Latest / Houselights: A Film Director Podcast / Cobra (1986) - George P. Cosmatos | Houselights #197

Transcript

Cobra (1986) - George P. Cosmatos | Houselights #197 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the NED Party.
• 0:19
  Speaker 2: Podcastings The Disease and House Lights is the Cure, specifically,
• 0:24
  Speaker 2: welcome to House of Cosmetose, where we're examining the works
• 0:28
  Speaker 2: of George P. Cosmetose here on house Lights as we
• 0:32
  Speaker 2: come up on the second one of our series looking
• 0:34
  Speaker 2: at his works. Nineteen eighty six is Cobra The Exploits
• 0:38
  Speaker 2: of Mary and Cabretti, an LA detective hot on the
• 0:42
  Speaker 2: heels of a psychopathic killer and his gang of ex
• 0:45
  Speaker 2: wielding maniacs that are helping him sow discord throughout the city.
• 0:49
  Speaker 2: Lots of sunset shots, lots of Brigitte Nielsen. What else
• 0:53
  Speaker 2: does this movie have in store? I'm joined by my
• 0:56
  Speaker 2: loyal sidekick and person who I love to joke around
• 1:00
  Speaker 2: with at midnight talking about crimes, Sergeant Darren Moser. And
• 1:05
  Speaker 2: we're joined by our buy the book Stick in the Mud,
• 1:08
  Speaker 2: Detective Tristan Riddell, who's constantly reminding us that even cops
• 1:14
  Speaker 2: have to follow rules and read people their rights and
• 1:18
  Speaker 2: all of those lame things that get in the way
• 1:20
  Speaker 2: of curing the problems of crime. So, gentlemen, we're here.
• 1:26
  Speaker 2: We're here at Cobra A nineteen eighty six little film.
• 1:29
  Speaker 3: I'm just trying to let you know that murder is wrong.
• 1:33
  Speaker 3: I mean, am I the bad guy for saying that?
• 1:36
  Speaker 2: You know what, it depends on whether it was a
• 1:39
  Speaker 2: bad person, Tristan. That's in the law somewhere, I think,
• 1:43
  Speaker 2: isn't it somewhere in the law that unless it's a
• 1:44
  Speaker 2: bad guy, then it's bad.
• 1:46
  Speaker 1: But if it's a bad guy.
• 1:47
  Speaker 4: Then literally tell him just do what you do, which
• 1:51
  Speaker 4: sounds like sanctioning death to me. But hey, you know,
• 1:56
  Speaker 4: it's not like the majority of the body counts of
• 1:57
  Speaker 4: this movie were caused by Sevester just a lowe, but hey,
• 2:00
  Speaker 4: they were all But I was talking to trist a
• 2:04
  Speaker 4: moment about this. This movie in particular feels like it
• 2:09
  Speaker 4: fuels the plot of Last Action Hero so much like, hmm, like,
• 2:16
  Speaker 4: you know, there's elements of that character. Obviously it's a
• 2:19
  Speaker 4: lot more violent, but just the whole like it like
• 2:22
  Speaker 4: sums it up the whole, like, oh but they were
• 2:24
  Speaker 4: all bad, you know, And it's just like, that's exactly
• 2:27
  Speaker 4: what that character does.
• 2:29
  Speaker 3: I admire your restraint for not saying it in his accent.
• 2:34
  Speaker 1: Yes, that that is that is good?
• 2:36
  Speaker 2: Now you know that is I hadn't thought about it
• 2:39
  Speaker 2: as a template for Last Action Hero, but I would
• 2:43
  Speaker 2: definitely say that this film is source material for Last
• 2:48
  Speaker 2: Action Hero. Last Action Hero is a send up of
• 2:51
  Speaker 2: action movies, and it is Is there any of all
• 2:54
  Speaker 2: of the movies we've watched throughout the course of House Lights,
• 2:57
  Speaker 2: is there any other movie that is so you know, predictably,
• 3:02
  Speaker 2: incorrigibly locked in to just paint by the numbers, gotta
• 3:08
  Speaker 2: do what we gotta do, Like there's absolutely no stretch
• 3:12
  Speaker 2: to innovate here or do something fresh or different it.
• 3:15
  Speaker 2: I mean, am I way off base here? Because Cobra
• 3:19
  Speaker 2: part of and I'll go ahead and say it, part
• 3:21
  Speaker 2: of the charm of this is this really feels like
• 3:24
  Speaker 2: the people making the movie just said.
• 3:27
  Speaker 1: This is what people like.
• 3:28
  Speaker 2: Just it's almost like chat GPT script before chat GPT
• 3:32
  Speaker 2: was a thing.
• 3:33
  Speaker 1: Am I off base there?
• 3:34
  Speaker 3: No, it feels like if it wasn't for the elaborate
• 3:37
  Speaker 3: set pieces, I would have thought that this was a
• 3:41
  Speaker 3: wholly improvised movie. And I know that sounds jokey, but
• 3:46
  Speaker 3: I'm kind of serious where everything about it is just like, Okay,
• 3:50
  Speaker 3: now I want you to just kind of, you know,
• 3:53
  Speaker 3: shoot the breeze with your with your partner, what do
• 3:57
  Speaker 3: you want?
• 3:57
  Speaker 1: What do you want me to talk about? It doesn't matter.
• 3:59
  Speaker 3: It doesn't make a thing up, you know, And so
• 4:01
  Speaker 3: there and there's just you're like, oh, I love junk food,
• 4:04
  Speaker 3: and it's just like okay, and there's these bad guys
• 4:07
  Speaker 3: and they got axes. They got axes, and we don't
• 4:10
  Speaker 3: know why.
• 4:10
  Speaker 4: The highly impractical weapon just is gonna put it out there, like.
• 4:14
  Speaker 3: They don't have guns, but they have axes. What's their motivation?
• 4:18
  Speaker 3: It doesn't matter. Get the hell a lot of here
• 4:20
  Speaker 3: if you're asking about motivation.
• 4:22
  Speaker 4: And it just says me.
• 4:23
  Speaker 3: And then they go here and they do this, and
• 4:25
  Speaker 3: they hear there.
• 4:26
  Speaker 4: You know, yeah, I what's their motivation? Gets tossed out?
• 4:30
  Speaker 1: It's like right, yeah, throughout the winter, you know.
• 4:35
  Speaker 2: I find it interesting that you you say that it
• 4:37
  Speaker 2: feels improvised, Darren. Do you think that it's strictly the
• 4:42
  Speaker 2: sophomoric dialogue that makes it feel improvised, or do you
• 4:45
  Speaker 2: think that this movie carries an air of disassembly, of
• 4:51
  Speaker 2: just something slapped together or like you know, trasan am
• 4:55
  Speaker 2: I reading you wrong? You feel like this is something
• 4:57
  Speaker 2: that was slapped together not a lot of thought behind it. Darren,
• 5:00
  Speaker 2: do you get the same vibe?
• 5:02
  Speaker 1: Well, first, I.
• 5:02
  Speaker 4: Want to confirm, is that what you're saying though, Tristan,
• 5:05
  Speaker 4: that it does.
• 5:05
  Speaker 3: Yeah, I mean it wasn't initially. I think it's kind
• 5:08
  Speaker 3: of implied with with what I was saying. It's just
• 5:10
  Speaker 3: like it feels slapped together. I mean it's it feels
• 5:12
  Speaker 3: like I said.
• 5:13
  Speaker 4: A river butt you and then be like, that's that
• 5:15
  Speaker 4: actually not what I meant.
• 5:17
  Speaker 3: No, it's just like like the script doesn't even feel secondary.
• 5:21
  Speaker 3: It honestly feels like, Okay, we just need to get
• 5:24
  Speaker 3: to this scene, so say whatever piece to set piece exactly.
• 5:29
  Speaker 1: That's all it is. That's all it is.
• 5:31
  Speaker 4: Yes, I will say yes, and no, I'll say it
• 5:35
  Speaker 4: is obviously set piece of set piece.
• 5:37
  Speaker 1: But the set.
• 5:38
  Speaker 4: Pieces are actually well constructed. The chase in the hospital,
• 5:43
  Speaker 4: the end fight in the refinery, the the end speech.
• 5:47
  Speaker 4: You know that all these moments are are good, like
• 5:50
  Speaker 4: even the you know the there is a moment in
• 5:53
  Speaker 4: the car chase where they're going down the alley at
• 5:56
  Speaker 4: like five miles an hour. It's really obvious that they're
• 5:58
  Speaker 4: not Oh, they're going much slower than they were, but
• 6:02
  Speaker 4: that aside. I guess, is it wrong to have a
• 6:06
  Speaker 4: formula of set piece to set piece. If that's the
• 6:08
  Speaker 4: kind of movie you're trying to make, you're not wrong
• 6:11
  Speaker 4: if that's what you're going for.
• 6:13
  Speaker 3: But even if that's just what you're going for, it
• 6:15
  Speaker 3: doesn't make it doesn't make it good.
• 6:18
  Speaker 4: No, No, you know that's true.
• 6:21
  Speaker 3: I think I think that's the main thing. And I'm
• 6:22
  Speaker 3: not I'm not trying to come down on you for
• 6:24
  Speaker 3: that comment. It's just there's so many times when I
• 6:29
  Speaker 3: kind of hear that where again, I'm not coming down
• 6:31
  Speaker 3: on you, but where so many people say like, oh, well,
• 6:34
  Speaker 3: that's what the filmmaker intended, and I'm like.
• 6:36
  Speaker 4: Well, I don't care.
• 6:38
  Speaker 3: If that's what the filmmaker intended to do, it was
• 6:40
  Speaker 3: a bad decision.
• 6:42
  Speaker 1: Oh.
• 6:42
  Speaker 4: We've seen that a lot where they'll be like, oh,
• 6:44
  Speaker 4: I wanted you to feel like it was night and
• 6:46
  Speaker 4: so I didn't light anything except for candle light. It's like, well,
• 6:49
  Speaker 4: I couldn't see your movie, So message received.
• 6:52
  Speaker 2: I you know, on this thread, I think that Cobra
• 6:56
  Speaker 2: first and foremost, it's very much worth mentioning that this
• 7:00
  Speaker 2: is one of the infamous Cannon Film Group films. Of
• 7:02
  Speaker 2: the eighties, and Cannon Film Group was basically a shell
• 7:08
  Speaker 2: game where they would announce, tell me if this sounds
• 7:12
  Speaker 2: like current filmmaking kids. They would announce a large slate
• 7:15
  Speaker 2: of movies, a lot of them wouldn't get made, and
• 7:18
  Speaker 2: then a ton of them would take a loss, and
• 7:20
  Speaker 2: then every so off of a movie like Cobra would
• 7:22
  Speaker 2: be a hit, and then they would just use tax
• 7:25
  Speaker 2: shelter laws to move the money around from place to place.
• 7:28
  Speaker 2: It doesn't sound anything like every other franchise that exists.
• 7:31
  Speaker 4: Describing Marvel, because it sounds like you're describing Disney and Marvel.
• 7:36
  Speaker 2: I would allegedly say that that could be an argument
• 7:39
  Speaker 2: that's made. But Cannon Films were not known for being
• 7:43
  Speaker 2: quality films. They released a large such a large library
• 7:50
  Speaker 2: of slap dash knockoff movies that it became its own
• 7:54
  Speaker 2: industry in the eighties until basically collapse under its own weight.
• 7:58
  Speaker 2: But I say all that to lead into this point
• 8:00
  Speaker 2: where Tristan, I get what you're.
• 8:02
  Speaker 1: Saying with that. But nineteen eighty six is an interesting year.
• 8:05
  Speaker 2: We're about to tip over into the action genre sort
• 8:10
  Speaker 2: of reinventing itself with movies like Predator and die Hard
• 8:14
  Speaker 2: and Top Gun and there's a different vibe on the horizon.
• 8:18
  Speaker 2: Do you think that Cobra is basically a like you
• 8:23
  Speaker 2: can look at it as a film on the tipping
• 8:25
  Speaker 2: point of when the genre has run out of steam.
• 8:28
  Speaker 2: It's basically the ideas are running out of this type
• 8:31
  Speaker 2: of action movie, specifically the cop thriller movie, and we're
• 8:35
  Speaker 2: about to launch into a totally different type of action film.
• 8:40
  Speaker 3: I think that's incredibly astute because when Top Gun came out,
• 8:45
  Speaker 3: the producers and Cannon were just like, this is not
• 8:49
  Speaker 3: going to work, you know, Like they were looking at
• 8:51
  Speaker 3: Cobra and they're like, holy crap. Like, if that's what
• 8:54
  Speaker 3: people are expecting this year, Cobra is not going to deliver.
• 8:58
  Speaker 3: And that's one of the reasons why we have why
• 9:00
  Speaker 3: it's only eighty seven minutes. They cut thirty to forty
• 9:03
  Speaker 3: minutes from it, not only to not make it X
• 9:05
  Speaker 3: rated because of the violence, but to trim it down
• 9:08
  Speaker 3: so they could pomp in as many showings in the
• 9:11
  Speaker 3: theater as possible, so they could try to recoup their costs.
• 9:14
  Speaker 3: So they knew that they had a stinker, and they
• 9:17
  Speaker 3: knew that it was going to get blown out of
• 9:18
  Speaker 3: the water by everything else that was coming out that year,
• 9:21
  Speaker 3: and so that's why we got the mess that we did. Now,
• 9:24
  Speaker 3: I really wish we could have seen some sort of
• 9:27
  Speaker 3: director's cut, because this movie feels like it's missing forty minutes,
• 9:34
  Speaker 3: because so much of it doesn't make sense. Like I
• 9:37
  Speaker 3: watched it, and I watched it intently, and I had
• 9:40
  Speaker 3: to go online and search, like, what was the bad
• 9:43
  Speaker 3: guy's motivation for doing what they were doing?
• 9:46
  Speaker 2: He was evil, obviously, and had a knife, a very
• 9:50
  Speaker 2: cool looking knife. But which that's a thread right there.
• 9:55
  Speaker 2: Rambo had a cool looking knife. The killer here has
• 9:58
  Speaker 2: a cool looking knife. Maybe we'll see a cool looking
• 10:00
  Speaker 2: knife in the next films that are that we're gonna
• 10:03
  Speaker 2: be looking at directed by Cosmatos. But in terms of
• 10:07
  Speaker 2: that extended version of the movie, nobody has ever seen it.
• 10:12
  Speaker 2: There was supposedly a cut floating out there for years
• 10:16
  Speaker 2: that disappeared before digitizing was a thing. Supposedly nobody's ever
• 10:22
  Speaker 2: seen it. But somebody did ask Stallone on I think
• 10:27
  Speaker 2: Instagram at one point about the missing footage and could
• 10:30
  Speaker 2: they theoretically release an alternate cut of Cobra, and he
• 10:35
  Speaker 2: it wasn't a long answer. But his response was basically, yeah,
• 10:38
  Speaker 2: it exists. So I have to ask, Darren, would you
• 10:42
  Speaker 2: want to see thirty more minutes of Cobra in action?
• 10:44
  Speaker 2: Do you think that would actually help this film?
• 10:47
  Speaker 4: I do, especially since it sounds like they've stated when
• 10:53
  Speaker 4: they did that extreme cutdown that basically anything that wasn't
• 10:57
  Speaker 4: stallone was removed, So any sort of motivation that was
• 11:02
  Speaker 4: shot it might not exist. But you know, the most
• 11:06
  Speaker 4: we get of the bad guys are them clanking together,
• 11:08
  Speaker 4: you know, their axes, and it's just but as Copra says,
• 11:13
  Speaker 4: like they're actually really organized and they're not dumb, like
• 11:19
  Speaker 4: they're like, oh look someone saw us get their license
• 11:21
  Speaker 4: plate and use our informant to find who they are
• 11:24
  Speaker 4: so we can kill them. Like that's like three steps
• 11:27
  Speaker 4: aheads of most biker gangs. This isn't a bike gang
• 11:30
  Speaker 4: just rolling through town. So yes, I would have liked
• 11:35
  Speaker 4: a longer version because I would pray that that would
• 11:39
  Speaker 4: give us more nuance and motivation. I don't necessarily want
• 11:44
  Speaker 4: forty more minutes of just more axes and death and
• 11:47
  Speaker 4: blood like that might be all that exists, but I
• 11:50
  Speaker 4: would hope that you would get at least something more
• 11:53
  Speaker 4: from all the great supporting casts because there's a decent
• 11:56
  Speaker 4: cast here.
• 11:57
  Speaker 2: There is a decent cast, and we were talking about
• 12:00
  Speaker 2: it before we started recording. But I'm gonna go instead
• 12:05
  Speaker 2: of with the praise angle first. I feel like I
• 12:08
  Speaker 2: was gonna say, here, the three of us, we tend
• 12:11
  Speaker 2: to like to get the negativity out of our system
• 12:14
  Speaker 2: and then pivot and start talking about the positivity. And
• 12:16
  Speaker 2: we know there are positive notes about the cast that
• 12:18
  Speaker 2: are coming. But instead I will open with this question
• 12:22
  Speaker 2: about casting. Tristan, did you get any sense of chemistry
• 12:26
  Speaker 2: between Sylvester Stallone and Brigitte Nielsen in this movie?
• 12:30
  Speaker 3: No, to the nth degree, because by the time that
• 12:37
  Speaker 3: they insinuate that they sleep together, I'm.
• 12:40
  Speaker 1: Like, why right, Yes.
• 12:44
  Speaker 3: Like I honestly was confused. I was like, is it
• 12:47
  Speaker 3: just because it's a man and a woman in a movie?
• 12:50
  Speaker 3: Is that why they're sleeping together? And it's the eighties?
• 12:53
  Speaker 3: I think that's genuinely the only reason why they have
• 12:56
  Speaker 3: them sleep together. Like, I was surprised at their restraint
• 12:59
  Speaker 3: from not showing a graphic sex scene because that would
• 13:02
  Speaker 3: have been the mo in the eighties, especially with Stallone,
• 13:05
  Speaker 3: But yeah, I was there was I think there was
• 13:09
  Speaker 3: one scene where she put ketchup on fries and that
• 13:12
  Speaker 3: was the most that they.
• 13:13
  Speaker 1: Spoke to each other.
• 13:14
  Speaker 4: Mm hmm. I could.
• 13:15
  Speaker 3: I still couldn't tell you what the conversation was about.
• 13:17
  Speaker 4: I mean, there was more chemistry between Ann Lewis and
• 13:22
  Speaker 4: Murphy and RoboCop, and they purposely made sure there was
• 13:25
  Speaker 4: no chemistry aside just being partners in that movie.
• 13:29
  Speaker 2: Excellent point. Excellent point. I'd say, I'd say that's an
• 13:32
  Speaker 2: apt description. But in terms of that chemistry missing from there,
• 13:38
  Speaker 2: that means that we're looking for chemistry and other relationships
• 13:42
  Speaker 2: that are there. And the first fallback one is Cabretti
• 13:45
  Speaker 2: with his sidekick, Sergeant Gonzales. Darren, did you see any
• 13:50
  Speaker 2: chemistry between Stallone and Santoni while they were supposedly best
• 13:55
  Speaker 2: friend partners for the last however many years before this
• 13:59
  Speaker 2: movie happened.
• 13:59
  Speaker 4: I mean, did they ever ride in the same car?
• 14:02
  Speaker 4: I guess they did for a moment. Again, I feel
• 14:05
  Speaker 4: like that landed on the chopping floor in those thirty
• 14:08
  Speaker 4: to forty minutes. I'm I'm sure there was more of that.
• 14:12
  Speaker 4: And it's like you said in the beginning, John, it's
• 14:16
  Speaker 4: like they spitballed the food health thing, and then that's
• 14:21
  Speaker 4: all they talked about, and it kind of got old
• 14:25
  Speaker 4: like it didn't and the gummy bears line fell flat
• 14:28
  Speaker 4: on its face. It didn't it didn't give a laugh,
• 14:30
  Speaker 4: it didn't give a connection. I mean, if you had
• 14:33
  Speaker 4: said something like a cheeseburger or something something like that,
• 14:36
  Speaker 4: I don't know it easy to make that line better.
• 14:39
  Speaker 2: So I'm gonna say, we've got two core relationships in
• 14:42
  Speaker 2: this film, and we all agree we don't have any
• 14:45
  Speaker 2: real chemistry. So that actually goes in before we even
• 14:47
  Speaker 2: talk about the rest of the cast, all of the
• 14:49
  Speaker 2: problems we've isolated just here in the opening quarter of
• 14:54
  Speaker 2: the show. Can anybody explain for me why this was
• 14:57
  Speaker 2: a box office hit? Twenty five million dollars spent making
• 15:01
  Speaker 2: this movie one hundred and sixty million is a listed
• 15:05
  Speaker 2: box office probably worldwide, I don't know what it made state.
• 15:07
  Speaker 4: Probably worldwide.
• 15:09
  Speaker 2: Yeah, So, but that's still even even if you said, oh, well,
• 15:12
  Speaker 2: you know, it only made seventy million state in the
• 15:15
  Speaker 2: States or something.
• 15:15
  Speaker 1: Like that, that's still a hit. That's still a hit.
• 15:18
  Speaker 2: So what were people responding to or Tristan, is this
• 15:21
  Speaker 2: simply all of the showings of Top Gun were sold out,
• 15:25
  Speaker 2: and so people had to go watch Cobra because they'd
• 15:27
  Speaker 2: already gotten a sitter and they were just going to
• 15:29
  Speaker 2: go to the movies.
• 15:30
  Speaker 3: Anyway, I think it's Stallone's name. He puts butts in seats,
• 15:34
  Speaker 3: especially in eighties. I don't think this is word of
• 15:37
  Speaker 3: mouth where people are like, oh my god, you gotta
• 15:40
  Speaker 3: see Cobra. I think they they played their hand. They
• 15:44
  Speaker 3: knew exactly what to do. They're like, we have a
• 15:46
  Speaker 3: crap movie, but we have Stallone's name. Let's put Stallone's
• 15:50
  Speaker 3: name above the title.
• 15:52
  Speaker 4: It's the same size on the poster.
• 15:55
  Speaker 3: It's stars in the poster. Yeah, that is weeks as possible. Yeah,
• 16:00
  Speaker 3: I think that's what it is. It's like, it's only
• 16:02
  Speaker 3: eighty seven minutes. People are like, dude, I could I
• 16:04
  Speaker 3: could take a long lunch and watch this movie, and
• 16:07
  Speaker 3: why wouldn't I want to see a Stallone film?
• 16:10
  Speaker 2: So that that's actually that's a great point, naturally, Darren.
• 16:14
  Speaker 2: Do you think that the reputation, because people would have
• 16:17
  Speaker 2: heard that this movie got kicked back from the ratings
• 16:20
  Speaker 2: board left and right for how violent and how gross
• 16:23
  Speaker 2: and how over the top it was. Slasher films are big.
• 16:27
  Speaker 2: It's you know, over the top action films have always
• 16:31
  Speaker 2: been big. Do you think that the troubles with the
• 16:34
  Speaker 2: ratings board help explain some of this box office as well?
• 16:37
  Speaker 4: Would be I mean, you tell teenage boys, they barely
• 16:40
  Speaker 4: scraped it by into an X rated or into an
• 16:43
  Speaker 4: R rated movie. You know it's gonna put butts in seats.
• 16:46
  Speaker 4: But like Tristan said, I think Stallone's name was the
• 16:49
  Speaker 4: biggest draw. And again nineteen eighty six. You know, how
• 16:55
  Speaker 4: much is a movie ticket? A couple bucks? Like it,
• 16:58
  Speaker 4: the barrier to choose to watch this is beyond low.
• 17:04
  Speaker 4: And if you want to just go watch Stallone kick butt,
• 17:08
  Speaker 4: that's what this movie is gonna give you. It's a
• 17:10
  Speaker 4: May eighty six release. It's summer, you know, it's Harror's
• 17:14
  Speaker 4: heading into summer. I think while it's not a great film,
• 17:18
  Speaker 4: it has all of the pieces to at least get
• 17:21
  Speaker 4: the butts in the seats, and thus it made it
• 17:24
  Speaker 4: made money.
• 17:25
  Speaker 2: So that's fair enough. But the you know, in eighty
• 17:28
  Speaker 2: seven minutes isn't asking a lot of time of people.
• 17:30
  Speaker 2: They won't walk out, usually before ninety minutes, they'll they'll
• 17:34
  Speaker 2: stick it out. But Tristan do you see, because we've
• 17:37
  Speaker 2: alluded to strong members of the cast, did you see
• 17:41
  Speaker 2: performances here that explain why it garners a little bit
• 17:45
  Speaker 2: of a cult following. Why was there anybody anybody's performance
• 17:49
  Speaker 2: here in a supporting role that would explain to you
• 17:54
  Speaker 2: Maybe it gave something for somebody you'll hang on to
• 17:56
  Speaker 2: to say, like, yeah, but you know what, Andrew Robinson
• 18:00
  Speaker 2: was really good in this movie, or oh, sure you
• 18:03
  Speaker 2: might have problems with it, but you know, you really
• 18:06
  Speaker 2: got to go see David Rashi's very small role as
• 18:09
  Speaker 2: the photographer who's coming on a bridge eat Nielsen and
• 18:12
  Speaker 2: then gets murdered.
• 18:13
  Speaker 3: It definitely wasn't the performances at all. I mean, these
• 18:17
  Speaker 3: were these were cardboard cutouts, these were these were absolutely
• 18:20
  Speaker 3: wooden characterizations. I think the only thing that garners at
• 18:23
  Speaker 3: a quote unquote cult following is because it's so tragic
• 18:28
  Speaker 3: and and by tragic I mean just awful, And also
• 18:32
  Speaker 3: because it's so quintessential in its stereotypes and its archetypes,
• 18:38
  Speaker 3: like this is is like this, this is why parody
• 18:41
  Speaker 3: films are made, Like this is this is this is
• 18:45
  Speaker 3: almost a parody of itself. It's kind of like when
• 18:49
  Speaker 3: Walk the Line came out. Even though I'm a big
• 18:52
  Speaker 3: fan of Walk the Line, that movie was ripe for parody,
• 18:56
  Speaker 3: and I would have been absolutely shocked if Walkhard didn't
• 18:59
  Speaker 3: come out out because of that and with Cobra. It's
• 19:03
  Speaker 3: I when this movie started, I had never seen this
• 19:07
  Speaker 3: movie before, and I watched the first time I watched
• 19:08
  Speaker 3: it was in preparation for this podcast, And when the
• 19:11
  Speaker 3: movie started, I was grinning ear to ear. I was like,
• 19:14
  Speaker 3: oh my god, this movie is gonna be awesome. This
• 19:17
  Speaker 3: is gonna be hilarious. It's good. Like he's he's stepping
• 19:21
  Speaker 3: out and like we're we're seeing the motorcycle and the
• 19:24
  Speaker 3: red and the red sun, and he's he's got a
• 19:27
  Speaker 3: he's got a cobra on the butt of his gun
• 19:29
  Speaker 3: because his name is Ready God, and like he has
• 19:33
  Speaker 3: the match stick in his mouth. He's just no nonsense.
• 19:36
  Speaker 1: And he's got this a little dog.
• 19:38
  Speaker 3: People who get murdered every twenty four minutes, you know,
• 19:41
  Speaker 3: like it's it's gonna I'm like, oh my god, Like
• 19:43
  Speaker 3: this is this is gonna be so great. But the
• 19:45
  Speaker 3: charm wears off real fast because you're just you're just
• 19:50
  Speaker 3: watching a schlock fest and I think that's one of
• 19:52
  Speaker 3: the things that makes it a cult movie is most
• 19:55
  Speaker 3: of them are terrible. It's like, no one watches The
• 19:57
  Speaker 3: Room because it's Citizen Kane. They watched the because it's
• 20:00
  Speaker 3: fun to make fun of and this is definitely burgeoning
• 20:04
  Speaker 3: in that territory.
• 20:05
  Speaker 2: But do you agree, Darren, this this movie acts the
• 20:09
  Speaker 2: charm of the Room, like there's no.
• 20:11
  Speaker 1: I don't want to answer that question.
• 20:13
  Speaker 4: No, I think no, You're totally right, Tristan. I'm picturing
• 20:18
  Speaker 4: this now with like a riff tracks and being hilarious
• 20:21
  Speaker 4: or if this came out in the time of the spoof,
• 20:25
  Speaker 4: like the scary movies like you practice, like it's a
• 20:28
  Speaker 4: degree away from being that already, like you said, like
• 20:32
  Speaker 4: you add a quirky side character that normally would not
• 20:35
  Speaker 4: be in or something like that. Like we said, it
• 20:38
  Speaker 4: leads right into last Action Hero in a way it's
• 20:42
  Speaker 4: so templative and because it is so you know, it's
• 20:49
  Speaker 4: eighty six to loan action, and it's exactly what you expect,
• 20:53
  Speaker 4: not done well. Like again, it's not it doesn't have
• 20:57
  Speaker 4: the charisma of a Rambo or you know, the sympathy
• 21:01
  Speaker 4: for the character. It's like they kind of said, we
• 21:05
  Speaker 4: don't really need all that. You just have him say
• 21:07
  Speaker 4: something cool and rolled in and you're in the middle
• 21:10
  Speaker 4: of the story to go, and you can do that.
• 21:13
  Speaker 4: It's a choice. But by not having any connection to
• 21:18
  Speaker 4: the lead character or the villain, it harms it overall,
• 21:22
  Speaker 4: you know, from being another star up on our ratings
• 21:26
  Speaker 4: as I'm sure.
• 21:27
  Speaker 2: So this is the second film we've looked at from Cosmetose,
• 21:31
  Speaker 2: and it's the second film we've seen him working with
• 21:34
  Speaker 2: Stallone where stall Oane's star power and stall OAN's producer mindset,
• 21:39
  Speaker 2: all that type of stuff. He's obviously the one calling
• 21:42
  Speaker 2: the shots. Tristan, do you see do you see any
• 21:46
  Speaker 2: evidence here of a star and director who love working together,
• 21:52
  Speaker 2: or do you see a star and a director who
• 21:54
  Speaker 2: knows to call him mister Stallone when he's on set.
• 21:58
  Speaker 3: Well, it was interesting because I knew nothing about the
• 22:00
  Speaker 3: background of this movie, and then after I watched it,
• 22:03
  Speaker 3: I did some research and I find out that we
• 22:05
  Speaker 3: probably shouldn't have included this in the House of Cosmotose.
• 22:09
  Speaker 1: Like we probably need to do, like we should have
• 22:11
  Speaker 1: put this in the House of Stallone. There's an asterisk, Yeah,
• 22:15
  Speaker 1: there is an asterisk.
• 22:16
  Speaker 3: Yeah, because like the cinematographer has gone on record saying like, yeah, no,
• 22:20
  Speaker 3: Cosmotos didn't direct this movie. Stillone directed this movie. He
• 22:23
  Speaker 3: was just an onset director. He was basically the ad
• 22:26
  Speaker 3: like he was a second unit director essentially, just like
• 22:29
  Speaker 3: and Stallone was calling the shots. And so I can't
• 22:33
  Speaker 3: really comment too terribly much because it's so hard to
• 22:37
  Speaker 3: compare this to Rambo Colon First Blood Part two, because
• 22:43
  Speaker 3: you know, I like, it's hard to say, but.
• 22:46
  Speaker 2: That spurs on its own other thing, Darren. In a
• 22:50
  Speaker 2: case like this, it's always a question why wouldn't Stallone
• 22:53
  Speaker 2: have just done it himself. He had the star power,
• 22:55
  Speaker 2: he had the poll he would have pulled two. He
• 22:57
  Speaker 2: would have been able to get Cannon to pay him
• 22:59
  Speaker 2: to twice basically because they would just die drive dump
• 23:03
  Speaker 2: trucks full of money up to start. Like, the whole
• 23:05
  Speaker 2: reason that movie stars make absolutely absurd sums of money
• 23:10
  Speaker 2: is that was basically Cannon's whole bag, so they could
• 23:15
  Speaker 2: he could have gotten so much money by doing a
• 23:18
  Speaker 2: dual role. Why do you think Stalone didn't just direct it?
• 23:20
  Speaker 4: Then? I think it's not actually surprising that it went
• 23:24
  Speaker 4: down this way in my mind, because if you think
• 23:30
  Speaker 4: about you just came off of First Blood Part two
• 23:32
  Speaker 4: with the Cosmetose, and so he knows what he's capable of.
• 23:36
  Speaker 4: He knows, you know, Stallone knows what Cosmetose is capable of.
• 23:41
  Speaker 4: And I think we've seen it a lot in television
• 23:44
  Speaker 4: and other things when actors take over the directing chair,
• 23:48
  Speaker 4: Like it's a lot of work. And if you have,
• 23:52
  Speaker 4: like you said, an on set director who not that
• 23:55
  Speaker 4: you can't give input on shots and things like that,
• 23:58
  Speaker 4: but to go folder rector where every shot, every setup,
• 24:03
  Speaker 4: every motivation. Like he kind of had his cake and
• 24:06
  Speaker 4: he ate it too because he could be the lead
• 24:09
  Speaker 4: and not have to shoulder the role of directing, but
• 24:14
  Speaker 4: had the clout and the ability to basically say whatever
• 24:18
  Speaker 4: he wanted to say happen and and then Cosmetose would
• 24:22
  Speaker 4: do it again. I'm supposing a little bit, but.
• 24:26
  Speaker 2: No, this this is going to come back in future
• 24:28
  Speaker 2: discussions about Cosmotose. That put a little pin in that one.
• 24:33
  Speaker 2: But Stallone definitely had his ego was at the top
• 24:37
  Speaker 2: of its game as well. And Tristan you you mentioned
• 24:41
  Speaker 2: the cinematographer and apparently Stallone complained to him at one
• 24:46
  Speaker 2: point that his setups were taking too long, and he
• 24:49
  Speaker 2: fired back at Stallone that if he stopped screwing around
• 24:52
  Speaker 2: with Brigitte Nielsen and showing off for his bodyguard bodyguards,
• 24:55
  Speaker 2: they could do things more quickly. And apparently Stallone was
• 24:59
  Speaker 2: shocked that anyb it would speak to him in such
• 25:01
  Speaker 2: a way, but then straightened out for a time. But
• 25:04
  Speaker 2: coming back to performances, obviously, Brian Thompson, when you get cast,
• 25:08
  Speaker 2: you're gonna be in Sylvester Stallone's next big movie.
• 25:11
  Speaker 1: It's nineteen eighty six.
• 25:12
  Speaker 4: Wait, Moon forty four's Brian Thompson. He's in this.
• 25:17
  Speaker 2: Hey, keep in mind Moon forty four is in his future, oh,
• 25:21
  Speaker 2: his past at this time.
• 25:22
  Speaker 4: True.
• 25:22
  Speaker 1: Okay, so so remember that. But you're a young actor.
• 25:27
  Speaker 2: You've been cast as the villainous antagonist in a Stallone
• 25:32
  Speaker 2: action movie, and then when you're delivering your monologue in
• 25:37
  Speaker 2: the lead up to the final fight, you have to
• 25:39
  Speaker 2: do it with a script supervisor standing off camera because
• 25:42
  Speaker 2: Stallone's watching a basketball game. Tristan, I'll lay it right
• 25:46
  Speaker 2: out here to you. Do you think Cobra is a
• 25:48
  Speaker 2: better movie if Stallone minds his p's and q's and
• 25:51
  Speaker 2: actually gives a damn about the production.
• 25:54
  Speaker 3: It's hard to say no to that. It is it's you.
• 25:58
  Speaker 3: You'd have to assume that if everybody brought their a
• 26:01
  Speaker 3: game that it would be a better movie. But at
• 26:04
  Speaker 3: the same time, I mean, thirty to forty minutes is
• 26:07
  Speaker 3: gutted from this and it's clear that it doesn't make
• 26:11
  Speaker 3: sense like I have. I'm having a hard time thinking
• 26:16
  Speaker 3: of a movie that was this thin on plot and
• 26:20
  Speaker 3: story and development and motivation. It honestly was the gonzo
• 26:26
  Speaker 3: porn of action films.
• 26:28
  Speaker 1: That is one heck of a way to put it.
• 26:31
  Speaker 4: Wow, I don't know that reference. So what is gonzo?
• 26:37
  Speaker 1: Yeah, don't worry about it. We're moving on.
• 26:40
  Speaker 2: We're moving on either So please no, not especially not
• 26:44
  Speaker 2: on your work computer.
• 26:45
  Speaker 1: So we know we have all of these problems.
• 26:47
  Speaker 2: We know we have this thirty minutes missing, But Darren,
• 26:51
  Speaker 2: we do have a in nineteen eighty soundtrack at play here.
• 26:55
  Speaker 2: Oh Dann, I just wanted to ask you. Did you
• 27:00
  Speaker 2: find the soundtrack to be a compelling nineteen eighty soundtrack
• 27:04
  Speaker 2: or did you find it to be as forgettable as
• 27:06
  Speaker 2: the rest of the film.
• 27:07
  Speaker 4: You know, working too hard, trying to make a living
• 27:10
  Speaker 4: is was kind of stuck in my head the rest
• 27:11
  Speaker 4: of the day. So I'll give it. I'll give it that.
• 27:15
  Speaker 4: You know, it's it's a fun soundtrack. It really is.
• 27:19
  Speaker 4: Like there's a few tracks towards the end, like especially
• 27:22
  Speaker 4: the very end, like with the credits are coming. I
• 27:26
  Speaker 4: thought it was going to go into a totally different
• 27:28
  Speaker 4: song and it like kind of like borrowed a lot
• 27:31
  Speaker 4: from that but didn't. Actually I can't remember the name
• 27:34
  Speaker 4: of what it would have been.
• 27:35
  Speaker 1: But but overall, it was.
• 27:37
  Speaker 4: A fun soundtrack. I think it really was. I mean
• 27:41
  Speaker 4: it nothing surprised me in this movie, meaning it sounds
• 27:47
  Speaker 4: like an eighty six movie. It looks like an eighty
• 27:49
  Speaker 4: six movie. People act like an eighty six movie, like
• 27:52
  Speaker 4: there's nothing you know, you have. I mean, we've we've
• 27:57
  Speaker 4: talked about Last Action Hero a lot in this last
• 28:01
  Speaker 4: you know thirty minutes. Even the villain in Last Action
• 28:04
  Speaker 4: Hero has a you know, sharp axe and a receding hairline.
• 28:09
  Speaker 4: It kind of looks like the villain is this Like
• 28:12
  Speaker 4: it's it's it's really it's really similar in that regard.
• 28:17
  Speaker 4: And all it's missing really is is called Ready getting
• 28:22
  Speaker 4: his badge taken away as little the only thing missing
• 28:25
  Speaker 4: from the police Chief that's that's the trope that's not
• 28:28
  Speaker 4: in this movie. Everything else is already there.
• 28:30
  Speaker 1: Okay, So there.
• 28:33
  Speaker 2: Is a song that you might be familiar with, Darren,
• 28:37
  Speaker 2: that many people are, that also appeared in a nineteen
• 28:39
  Speaker 2: eighty six film, The Touch by Stan Bush, and that
• 28:44
  Speaker 2: appeared in Transformers the movie, which also came out the
• 28:47
  Speaker 2: summer of nineteen eighty six.
• 28:49
  Speaker 1: Do you think Boogie Knights song? Yes?
• 28:52
  Speaker 4: Yes?
• 28:53
  Speaker 2: Later popularized in Boogie Knights, it was obscurely known by
• 28:57
  Speaker 2: nerds in Transforms the movie.
• 29:02
  Speaker 1: But I'll just go ahead and ask it.
• 29:04
  Speaker 2: Do you think that Stan Bush dodged a bullet and
• 29:08
  Speaker 2: that song in this Let me ask you this question.
• 29:11
  Speaker 1: Where would you hear this song?
• 29:13
  Speaker 4: I was gonna say in this movie? Two parts? One,
• 29:15
  Speaker 4: I can't. I mean that movie is so synonymous with Transformers,
• 29:19
  Speaker 4: like and it's so just perfect in that movie. I
• 29:22
  Speaker 4: would never want it, not in that movie. But to
• 29:25
  Speaker 4: your valid, totally valid question of where you would put
• 29:29
  Speaker 4: it it, it doesn't really work in the end fight.
• 29:35
  Speaker 1: No.
• 29:35
  Speaker 4: It maybe the car.
• 29:37
  Speaker 5: Chase that feels like a stretch, but that's so early
• 29:42
  Speaker 5: in the movie comparison, Like, I don't know, like it's
• 29:48
  Speaker 5: it's really hard.
• 29:49
  Speaker 4: Although what other thing I will say about the stunts,
• 29:54
  Speaker 4: which I know is not the music topic, but I
• 29:57
  Speaker 4: feel like they asked the stunt guys and like, what
• 30:00
  Speaker 4: what can you do? We can fall off our bikes? Great,
• 30:03
  Speaker 4: every shot you're gonna fall off your bikes. Every every
• 30:08
  Speaker 4: shot of a biker getting taken out is the safe
• 30:12
  Speaker 4: skid and fall, every single one. I'm like, okay, you
• 30:17
  Speaker 4: got one trick. You you know how to do it.
• 30:18
  Speaker 4: But yeah, oh gosh, I don't. I can't even It's
• 30:23
  Speaker 4: it's like this movie is not worthy of the touch.
• 30:26
  Speaker 4: It's really not. I can't. I can't even think of
• 30:29
  Speaker 4: where you would put it in this movie.
• 30:31
  Speaker 3: Maybe maybe you could put it during Brigitte Nielsen's photo shoot.
• 30:37
  Speaker 5: Kind of thinking that, I think of that, or it would.
• 30:40
  Speaker 3: Be like an ending credit song.
• 30:42
  Speaker 1: I think.
• 30:43
  Speaker 2: I think that's the only place I can see it
• 30:45
  Speaker 2: is that it's an ending credits song. Send the audience
• 30:47
  Speaker 2: out on an upbeat note. Now that he's murdered the
• 30:51
  Speaker 2: main villain and punched the one.
• 30:54
  Speaker 4: Like a freeze frame like punches the bat the detective
• 30:58
  Speaker 4: and can free can we talk.
• 31:00
  Speaker 3: About that photo shoot real quick though?
• 31:02
  Speaker 4: Okay?
• 31:02
  Speaker 1: Please?
• 31:03
  Speaker 3: So the editing of this movie was bananas. It looked
• 31:10
  Speaker 3: it felt like somebody who just learned how to edit,
• 31:13
  Speaker 3: and they're like, you know what, like if.
• 31:16
  Speaker 4: You could do if you push this button?
• 31:18
  Speaker 3: Oh yeah, like if you if you bring up the
• 31:20
  Speaker 3: audio and you put in you look at the waveform,
• 31:23
  Speaker 3: like when when it when it peaks, like we should
• 31:26
  Speaker 3: just do a cut there, like when the bass hits,
• 31:29
  Speaker 3: let's just cut on the beat.
• 31:32
  Speaker 4: This movie and twisted at a core level. I could apparently.
• 31:35
  Speaker 3: Really did, because during that scene when they're transitioning to
• 31:39
  Speaker 3: the photo shoot, we don't know a photoshoot is coming,
• 31:42
  Speaker 3: and so we see bad guys banging access together. Then
• 31:46
  Speaker 3: all of a sudden we see robots, poorly made robots,
• 31:50
  Speaker 3: and what I thought was a speculum at first, like
• 31:57
  Speaker 3: I'm not even trying to be cute.
• 31:58
  Speaker 1: I'm not trying to be no, I just think it's
• 32:00
  Speaker 1: funny anyway.
• 32:01
  Speaker 3: Like I thought, like, what, like are we going to
• 32:04
  Speaker 3: this weird futuristic obiguiny, you know, like what are we
• 32:07
  Speaker 3: doing here? And then all of a sudden we see
• 32:10
  Speaker 3: Brigitte Nielsen in a horrible wig and then her real
• 32:13
  Speaker 3: hair and then a wig again, and I'm like, Okay,
• 32:16
  Speaker 3: so she's wearing wigs for the photo shoot and then
• 32:18
  Speaker 3: we see her keep the horrible wig on for the
• 32:21
  Speaker 3: rest of the film. And but the thing is like
• 32:23
  Speaker 3: there was like there was no the build up was
• 32:26
  Speaker 3: putting the audience in the dark, and so for the
• 32:29
  Speaker 3: longest like that was kind of a theme of the movie,
• 32:32
  Speaker 3: was putting the audience in the dark, because during that
• 32:35
  Speaker 3: cutting it teased something that we didn't know what was coming,
• 32:39
  Speaker 3: and the payoff came too little, too late. And that's
• 32:43
  Speaker 3: kind of how I felt about the villains, the relationships,
• 32:46
  Speaker 3: the pot if you can call it that. There's just
• 32:49
  Speaker 3: so many times where I'm just like, wait, do the
• 32:50
  Speaker 3: cops know what's going on? Does Brigitte Nielsen know what's
• 32:53
  Speaker 3: going on? Does Brian Thompson know what's going on?
• 32:56
  Speaker 1: Because the audience doesn't know what's.
• 32:57
  Speaker 2: Going on largely the case, I uh, you know what,
• 33:02
  Speaker 2: we never got around to. And I'm going to bring
• 33:05
  Speaker 2: this up simply so that you guys can be horrified
• 33:08
  Speaker 2: at my telling of my story. But Tristan, when was
• 33:11
  Speaker 2: the first time you encountered Cobra, I would like to know.
• 33:14
  Speaker 3: No, I mentioned it a couple of minutes ago. If
• 33:18
  Speaker 3: you you know, clearly weren't paying attention.
• 33:20
  Speaker 1: Oh give me a break. Was in preparation for this podcast.
• 33:23
  Speaker 3: I hadn't seen it before, never knew nothing about it,
• 33:26
  Speaker 3: not a single thing about it.
• 33:28
  Speaker 4: A couple months back when I was on my stallone kick,
• 33:31
  Speaker 4: after we watched all the Rocky movies and then Rice
• 33:34
  Speaker 4: was the one where I was like, Ah, I'm good,
• 33:36
  Speaker 4: I'm full on Rocky, I'm full on Stallone. I'm good.
• 33:39
  Speaker 4: I'm not going to keep going.
• 33:41
  Speaker 2: It does seem, honestly, not just with the action genre,
• 33:45
  Speaker 2: that it starts losing steam. But I think that there
• 33:48
  Speaker 2: is a certain point where you can start to detect
• 33:50
  Speaker 2: that Stallone's career starts losing steam, and I would say
• 33:53
  Speaker 2: that Cobra is a flashpoint for that.
• 33:57
  Speaker 1: I saw this on video.
• 33:58
  Speaker 2: Cassette pretty much as soon as it was released on video,
• 34:04
  Speaker 2: and my father was in the room when we saw it.
• 34:08
  Speaker 2: So I would have been a very tender age at
• 34:10
  Speaker 2: the time that I saw this movie for the first time,
• 34:13
  Speaker 2: and I will carry it around in my heart forever
• 34:17
  Speaker 2: as a result as one of those things that I know.
• 34:19
  Speaker 4: Is bad but I can't escape its orbits.
• 34:22
  Speaker 2: So Tristan as a father how disappointed are you and
• 34:26
  Speaker 2: my dad that he let me watch this when I
• 34:28
  Speaker 2: was such a tender young age. Do you, like, let
• 34:31
  Speaker 2: me ask you that question, Like, we know the history,
• 34:35
  Speaker 2: let's look at it just from today's standards. Do you
• 34:37
  Speaker 2: view it as excessively violent in today's standards?
• 34:42
  Speaker 1: Well, it's so hard.
• 34:44
  Speaker 3: To say today's standards because today's standards are all over
• 34:48
  Speaker 3: the place, you know, with the invention of streaming and
• 34:53
  Speaker 3: with you know, like the lines being blurred between movies
• 34:57
  Speaker 3: and television. Like you have something that's like the Wolf
• 35:00
  Speaker 3: of Wall Street, You're like, good lord, like, how is
• 35:03
  Speaker 3: this rated R or hard R? I'm like, oh, back
• 35:06
  Speaker 3: in my day, hard R was X or NC seventeen.
• 35:11
  Speaker 3: And you know, you look at PG. Thirteen, which with
• 35:13
  Speaker 3: its weird rules of you can use one F word
• 35:17
  Speaker 3: and you can have non sexual nudity and you can
• 35:20
  Speaker 3: show a dude's but not a woman's.
• 35:22
  Speaker 1: But you know, like, you know, stuff like that.
• 35:24
  Speaker 3: It's hard to say. It really is hard to say,
• 35:26
  Speaker 3: because there's certain times when you would see some of
• 35:29
  Speaker 3: the early murders and I thought those were cut interestingly
• 35:34
  Speaker 3: where it felt graphic from what it didn't show. But
• 35:38
  Speaker 3: yet you saw the impact of the hit, but not
• 35:41
  Speaker 3: the hit itself. And so that in itself I thought
• 35:44
  Speaker 3: was pretty was pretty pretty gruesome in the editing, But
• 35:49
  Speaker 3: then I find out that the only reason why they
• 35:51
  Speaker 3: did it that way is because they shot like a
• 35:54
  Speaker 3: just a horrific version of every single murder, and so
• 35:59
  Speaker 3: probably by today's standards, probably not. And Darren, you and
• 36:03
  Speaker 3: I were talking about this one on one about Brian
• 36:07
  Speaker 3: Thompson's murder, and that's what it was. It was a
• 36:09
  Speaker 3: murder where, like, of all of all the killing in
• 36:13
  Speaker 3: the movie, you think that this would be the one
• 36:15
  Speaker 3: where they'd really live it up, where they'd really prolong
• 36:18
  Speaker 3: his suffering. But then you see him, you know, he's
• 36:21
  Speaker 3: on the meat hook in the you know, in the
• 36:24
  Speaker 3: factory that makes sparks apparently, and.
• 36:28
  Speaker 4: I was getting major t two vibes made right, two vibes.
• 36:32
  Speaker 3: I mean, man, I in the eighties and nineties there
• 36:35
  Speaker 3: was always these factories that had maybe one employee if
• 36:38
  Speaker 3: you were lucky, but they were running twenty four to
• 36:40
  Speaker 3: seven and doing nothing except moving making sparks. But he's
• 36:45
  Speaker 3: on the meat hook and he's going towards you know,
• 36:49
  Speaker 3: like a furnace. The furnace that looks like it was
• 36:51
  Speaker 3: built to kill humans.
• 36:54
  Speaker 4: Yes, and yeah, sure it's not a slaughterhouse because it
• 36:57
  Speaker 4: feels like a slaughterhouse instead of a and.
• 36:59
  Speaker 2: A barbecue if you slaughter the pig and he just
• 37:01
  Speaker 2: push it through the thing and it barbecues the meat.
• 37:03
  Speaker 3: For you, but then it fades away and you don't
• 37:07
  Speaker 3: actually see it. I'm like, man, you'd think that this
• 37:09
  Speaker 3: is where you'd get the gruesome killed, like you'd get
• 37:11
  Speaker 3: the quote unquote satisfying kill, and then they cut away.
• 37:15
  Speaker 3: This movie just didn't make sense.
• 37:17
  Speaker 1: I mean, that's fair. You know.
• 37:19
  Speaker 2: It's definitely one of those things where I would very
• 37:25
  Speaker 2: much love to see that extended version of it. If
• 37:30
  Speaker 2: Stallone says he has a copy of it, I think
• 37:34
  Speaker 2: it's incumbent on him to release that extended version. He
• 37:39
  Speaker 2: would make a lot of money from very curious people
• 37:43
  Speaker 2: who would say, Okay, give me the four K of
• 37:46
  Speaker 2: Cobra and let me see the thirty missing minutes and
• 37:49
  Speaker 2: go for the NC seventeen unfiltered rating, unrated cut and.
• 37:55
  Speaker 3: It doesn't even have to be four K, honestly, like,
• 37:57
  Speaker 3: if all he has is like a crap VHS quality,
• 38:02
  Speaker 3: they did that with Studio fifty four, where the director
• 38:06
  Speaker 3: woned a director's cut, but the footage just didn't survive
• 38:10
  Speaker 3: and so all he had was a crappy VHS tape
• 38:14
  Speaker 3: transfer of the deleted scenes and he cut him into
• 38:17
  Speaker 3: the film and it was you know, it was announced
• 38:19
  Speaker 3: and you know, preface by saying like, yeah, this is
• 38:21
  Speaker 3: what you're gonna see, like this is this is my vision.
• 38:24
  Speaker 3: But you're gonna notice when the quality dips, and that's okay.
• 38:30
  Speaker 2: Michael Mann did that with Manhunter as well, where the
• 38:32
  Speaker 2: director's cut of that it's from his own personal print
• 38:35
  Speaker 2: and you can clearly see the quality difference between the two.
• 38:40
  Speaker 2: But Darren, you know, this is gonna seem like an
• 38:43
  Speaker 2: odd question. But as a creator, Tristan just talked about
• 38:46
  Speaker 2: how they staged all of these what we can clearly
• 38:49
  Speaker 2: presume would be very practical setups for these gruesome killings.
• 38:54
  Speaker 2: And so you have a creative team putting these very
• 38:57
  Speaker 2: elaborate things together, design to convince people that somebody's getting
• 39:02
  Speaker 2: cut or a limb is getting cut off, or you're
• 39:04
  Speaker 2: seeing this or you're seeing that. From a creative standpoint,
• 39:08
  Speaker 2: how frustrating would it be, you know, put yourself in
• 39:12
  Speaker 2: that mindset where you're on set, you've built all of
• 39:14
  Speaker 2: these things, you filmed all of this stuff, and you
• 39:16
  Speaker 2: see the movie in the theaters and you're like, nothing
• 39:19
  Speaker 2: made it.
• 39:20
  Speaker 1: I can't put this on my resume.
• 39:22
  Speaker 4: It totally makes me think of what was it. It
• 39:25
  Speaker 4: wasn't a remake. It was like an homage but the
• 39:29
  Speaker 4: Thing movie where they made one inspired by the Thing,
• 39:33
  Speaker 4: and it told like more of the story and they
• 39:36
  Speaker 4: used practical effects because they were wanting to look like
• 39:40
  Speaker 4: the eighties the Thing, and the film producer or the
• 39:44
  Speaker 4: studio was like no, and cgi'd over everything and it
• 39:49
  Speaker 4: looked like garbage. So all of your practical effects, all
• 39:53
  Speaker 4: of your you know, really cool and they're like, well,
• 39:56
  Speaker 4: it look like it was made in the eighties and
• 39:58
  Speaker 4: like that was the point and now looks like crap
• 40:01
  Speaker 4: nineties CGI. So all that to say, yeah.
• 40:05
  Speaker 6: I maybe they would be like, like we say, a
• 40:11
  Speaker 6: feeling of missing out of like but also I don't know,
• 40:15
  Speaker 6: maybe you would have more.
• 40:16
  Speaker 4: Of a sense of oh, that was a really fun
• 40:18
  Speaker 4: day on set that we got to take it that far,
• 40:20
  Speaker 4: but we know it's gonna get dialed back because we
• 40:24
  Speaker 4: know our method of shooting was shoot to the tens
• 40:29
  Speaker 4: and we know it's going to be dialed back because
• 40:32
  Speaker 4: there's no way it's going to be aired in this way.
• 40:35
  Speaker 4: And that sounds like a lot of fun. It's like,
• 40:37
  Speaker 4: oh yeah, do that blood splatter and you know, to
• 40:41
  Speaker 4: kind of like the question you asked Tristan earlier about,
• 40:44
  Speaker 4: you know, is this a movie that needs to be
• 40:47
  Speaker 4: seen to kind of fill a gap in the eighties
• 40:50
  Speaker 4: of like what cinema was like. And I know that
• 40:53
  Speaker 4: wasn't your direct question, but that's what I'm the one
• 40:56
  Speaker 4: I'm answering. But I would I would say there are
• 41:01
  Speaker 4: better made, not gory, but hard R movies in this
• 41:07
  Speaker 4: decade that I would choose way over Cobra. I mean,
• 41:12
  Speaker 4: my first goes to like RoboCop, which has you know,
• 41:15
  Speaker 4: Murphy's death scene is very graphic. Tristan doesn't like it
• 41:20
  Speaker 4: at all, but I would or even well, this more
• 41:24
  Speaker 4: nineties as I say, Starship Troopers. But so there's a
• 41:28
  Speaker 4: lot of well told stories that are graphic, you know.
• 41:32
  Speaker 4: To come full circle, I think like you're saying this
• 41:36
  Speaker 4: being kind of the flashpoint of Stallone's career, I think
• 41:40
  Speaker 4: it feels like that. It feels like Stallone's career is
• 41:42
  Speaker 4: a train that's going so fast and putting butts in
• 41:47
  Speaker 4: seats that by the time you get to this movie,
• 41:50
  Speaker 4: it's momentum is enough to put this movie on the
• 41:56
  Speaker 4: on the screen and make enough money to make it
• 41:59
  Speaker 4: a success. And then you get to the other side
• 42:01
  Speaker 4: of it and you're like, oh, oh, yeah, we kind
• 42:03
  Speaker 4: of hit something as we were going down the trail,
• 42:06
  Speaker 4: but so we're a little slower now, but we're still going. Like, yeah,
• 42:10
  Speaker 4: that's what it feels like.
• 42:12
  Speaker 2: I think this would be a fun movie to do
• 42:13
  Speaker 2: as a double feature with another arguably terrible Stallone movie
• 42:19
  Speaker 2: that he's started with Kurt Russell called Tango and Cash,
• 42:21
  Speaker 2: also a cop movie with some clumsy attempts at humor.
• 42:26
  Speaker 3: My dad loved Tango in Cash. He absolutely loved it,
• 42:31
  Speaker 3: and I was never allowed to watch it. That was
• 42:33
  Speaker 3: one of the films I was never allowed to watch.
• 42:34
  Speaker 3: And then I watched it, like just a couple years ago,
• 42:38
  Speaker 3: and I think, I, oh, man, I was even texting
• 42:41
  Speaker 3: you about it.
• 42:41
  Speaker 1: I was texting you about it. I was like, good lord,
• 42:44
  Speaker 1: this movie is terrible.
• 42:46
  Speaker 2: Yeah, Tango and Cash is a movie that I wish
• 42:50
  Speaker 2: i'd never rewatched. Because I saw it in the theaters
• 42:52
  Speaker 2: as a kid, and I had great fond memories. I
• 42:55
  Speaker 2: thought it was the coolest thing in the world. I
• 42:57
  Speaker 2: thought it was funny, and then.
• 42:59
  Speaker 4: I said, ruined it.
• 43:00
  Speaker 2: Oh, absolutely destroyed it for all time. And I even
• 43:04
  Speaker 2: thought it cook. Oh, yeah, that's a tough one. That's
• 43:08
  Speaker 2: a tough one too. But you know what isn't tough
• 43:12
  Speaker 2: is looking at Cobra and saying, I bet Lance Reddick
• 43:15
  Speaker 2: could have made this at least a little bit better.
• 43:18
  Speaker 2: And so we're here at the part in house lights
• 43:20
  Speaker 2: where we look at is there a spot where we
• 43:23
  Speaker 2: see the great late actor Lance Reddick where he could
• 43:27
  Speaker 2: slide in and appear in a role and bring some
• 43:32
  Speaker 2: of that oomph that he always brought to every role,
• 43:35
  Speaker 2: where he would make this better, where you would say,
• 43:37
  Speaker 2: you know, Cobra might not have been my cup of tea,
• 43:41
  Speaker 2: but boy, that Lance Reddick, he sure made a great
• 43:44
  Speaker 2: blank character. So Darren, to you first, where do you
• 43:48
  Speaker 2: see mister Reddick?
• 43:49
  Speaker 4: It's so easy. He would be well easy for me.
• 43:52
  Speaker 4: In my opinion, I would cast him as Gonzalez. He
• 43:55
  Speaker 4: would be He's the partner easy and fortunately he's barely
• 44:01
  Speaker 4: in this movie. So it's a tiny, little, you know,
• 44:03
  Speaker 4: cameo role, but you know, I you know, he gets
• 44:06
  Speaker 4: to get shot in the leg and you know, say,
• 44:09
  Speaker 4: I'm picturing Lance's dead pan talk about like health food,
• 44:15
  Speaker 4: and it's I see it hitting better than you know nothing,
• 44:19
  Speaker 4: you know, nothing against against Renny. But I would love
• 44:22
  Speaker 4: to see Rance in that role.
• 44:24
  Speaker 1: Fair Tristan, where do you see mister Reddick?
• 44:28
  Speaker 3: I mean, I want to say Gonzalez, but at the
• 44:31
  Speaker 3: same time, I want to say Captain Sears played by
• 44:36
  Speaker 3: Art Lafleur, But I kind of have a little bit
• 44:39
  Speaker 3: of an addendum, or I should say qualification that I
• 44:42
  Speaker 3: would want. I would want Reddick as Captain Sears because
• 44:46
  Speaker 3: I feel like he would have made a great captain
• 44:49
  Speaker 3: who just choose out the protagonist constantly, kind of like in.
• 44:53
  Speaker 4: Last Action Hero.
• 44:55
  Speaker 3: Sorry, yeah, like last exactly like in Last Action Hero
• 44:58
  Speaker 3: and exactly like in Beverly Hills Cop, Like that's his
• 45:01
  Speaker 3: job is to chew out the protagonist.
• 45:03
  Speaker 4: Like you wreck twenty cars, what's the deal with you?
• 45:06
  Speaker 1: I'm gonna have your badge and your gun. You know.
• 45:08
  Speaker 1: I feel like Reddick would have done that.
• 45:10
  Speaker 3: But that's not really the that's not really what Sears,
• 45:13
  Speaker 3: it's such a weak role that, yeah, i'd have to
• 45:15
  Speaker 3: you know what, I'm gonna take it back. I'm gonna
• 45:17
  Speaker 3: have to go with Gonzalez, Like that's the only like
• 45:19
  Speaker 3: he could really elevate that character. I think that there
• 45:22
  Speaker 3: has something, Like Captain Sear says nothing to give, Gonzalez
• 45:25
  Speaker 3: at least has something to give.
• 45:28
  Speaker 4: Well.
• 45:28
  Speaker 2: As as much as I'd love to come in and say,
• 45:30
  Speaker 2: you know what, throw the throw it all away and
• 45:33
  Speaker 2: just replace stallone with Reddick and let's see how that works, wow,
• 45:38
  Speaker 2: I would act and I completely understand and sympathize with
• 45:42
  Speaker 2: the idea of him as Sergeant Gonzalez. I would actually
• 45:47
  Speaker 2: like to see him as Detective Monty Andrew Robinson's role,
• 45:52
  Speaker 2: because I believe in Lance Reddick being having the backbone
• 45:58
  Speaker 2: to stand up too. Cabretti to be the one guy
• 46:02
  Speaker 2: that's sitting there at the crime scene saying, why are
• 46:05
  Speaker 2: you all applauding him? What the hell is wrong with you?
• 46:08
  Speaker 2: Do you understand what's happening right now?
• 46:11
  Speaker 4: You see those twenty corner vans that are coming down
• 46:13
  Speaker 4: the right to pick up all the bodies you just killed.
• 46:16
  Speaker 1: Exactly.
• 46:17
  Speaker 4: I'm at your Lance giving the no hard feelings, like
• 46:21
  Speaker 4: just nailing that line.
• 46:24
  Speaker 2: I completely agree. I think that he would really work
• 46:27
  Speaker 2: as Detective Monty. So then we come to our ratings,
• 46:32
  Speaker 2: and I'm going to torture Darren first in the fine
• 46:37
  Speaker 2: tradition that Tristan likes Darren on a scale of one
• 46:42
  Speaker 2: to five, custom made pearl handled Colt side arms. How
• 46:49
  Speaker 2: many do you give nineteen eighty six's Cobra, You know
• 46:55
  Speaker 2: I'm gonna.
• 46:56
  Speaker 4: I looked at the rating I gave this when I
• 46:58
  Speaker 4: first watched it a couple months back, and I gave
• 47:02
  Speaker 4: it a two on letterbox, and I'm gonna still give
• 47:05
  Speaker 4: it a two. It's not a good movie. It it
• 47:09
  Speaker 4: a lot of it. I hope just ended up on
• 47:11
  Speaker 4: the cutting room floor, or maybe it never was shot
• 47:13
  Speaker 4: to begin with. Who knows, will never know, apparently, but
• 47:18
  Speaker 4: I still give it a two over a one for
• 47:22
  Speaker 4: it being what it is. It's so eighties. It's so
• 47:25
  Speaker 4: eighty six, Like I don't know why. It's weird, like
• 47:28
  Speaker 4: eighty four would be different, but this is like an
• 47:31
  Speaker 4: eighty six movie, and it feels like an eighty six movie,
• 47:33
  Speaker 4: which is so strange to say, but it gives you
• 47:38
  Speaker 4: what you're expecting, you know, and nothing more. And it
• 47:42
  Speaker 4: was act but it was really fun to talk about.
• 47:44
  Speaker 4: And you know, I really enjoyed spotting Andrew Robinson that moment,
• 47:50
  Speaker 4: which I didn't pick up the first time. I was like,
• 47:52
  Speaker 4: oh my gosh, it's Carrick uh. And you know, Brian Thompson,
• 47:56
  Speaker 4: I think I feel I feel sorry for Brian because
• 48:00
  Speaker 4: from what I've researched, he asked, what is my motivation?
• 48:04
  Speaker 4: He asked, like, how do I play this scene? Or
• 48:06
  Speaker 4: how do I command these people or build up this
• 48:09
  Speaker 4: and it basically just got shut down of like you're evil,
• 48:12
  Speaker 4: you're bad, just deal with it. And so we've said
• 48:16
  Speaker 4: a couple of times like, oh, if only Brian Thompson,
• 48:19
  Speaker 4: could you know, could make this better. It's like I
• 48:22
  Speaker 4: feel like it's if only Brian Thompson would be allowed
• 48:26
  Speaker 4: to make it better, but have given the chance to
• 48:29
  Speaker 4: be more. And it was just so apparent that it
• 48:33
  Speaker 4: was a one note villain and it was kept in
• 48:35
  Speaker 4: that box. They wouldn't let him out. And that's the
• 48:38
  Speaker 4: movie I want to see. I want to see the
• 48:41
  Speaker 4: you know, Brian Thompson let out of his box to
• 48:44
  Speaker 4: make that of an iconic villain and I think it
• 48:47
  Speaker 4: could have been that against Sallan, but it wasn't to be.
• 48:53
  Speaker 4: So two two star two swings of the acts.
• 48:56
  Speaker 1: Two and Tristan.
• 48:58
  Speaker 2: I got to ask you, you know, on that scale,
• 49:01
  Speaker 2: are you going to lean closer to what the La
• 49:04
  Speaker 2: Times said saying that it had a pretentious emptiness and
• 49:08
  Speaker 2: dumbness and two faced morality, or are you leaning more
• 49:11
  Speaker 2: toward what Variety said at the time, which called it
• 49:14
  Speaker 2: a sleek, extremely violent and exciting police thriller. So I
• 49:19
  Speaker 2: will say that's the five end of the scale and
• 49:22
  Speaker 2: La Times was on the one. Where in the one
• 49:24
  Speaker 2: to five scale are you falling?
• 49:25
  Speaker 3: It's interesting to see, like many studies have been done
• 49:29
  Speaker 3: about the influence of cop culture in movies and how
• 49:33
  Speaker 3: we view police throughout the decades. You know, how we
• 49:37
  Speaker 3: view police in the fifties, sixties, seventies, eighties, nineties, two thousands,
• 49:42
  Speaker 3: tens and today are all vastly different. They all have
• 49:45
  Speaker 3: their own flavor, and in eighty six it's very much
• 49:50
  Speaker 3: that it's not even Oh, if it wasn't for this
• 49:54
  Speaker 3: corrupt system of bad cops, I'd be able to get
• 49:57
  Speaker 3: something done.
• 49:58
  Speaker 1: It's no, this is.
• 50:01
  Speaker 3: Red tape, you know, just this bureaucratic bean counters just
• 50:06
  Speaker 3: getting in the way of real street justice, you know,
• 50:10
  Speaker 3: and like and Brian Thompson gives that monolog at the
• 50:13
  Speaker 3: end where you know, for the entire like the the
• 50:17
  Speaker 3: reason why he's chasing Brigitte Nielsen is because his face
• 50:20
  Speaker 3: was shown, Like she saw his face and recognized him,
• 50:24
  Speaker 3: even though you know, damage done. There's a drawing of
• 50:27
  Speaker 3: him and he spends the rest of the movie not
• 50:30
  Speaker 3: wearing a mask. And you know, they're no longer in
• 50:34
  Speaker 3: the shadows, and they attack an entire town and kill
• 50:37
  Speaker 3: an entire town, and subtlety is just out the window.
• 50:42
  Speaker 3: It's it's like, you know, we have Cobra, who's the
• 50:45
  Speaker 3: one man who can get it done. He's like the
• 50:47
  Speaker 3: Vic Mackee of nineteen eighty six. And it's at this time,
• 50:52
  Speaker 3: you know, like you see Andy Robinson's character saying like
• 50:56
  Speaker 3: he's the he's the voice of reason in this movie,
• 50:59
  Speaker 3: but yet he's not patrol as the voice of reason
• 51:01
  Speaker 3: like in eighty six would be like, man, if only
• 51:04
  Speaker 3: we would just let cops do their jobs, And today
• 51:08
  Speaker 3: we're like, oh my god, if only we had more
• 51:11
  Speaker 3: Andy Robinson's And it's just interesting. It kind of makes
• 51:16
  Speaker 3: me this is a total side a tangent, but like
• 51:19
  Speaker 3: it makes me think of of it's a wonderful life.
• 51:21
  Speaker 3: I know this is a tangent, but I promise I
• 51:23
  Speaker 3: have a point where you have Potter who is the
• 51:26
  Speaker 3: evil banker because he's not giving a loan to Jimmy Stewart.
• 51:30
  Speaker 3: But then fast forward to today and you have all
• 51:33
  Speaker 3: these movies of the predatory banks giving loans to people
• 51:37
  Speaker 3: who can't afford them, even though those people agreed to
• 51:40
  Speaker 3: go into those loans. Now I'm not picking a side here,
• 51:43
  Speaker 3: I'm just saying that you have these direct oppositional stances
• 51:49
  Speaker 3: where's That's kind of what makes me think of the cops,
• 51:52
  Speaker 3: where Like in the eighty six it's like, oh man,
• 51:55
  Speaker 3: the system's just getting in the way of real justice.
• 51:57
  Speaker 3: Just let the cops do what they want to do,
• 51:59
  Speaker 3: and today were just like, oh my god, Like these
• 52:02
  Speaker 3: cops need to be rained in. They just need to
• 52:04
  Speaker 3: follow procedure. And so it's really interesting to see how
• 52:08
  Speaker 3: that goes from decade to decade. But that's neither here
• 52:12
  Speaker 3: nor there. I think that's one thing that was just
• 52:14
  Speaker 3: like it was hard to get into it because of
• 52:16
  Speaker 3: that quote unquote mystique around it. This movie is devoid
• 52:21
  Speaker 3: of plot, devoid of motivation. It's thin. It's a cult
• 52:25
  Speaker 3: classic because it's terrible. Stallone could not save it with
• 52:30
  Speaker 3: his stalloneness. I would love to see a thirty to
• 52:35
  Speaker 3: forty minute additional cut, not because I think this is
• 52:38
  Speaker 3: a good movie, but because this is so terrible that
• 52:41
  Speaker 3: I feel like maybe it could be saved. This is
• 52:45
  Speaker 3: a generous one and a half stars.
• 52:48
  Speaker 2: I never would have had on my Bingo card, not
• 52:52
  Speaker 2: just for the year, but ever in my life. Somebody
• 52:55
  Speaker 2: mounting a defense of mister Potter from It's a Wonderful
• 52:57
  Speaker 2: life in the course of a conversation.
• 53:00
  Speaker 3: So that's that's what you get one with me. Alternate perspectives.
• 53:04
  Speaker 3: That's that's bad guys, Just bad perspectives. Uh okay, all right.
• 53:10
  Speaker 3: Who thinks of the bankers? Who thinks of the banker?
• 53:13
  Speaker 1: Yes, the poor bankers. We must protect them.
• 53:16
  Speaker 2: Speaking of protecting people, I think that Cobra is an
• 53:21
  Speaker 2: inept script that has basically something that we've seen in
• 53:26
  Speaker 2: a lot of movies, which is this idea that the
• 53:31
  Speaker 2: hero is trapped in a system where they overthink it
• 53:34
  Speaker 2: and he needs to be let go. Because he's the
• 53:36
  Speaker 2: useful one in the crisis sort of thing. But yes,
• 53:40
  Speaker 2: it's just so inept that you don't sympathize with Cobra
• 53:45
  Speaker 2: at any point. There's nothing that makes me sympathetic with Cobra.
• 53:50
  Speaker 2: Marrying Cabretti is a bumbling fool through most of this movie,
• 53:54
  Speaker 2: because I don't know what his motivation is either outside
• 53:58
  Speaker 2: of wearing the same clothes every day and driving a
• 54:01
  Speaker 2: cool car that somehow is the only car to escape
• 54:05
  Speaker 2: serious damage during a chase that you know should have
• 54:08
  Speaker 2: killed everybody. But I think that they're the toughest part
• 54:13
  Speaker 2: about rating this is I have a lifelong love of
• 54:18
  Speaker 2: it because it's so cheesy bad, Like it's one of
• 54:22
  Speaker 2: those it's one of the one of the things where
• 54:25
  Speaker 2: I think when you encounter a bad movie, if you
• 54:27
  Speaker 2: encounter it at a certain developmental stage, you develop a
• 54:31
  Speaker 2: fondness for it, like it's a It's it's almost like
• 54:35
  Speaker 2: a friend that can't defend himself, and so you sort
• 54:37
  Speaker 2: of stand up for him because you just, yeah, sure,
• 54:40
  Speaker 2: he you know, I'm gonna I'm gonna support him as
• 54:45
  Speaker 2: much as I can, even though I think you have
• 54:47
  Speaker 2: a point about you know what, whatever might be a
• 54:49
  Speaker 2: problem with them, like it's it's one of those things
• 54:51
  Speaker 2: where it's like I don't know how to divorce myself
• 54:54
  Speaker 2: from that fondness. Everything in my body screams out. That
• 55:00
  Speaker 2: should be a one star movie. I find so little
• 55:04
  Speaker 2: that is a quality about it at all, up to
• 55:07
  Speaker 2: and including the soundtrack. But I'm going to give it
• 55:10
  Speaker 2: a two because of that deep love that I have
• 55:13
  Speaker 2: for it. I get why this is a cult classic.
• 55:16
  Speaker 2: Because a cult classic even the Room, it's that opening
• 55:20
  Speaker 2: reel that gets you into it, and then it runs
• 55:22
  Speaker 2: out of steam. It's insufferable after that point. But if
• 55:25
  Speaker 2: you have a crowd of people around you that are there,
• 55:29
  Speaker 2: it's the laughter of the strong Man. It's the two
• 55:31
  Speaker 2: minute hate. It's the thing that gets you going because
• 55:34
  Speaker 2: you're like, hey, I might have failed that project at
• 55:36
  Speaker 2: work this week, but I didn't screw up that bad
• 55:39
  Speaker 2: and so you feel better at the end of Cobra.
• 55:42
  Speaker 2: So because it makes me feel better about how I
• 55:44
  Speaker 2: might have messed something up in my life, I give
• 55:46
  Speaker 2: it a two.
• 55:48
  Speaker 1: So there we go.
• 55:49
  Speaker 2: That's film number two of the House of Cosmatos that
• 55:52
  Speaker 2: we have looked at. We're not off to the best start.
• 55:56
  Speaker 2: In the world, arguably so Darren. What are we going
• 56:01
  Speaker 2: to look at next time in the House of Kosmatos.
• 56:05
  Speaker 4: Well, we're leaving the haunted La Streets and going underwater
• 56:10
  Speaker 4: with nineteen eighty nine's Leviathan. Here on house Lights, Join
• 56:16
  Speaker 4: the Revolution, Join the Nerd Party.