Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Staff Picks - Fear (1996)

Transcript

Staff Picks - Fear (1996) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
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  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 1:21
  Speaker 1: Thank you.
• 1:47
  Speaker 2: What?
• 1:47
  Speaker 1: No, I'm serious.
• 1:48
  Speaker 3: You seem like a pretty solid guy.
• 1:50
  Speaker 1: You should lighten up on yourself.
• 1:52
  Speaker 2: We're not talking about me. We're talking... Yes, we are.
• 2:17
  Speaker 2: That's what this whole thing's about, Steve. Your inadequacies, your fears.
• 2:21
  Speaker 4: You just wait a minute.
• 2:22
  Speaker 3: Listen to me.
• 2:23
  Speaker 2: See, I'm hip to your problems.
• 2:25
  Speaker 4: All of them.
• 2:27
  Speaker 2: I know you abandoned Nicole when she needed you most.
• 2:30
  Speaker 2: Because I licked her sweet tears. I know about things
• 2:34
  Speaker 2: coming apart at work. Maybe you fucking lost it in
• 2:37
  Speaker 2: that department. I also know you ain't keeping up, so
• 2:41
  Speaker 2: to speak. You're into the bargain with the missus. Because
• 2:44
  Speaker 2: if you were, she wouldn't be all over my stick. Relax, Steve.
• 2:55
  Speaker 2: We're friends.
• 2:56
  Speaker 4: We're friends.
• 2:58
  Speaker 2: We're friends.
• 3:17
  Speaker 4: These movies don't have commentary tracks and we still want
• 3:19
  Speaker 4: to talk about them anyway. My name is Chris Higgins.
• 3:22
  Speaker 4: And as always, I'm here with my, I'm going to
• 3:24
  Speaker 4: call you my, uh, you're like, you're like the, you're
• 3:27
  Speaker 4: like my Alyssa Milano.
• 3:30
  Speaker 3: I was thinking partner in crime, but I guess it's close.
• 3:33
  Speaker 4: If I got, if I'm Reese Witherspoon, you're my Alyssa Milano.
• 3:38
  Speaker 3: Yeah, but she's into some seedy shit, man.
• 3:41
  Speaker 4: You might be. Who knows how rumors get started. I'm
• 3:45
  Speaker 4: the one dating Mark Wahlberg.
• 3:47
  Speaker 3: That's its own problem. Hopefully you're not hopping on any
• 3:51
  Speaker 3: roller coasters anytime soon.
• 3:52
  Speaker 4: Well, as always, joined by my best friend, Steve, from
• 3:55
  Speaker 4: After Hours Video.
• 3:57
  Speaker 3: What's happening, man? I'm very, very excited to talk fear
• 4:01
  Speaker 3: with you. This has been a long time coming.
• 4:04
  Speaker 4: Yeah, it's been a long time since our last episode.
• 4:06
  Speaker 4: It's been about a month. A lot of life changes.
• 4:09
  Speaker 4: I mean, not really for me. I just kind of
• 4:12
  Speaker 4: got burnt out, if I'm being honest. But... You had
• 4:16
  Speaker 4: a lot of changes, man. You're in a beautiful new apartment.
• 4:19
  Speaker 4: How's that going?
• 4:20
  Speaker 3: It's been wonderful. I feel very fortunate. I finally settled
• 4:23
  Speaker 3: in and got the studio space all situated. I'm just
• 4:27
  Speaker 3: very excited to keep the momentum rolling with the podcast.
• 4:32
  Speaker 4: It feels good. It feels good to at least take
• 4:34
  Speaker 4: a little bit of time off, whether you mean to
• 4:36
  Speaker 4: or not. It's definitely healthy to do that.
• 4:40
  Speaker 3: Oh, for sure. This time of year, I feel like
• 4:44
  Speaker 3: both of us are knee deep and hopefully trying to
• 4:46
  Speaker 3: watch as many horror movies as possible. So it's given
• 4:49
  Speaker 3: me some time to get caught up and get your, uh,
• 4:52
  Speaker 3: collection all straightened up and, uh, you know, curating some
• 4:57
  Speaker 3: of your favorite horror films to watch during this time.
• 5:00
  Speaker 4: Yeah, this is, it's work has been crushing me and,
• 5:04
  Speaker 4: and it's been like, you know, like there's types of
• 5:07
  Speaker 4: days where you get home and you're just trying to like,
• 5:11
  Speaker 4: hold on to sanity and just feel like, uh, life
• 5:14
  Speaker 4: is normal. So you just kick back and watch movies.
• 5:16
  Speaker 4: And then it's like, every time we were like, okay,
• 5:17
  Speaker 4: we're getting ready to record. I was like, I was like,
• 5:20
  Speaker 4: all right, let me do this. And then I just
• 5:22
  Speaker 4: couldn't focus. And I was like, okay, maybe this is
• 5:26
  Speaker 4: a sign that I need to just kind of hold
• 5:30
  Speaker 4: off until I feel good enough again. Yeah.
• 5:34
  Speaker 3: I mean, I definitely feel like there's more than enough
• 5:37
  Speaker 3: time between now and Halloween. So I'm sure that there's
• 5:40
  Speaker 3: going to be other movies that we're going to want
• 5:41
  Speaker 3: to cover. And, uh, Yeah, I can't believe it. I mean,
• 5:45
  Speaker 3: we're knee-deep in fall now.
• 5:46
  Speaker 4: Crazy. Yeah, I mean, we're going to be recording, hopefully,
• 5:50
  Speaker 4: a couple days after this goes live, my birthday episode, man.
• 5:53
  Speaker 4: I turn 35 on Saturday. Very excited. Man.
• 5:58
  Speaker 3: You ready for all that?
• 5:59
  Speaker 4: No, I'm not. Off-air, we were talking about doctor's appointments,
• 6:03
  Speaker 4: so I feel like I've reached the age where it's like.
• 6:07
  Speaker 3: Dietary changes, caffeine intake.
• 6:10
  Speaker 4: Yeah, all of it's staying the same. I'm still going
• 6:13
  Speaker 4: to drink a lot of caffeine. I'm still going to
• 6:15
  Speaker 4: eat a lot of Chick-fil-A. It's all good, man. It's
• 6:18
  Speaker 4: just another year. I don't know what else to tell you.
• 6:20
  Speaker 3: No, man. You just got to keep doing it the
• 6:24
  Speaker 3: best way you can. That's it.
• 6:25
  Speaker 4: Yeah, yeah, yeah. Well, we decided to return with something
• 6:28
  Speaker 4: that we had planned before anyway. We decided to come
• 6:32
  Speaker 4: back and talk about 1996's Fear. This was directed by
• 6:36
  Speaker 4: James Foley. This stars Mark Wahlberg, Reese Witherspoon, Alyssa Milano.
• 6:40
  Speaker 4: This is... pure mid-90s eroticism on a little bit of
• 6:47
  Speaker 4: a more like a little bit of more like tempered
• 6:51
  Speaker 4: of of the genre while it still is rated r
• 6:54
  Speaker 4: this one does feel a tad softer a tad safer
• 6:58
  Speaker 4: mostly probably because of you know reese witherspoon um but
• 7:04
  Speaker 4: this is one that i've always enjoyed man tell me
• 7:06
  Speaker 4: your tell me your history with with fear.
• 7:10
  Speaker 3: Uh this is definitely one that I remember early on,
• 7:16
  Speaker 3: I feel like seeing this on TV, I don't remember
• 7:18
  Speaker 3: if it was like, I remember seeing it like pieces
• 7:21
  Speaker 3: of it on TV and then eventually renting it. But
• 7:25
  Speaker 3: I mean, I just, the one thing that always stands
• 7:27
  Speaker 3: out about this film specifically is just how unhinged Mark
• 7:31
  Speaker 3: Wahlberg is. Obviously I rewatched, nothing has really changed in
• 7:36
  Speaker 3: that aspect. What I like about this film is that,
• 7:41
  Speaker 3: it leans a little bit more in like the psychological
• 7:43
  Speaker 3: thriller side of things, you know, as like akin to, uh,
• 7:48
  Speaker 3: the crush or, um, wild things, cruel intentions, like poison Ivy,
• 7:54
  Speaker 3: the babysitter films like that, where, uh, there's a little
• 7:57
  Speaker 3: bit of like the teen drama going on. Um, but
• 8:01
  Speaker 3: I was, I was so excited to finally have a
• 8:03
  Speaker 3: chance to go back and revisit it through a different lens. And, uh,
• 8:08
  Speaker 3: yeah man i always have a good time with these
• 8:09
  Speaker 3: i mean you know me like i love my erotic
• 8:11
  Speaker 3: thrillers and you know this one's no different what about
• 8:14
  Speaker 3: you yeah.
• 8:16
  Speaker 4: This one thing i love about this movie especially on
• 8:18
  Speaker 4: the latest rewatches it's sort of like i i always
• 8:22
  Speaker 4: thought of this movie as a bit of like an
• 8:24
  Speaker 4: obsession movie between mark walberg's character and reese witherspoon's and
• 8:28
  Speaker 4: the last two times that i watched him we were
• 8:30
  Speaker 4: preparing for this i realized that this is almost more
• 8:33
  Speaker 4: of like a It's almost like, and we'll get into
• 8:37
  Speaker 4: this more, it's almost like Davy's character, played by Mark
• 8:39
  Speaker 4: Wahlberg's main goal is to just simply take a daughter
• 8:46
  Speaker 4: away from a father. It's almost like he's targeting her
• 8:49
  Speaker 4: father as much as he's targeting her. It's a really
• 8:54
  Speaker 4: interesting dynamic that I'm not sure is on purpose. I'm
• 8:58
  Speaker 4: not sure if it was something that was ingrained in
• 8:59
  Speaker 4: the movie from the start, but it's a really interesting
• 9:02
  Speaker 4: aspect that I think... through the last couple of watches
• 9:05
  Speaker 4: has kind of helped me reanalyze some of the dynamics
• 9:09
  Speaker 4: of the film, some of the actions.
• 9:12
  Speaker 3: Well, and there's like some parallels with this. And I
• 9:15
  Speaker 3: think under, under, you know, way more normal circumstances, cause
• 9:20
  Speaker 3: this is obviously, you know, when, you know, a teen girl,
• 9:25
  Speaker 3: you know, is basically entering adulthood, you know, fathers having
• 9:28
  Speaker 3: to deal with this type of dynamic and, The relationship
• 9:32
  Speaker 3: is obviously changing. Whereas this takes that concept and completely
• 9:36
  Speaker 3: flips it upside down. And you get somebody, you know,
• 9:39
  Speaker 3: that she's seen that it's completely unhinged as, as we
• 9:43
  Speaker 3: see as the movie goes on.
• 9:44
  Speaker 4: This is one that I remember watching a lot on like,
• 9:48
  Speaker 4: and I think I said this during basic and think
• 9:50
  Speaker 4: like TNT or like TBS. And it almost feels like
• 9:56
  Speaker 4: safe enough to play on those platforms with very little editing.
• 9:59
  Speaker 4: And I, know this is still R rated and there's
• 10:01
  Speaker 4: still some pretty heavy stuff in here but it feels
• 10:03
  Speaker 4: like one of those movies that kind of like with
• 10:05
  Speaker 4: minimal editing they can get away with showing a lot
• 10:08
  Speaker 4: for sure you know this is nowhere near as graphic
• 10:11
  Speaker 4: as basic instinct or many of the other 90s thrillers
• 10:15
  Speaker 4: but it still has a really sharp edge to it
• 10:17
  Speaker 4: that I think it keeps it memorable and Um, this
• 10:21
  Speaker 4: early career of Mark Wahlberg is so incredibly interesting because
• 10:27
  Speaker 4: when you look at him now, it almost feels like
• 10:30
  Speaker 4: this was a different version of him, man. I mean,
• 10:33
  Speaker 4: between this and boogie nights and even going into early
• 10:37
  Speaker 4: two thousands, he had a lot of interesting roles and
• 10:39
  Speaker 4: he is really menacing in this movie.
• 10:43
  Speaker 3: Yeah. I mean, this role was, was pretty early on
• 10:45
  Speaker 3: for Mark Wahlberg. I think he had only done a
• 10:48
  Speaker 3: couple films before this. I had no Renaissance man and
• 10:53
  Speaker 3: basketball diaries. And then I believe Reese Witherspoon had a
• 10:57
  Speaker 3: more extensive career prior to, you know, filming this. She
• 11:01
  Speaker 3: had done a few films like a freeway, for example.
• 11:05
  Speaker 4: Yeah.
• 11:06
  Speaker 3: So, yeah, I mean, this is, this is definitely, I mean, you,
• 11:11
  Speaker 3: seen such a progression in both of their careers as
• 11:14
  Speaker 3: time has gone on. One thing I did want to
• 11:17
  Speaker 3: note was director James Foley. He did At Close Range.
• 11:21
  Speaker 3: I don't know if you had a chance to see that.
• 11:22
  Speaker 3: I'm a big fan of that movie. That is definitely
• 11:26
  Speaker 3: one that if you guys are checking out Fear, go
• 11:31
  Speaker 3: back and check out that at some point. It's a
• 11:33
  Speaker 3: really good movie with Sean Penn and Christopher Walken.
• 11:39
  Speaker 4: Yeah, and then he went on to do... both of
• 11:41
  Speaker 4: the 50 shades of sequels, which is like, yeah. Okay. Yeah.
• 11:47
  Speaker 4: All right.
• 11:48
  Speaker 3: Take that for what you will.
• 11:50
  Speaker 4: Yeah. All right. Um, yeah, no, man, this is, this
• 11:53
  Speaker 4: is a movie that I really like. And I feel
• 11:55
  Speaker 4: like it almost feels like this movie has been mistreated
• 11:58
  Speaker 4: a little bit on physical media. I have, uh, I
• 12:01
  Speaker 4: have the mill Creek blu-ray, which has no bonus features.
• 12:05
  Speaker 4: And then I actually tried to seek out the DVD,
• 12:08
  Speaker 4: which does contain production notes and, It's kind of like
• 12:11
  Speaker 4: a digital spread on screen of production notes. And I, I,
• 12:16
  Speaker 4: instead I just found like somebody who ripped the photos
• 12:19
  Speaker 4: of the production notes. I was able to cruise through them,
• 12:21
  Speaker 4: but there's, you know, I'm not a 4k purist, but
• 12:25
  Speaker 4: there is no 4k option for this. There's no option
• 12:28
  Speaker 4: with any sort of bonus features out there. There's, I
• 12:31
  Speaker 4: found a couple clips of, of some marketing that they
• 12:34
  Speaker 4: did online, but nothing, They really gave any insight. Even
• 12:37
  Speaker 4: most research in this movie, as far as if you
• 12:39
  Speaker 4: look into the LA Film Archives or film database, there's
• 12:44
  Speaker 4: really not a lot of notes on the history. Nowhere
• 12:48
  Speaker 4: near as comprehensive as something like when we did Basic Instinct,
• 12:51
  Speaker 4: where I was able to pull up every detail of
• 12:54
  Speaker 4: locations and costs. This doesn't have that same weight to
• 13:00
  Speaker 4: it from a research perspective.
• 13:02
  Speaker 3: Well, and one thing I noticed, I mean, obviously, as
• 13:05
  Speaker 3: we've been you know, going through and we're trying to select,
• 13:08
  Speaker 3: you know, some of these, these films to cover, you know,
• 13:12
  Speaker 3: this is one that I genuinely think is deserving of like,
• 13:18
  Speaker 3: you know, the full extent for a 4k, because I
• 13:22
  Speaker 3: think it's deserving of that. It's definitely one of like
• 13:24
  Speaker 3: the higher, you know, points when it comes to, you know,
• 13:28
  Speaker 3: erotic thrillers or psychological thrillers in the nineties. And, I
• 13:32
  Speaker 3: think you just don't want too much time to pass
• 13:34
  Speaker 3: by without getting a proper release for it. Like some
• 13:38
  Speaker 3: of the other films, I feel like it's just a
• 13:40
  Speaker 3: matter of time before we get them. But yeah, I
• 13:43
  Speaker 3: don't know. Maybe it's harder for them to be able
• 13:46
  Speaker 3: to try to get new special features for a movie
• 13:49
  Speaker 3: like this.
• 13:50
  Speaker 4: You know, it's interesting. I'm sure it's been done before,
• 13:52
  Speaker 4: but I wonder if The Purge got inspiration from Fear
• 13:59
  Speaker 4: with the people... sequence kind of like from the like
• 14:05
  Speaker 4: the because in this one i mean they do the
• 14:07
  Speaker 4: people but towards the end there's a moment where the
• 14:09
  Speaker 4: door has a hole in it from an axe and
• 14:11
  Speaker 4: it looks like the purge angle it's really it's really
• 14:14
  Speaker 4: weird um this one started it all yeah yeah well
• 14:19
  Speaker 4: packed cast so let's talk about a couple bit more
• 14:22
  Speaker 4: let's let's talk about some of our uh you know
• 14:25
  Speaker 4: some of our characters here obviously we have you know
• 14:27
  Speaker 4: reach witherspoon um is the lead unbelievable 90s run with
• 14:31
  Speaker 4: freeway uh she did cruel intentions um eventually did pleasantville
• 14:37
  Speaker 4: which is a favorite of mine that nobody ever talks
• 14:39
  Speaker 4: about i just also want to say side note um
• 14:44
  Speaker 4: fuck you scream factory for putting out a censored edition
• 14:47
  Speaker 4: of pleasantville okay i just need to get that out
• 14:50
  Speaker 4: there um that was a choice yeah that was that
• 14:53
  Speaker 4: was a choice uh she was in election and then
• 14:56
  Speaker 4: she's in american psycho which i always forget that she's
• 14:59
  Speaker 4: an american psycho.
• 15:01
  Speaker 3: There's actually a lot of familiar faces that show up
• 15:04
  Speaker 3: in that movie it it's not a movie i go
• 15:07
  Speaker 3: back and revisit all that often but when you do
• 15:09
  Speaker 3: it's like oh this person's in this or you know
• 15:13
  Speaker 3: this actor actress it's it's.
• 15:15
  Speaker 4: Pretty cool though yeah Well, she had a big career
• 15:17
  Speaker 4: shift in 2001. You can really see a dramatic change
• 15:21
  Speaker 4: in her filmography. Once she did Legally Blonde, she kind
• 15:25
  Speaker 4: of took on a different persona. The 90s were kind
• 15:28
  Speaker 4: of like her grunge era. She was doing stuff a
• 15:31
  Speaker 4: little dirtier, and then Legally Blonde came along and cleaned up,
• 15:35
  Speaker 4: and she kind of maintained that status from there until today.
• 15:39
  Speaker 3: I felt like back in the day, because there was
• 15:42
  Speaker 3: a little bit of overlap, with some of the films
• 15:45
  Speaker 3: that they were doing at the same time, but I
• 15:47
  Speaker 3: always used to get her mixed up with Drew Barrymore.
• 15:49
  Speaker 4: Oh yeah.
• 15:50
  Speaker 3: Like, you know, I mean, Drew Barrymore was doing films
• 15:52
  Speaker 3: like poison Ivy amongst others, but, um, I just, I
• 15:56
  Speaker 3: think it's funny. Cause very, very like a very specific
• 15:59
  Speaker 3: type that, that seems to be in some of these movies.
• 16:03
  Speaker 4: I feel like I would get confused. Not now, but
• 16:05
  Speaker 4: back in the, back in like the nineties, early two thousands,
• 16:08
  Speaker 4: when I was watching a lot of movies, I feel
• 16:10
  Speaker 4: like I would get confused between, um, Drew Barrymore, Reese Witherspoon,
• 16:13
  Speaker 4: Christina Applegate. There was a collection of actresses at this
• 16:20
  Speaker 4: time that were all very, not similar, but were in
• 16:24
  Speaker 4: roles that were on TV a lot, and I would
• 16:26
  Speaker 4: just kind of get them all mixed up.
• 16:28
  Speaker 3: Or you have Alicia Silverstone.
• 16:30
  Speaker 4: Yeah, it's funny. I was just watching The Crush. And
• 16:36
  Speaker 4: I was like, I turned on The Crush, and I
• 16:38
  Speaker 4: was like, oh, fuck, I forgot that Carrie Elwes is
• 16:40
  Speaker 4: in this.
• 16:43
  Speaker 3: Yeah, man, that's a movie that, again, I'm always advocating
• 16:47
  Speaker 3: for some of those to get new life on 4K
• 16:50
  Speaker 3: or even Blu-ray. I mean, like a boutique release on Blu-ray.
• 16:54
  Speaker 3: I just hope someone like Imprint or even Vinegar's Syndrome,
• 17:03
  Speaker 3: they've done such a nice job with other films like
• 17:05
  Speaker 3: Sliver or Jade or The Last Seduction. So I'm always
• 17:11
  Speaker 3: optimistic every month Come on. Is this month going to
• 17:14
  Speaker 3: be the month that we get some of these?
• 17:16
  Speaker 4: Hey, man, I just found Cruel Intentions on DVD. Does
• 17:19
  Speaker 4: that count?
• 17:21
  Speaker 3: It does.
• 17:21
  Speaker 4: Okay, good. Just want to make sure.
• 17:23
  Speaker 3: You know what? I'm accepting of all forms of physical media.
• 17:29
  Speaker 4: So we were talking about cast and you want to
• 17:31
  Speaker 4: talk about stacked. Nicole's father, Steve Walker, played by William L. Peterson.
• 17:37
  Speaker 3: What a legend.
• 17:38
  Speaker 4: This guy, where to start? Thief, To Live and Die
• 17:42
  Speaker 4: in L.A., Manhunter, Mulholland Falls. I just watched him in
• 17:44
  Speaker 4: The Skulls the other day. This guy is the definition
• 17:49
  Speaker 4: of a fucking legend, and I have to say I
• 17:52
  Speaker 4: love how this movie handles the father character, because there
• 17:56
  Speaker 4: isn't a single moment that I doubt him as a
• 18:00
  Speaker 4: strong defensive father, though he does have weaknesses, meaning emotionally,
• 18:06
  Speaker 4: and he is trying very hard to a repair this
• 18:09
  Speaker 4: relationship with his daughter. That is essentially like he's repairing
• 18:13
  Speaker 4: wounds that he, that he.
• 18:15
  Speaker 3: Had caused, but yeah, he's not perfect.
• 18:17
  Speaker 4: He's not perfect. But right at the beginning of this movie,
• 18:19
  Speaker 4: we see him running like a fucking boss. And this
• 18:23
  Speaker 4: guy is very defensive, very stand up. He doesn't, he
• 18:27
  Speaker 4: doesn't really stand down for much of anybody besides his daughter.
• 18:30
  Speaker 4: And there's even moments in here with other characters where
• 18:32
  Speaker 4: he's defensive and he is a great father. And, you know,
• 18:35
  Speaker 4: at the end of the movie, when we come to
• 18:37
  Speaker 4: the final scene, you know, the final fight sequence at conclusion,
• 18:40
  Speaker 4: he backs all that up by remaining a strong defensive character.
• 18:45
  Speaker 4: And I really liked that approach here.
• 18:48
  Speaker 3: Very believable performance. I definitely felt like, uh, you know,
• 18:51
  Speaker 3: he stepped into the role and it really owned it. Um,
• 18:55
  Speaker 3: and then also we have Amy Brenneman, uh, who plays, uh,
• 19:00
  Speaker 3: his new wife, uh, Laura and she had previously, I
• 19:04
  Speaker 3: don't know if you remember her in heat.
• 19:06
  Speaker 4: Oh, yeah. Yeah.
• 19:07
  Speaker 3: Yeah, man. So she's, you know, obviously starting that. So
• 19:11
  Speaker 3: two films back to back. And then your favorite, Alyssa
• 19:15
  Speaker 3: Milano playing Margo, Nicole's best friend.
• 19:19
  Speaker 4: She is always, what did I watch a couple of
• 19:22
  Speaker 4: months ago that I was like, man, this girl's always
• 19:24
  Speaker 4: into some shit. I watched Embrace of the Vampire. I
• 19:27
  Speaker 4: think it was called Embrace of the Vampire. Pretty good. Yeah,
• 19:33
  Speaker 4: I mean, not bad. It's pretty much like an excuse
• 19:35
  Speaker 4: to show Alyssa Milano in every facet possible, but it's okay.
• 19:43
  Speaker 4: But every time I see alissa milano's uh name at
• 19:46
  Speaker 4: this point in her career i uh i'm like all
• 19:50
  Speaker 4: right here we go what are we gonna get into
• 19:52
  Speaker 4: she's great though man she i mean let's be real
• 19:56
  Speaker 4: she's a bit of a problem character.
• 19:57
  Speaker 3: She oh totally and this oh yeah.
• 20:00
  Speaker 4: Dude she's oh easily she's a problem but there is
• 20:05
  Speaker 4: a moment and I have a note about this, so
• 20:06
  Speaker 4: I don't want to get into it yet, but she
• 20:07
  Speaker 4: does have a moment in this movie that I think
• 20:09
  Speaker 4: is probably one of the top moments of the movie
• 20:12
  Speaker 4: in the final act with her character. And yeah, I
• 20:15
  Speaker 4: think she's, she's great.
• 20:18
  Speaker 3: Yeah, really good. Definitely a very strong supporting cast to
• 20:21
  Speaker 3: this film.
• 20:23
  Speaker 4: Yeah. And I do want to talk about real quick,
• 20:24
  Speaker 4: just while we kind of dive in, you know, to
• 20:27
  Speaker 4: this discussion, I want to talk about the score. for
• 20:31
  Speaker 4: this film real quick beat me to it oh man
• 20:34
  Speaker 4: well go.
• 20:34
  Speaker 3: Ahead you can take it if you want uh carter
• 20:37
  Speaker 3: burwell yeah um he is a collaborator with the coen
• 20:42
  Speaker 3: brothers for a lot of their films which i thought
• 20:44
  Speaker 3: was pretty cool and and a personal favorite of yours
• 20:48
  Speaker 3: psycho three.
• 20:49
  Speaker 4: Yeah i love.
• 20:52
  Speaker 3: Three you said always told me that that was uh
• 20:55
  Speaker 3: your favorite out of the bunch um But he's also,
• 20:58
  Speaker 3: he's on the score for Blood Simple, Raising Arizona, Fargo,
• 21:01
  Speaker 3: The Big Lebowski. So, you know, you add Fear to
• 21:06
  Speaker 3: that list. I mean, that's pretty impressive.
• 21:08
  Speaker 4: A Knight's Tale and The General's Daughter as well. A
• 21:12
  Speaker 4: Knight's Tale probably has been, since the 90s, a movie
• 21:17
  Speaker 4: I've grown to love a lot more than I did
• 21:18
  Speaker 4: back then. I'm in my Knight era as a young kid.
• 21:22
  Speaker 3: Are you?
• 21:23
  Speaker 4: Yeah, man. I'm all about, like, I'm about to go jousting.
• 21:25
  Speaker 4: I'm going to go... I'm going to go to a
• 21:28
  Speaker 4: blacksmith and have him make me some armor. And then
• 21:30
  Speaker 4: I'm going to go, I'm going to go joust.
• 21:32
  Speaker 3: I feel like he watched Excalibur too many times.
• 21:35
  Speaker 4: Never seen Excalibur.
• 21:37
  Speaker 3: Oh, oh, really?
• 21:39
  Speaker 2: Yeah.
• 21:40
  Speaker 4: Never, never. Well, you need to fix that, man.
• 21:42
  Speaker 3: That's only, that's only going to fuel your fantasy then. I, uh,
• 21:47
  Speaker 3: it's like, uh, maybe, maybe a little later, but like
• 21:49
  Speaker 3: I watched a lot of gladiator.
• 21:51
  Speaker 4: They didn't do any jousting in that, but there was
• 21:52
  Speaker 4: plenty of, uh, of, uh, you know, like arena battles.
• 21:57
  Speaker 4: Those sound pretty good.
• 21:59
  Speaker 3: Isn't Oliver reading that?
• 22:01
  Speaker 4: Yeah. Yeah. It was his final role. He died. I
• 22:02
  Speaker 4: think like three quarters of the way through production.
• 22:04
  Speaker 3: Crazy.
• 22:05
  Speaker 4: He's actually, there's a moment in gladiator. I had no
• 22:08
  Speaker 4: idea that it's actually like a CGI double of him.
• 22:11
  Speaker 4: And it's incredible. I never realized it until I watched
• 22:16
  Speaker 4: a video about it. And then when I did finally
• 22:19
  Speaker 4: see the context that this video that was analyzing the
• 22:23
  Speaker 4: footage did, they just kind of like took his moment
• 22:26
  Speaker 4: from another scene and and filled them in. It's real
• 22:30
  Speaker 4: crazy what they were able to do with that movie. And,
• 22:32
  Speaker 4: you know, the early two thousands, pretty, pretty spectacular. Yeah.
• 22:36
  Speaker 3: I mean, he was only 61, but I mean, I
• 22:39
  Speaker 3: always think of him as, uh, you know, his role
• 22:41
  Speaker 3: in the brood and the devils. So quite an extensive career.
• 22:45
  Speaker 1: Yeah.
• 22:46
  Speaker 4: That's like, you know, which by the way, as of,
• 22:50
  Speaker 4: doing this i'm only a couple days away from seeing
• 22:52
  Speaker 4: the devils in 4k on the big screen which is
• 22:55
  Speaker 4: very exciting i gotta see.
• 22:57
  Speaker 3: If they're uh just showtime locally.
• 23:00
  Speaker 4: Yeah it's in theaters this weekend man thanks to clockwork
• 23:04
  Speaker 4: the the the nc-17 cut for the first time in 55.
• 23:07
  Speaker 3: Years listen if i can see that and watch crystal
• 23:11
  Speaker 3: lake this weekend i'm doing something.
• 23:14
  Speaker 4: Right you could also watch carrie Um, you don't have
• 23:21
  Speaker 4: enough time, bro. You got it.
• 23:22
  Speaker 3: Yeah, man. I, I, I'm, I'm being pulled in too
• 23:24
  Speaker 3: many directions. Crystal Lake has my first priority and then,
• 23:28
  Speaker 3: you know, the devil's, you know, shortly thereafter.
• 23:31
  Speaker 4: Well, I look, okay. Carter Burwell. I wanted to bring
• 23:34
  Speaker 4: this up because the score for this movie is incredible, man. I,
• 23:40
  Speaker 4: the opening moments of this movie that the, the score
• 23:44
  Speaker 4: is just, billowing man and it's like so string heavy
• 23:51
  Speaker 4: and the melody is great it's just like this is
• 23:54
  Speaker 4: great sense of scale that almost doesn't fit the movie
• 23:57
  Speaker 4: and it feels like this the size of the score
• 24:01
  Speaker 4: enhances the size of the movie oh big time oh
• 24:05
  Speaker 4: it's great dude the score it's like the the opening
• 24:08
  Speaker 4: moments of the movie and then during the little like
• 24:11
  Speaker 4: chase sequence between Mark Wahlberg and Melissa Milano's character on
• 24:15
  Speaker 4: the road The score is just banging, man. Like really.
• 24:20
  Speaker 3: That whole scene.
• 24:21
  Speaker 4: Oh, so good, man.
• 24:23
  Speaker 3: I know what you're going to be listening to tomorrow.
• 24:26
  Speaker 4: Dude, I hope, I wish. Is this even available on Spotify?
• 24:32
  Speaker 4: Carter Burwell. Let's do this live before we move on here.
• 24:36
  Speaker 3: While you're looking that up. So the whole story is
• 24:40
  Speaker 3: supposed to be set, I believe, in Seattle.
• 24:43
  Speaker 1: Yeah.
• 24:43
  Speaker 3: Did it feel very Seattle to you?
• 24:47
  Speaker 4: Yeah mostly um their their house especially the location of
• 24:52
  Speaker 4: the walker residence it feel felt very seattle there's actually
• 24:57
  Speaker 4: a moment um that i was there's during a conversation
• 25:02
  Speaker 4: oh dude the soundtrack is on is on spotify it's
• 25:06
  Speaker 4: uh 48 minutes long sweet um fuck yeah uh physical
• 25:13
  Speaker 4: media disc here we come i there's a moment when
• 25:19
  Speaker 4: when dave mark walberg meets the father like the family
• 25:23
  Speaker 4: for the first time and there's a couple shots during
• 25:25
  Speaker 4: this this sequence that show the mountains around them for
• 25:29
  Speaker 4: like the first time you really kind of see how
• 25:32
  Speaker 4: kind of in um there the house is almost like
• 25:35
  Speaker 4: contained like it's got water on one side and it
• 25:38
  Speaker 4: has mountains around the other i mean very isolated yeah
• 25:41
  Speaker 4: and this family has money they have a they have
• 25:43
  Speaker 4: their own security guard at a gate in their driveway.
• 25:47
  Speaker 4: Like they're doing pretty well, man. This is, you know,
• 25:50
  Speaker 4: but to be fair, you're in real estate.
• 25:54
  Speaker 3: Um, I would bet if I don't have that, if
• 25:57
  Speaker 3: I don't have somebody, I don't have a gate at
• 26:00
  Speaker 3: the end of my driveway.
• 26:01
  Speaker 4: No, no, no, no. I'm not saying that. I'm saying
• 26:03
  Speaker 4: if I was making the money that I'm making now
• 26:06
  Speaker 4: as an adult, I could probably afford this house if
• 26:09
  Speaker 4: it was 1996.
• 26:10
  Speaker 1: Oh yeah.
• 26:13
  Speaker 3: The context helps.
• 26:14
  Speaker 1: Sorry. Yeah.
• 26:15
  Speaker 4: I meant to say that.
• 26:15
  Speaker 1: Yeah.
• 26:16
  Speaker 3: Yeah.
• 26:16
  Speaker 4: No.
• 26:16
  Speaker 3: Yeah. It felt like back then it's like you could,
• 26:21
  Speaker 3: you could like afford extravagant things and not have to
• 26:24
  Speaker 3: make a crazy amount of money. Yeah.
• 26:26
  Speaker 4: It's like Mr. Walker was making, he had like a $ 70, 000
• 26:29
  Speaker 4: salary in the end.
• 26:30
  Speaker 3: It always reminds me of like late nineties, early two thousands.
• 26:36
  Speaker 3: And it's like, you know, the Sopranos, you know, the
• 26:39
  Speaker 3: home that they have. And it's like, it seems like semi,
• 26:42
  Speaker 3: you know, semi reasonable to own something like that. Now
• 26:45
  Speaker 3: it's like nowadays that'd be crazy expensive.
• 26:48
  Speaker 1: Yeah. Yeah.
• 26:51
  Speaker 4: Yeah. It felt like Seattle. What about, I mean, I've
• 26:52
  Speaker 4: never been to Seattle.
• 26:54
  Speaker 3: Well, you're in for a rude awakening because they moved
• 26:57
  Speaker 3: the production to Vancouver, British.
• 27:00
  Speaker 4: Columbia, fucking Canada.
• 27:02
  Speaker 3: Yeah, man. Well, it was, I felt like it was believable.
• 27:08
  Speaker 4: I feel like it's more the color palette. The cinematography
• 27:12
  Speaker 4: has to feel like Seattle more. Because... Six, seven years ago,
• 27:18
  Speaker 4: I went on this thing where I watched Grey's Anatomy.
• 27:20
  Speaker 4: Don't ask. And I won't tell.
• 27:22
  Speaker 3: I won't ask. Don't worry.
• 27:24
  Speaker 4: And the only thing that felt like Seattle and Grey's
• 27:26
  Speaker 4: Anatomy was that it was always raining. And I remember
• 27:30
  Speaker 4: fully believing.
• 27:31
  Speaker 3: Is that the criteria?
• 27:33
  Speaker 4: Well, I think it's always raining in Seattle. I think
• 27:36
  Speaker 4: it's like... What's the weather in Seattle right now?
• 27:41
  Speaker 3: Can someone verify this?
• 27:42
  Speaker 4: I bet you it's raining in Seattle right now, dude.
• 27:45
  Speaker 4: Just perpetually all the time? Every episode of Grey's Anatomy,
• 27:50
  Speaker 4: it's raining. Oh, dude, it's literally raining in 61 degrees
• 27:54
  Speaker 4: right now in Seattle. I'm looking at a 10-day forecast,
• 27:56
  Speaker 4: and there is one day of sun.
• 27:58
  Speaker 3: What's the upside to living there, then?
• 28:02
  Speaker 4: Very strong political stances. Coffee? and um probably uh if
• 28:13
  Speaker 4: you're a big fan of um you know if you're
• 28:16
  Speaker 4: a big fan of uh mountains trees twilight.
• 28:21
  Speaker 3: The washington the washington huskies.
• 28:24
  Speaker 4: The seattle krakens.
• 28:28
  Speaker 3: Um let me ask you you know obviously you've seen
• 28:35
  Speaker 3: mark woolberg um Reese Witherspoon in a number of different
• 28:38
  Speaker 3: projects as as your you know your your film career
• 28:42
  Speaker 3: has gone on do you look past that for these
• 28:47
  Speaker 3: specific roles like you know they're they're obviously early enough
• 28:51
  Speaker 3: on in their film career but like do you do
• 28:54
  Speaker 3: you watch a movie like this and and do you
• 28:56
  Speaker 3: like actually look past that or do you just see
• 29:00
  Speaker 3: like Mark Wahlberg and Reese Witherspoon playing these roles Do
• 29:05
  Speaker 3: you buy their characters, I guess is what I'm saying.
• 29:07
  Speaker 4: Yeah, interestingly enough, I have an easier time... I have
• 29:13
  Speaker 4: an easier time getting over Mark Wahlberg in a role
• 29:17
  Speaker 4: than I do Reese Witherspoon.
• 29:19
  Speaker 3: I could see that, yeah.
• 29:21
  Speaker 4: Because Mark Wahlberg in this role is very scary. I mean,
• 29:25
  Speaker 4: there's some Markisms here. You're definitely getting a little bit
• 29:29
  Speaker 4: of him in totality here.
• 29:31
  Speaker 3: But he is....
• 29:34
  Speaker 4: Very intimidating even though mark walberg is short and i
• 29:37
  Speaker 4: would whoop his ass um if this was you know
• 29:40
  Speaker 4: my daughter that he was messing around with uh but
• 29:42
  Speaker 4: there are moments where he really displays i think pure
• 29:45
  Speaker 4: menace and almost like a terrifying sense of calm which
• 29:52
  Speaker 4: is crazy because he very rarely expresses like rage It's, it's,
• 29:57
  Speaker 4: and even when he does it, he almost enters like a,
• 30:00
  Speaker 4: like a psychotic state more than he does an outright rage. Um,
• 30:06
  Speaker 4: specifically citing like the moment in the woods when he
• 30:08
  Speaker 4: kills Gary, you know, like he kind of gets menace
• 30:12
  Speaker 4: and he's, he's chasing him and kind of wide eyed
• 30:16
  Speaker 4: and telling him about how, you know, none of the
• 30:18
  Speaker 4: facilities could keep them in and he kept knocking down
• 30:20
  Speaker 4: walls and those walls ended up being people and he
• 30:22
  Speaker 4: could just punch through their flesh. And eventually they just
• 30:25
  Speaker 4: open the door. He reaches a place of psychosis that's
• 30:30
  Speaker 4: really scary.
• 30:32
  Speaker 3: I was trying to think of other similar roles to
• 30:36
  Speaker 3: this as you were describing that. I don't know, but
• 30:42
  Speaker 3: it's definitely a very special performance, that's for sure. Now,
• 30:45
  Speaker 3: what I thought was interesting is Leonardo DiCaprio was actually
• 30:50
  Speaker 3: considered for this part. He didn't feel like he was
• 30:53
  Speaker 3: a good fit for the role, which I don't know
• 30:55
  Speaker 3: if I can see him in this, like playing David.
• 30:59
  Speaker 4: And no, I, and I just watched, uh, weird. You
• 31:02
  Speaker 4: bring that up. I just watched one of his first,
• 31:05
  Speaker 4: like leading one of his first major roles from, I
• 31:07
  Speaker 4: believe it was 94 and 95. It's called this boy's
• 31:10
  Speaker 4: life with Robert De Niro. Okay. Uh, you know, which
• 31:14
  Speaker 4: is only a couple of years before this. And Leonardo
• 31:16
  Speaker 4: DiCaprio had such a sense of like child, uh, like
• 31:22
  Speaker 4: a childlike appearance. He had a very... He had a
• 31:25
  Speaker 4: much softer voice, much higher-pitched voice. Like, Mark Wahlberg has
• 31:30
  Speaker 4: the grit and the physical appearance to pull off what
• 31:35
  Speaker 4: this role demanded, I think, easily. There's also a pretty
• 31:37
  Speaker 4: significant age difference between them, right? Or am I... Or
• 31:41
  Speaker 4: does Mark Wahlberg just look older?
• 31:46
  Speaker 2: So.
• 31:48
  Speaker 3: Mark Wahlberg is 55 in Reese Witherspoon. No, about five
• 31:53
  Speaker 3: years apart.
• 31:54
  Speaker 4: No, it's Leo Leonardo DiCaprio.
• 31:56
  Speaker 3: Oh, oh, oh, my bad. Leonardo is 51.
• 32:03
  Speaker 4: Okay.
• 32:05
  Speaker 3: So he's closer in age to Reese Witherspoon.
• 32:09
  Speaker 4: So not as much as I thought. Reese Witherspoon is
• 32:12
  Speaker 4: really like the, the one thing here that I'm kind
• 32:16
  Speaker 4: of like, okay, yeah, that's Reese Witherspoon. You know, because it's...
• 32:20
  Speaker 4: She's not really... Any.
• 32:23
  Speaker 4: There's nothing about her role that demands anything more than
• 32:29
  Speaker 4: we're used to with her. I guess, really, like, the
• 32:35
  Speaker 4: most shocking sequence with her would be, like, the rollercoaster scene.
• 32:40
  Speaker 4: You know, where... But I'm sure at some other points
• 32:43
  Speaker 4: in her career, she's done some sexual.
• 32:46
  Speaker 3: Stuff, so.
• 32:47
  Speaker 4: Well.
• 32:48
  Speaker 3: And it's funny you say that because I believe she
• 32:52
  Speaker 3: requested a stunt double for that because she wasn't comfortable
• 32:56
  Speaker 3: with it. It seemed like even when she went back
• 32:59
  Speaker 3: in retrospect to talk about that, filming that scene, she
• 33:04
  Speaker 3: was kind of uncomfortable with it, which it's like... I mean,
• 33:08
  Speaker 3: that's probably one of the most recognizable scenes from the
• 33:12
  Speaker 3: whole movie.
• 33:13
  Speaker 4: Yeah, and it's over a beautiful cover of Wild Horses,
• 33:18
  Speaker 4: which is... honestly more record, more, more like a widely,
• 33:22
  Speaker 4: I feel like recalled more than the actual actual scene is.
• 33:26
  Speaker 4: I like it.
• 33:27
  Speaker 3: I mean, it works in the context. It doesn't feel
• 33:29
  Speaker 3: like it's, you know, something that's just so out of
• 33:31
  Speaker 3: left field. I mean, you, you definitely feel like they
• 33:34
  Speaker 3: have the chemistry there throughout the whole film until things,
• 33:37
  Speaker 3: you know, become like off the rails. But when I
• 33:42
  Speaker 3: was speaking of which I was actually trying to recall
• 33:46
  Speaker 3: the Mark Wahlberg having a very similar performance and, and
• 33:49
  Speaker 3: the name was on the tip of my tongue is, um, uh,
• 33:54
  Speaker 3: like it, you ever seen the movie bad influence?
• 33:57
  Speaker 4: No.
• 33:58
  Speaker 3: Oh, you never seen it with Rob Lowe?
• 34:00
  Speaker 2: No.
• 34:00
  Speaker 3: Oh, you got to watch that. So very similar unhinged performance.
• 34:05
  Speaker 3: And I would almost say like shades of it to
• 34:08
  Speaker 3: Ray Liotta in unlawful entry.
• 34:10
  Speaker 4: Ooh.
• 34:13
  Speaker 3: A little bit of like the, the obsession aspect, very unhinged, like,
• 34:16
  Speaker 3: you know, and maybe we could cover, uh, either of
• 34:21
  Speaker 3: those films at some point down the line, but I
• 34:23
  Speaker 3: know for a fact with unlawful entry, Ray Liotta, you know,
• 34:27
  Speaker 3: seems like a very, you know, straight laced cop initially.
• 34:30
  Speaker 3: And then, you know, next thing you know, he becomes
• 34:32
  Speaker 3: a very obsessed, uh, throughout the movie with, uh, Kurt
• 34:37
  Speaker 3: Russell's wife. And it just sets off a series of
• 34:40
  Speaker 3: events that lead to, uh, we get throughout the entire
• 34:44
  Speaker 3: film but both of those i felt like were very
• 34:46
  Speaker 3: very reminiscent of mark walberg's performance in fear.
• 34:50
  Speaker 4: I really like the moments where mark walberg is just
• 34:55
  Speaker 4: watching like it's creepy he yeah he he's definitely creepy
• 35:02
  Speaker 4: but he definitely has a sense like of I'm just, like, analyzing.
• 35:07
  Speaker 4: You know, there's a moment in the office with the
• 35:10
  Speaker 4: father and Alyssa Milano's character where he's just sort of watching.
• 35:13
  Speaker 4: There's the moment when, after the father pretty much, like,
• 35:18
  Speaker 4: bans him from the house, the stepmom lets him back in,
• 35:21
  Speaker 4: and they're swimming, and the father looks out, and he's
• 35:23
  Speaker 4: staring right at him while kissing his daughter's neck. It's
• 35:27
  Speaker 4: a little uncomfortable. Yeah, he has a menacing look. But
• 35:31
  Speaker 4: here's what I will say, right? These are two very magnetic... actors.
• 35:34
  Speaker 4: And I'm talking particularly like in, when, in the beginning
• 35:38
  Speaker 4: of the movie, when, when Reese Witherspoon and her friends
• 35:41
  Speaker 4: go to Largo, which is like a bar restaurant pool
• 35:45
  Speaker 4: hall thing. I don't know what this.
• 35:47
  Speaker 3: Place is, but I'm down with it.
• 35:48
  Speaker 4: It looked fun. It's crazy. Cause Reese Witherspoon has beautiful eyes.
• 35:55
  Speaker 4: She has a great, like beautiful eyes. There's this shot when,
• 35:59
  Speaker 4: when she first sees him and he first sees her.
• 36:02
  Speaker 4: And she is very innocent, wide-eyed, and it's very magnetic, right?
• 36:07
  Speaker 4: It pulls you in as an audience member. You're like, man,
• 36:09
  Speaker 4: this girl's beautiful. Like, I really, you know, attach this
• 36:11
  Speaker 4: character already. And then Mark Wahlberg's look is also magnetic.
• 36:18
  Speaker 4: There's something to this performance that just, like, made me
• 36:24
  Speaker 4: interested in who he is. And we know it's not
• 36:27
  Speaker 4: going to be good. But for some reason, like, I'm
• 36:31
  Speaker 4: pulled in. and I'm invested. And he constantly toes the
• 36:37
  Speaker 4: line between like being trustworthy and being soft and caring.
• 36:42
  Speaker 4: And then kind of that line gets crossed and he
• 36:45
  Speaker 4: goes a little too far. It's kind of like, it's
• 36:48
  Speaker 4: like two sides of the same coin where like on
• 36:50
  Speaker 4: one end, they have this beautiful conversation next to the water. And,
• 36:55
  Speaker 4: you know, he, he does kind of like make some
• 36:57
  Speaker 4: second base moves on her and, she turns them down
• 37:00
  Speaker 4: and kind of claims as a weakness. He's like, no,
• 37:02
  Speaker 4: that's actually like a strength in my book. And then
• 37:05
  Speaker 4: on the other end of the coin is him self
• 37:07
  Speaker 4: tattooing Nicole forever on his chest. So it's like, but
• 37:14
  Speaker 4: throughout the movie, man, there's almost like his obsession is
• 37:16
  Speaker 4: more of like a transfer of power. It's almost like
• 37:21
  Speaker 4: for him. Yes. He's obsessed with Nicole. And at the
• 37:24
  Speaker 4: end of the day, he wants the girl, but he
• 37:26
  Speaker 4: also wants to, replace Steve as the father figure. Almost. He,
• 37:32
  Speaker 4: he kind of wants to be the only dominant male
• 37:36
  Speaker 4: in her life. And part of this is, is, is
• 37:39
  Speaker 4: more than her. It's also stripping that away from her father.
• 37:44
  Speaker 3: Oh, for sure. I mean, there's comments that he makes
• 37:46
  Speaker 3: in the movie that are like, you know, insanely, uh,
• 37:51
  Speaker 3: demasculating to, uh, her dad and very suggestive of, kind
• 37:59
  Speaker 3: of the narrative that he's trying to spin about him.
• 38:02
  Speaker 3: And even with going back to what you were saying
• 38:05
  Speaker 3: about when there's that interaction with Margo and Steve, it's
• 38:12
  Speaker 3: very provocative, like more so on her end, but he
• 38:18
  Speaker 3: takes note of that. Right. And so, you know, a
• 38:21
  Speaker 3: lot of those interactions, I mean, he's carefully, carefully calculated,
• 38:26
  Speaker 3: within all these relationships on how, like, you know, he
• 38:29
  Speaker 3: kind of takes it in and then we know for
• 38:31
  Speaker 3: a fact that he's going to be able to use
• 38:33
  Speaker 3: it back against them, maybe in a different context. But, um, yeah, man, it's,
• 38:38
  Speaker 3: it's wild. Like I would say, you know, for sure. Uh,
• 38:43
  Speaker 3: Mark Wahlberg's performance at David, it's very like menacing and unhinged. Um,
• 38:50
  Speaker 3: whereas I feel like for, you know, uh, William Peterson
• 38:57
  Speaker 3: is as Steve, I feel like he's just fighting, fighting
• 39:00
  Speaker 3: to be able to like protect his daughter and to
• 39:02
  Speaker 3: be able to prevent her, prevent, uh, uh, David from
• 39:07
  Speaker 3: harming his daughter throughout the whole process. It's, it's on
• 39:11
  Speaker 3: physically as well as emotionally and mentally.
• 39:15
  Speaker 4: Yeah. Yeah. Um, and there's a lot of stuff about
• 39:18
  Speaker 4: this movie that is, is, is incredibly nineties. Like, First
• 39:23
  Speaker 4: of all, $ 8. 75 for a sandwich and a slice of
• 39:26
  Speaker 4: chocolate cake is an absolute steal. Where can I find it?
• 39:30
  Speaker 1: This?
• 39:30
  Speaker 4: Yeah, 1996 economy was booming. I can't even get a
• 39:33
  Speaker 4: cheeseburger at Five Guys for half this. Or for half,
• 39:37
  Speaker 4: you know, like, it's wild, man. Twice as much. There's
• 39:41
  Speaker 4: also a weird, excessive nature to this movie that I
• 39:45
  Speaker 4: really adore. And I want to talk about this specifically
• 39:47
  Speaker 4: because of The Party. sequence at king and occidental when
• 39:51
  Speaker 4: they go to this like rave that's in a like
• 39:54
  Speaker 4: a dockside warehouse um this part's wild it's so funny
• 40:00
  Speaker 4: because they go to this party which like the party
• 40:02
  Speaker 4: itself makes sense and i remember thinking to myself like
• 40:04
  Speaker 4: why doesn't this stuff happen anymore we like we don't
• 40:06
  Speaker 4: throw in impromptu raves anymore that's just not a societal
• 40:09
  Speaker 4: norm but well i know.
• 40:11
  Speaker 3: Why um back man at this party there's.
• 40:16
  Speaker 4: One headbutt that turns the entire place into a riot
• 40:20
  Speaker 4: And then this is like the most like dramatic use
• 40:25
  Speaker 4: of financing that this money could have done to be intense,
• 40:29
  Speaker 4: which is like Mark Wahlberg grabs Reese Witherspoon's hands and
• 40:32
  Speaker 4: they go to the roof for some reason, instead of
• 40:35
  Speaker 4: just running out of the front door, they go to
• 40:36
  Speaker 4: the roof. And there's this weird moment where Mark Wahlberg
• 40:41
  Speaker 4: climbs down the fire escape stairs. And when Reese Witherspoon's
• 40:45
  Speaker 4: character goes to go down, like the police put like
• 40:47
  Speaker 4: a spotlight on her. but don't do anything. It's just
• 40:51
  Speaker 4: like a spotlight. And then she stares at them and
• 40:55
  Speaker 4: then climbs down the ladder. And then the scene just ends.
• 40:59
  Speaker 4: Just like the weirdest use of however much, obviously expensive
• 41:04
  Speaker 4: the scene costs to make. And it's, it's so incredibly
• 41:07
  Speaker 4: dramatic for no reason. It doesn't do anything.
• 41:11
  Speaker 3: It was the nineties, man. Don't, don't ask me questions.
• 41:14
  Speaker 4: Yeah. I don't know. And I was trying to think
• 41:16
  Speaker 4: of it. Like I was trying to be like, Oh,
• 41:17
  Speaker 4: is this the moment I was like, Oh, I was like,
• 41:20
  Speaker 4: Oh man, maybe, you know, the spotlight on her represents,
• 41:24
  Speaker 4: you know, like, uh, that David's now got, you know,
• 41:27
  Speaker 4: chosen her spotlights on her. And this is like a
• 41:30
  Speaker 4: growth moment, you know, but I couldn't figure it out, man.
• 41:32
  Speaker 4: I was like, this just seems like nineties excess.
• 41:39
  Speaker 3: Um, yeah, it's, it's definitely, I mean, I have to
• 41:45
  Speaker 3: say on revisit with this film, I feel like the
• 41:48
  Speaker 3: pacing for it, it doesn't overstay its welcome. Like, you know, we,
• 41:53
  Speaker 3: we progressively see things begin to ramp up as it
• 41:58
  Speaker 3: goes on. And I mean, really at what point did
• 42:02
  Speaker 3: you feel like you start to feel like very uneasy of,
• 42:07
  Speaker 3: of David? Because I think you get like almost, I
• 42:10
  Speaker 3: would say maybe like a fourth of the way through
• 42:11
  Speaker 3: the movie. We know something's obviously off, but we don't
• 42:17
  Speaker 3: really get a good look behind what's going on, the
• 42:21
  Speaker 3: context of it, until a little bit later on. Was
• 42:24
  Speaker 3: there a certain scene that stood out to you?
• 42:28
  Speaker 4: I think this is actually one of the flaws of
• 42:32
  Speaker 4: the movie, which is I don't think it does a
• 42:35
  Speaker 4: very good job of ever convincing us otherwise. Like, And
• 42:43
  Speaker 4: a lot of these movies, and I'm thinking specifically of...
• 42:48
  Speaker 4: Because there was another movie that did this, and I
• 42:50
  Speaker 4: was like... I thought the same thing, man. There's a
• 42:52
  Speaker 4: movie with Michael Keaton where he moves into a house
• 42:59
  Speaker 4: in Seattle or New York, and he ends up squatting
• 43:02
  Speaker 4: in there and drives the family nuts and ends up
• 43:05
  Speaker 4: almost killing the dad. What the hell movie was that called?
• 43:07
  Speaker 4: It was from the 90s.
• 43:10
  Speaker 3: This is with Michael Keaton?
• 43:12
  Speaker 4: Yeah. Yeah. Yeah, it's Michael Keaton and... I forget his name.
• 43:17
  Speaker 4: I'll have to look it up later. But they introduced
• 43:21
  Speaker 4: Michael Keaton as a bad guy. So then when he
• 43:25
  Speaker 4: shows up and is fooling the owners of this house
• 43:28
  Speaker 4: that he's going to rent this room from, yes, he's
• 43:32
  Speaker 4: fooling the owners, but he's not fooling us because we
• 43:34
  Speaker 4: already know he's a bad guy. So from this point,
• 43:36
  Speaker 4: you're just waiting to see how this bad guy becomes
• 43:40
  Speaker 4: the guy that he is. And that's the thing here
• 43:44
  Speaker 4: is like, you kind of know Mark Wahlberg is a
• 43:46
  Speaker 4: bad guy. And while we don't have, and we never
• 43:49
  Speaker 4: have full explanation of why he is the way he is,
• 43:54
  Speaker 4: he's just sort of this way from the jump. And
• 43:57
  Speaker 4: there are moments where he does a really good job
• 43:59
  Speaker 4: at when he's interacting with her showing a different side
• 44:04
  Speaker 4: and maybe kind of being like, Oh, I'm interpreted as this,
• 44:09
  Speaker 4: you know, this bad boy. And I roll with these
• 44:11
  Speaker 4: guys and, but it never fully convinces us as an audience.
• 44:17
  Speaker 4: You know what I mean? Like we know he comes
• 44:18
  Speaker 4: from something rough. We don't exactly know the extent. And
• 44:21
  Speaker 4: then he just gets worse.
• 44:23
  Speaker 3: I think the one point that I would say when
• 44:26
  Speaker 3: things really started to turn was when David sees that
• 44:31
  Speaker 3: Nicole is hugging on Gary and he just snaps and
• 44:39
  Speaker 3: just like unloads on him. Just like basically tries to
• 44:42
  Speaker 3: like beat the shit out of him. And you obviously
• 44:45
  Speaker 3: know he's got a little bit of a violent streak
• 44:47
  Speaker 3: or a short temper. And I think from that point
• 44:49
  Speaker 3: forward was when you start, at least on rewatch, you
• 44:52
  Speaker 3: start realizing, oh, this guy's not all there, for sure.
• 44:57
  Speaker 4: Yeah, that's for sure, though. That's the launching point, for sure.
• 45:02
  Speaker 4: That's the moment where we know for a fact it's Derange.
• 45:07
  Speaker 4: I just feel like he really gets wild in that
• 45:11
  Speaker 4: final act, and it just kind of becomes... It's like,
• 45:15
  Speaker 4: it's like he's, you know, the whole movie, he's 50% there.
• 45:19
  Speaker 4: And then all of a sudden he's a hundred percent.
• 45:20
  Speaker 4: It never goes from zero to 50 to a hundred.
• 45:22
  Speaker 4: He starts at 50%. We know something's wrong and he's
• 45:26
  Speaker 4: off kilter, but then it gets really bad.
• 45:29
  Speaker 3: Well, Steve does the background check on him and, you know,
• 45:34
  Speaker 3: it finds that, you know, he's got trouble past, like
• 45:39
  Speaker 3: as far as being, you know, I think a ward
• 45:41
  Speaker 3: of the ward of the state. he has no real
• 45:44
  Speaker 3: like history, uh, that he was at an institution until
• 45:49
  Speaker 3: he was 18, then got kicked out. So, I mean,
• 45:52
  Speaker 3: you know, Steve's kind of like, uh, I feel like
• 45:55
  Speaker 3: a representation of the audience, you know, we're, we're in
• 45:58
  Speaker 3: the driver's seat, basically the same way that Steve is.
• 46:01
  Speaker 3: We know that this guy is obviously, uh, not a
• 46:05
  Speaker 3: great influence or not, you know, great person for Nicole
• 46:08
  Speaker 3: to be around. Um, but you know, Steve's definitely onto
• 46:12
  Speaker 3: him for sure. Yeah.
• 46:14
  Speaker 4: Well, speaking of Steve, I want to ask you about, um,
• 46:18
  Speaker 4: how do you feel the dynamic between Steve and Nicole
• 46:24
  Speaker 4: worked in this film? Because she is kind of still
• 46:31
  Speaker 4: getting used to him. He, you know, she moved from
• 46:35
  Speaker 4: her mom's to live with him and this relationship is
• 46:37
  Speaker 4: still blossoming. It's still new. There's still, you know, um,
• 46:43
  Speaker 4: still some things here that they're trying to mend and
• 46:45
  Speaker 4: fix and put together. And how do you feel their
• 46:47
  Speaker 4: relationship throughout the movie worked for you?
• 46:51
  Speaker 3: I think it's believable.
• 46:52
  Speaker 2: Yeah.
• 46:53
  Speaker 3: You know, between the two of them, I mean, we,
• 46:55
  Speaker 3: we see that, that car ride that they have together
• 46:57
  Speaker 3: and they're, you know, kind of like the little bit
• 46:59
  Speaker 3: of banter that they have going back and forth, but
• 47:01
  Speaker 3: you can definitely tell that there is a lot that's
• 47:05
  Speaker 3: happened before, you know, we get to this point in
• 47:08
  Speaker 3: the film and, I think that a big part of
• 47:11
  Speaker 3: it also has to do with, you know, Laura entering
• 47:15
  Speaker 3: the picture. There's clearly, there's like a little bit of,
• 47:21
  Speaker 3: I think, unease with, with her basically now, you know,
• 47:26
  Speaker 3: almost in like a, I guess technically a step-mom role. And,
• 47:32
  Speaker 3: and there's an interaction that they have at one point
• 47:34
  Speaker 3: where I feel like Laura kind of oversteps her boundaries
• 47:40
  Speaker 3: with what she's saying to Nicole.
• 47:43
  Speaker 4: She calls her a slut.
• 47:45
  Speaker 3: Yeah, exactly.
• 47:45
  Speaker 4: Yeah.
• 47:47
  Speaker 3: But, but that's exactly it is that, you know, it's like,
• 47:53
  Speaker 3: it's not helping her, her case. Right. So there's, there's
• 47:57
  Speaker 3: a lot of tension. I would say between the three
• 47:59
  Speaker 3: of them, there's a lot of tension. Obviously Steve's really
• 48:03
  Speaker 3: trying to rekindle his relationship with his daughter. Um, but
• 48:06
  Speaker 3: I think that that dynamic in them all being under
• 48:09
  Speaker 3: one roof, it definitely seems very challenging.
• 48:12
  Speaker 4: Yeah. Cause you have, you have, um, the step-mom and
• 48:16
  Speaker 4: then her son, Toby, who's much younger than, than, Oh,
• 48:20
  Speaker 4: that's right. And you have this, you have Steve who's
• 48:24
  Speaker 4: trying to, he's, you know, working on this relationship. And
• 48:29
  Speaker 4: a part of that is the fact that he is
• 48:32
  Speaker 4: being a little lenient. He's letting her go on more
• 48:35
  Speaker 4: things and, Lara, on the other end, wants him to
• 48:39
  Speaker 4: tighten up because she thinks he's giving her too much freedom.
• 48:44
  Speaker 3: Which is kind of ironic because she's the one who
• 48:49
  Speaker 3: I feel like is a little bit more susceptible to
• 48:54
  Speaker 3: David or his charm. That one scene that you mentioned
• 48:59
  Speaker 3: where he comes over and they're all out at the
• 49:02
  Speaker 3: pool and Steve walks in and it's like, you know,
• 49:07
  Speaker 3: I don't know. It's, it's a very, the relationship dynamics
• 49:12
  Speaker 3: are very interesting and how they progress over the course
• 49:14
  Speaker 3: of the movie. It's, it's really interesting to follow. Yeah.
• 49:17
  Speaker 4: Because you have at one point she gets home late.
• 49:20
  Speaker 4: because there's a moment when she goes out to this party,
• 49:24
  Speaker 4: when Mark Wahlberg like turns back her, the hand on
• 49:27
  Speaker 4: her watch.
• 49:29
  Speaker 3: Oh, yep.
• 49:30
  Speaker 4: And she comes, she comes home late. That's when Laura
• 49:33
  Speaker 4: says she looks like a slut because of her makeup.
• 49:35
  Speaker 4: The father gets home from his work trip. And he,
• 49:38
  Speaker 4: you know, she agrees to do yard work and whatever
• 49:42
  Speaker 4: chores for so many weeks. And then the next time
• 49:46
  Speaker 4: we see them is Laura is enforcing the yard work
• 49:50
  Speaker 4: part of the chores. And the dad kind of lets
• 49:52
  Speaker 4: her go. And Laura, there's a moment where she brings
• 49:56
  Speaker 4: the trash cans into the office or the trash bags
• 49:58
  Speaker 4: in the office. And she's like, oh, you let her go.
• 50:00
  Speaker 4: And he just looks at her and she drops the
• 50:01
  Speaker 4: trash bags in his office. Like, all right, fine. You
• 50:03
  Speaker 4: just want to let her go. So that brings up.
• 50:06
  Speaker 4: some issues. And then later on at that pool scene,
• 50:09
  Speaker 4: she says to David, like, would you rather her have
• 50:13
  Speaker 4: sneaked out, have snuck out and saw him? Or would
• 50:17
  Speaker 4: you rather her be here with him? So it's interesting
• 50:20
  Speaker 4: how she kind of goes back and forth, depending on
• 50:24
  Speaker 4: what the context is. And like, I always feel like
• 50:26
  Speaker 4: in these relationships, there is a little bit of like,
• 50:29
  Speaker 4: here's my opportunity to be the good guy. Here's my
• 50:31
  Speaker 4: opportunity to be the bad guy. And it's not.
• 50:33
  Speaker 3: Necessarily throughout this, this whole, Throughout the whole film, she's rebelling.
• 50:38
  Speaker 4: She is, but the parents are each trying to build
• 50:43
  Speaker 4: unique relationships and doing it off... They don't communicate very
• 50:47
  Speaker 4: well to find a common ground between how are we
• 50:50
  Speaker 4: going to parent our nearly adult child. And it leads
• 50:52
  Speaker 4: to a very kind of But this is one of
• 50:59
  Speaker 4: the things with this movie is that it tries to
• 51:02
  Speaker 4: tackle a lot. There's a lot of themes here. And
• 51:05
  Speaker 4: one that I wanted to bring up was there's a
• 51:08
  Speaker 4: moment earlier in the movie, at the very beginning, where
• 51:12
  Speaker 4: Nicole comes into the kitchen and she's wearing a dress.
• 51:16
  Speaker 4: And the father makes a comment about how you and
• 51:19
  Speaker 4: Laura should go out and buy some new clothes. And
• 51:21
  Speaker 4: Laura says, that's a new dress. And he goes, because
• 51:25
  Speaker 4: that dress looks like something you wore as a kid.
• 51:27
  Speaker 4: And I was talking to my wife about this and
• 51:29
  Speaker 4: she interpreted that meaning like it's tight and it's short.
• 51:33
  Speaker 4: Like it looks like, you know, it doesn't fit her anymore.
• 51:35
  Speaker 4: It looks like it might have fit her when she
• 51:37
  Speaker 4: was younger, but it doesn't anymore.
• 51:39
  Speaker 3: Okay.
• 51:41
  Speaker 4: And Reese Witherspoon's character makes a remark of like, I
• 51:44
  Speaker 4: can't even breathe without getting your permission. So there's a
• 51:47
  Speaker 4: little bit of this like weird, because then only 20
• 51:51
  Speaker 4: minutes later does the stepmom tell her like, you know,
• 51:55
  Speaker 4: wash off all that makeup. You look like a slut.
• 51:58
  Speaker 4: So there's this theme here of a father trying to
• 52:01
  Speaker 4: be protective of his daughter and maybe not exactly going
• 52:05
  Speaker 4: about it the right way.
• 52:08
  Speaker 3: It's not perfect. That's what I appreciate about this movie
• 52:12
  Speaker 3: is that on rewatch what I can appreciate about it
• 52:19
  Speaker 3: is that it doesn't have to over explain any of
• 52:22
  Speaker 3: this to us. You kind of pick up on these
• 52:24
  Speaker 3: nuances and maybe um kind of clues as to the
• 52:30
  Speaker 3: checkered history that they you know between nicole and steve
• 52:34
  Speaker 3: that they have obviously it's a very strained relationship or
• 52:39
  Speaker 3: uh they don't have to go super in depth on
• 52:42
  Speaker 3: david's backstory i think it's just now with a lot
• 52:45
  Speaker 3: of the movies that we get that are more modern
• 52:48
  Speaker 3: it's it's almost like us as an audience we're not
• 52:51
  Speaker 3: stupid maybe you know it's so uh it's refreshing to
• 52:56
  Speaker 3: go back and watch some of these movies and you
• 52:58
  Speaker 3: know obviously this is uh it's a great example of it.
• 53:01
  Speaker 4: I agree there's also a brief moment uh in a
• 53:03
  Speaker 4: scene right before i want to talk about where like
• 53:06
  Speaker 4: where um david hits on laura like real quick like
• 53:10
  Speaker 4: makes like one sly comment and she kind of like
• 53:12
  Speaker 4: flirtily like flirty replies to him and then steve ends
• 53:17
  Speaker 4: up overhearing it which he then kind of like throws
• 53:19
  Speaker 4: back at her in a later scene um but I
• 53:23
  Speaker 4: want to talk.
• 53:23
  Speaker 3: About what I'm like, David's just trying to get in
• 53:25
  Speaker 3: with everybody. Yeah.
• 53:26
  Speaker 1: Yeah.
• 53:27
  Speaker 4: He's, I just, I have two notes here that I
• 53:29
  Speaker 4: want to, that I wanted to mention real quick. One
• 53:31
  Speaker 4: is when every single time this movie uses the opening
• 53:35
  Speaker 4: baseline from Bush's song, come down. It's like the greatest
• 53:38
  Speaker 4: movie I've ever seen in my life. It's like, there's
• 53:41
  Speaker 4: a moment where it cuts through the school and it's
• 53:43
  Speaker 4: just that. And that's such a great song, but it's
• 53:49
  Speaker 4: just so nineties. I love it. Um, but I do
• 53:53
  Speaker 4: want to talk about this moment in Steve's office, because
• 53:56
  Speaker 4: this is probably one of the most unhinged moments of
• 53:58
  Speaker 4: this entire movie. And this movie gets pretty crazy. So
• 54:05
  Speaker 4: Mark Wahlberg's character helps out outside with the yard work,
• 54:08
  Speaker 4: with the planting of the, the, these trees. And then Mr.
• 54:11
  Speaker 4: Walker is working in his office. The bathroom is in
• 54:14
  Speaker 4: his office. So David comes in, asks if he can
• 54:18
  Speaker 4: clean up and wash his hands and, At the same time,
• 54:20
  Speaker 4: Alyssa Milano's character walks in and begins talking to Mr. Walker.
• 54:26
  Speaker 4: And there's a moment where Alyssa Milano bends over to
• 54:29
  Speaker 4: tie her laces or something. And we can clearly see Mr.
• 54:32
  Speaker 4: Walker looking at her. She has a very short dress on.
• 54:36
  Speaker 4: She's bent over right in front of him. And we
• 54:39
  Speaker 4: very clearly see Mr. Walker look at her. And then
• 54:41
  Speaker 4: he looks up to find Mark Wahlberg staring at him,
• 54:45
  Speaker 4: watching him do this. And it's a wild little moment
• 54:52
  Speaker 4: just because of how it's shot.
• 54:54
  Speaker 3: It's uncomfortable.
• 54:55
  Speaker 4: It's really uncomfortable. Like, really uncomfortable. I'm like, oh, no.
• 55:00
  Speaker 3: This is, like, worst case scenario. Like, I feel like everyone,
• 55:03
  Speaker 3: you know, you have moments like that. I mean, I
• 55:06
  Speaker 3: don't know what the age difference is there. But I'm
• 55:08
  Speaker 3: just saying as a guy, just in general, you know, sometimes,
• 55:11
  Speaker 3: you know, like... look or whatever. And, but of course,
• 55:15
  Speaker 3: like you're never worried about when you, you know, make
• 55:17
  Speaker 3: a second glance as we Mark Wahlberg staring at you.
• 55:20
  Speaker 4: Well, then there's also another weird little moment here where
• 55:22
  Speaker 4: Mark Wahlberg calls out to Nicole and he says, Nicole,
• 55:28
  Speaker 4: get me a Coke. He doesn't ask nicely. He doesn't
• 55:31
  Speaker 4: say thank you. You know, it doesn't say, but he,
• 55:33
  Speaker 4: he says it very big, just very blunt and aggressive.
• 55:36
  Speaker 4: And the father looks at him and Mark Wahlberg kind
• 55:39
  Speaker 4: of does a little smirk, like a little smart ass smirk.
• 55:42
  Speaker 4: He was doing that the whole damn movie. Yeah, it was.
• 55:47
  Speaker 3: This guy is so smug.
• 55:49
  Speaker 4: I have a note here that just says the rollercoaster scene. Yeah,
• 55:57
  Speaker 4: we've talked about this a little bit ago. The cover
• 56:00
  Speaker 4: of Wild Horses that's playing over this whole entire carnival scene.
• 56:06
  Speaker 4: You have this continued loss of innocence with Reese Witherspoon's character,
• 56:10
  Speaker 4: which eventually leads to a little bit later in the movie,
• 56:15
  Speaker 4: him taking her virginity, and this becoming another micro-plot that
• 56:19
  Speaker 4: jumps up. I fucking love that she just gives him
• 56:25
  Speaker 4: the gate number to their house. Like, the gate code.
• 56:30
  Speaker 3: So stupid.
• 56:31
  Speaker 4: It's like... It's like... Then in the end, the movie comes,
• 56:36
  Speaker 4: and she's like, oh, he has the gate code, because
• 56:39
  Speaker 4: I gave it to him.
• 56:40
  Speaker 2: It's like.
• 56:41
  Speaker 3: It's like worst case scenario. Well, at least he doesn't
• 56:44
  Speaker 3: have the gate code while he does.
• 56:47
  Speaker 4: Fucking idiot.
• 56:48
  Speaker 3: What do you do?
• 56:49
  Speaker 4: Why did you do that?
• 56:52
  Speaker 3: So real quickly, uh, we obviously have like the party scene.
• 56:58
  Speaker 3: I know we talked about that real briefly. Um, and
• 57:03
  Speaker 3: Nicole witnesses, there's some shit going down, right?
• 57:07
  Speaker 4: Uh, Yeah, because Melissa Milano's character is dating... What's his name?
• 57:13
  Speaker 4: That guy that... I always forget that character's name. It's
• 57:19
  Speaker 4: Mark Wahlberg's friend. Kind of like one of the leaders
• 57:21
  Speaker 4: of this little drug-dealing gang.
• 57:23
  Speaker 3: I know who you're talking about.
• 57:25
  Speaker 4: I think the skeeziest-looking guy in the bunch that she picks.
• 57:32
  Speaker 3: Yeah, that's fair. That's fair. But yeah, there's definitely... some
• 57:37
  Speaker 3: drug use going on. And there's like some shit going
• 57:44
  Speaker 3: down outside of the drug usage that's going on in
• 57:47
  Speaker 3: that scene. So we obviously are, we're seeing another shade
• 57:50
  Speaker 3: of David, right? So with like what he's doing to Margo.
• 57:55
  Speaker 3: And I think at this point, I mean, if, if
• 57:59
  Speaker 3: it wasn't already heading in this direction, I think you're
• 58:01
  Speaker 3: starting to really establish that he's kind of like, I mean,
• 58:06
  Speaker 3: now he's kind of a piece of shit, but I mean,
• 58:10
  Speaker 3: we know that he's dangerous in a lot of different ways.
• 58:13
  Speaker 3: Very manipulative and definitely the moral compass, I would not
• 58:20
  Speaker 3: say is quite there.
• 58:21
  Speaker 4: Yeah, he... She goes.
• 58:26
  Speaker 4: Nicole goes to the house that he's staying at and
• 58:30
  Speaker 4: she's never been there before. And instead of going in
• 58:33
  Speaker 4: the front door, she goes and peeks in like a
• 58:34
  Speaker 4: side door. And, um, Margo is giving like a lap
• 58:38
  Speaker 4: dance to, I forget that character's name, the guy that
• 58:42
  Speaker 4: she's been seeing, who's a part of this, this little gang.
• 58:46
  Speaker 4: And suddenly David pops up and like grabs her by
• 58:53
  Speaker 4: the chin. And, uh, Tells her, like, come on, you're
• 58:57
  Speaker 4: going to come with me. And she or him says no,
• 59:03
  Speaker 4: and then he, grabs her forcibly by the head and
• 59:08
  Speaker 4: makes her tell his friend that she wants him instead,
• 59:12
  Speaker 4: and then picks her up, puts her on her shoulder,
• 59:16
  Speaker 4: slaps her ass, and then takes her upstairs. And Nicole
• 59:19
  Speaker 4: just witnesses all this happen. It's a really unsettling moment.
• 59:25
  Speaker 3: Oh, it definitely is. And you definitely feel like there's...
• 59:30
  Speaker 3: like with David's David's character, I feel like the, the
• 59:34
  Speaker 3: whole underlying theme that you're seeing with him is this,
• 59:37
  Speaker 3: this constant need for, for power and, and dominating someone else, um,
• 59:44
  Speaker 3: you know, in a, in a multitude of ways, but yeah,
• 59:46
  Speaker 3: I mean, it's, it's very uncomfortable and, uh, things continue
• 59:51
  Speaker 3: to ramp up past that point where, you know, David starts,
• 59:54
  Speaker 3: I mean, he, he starts basically stalking Nicole, um, you
• 59:59
  Speaker 3: know steve on the side is basically you know doing
• 1:00:02
  Speaker 3: some digging into david's past and and just you know
• 1:00:07
  Speaker 3: trying to figure out like what's exactly going on uh
• 1:00:10
  Speaker 3: with him and uh yeah i mean it starts continuing
• 1:00:16
  Speaker 3: to get worse and worse as as the movie starts
• 1:00:18
  Speaker 3: going on from this point forward.
• 1:00:20
  Speaker 4: Yeah, this is really the, you know, we're, we're in
• 1:00:23
  Speaker 4: neutral rolling down this side of the mountain at this point.
• 1:00:25
  Speaker 4: And this is one of my favorite moments of the
• 1:00:28
  Speaker 4: movie that I alluded to earlier. And this is when, uh,
• 1:00:31
  Speaker 4: Margo shows up to Nicole's house and has no idea
• 1:00:34
  Speaker 4: that Margo witnessed what she saw and, um, or that
• 1:00:39
  Speaker 4: Nicole witnessed what she saw with Margo. And Nicole is
• 1:00:42
  Speaker 4: very standoffish to her. I love the, the line of, um,
• 1:00:47
  Speaker 4: Can't you see, like, I'm playing with my brother right
• 1:00:49
  Speaker 4: now when she's playing Nintendo with him. And I love
• 1:00:55
  Speaker 4: this moment when they go out front of the house
• 1:00:57
  Speaker 4: and Nicole confronts her. And obviously she's perplexed. How do
• 1:01:03
  Speaker 4: you know? And there's this great push in shot on
• 1:01:09
  Speaker 4: her of Alyssa Milano just in tears. telling her, like,
• 1:01:15
  Speaker 4: I need you right now. Like, you're the only person
• 1:01:17
  Speaker 4: that I have. You're the only friend that I have.
• 1:01:21
  Speaker 4: And it's really hard. Like, it's a tough moment to watch.
• 1:01:25
  Speaker 4: And she says, like, I'm sorry, I was high. And,
• 1:01:29
  Speaker 4: you know, obviously it's not going to excuse what she did,
• 1:01:31
  Speaker 4: but then this is immediately followed up with, like, a chase,
• 1:01:34
  Speaker 4: a full-blown chase sequence.
• 1:01:37
  Speaker 3: The ship's nuts.
• 1:01:38
  Speaker 4: On these mountainside roads with Mark Wahlberg, who.
• 1:01:43
  Speaker 4: Is assuming that she told Nicole about what happened between them.
• 1:01:49
  Speaker 4: And she's terrified. And this is really when the strength
• 1:01:51
  Speaker 4: of Mark Wahlberg's character shows up, man, because every time
• 1:01:54
  Speaker 4: he comes around, he is terrifying. There is like, this
• 1:01:59
  Speaker 4: is leading up to him killing Gary. And he really
• 1:02:03
  Speaker 4: like every confrontation that he has with everybody is really scary.
• 1:02:06
  Speaker 4: And it's the calm nature. It's, For me, like with
• 1:02:10
  Speaker 4: this sequence, it's the very beginning when he pulls up
• 1:02:12
  Speaker 4: next to her and he just sort of like looks
• 1:02:15
  Speaker 4: over at her like he's just confirming that that's her
• 1:02:17
  Speaker 4: in the car before he backs off and gets behind her.
• 1:02:21
  Speaker 4: It's really scary.
• 1:02:26
  Speaker 3: OK, so let me ask you if you had a
• 1:02:29
  Speaker 3: I believe it's a Ford Mustang convertible. your mind and
• 1:02:35
  Speaker 3: your business, you come back to the parking structure where
• 1:02:39
  Speaker 3: you had it parked at and you find that it's
• 1:02:40
  Speaker 3: all fucked up, how would you react? Because I think
• 1:02:45
  Speaker 3: Steve was down bad at this point.
• 1:02:47
  Speaker 4: And the note, looks like I popped both your cherries,
• 1:02:50
  Speaker 4: is a crazy thing to leave behind.
• 1:02:55
  Speaker 3: That's a bold move, my guy.
• 1:02:57
  Speaker 4: Do you think it really ramps up the final sequence
• 1:03:01
  Speaker 4: of this movie, the main attack sequence, that there is...
• 1:03:04
  Speaker 4: In the beginning of it, so many of them. There's
• 1:03:07
  Speaker 4: like five of them that come after him because Steve
• 1:03:11
  Speaker 4: ends up going to this house and finds a shrine.
• 1:03:18
  Speaker 3: It's creepy.
• 1:03:19
  Speaker 4: It's literally a photo of Jesus and her face is
• 1:03:22
  Speaker 4: on Jesus. Or is it the Holy Mary? Is it
• 1:03:26
  Speaker 4: the Virgin Mary? What is it that's hanging up on the.
• 1:03:28
  Speaker 3: Dude, I don't know. I think that that's at the point.
• 1:03:31
  Speaker 3: I remember I first watched seeing that I was like,
• 1:03:34
  Speaker 3: this guy is fucking nuts.
• 1:03:36
  Speaker 4: Yeah.
• 1:03:37
  Speaker 3: I also love, but he sells it. He sells it
• 1:03:39
  Speaker 3: like his performance. I think if he had anyone else
• 1:03:42
  Speaker 3: in this role, I don't know if it would have
• 1:03:43
  Speaker 3: worked the same way. I mean, I'm thinking back to
• 1:03:45
  Speaker 3: Leonardo DiCaprio and I don't know if it would have, uh,
• 1:03:48
  Speaker 3: I don't know if it would have, you know, worked
• 1:03:50
  Speaker 3: in that context.
• 1:03:51
  Speaker 4: He would have just had a bunch of charcoal paintings
• 1:03:53
  Speaker 4: of her on the wall. Probably.
• 1:03:57
  Speaker 3: What's his age limit to the girls that he sees?
• 1:04:00
  Speaker 4: Oh, yeah. At this point, man. At this point, the
• 1:04:03
  Speaker 4: girl that he's lusting over could have been no older
• 1:04:07
  Speaker 4: than seven. It's not appropriate.
• 1:04:10
  Speaker 3: No, no, no. But yeah, I mean, this is definitely
• 1:04:16
  Speaker 3: where you start to see Mark Wahlberg's range for the
• 1:04:20
  Speaker 3: specific role.
• 1:04:21
  Speaker 4: I mean....
• 1:04:25
  Speaker 3: This is all leading up to, yeah. I mean, at
• 1:04:31
  Speaker 3: this point, you know, I mean, this is all ramping
• 1:04:34
  Speaker 3: up to like the, the, the invasion scene.
• 1:04:37
  Speaker 2: Yeah.
• 1:04:37
  Speaker 4: Which the invasion scene is crazy and scary. I think
• 1:04:41
  Speaker 4: the craziest part about this is like, you learn that,
• 1:04:44
  Speaker 4: that Steve Walker is kind of built this place to
• 1:04:47
  Speaker 4: be like a compound. He's got, you know, unbreakable glass
• 1:04:51
  Speaker 4: and a full security system that drops you know like
• 1:04:54
  Speaker 4: so it's like the purge like setup you know it's
• 1:04:58
  Speaker 4: it's really quite quite complex the only thing i'm confused
• 1:05:03
  Speaker 4: by you go to this level of security right and
• 1:05:07
  Speaker 4: then you run your security through the phone line which
• 1:05:10
  Speaker 4: they cut the phone line now none of your security
• 1:05:12
  Speaker 4: shit works which sounds like an oversight.
• 1:05:15
  Speaker 3: And he's got the gate code like.
• 1:05:17
  Speaker 4: Yeah he's got the gate code Um, like there's, there's
• 1:05:22
  Speaker 4: things about the security that like you, you invested in
• 1:05:24
  Speaker 4: a lot of, but you kind of forgot about these
• 1:05:25
  Speaker 4: little things that could happen. Like just as easy, like,
• 1:05:29
  Speaker 4: like the gate code. Okay. I used to have like a,
• 1:05:31
  Speaker 4: like a code door on my house when I was
• 1:05:33
  Speaker 4: in high school. And like every 48 hours, that code
• 1:05:37
  Speaker 4: would randomly change. And we would get like a text
• 1:05:40
  Speaker 4: that the code was changed. Like it was just not
• 1:05:42
  Speaker 4: 1996 technology.
• 1:05:43
  Speaker 3: Yeah, but this is the nineties, man.
• 1:05:45
  Speaker 4: No, I know you're not getting texts on your phone,
• 1:05:47
  Speaker 4: but like, You have a guard with a gun at
• 1:05:53
  Speaker 4: your front gate. If you're this concerned about security, you
• 1:05:57
  Speaker 4: don't let something like this just fly.
• 1:05:59
  Speaker 3: You can't stop David, man. Everyone was getting it. Even
• 1:06:03
  Speaker 3: the family dog, Kaiser.
• 1:06:05
  Speaker 4: God damn it. I hate that so much, dude. Leave
• 1:06:07
  Speaker 4: the dog alone.
• 1:06:09
  Speaker 3: Pour one out for that.
• 1:06:10
  Speaker 4: Leave the dog alone. You don't cut his head off
• 1:06:12
  Speaker 4: and then throw it through the doggy door. You don't
• 1:06:14
  Speaker 4: do that.
• 1:06:16
  Speaker 3: There's something about these movies, man. Like, I think when
• 1:06:18
  Speaker 3: you start throwing that in the mix, like I'm not
• 1:06:21
  Speaker 3: a fan of that at all, but I mean, there's
• 1:06:23
  Speaker 3: a reoccurring theme with that and fatal attraction with the rabbits. Like,
• 1:06:26
  Speaker 3: I don't know, man. I mean, is that what it
• 1:06:29
  Speaker 3: takes for us to understand that somebody is unhinged? Cause
• 1:06:31
  Speaker 3: I don't need that. I believe I was believing it
• 1:06:34
  Speaker 3: before this.
• 1:06:35
  Speaker 4: Without the dog death.
• 1:06:36
  Speaker 1: I was.
• 1:06:37
  Speaker 3: Yeah.
• 1:06:37
  Speaker 4: Um, I think this invasion sequence is great because you
• 1:06:42
  Speaker 4: kind of have the whole gang kind of getting retribution
• 1:06:44
  Speaker 4: on the dam, like kind of like, Oh, you damaged
• 1:06:47
  Speaker 4: our house. We're going to wreck your house. But as
• 1:06:51
  Speaker 4: they're going crazy and acting like animals and trying to
• 1:06:53
  Speaker 4: break through the walls and you know, all this stuff,
• 1:06:56
  Speaker 4: every shot of David, he's so calm and he's just
• 1:06:59
  Speaker 4: sort of like watching and waiting for the perfect moment
• 1:07:03
  Speaker 4: all of the time, which eventually leads to, her father
• 1:07:08
  Speaker 4: with a gun to his head and they finally get
• 1:07:10
  Speaker 4: into the house. I want to ask you this fight scene.
• 1:07:17
  Speaker 4: How many movies off the top of your head from
• 1:07:19
  Speaker 4: the 90s has the villain been dispatched by being thrown
• 1:07:22
  Speaker 4: out of something beyond a second floor window?
• 1:07:28
  Speaker 3: There's a lot of them.
• 1:07:30
  Speaker 4: I would love to know the percentage of thrillers from
• 1:07:32
  Speaker 4: the 90s that ended with the bad guy being thrown
• 1:07:35
  Speaker 4: off of an elevated surface.
• 1:07:39
  Speaker 3: I mean, you're not wrong.
• 1:07:41
  Speaker 4: And I talked about in the beginning of this episode, how,
• 1:07:45
  Speaker 4: how physically fit and strong Steve is as a character.
• 1:07:48
  Speaker 4: And he throws Mark Wahlberg like 50 yards.
• 1:07:54
  Speaker 3: I mean, this guy was built to take on Hannibal Lecter.
• 1:07:59
  Speaker 3: This man was, you know what I mean?
• 1:08:00
  Speaker 4: Like this man did. Um, he did go on a
• 1:08:04
  Speaker 4: man hunt for Hannibal Lecter.
• 1:08:06
  Speaker 3: Yeah, man. Uh, uh, Do you feel like the ending
• 1:08:09
  Speaker 3: is satisfying for this?
• 1:08:12
  Speaker 4: No, I don't know why. I just don't feel like
• 1:08:15
  Speaker 4: it is. I mean, I like that David is kind
• 1:08:19
  Speaker 4: of like, dude, he gets stabbed in the spine by
• 1:08:23
  Speaker 4: Nicole and then just turns around and becomes like a
• 1:08:25
  Speaker 4: machine again. But it there is a little bit of like, oh, OK,
• 1:08:31
  Speaker 4: the movie's over.
• 1:08:34
  Speaker 3: I think that's the only aspect about this movie that
• 1:08:37
  Speaker 3: I was left wanting a little bit more out of it. Look,
• 1:08:42
  Speaker 3: I'm not expecting, you know, the Halloween ends treatment, you know,
• 1:08:47
  Speaker 3: with what they do to Michael Myers or anything like that.
• 1:08:50
  Speaker 3: But it's like, we've built this up over the course
• 1:08:55
  Speaker 3: of three fourths of the movie to get some sort
• 1:08:59
  Speaker 3: of satisfying ending other than just being thrown through a
• 1:09:02
  Speaker 3: window I don't know.
• 1:09:04
  Speaker 4: I feel like he needed to be like um like
• 1:09:09
  Speaker 4: stabbed the way that he is in the back and
• 1:09:12
  Speaker 4: then shot a couple times and then like thrown down
• 1:09:16
  Speaker 4: the stairs you know what I mean like there should
• 1:09:18
  Speaker 4: have been multiple instances of him being incapacitated and then
• 1:09:24
  Speaker 4: he just keeps coming. That would have fit more than
• 1:09:28
  Speaker 4: what we have. Because the throwing out the window was great,
• 1:09:33
  Speaker 4: but even I remember the first time watching this in full,
• 1:09:36
  Speaker 4: I remember being like, well, they're just going to throw
• 1:09:38
  Speaker 4: him out the window. That was pretty much what... That
• 1:09:41
  Speaker 4: was M.O. And he does.
• 1:09:44
  Speaker 3: Yeah, I think that that would be the only... the
• 1:09:49
  Speaker 3: only thing about this film that I was left wanting
• 1:09:52
  Speaker 3: a little bit more, but outside of that, I mean,
• 1:09:54
  Speaker 3: this is definitely a hallmark when, when you're thinking nineties
• 1:09:58
  Speaker 3: erotic thrillers. I mean, this is definitely up there. Yeah.
• 1:10:02
  Speaker 4: Why do you think this hasn't had a better release?
• 1:10:06
  Speaker 3: Any, any idea? I, if I had to guess, I mean,
• 1:10:11
  Speaker 3: maybe there's some reluctancy from the cast to want to
• 1:10:14
  Speaker 3: talk about it. I mean, as far as I know,
• 1:10:16
  Speaker 3: I believe William Peterson, he's retired.
• 1:10:19
  Speaker 4: I don't think he's... He's retired from hunting mass murder.
• 1:10:23
  Speaker 3: He's putting in his time. You know, it might be.
• 1:10:28
  Speaker 3: I mean, I know I was talking about it earlier.
• 1:10:30
  Speaker 3: Maybe Reese Witherspoon is not as open to going back
• 1:10:34
  Speaker 3: and discussing a movie like this. I don't know why
• 1:10:37
  Speaker 3: you wouldn't want to because it's a notable performance. Could
• 1:10:43
  Speaker 3: be the same deal with Mark Wahlberg. But yeah, I mean,
• 1:10:45
  Speaker 3: this is a movie that I feel like is.
• 1:10:48
  Speaker 3: Beyond deserving of a nice 4k release you know whether
• 1:10:52
  Speaker 3: it's i mean hell at this point i would take
• 1:10:54
  Speaker 3: it you know through keno lorber you know it's just
• 1:10:57
  Speaker 3: somebody do it um because yeah i don't know they
• 1:11:01
  Speaker 3: like this is definitely a subgenre that i feel like
• 1:11:03
  Speaker 3: you know we'll continue to keep talking about it but
• 1:11:06
  Speaker 3: there's a lot of these movies that just have not
• 1:11:08
  Speaker 3: made the jump yet and uh i'm really really optimistic
• 1:11:12
  Speaker 3: that maybe uh maybe this podcast will bring that to light.
• 1:11:15
  Speaker 4: Yeah, I mean, this movie was produced by Imagine, which
• 1:11:20
  Speaker 4: was founded by Ron Howard and Brian Grazer. I think
• 1:11:24
  Speaker 4: the biggest problem, though, is the distribution, which was universal.
• 1:11:29
  Speaker 4: It's technically like a universal... It's under that umbrella of
• 1:11:36
  Speaker 4: who the fuck's going to put that out. You know
• 1:11:38
  Speaker 4: what I mean? I don't know who's... distributing universal stuff
• 1:11:44
  Speaker 4: i don't know who's responsible for doing that now um
• 1:11:47
  Speaker 4: if anybody is uh i guess warner or no that's
• 1:11:50
  Speaker 4: warner brothers never mind i was gonna say who releases
• 1:11:53
  Speaker 4: but i don't know why i thought the odyssey was
• 1:11:55
  Speaker 4: universal uh i thought it was supposed to be universal
• 1:12:01
  Speaker 4: i think and then he switched to warner brothers.
• 1:12:03
  Speaker 3: It's distributed by universal oh is it yeah so if
• 1:12:08
  Speaker 3: if the odyssey can get a 4k so can fear.
• 1:12:12
  Speaker 4: I mean, Fear is like the Odyssey of 1996, if
• 1:12:16
  Speaker 4: you put it. I think James Foley was the Christopher
• 1:12:20
  Speaker 4: Nolan of.
• 1:12:23
  Speaker 3: Now, I mean, at close range is a good movie,
• 1:12:25
  Speaker 3: so I'm not going to argue that.
• 1:12:26
  Speaker 4: I think. I think the the the Christopher Nolan of
• 1:12:33
  Speaker 4: the 80s and 90s was what's his name? Who is
• 1:12:37
  Speaker 4: the director of Indecent Proposal? adrian oh oh i know
• 1:12:42
  Speaker 4: who you're talking about uh adrian uh oh.
• 1:12:47
  Speaker 3: My god hold on line yeah adrian line.
• 1:12:51
  Speaker 4: Yeah the guy has my favorite filmography of the 90s
• 1:12:54
  Speaker 4: of the 80s and 90s i think.
• 1:12:57
  Speaker 3: I mean he even did jacob's ladder yeah dude that's
• 1:13:00
  Speaker 3: what i'm saying which is is wild i mean that's
• 1:13:02
  Speaker 3: talk about a movie i wouldn't i would not call
• 1:13:04
  Speaker 3: that an erotic thriller but it is certainly a uh
• 1:13:09
  Speaker 3: uncomfortable watch yeah that's put it mildly.
• 1:13:12
  Speaker 4: Yeah he uh he was a baller back in the
• 1:13:16
  Speaker 4: day man yeah it's like well like i miss the
• 1:13:19
  Speaker 4: days of like directors who could do everything they could
• 1:13:22
  Speaker 4: do every genre in their career it's like you look
• 1:13:24
  Speaker 4: at them you're like this fucking guy did this movie you.
• 1:13:28
  Speaker 3: Know if if we want to talk about a movie
• 1:13:30
  Speaker 3: that needs a 4k nine and a half.
• 1:13:31
  Speaker 4: Weeks yeah he directed nine and a half weeks yeah
• 1:13:35
  Speaker 4: i don't think that has a 4k.
• 1:13:36
  Speaker 3: Yet yeah i don't i don't think it does I'm
• 1:13:39
  Speaker 3: manifesting it.
• 1:13:43
  Speaker 4: So where in total do you think, you think fear
• 1:13:46
  Speaker 4: is like top tier nineties thriller? It's really hard because
• 1:13:50
  Speaker 4: the nineties were a key time for, for these types
• 1:13:52
  Speaker 4: of thrillers.
• 1:13:54
  Speaker 3: I would say, I would say middle of the road.
• 1:14:00
  Speaker 4: Okay.
• 1:14:00
  Speaker 3: It's not, I don't, I don't consider this like top tier.
• 1:14:03
  Speaker 3: Like I would, I would consider this like B B tier.
• 1:14:07
  Speaker 4: Yeah, I think the movie has some pacing issues. It
• 1:14:10
  Speaker 4: does kind of have this up and down pattern to it.
• 1:14:12
  Speaker 4: Like a roller coaster? Well, you know, I don't think
• 1:14:17
  Speaker 4: I find the same amount of pleasure from this movie.
• 1:14:20
  Speaker 3: I need my own stunt double.
• 1:14:24
  Speaker 4: Yeah, I mean, I think it's good. It's a movie
• 1:14:26
  Speaker 4: that I've come to like more, especially through this process
• 1:14:28
  Speaker 4: of research and putting this together. I just kind of
• 1:14:33
  Speaker 4: like like I said in the beginning, man, this movie
• 1:14:36
  Speaker 4: feels like softer and padded in a way. Like there
• 1:14:39
  Speaker 4: are super aggressive moments in this movie and there are
• 1:14:41
  Speaker 4: moments that are really dark and really scary, but it
• 1:14:43
  Speaker 4: does kind of feel like maybe because of the cast,
• 1:14:47
  Speaker 4: it was a little dampened. So it doesn't really have
• 1:14:51
  Speaker 4: the same staying power as, as some of the stronger,
• 1:14:55
  Speaker 4: more explicit erotic thrillers of this time did, especially like
• 1:14:58
  Speaker 4: when you think of the nineties, man, you're, you're talking
• 1:15:01
  Speaker 4: about like the, one of the most rebellious decades in
• 1:15:04
  Speaker 4: film history outside of, you know, the, maybe the fifties
• 1:15:07
  Speaker 4: or the sixties, you know, the nineties went dark and
• 1:15:10
  Speaker 4: gritty and fear kind of feels like it, it pulled
• 1:15:13
  Speaker 4: back a little bit.
• 1:15:15
  Speaker 3: I mean, I'm just, okay. So we are, we obviously
• 1:15:18
  Speaker 3: already covered basic instinct, which is iconic for a reason,
• 1:15:21
  Speaker 3: but it's like, when I go back and I look
• 1:15:23
  Speaker 3: at this, I mean, some of the more notable ones
• 1:15:25
  Speaker 3: that come to mind, you have the last seduction bound
• 1:15:28
  Speaker 3: wild things and, single white female poison ivy disclosure color
• 1:15:34
  Speaker 3: of night i mean these are all these are all
• 1:15:36
  Speaker 3: movies that i would for the most part i probably
• 1:15:39
  Speaker 3: put a little bit higher as far as you know
• 1:15:42
  Speaker 3: just where i would rank them.
• 1:15:44
  Speaker 4: All more explicit movies than fear.
• 1:15:47
  Speaker 3: Yes and i i almost think that that's what holds
• 1:15:53
  Speaker 3: this movie back for me a little bit is that
• 1:15:56
  Speaker 3: it feels like it wants to go all in but
• 1:15:59
  Speaker 3: it's like, it kind of like holds itself back. If
• 1:16:03
  Speaker 3: that makes sense.
• 1:16:04
  Speaker 4: Well, every movie that you just listed off are like
• 1:16:07
  Speaker 4: adult thrillers made for adults with adult themes and fear
• 1:16:11
  Speaker 4: feels like.
• 1:16:14
  Speaker 3: Like a teen psychological thriller.
• 1:16:16
  Speaker 4: It feels like a, it feels like a, like a
• 1:16:18
  Speaker 4: senior in high school movie where it's like, it thinks
• 1:16:21
  Speaker 4: it's an adult and it's trying to appear to an
• 1:16:23
  Speaker 4: adult yet. It's still might be too young to see
• 1:16:26
  Speaker 4: an R rated movie. You know what I mean? It's,
• 1:16:28
  Speaker 4: it's in this place where it's almost like, okay, we
• 1:16:31
  Speaker 4: want it to be for adults. And then, but we
• 1:16:33
  Speaker 4: also want it to be for older teenagers. So we
• 1:16:35
  Speaker 4: can't go too crazy, but we also can't like, it's
• 1:16:40
  Speaker 4: kind of like in a weird zone.
• 1:16:42
  Speaker 3: Do you think that a movie like the crush or
• 1:16:44
  Speaker 3: the babysitter, do you feel like that that falls more
• 1:16:47
  Speaker 3: in that realm as far as erotic thrillers?
• 1:16:50
  Speaker 4: Yeah. I mean the crush, especially the crush is tough
• 1:16:52
  Speaker 4: because Alicia Silverstone is 14 years old. You know what
• 1:16:56
  Speaker 4: I mean?
• 1:16:57
  Speaker 3: Yeah, there's some moments in that I'm like, I don't
• 1:17:00
  Speaker 3: know if this would fly.
• 1:17:01
  Speaker 4: Yeah.
• 1:17:02
  Speaker 3: Nowadays.
• 1:17:03
  Speaker 4: Yeah. I mean, this is really kind of like you
• 1:17:07
  Speaker 4: could make a whole podcast episode about kind of the
• 1:17:09
  Speaker 4: weird in-betweens of the 80s and 90s thrillers and kind
• 1:17:12
  Speaker 4: of what movies really leaned into being adult. And I
• 1:17:17
  Speaker 4: don't mean adult as far as like what we see explicitly,
• 1:17:21
  Speaker 4: just adult in like tackling adult themes that are made
• 1:17:24
  Speaker 4: for adults. You know what I mean? And I guess, like,
• 1:17:30
  Speaker 4: if you're going to break it into two genres, and
• 1:17:34
  Speaker 4: you're going to say, hey, there's teen thrillers, and then
• 1:17:36
  Speaker 4: there's adult thrillers, this falls somewhere in the middle. Like,
• 1:17:41
  Speaker 4: this feels like it's for, like, the 17 to 19-year-old crowd.
• 1:17:47
  Speaker 4: You know what I mean? It's an interesting place.
• 1:17:52
  Speaker 2: Now.
• 1:17:54
  Speaker 4: The real question is if you, if you didn't have
• 1:17:57
  Speaker 4: Mark Wahlberg and you didn't have Reese Witherspoon and you
• 1:17:59
  Speaker 4: have lesser known actors in those roles and the movie
• 1:18:04
  Speaker 4: was a little bit more explicit in nature, does it
• 1:18:07
  Speaker 4: make it a better movie if everything else is exactly
• 1:18:10
  Speaker 4: the same?
• 1:18:13
  Speaker 1: Yeah.
• 1:18:14
  Speaker 3: I mean, that's tough because I feel like if you
• 1:18:19
  Speaker 3: were to push the envelope, I mean, how much more
• 1:18:21
  Speaker 3: could you really push it given that they're, they're both
• 1:18:25
  Speaker 3: supposed to be teens i think that's the only the
• 1:18:28
  Speaker 3: only tough part about it i feel like you're kind
• 1:18:30
  Speaker 3: of capped at a certain point i don't know how
• 1:18:31
  Speaker 3: much further you could really take it to be honest.
• 1:18:35
  Speaker 4: Yeah well there's i mean i think and i thought
• 1:18:37
  Speaker 4: about this so if my answer sounds like oh wow
• 1:18:40
  Speaker 4: you thought about this i did i was like thinking
• 1:18:42
  Speaker 4: about this like i do think there is a role
• 1:18:45
  Speaker 4: where i do think there there is a movie here
• 1:18:47
  Speaker 4: where uh nicole is a little older like after high
• 1:18:51
  Speaker 4: school so really coming into adulthood maybe 1920 mark walberg's
• 1:18:57
  Speaker 4: a little bit older there is a little bit more
• 1:19:00
  Speaker 4: of like the loop like the father having to adjust
• 1:19:04
  Speaker 4: to his daughter growing up and now he doesn't have
• 1:19:07
  Speaker 4: a high school student anymore. He has a full grown
• 1:19:09
  Speaker 4: adult living in his house. And maybe David, like there
• 1:19:16
  Speaker 4: isn't this subplot of her losing her virginity to David.
• 1:19:21
  Speaker 4: Maybe they're pretty active right from the jump, but maybe
• 1:19:24
  Speaker 4: he's abusive in other ways. Maybe he's a little bit
• 1:19:26
  Speaker 4: more sexually abusive. Maybe he's a little bit more, you know,
• 1:19:31
  Speaker 4: rough in certain areas, which, which would lead to a
• 1:19:33
  Speaker 4: different type of drama and a different type of dynamic
• 1:19:37
  Speaker 4: because that's like very tough to go to a father
• 1:19:43
  Speaker 4: about i would imagine you know what i mean and
• 1:19:45
  Speaker 4: maybe there would be a different dynamic here between nicole
• 1:19:48
  Speaker 4: and her stepmom because she could go to that you
• 1:19:51
  Speaker 4: could also explore a little bit of um lara the
• 1:19:55
  Speaker 4: stepmom's relationship with her ex-husband maybe that was something that
• 1:19:59
  Speaker 4: she dealt with in her previous relationship which would actually
• 1:20:03
  Speaker 4: tie together really well because toby makes a comment about
• 1:20:06
  Speaker 4: how he went to a baseball game with his dad
• 1:20:08
  Speaker 4: and his dad spent the whole time hitting on other
• 1:20:10
  Speaker 4: women so maybe there is some there there is a
• 1:20:15
  Speaker 4: way that you could really you know like amplify this
• 1:20:18
  Speaker 4: i just don't know if that would necessarily make it
• 1:20:20
  Speaker 4: a better movie it would just feel more fitting into
• 1:20:24
  Speaker 4: that category of movies you mentioned.
• 1:20:26
  Speaker 3: No, I think if there was, like I said, if
• 1:20:28
  Speaker 3: there was one thing that I felt like was more
• 1:20:30
  Speaker 3: deserving of a one-over and maybe ramping it up a
• 1:20:36
  Speaker 3: little bit or having more of a satisfying ending would,
• 1:20:41
  Speaker 3: I think, bump this up a little bit more for me.
• 1:20:43
  Speaker 3: I don't know if I would necessarily need it to
• 1:20:47
  Speaker 3: really push the envelope as far as some of the
• 1:20:50
  Speaker 3: stuff that goes down throughout the film, but I can
• 1:20:53
  Speaker 3: definitively say I feel like the ending... there could be
• 1:20:56
  Speaker 3: a little bit more.
• 1:20:58
  Speaker 4: Yeah.
• 1:20:58
  Speaker 3: At least a little bit to be desired.
• 1:21:01
  Speaker 4: I agree. I agree. I'm really happy we covered this though.
• 1:21:04
  Speaker 3: Oh yeah.
• 1:21:05
  Speaker 4: Really happy.
• 1:21:05
  Speaker 3: Yes. That's a good one.
• 1:21:07
  Speaker 4: Now the real question comes and I'm going to bring
• 1:21:09
  Speaker 4: this up live. Our next episode, which is going to
• 1:21:14
  Speaker 4: be my birthday episode, the episode after that, where we
• 1:21:16
  Speaker 4: returned to the commentary forum. Do we do David Cronenberg's crash?
• 1:21:25
  Speaker 3: You don't have to twist my arm for that.
• 1:21:28
  Speaker 4: I just thought about it. I was like, we need
• 1:21:30
  Speaker 4: to take this to the next level and cover something
• 1:21:32
  Speaker 4: that's truly around.
• 1:21:34
  Speaker 3: You want something that's not afraid to push the boundaries.
• 1:21:37
  Speaker 3: It's Crash. It's not Fear. It's Crash. As much as
• 1:21:41
  Speaker 3: I love Fear, Crash definitely takes it to another level.
• 1:21:45
  Speaker 4: I agree. I agree. I think we should do Crash next.
• 1:21:48
  Speaker 3: I'm very excited for that. If that's what we're moving
• 1:21:51
  Speaker 3: forward with, I'm here for it.
• 1:21:53
  Speaker 4: Well, listen, if there's anybody out there listening, I think
• 1:21:56
  Speaker 4: we would love to contribute some bonus features to a fear.
• 1:22:01
  Speaker 4: Please release for this movie. It deserves. Please.
• 1:22:04
  Speaker 3: We would. I would love, love, love, love, love to
• 1:22:07
  Speaker 3: talk about fear.
• 1:22:08
  Speaker 4: Oh, my God. Well, fear is on Blu-ray. It's from
• 1:22:11
  Speaker 4: Mill Creek Entertainment. Don't expect any bonus features except for subtitles.
• 1:22:15
  Speaker 4: That's all that's on the menu. It's fucking ridiculous. And
• 1:22:17
  Speaker 4: if you want to seek out the DVD and get
• 1:22:19
  Speaker 4: those production notes. Really wish there was a commentary for this,
• 1:22:23
  Speaker 4: but there isn't, unfortunately. It is what it is. Hey,
• 1:22:26
  Speaker 4: maybe there's a day soon where we contribute an audio
• 1:22:30
  Speaker 4: commentary for this movie. Who knows? Life works in funny ways.
• 1:22:34
  Speaker 3: Let us know.
• 1:22:35
  Speaker 4: Maybe we can record it on a roller coaster.
• 1:22:38
  Speaker 3: Well, I don't like roller coasters, so that's going to
• 1:22:40
  Speaker 3: be a problem.
• 1:22:40
  Speaker 4: I love roller coasters, man. What do you think? Are
• 1:22:43
  Speaker 4: you a fan of the UFOs that spin and make
• 1:22:45
  Speaker 4: you float? You know, those rides at carnivals, the, um,
• 1:22:54
  Speaker 4: Gravitron Gravitron.
• 1:22:56
  Speaker 3: I'm cool with that. That doesn't bother me. It's, it's
• 1:22:58
  Speaker 3: like the, it's not the heights. It's just the free
• 1:23:03
  Speaker 3: fall feeling.
• 1:23:04
  Speaker 4: I don't, I don't care for, uh, before we go. Um, I,
• 1:23:09
  Speaker 4: I once was on a Gravitron with a friend of
• 1:23:10
  Speaker 4: mine and, um, I was looking to my right because, um,
• 1:23:17
  Speaker 4: for some reason I was looking to my right and
• 1:23:18
  Speaker 4: this is when the ride reached maximum, you know, speed.
• 1:23:22
  Speaker 4: And I'm looking at my right. And then all of
• 1:23:23
  Speaker 4: a sudden I looked to my left and my friend
• 1:23:25
  Speaker 4: Chris is in like, you know, you lean against the
• 1:23:28
  Speaker 4: tilted wall. He's leaning against the tilted wall exactly in
• 1:23:33
  Speaker 4: the same position that he was when we were standing.
• 1:23:35
  Speaker 4: And now all of a sudden he's completely upside down.
• 1:23:39
  Speaker 4: So at some point he had turned himself clockwise on
• 1:23:43
  Speaker 4: the wall and it was upside down. And I, to
• 1:23:48
  Speaker 4: my left, he was normal. I looked to my right.
• 1:23:49
  Speaker 4: I turned back around. He's upside down. I love to,
• 1:23:51
  Speaker 4: I love telling that.
• 1:23:52
  Speaker 3: Story, man. Now, if only it was Reese Witherspoon with
• 1:23:57
  Speaker 3: her spoon or without. Okay.
• 1:23:59
  Speaker 4: Let's move on. Let's let's wrap this up, man. Yeah.
• 1:24:05
  Speaker 3: So Chris, where can everyone find you?
• 1:24:07
  Speaker 4: You guys can find me on Instagram at bearded film guy.
• 1:24:10
  Speaker 4: And then always here on, on the beyond the blood podcast.
• 1:24:12
  Speaker 4: What about you, man?
• 1:24:14
  Speaker 3: You guys can find me at After Hours Video. I
• 1:24:17
  Speaker 3: am on Instagram, TikTok, YouTube, you name it. And as always,
• 1:24:21
  Speaker 3: with my favorite co-host when it comes to Beyond the Blood,
• 1:24:24
  Speaker 3: talking about all the video nasties, erotic thrillers, and everything
• 1:24:30
  Speaker 3: in between.
• 1:24:31
  Speaker 4: Yeah, yeah. We've been in our sweaty summer phase this summer,
• 1:24:36
  Speaker 4: so I hope people are... Extra sleaze. Real quick before
• 1:24:39
  Speaker 4: we go, quick note. Please, everybody, go support the podcast
• 1:24:43
  Speaker 4: network that we're lucky to be a part of, Someone's
• 1:24:45
  Speaker 4: Favorite Productions Podcast Network. We are partnered with incredible shows.
• 1:24:50
  Speaker 4: Please go check out all of them. They're all fantastic,
• 1:24:53
  Speaker 4: especially if you're into boutique. Real, genuine conversation about movies
• 1:24:57
  Speaker 4: coming from real movie fans over here. what Ryan and
• 1:25:01
  Speaker 4: the team is doing is phenomenal. Please take the time
• 1:25:04
  Speaker 4: to check that out. Also head to the link in
• 1:25:06
  Speaker 4: the bio and pick up the latest issue of physical
• 1:25:08
  Speaker 4: media advocate magazine. This is a magazine that's fully in
• 1:25:12
  Speaker 4: print available pretty much at this point around the world
• 1:25:15
  Speaker 4: in various retail locations, but mostly through Amazon for your average.
• 1:25:21
  Speaker 4: You'll find the commentary column in there, which is written
• 1:25:24
  Speaker 4: by me every single month. I write two to three
• 1:25:27
  Speaker 4: audio commentary reviews that are published in the magazine. But
• 1:25:30
  Speaker 4: more importantly, the rest of the magazine is filled with articles, write-ups, analysis,
• 1:25:36
  Speaker 4: discussions filled from people just like us who love movies.
• 1:25:42
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• 1:25:47
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• 1:25:48
  Speaker 4: through a layout team, and they get published in the magazine.
• 1:25:52
  Speaker 4: We just put out our October issue. It's one of
• 1:25:57
  Speaker 4: my favorites to date. It's about $ 11 on Amazon. So
• 1:26:00
  Speaker 4: if you're a big physical media fan and you want
• 1:26:02
  Speaker 4: to support the community and support a magazine that is
• 1:26:06
  Speaker 4: written and edited and controlled by real people and real
• 1:26:09
  Speaker 4: fans of movies, do me a favor and pick that up.
• 1:26:15
  Speaker 4: Other than that, shortly after this, you should be seeing
• 1:26:18
  Speaker 4: another episode from us. It's going to be my birthday episode.
• 1:26:22
  Speaker 4: I'll be 35 on October 17th. So we're going to
• 1:26:26
  Speaker 4: be hanging out with a couple of our friends. Don't
• 1:26:29
  Speaker 4: know what the theme is yet. We'll figure it out
• 1:26:30
  Speaker 4: as we go. Maybe there is no theme. Maybe it'll
• 1:26:34
  Speaker 4: just be a lot of fun.
• 1:26:36
  Speaker 3: Oh, yeah, of course.
• 1:26:37
  Speaker 4: And then we'll be back in a couple of weeks.
• 1:26:39
  Speaker 4: I think we've agreed kind of unanimously that we're going
• 1:26:42
  Speaker 4: to talk about the commentary track for David Cronenberg's Crash.
• 1:26:46
  Speaker 4: So feel free to come back for that. I'm sure
• 1:26:48
  Speaker 4: that episode will be three hours long.
• 1:26:52
  Speaker 3: Extra sweaty.
• 1:26:54
  Speaker 4: All right, Steve. Well, as always, great talk. Love hanging
• 1:26:58
  Speaker 4: with you.
• 1:26:59
  Speaker 3: Absolutely.
• 1:27:00
  Speaker 4: Likewise, man. I got to go drop my Mustang off
• 1:27:03
  Speaker 4: at the shop. Can you believe I was at work
• 1:27:04
  Speaker 4: the other day in my parking garage and somebody smashed
• 1:27:07
  Speaker 4: it up?
• 1:27:09
  Speaker 3: Something about a couple of cherries or I don't know.
• 1:27:12
  Speaker 4: Yeah, I don't know, but I got to go drop
• 1:27:13
  Speaker 4: that off. So we'll see you guys on the next one.
• 1:27:15
  Speaker 3: See you on the next one.
• 1:27:23
  Speaker 4: Thank you for listening.
• 1:27:25
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:27:29
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