, absurdist humor, and acting so bad that you
• 39:49
  Speaker 3: wonder how these people got cast is my shit. I
• 39:52
  Speaker 3: love that some of the funniest movies ever made in
• 39:55
  Speaker 3: my opinion, are built exactly on that premise. But it's
• 39:59
  Speaker 3: not the absurdity, it's the execution. This is executed so poorly.
• 40:03
  Speaker 4: Oh for sure.
• 40:04
  Speaker 3: It just feels like a mish mash throwing all of
• 40:08
  Speaker 3: this seafood out the wall and hoping something sticks, but
• 40:12
  Speaker 3: nothing does because it's wet seafood and it all fell
• 40:14
  Speaker 3: to the floor.
• 40:15
  Speaker 4: Yeah, well that's what we're saying. Like, even this description
• 40:19
  Speaker 4: feels like it has more plot than the actual movie does. Yeah, Like,
• 40:23
  Speaker 4: I know, you don't see anything fall in the river.
• 40:26
  Speaker 4: You're just supposed to assume that happened because they disappeared
• 40:30
  Speaker 4: out of the container. Those could have rolled into traffic
• 40:32
  Speaker 4: for all I know.
• 40:33
  Speaker 3: And again they were dead, and they were dead and
• 40:36
  Speaker 3: were dead. But first and oh the set sub z
• 40:40
  Speaker 3: or whatever.
• 40:41
  Speaker 4: Yeah, don't forget that. The bad guy said I did it.
• 40:44
  Speaker 4: I made these monsters. So someone did knock him over,
• 40:48
  Speaker 4: So you have to assume that they didn't really fall
• 40:50
  Speaker 4: in the river. He took them then within thirty seconds,
• 40:54
  Speaker 4: hauled ass across town and then made them into monsters.
• 40:57
  Speaker 3: I don't think he hauled ass. I just think he
• 40:58
  Speaker 3: put him into an air cannon and shot them across.
• 41:00
  Speaker 4: Town, had to I don't know, dead squid in a tense.
• 41:03
  Speaker 3: Fucking giant, giant bungee cord.
• 41:06
  Speaker 4: They got a T shirt gun what are.
• 41:08
  Speaker 3: Those things called the water balloon guns? Catapuls where you like,
• 41:13
  Speaker 3: did he do that? They were also dead a slingshot. Slingshot?
• 41:16
  Speaker 4: Sure, but I'm having some very funny images in my
• 41:20
  Speaker 4: head right now, but you don't see any of that.
• 41:24
  Speaker 4: So you're just kind of desperately trying to follow the plot,
• 41:27
  Speaker 4: and that's why it's disjointed. They are they are expecting
• 41:31
  Speaker 4: you to know things or understand things they didn't actually
• 41:35
  Speaker 4: bother showing you. And if you're gonna tell, if you're
• 41:38
  Speaker 4: gonna give me all that information via someone relating it
• 41:41
  Speaker 4: as a past tense event while also rambling on about
• 41:44
  Speaker 4: random things, do not expect me to know any of
• 41:47
  Speaker 4: that information.
• 41:48
  Speaker 3: Yeah, I don't know any of the information at all.
• 41:52
  Speaker 3: So this movie, for me, on paper, I was like, yeah,
• 41:56
  Speaker 3: this is this is it. But I've come to realize
• 41:59
  Speaker 3: I've I've just kind of created two different logics that
• 42:03
  Speaker 3: I'm gonna refer to them as. So for me, there's
• 42:06
  Speaker 3: a difference between fuck it logic and that is like
• 42:10
  Speaker 3: when the mall in chopping mall gets struck by lightning,
• 42:14
  Speaker 3: all the robots go bad for some reason whatever. Sure,
• 42:16
  Speaker 3: like does that make sense? That makes sense, but like
• 42:20
  Speaker 3: it doesn't at the same time, it doesn't. It really doesn't.
• 42:24
  Speaker 4: Like so.
• 42:28
  Speaker 3: All right whatever, that was my example, and you just
• 42:31
  Speaker 3: pooped on it.
• 42:31
  Speaker 4: Man.
• 42:33
  Speaker 3: There's there's examples of logic where I'll just say, yeah,
• 42:36
  Speaker 3: fuck it whatever, I accept that, But this movie has
• 42:40
  Speaker 3: fucking how logic. Like in the opening that we've just
• 42:44
  Speaker 3: all talked about, how is this seafood stolen thrown into
• 42:48
  Speaker 3: a river and then before he's off his bike, Kaiju
• 42:51
  Speaker 3: as appeared. That's not like, yeah, fuck it logic that is,
• 42:54
  Speaker 3: but wait, how how did that genuinely happen with dead seafood?
• 42:59
  Speaker 4: And also so, by the way, diadte food, we never
• 43:02
  Speaker 4: made eye contact with. He just told us what was
• 43:04
  Speaker 4: in the best right. Yeah, So you take away the
• 43:07
  Speaker 4: I think the biggest issue is you take away those
• 43:10
  Speaker 4: storytelling elements, like the visual elements and the plot building elements,
• 43:15
  Speaker 4: then you've just got stuff happening. Yeah, where she said
• 43:19
  Speaker 4: throwing things at the wall and seeing what sticks.
• 43:21
  Speaker 3: Yeah, And in some cases that is an expression I've
• 43:24
  Speaker 3: used a lot where they're like throwing things at the
• 43:26
  Speaker 3: wall and everything stuck. But no, all of this stuff
• 43:29
  Speaker 3: fell because it's squishy mollusk skin that apparently can warp
• 43:35
  Speaker 3: around bullets. They said that in the movie, our conventional
• 43:39
  Speaker 3: weapons don't work against mollusks because they're fleshy skin or
• 43:44
  Speaker 3: whatever just absorbs the bullets. That's not real life.
• 43:48
  Speaker 4: Well, we have spongy, fleshy skin, and weirdly enough, those
• 43:51
  Speaker 4: bullets fly right.
• 43:52
  Speaker 3: On through, right through us. But I mean, look at movies,
• 43:57
  Speaker 3: even like movies that are goofy but more or well received,
• 44:00
  Speaker 3: like Sean of the Debt or what we do in
• 44:02
  Speaker 3: This Shadows. They both embrace ridiculous concepts, but they continuously
• 44:07
  Speaker 3: build jokes, they escalate the situations, and the delivery pays off.
• 44:11
  Speaker 3: This again, is a hodgepodge of fucking nonsense, with seventeen
• 44:16
  Speaker 3: story lines that don't go fucking anywhere.
• 44:19
  Speaker 4: Well, and not to mention, it feels very the scale
• 44:23
  Speaker 4: of what's happening and the supposed danger feels so disjointed
• 44:29
  Speaker 4: from the well, first of all, from the level of
• 44:33
  Speaker 4: reaction from everybody, because they only seem to be reacting
• 44:36
  Speaker 4: in the fight scenes, and then the rest of the
• 44:38
  Speaker 4: time everyone's just kind of kind of fucks off to
• 44:40
  Speaker 4: do whatever with their time. But at the same time,
• 44:44
  Speaker 4: it's like, oh, these are massive threats. We have to
• 44:47
  Speaker 4: defeat them at all costs. We have smatched two twenty
• 44:51
  Speaker 4: year olds who are in a pissing contest the entire time,
• 44:55
  Speaker 4: and then five grown men and one girl.
• 44:58
  Speaker 3: That's it.
• 45:00
  Speaker 4: The entire Japanese military was busy.
• 45:03
  Speaker 3: Yeah, I guess yep, they were doing something.
• 45:06
  Speaker 4: Because you don't even have so much as a fucking
• 45:08
  Speaker 4: police officers show up in this film.
• 45:10
  Speaker 3: They were probably fighting real Godzilla somewhere.
• 45:13
  Speaker 4: Else, right, And so it's just like, okay, so it
• 45:16
  Speaker 4: doesn't feel like it's that bit. Do you even care?
• 45:18
  Speaker 4: Because these things just disappear and reappear every so often.
• 45:22
  Speaker 4: You see zero carnage from these things. You see no,
• 45:26
  Speaker 4: you've see not one injury from them. Because even the
• 45:29
  Speaker 4: one dude who got injured didn't get injured.
• 45:33
  Speaker 3: He got some sort of fireball from an eyeball of
• 45:38
  Speaker 3: the crab and like an explosion happened, and then he
• 45:43
  Speaker 3: pops back up completely unharmed. That's not even funny, that's
• 45:46
  Speaker 3: highly it's not funny. If that was a scene that
• 45:50
  Speaker 3: was meant to be funny, I'm not getting it. So
• 45:52
  Speaker 3: I'm not getting the punchline. It doesn't make sense. My
• 45:56
  Speaker 3: brain legitimately heard after this movie.
• 45:58
  Speaker 4: Yeah, and so, like the level of threat doesn't seem
• 46:02
  Speaker 4: that imminent because they're not really doing anything, and they're
• 46:07
  Speaker 4: really relying on two teenagers who are very obviously in
• 46:12
  Speaker 4: a pissing contest over a girl who just seems to
• 46:16
  Speaker 4: be letting that happen. And by the way, so weird.
• 46:18
  Speaker 4: One guy is sitting on her too much and making
• 46:20
  Speaker 4: her uncomfortable. The other guy who were supposed to I
• 46:23
  Speaker 4: guess be rooting for or the Yeah, the main guy, Uh,
• 46:29
  Speaker 4: he seems totally indifferent to the whole situation. He has dreams,
• 46:34
  Speaker 4: but he only kind of semi seems to care about those,
• 46:36
  Speaker 4: and he spends half the time insulting her. But like, yeah,
• 46:40
  Speaker 4: she should like that.
• 46:41
  Speaker 3: What if you eat any more food, you'd be fat?
• 46:44
  Speaker 4: What like the way I would have punched him in
• 46:47
  Speaker 4: the face.
• 46:48
  Speaker 3: Okay, Napoleon dynamite and try that.
• 46:50
  Speaker 4: Again, because like, your fucking lip is that good?
• 46:53
  Speaker 3: No, it's like you got he was trying to pull
• 46:55
  Speaker 3: a Napoleon Dynamite, but not nearly as funny or charming,
• 46:58
  Speaker 3: because he was like, do you think you're dream making
• 47:00
  Speaker 3: two percent because you're fast?
• 47:01
  Speaker 4: Because you think you're fast because you're not.
• 47:03
  Speaker 3: You could be drinking a whole if you wanted to.
• 47:06
  Speaker 4: Well, see, that is a joke where he it comes
• 47:10
  Speaker 4: off as an abrupt insult, but he's trying to say
• 47:12
  Speaker 4: something nice and unintentionally phrases it in a way that
• 47:16
  Speaker 4: it's like, what Oh, He's literally saying you're not fat?
• 47:20
  Speaker 3: Yeah, yeah, and the.
• 47:23
  Speaker 4: Worst phrasing ever, Whereas this guy's just like, if you
• 47:26
  Speaker 4: keep eating, you'll get fat, okay, which I mean in
• 47:30
  Speaker 4: all fairness though, because you know we've been I don't
• 47:34
  Speaker 4: know if you've talked about in here, but me and
• 47:36
  Speaker 4: your daughter have been rewatching Sailor Moon. She's watching it
• 47:39
  Speaker 4: for the first time, and Sailor Moon is real skinny.
• 47:44
  Speaker 4: Every time she starts eating a bunch of food at
• 47:46
  Speaker 4: once or someone always goes, you know you're gonna get
• 47:50
  Speaker 4: fat if you do that.
• 47:52
  Speaker 3: I think that's just, uh, because I think it's cultural.
• 47:55
  Speaker 3: I think it's well. Even in Turning Red, the amps
• 47:58
  Speaker 3: that come out with she's like, looks like you, like, no,
• 48:01
  Speaker 3: she gained weight? Like why is everybody concerned with everybody's weight?
• 48:05
  Speaker 4: Or house to where they're all called. They all call
• 48:08
  Speaker 4: the biggest girl, which is marginal mac for stomach, and
• 48:12
  Speaker 4: she's marginally her melody are basically the same size.
• 48:17
  Speaker 3: And this girl's weight gets brought up a couple times
• 48:20
  Speaker 3: in this because someone mentions her being something. She's like, well,
• 48:23
  Speaker 3: I think I'm a little bit, you know, lighter than that.
• 48:25
  Speaker 3: It's like, okay, Banby, well I'm a little bit heavier
• 48:27
  Speaker 3: than Bamby. I don't fucking care how you are.
• 48:30
  Speaker 4: A five minute conversation, Oh my god. But also he
• 48:34
  Speaker 4: keeps four and shoving. She's like, I don't want to
• 48:36
  Speaker 4: be fat. Every time they cut to a scene that
• 48:39
  Speaker 4: she's not working, they're at a restaurant and she's and
• 48:42
  Speaker 4: like he is ordering her all the food every like yeah, okay, guys,
• 48:47
  Speaker 4: it doesn't make any sense, but sure.
• 48:49
  Speaker 3: And most of these scenes, like the one we're mentioning
• 48:52
  Speaker 3: at the restaurant, they just simply feel like they're existing.
• 48:56
  Speaker 3: It's like they were constantly trying to out weird themselves
• 48:59
  Speaker 3: but never stuck to a bit long enough for it
• 49:02
  Speaker 3: to be funny. Yeah, that's my issue. And the distinction
• 49:06
  Speaker 3: between being weird and actual humor is where this movie
• 49:09
  Speaker 3: will live or die. And that leads me to my
• 49:12
  Speaker 3: next point, because all of the weirdness is so much
• 49:14
  Speaker 3: more focused on the things that shouldn't be weird, the
• 49:18
  Speaker 3: people you should be fo focusing the weirdness on all
• 49:22
  Speaker 3: of the monsters. I mean, we got a miniature set,
• 49:26
  Speaker 3: an actual miniature set, guys in suits, and nothing got destroyed,
• 49:31
  Speaker 3: nary a building. I mean maybe one. I think he
• 49:35
  Speaker 3: was walking through well one swings his arm down and
• 49:38
  Speaker 3: I thought hit a corner of a building.
• 49:39
  Speaker 4: Yeah, like nicked it.
• 49:42
  Speaker 3: It's like, like the monsters feel so secondary to this movie,
• 49:47
  Speaker 3: which is strange to say about a movie called Monster
• 49:52
  Speaker 3: Seafood Wars. And like the early Godzilla films we did
• 49:57
  Speaker 3: the original, they used restraint and you'd get a glimpse here,
• 50:02
  Speaker 3: a brief there, and then a full reveal by the
• 50:05
  Speaker 3: time the ending, you know, chaotic showdowns happened. But at
• 50:08
  Speaker 3: this and then this movie, restraint is out the window
• 50:12
  Speaker 3: because three minutes and thirty two seconds into this movie,
• 50:16
  Speaker 3: during the title sequence, they are showing us events of
• 50:20
  Speaker 3: the movie that have not happened yet where monsters are fighting.
• 50:25
  Speaker 3: Terrible idea. Why I haven't even seen this scene in
• 50:28
  Speaker 3: the movie, and you're showing it to me. In clipse
• 50:30
  Speaker 3: of the title sequence five minutes and thirty six seconds,
• 50:33
  Speaker 3: we get the monsters jumping out of the water and fighting,
• 50:36
  Speaker 3: and we do not see them again until thirty minutes
• 50:39
  Speaker 3: and twenty one seconds, where a lot of that first
• 50:42
  Speaker 3: fight scene was reused footage that was mirrored.
• 50:46
  Speaker 4: Yep.
• 50:46
  Speaker 3: Remember I was like, that's the same shot, but yeah,
• 50:48
  Speaker 3: clipped around and I think it.
• 50:50
  Speaker 4: Was really funny though that most of their fighting made.
• 50:53
  Speaker 4: One of the things that made me chuckle was both
• 50:56
  Speaker 4: of these things have abnormally long arms. Okay, that makes sense,
• 50:59
  Speaker 4: that squid and octopus.
• 51:01
  Speaker 2: So what it clearly is is.
• 51:03
  Speaker 4: That the one of they have arms in there, and
• 51:07
  Speaker 4: then these things go a few feet past the arms,
• 51:10
  Speaker 4: so they're just kind of swinging them like an alasso
• 51:14
  Speaker 4: motion at each other. And in their outfits you could
• 51:17
  Speaker 4: also see where the head ends, you could see the
• 51:20
  Speaker 4: shorts for the legs, and the crab was just a
• 51:24
  Speaker 4: man in a costume squatting.
• 51:27
  Speaker 3: I'm okay with all of them.
• 51:28
  Speaker 4: That That was one of the things that I actually enjoyed.
• 51:30
  Speaker 4: Made me laugh because I'm like, it's so silly.
• 51:32
  Speaker 3: Because it actually makes it feel like a kaiju movie.
• 51:35
  Speaker 3: But then at thirty three thirty six they say, our
• 51:38
  Speaker 3: mission is complete destroying the octopus and squid with vinegar,
• 51:43
  Speaker 3: which is hilarious because they get these giant vinegar guns
• 51:47
  Speaker 3: and they blast them with this because that, you know,
• 51:50
  Speaker 3: will kill them whatever. Yeah, but in the scene where
• 51:53
  Speaker 3: they have these guns and are driving off past the camera,
• 51:57
  Speaker 3: they had these long hoses that were not attached to anything.
• 52:01
  Speaker 3: I could see the end of the hose. Yeah, I
• 52:02
  Speaker 3: was just like, oh my god. And then they're trying
• 52:05
  Speaker 3: to blast the you know, the the liquid at the
• 52:09
  Speaker 3: monsters and they're just like doing donuts in this field
• 52:12
  Speaker 3: and they're mean and like meandering around. But they say
• 52:16
  Speaker 3: our missions complete at thirty three thirty six, and then
• 52:19
  Speaker 3: moments later a crab re Like that's when the crab appears.
• 52:23
  Speaker 3: So we don't get the crab until about thirty five
• 52:26
  Speaker 3: minutes into this movie. And then they start fighting the
• 52:29
  Speaker 3: monsters that they said they defeated. What do you mean
• 52:33
  Speaker 3: also you said they were defeated, And there they stand
• 52:39
  Speaker 3: fighting the crab.
• 52:39
  Speaker 4: Not only are they fighting the crab, but they spray
• 52:41
  Speaker 4: a bunch of liquid on them and the besides the
• 52:45
  Speaker 4: monsters doing a motion that frankly because of their limited motion,
• 52:48
  Speaker 4: is like, hey, why you spraying me? Yeah, apparently they've
• 52:52
  Speaker 4: been defeated. But they look the same, just more wet.
• 52:56
  Speaker 3: They look exactly the same.
• 52:57
  Speaker 4: Nothing's happened to them. They just look more wet.
• 53:00
  Speaker 3: Nothing has happened. I don't understand that. And then they
• 53:03
  Speaker 3: jump into the water right at thirty seven to twenty seven,
• 53:06
  Speaker 3: not to be seen again until an hour and six
• 53:09
  Speaker 3: minutes thirty minutes later of an eighty four minute runtime.
• 53:14
  Speaker 3: And that thirty minutes was spent. That's how long the
• 53:18
  Speaker 3: eating section was. It was twenty six minutes with four
• 53:22
  Speaker 3: minutes of plan before they went back. Yeah, so they
• 53:28
  Speaker 3: sidetrack while everyone's eating this food with seventeen hundred different
• 53:34
  Speaker 3: side characters that meant nothing to this, and it's like, Okay,
• 53:39
  Speaker 3: I don't even understand what we're doing here. You're focusing
• 53:43
  Speaker 3: more on government meetings, food preparation. All these side characters,
• 53:47
  Speaker 3: comedy detours, like the monsters are supporting players in this
• 53:50
  Speaker 3: movie at this point. They're side characters.
• 53:52
  Speaker 4: Yeah, because they go into a long tear where they're
• 53:54
  Speaker 4: interviewing a chef who worked for the government, and he's
• 53:57
  Speaker 4: gonna they got some of the monster meet, which, by
• 53:59
  Speaker 4: the way, the only monster meat you really see is
• 54:01
  Speaker 4: this giant styrofoam chunk of monster meat, which is maybe
• 54:06
  Speaker 4: three or four feet across. It's just this big chunk
• 54:09
  Speaker 4: of styrofoam. It's solid too, because people pick it up
• 54:12
  Speaker 4: and it is solid. Then, so that's the only chunk
• 54:16
  Speaker 4: you see. Except then they go on a just insanely
• 54:21
  Speaker 4: long thing about how he had he was told to
• 54:24
  Speaker 4: make food with the meat to see if it was edible.
• 54:28
  Speaker 4: What in the name of science makes you think you
• 54:31
  Speaker 4: should eat the giant monster? And then they make he
• 54:36
  Speaker 4: makes eight different dishes. Then you spend several minutes with
• 54:41
  Speaker 4: every one of the SMAT team eating their individual different dishes,
• 54:47
  Speaker 4: one at a time, and individually thinking they don't say
• 54:51
  Speaker 4: this shit out loud, internal monologues for every single one
• 54:54
  Speaker 4: of them what they think of the dish, and then
• 54:59
  Speaker 4: you cut. So somehow this meat has gotten out to
• 55:02
  Speaker 4: the public to the point where people are black markets
• 55:05
  Speaker 4: selling this meat at random restaurants where they can top
• 55:09
  Speaker 4: secret get that food again. We've only seen one four
• 55:13
  Speaker 4: foot chunk, and this shit is they're playing this shit
• 55:17
  Speaker 4: up like it's the next KFC in Japan, which if
• 55:21
  Speaker 4: you know anything about KFC in Japan, it's a big,
• 55:24
  Speaker 4: big ass.
• 55:24
  Speaker 3: Deal there, big deal.
• 55:25
  Speaker 4: It's massive. That is their Christmas dinner. It's a whole thing.
• 55:30
  Speaker 4: But it's just like, Okay, but we saw one chunk
• 55:34
  Speaker 4: of meat, so how much meat fell off of these things?
• 55:37
  Speaker 4: And also how is everyone getting it?
• 55:40
  Speaker 3: Yeah? I didn't They didn't explain. I didn't understand that either.
• 55:43
  Speaker 4: They didn't put in the context. They didn't show anything,
• 55:46
  Speaker 4: they didn't tell anything to get us from point A
• 55:49
  Speaker 4: to point B. They just slapped you into point B
• 55:51
  Speaker 4: and went look at all these people eating the monster meat?
• 55:55
  Speaker 2: What what?
• 55:56
  Speaker 3: And hold that thought because I'm like, I'm going into
• 56:00
  Speaker 3: that segment right now, so real quick, real quick tangent
• 56:04
  Speaker 3: before I jump back to the hole eating the monster's part.
• 56:08
  Speaker 3: So what Like, if you're doing a parody, you need
• 56:12
  Speaker 3: to understand what makes the original work. Two examples here
• 56:16
  Speaker 3: Galaxy Questic Seeds because it genuinely loves Star Trek. Shoan
• 56:19
  Speaker 3: of the Dead succeeds because it genuinely loves horror movies.
• 56:23
  Speaker 3: Does this movie actually love Kaiju movies or is it
• 56:27
  Speaker 3: mostly interested in poking fun at them. I don't think
• 56:30
  Speaker 3: this was made by a person who legitimately enjoys Kaiju films,
• 56:34
  Speaker 3: although we have the one writer who did special effects
• 56:37
  Speaker 3: for them. So it's like, I don't understand.
• 56:39
  Speaker 4: I don't gives like they missed the point of Kaiju
• 56:41
  Speaker 4: movies or missed what's in them and really focused on.
• 56:45
  Speaker 4: Isn't all the sidecrap annoying and tedious. Let's make it more,
• 56:49
  Speaker 4: more longer, and more tedious, sir.
• 56:52
  Speaker 3: Well, because there's moments where it feels less like a
• 56:54
  Speaker 3: tribute and more like a prolonged joke. And the prolonged
• 56:57
  Speaker 3: joke that I'm talking about is the whole eating thing. Yeah,
• 57:00
  Speaker 3: because I think buried beneath that nonsense is actually a
• 57:05
  Speaker 3: clever satirical concept because humanity discovers that these monsters are edible.
• 57:10
  Speaker 3: So disaster becomes commerce immediately, the apocalypse becomes a product
• 57:15
  Speaker 3: that's funny like on paper. Yeah, but again, going back
• 57:19
  Speaker 3: to the execution, they did not execute this properly. Like
• 57:23
  Speaker 3: the government stops worrying about destruction, corporations start worrying about
• 57:27
  Speaker 3: their profit margins. Consumers are lining up to eat this thing.
• 57:31
  Speaker 3: It's a sharp observation of how quickly society commercializes catastrophe.
• 57:36
  Speaker 3: It really is.
• 57:37
  Speaker 4: Yeah, But at the same time, it feels so weird
• 57:40
  Speaker 4: because if they had had that where every you know,
• 57:45
  Speaker 4: consumers are consuming like crazy. Okay, first off, that's we
• 57:50
  Speaker 4: need way shorter, wayless. It was more montage, Yeah, more
• 57:53
  Speaker 4: montage and not less individual scene, not almost half the movie.
• 57:58
  Speaker 4: But if they had done that and then the people
• 58:02
  Speaker 4: in smet are not eating it, they are saying, what
• 58:05
  Speaker 4: the hell is everyone doing? Why are they eating this?
• 58:09
  Speaker 4: Why are they so excited about this? We're still in danger?
• 58:12
  Speaker 4: That would have made that commentary would have made sense.
• 58:16
  Speaker 4: But the fact that the guys who are there to
• 58:18
  Speaker 4: defeat the monsters are the first ones chowing down, right,
• 58:22
  Speaker 4: They're talking about how delicious they smell with the vinegar
• 58:26
  Speaker 4: on them, yep, And then they're going out to the
• 58:30
  Speaker 4: same restaurants they're just feeding into it too. It's just like, okay,
• 58:33
  Speaker 4: so what's the joke we're making, because it just kind
• 58:35
  Speaker 4: of seems like everybody's chill with this and oh shit, right,
• 58:38
  Speaker 4: we have to kill these monsters while we're at it.
• 58:40
  Speaker 3: Yeah, again, the movie gets distracted with how delicious these
• 58:44
  Speaker 3: monsters are that they forget that they have to kill them.
• 58:47
  Speaker 3: And again, I do feel like there is great comedy
• 58:50
  Speaker 3: hidden inside that premise. It's just they never fully commit
• 58:53
  Speaker 3: to exploring it. Every time it seems ready to say
• 58:55
  Speaker 3: something meaningful, it gets distracted by another random gag.
• 58:59
  Speaker 4: Yeah, exactly.
• 59:01
  Speaker 3: But talk about the one thing that they did nail. Okay,
• 59:05
  Speaker 3: because this, you know, I always find the good in
• 59:07
  Speaker 3: the movies even if I absolutely can't stand then. I
• 59:10
  Speaker 3: feel like they did nail classic Kaiju films and the
• 59:14
  Speaker 3: very very small segments that they were utilized in practical effects,
• 59:19
  Speaker 3: miniature works, creature suits, all of it. Seeing that in
• 59:24
  Speaker 3: like twenty twenty. Seeing that be done in twenty twenty
• 59:27
  Speaker 3: was refreshing because I everything after I mean, Godzilla nineteen
• 59:31
  Speaker 3: ninety eight, it's just basically ALCG. Yeah, So seeing guys
• 59:35
  Speaker 3: in giant costumes is really cool because by twenty twenty,
• 59:39
  Speaker 3: we've all become accustomed to CG and there's something comforting
• 59:43
  Speaker 3: about watching a guy and a giant rubber monster suitud
• 59:47
  Speaker 3: stomp around monster cities. And the designs themselves were excellent.
• 59:52
  Speaker 3: I loved the crab, all of them, the octopus of squid.
• 59:55
  Speaker 3: They all had this very like bright, vibrant look to them.
• 1:00:01
  Speaker 3: They were swinging around goo like except it's weird because
• 1:00:03
  Speaker 3: this one of them had like chompers, not the crab.
• 1:00:06
  Speaker 3: I think it was the octopus that clause, And I'm like,
• 1:00:09
  Speaker 3: I don't octopus don't have claws, I don't think. To
• 1:00:12
  Speaker 3: my knowledge, I don't know much about OCTOPI though, so
• 1:00:14
  Speaker 3: I don't know.
• 1:00:15
  Speaker 4: That's like a thing about that. Don't ask me what
• 1:00:16
  Speaker 4: it is.
• 1:00:17
  Speaker 3: Yeah, it evokes an era when these films felt handmade.
• 1:00:20
  Speaker 3: But then you get moments where you can clearly tell, oh,
• 1:00:23
  Speaker 3: this is bad siege or bad green screening. Some of
• 1:00:27
  Speaker 3: the green screening in this looked worse than the super
• 1:00:30
  Speaker 3: imposition in the original Godzilla from nineteen fifty four. I
• 1:00:34
  Speaker 3: was like, Wow, that looks really bad. Mainly when the
• 1:00:37
  Speaker 3: squidding octopus are fighting and that building's on fire for
• 1:00:41
  Speaker 3: some reason and the trucks are going towards them. I
• 1:00:43
  Speaker 3: was like, this, that looks bad. Somehow, the effects in
• 1:00:47
  Speaker 3: Space Godzilla were from nineteen ninety four were better, and
• 1:00:50
  Speaker 3: even the original movie. So can nostalgia carry a movie,
• 1:00:54
  Speaker 3: especially when we get so little of it. No, because
• 1:00:58
  Speaker 3: that nostalgia was like seven minutes of this movie.
• 1:01:01
  Speaker 4: That was Yeah, that was the part I think we
• 1:01:02
  Speaker 4: were enjoying the most was the then the fighting, not
• 1:01:06
  Speaker 4: the final battle, because though whatever youyone else was doing
• 1:01:09
  Speaker 4: was so distracting.
• 1:01:10
  Speaker 3: Well, and then super Chef comes out of fucking left field,
• 1:01:13
  Speaker 3: out of nowhere, much like.
• 1:01:15
  Speaker 4: The white Man who showed up in the Middle Era
• 1:01:17
  Speaker 4: at the last minute that they gave three different lines
• 1:01:20
  Speaker 4: to He's not a character, he's just there. They just
• 1:01:23
  Speaker 4: keep cutting to him saying things.
• 1:01:24
  Speaker 3: And even though I had the subtitles on, they didn't
• 1:01:27
  Speaker 3: subtitle him.
• 1:01:28
  Speaker 4: It discontinuing as far as I've seen with the tradition
• 1:01:31
  Speaker 4: that in every Japanese movie there's just one white dude.
• 1:01:34
  Speaker 3: Just one white dude. But yeah, by the time we
• 1:01:37
  Speaker 3: get to Jumbo Chef, I'm so I've lost so much interest.
• 1:01:41
  Speaker 3: I don't care. Because again, on paper, a giant chef
• 1:01:45
  Speaker 3: fighting giant seafood monsters, Hell yeah, that would make that's
• 1:01:49
  Speaker 3: enough to sell any Kaiju fan on Earth. But somehow
• 1:01:53
  Speaker 3: it lands as a shrug because by the time he arrives,
• 1:01:56
  Speaker 3: the movie has trained the audience to expect anything because
• 1:02:00
  Speaker 3: of how off the rails the story has gone. There's
• 1:02:02
  Speaker 3: no escalation, no sense of payoff. We're not building towards anything,
• 1:02:07
  Speaker 3: and for me, instead of feeling like a climax, Jumbo
• 1:02:09
  Speaker 3: Cook feels like one more random item added to it
• 1:02:13
  Speaker 3: already overflowing menu. I'm like, I don't even care that
• 1:02:15
  Speaker 3: this is.
• 1:02:15
  Speaker 4: Happening well, and it didn't even make sense realistically because
• 1:02:19
  Speaker 4: you do see him briefly earlier in the movie, but
• 1:02:22
  Speaker 4: because you kids picking up poking out of a building. Yeah,
• 1:02:26
  Speaker 4: it's never mentioned that he's a robot and somehow this
• 1:02:29
  Speaker 4: corner building can split open for him to exit, and
• 1:02:32
  Speaker 4: that doesn't get explained at all. And then this kid
• 1:02:37
  Speaker 4: who's sitting in his room playing video games also made
• 1:02:40
  Speaker 4: a giant robot and then he randomly says, oh, he's
• 1:02:43
  Speaker 4: running out of gas. Does he run on fuel specifically
• 1:02:47
  Speaker 4: or okay, they just were like, oh, no, he's dying,
• 1:02:51
  Speaker 4: so we got to finish it quick.
• 1:02:53
  Speaker 3: Is he I don't know?
• 1:02:56
  Speaker 4: And also when did you build him like you're straight
• 1:02:58
  Speaker 4: up sitting in your room playing street Fighter, because he
• 1:03:01
  Speaker 4: was definitely playing Street Fighter. And then you also have
• 1:03:06
  Speaker 4: a giant robot that's sitting in the middle of town.
• 1:03:09
  Speaker 3: That could have been helping this entire goddamn time that
• 1:03:12
  Speaker 3: you waited until the like no sense of urgency in this.
• 1:03:16
  Speaker 3: And he appears later in the movie and he hears
• 1:03:20
  Speaker 3: one time in the beginning they have like a twenty
• 1:03:21
  Speaker 3: minute fucking dialogue, I swear. And then later he shows
• 1:03:26
  Speaker 3: up to the love interests from Utah and I'm like,
• 1:03:28
  Speaker 3: who's this guy? Yeah, and you were like, that's the
• 1:03:31
  Speaker 3: guy from the beginning. I'm like, the guy I haven't
• 1:03:33
  Speaker 3: seen in an hour. I forgot about his existence.
• 1:03:35
  Speaker 4: Yep. He came back for once to tell her that
• 1:03:39
  Speaker 4: Utah liked her because based on literally everything he does
• 1:03:44
  Speaker 4: the entire movie, it's a it's really easy to not
• 1:03:48
  Speaker 4: know that.
• 1:03:48
  Speaker 3: Yeah.
• 1:03:49
  Speaker 4: And also he comes back at the end he's like,
• 1:03:52
  Speaker 4: all right, put my blindfolded on. I'm gonna get my
• 1:03:54
  Speaker 4: giant fighting robot.
• 1:03:56
  Speaker 3: What okay? And then someone also hacked into the sprinklers
• 1:04:00
  Speaker 3: in the stadium and the robot, which makes no sense
• 1:04:03
  Speaker 3: at all.
• 1:04:06
  Speaker 2: Work.
• 1:04:06
  Speaker 3: I don't even understand. How do you hack into sprinklers?
• 1:04:09
  Speaker 3: That's not That's what I don't I don't know, man,
• 1:04:14
  Speaker 3: the the idea here is not the problem. The setup
• 1:04:17
  Speaker 3: is the execution a giant the setup, execution, all of it.
• 1:04:22
  Speaker 3: A giant mecha chef should be legendary, and this made
• 1:04:27
  Speaker 3: it feel routine. I was like, yep, there there was
• 1:04:30
  Speaker 3: no excitement when he when he just shot out of there,
• 1:04:33
  Speaker 3: because I'm like, this does what this is what we've
• 1:04:36
  Speaker 3: been building to A chef that has been here the
• 1:04:39
  Speaker 3: entire time that could have stopped all of this in
• 1:04:41
  Speaker 3: five minutes because he kills all of them pretty quickly
• 1:04:45
  Speaker 3: with his spin move up to the fucking sky, spin,
• 1:04:48
  Speaker 3: moved down all dead. Where were you when these things
• 1:04:52
  Speaker 3: first came.
• 1:04:53
  Speaker 4: It's just, oh my god, make little to no sense,
• 1:04:57
  Speaker 4: because if you could do it that fast, then why
• 1:04:59
  Speaker 4: didn't they do that? And nobody seemed to be that
• 1:05:01
  Speaker 4: particularly worried about these monsters except during the three fights.
• 1:05:06
  Speaker 4: Other than that they didn't give a shit.
• 1:05:09
  Speaker 3: And we have to say that there's this thing called
• 1:05:11
  Speaker 3: set tap z that Utah made. He's some prodigy which
• 1:05:18
  Speaker 3: takes something and shrinks it down and then exponentially makes
• 1:05:22
  Speaker 3: it bigger. Science. There was the graphic happening in the
• 1:05:26
  Speaker 3: background when the scientist was explaining it. I'm like, yeah,
• 1:05:29
  Speaker 3: whatever's happening there, it's what happened with these creatures?
• 1:05:32
  Speaker 4: Sure, the molecules man.
• 1:05:34
  Speaker 3: But like when when that guy went at the beginning,
• 1:05:37
  Speaker 3: was like, oh you're you're definitely gonna get arrested. Bitch.
• 1:05:39
  Speaker 5: How how does anybody know this is his fault? It
• 1:05:43
  Speaker 5: doesn't make any sense. Nothing is connected in this movie. No, no,
• 1:05:49
  Speaker 5: So who does this movie appeal to? Honestly, I don't know.
• 1:05:52
  Speaker 5: It has a three point one out of five on Letterbox.
• 1:05:55
  Speaker 5: How it got there, I'll never know. So if you're
• 1:05:58
  Speaker 5: a fan of Japanese absurd as comedy, this might be
• 1:06:02
  Speaker 5: for you. If for some reason, you are a tokusatsu completionist,
• 1:06:08
  Speaker 5: people who like cult oddities, viewers that appreciate just creative weirdness,
• 1:06:14
  Speaker 5: or someone looking for a what are we watching?
• 1:06:17
  Speaker 3: Moving night? Movie night? That was my question, but not
• 1:06:20
  Speaker 3: in a good way. Sometimes I'm like what is this movie?
• 1:06:24
  Speaker 3: But every five minutes I'm like, I'm like, actually, what
• 1:06:28
  Speaker 3: is going on in this movie? Nothing makes sense?
• 1:06:31
  Speaker 4: Time Cop has a two point nine. Okay, I watched it.
• 1:06:37
  Speaker 4: It's heavily ridiculed for being ridiculous. The time travel is goofy,
• 1:06:41
  Speaker 4: the story is goofy. I would watch that one hundred
• 1:06:45
  Speaker 4: times over before I watched this one again because I
• 1:06:49
  Speaker 4: could follow that plot, and that plot has crazy overlapping
• 1:06:53
  Speaker 4: time travel in it.
• 1:06:54
  Speaker 3: I would watch The Stranger's Part two over this dam
• 1:06:57
  Speaker 3: one hundred times because at least something's happening there. Sure
• 1:07:03
  Speaker 3: it's terrible, that got a one star for me, but
• 1:07:06
  Speaker 3: I'd rather watch that.
• 1:07:08
  Speaker 4: I was gonna say I'd rather watch Dracula the three thousand,
• 1:07:11
  Speaker 4: but honestly, I'd rather read a book.
• 1:07:14
  Speaker 3: Let's just change that.
• 1:07:15
  Speaker 4: I'd like to do something else entirely.
• 1:07:17
  Speaker 3: So who this is not gonna work for me because
• 1:07:20
  Speaker 3: I am a traditional Godzilla fan, seeking monster action, people
• 1:07:24
  Speaker 3: who enjoy coherence storytelling, people who enjoy sharp satire, not
• 1:07:29
  Speaker 3: whatever mollusk skin satire this was anyone hoping the title
• 1:07:35
  Speaker 3: accurately represents the amount of kaiju mayhem, and people who
• 1:07:38
  Speaker 3: need jokes to have punchlines rather than simply existing. Some
• 1:07:43
  Speaker 3: viewers might discuss discover this as a hidden treasure. Others
• 1:07:47
  Speaker 3: will discover that it is eighty four minutes of brain
• 1:07:49
  Speaker 3: rot worse than skibbety toilet or whatever the fuck that kid,
• 1:07:53
  Speaker 3: whatever that thing is. Yeah, final verdict here. Not every
• 1:07:58
  Speaker 3: bizarre movie is a not every ridiculous premise is a
• 1:08:02
  Speaker 3: toxic avenger. This is just a strange movie. It's just
• 1:08:08
  Speaker 3: a strange movie being strange, and that's where this movie lands.
• 1:08:11
  Speaker 3: It's not a hidden masterpiece. It's not a misunderstood Jim.
• 1:08:14
  Speaker 3: It is a frustrating movie to watch because nothing is
• 1:08:17
  Speaker 3: making sense. There is no premise, and everything in this
• 1:08:20
  Speaker 3: is random chaos. It was one of the most frustrating
• 1:08:24
  Speaker 3: movies I've ever watched. YEP, hands down. So that's all
• 1:08:30
  Speaker 3: I have. I don't want I can't even I don't
• 1:08:32
  Speaker 3: even want to think about this movie anymore. That's fair,
• 1:08:34
  Speaker 3: and I'm trying not to. Like I know, it probably
• 1:08:37
  Speaker 3: just sounds like this is an overwhelmingly negative review and
• 1:08:40
  Speaker 3: I'm really not trying to tear this movie apart. But
• 1:08:42
  Speaker 3: when you have a movie that literally makes no sense
• 1:08:46
  Speaker 3: and it's intentional, that's a problem. Franken Hooker is doesn't
• 1:08:50
  Speaker 3: make sense. It's a silly movie. Chopping mall is a
• 1:08:54
  Speaker 3: ridiculous premise.
• 1:08:56
  Speaker 4: I've seen movies where they it's just a series of
• 1:08:58
  Speaker 4: things happening and had a great time.
• 1:09:00
  Speaker 3: Those are the only thay that came to mind, like,
• 1:09:02
  Speaker 3: there's another movie called Auntie Lee's Meat Pies, which is
• 1:09:05
  Speaker 3: literally almost the same plot of Motel Hell, but it's
• 1:09:10
  Speaker 3: it's it's campy. This isn't This is not campy, dude.
• 1:09:14
  Speaker 4: UHF is a movie that is has a minor plot
• 1:09:18
  Speaker 4: point about saving a small TV station that weird out
• 1:09:22
  Speaker 4: inherits Yeah, and it is heavily parodying movies and commercials
• 1:09:30
  Speaker 4: and music videos and stuff to showcase his parody. It's
• 1:09:36
  Speaker 4: a whole lot of nonsense for the most part, and
• 1:09:39
  Speaker 4: yet is extremely enjoyable because the nonsense is still strung together.
• 1:09:45
  Speaker 4: I mean, Jesus Pee's big adventure is he's going on
• 1:09:50
  Speaker 4: a quest for his bike. Everything else that happens is
• 1:09:53
  Speaker 4: just shit that happens to him along the way. There
• 1:09:56
  Speaker 4: is no rhyman reason to any of that stuff. It's
• 1:09:59
  Speaker 4: still a great time. Yeah, So you're gonna be if
• 1:10:03
  Speaker 4: you're gonna have a bunch of nonsense stuff happen, make
• 1:10:06
  Speaker 4: it fun to watch, not tedious and painful.
• 1:10:09
  Speaker 3: I do, like I told you last night, I feel
• 1:10:11
  Speaker 3: like this is much more geared towards a Japanese audience
• 1:10:14
  Speaker 3: who like the style of comedy because obviously this guy,
• 1:10:19
  Speaker 3: this is this the director, that's the director's thing. Is
• 1:10:22
  Speaker 3: this type of comedy? This does not work for me.
• 1:10:25
  Speaker 3: And we had the discussion too. It's like, Okay, I
• 1:10:28
  Speaker 3: can see it's got a good rating of a three
• 1:10:31
  Speaker 3: point one. So we had this discussion last night. Do
• 1:10:34
  Speaker 3: I rate it low because I didn't like it? Or
• 1:10:39
  Speaker 3: do I give it some you know what? Did I
• 1:10:42
  Speaker 3: call it? Do I give it a break and give
• 1:10:44
  Speaker 3: it a little bit higher rating case I can see
• 1:10:46
  Speaker 3: the appeal for some people. It just wasn't for me.
• 1:10:48
  Speaker 3: But at the end of the day, I do the
• 1:10:51
  Speaker 3: opposite with movies that don't really deserve five stars. So
• 1:10:54
  Speaker 3: I'm gonna that's what I'm gonna do with this one.
• 1:10:55
  Speaker 3: This one probably doesn't deserve what I'm about to give it,
• 1:10:58
  Speaker 3: but it is the time I had with it, you
• 1:11:00
  Speaker 3: know what I mean.
• 1:11:01
  Speaker 4: Yeah, there are some movies I give a little extra
• 1:11:05
  Speaker 4: credit because I know that if I'd seen it when
• 1:11:08
  Speaker 4: it was the right time for it, I probably would
• 1:11:10
  Speaker 4: have enjoyed it more.
• 1:11:11
  Speaker 3: Oh, a difference in time is much different than six years. Yeah.
• 1:11:15
  Speaker 4: Yeah, but I'm saying like this ain't that this is
• 1:11:17
  Speaker 4: not about it For the most part, I always write
• 1:11:19
  Speaker 4: stuff about how I feel about it.
• 1:11:22
  Speaker 3: Yeah, so this one is going to be solely rating this.
• 1:11:25
  Speaker 3: This is a rating based off of the time I
• 1:11:27
  Speaker 3: had with it. So let's move into the final cut,
• 1:11:32
  Speaker 3: all right, taglines here doesn't even make sense. If you
• 1:11:35
  Speaker 3: eat this monster, it's crazy delicious, okay, trivia. Three things
• 1:11:39
  Speaker 3: for this three total things. For the film's North American
• 1:11:42
  Speaker 3: video release, artist Matt Frank designed the cover as a
• 1:11:45
  Speaker 3: reference to the Space Amiba. Specifically, it's American post or
• 1:11:49
  Speaker 3: yog the space Monster. The Japanese title translates to three
• 1:11:53
  Speaker 3: giant monster Gourmet. The film uses the techniques of Kigarumi.
• 1:11:59
  Speaker 3: And there's our some mistakes in here, because it says
• 1:12:02
  Speaker 3: with is actually more in line with cruder amusement consumes.
• 1:12:07
  Speaker 3: So you said that's probably which is actual, which is
• 1:12:11
  Speaker 3: actually more in line with cruder amusement costumes, rather than
• 1:12:14
  Speaker 3: the more elaborate suit word from marjor Japanese studio. This
• 1:12:17
  Speaker 3: is evident in these simple monster suits, which are not
• 1:12:19
  Speaker 3: as detailed as those seen in TV shows like Ultraman
• 1:12:22
  Speaker 3: or studio films like Godzilla. These were incredibly detailed. I
• 1:12:25
  Speaker 3: don't know what you mean. Rated five point zero out
• 1:12:29
  Speaker 3: of ten on IMDb, which equivalates to a two point
• 1:12:33
  Speaker 3: five out of five for our purposes of the nightmare index,
• 1:12:36
  Speaker 3: three point one out of five on Letterbox, seventy seven
• 1:12:40
  Speaker 3: percent on the Tomatoes a meter, and then a nil
• 1:12:43
  Speaker 3: audience score. I guess not enough people have rated it.
• 1:12:46
  Speaker 3: What did you give this movie? Yeah, one star to
• 1:12:49
  Speaker 3: put it in perspective. Since I just talked about scary
• 1:12:51
  Speaker 3: movies the sixt one, I would rather watch that than this. Again,
• 1:12:54
  Speaker 3: that's how bad this was, So that gives us a
• 1:12:57
  Speaker 3: nightmare index. That's not right. That's not right. Hold on, standby,
• 1:13:03
  Speaker 3: Oh no, it's bad. Let me double check that math
• 1:13:06
  Speaker 3: just real quick.
• 1:13:07
  Speaker 4: Oh I can't wait for this.
• 1:13:09
  Speaker 3: Let me double check that math. Now, that's right. One
• 1:13:12
  Speaker 3: point nine out of five. That's absolutely the lowest. Because
• 1:13:17
  Speaker 3: the lowest thing right now, I think I'm pretty sure
• 1:13:19
  Speaker 3: is a two point four to four and it is contamination.
• 1:13:24
  Speaker 3: And I believe right above that is the nesting at
• 1:13:26
  Speaker 3: a two point sixty seven. So yeah, bottom of the list.
• 1:13:29
  Speaker 3: This is all the way, all the way at the bottom.
• 1:13:32
  Speaker 3: Aptly so similar movies according to IMDb, Yamata No Oricho
• 1:13:38
  Speaker 3: no Guya Kusha Reptilian Godzilla nineteen eighty five, Goddila Versus Bolante,
• 1:13:45
  Speaker 3: and King of Snakes. Similar movies according to Letterbox, None
• 1:13:49
  Speaker 3: this movie said fuck you, and similar movies according to No.
• 1:13:55
  Speaker 3: Similar movies according to Jesus so to do some review here,
• 1:14:02
  Speaker 3: some reviews here? Do you have any No, you don't
• 1:14:06
  Speaker 3: have any.
• 1:14:07
  Speaker 1: No.
• 1:14:07
  Speaker 4: They were just like people either just going long winded
• 1:14:10
  Speaker 4: or it's just I didn't see anything that was that funny.
• 1:14:13
  Speaker 3: Didn't see anything. No, Right, I've got a couple here
• 1:14:16
  Speaker 3: probably is about as entertaining as the movie. Three stars
• 1:14:20
  Speaker 3: are three stars with a heart. If you're gonna be
• 1:14:23
  Speaker 3: a big dumb monster movie, be a big dumb monster movie.
• 1:14:27
  Speaker 3: I don't I don't know if you liked it or
• 1:14:28
  Speaker 3: hated it, but you gave it a heart. We've got
• 1:14:32
  Speaker 3: three stars and a heart from Flasky Waves. Jumbo Cook
• 1:14:36
  Speaker 3: is my new lord and savior. That's pretty funny, even
• 1:14:39
  Speaker 3: though I know whatever. Two stars from Dan p I'm
• 1:14:43
  Speaker 3: gonna say what we're all thinking. The giant squid and
• 1:14:45
  Speaker 3: the giant octopus should kiss. I knew you'd like that one.
• 1:14:49
  Speaker 3: Anytime there involves something in kissing. Is this what you done?
• 1:14:53
  Speaker 4: I know because the two guys, the two main guys
• 1:14:56
  Speaker 4: who were like enemies in this, got really close to
• 1:14:58
  Speaker 4: each other's face while we were watching it. I'm like, now, keys.
• 1:15:04
  Speaker 3: And where'd it go? It just had it? It was
• 1:15:07
  Speaker 3: hold on one star from Lucas. I was awake the
• 1:15:11
  Speaker 3: whole time, trust me, so were we. This is a
• 1:15:14
  Speaker 3: movie that I am actively still trying to delete from
• 1:15:18
  Speaker 3: my brain.
• 1:15:20
  Speaker 2: Man.
• 1:15:20
  Speaker 3: Oh, I'm so sorry again if anyone watched this for
• 1:15:25
  Speaker 3: this podcast, Kaiju month was going so great until this
• 1:15:29
  Speaker 3: came into the middle of everything and royally fucked this
• 1:15:33
  Speaker 3: month up. Should have just done Godzilla minus one. That's
• 1:15:36
  Speaker 3: on me. Lesson learned, lesson learned. Yep, you live and
• 1:15:41
  Speaker 3: you learn, and we should have just done Godzilla minus one.
• 1:15:44
  Speaker 3: But it was it is. We're recording this Tuesday. It
• 1:15:46
  Speaker 3: is releasing tomorrow. Didn't have time to watch a two
• 1:15:49
  Speaker 3: hour and ten minute movie. I could have released this Friday,
• 1:15:53
  Speaker 3: but I'm trying to stick on schedule. So anyways, if
• 1:15:56
  Speaker 3: you enjoy the show, please rate and review on your
• 1:15:58
  Speaker 3: favorite podcast app of I'm gonna call out the person
• 1:16:01
  Speaker 3: who gave me a three star rating on Apple Podcasts.
• 1:16:06
  Speaker 3: Why can you at least leave me, you know, a
• 1:16:10
  Speaker 3: review explaining why I don't even I'm not even mad
• 1:16:13
  Speaker 3: that you gave me a three star. If they like,
• 1:16:17
  Speaker 3: are they gonna come back and listen to more? I
• 1:16:20
  Speaker 3: need to know what what? What can I do well? No,
• 1:16:23
  Speaker 3: genuinely I need feedback. So if you're gonna give me
• 1:16:26
  Speaker 3: a three star, which is still good in my opinion,
• 1:16:29
  Speaker 3: can you tell me what what what we could do better?
• 1:16:32
  Speaker 3: I need to know how to improve the show. And
• 1:16:33
  Speaker 3: if you're not gonna leave me a little review of
• 1:16:36
  Speaker 3: why I don't know what to do now, I feel
• 1:16:38
  Speaker 3: sad and I feel really sad bringing it up on
• 1:16:41
  Speaker 3: this episode because this this is such a terrible movie.
• 1:16:45
  Speaker 3: Maybe they gave me three stars because they heard we
• 1:16:48
  Speaker 3: were doing this movie. But to whoever did do whoever
• 1:16:53
  Speaker 3: reviewed three star, please reach out tell me what I
• 1:16:55
  Speaker 3: could do better? I would genuinely like to know some feedback,
• 1:16:58
  Speaker 3: good or bad. I'm here for all of Follow us
• 1:17:00
  Speaker 3: on Facebook, Instagram, TikTok, slasher, threads, and YouTube at Frightmar's podcast.
• 1:17:05
  Speaker 3: Our email is Stayspooky at outlook dot com. You can
• 1:17:07
  Speaker 3: also follow me personally on letterbox at doctor Proctor All
• 1:17:11
  Speaker 3: one word.
• 1:17:11
  Speaker 4: You are Watson LMP ninety BAM.
• 1:17:14
  Speaker 3: If you'd like to expand your movie podcast listening, be
• 1:17:17
  Speaker 3: sure to check out the Shameless Pictures Show, The Dead
• 1:17:19
  Speaker 3: Eyed Millennial Film Club, and One Week Rental as well.
• 1:17:23
  Speaker 3: Next week Someone and I. Because I have yet to
• 1:17:26
  Speaker 3: confirm with my co host, ideally it will be Ryan
• 1:17:29
  Speaker 3: because that is who I chose to do. God's The
• 1:17:31
  Speaker 3: Looking of the Monsters from twenty nineteen as our domestic pick.
• 1:17:35
  Speaker 3: It is streaming on HBO Max and I'm glad I'm
• 1:17:38
  Speaker 3: mentioning this now. But usually we do all you know
• 1:17:42
  Speaker 3: movies from the US and one international, but I flipped
• 1:17:44
  Speaker 3: it this month to do all foreign movies and one domestic.
• 1:17:47
  Speaker 3: I didn't explain it though, but anyways, until next week,
• 1:17:50
  Speaker 3: stay tuned and stay spooky.
• 1:18:00
  Speaker 1: Yeah. Thank you for listening. To hear more shows from
• 1:18:31
  Speaker 1: the Someone's Favorite Productions podcast network. Please select the link
• 1:18:35
  Speaker 1: in the description