Latest / Critically Acclaimed Network / Critically Acclaimed #360 | Hoppers, The Bride!, Dolly, Heel, War Machine, Gunfighter Paradise

Transcript

Critically Acclaimed #360 | Hoppers, The Bride!, Dolly, Heel, War Machine, Gunfighter Paradise · Critically Acclaimed Network

• 0:12
  [SPEAKER_02]: Greetings friends welcome back to critically acclaims the film review podcast where we have good taste and we also explode Good taste not guaranteed melt territories.
• 0:23
  [SPEAKER_02]: Oh no for my taste is impeccable.
• 0:25
  [SPEAKER_02]: I have you know I got as critics we sometimes get promotional materials in the mail kind of randomly Not things we we ask for yeah I did get something from a local TV network that I did keep
• 0:41
  [SPEAKER_02]: How did you do?
• 0:42
  [SPEAKER_02]: It's a baseball cap that says perfect taste in movies.
• 0:46
  [SPEAKER_00]: Well, that is good.
• 0:47
  [SPEAKER_00]: Yeah, so yeah, well, that's that's them labeling you and I don't mind that.
• 0:52
  [SPEAKER_00]: Yeah, no, that's they they know that and the fact that I didn't get one Says a lot about our tenure together
• 1:01
  [SPEAKER_02]: It says a lot about the sort of capricious nature of modern film publicity, I think.
• 1:07
  [SPEAKER_02]: Yeah.
• 1:08
  [SPEAKER_02]: That's all that's really going on there.
• 1:09
  [SPEAKER_00]: Well anyway, that's William D'Beyonding.
• 1:11
  [SPEAKER_02]: That's not you're willing to be on it you make you mixed us up It must be time Gosh be late.
• 1:19
  [SPEAKER_02]: You must be tired.
• 1:20
  [SPEAKER_02]: My home is my god my name is Whitney cybers I am a film critic.
• 1:25
  [SPEAKER_02]: I contribute to slash film on the senior staff writer over there with me as always Is my presumably fatigued co-host a William.
• 1:32
  [SPEAKER_02]: I don't do you introduce yourself because I
• 1:34
  [SPEAKER_02]: I don't know who I am at the board.
• 1:37
  [SPEAKER_00]: Everything's falling apart.
• 1:38
  [SPEAKER_00]: I don't know how I did that.
• 1:40
  [SPEAKER_00]: My name is William Bidiani.
• 1:42
  [SPEAKER_00]: I think.
• 1:43
  [SPEAKER_00]: I'm a film critic.
• 1:44
  [SPEAKER_00]: I write for the rap and everybody calls me bibs.
• 1:47
  [SPEAKER_00]: But my god.
• 1:49
  [SPEAKER_00]: We're leaving that in the edit.
• 1:51
  [SPEAKER_02]: We're going to settle in now.
• 1:52
  [SPEAKER_02]: What are we doing this week?
• 1:53
  [SPEAKER_00]: This week we're reviewing a bunch of movies.
• 1:55
  [SPEAKER_00]: We're going to be reviewing the new releases.
• 1:57
  [SPEAKER_00]: Hoppers.
• 1:58
  [SPEAKER_00]: The latest Pixar joint.
• 2:01
  [SPEAKER_00]: The bride.
• 2:02
  [SPEAKER_00]: Sorry, uh, I got that wrong.
• 2:04
  [SPEAKER_00]: The bride.
• 2:04
  [SPEAKER_00]: It's not the bride with a question mark.
• 2:06
  [SPEAKER_00]: It's the bride with a with an exclamation point, Maggie Gillen, Halls new bride of Frankenstein movie.
• 2:11
  [SPEAKER_00]: We're viewing the new horror film, Dolly, which is about, uh, not at all.
• 2:17
  [SPEAKER_00]: Actually, no, nor dolly, pardon for that man.
• 2:19
  [SPEAKER_00]: Well, actually, that's pretty good.
• 2:20
  [SPEAKER_00]: You know what?
• 2:21
  [SPEAKER_00]: She'd see your ass off.
• 2:22
  [SPEAKER_00]: Uh, and then also the heel.
• 2:23
  [SPEAKER_02]: Um, just just heel.
• 2:25
  [SPEAKER_00]: Oh, it's just heel.
• 2:26
  [SPEAKER_02]: Not the heel.
• 2:27
  [SPEAKER_00]: Excuse me.
• 2:29
  [SPEAKER_00]: reviewing a heel, and reviewing, I don't know what that is, and then we're reviewing the new Netflix Predator knockoff War Machine, which is Alan Richardson versus a giant anime Mecca.
• 2:44
  [SPEAKER_02]: So Alan Richmond, Alan Richardson versus himself then.
• 2:47
  [SPEAKER_02]: Ha, because he's a giant man.
• 2:49
  [SPEAKER_02]: He's a very large nude.
• 2:50
  [SPEAKER_02]: And although I just want to not, he's only like four inches taller than me.
• 2:55
  [SPEAKER_02]: Oh, they, they film, you know, let's like, yeah, all Schwarzenegger, they film them in the most actors.
• 2:59
  [SPEAKER_00]: They came look to again, and then finally a film called Gunfighter Paradise.
• 3:05
  [SPEAKER_00]: That's right.
• 3:07
  [SPEAKER_00]: You know, we live in most of our lives waiting for that movie.
• 3:09
  [SPEAKER_00]: So living a, a gunfighter paradise.
• 3:11
  [SPEAKER_00]: But then a Gunfighter paradise.
• 3:13
  [SPEAKER_00]: What would you like to talk about first?
• 3:14
  [SPEAKER_00]: Well, the biggest movie of the week is how we usually begin our days and our day begins with a little film called Hoppers.
• 3:23
  [SPEAKER_00]: hoppers is a new film from Pixar.
• 3:26
  [SPEAKER_00]: Pixar is an old studio.
• 3:30
  [SPEAKER_00]: No, it's not.
• 3:31
  [SPEAKER_00]: It's an animation studio.
• 3:32
  [SPEAKER_00]: You know them.
• 3:33
  [SPEAKER_00]: Well, they have been.
• 3:37
  [SPEAKER_00]: struggling with their new story ideas lately.
• 3:41
  [SPEAKER_00]: It's not that all of them are bad, but a lot of them aren't necessarily kidding or making like this big impact.
• 3:46
  [SPEAKER_00]: And it feels like a lot of their biggest movies the most recent years have been their sequels.
• 3:50
  [SPEAKER_00]: Yeah, it's right out to.
• 3:52
  [SPEAKER_02]: Yeah, and set out to although elemental was what was a Pixar film is a sleeper.
• 3:57
  [SPEAKER_02]: And it started, yeah, it opened pretty slow, but it stayed in theaters for months and it ended up becoming a huge hit after a while.
• 4:05
  [SPEAKER_00]: And I like that movie.
• 4:05
  [SPEAKER_00]: It's a good movie.
• 4:06
  [SPEAKER_00]: And I've liked a lot of their original stuff.
• 4:08
  [SPEAKER_00]: I thought turning red was really really good.
• 4:09
  [SPEAKER_00]: I hated Eleo, but not so much because it was all bad, but because it was so clearly a queer allegory and Disney,
• 4:18
  [SPEAKER_00]: Forced them to take out and you add it out all the queer Great text that was which they also did with inside out too although what's weird is that when I watched both of those movies my first thought was this is very queer
• 4:29
  [SPEAKER_00]: Yeah, because it's so fundamental to the narrative they were talking about.
• 4:33
  [SPEAKER_02]: Inside out, too, is about a young girl who meets a girl that she just really admire.
• 4:39
  [SPEAKER_02]: You could just in this furious way.
• 4:41
  [SPEAKER_00]: And what really wants to know, like, time was just really flustered around her or really wants to spend her time with her.
• 4:45
  [SPEAKER_00]: And we would be really good friends.
• 4:47
  [SPEAKER_00]: Yeah, and like, and like, live together our whole lives.
• 4:50
  [SPEAKER_00]: Mm, and get friends.
• 4:53
  [SPEAKER_02]: Yeah.
• 4:54
  [SPEAKER_02]: Uh, there's been a very frustrating.
• 4:55
  [SPEAKER_02]: There's Queeness in that movie.
• 4:56
  [SPEAKER_02]: Um, there's no Queeness in Hoppers.
• 4:58
  [SPEAKER_02]: Yeah.
• 4:58
  [SPEAKER_02]: Uh.
• 5:00
  [SPEAKER_02]: You'd have to dig deep, but since about robot animals, you know, there's no no queer text in this one.
• 5:06
  [SPEAKER_02]: Hoppers is the avatar premise.
• 5:11
  [SPEAKER_02]: Some scientists and the movie Hoppers have developed ways to shunt human consciousness into a robot body.
• 5:18
  [SPEAKER_02]: In this case, it's a hyper realistic robotic beaver.
• 5:21
  [SPEAKER_01]: Yes.
• 5:22
  [SPEAKER_02]: This was done in order to study beavers.
• 5:25
  [SPEAKER_02]: and other animals in their natural habitat.
• 5:28
  [SPEAKER_00]: And the idea is very, very simple, and this is true in any time you look at any sort of science class or in the polygy class.
• 5:34
  [SPEAKER_00]: The idea is that you can't really observe something without changing it.
• 5:39
  [SPEAKER_00]: Your presence, whether it by virtue of you adding your perspective or you making people feel observed,
• 5:47
  [SPEAKER_00]: is going to alter the data you receive.
• 5:50
  [SPEAKER_00]: Then what people would normally do, or something.
• 5:53
  [SPEAKER_00]: Quantum measuring as we are.
• 5:54
  [SPEAKER_00]: Yeah.
• 5:55
  [SPEAKER_00]: So the idea is that if we are imperceptible in the environment, if we are one of the beavers, then finally we could answer science's most important question, what a beavers really like when no one's around.
• 6:12
  [SPEAKER_02]: Yeah, I think they're still beavers, but they're not, crucially, this technology also allows the robot to understand what animals are saying in plain English.
• 6:27
  [SPEAKER_00]: Right, which is...
• 6:29
  [SPEAKER_00]: bit of a whole because if you've invented technology that allows people to understand animal dialogue, surely you just have the translation technology and you could just use that all the time and that would change the entire fabric of our existence on the planet Earth, yes, because we would be able to communicate with every living creature and
• 6:51
  [SPEAKER_00]: that's not the story they want to tell.
• 6:54
  [SPEAKER_00]: So every time they're not in the beaver robot, we can't understand what beavers are saying or any other animals for that matter.
• 7:01
  [SPEAKER_00]: The basic, that's the science, that's a sci-fi premise.
• 7:04
  [SPEAKER_00]: The plot is that there's a young girl, let's just like 19, and she's become an environmental activist.
• 7:12
  [SPEAKER_00]: She lives in a town that has like a
• 7:15
  [SPEAKER_00]: Uh, there's a, there's a, there's a lake and she's surrounding nature and wilderness.
• 7:21
  [SPEAKER_02]: Very fond of this blade.
• 7:22
  [SPEAKER_02]: She used to spend time there with her grandmother.
• 7:24
  [SPEAKER_02]: She was very close with her grandmother.
• 7:26
  [SPEAKER_00]: Yeah.
• 7:26
  [SPEAKER_02]: Her grandmother has since passed and now she is a, uh, become an environmentalist who's trying to save this blade.
• 7:32
  [SPEAKER_00]: Yeah, there is the mayor of the town as name is Jerry, he's what by John Hamm.
• 7:36
  [SPEAKER_00]: He wants to pave over the thing and put in a new highway.
• 7:40
  [SPEAKER_00]: And he's not legally allowed to do that if it would affect the local wildlife.
• 7:46
  [SPEAKER_00]: And our hero is like, well, you're not allowed to do that because look at all this wildlife and all the wildlife has gone.
• 7:54
  [SPEAKER_00]: And you can't solve the riddle, why then all the wildlife leave.
• 7:58
  [SPEAKER_00]: So,
• 7:59
  [SPEAKER_00]: Fortunately, by sheer coincidence, her professor at college has invented this beaver robot.
• 8:08
  [SPEAKER_00]: And it's avatar technology.
• 8:10
  [SPEAKER_00]: It shunts your mind into the robot.
• 8:13
  [SPEAKER_00]: And our hero is like, well, I have to do that immediately.
• 8:17
  [SPEAKER_00]: And I don't even need to know how it works.
• 8:18
  [SPEAKER_00]: Or if it's dangerous, shunts herself into a beaver, gets blind yourself in the beaver wilderness.
• 8:23
  [SPEAKER_00]: And it's like, hey, listen, bevers.
• 8:25
  [SPEAKER_00]: We got to fix up this place and get all the animals back.
• 8:29
  [SPEAKER_00]: animals have a relatively complicated society.
• 8:33
  [SPEAKER_00]: That is based off of, well, it's a monarchy.
• 8:38
  [SPEAKER_00]: So that's interesting.
• 8:39
  [SPEAKER_02]: Yeah.
• 8:40
  [SPEAKER_02]: Yeah.
• 8:40
  [SPEAKER_02]: Each, each, each phylum, I guess has its own own monarchy.
• 8:45
  [SPEAKER_00]: Mammals have a monarchy, bugs have a monarchy, fish presumably have a monarchy.
• 8:50
  [SPEAKER_00]: Yeah, there's fish, there's fish, there's fish, there's fish, there's fish, there's fish, there's fish, there's
• 8:52
  [SPEAKER_02]: And we have to just carry it around in a fishbowl that's got like Bob the gold fish and earthworm gym.
• 8:57
  [SPEAKER_00]: Yeah, and birds have them on our They'll have them on our and the king of mammals all mammals is a beaver because beavers are like a loadstone species.
• 9:06
  [SPEAKER_00]: You can completely change the entire environment around them apart from humans.
• 9:11
  [SPEAKER_02]: This is a fun biological fact, um, beavers change their environment more than any other animal.
• 9:17
  [SPEAKER_02]: Because they they damn up reverse.
• 9:20
  [SPEAKER_02]: Yes, they do.
• 9:21
  [SPEAKER_02]: No, they can change that's yeah But they do in their nature.
• 9:25
  [SPEAKER_02]: Yeah, I saw a documentary from the beavers on an iMac screen.
• 9:29
  [SPEAKER_02]: That was a kid
• 9:30
  [SPEAKER_02]: It's called Beaver's, I think, with an exclamation point.
• 9:33
  [SPEAKER_02]: Nice.
• 9:34
  [SPEAKER_02]: So as a Beaver, she learns all of these interesting things about the animal monarchies.
• 9:40
  [SPEAKER_00]: One thing that they put in the trailers, which I thought was funny thing to highlight, is that how can all of these animals get along if some of them eat the others?
• 9:48
  [SPEAKER_00]: And it turns out, we have a kind of a last-safe fair point of view about that.
• 9:52
  [SPEAKER_00]: They got to eat somebody.
• 9:53
  [SPEAKER_00]: Yeah.
• 9:53
  [SPEAKER_02]: So if they eat you, sorry, you have to be okay with that early in the film, maple and her, uh, beaver body saves a beaver from being eaten by a bear.
• 10:03
  [SPEAKER_00]: Yeah.
• 10:03
  [SPEAKER_02]: And the beaver doesn't understand why she did that.
• 10:05
  [SPEAKER_00]: Yeah, like what he's, he was going to eat you.
• 10:07
  [SPEAKER_00]: He's got to eat somebody.
• 10:08
  [SPEAKER_00]: Like, I caught me.
• 10:09
  [SPEAKER_00]: That's fair.
• 10:10
  [SPEAKER_00]: Yeah.
• 10:10
  [SPEAKER_00]: He's still going to do this and the bear is just like, no, now it's weird.
• 10:14
  [SPEAKER_00]: So, and I think that's funny, and that's something you kind of have to either deal with or ignore.
• 10:19
  [SPEAKER_00]: Every doing a story about talking animals, I remember when I saw Zutopia for the first time.
• 10:26
  [SPEAKER_00]: I interviewed the director, so I was at a junket, and I asked, who are the carnivores eating?
• 10:30
  [SPEAKER_00]: Because you've made a story about class between herbivores and carnivores.
• 10:36
  [SPEAKER_00]: Are the carnivores...
• 10:38
  [SPEAKER_00]: eating the herbivores.
• 10:39
  [SPEAKER_00]: And they said, no, we decided in our society bugs are not senty and so they're all just eating bugs.
• 10:44
  [SPEAKER_00]: So which led to your theory, which is that Zootopia was the natural evolution of the Lion King when the Lion King found out that you can survive just fine in bugs.
• 10:56
  [SPEAKER_00]: That's right.
• 10:56
  [SPEAKER_00]: And which would lead to the kind of egalitarian animal society that would eventually lead to Zootopia.
• 11:01
  [SPEAKER_00]: then did.
• 11:02
  [SPEAKER_02]: So my favorite head came in the same universe.
• 11:05
  [SPEAKER_02]: He's in a great job.
• 11:06
  [SPEAKER_02]: Well, because I was bothered that this lion found this kind of eugenic paradise where he does not have to worry is not part of the royals.
• 11:15
  [SPEAKER_02]: They're part of this kind of communist utopia and all he does is eat bugs.
• 11:21
  [SPEAKER_02]: And when they say, you need to come back and save your kingdom, he should have said F off, I found it, you come here, yeah, that worked, how many lines can come here, the ones that promised to subsist on bugs and no more.
• 11:35
  [SPEAKER_00]: there you go.
• 11:37
  [SPEAKER_00]: But the story gets wilder and wilder and it eventually may be able accidentally starts a war between animals and humans.
• 11:45
  [SPEAKER_00]: The humans don't know this yet.
• 11:47
  [SPEAKER_00]: But the animals decide to clear war on humans and it gets wilder from there.
• 11:50
  [SPEAKER_00]: You may have noticed that the fundamental sci-fi building block of this film is basically the same as Avatar.
• 12:01
  [SPEAKER_00]: that which they call out and dial.
• 12:03
  [SPEAKER_00]: They do.
• 12:03
  [SPEAKER_00]: They do.
• 12:04
  [SPEAKER_00]: They have the email says isn't this kind of like avatar and the site is like this is not like avatar.
• 12:08
  [SPEAKER_00]: And the sign just played by the the inimitable Kathy and Jimmy.
• 12:12
  [SPEAKER_00]: I couldn't enter if I tried.
• 12:15
  [SPEAKER_00]: But the thing is is that the avatar premise we are going to shunt ourselves into a fake body impersonate the indigenous life.
• 12:27
  [SPEAKER_00]: and fuck around, is I find in the avatar movies, even though they're parts of the second one, in particular, I like, fundamentally fucked up because you are basically enforcing your, you're insidiously inserting yourself into this society and you're imposing your will.
• 12:48
  [SPEAKER_00]: A lot of the things that went wrong in the avatar movies were James and his fault.
• 12:51
  [SPEAKER_02]: It's not insidious because they've announced who they are right away.
• 12:56
  [SPEAKER_02]: Right, but they don't say I'm I'm they don't lie who they are.
• 13:00
  [SPEAKER_00]: They say I'm a human and this cloned body It's a city of so I could breathe your environments and talk to you more easily It's insidious because he knows that they're going to attack the Navi and he decides not to say anything Well, they can Googleize at them.
• 13:13
  [SPEAKER_00]: He was told to say something his orders were
• 13:17
  [SPEAKER_00]: Tell them that if we don't come up with a deal, we might be forced to attack them and we don't want to do that So find out what we can do and find a peaceful solution and Jake Sully spends two thirds of the movie going Oh, yeah, I forgot about that like and then everyone dies.
• 13:32
  [SPEAKER_00]: It's all he's fucking full
• 13:34
  [SPEAKER_00]: Avatars is a character issue.
• 13:36
  [SPEAKER_00]: That's a character issue.
• 13:37
  [SPEAKER_00]: It's a character issue, but regardless is that these are films that are unfortunately rife with colonialist tropes, that are very 12-winged that the movie doesn't, none of those movies really want to deal with in a meaningful way.
• 13:49
  [SPEAKER_00]: Puppers does want to deal with all of those things.
• 13:53
  [SPEAKER_00]: It is actually very intelligent and bright and imaginative and goes in more interesting directions that I think Avatar did in three whole movies.
• 14:02
  [SPEAKER_02]: It's a lot more creative with that premise because not only do we have people leaping into that one beaver robot but multiple people go into that robot through over the course of the movie.
• 14:13
  [SPEAKER_02]: Yeah.
• 14:14
  [SPEAKER_02]: There's
• 14:15
  [SPEAKER_02]: bits where other robots are built and constructed and then occupied by other people's brands.
• 14:20
  [SPEAKER_02]: Yeah, like we actually expand that a little bit.
• 14:22
  [SPEAKER_02]: They could have even gone crazier with it.
• 14:23
  [SPEAKER_02]: But I'm glad they went as least as far as they did.
• 14:26
  [SPEAKER_02]: Yeah.
• 14:27
  [SPEAKER_02]: The whole first half where we're dealing with like sort of the science fiction premise and we're kind of learning the world of the animals is amusing.
• 14:34
  [SPEAKER_02]: Yeah, it's it's fun.
• 14:36
  [SPEAKER_02]: It's it's fun.
• 14:37
  [SPEAKER_02]: It's unfortunately really sort of frantic in that on a peeling Disney humor kind of way of almost felt when Like in the last 20 years, especially when Disney tries to do slapstick humor, it's so rarely works.
• 14:52
  [SPEAKER_02]: Yeah, more so than being funny.
• 14:55
  [SPEAKER_02]: It's just sort of frantic.
• 14:56
  [SPEAKER_02]: there's an element of desperation to like we don't think this will work there's this kind of jingling keys quality to a lot of it and it just is it's death it's never funny and there's some of that in hoppers where there's just so much screaming and so much fast-paced breathless humor that you're kind of expecting the kids to kind of roll with it when really it's just not funny.
• 15:14
  [SPEAKER_00]: To be fair, I actually did think quite a bit of it was funny, but they're also cramming in a lot of story and character in that.
• 15:21
  [SPEAKER_00]: And I think they do a good job of it, but you're right, it leads to a frantic base.
• 15:23
  [SPEAKER_00]: I agree with that.
• 15:24
  [SPEAKER_02]: There's a bit of a story twist, partway through involving the animal kings, that A at in C coming.
• 15:31
  [SPEAKER_02]: Yeah.
• 15:32
  [SPEAKER_02]: And B gets...
• 15:34
  [SPEAKER_02]: pushes the movie into a really weird territory and that's when it starts to get really interesting.
• 15:40
  [SPEAKER_02]: That's when they start doing the more creative stuff.
• 15:42
  [SPEAKER_00]: There's a raising bigger question.
• 15:43
  [SPEAKER_02]: There's a bit with a flying shark that I just adored.
• 15:47
  [SPEAKER_00]: I love that.
• 15:48
  [SPEAKER_00]: There's a car chase with a flying shark.
• 15:52
  [SPEAKER_00]: When I love is when you come up with a premise for a movie and sometimes a premise for a movie,
• 15:56
  [SPEAKER_00]: is very simple and that can be fine, you know, if you think about it, even some of the best movies ever made, like before sunrise, a guy in a girl meet, they spend the day and night together and then they depart.
• 16:08
  [SPEAKER_00]: That's great.
• 16:09
  [SPEAKER_00]: There's really only so much you can do with that.
• 16:11
  [SPEAKER_00]: You can't bring in like a space vampire without kind of moving into weird new territory that doesn't fit that material.
• 16:19
  [SPEAKER_00]: But when you come up with something as bizarre as hoppers.
• 16:22
  [SPEAKER_00]: I want you to take it as far as I can go.
• 16:25
  [SPEAKER_00]: I wanted, that's what the Hopper's does repeatedly throughout the movie.
• 16:29
  [SPEAKER_00]: It showed me scenes in movies, showing me shows me scenes that couldn't happen in any other movie, except maybe the Avatar movies, and James Cameron couldn't come up with those ideas.
• 16:39
  [SPEAKER_00]: There are so many of these.
• 16:41
  [SPEAKER_00]: The last Avatar movie was basically the second one again.
• 16:45
  [SPEAKER_02]: Again, the idea of
• 16:48
  [SPEAKER_02]: And it's so simple.
• 16:49
  [SPEAKER_02]: What do you do?
• 16:50
  [SPEAKER_02]: What do you do with this premise?
• 16:51
  [SPEAKER_02]: The idea.
• 16:52
  [SPEAKER_02]: It's called avatar.
• 16:53
  [SPEAKER_02]: You have avatar bodies, a Navi occupies a human now.
• 16:57
  [SPEAKER_02]: Yeah, just do it backwards.
• 16:58
  [SPEAKER_02]: That's not terribly, uh, creative.
• 17:01
  [SPEAKER_00]: But it opens up the story.
• 17:02
  [SPEAKER_00]: Yeah, it changes the story a little bit.
• 17:04
  [SPEAKER_00]: I don't mean to just harp on because sometimes I feel like when you compare a movie to another movie, you run the risk of people thinking that that's your only point of comparison.
• 17:12
  [SPEAKER_00]: And all I care about is that I didn't much care for avatar and this is better.
• 17:17
  [SPEAKER_00]: but the movie brings it up towards the beginning.
• 17:22
  [SPEAKER_00]: It acknowledges that this is the only frame of reference we have for the story element and also Disney owns it.
• 17:26
  [SPEAKER_00]: So we don't mind calling it out by name.
• 17:29
  [SPEAKER_00]: So they're inviting that comparison.
• 17:32
  [SPEAKER_00]: And it's a comparison that overwhelmingly flavors Hoppers.
• 17:36
  [SPEAKER_00]: And I respect that.
• 17:39
  [SPEAKER_00]: But even just in a vacuum, this is such a bright, creative motion picture with someone's weird stuff.
• 17:46
  [SPEAKER_00]: And I do think it actually has, there's a risk when you tell a story about something as familiar as the environment.
• 17:57
  [SPEAKER_00]: Should we or should we not be nice to the environment?
• 18:00
  [SPEAKER_02]: These environmentalists stories really came into thought when we were like in junior high.
• 18:05
  [SPEAKER_00]: Oh yeah.
• 18:05
  [SPEAKER_00]: Yeah, like I'll all these, um, so I get a lot of Captain Planets and Firm Gov.
• 18:10
  [SPEAKER_00]: Yeah, and listen, it's a good message.
• 18:13
  [SPEAKER_00]: I'm not disputing the message.
• 18:15
  [SPEAKER_00]: But the message can be a little, it's going to be so wrote, it can be so familiar, uh, that
• 18:21
  [SPEAKER_00]: Even as a kid, you stop giving a shit after a while.
• 18:24
  [SPEAKER_02]: Well, it gets really preachy and even kids especially, it can see when something's preachy.
• 18:28
  [SPEAKER_02]: Yeah.
• 18:29
  [SPEAKER_02]: And adult might say, oh, what noble intentions, a kid is just going to say, this is not entertaining.
• 18:33
  [SPEAKER_02]: I still kind of ascended to.
• 18:34
  [SPEAKER_02]: Yeah.
• 18:35
  [SPEAKER_02]: Hoppers, I kind of wish had kind of send it a little bit more.
• 18:38
  [SPEAKER_02]: It gives us a little bit of information about the national role.
• 18:42
  [SPEAKER_02]: I wanted them to go way into detail.
• 18:44
  [SPEAKER_02]: Yeah.
• 18:45
  [SPEAKER_02]: But I'm a nerd.
• 18:46
  [SPEAKER_02]: I like those.
• 18:46
  [SPEAKER_02]: kinds of like scientific explorations in my entertainment.
• 18:49
  [SPEAKER_00]: So, well, what I like about Hopper is was that ultimately, the environmental thing is like, we're clearly on the animal side.
• 18:57
  [SPEAKER_00]: There's not a lot, there's no one has a big speech about how we really need a bypass.
• 19:02
  [SPEAKER_00]: You know, it's like, that's, that's not important.
• 19:06
  [UNKNOWN]: Yeah.
• 19:06
  [SPEAKER_00]: But what is interesting is that as that subplots starts to fade into the background a little bit, the actual core of the story ends up being about Mabel's relationship to the beaver king George, voiced by Bobby Moynihan is funny Moynihan.
• 19:21
  [SPEAKER_00]: And he is an extremely laid-back guy.
• 19:24
  [SPEAKER_00]: He's very chill.
• 19:26
  [SPEAKER_00]: He wants even like that whole carnivore rule.
• 19:29
  [SPEAKER_00]: He's like, we can't come up with it.
• 19:31
  [SPEAKER_00]: Come up with a better system and let me know.
• 19:33
  [SPEAKER_00]: Like we're doing the best we can.
• 19:35
  [SPEAKER_00]: We all have to live together.
• 19:36
  [SPEAKER_00]: And I just want everybody to live together and be happy.
• 19:38
  [SPEAKER_00]: I think everybody has some good in them.
• 19:40
  [SPEAKER_00]: And I appreciate that even at 19, the protagonist of this Disney movie is like, well, that's not the way that works.
• 19:46
  [UNKNOWN]: Yeah.
• 19:46
  [SPEAKER_00]: And I think everyone in the audience, as soon as you hear that, your knee jerk reaction is, well, that's naive.
• 19:50
  [SPEAKER_00]: And then the protagonist says it's naive.
• 19:52
  [SPEAKER_00]: And then what we realize over the course of the film is that we're not going to learn that George is right.
• 19:58
  [SPEAKER_00]: We're gonna learn that George should be right and that we should be working towards that rather than accepting that he's wrong and trying to one up each other and being an asshole to one another.
• 20:10
  [SPEAKER_00]: And I think that's a very mature way to handle that story and I also appreciate that when all is said and done, the movie does acknowledge that while there is good and a lot of people, even people you might not expect to be good, there are also tyrants.
• 20:27
  [SPEAKER_00]: And we have to deal with them in a very direct way.
• 20:33
  [SPEAKER_00]: Yes.
• 20:34
  [SPEAKER_00]: And I think that is what makes this movie feel not merely mouth.
• 20:37
  [SPEAKER_00]: It makes it feel actually like it's got something on its mind and it's willing to make some points.
• 20:41
  [SPEAKER_00]: And I think it's cautious optimism is healthy, I think.
• 20:48
  [SPEAKER_02]: the way heroes and villains are treated, especially in kid films, especially in Disney distributed movies, tends to be quite simple, the villains you can tell tell what they look like just by looking at, Maleficent is clearly a villain.
• 21:01
  [SPEAKER_02]: It's hot.
• 21:04
  [SPEAKER_00]: Gaston is hot.
• 21:05
  [SPEAKER_00]: Ursula is hot.
• 21:06
  [SPEAKER_02]: I guess that proved me wrong.
• 21:07
  [SPEAKER_02]: Gaston was like sort of a...
• 21:09
  [SPEAKER_02]: I know, it's an inversion of that.
• 21:11
  [SPEAKER_02]: But was he really... Maleficent was hot.
• 21:13
  [SPEAKER_02]: The evil queen was hot.
• 21:15
  [SPEAKER_02]: Okay.
• 21:17
  [SPEAKER_02]: I'm not sure if these characters are being designed to arouse adult audiences.
• 21:23
  [SPEAKER_00]: Maybe they're telling you that all of those animators drawing Maleficent's who super hot We're thinking of themselves, and yeah, no one's got to pick up on how attractive this character is Certainly no kids are going to obsess over this and certainly no one's going to want to remake this in a few decades Just to make her the protagonist because of how cool she looks.
• 21:38
  [SPEAKER_00]: She looks cool.
• 21:39
  [SPEAKER_02]: I'm I'm I'm
• 21:40
  [SPEAKER_00]: Maybe I have a crush on Maleficent, maybe I have a crush on Maleficent, but no, I cannot be the only one who had a crush on Maleficent.
• 21:47
  [SPEAKER_00]: I refuse to believe.
• 21:48
  [SPEAKER_02]: Right.
• 21:48
  [SPEAKER_02]: Right.
• 21:49
  [SPEAKER_02]: It's supposed to be an email.
• 21:50
  [SPEAKER_02]: If you're weird area here, but you've got a crush.
• 21:53
  [SPEAKER_02]: Of course, I also watched that the 1970s Robin Hood feature.
• 21:58
  [SPEAKER_00]: Yeah, we all had a crush on all sides.
• 21:59
  [SPEAKER_02]: I did not have a crush on those animals.
• 22:01
  [SPEAKER_02]: Maybe I'm a strange man.
• 22:04
  [SPEAKER_02]: I think you are.
• 22:05
  [SPEAKER_02]: Yeah.
• 22:05
  [SPEAKER_02]: I had a crush on Jessica Rabbit at that counts.
• 22:07
  [SPEAKER_00]: Yeah, I don't know if that was done.
• 22:09
  [SPEAKER_00]: That's an easy one, but I got me a crush on prints everyone had a crush on.
• 22:12
  [SPEAKER_00]: Yeah, exactly.
• 22:14
  [SPEAKER_00]: Yeah, but this is a really good movie.
• 22:17
  [SPEAKER_00]: Let's go.
• 22:18
  [SPEAKER_00]: It's not going to.
• 22:19
  [SPEAKER_02]: Hoppers is a really good movie, but yeah, what I was going to say is that the, um,
• 22:23
  [SPEAKER_02]: it gets to have sort of the big cartoon villains, but it has, because it has two villains, one is like really kind of broadly evil and one is capable of redemption.
• 22:33
  [SPEAKER_02]: It is rather annoying, especially in recent years, how Disney has been trying to give, especially in the live action remakes.
• 22:39
  [SPEAKER_02]: They're all of their villains have redemptive arcs or like redemptive qualities to the point where they're hardly villains anymore, or we explain a way they're evil in a way that makes them like a lot less evil.
• 22:51
  [SPEAKER_02]: That's what the whole Maleficent live action movies were about trying to take her teeth away a little bit.
• 22:55
  [SPEAKER_00]: I mean, I was fine with that work that just was fine.
• 22:57
  [SPEAKER_00]: Well, I shifted the villainy to someone else who was cartoonishly evil.
• 23:00
  [SPEAKER_00]: No.
• 23:01
  [SPEAKER_00]: And Maleficent, I don't know if that's the best example, but I do see your point.
• 23:03
  [SPEAKER_00]: But but but they did it so many times.
• 23:05
  [SPEAKER_00]: They didn't a lot of it.
• 23:07
  [SPEAKER_00]: Well, what they've done,
• 23:10
  [SPEAKER_00]: I think the most, uh, uh, uh, what's the one I'm looking for here?
• 23:14
  [SPEAKER_00]: I think that was generous interpretation of what they've been doing is that they've been wanting to make more complicated films.
• 23:18
  [SPEAKER_00]: But what they've ended up doing was making villains that don't make much of an impact or they have been trying to turn their villains into anti-heroes so hard that it feels like we lost anything ever remotely villainous.
• 23:30
  [SPEAKER_00]: Like like, like,
• 23:31
  [SPEAKER_00]: uh... there was a great uh... episode of pitch meeting uh... with about krewella with him a stone okay which they talked about how the premise of the movie is we're gonna find out how krewella develop became a villain great but by the end of the movie you've done so much work to make her relatable
• 23:50
  [SPEAKER_00]: that making her a villain feels out of character and now she has to be like nice to Dalmatians right at the end of the film.
• 23:57
  [SPEAKER_00]: So we've lost it.
• 23:59
  [SPEAKER_00]: We've lost our way mid-film.
• 24:01
  [SPEAKER_00]: I think a lot of the time.
• 24:02
  [SPEAKER_00]: But I think with the interns of villains, I think, yeah, sometimes I think that we have forgotten that at least in the industry, at least in the art form, that villains are real.
• 24:19
  [SPEAKER_00]: There are actual villains out there, and I think some people who are currently making movies or running these studios aren't necessarily eager to jump into that, but I think the people who are growing up today, finding their craft today, will be the big artists of tomorrow and 10 years now, 20 years from now.
• 24:39
  [SPEAKER_00]: It would be a little more clear about their villainy because we grew up with cartoon villainy on the news every day making our lives actively worse.
• 24:50
  [SPEAKER_00]: You don't see a lot of nuance in Christy-nome.
• 24:55
  [SPEAKER_02]: You don't see a lot of nuance in Steven Miller, you know, or Pete Seth.
• 24:58
  [SPEAKER_02]: But you know, the whole everything leading up to that was actually quite the opposite of like as because and all of all of these Disney movies.
• 25:06
  [SPEAKER_02]: a lot of even comic book villains.
• 25:09
  [SPEAKER_02]: We're given relatable, understandable motivations.
• 25:13
  [SPEAKER_02]: Yes, just their means.
• 25:14
  [SPEAKER_01]: Yeah.
• 25:15
  [SPEAKER_02]: And we were given so much, we were giving so much sympathy to villains in movies that we are perhaps giving too much of the benefit of the doubt to the people who are motivated by
• 25:27
  [SPEAKER_00]: actual wickedness and I think it's very telling how much of that came from the Disney corporation in the last 20 years Yeah, yeah, yeah, yeah, well, and we look a lot of what a lot corporations did where they at least wanted to be seen as benevolent Yeah, and then Google took down its one rule.
• 25:43
  [SPEAKER_00]: I think so have a rule on the wall.
• 25:45
  [SPEAKER_00]: Don't be evil They took that down We're not even pretending anymore, so now there's everyone's in the business of normalizing evil
• 25:55
  [SPEAKER_00]: I think Hopper's has a pretty healthy approach to that obviously baby and that under the Disney umbrella, but I think sometimes Disney isn't always clear on what's actually happening otherwise they wouldn't have made the movie wish It's about how Disney is the most evil fight thing you could possibly be.
• 26:10
  [SPEAKER_02]: We wish they they.
• 26:12
  [SPEAKER_02]: signed off on Tim Burton's Dumbo.
• 26:13
  [SPEAKER_02]: We've talked about Tim Burton's Dumbo before.
• 26:15
  [SPEAKER_00]: There's definitely some version of happening under their noses.
• 26:18
  [SPEAKER_00]: And I think Hopper is because it isn't the sale about the industry or anything.
• 26:21
  [SPEAKER_00]: They're probably not even thinking on that level.
• 26:23
  [SPEAKER_00]: But I do think Hopper is a very mature film.
• 26:26
  [SPEAKER_00]: It's a very funny film.
• 26:27
  [SPEAKER_00]: Very silly film, but I think you can do that in a mature way.
• 26:31
  [SPEAKER_02]: Yeah, you said it's mature and that's kind of why I think it's immature and that's kind of why I like it.
• 26:35
  [SPEAKER_02]: I think it is a mature way.
• 26:36
  [SPEAKER_02]: a sort of a cartoony way.
• 26:38
  [SPEAKER_02]: It's written by mature screenwriter.
• 26:39
  [SPEAKER_00]: That's the point.
• 26:40
  [SPEAKER_02]: I think if you're going to, there are a lot of childish elements.
• 26:44
  [SPEAKER_00]: I think childish isn't necessarily a mature.
• 26:46
  [SPEAKER_00]: And I think a lot of the best childish things that we have are made by adults who understand that there is, we have to play responsibly.
• 26:58
  [SPEAKER_01]: Yeah.
• 26:58
  [SPEAKER_00]: You look at something like adventure time, where it's very silly a lot of the time, but it also...
• 27:05
  [SPEAKER_00]: understands when we're being emotionally serious and understands what not to turn into silliness and that everything else is fair gay yeah and i think hoppers does a really good job of finding that balance uh i like something like that i really do i think this is i joked in my review i didn't joke but i made a bigger deal out of it than i could as in order to sell the point that is the best avatar movie which it is but it's just a really good sci-fi kids movie and
• 27:34
  [SPEAKER_02]: like it's it's not like my favorite of the year didn't like I haven't been three months.
• 27:38
  [SPEAKER_00]: It hasn't even been three months.
• 27:40
  [SPEAKER_02]: Well we're about to get to uh I'll fill my utterly adore.
• 27:46
  [SPEAKER_00]: We're gonna kick that we're gonna kick that can down for a minute, but like we'll get that too.
• 27:49
  [SPEAKER_02]: But Pixar is very adept, even in films like Inside Out, too.
• 27:56
  [SPEAKER_02]: It's sort of tugging on the heartstrings.
• 27:58
  [SPEAKER_02]: They're a very sentimental filmmaking studio.
• 28:01
  [SPEAKER_02]: And that's, this isn't a detriment, but it is something that hoppers lacks.
• 28:05
  [SPEAKER_02]: It doesn't have that sort of tear, jerk or moment.
• 28:08
  [SPEAKER_02]: It's a little bit more of an adventure.
• 28:09
  [SPEAKER_02]: It's effective.
• 28:10
  [SPEAKER_02]: It's a good film still.
• 28:12
  [SPEAKER_02]: That's wonderful.
• 28:13
  [SPEAKER_01]: Yeah.
• 28:13
  [SPEAKER_02]: It's really great.
• 28:16
  [SPEAKER_02]: It's not going to have the sort of trademark
• 28:19
  [SPEAKER_02]: Picks are hunky moment.
• 28:21
  [SPEAKER_00]: Yeah fair enough.
• 28:22
  [SPEAKER_00]: Well, the next big big, big move that's opening this week comes from a director of an Oscar nominated movie and actor Oscar nominated actor who I'm of let a fan of for really long time to Oscar nominated actors three Oscar nominated.
• 28:37
  [SPEAKER_00]: What one Oscar winning actor to say.
• 28:39
  [SPEAKER_00]: Well, one us win.
• 28:41
  [SPEAKER_00]: Well, give Jesse Buckley a week.
• 28:45
  [SPEAKER_00]: This is Maggie Gillin-Hall's the bride.
• 28:47
  [SPEAKER_00]: And obviously Maggie Gillin-Hall is part of a dynasty, which is born into the industry.
• 28:55
  [SPEAKER_00]: But I think both are in Jake Gillin-Hall have done a lot of work to actually like, Jake, that's your brother.
• 28:59
  [SPEAKER_00]: That's your brother.
• 28:59
  [SPEAKER_00]: They've done a lot of work to prove their metal and their talent.
• 29:03
  [SPEAKER_00]: And I think they're both really, really excellent artists.
• 29:06
  [SPEAKER_00]: Maggie Jillin Hall is one of the many actors who moved behind the camera and her first film was nominated for two Academy Awards of Best Actress and Supporting Actress.
• 29:17
  [SPEAKER_00]: It was called the Lost Daughter and if you missed it, it's great.
• 29:22
  [SPEAKER_00]: Jesse Buckley plays a young version of Olivia Coleman and Olivia Coleman is an older woman on like a vacation and she gets herself into some fucked up trouble and I won't go into it any further.
• 29:32
  [SPEAKER_00]: Their performances are fantastic.
• 29:34
  [SPEAKER_00]: The movie is fantastic.
• 29:35
  [SPEAKER_00]: It's the kind of movie an actor usually makes.
• 29:39
  [SPEAKER_00]: I find when they move into the director's chair, it's very focused on actor forward.
• 29:43
  [SPEAKER_00]: Yeah, but not so much action or style.
• 29:47
  [SPEAKER_00]: Not that that style is or anything like that, but we're not going heavy handed on it.
• 29:50
  [SPEAKER_00]: We're letting, we're guiding our fellow actors to great performances.
• 29:55
  [SPEAKER_00]: And then she made the bride.
• 29:59
  [SPEAKER_00]: uh, which is so fucking dynamic and stylish.
• 30:03
  [SPEAKER_00]: It is a fucking scream of a movie in more ways than one.
• 30:09
  [SPEAKER_02]: You can tell that Maggie Gillen Hall is, uh, has a wide, uh, swath of interest.
• 30:14
  [SPEAKER_02]: Yes.
• 30:15
  [SPEAKER_02]: She's really into, uh, certain kinds of music and filmmaking and, uh, literature.
• 30:21
  [SPEAKER_02]: And she is not holding back.
• 30:24
  [SPEAKER_00]: No, this is the mighty pastiche of everything Maggie Gillen all
• 30:28
  [SPEAKER_02]: It's a gangster picture, it's punk rock, feminist allegory for adolescence.
• 30:36
  [SPEAKER_02]: It's a horror story, it's a comic book story, it's got musical ones and a lot of detective story as well.
• 30:43
  [SPEAKER_00]: stylistically it feels like it takes a lot of influences from like some of the the wilder silence um i saw some sunrise as long as humans in there we don't want a new york and we see this well i'm getting a lot of like kind of rustle vibes on that too yeah well this is this is a fun mix mixture oh god we do not get this particular mixture enough if you ask me
• 31:02
  [SPEAKER_02]: Yeah, it is a brighter Frankenstein.
• 31:04
  [SPEAKER_02]: The first voice we hear is that of Mary Shelly, who is in the afterlife and pissed off that she didn't get to say everything she wanted to.
• 31:12
  [SPEAKER_00]: She's also played by Jessie Buckley, which if you pay attention in the original, brighter Frankenstein, uh, Elsa Landchester, who played the brighter Frankenstein, and she's only in that movie for like a minute or two right at the end.
• 31:22
  [SPEAKER_00]: She also played Mary Shelley in the prologue.
• 31:24
  [SPEAKER_00]: That's all right, where she was going to tell you what happened next in Frankenstein.
• 31:28
  [SPEAKER_00]: And yeah, she's like, I, she's, and she's speaking all poetic like, and it's very in your face how weird this is going to get.
• 31:37
  [SPEAKER_02]: It was, it reminded me of the Richard break sequence at the beginning of the film 31.
• 31:41
  [SPEAKER_02]: Oh, yeah.
• 31:42
  [SPEAKER_02]: Which 31 sucks.
• 31:43
  [SPEAKER_02]: It's not a good movie, but that opening monologue, the Richard break gives makes you think you're about to watch something real.
• 31:49
  [SPEAKER_00]: He's an award-winning award worthy performance and just a couple of minutes in that movie.
• 31:53
  [SPEAKER_00]: I'm pretty sure we're fortunate in the movie isn't very good, but yeah, no.
• 31:56
  [SPEAKER_00]: She's just talking directly to the audience, and I'm not going to say them all the eloquent words, but I am Mary Wilson-Craft Shelley.
• 32:02
  [SPEAKER_00]: I wrote Frankenstein and then I died too fucking young and I didn't get to say all the shit I wanted to say and I didn't get to do all the shit I wanted to do because I lived in a fucked-up sexist time.
• 32:12
  [SPEAKER_00]: And I'm sick of it, and I've been living in this fucking void ever fucking sense because death sucks.
• 32:17
  [SPEAKER_00]: And I am going to find a girl who looks exactly like me in 1931 or 1932, also played by Jesse Buckley.
• 32:25
  [SPEAKER_00]: She's a sex worker, and I'm going to demonically possess her in the middle of dinner and start screaming melville quotes and feminism.
• 32:34
  [SPEAKER_00]: So much that the gangsters that she's hanging out with have to throw her down a fucking staircase, and then
• 32:41
  [SPEAKER_02]: I don't know how I meant when this happened and that's how the story begins.
• 32:44
  [SPEAKER_00]: Yeah.
• 32:45
  [SPEAKER_00]: And then I'm going to get resurrected and it's going to get even weirder from there.
• 32:48
  [SPEAKER_02]: Yes.
• 32:48
  [SPEAKER_02]: As it turns out, the Frankenstein's monster, you can call him Frankenstein.
• 32:52
  [SPEAKER_02]: It's fine.
• 32:52
  [SPEAKER_02]: He's Frankenstein of this one.
• 32:54
  [SPEAKER_02]: Which I appreciate.
• 32:55
  [SPEAKER_02]: It's a time-saver really.
• 32:57
  [SPEAKER_02]: He's, he's lonely.
• 32:59
  [SPEAKER_02]: I'd like Christian bail.
• 33:01
  [SPEAKER_02]: He's got the big stitches in his forehead.
• 33:02
  [SPEAKER_02]: He's got a scarred up face.
• 33:04
  [SPEAKER_02]: But this is 1930, so it's just a little bit better.
• 33:08
  [SPEAKER_02]: It's dapper.
• 33:09
  [SPEAKER_02]: Yeah, he goes to Mad scientist Dr. Fronius Dr. Fronius is played by a net betting.
• 33:15
  [SPEAKER_02]: Yes, and he says I need you to create a girlfriend for me And he's they blow.
• 33:20
  [SPEAKER_02]: She does Um, she has if you'll notice she has magenta as a maid For Rocky bars, so I'm not sure if that's a direct prestige, but it's her evokes it a little bit I appreciate that when we talk about some of these
• 33:33
  [SPEAKER_00]: troubling elements of the Bride of Frankenstein story, which was really barely ever been told.
• 33:38
  [SPEAKER_00]: There was that Jennifer Beals movie in the 80s, which is not very bad.
• 33:41
  [SPEAKER_00]: Yeah, it's not a good movie, but less than they tried.
• 33:46
  [SPEAKER_00]: He's talking about, can you bring someone back to life for me to romance?
• 33:53
  [SPEAKER_00]: It's talking about taking woman's agency away.
• 33:55
  [SPEAKER_00]: I would say this kind of fucked up.
• 33:56
  [SPEAKER_00]: And I appreciate that in that thing.
• 33:57
  [SPEAKER_00]: That's why Maggie Gillen Hall is here.
• 33:59
  [SPEAKER_00]: This is a band story to that.
• 34:01
  [SPEAKER_00]: This is at the core of the story.
• 34:03
  [SPEAKER_00]: So when people like, oh, do we really have to go there?
• 34:06
  [SPEAKER_00]: Yes, that's endemic to the story.
• 34:08
  [SPEAKER_00]: But I appreciate that in that painting says, you know, if you just want to have sex,
• 34:12
  [SPEAKER_00]: You can pay people to do that, and they'll be fine with it.
• 34:15
  [SPEAKER_00]: It's sex organs in industry, and he's like, no, I want someone who knows what it's like to be me.
• 34:20
  [SPEAKER_00]: Yeah.
• 34:21
  [SPEAKER_00]: And this is actually a impressively sensitive.
• 34:28
  [SPEAKER_00]: interesting version of the Frankenstein monster.
• 34:31
  [SPEAKER_00]: This is actually one of my favorite versions of the Frankenstein monster.
• 34:34
  [SPEAKER_00]: I've seen since like the 90s.
• 34:36
  [SPEAKER_00]: Well, I just think I just think Christian Bale understands that there is a poetry to this character and a rage to this character and a loneliness that has had time to ripen into something that he can be wise about it.
• 34:49
  [SPEAKER_00]: There's a moment where they dig up Jesse Buckley and they bring her in and they're about to, you know, revive her and you finally
• 34:57
  [SPEAKER_00]: Yeah, she's too cute.
• 34:58
  [SPEAKER_00]: She's not going to want to be around me.
• 34:59
  [SPEAKER_00]: And then he's like, I'm not taking up another course.
• 35:02
  [SPEAKER_02]: Yeah, I don't want to do that in the first place.
• 35:05
  [SPEAKER_02]: No, it's now or never.
• 35:07
  [SPEAKER_02]: Like this is it.
• 35:08
  [SPEAKER_02]: And I love the design choice when they resurrect her.
• 35:12
  [SPEAKER_02]: She's full of like this kind of black magical fluid.
• 35:15
  [SPEAKER_02]: Yeah, she ends up having to like cough it up and she coughs it up all over a body, including this big splatter on her face and just it's there.
• 35:21
  [SPEAKER_02]: It's staying through skin.
• 35:22
  [SPEAKER_02]: Yeah, yeah.
• 35:23
  [SPEAKER_02]: And it has, it just sort of, that design, it age unique, it lends sort of the character that kind of sloppy punk rock quality that the rest of the movie has and she comes back to life.
• 35:39
  [SPEAKER_02]: She doesn't have a lot of memories.
• 35:40
  [SPEAKER_00]: but she's also possessed by Mary Shelley, so it's like all of me, it's all of me was like half Lily Tom went and half Mary Shelley, and also they were gangsters on the run.
• 35:50
  [SPEAKER_00]: Yeah, and which is a great thing.
• 35:51
  [SPEAKER_02]: Because it's a shirtie, they sort of go down into, they essentially go into the Frankie Goes to Hollywood relax music video, like in this like little,
• 36:05
  [SPEAKER_00]: You've never seen body double.
• 36:06
  [SPEAKER_00]: It's amazing.
• 36:08
  [SPEAKER_00]: I've only started for the first time recently.
• 36:10
  [SPEAKER_00]: Isn't it great?
• 36:10
  [SPEAKER_00]: It's pretty terrific.
• 36:11
  [SPEAKER_00]: Wow.
• 36:12
  [SPEAKER_00]: A lot of that movie.
• 36:13
  [SPEAKER_00]: But yeah, they go out to live basically.
• 36:16
  [SPEAKER_00]: Right?
• 36:17
  [SPEAKER_00]: Mary Shelley never got to live the way she wanted to.
• 36:20
  [SPEAKER_00]: And the Ida is the the bride's former name.
• 36:26
  [SPEAKER_00]: doesn't got her memories back and she wants to get out of the lab and see what's on the slap.
• 36:31
  [SPEAKER_00]: And so they go dancing and I just I shivered with end to sensation.
• 36:39
  [SPEAKER_00]: Yeah, okay.
• 36:40
  [SPEAKER_00]: See what you did.
• 36:41
  [SPEAKER_00]: Um, anyway, they run a foul.
• 36:43
  [SPEAKER_00]: There are a lot of rocky horror references.
• 36:45
  [SPEAKER_00]: That's what I think.
• 36:46
  [SPEAKER_00]: They run a foul of some guys who try to attack the bride Frankenstein kills them very dead But unfortunately, they're not only witness some of the things a photo of them and then they become basically zombie in Clyde And they start running around America
• 37:02
  [SPEAKER_00]: I wish we saw a bit more of their crimes.
• 37:04
  [SPEAKER_00]: I feel like there should be more bank robbing or something like that.
• 37:07
  [SPEAKER_02]: That would be fun What have been fun if they actually like did become serial criminals?
• 37:10
  [SPEAKER_02]: No, they kill these people.
• 37:12
  [SPEAKER_02]: There's photographs and it becomes a detective story because Peter Sarasgard and Penalwood grew is a little bit detective
• 37:17
  [SPEAKER_02]: on their case and because this is sexist society, everyone assumes that Peter Sarasgard is the one in charge when released the side.
• 37:24
  [SPEAKER_00]: Officially he's in charge, technically she's doing all the real work, at least the ignorance stands, that's that's an injustice.
• 37:32
  [SPEAKER_00]: So yeah, they're being tracked across the country as they continue to fall in love and discover that Frank and Sam was keeping things from her and also
• 37:43
  [SPEAKER_00]: What the hell?
• 37:44
  [SPEAKER_00]: The pride can reap people's minds and figure out their sins and also somehow they can get everybody in a club to do a musical number to put them on the rents.
• 37:52
  [SPEAKER_02]: Well, they were already playing putting on the rents.
• 37:54
  [SPEAKER_02]: Yeah, but they broke into this night club so they could.
• 37:58
  [SPEAKER_02]: sort of hide out from the cops and the the every story is there and But the point is they I don't think they knew all the monster choreography from thriller is my point I think that's the there's a certain magical element to that I suppose now he Jill and home isn't tying herself down to pure logic or anything Yeah, I appreciate how unhinged this movie is yeah a lot of people say that the feminism is pretty I've been listening to other critics a lot of lot of people talking good.
• 38:25
  [SPEAKER_02]: I am that things
• 38:25
  [SPEAKER_02]: That the feminist messaging is quite obvious.
• 38:29
  [SPEAKER_02]: Yes, it is.
• 38:30
  [SPEAKER_02]: Yeah, it's really ham-fisted There's a lot of quoting of of Hemingway, Bartleby the Scrivener specifically where Melville or Melville excuse me You're right.
• 38:39
  [SPEAKER_02]: I think they made the same mistake in the movie.
• 38:41
  [SPEAKER_02]: Yeah The phrase I would prefer not to yeah is repeated over and over again, but it's sort of repurposed in this feminist sense
• 38:55
  [SPEAKER_00]: And that's, uh, that's not really what Barley's revenue is about.
• 38:59
  [SPEAKER_00]: No, not at all works.
• 39:00
  [SPEAKER_02]: But it's repurposed in a good way.
• 39:02
  [SPEAKER_02]: Um, I, I'm looking at this design of the bride.
• 39:06
  [SPEAKER_02]: I'm thinking, come Halloween.
• 39:08
  [SPEAKER_02]: Oh, yeah.
• 39:08
  [SPEAKER_02]: You go down to West Hollywood and you're going to see eight hundred of those.
• 39:11
  [SPEAKER_02]: Oh, yeah.
• 39:12
  [SPEAKER_02]: Uh, and just wouldn't you know what?
• 39:13
  [SPEAKER_02]: They do that in the movie.
• 39:14
  [SPEAKER_01]: Yeah.
• 39:14
  [SPEAKER_02]: We're in here of this, uh, the crime spree and they start dressing.
• 39:18
  [SPEAKER_00]: They see the bride.
• 39:19
  [SPEAKER_02]: And become agents of chaos.
• 39:21
  [SPEAKER_00]: Yeah.
• 39:21
  [SPEAKER_00]: So like if you if you're at a party and everyone's dressed like the bride you don't get to really rise because that just became a group costume Yeah, and I love that.
• 39:30
  [SPEAKER_00]: I think that's really brilliant.
• 39:31
  [SPEAKER_00]: I'm watching this movie and I'm thinking of myself But my one critique in this movie really is that I feel like most of the wild ideas are in the first half And then it kind of settles down into more of a narrative in the second half It's hard to keep that momentum going doesn't really hurt the movie, but I did feel a little less interested in second half than I did in the first.
• 39:50
  [SPEAKER_00]: I still think it's great
• 39:51
  [SPEAKER_00]: But I'm watching this movie, and I'm thinking to myself, so many people are going to love this movie, and people might not like it as well, but I just know that there is a crowd of people, there is a group of people who are going to absolutely fall in love with this movie's love for.
• 40:09
  [SPEAKER_00]: horror, and cinema, and style, and music, and acting, and the freedom to go as big as you want, because you've created a narrative and a tonal space where Jesse Buckley can go to fucking 11 all the time and get away with it, and while ironically Christian Bale is here as the sensitive guy kind of grounding the piece, like, it's so fucking great,
• 40:39
  [SPEAKER_00]: I, the reviews come out, and I was genuinely surprised, I wasn't surprised to be able to send people to dislike it.
• 40:45
  [SPEAKER_00]: That's true with a lot of movies, but I don't know.
• 40:50
  [SPEAKER_00]: The vitriol a lot of people have for this one was really striking to me.
• 40:54
  [SPEAKER_00]: A lot of people hate this movie.
• 40:58
  [SPEAKER_00]: And they think it's a terrible motion picture.
• 41:00
  [SPEAKER_00]: And I, I have, I have, I have,
• 41:04
  [SPEAKER_00]: two kind of thoughts about that.
• 41:06
  [SPEAKER_00]: And one is the old saw that if a movie is extremely divisive, it must be doing something right.
• 41:12
  [SPEAKER_00]: I'm not sure.
• 41:12
  [SPEAKER_00]: I entirely agree with that, but certainly it's striking.
• 41:16
  [SPEAKER_00]: Yeah.
• 41:16
  [SPEAKER_00]: It's not something that you can just brush aside.
• 41:18
  [SPEAKER_00]: You have to have a big reaction to it.
• 41:22
  [SPEAKER_00]: The other thing is this is probably what it was like for you when Babylon came out in
• 41:29
  [SPEAKER_00]: I still don't think that's a good movie, but I know that that was not a nice feeling.
• 41:33
  [SPEAKER_02]: Yeah, no.
• 41:35
  [SPEAKER_02]: Look, we're critics.
• 41:36
  [SPEAKER_02]: It happens pretty periodically.
• 41:38
  [SPEAKER_02]: You're going to find a film that you adore and the rest of the critical community.
• 41:41
  [SPEAKER_00]: I just find usually when it feels very divisive.
• 41:43
  [SPEAKER_00]: I'm usually not on the pro side, huh?
• 41:47
  [SPEAKER_00]: Which I don't know if that's strictly true because there's a lot of moves we will just don't like and I want the pro side.
• 41:52
  [SPEAKER_00]: But when it's like love it or hate it, like Babylon or Southland tales.
• 41:56
  [SPEAKER_00]: I typically am on the, I don't think that works or at least I'm somewhere in the middle.
• 42:00
  [SPEAKER_00]: Kind of zone and here I'm like, I'm all in and I'm genuinely surprised that this almost had like a rotten
• 42:08
  [SPEAKER_00]: Tomatoes, rotten, rotten Tomatoes score.
• 42:10
  [SPEAKER_00]: Let's take check, it was barely a positive.
• 42:13
  [SPEAKER_02]: There's a lot of critics who really come and down hard on this one.
• 42:17
  [SPEAKER_02]: This is maybe for the inter-tim Burton kid and all of us, the kids who really like these stories of torture and outsiders with really strange aesthetics.
• 42:29
  [SPEAKER_02]: The difference with Tim Burton was actually very melancholy and sympathetic about us as outside of characters, think of something like
• 42:38
  [SPEAKER_02]: Similarly, off-putting marvelous character design on a character like Edward Caesar Hans, where he's like as the wild hair and the pale skin and the scars and just the big blades and dressed in Michael Jackson's bad outfit.
• 42:51
  [SPEAKER_02]: And Kelly Garry.
• 42:53
  [SPEAKER_02]: And yet, Kevin and Dr. Kelly Garry, like cool looking character, but also very sad and love Lauren and lives alone.
• 43:00
  [SPEAKER_02]: Maggie Gillin Hall doing something very similar in terms of like,
• 43:05
  [SPEAKER_02]: aesthetic philosophy.
• 43:08
  [SPEAKER_02]: But is suffused with a kind of righteous indignation that I adore.
• 43:13
  [SPEAKER_01]: Yeah.
• 43:14
  [SPEAKER_02]: There's this kind of punk rock middle finger.
• 43:16
  [SPEAKER_02]: What do you fight against?
• 43:17
  [SPEAKER_02]: I don't care.
• 43:18
  [SPEAKER_02]: They're giving the middle finger because the world deserves it.
• 43:21
  [SPEAKER_00]: Yeah, there's nothing that's about this is working.
• 43:23
  [SPEAKER_02]: Yeah, it's not there's nothing to support.
• 43:26
  [SPEAKER_02]: You know?
• 43:27
  [SPEAKER_02]: So being angry at the world is fine and that first half was just gave me such a
• 43:35
  [SPEAKER_02]: plot heavy story of the second half.
• 43:38
  [SPEAKER_02]: And by the time we're going out, the song choice over the credits made.
• 43:43
  [SPEAKER_00]: That was designed for you.
• 43:44
  [SPEAKER_02]: Who did out loud?
• 43:45
  [SPEAKER_02]: Probably bothering some of the critics who are sitting in front of me.
• 43:49
  [SPEAKER_02]: Yeah, it's just perfect.
• 43:51
  [SPEAKER_00]: I love this movie so much.
• 43:52
  [SPEAKER_00]: I do too.
• 43:53
  [SPEAKER_00]: It's really weird if you think about it.
• 43:56
  [SPEAKER_00]: How iconic the bride of Frankenstein has been since the
• 44:04
  [SPEAKER_00]: We've really only had two movies about her.
• 44:07
  [SPEAKER_00]: Right?
• 44:08
  [SPEAKER_00]: Like she's not even in the novel.
• 44:09
  [SPEAKER_00]: Like they're about to make her and then she does get there.
• 44:11
  [SPEAKER_02]: She's probably trying to sign shows up in movies all the time.
• 44:13
  [SPEAKER_02]: That's if you have her own movie.
• 44:15
  [SPEAKER_00]: No, she doesn't have a point.
• 44:16
  [SPEAKER_00]: It's weird that she's so iconic.
• 44:18
  [SPEAKER_00]: And she's technically the basis for is in Mary Shelley's novel, so it's a public domain.
• 44:22
  [SPEAKER_00]: I really think that you use the specific hairdo from Universal unless you're working at Universal.
• 44:27
  [SPEAKER_00]: I know they were going to make one with Angelina Jolie.
• 44:30
  [SPEAKER_00]: Yeah, but they were part of Universal.
• 44:31
  [SPEAKER_00]: We'd regardless, they had like almost a century to make one.
• 44:35
  [SPEAKER_00]: and they just didn't, and it's absurd considering how iconic the character is, and just how unexplored she is.
• 44:47
  [SPEAKER_00]: At least in no, we have the comics of Duns, the gadgets, but not so much in movies, and it's ridiculous.
• 44:53
  [SPEAKER_02]: Yeah, there aren't too many films that have put the bride front and center.
• 44:58
  [SPEAKER_00]: Yeah, the Bram at least allowed her to come to life briefly.
• 45:03
  [SPEAKER_00]: Yeah, but she was only in a couple of scenes.
• 45:04
  [SPEAKER_00]: Yeah, just because he sees a minor part of the men's story.
• 45:07
  [SPEAKER_00]: Yeah.
• 45:07
  [SPEAKER_00]: She's more of a victim in that.
• 45:09
  [SPEAKER_00]: And, you know, bride of Frankenstein ends with her expressing her agency and men going, oh, I don't like that.
• 45:15
  [SPEAKER_00]: This whole place has to burn.
• 45:16
  [SPEAKER_00]: And so, whoops.
• 45:18
  [SPEAKER_02]: But like, yeah, there's plenty on the hot that they're having them more.
• 45:21
  [SPEAKER_02]: There's plenty of comedy movies like, you know, the hotel Transylvania, as the bride and her.
• 45:25
  [SPEAKER_02]: Yeah, yeah.
• 45:25
  [SPEAKER_02]: These minor characters.
• 45:26
  [SPEAKER_02]: Yeah, but even Frankenstein's kind of a supporting player.
• 45:29
  [SPEAKER_02]: Yeah.
• 45:33
  [SPEAKER_00]: But again, she's at the right, that's he's he's functionally the Frankenstein, but yeah, I'll grant you that that is probably closest Probably the best thing we've had so far And even that since James whale and even that's kind of problematic, but yeah, no, I think this is
• 45:50
  [SPEAKER_00]: I think this is a fucking awesome moving.
• 45:53
  [SPEAKER_02]: Yeah, I think this is a fucking awesome as a great way to describe it.
• 45:55
  [SPEAKER_00]: I said in my review, and I posted it online a bit, and I was being cheeky, that Maggie Gillen Hall just made your new favorite movie, and several critics said, no, she fucking has not.
• 46:06
  [SPEAKER_00]: And I'm like, I wasn't talking to you, I was talking to the cool kids over here at the Godftable.
• 46:12
  [SPEAKER_00]: If you've ever shopped at Hot Topic, this movie is for you.
• 46:17
  [SPEAKER_00]: If you've ever, like, listened to Evan Nessence, this movie is for you.
• 46:23
  [SPEAKER_00]: Like, there's a ton of people.
• 46:25
  [SPEAKER_00]: This movie is fucking laser fucking sighted on.
• 46:30
  [SPEAKER_00]: And,
• 46:31
  [SPEAKER_00]: I think those people are doing really wild for it.
• 46:34
  [SPEAKER_00]: And what happens, I find, with these kind of divisive movies.
• 46:37
  [SPEAKER_00]: Unless they're like really huge like Batman, you can't escape talking about Batman.
• 46:42
  [SPEAKER_00]: Yeah.
• 46:43
  [SPEAKER_00]: Usually what happens is, they come out a whole bunch of people see it.
• 46:49
  [SPEAKER_00]: And a whole bunch of people realize this movie is not for me.
• 46:53
  [SPEAKER_00]: Maybe it's bad, maybe it's not.
• 46:54
  [SPEAKER_00]: But they just like, I don't want to see this.
• 46:56
  [SPEAKER_00]: But they're gonna talk about it because they just saw it.
• 46:58
  [SPEAKER_00]: Give it five ten years.
• 47:00
  [SPEAKER_00]: None of those people are going to want to talk about it anymore.
• 47:02
  [SPEAKER_00]: The only people who want to talk about it of people who liked it.
• 47:05
  [SPEAKER_02]: Yeah, well, this is a movie.
• 47:07
  [SPEAKER_02]: We've seen sort of the the sea change a little bit in terms of magia on the pictures.
• 47:13
  [SPEAKER_02]: This was
• 47:14
  [SPEAKER_02]: The change was very clear when something like Lord of the Rings, a big fantasy epic, was being nominated for Oscars.
• 47:23
  [SPEAKER_02]: The generation had passed enough that these big genre films were now being recognized.
• 47:27
  [SPEAKER_02]: And you look at the Oscars now, and what's the frontrunner this year?
• 47:30
  [SPEAKER_02]: It's a vampire picture.
• 47:31
  [SPEAKER_02]: We've got a fan from the Black Lagoon film one and that was the safe choice.
• 47:36
  [SPEAKER_00]: That's the boring choice Is the one about the creature from the Black Lagoon?
• 47:41
  [SPEAKER_00]: They're multiple horror movies nominated for best picture this year Yeah, it's like three if you include the gonia, which I think you should Yeah, yeah, I don't think it's not not a horror movie like we're we've moved into an interesting direction But there's still a Snobbishness about what kind of horror is okay to like and what kind of isn't
• 47:59
  [SPEAKER_00]: Yeah.
• 48:00
  [SPEAKER_00]: Well, like this is this is critically approved horror.
• 48:03
  [SPEAKER_02]: And what I like about the bride is that it's apart from us.
• 48:07
  [SPEAKER_02]: It's a critically disapproved horror, which means it's a cult movie already, which means it's going to make the midnight circuit as soon as possible.
• 48:15
  [SPEAKER_02]: Uh, all of the, all of the important weird teenagers are going to find this thing.
• 48:19
  [SPEAKER_00]: It's unfortunate that it doesn't seem to be doing well at the box office, although it might have likes.
• 48:23
  [SPEAKER_00]: We'll say, um,
• 48:25
  [SPEAKER_00]: It isn't fortunate because that means it might be harder to get more stuff like this specifically, but I pretty sure once this hits streaming a lot of people are like, this was fucking tight.
• 48:34
  [SPEAKER_00]: Yeah.
• 48:35
  [SPEAKER_00]: This is exactly what I wanted to say.
• 48:37
  [SPEAKER_00]: I love this movie.
• 48:38
  [SPEAKER_00]: And so we're gonna hate it, which is fine.
• 48:41
  [SPEAKER_00]: We're right.
• 48:42
  [SPEAKER_02]: We're on the right side of this.
• 48:45
  [SPEAKER_00]: We say that jokingly, we don't actually believe that as a critical ethos, but this time we feel as though
• 48:54
  [SPEAKER_00]: We like her take on this movie.
• 48:55
  [SPEAKER_00]: Yes, we're pretty confident in it.
• 48:58
  [SPEAKER_00]: I read people's complaints.
• 48:59
  [SPEAKER_00]: I people say it's not great feminism, but I'm like, yeah, it's proto feminism.
• 49:02
  [SPEAKER_00]: I'm not going to fight you on that.
• 49:03
  [SPEAKER_00]: It's in the fucking 30s, man.
• 49:05
  [SPEAKER_00]: It's in the 30s, and like that's what we're doing.
• 49:08
  [SPEAKER_02]: And I can picture a 12-year-old coming here.
• 49:12
  [SPEAKER_02]: Sure, sure.
• 49:13
  [SPEAKER_02]: It's our rated picture being taken by like an older sibling.
• 49:17
  [SPEAKER_02]: Yeah.
• 49:18
  [SPEAKER_02]: And getting like really hit with this in the right way.
• 49:22
  [SPEAKER_02]: It's for it's for the the slumber party of the goth kids in junior high school.
• 49:28
  [SPEAKER_00]: Oh, yeah, oh my god People are gonna see it my high school girlfriend would have gone fucking Wild over this baby.
• 49:36
  [SPEAKER_00]: I sort of an everything yeah Anyway, good movie the only other movie we both saw this week is a bit of a hard turn Cause this is a horror movie
• 49:48
  [SPEAKER_00]: very different tonally supposed to uh... this is a horror movie called dolly it is uh... pretty low budget shot on sixteen millimeter i think uh... stars uh... shonolium scott and uh... uh... uh... phybion terrestres uh... they are uh... they're dating he's a single father she's not sure she wants to be a mother but he's about to ask her maria but she can kind of see it coming
• 50:12
  [SPEAKER_00]: they decide to go on hiking, he's gonna find like a beautiful spot and propose to her and then they get to a beautiful spot and then he hears a mysterious noise and says I'm gonna go check it out, I'll be right back.
• 50:23
  [SPEAKER_00]: Now, I wish the movie were a little more tongue-in-cheek because some of the stuff that's about to happen is really fucked up to the point where it's merely unpleasant, but in a nutshell, there is a house in the woods.
• 50:36
  [SPEAKER_00]: a pretty big and although it's dilapidated very nice house to the extent that you'd be surprised no one knows it's there, where
• 50:46
  [SPEAKER_00]: someone has been raised by an abusive parent who is no longer in the picture.
• 50:51
  [SPEAKER_00]: And they have been wearing it.
• 50:54
  [SPEAKER_00]: You can save a lot of time and just say Texas Chancellor Mass.
• 50:56
  [SPEAKER_00]: It's a Texas Chancellor Mass.
• 50:57
  [SPEAKER_02]: It's a Texas Chancellor Mass.
• 50:58
  [SPEAKER_02]: It's a Texas Chancellor Mass.
• 51:00
  [SPEAKER_00]: We have a leather face type character who is wearing a porcelain cutie doll mask.
• 51:07
  [SPEAKER_00]: And what she does is she either kills people in the woods really brutally.
• 51:14
  [SPEAKER_00]: like very viscerally brutally, or she drags them back to the house and treats them like her dolls.
• 51:21
  [SPEAKER_00]: And if you don't go with that, it's going to be bad.
• 51:25
  [SPEAKER_00]: But going with that is also really gross and bad.
• 51:29
  [SPEAKER_00]: And so what was the baby interest?
• 51:31
  [SPEAKER_00]: Baby interest.
• 51:34
  [SPEAKER_00]: She's, I hope the actress was treated well, because her character does a lot of integrity.
• 51:41
  [SPEAKER_00]: This is very, this is a short movie, this is basically, we're gonna be pure scuzz.
• 51:49
  [SPEAKER_00]: This is gonna be very unpleasant.
• 51:50
  [SPEAKER_00]: If you ever saw the movie Mother's Day, you could kind of get a vibe on the original one, not the right back at the more name one, which is okay, I guess.
• 51:59
  [SPEAKER_00]: But this is very, very much 70s grind house.
• 52:04
  [SPEAKER_00]: We're going to push as far as we can go.
• 52:05
  [SPEAKER_00]: Well, that's kind of all we're here for, really.
• 52:08
  [SPEAKER_02]: And that's all the movie really.
• 52:09
  [SPEAKER_02]: How is there's like, the character is just in such a desperate position.
• 52:13
  [SPEAKER_02]: There's this idea that,
• 52:15
  [SPEAKER_02]: there's some twists like maybe she'll escape and maybe she won't, maybe she has allies, maybe she doesn't, none of that really matters.
• 52:23
  [SPEAKER_02]: We're just here for the gore.
• 52:24
  [SPEAKER_02]: And the gore, I'll say, is like appropriately brutal.
• 52:28
  [SPEAKER_02]: There's a lot of really hard, uh, gore effects, something happens to Sean Williams Scott that I thought, uh, like,
• 52:35
  [SPEAKER_02]: I thought was done with and then kept going, yeah, which was pretty pretty harrowing to watch.
• 52:40
  [SPEAKER_00]: There's definitely an audience for horror.
• 52:43
  [SPEAKER_00]: There's lots of all kinds of horror.
• 52:45
  [SPEAKER_00]: And if you like fucked up unpleasant shit, like if you saw the Texas chains on Massacre remake and you thought that's the tone I like my horror movies to strike and I know some people who do.
• 52:56
  [SPEAKER_00]: Dolly was made specifically for you, and I don't think anyone else, it's not very inviting to anyone else, I think it's not interested, it's like we, maybe other people like watching horror movies, we don't know, it's, frankly we don't want to know, it's an audience we can do without.
• 53:11
  [SPEAKER_02]: It's worth noting that shutter, the streaming service is one of the distributors of this ones.
• 53:16
  [SPEAKER_02]: Yeah, each shutter knows how to cater to a horror audience, so if it's niche, that's fine for shutter.
• 53:21
  [SPEAKER_02]: Yeah, until their shutter is credit, they like all different kinds of horror movies, they're just one of many.
• 53:25
  [SPEAKER_02]: Oh.
• 53:27
  [SPEAKER_02]: The film also seems to assume that everyone finds porcelain baby dolls to just be universally creepy.
• 53:36
  [SPEAKER_02]: Sure sometimes.
• 53:37
  [SPEAKER_02]: But I feel like we've been hammering those dolls since Barbara Rela.
• 53:42
  [SPEAKER_02]: Like we've been doing it so much that it's hard for me to just sort of accept that all of these dolls are just naturally going to be creepy.
• 53:49
  [SPEAKER_00]: Also doll masks have been done.
• 53:50
  [SPEAKER_00]: I recently, I think it was this last week, guys.
• 53:53
  [SPEAKER_00]: They did the strangers.
• 53:54
  [SPEAKER_00]: Well, we did the strangers, but I wrote in,
• 53:57
  [SPEAKER_00]: a newsletter for the patreon patreon.com slash critically acclaimed network even if you sign up for free you get a weekly newsletter and last week I was talking about screen 7 and also psychocular and what makes the slasher genre work?
• 54:12
  [SPEAKER_00]: I think a lot of people write it off because it's got a lot of just very specific genre elements that feels like we're repeating over and over again but I think within those elements.
• 54:20
  [SPEAKER_00]: There's a lot of creativity and there's a lot of fascination to see how different filmmakers solve the same problem.
• 54:28
  [SPEAKER_00]: Yeah.
• 54:28
  [SPEAKER_00]: One of the problems is
• 54:31
  [SPEAKER_00]: What mask is the killer going to wear now?
• 54:33
  [SPEAKER_00]: You can just leave this frame out the killer's face a lot of people do that Yeah, where they put the put it in POV like if you don't care that the audience knows who the killer is Which some slash or movies don't you have need to worry about that you can just show their face But it's pretty common For a slasher in order to hide their identity for one reason or another Maybe they don't want to get caught maybe they put on a mask and they feel like they've become a different person or They're ashamed of their face or whatever
• 54:59
  [SPEAKER_00]: They wear a mask and the mask is typically something that the filmmakers would very much like to be iconic.
• 55:05
  [SPEAKER_00]: We'd very much like people to associate with the franchise and wear on Halloween.
• 55:09
  [SPEAKER_00]: It's the cell merch.
• 55:13
  [SPEAKER_00]: It is extremely difficult to come up with a new mask.
• 55:16
  [SPEAKER_00]: There have been so many slasher movies good and bad that we kind of run through most of them.
• 55:22
  [SPEAKER_00]: Like I remember when
• 55:25
  [SPEAKER_00]: I think it was Urban Legends Final Cut.
• 55:28
  [SPEAKER_00]: Okay.
• 55:28
  [SPEAKER_00]: Second, you've been legends maybe.
• 55:30
  [SPEAKER_00]: We wanted to place it a film school.
• 55:31
  [SPEAKER_02]: That's right.
• 55:32
  [SPEAKER_00]: And the serial killer in that one, wore a fencing mask.
• 55:37
  [SPEAKER_00]: That's right.
• 55:37
  [SPEAKER_00]: Yeah, that's right.
• 55:39
  [SPEAKER_00]: That has nothing to do with an urban legend.
• 55:41
  [SPEAKER_00]: No, it's just a mask.
• 55:42
  [SPEAKER_00]: No, once you use the axe, we're just running out of masks.
• 55:46
  [SPEAKER_02]: So, long as there's some sort of organic reason for the killer to be wearing that specific mask, go for it.
• 55:52
  [SPEAKER_02]: It's especially good.
• 55:53
  [SPEAKER_02]: Texas chains on massacre, they make, they're like, again, they make things out of human skin, why not a mask?
• 55:59
  [SPEAKER_02]: That's it.
• 56:00
  [SPEAKER_02]: That's it.
• 56:01
  [SPEAKER_02]: It was a little bit contrived in Freddy the 13th part three, somebody who's kind of contrived.
• 56:06
  [SPEAKER_02]: had a hockey mask and Jason put it on and just kept it on for the rest of his life never been a hockey enthusiast it has never had anything to do with anything it's really arbitrary but it's distinct and it became iconic and it was uh if you look up the details it was a Detroit hockey mask.
• 56:20
  [SPEAKER_02]: Yeah.
• 56:21
  [SPEAKER_02]: It was like, what's he doing in a Detroit hockey mask?
• 56:26
  [SPEAKER_00]: The mask was different in Friday, 13th, 5.
• 56:28
  [SPEAKER_00]: Was that a New Jersey hockey mask?
• 56:31
  [SPEAKER_00]: No, I believe that was still the still Detroit Red Devils.
• 56:34
  [SPEAKER_00]: I think was this something someone had hard on for that, but for that hockey team and it doesn't even make any sense.
• 56:39
  [SPEAKER_00]: Like the the scream has one of the best.
• 56:43
  [SPEAKER_02]: Yeah, well, and that was an off the rack.
• 56:46
  [SPEAKER_02]: Yeah, Halloween costume that existed for the movie.
• 56:48
  [SPEAKER_02]: It's simple.
• 56:48
  [SPEAKER_02]: It's iconic.
• 56:49
  [SPEAKER_02]: It's evocative, you know, like.
• 56:51
  [SPEAKER_02]: I wish they had used the other masks in that series.
• 56:54
  [SPEAKER_02]: There are actually three masks that were put out at the same time.
• 56:58
  [SPEAKER_00]: by that same company one of them just happened to be used in the movie screen the other two you can find as well one's kind of angry and one's kind of sad oh yeah yeah I like you've seen terror the original terror train right which I'm really curious yeah yeah yeah yeah with the big mustache
• 57:14
  [SPEAKER_00]: No, no, no, no.
• 57:14
  [SPEAKER_00]: It's um, so Tara Trane is a slash member that takes place on a train.
• 57:20
  [SPEAKER_00]: And it's a train that also is a costume party.
• 57:23
  [SPEAKER_00]: Now memory serves it's actually like a new year's party that happens to be a costume party, not a Halloween thing, but whenever everyone's dressed up.
• 57:29
  [SPEAKER_00]: and there's a killer on the train and they're killing people.
• 57:32
  [SPEAKER_00]: Every time they kill someone, they take their mask.
• 57:35
  [SPEAKER_00]: Oh, that's so the killer has different masks every time.
• 57:37
  [SPEAKER_00]: And the most iconic one that's in like most of the promotional images was basically, it's like a groucho.
• 57:41
  [SPEAKER_00]: It's a groucho mask, but it looks like a gene-shallot mask.
• 57:45
  [SPEAKER_00]: And that for me, just evil gene shallot is a very pronounced mask.
• 57:53
  [SPEAKER_00]: So my point is, is that personal tells been fucking done?
• 57:56
  [SPEAKER_00]: The boy did that, strangers did that.
• 57:59
  [SPEAKER_00]: Dolls were going to say, well, that's not a slasher, but it is clearly killer dolls.
• 58:04
  [SPEAKER_00]: It's killer dolls, but it's not a person at a doll mask, is my point.
• 58:07
  [SPEAKER_02]: But they turn somebody into like a doll mask at one point.
• 58:10
  [SPEAKER_00]: Oh, it's been a while since I've seen that one.
• 58:11
  [SPEAKER_00]: Yeah, right.
• 58:13
  [SPEAKER_00]: Regardless of that, this was, it's kind of been done.
• 58:15
  [SPEAKER_00]: And I just, I agree with you that I don't think this is particularly terrifying.
• 58:21
  [SPEAKER_00]: Yeah.
• 58:23
  [SPEAKER_00]: I guess they wrote themselves into a corner on that one.
• 58:26
  [SPEAKER_00]: I mean, it's called Dolly.
• 58:27
  [SPEAKER_00]: I don't know.
• 58:28
  [SPEAKER_00]: Like maybe that's what it was.
• 58:30
  [SPEAKER_00]: Basically, if it was a homemade raggedy and mask.
• 58:33
  [SPEAKER_02]: I don't think there's much of an indication There's not much of a reason to put the person in the mask that's clearly something that was backward We're engineered by a horror filmmaker Yeah, I wanted to call it dolly, damn it I did appreciate they got a very striking performer Oh yeah, dolly, their name is Max the impeller, like a professional wrestler
• 58:56
  [SPEAKER_02]: Um, that's cool.
• 58:57
  [SPEAKER_02]: They are, um, not a WCW, like, one of the others.
• 59:02
  [SPEAKER_02]: I looked it up.
• 59:03
  [SPEAKER_02]: Um, NWA, the National Wrestling Alliance, which I don't know anything about.
• 59:07
  [SPEAKER_00]: I just know that Dr. Dre was great in that wrestling match.
• 59:13
  [SPEAKER_00]: how can you be allowed to call yourselves and do it?
• 59:16
  [SPEAKER_02]: It's like calling yourself like what did you uh what did what if you called your new symphony what would time to call the electric light orchestra no and you can't do that and and they film max the impeller in this way that that makes them look like really large and imposing they're only 5 foot 10 yeah um but yeah but it's all really magic yeah but you know
• 59:36
  [SPEAKER_02]: they're also like so much larger than their co-stars that it's just like good good monster performance from this wrestler that they hired sadly the movie itself like again oh this is cute I just looked up max the impaler a ringmames max the impaler build as coming from the wasteland oh that's a failing from the wasteland on max the impaler that's a fun one yeah um anyway
• 1:00:03
  [SPEAKER_00]: Dolly, I don't particularly like Dolly, but I do know that it is very specifically fine-tuned to appeal to a certain crowd.
• 1:00:11
  [SPEAKER_00]: So I'm not going to say it's a bad movie.
• 1:00:14
  [SPEAKER_00]: I didn't enjoy watching it, but it's a sort of unpleasantness that for me gets
• 1:00:19
  [SPEAKER_00]: hire some after a while, so it's only 83.
• 1:00:21
  [SPEAKER_00]: It's very tight.
• 1:00:23
  [SPEAKER_00]: I'll give you credit for that.
• 1:00:24
  [SPEAKER_00]: It's a very tight.
• 1:00:25
  [SPEAKER_00]: So this is one where, like, if it was just a matter of personal taste, I might get with a C-minus at the end of the episode, but I can't, because it's doing what it's trying to do.
• 1:00:35
  [SPEAKER_00]: Yeah.
• 1:00:35
  [SPEAKER_00]: And I don't find what it is doing.
• 1:00:36
  [SPEAKER_00]: I might get it's ugly and, yeah, I don't know if it's.
• 1:00:43
  [SPEAKER_00]: evil or anything like that.
• 1:00:44
  [SPEAKER_00]: It's just a wicked mean spirited movie.
• 1:00:48
  [SPEAKER_00]: And that's that's the goal.
• 1:00:49
  [SPEAKER_00]: And by Golly they did it, didn't they?
• 1:00:52
  [SPEAKER_00]: Tell me about heal, which I know nothing about.
• 1:00:54
  [SPEAKER_02]: Okay, heal.
• 1:00:55
  [SPEAKER_02]: Also known as it was released in the UK as good boy.
• 1:00:59
  [SPEAKER_02]: But there's a film just last year called Good Boys.
• 1:01:02
  [SPEAKER_02]: They released it in the United States as heal.
• 1:01:05
  [SPEAKER_02]: And he'll stars, let me look up the answers.
• 1:01:09
  [SPEAKER_02]: And St. Boone is the actor's name.
• 1:01:13
  [SPEAKER_02]: He plays a character named Tommy, and he's essentially Alex Delage from a Clockwork Orange.
• 1:01:18
  [SPEAKER_02]: He is just a shit.
• 1:01:20
  [SPEAKER_02]: We see this opening sequence where he's just going out.
• 1:01:23
  [SPEAKER_02]: He's an even worse version than the character from the smack my bitch up music video.
• 1:01:28
  [SPEAKER_02]: where he's just going out, abusing people, taking drugs, partying, hitting people, torturing people by burning them with cigarettes.
• 1:01:35
  [SPEAKER_02]: He's just a completely unrepentant, peace shit.
• 1:01:40
  [SPEAKER_02]: He wakes up in the first scene of the movie after this little intro.
• 1:01:45
  [SPEAKER_02]: In the basement of a very nice home,
• 1:01:48
  [SPEAKER_02]: with a chain around his neck.
• 1:01:50
  [SPEAKER_02]: He's got a collar and the chain is like attached to a tether on the ceiling.
• 1:01:54
  [SPEAKER_02]: And he is not being looked over by Stephen Graham, the actor from Adolescence.
• 1:01:58
  [SPEAKER_02]: All right, winning a lot of awards.
• 1:02:00
  [SPEAKER_02]: And he is just sort of typical upper middle class dude, who is kidnapped this man.
• 1:02:08
  [SPEAKER_02]: And is now going to do whatever it takes to reform him.
• 1:02:12
  [SPEAKER_02]: Okay.
• 1:02:13
  [SPEAKER_02]: He's living there with Andrea Riceboro is wife.
• 1:02:15
  [SPEAKER_02]: He's there on the son is around 12.
• 1:02:17
  [SPEAKER_02]: And yes.
• 1:02:18
  [SPEAKER_02]: And they're just sort of living in this in this house and the we're sort of brought in by this made characters played played by Monica Friedchick and she kind of discovers that this man is sort of being chained up in the basement and he is
• 1:02:42
  [SPEAKER_02]: And they do things like beat him.
• 1:02:45
  [SPEAKER_02]: They're trying to get bring him to heal, you see.
• 1:02:48
  [SPEAKER_02]: Hence the title.
• 1:02:48
  [SPEAKER_02]: I get it.
• 1:02:50
  [SPEAKER_02]: And it becomes sort of about this power dynamic.
• 1:02:53
  [SPEAKER_02]: And whether they're sort of aggressive,
• 1:03:00
  [SPEAKER_02]: uh... uh... uh... rehabilitation uh... manners will actually work on this guy did they try making a watch like a movie like hoping his eyes open to kind of they bring the the wheel of tv down and they show him his own like instagram videos where he is essentially just being a turd and just like you know beating people up in being bullies and mocking people and just being completely horrible all around uh... and uh...
• 1:03:28
  [SPEAKER_02]: The shocking part about this movie is that it starts to work after a while, that he starts to really kind of appreciate that there are calm things in the world.
• 1:03:37
  [SPEAKER_02]: And I start setting up these pulley systems so that he can actually, he's still chained up, but he can kind of walk around the house on this polio above his head and go into other rooms.
• 1:03:48
  [SPEAKER_02]: If you're good, you can have a non alcoholic beer in a week.
• 1:03:52
  [SPEAKER_02]: That kind of stuff.
• 1:03:54
  [SPEAKER_02]: And it is interesting watching this character because his, and some boon the actor is playing this character is so good at playing this monstrous character.
• 1:04:04
  [SPEAKER_02]: He's such an horrible guy, but he's also so handsome that you actually start to see a little bit of soul creep in around, he gives a really great performance.
• 1:04:13
  [SPEAKER_02]: All the performances are really great.
• 1:04:14
  [SPEAKER_02]: And Andrew, Arise, bro, is great and everything.
• 1:04:16
  [SPEAKER_02]: And Stephen Graham, I'm learning now, is just sort of unilaterally great.
• 1:04:23
  [SPEAKER_02]: And of course, at some point you're waiting for the other shooter drop, is this going to be a story about how this horrible Clockwork Orange type character is going to be reformed if he is how twisted is that that he's had to be sort of
• 1:04:38
  [SPEAKER_02]: forced and beaten into good behavior, and if so, is that part of his natural agency, or is he biting his time to the point where he gets to escape or lash out or beat them to death and escape that way?
• 1:04:54
  [SPEAKER_02]: You're waiting for that to happen.
• 1:04:57
  [SPEAKER_02]: All of that is really interesting, it just is a really fascinating, very other dark character piece as sort of these characters get to know each other.
• 1:05:05
  [SPEAKER_02]: You're not really sure how much they like or dislike each other throughout, and all of the tension remains really high throughout this movie.
• 1:05:11
  [SPEAKER_02]: It's really, really gripping, I know that's a crit word.
• 1:05:15
  [SPEAKER_02]: uh sometimes it works.
• 1:05:16
  [SPEAKER_02]: There is a little bit of uh narrative, the sloppiness because like I said we're brought into this world through the eyes of the mage.
• 1:05:24
  [SPEAKER_02]: She's the one who kind of discovers it.
• 1:05:26
  [SPEAKER_02]: You think that it's the movie's going to be told from her perspective.
• 1:05:28
  [SPEAKER_02]: She's forgotten about.
• 1:05:29
  [SPEAKER_02]: Oh!
• 1:05:30
  [SPEAKER_02]: As soon as she's brought in to sort of bring the audience into the movie, she
• 1:05:34
  [SPEAKER_02]: becomes a very, very minor character until right near the end when there's this whole backstory thing about Russian gangsters that is completely useless, that just sort of inserts itself in the movie, all that stuff needed to be caught.
• 1:05:48
  [SPEAKER_00]: We didn't need any of that stuff in the movie.
• 1:05:50
  [SPEAKER_02]: Why do you think it was in there to think that we were people did think we were getting bored or it does sort of bring certain like
• 1:05:57
  [SPEAKER_02]: It allows the plot to move forward a little bit and bring some new changes and but we didn't need that to move the plot forward you could have done it a lot more gracefully so that the screenplay is a little sloppy but you're distracted too much by the the strength of the performances and the the strength of the premise.
• 1:06:13
  [SPEAKER_02]: that I'm willing to forgive a lot of those sort of cracks in the narrative.
• 1:06:17
  [SPEAKER_00]: Fair enough.
• 1:06:18
  [SPEAKER_00]: All right.
• 1:06:19
  [SPEAKER_00]: Well, my next movie that I saw is a new Netflix.
• 1:06:23
  [SPEAKER_00]: I don't know the technically counts as a Netflix original because it was made by landscape and it had a theatrical release overseas.
• 1:06:30
  [SPEAKER_00]: Okay.
• 1:06:30
  [SPEAKER_00]: In America, it's just coming out on Netflix.
• 1:06:32
  [SPEAKER_00]: This is the latest from Patrick Hughes.
• 1:06:36
  [SPEAKER_00]: Patrick Hughes had a pretty big splash in 2010 with an Australian neo-Western action when we called Red Hill, which is basically a secret approach right onto the movie.
• 1:06:47
  [SPEAKER_00]: It's really a movie, and then he went on to make the expendables three, which
• 1:06:58
  [SPEAKER_00]: he filmed it uh... he also made the hitman's bodyguard movies which uh... i didn't see those the first one is kind of watchable the second one is not at all like the hitman's wife's bodyguard is like
• 1:07:18
  [SPEAKER_00]: staggeringly unwatchable to me.
• 1:07:20
  [SPEAKER_00]: It's a terrible film.
• 1:07:22
  [SPEAKER_00]: It just it just got that like what if red notice times a thousand this is what we're getting at here and we're wasting even better talent.
• 1:07:30
  [SPEAKER_00]: But he's back and he's back with a much more grounded film, a much more simple straightforward sci-fi action movie promise.
• 1:07:36
  [SPEAKER_00]: The film starts Alan Richardson at the beginning of the movie.
• 1:07:40
  [SPEAKER_00]: He is the police deployed overseas
• 1:07:47
  [SPEAKER_00]: uh, played by uh, Captain Boomerang, Jack Courtney.
• 1:07:53
  [SPEAKER_00]: Yep.
• 1:07:54
  [SPEAKER_00]: Okay.
• 1:07:55
  [SPEAKER_00]: Jack Courtney's a movie.
• 1:07:55
  [SPEAKER_00]: And it's like they're they're they're in the field together and Jack Courtney says a little brother and they they he said like the only when we got into this we always wanted to be army rainders, which is like the best to the best in the army.
• 1:08:07
  [SPEAKER_00]: They're the frontline top tough guys.
• 1:08:12
  [SPEAKER_00]: And he's like, oh, so we're going to, we have to pursue our dreams.
• 1:08:15
  [SPEAKER_00]: And then giant Courtney immediately dies, because we can only forward him for a day.
• 1:08:20
  [SPEAKER_00]: And then Alan Rich send his now motivated.
• 1:08:24
  [SPEAKER_00]: He's going to do anything he can to become an army range.
• 1:08:27
  [SPEAKER_00]: That's one goal.
• 1:08:28
  [SPEAKER_00]: He's going to do it for his brother.
• 1:08:29
  [UNKNOWN]: OK.
• 1:08:30
  [SPEAKER_00]: So the first act of the movie, first half, even really, is Alan Richardson going through training.
• 1:08:37
  [SPEAKER_00]: He's in there with a whole plethora of other recruits with names and personalities like the funny one, the sensitive one and the girl.
• 1:08:49
  [SPEAKER_00]: kind of kind of formulaic for me.
• 1:08:53
  [SPEAKER_00]: But while he is going through all of this and while his like drill instructor is played by Dennis Quaid and East side Morales, pretty good cast.
• 1:09:05
  [SPEAKER_00]: Well they're concerned that he's like
• 1:09:08
  [SPEAKER_00]: two into it like he's pushing himself so hard that like like there's this one thing is supposed to like they're going to give you a bunch of weights and you sink down to the bottom of swimming pool and you try to walk as far as you can you know just to see how far you can go like it's an endurance test and he refuses to stop and then he almost drowns and they're like you're
• 1:09:30
  [SPEAKER_00]: You're a little too into the army, right?
• 1:09:32
  [SPEAKER_00]: You're just like, we don't need to.
• 1:09:34
  [SPEAKER_00]: Also, we've noticed you're not socializing, which probably shouldn't be as big a thing, but it kind of is.
• 1:09:39
  [SPEAKER_00]: So, they're worried that he doesn't have what it takes, but he makes it to the final round.
• 1:09:44
  [SPEAKER_00]: And the final thing is they go on a mock mission.
• 1:09:48
  [SPEAKER_00]: And in order to test to see that he's actually a team player they make him team leader.
• 1:09:52
  [SPEAKER_00]: Okay, so now he's got all of these guys who he doesn't, they don't trust him, they don't like him, and he's been outperforming them.
• 1:09:58
  [SPEAKER_00]: and they go into the field and they're supposed to find like a crashed experimental jet and blow it up.
• 1:10:05
  [SPEAKER_00]: Okay, that's what's to keep it out of any hands, right?
• 1:10:07
  [SPEAKER_00]: That's your mission.
• 1:10:09
  [SPEAKER_00]: So, and they're just, it's an America.
• 1:10:10
  [SPEAKER_00]: They're just out in the wilderness somewhere.
• 1:10:13
  [SPEAKER_00]: And so they go.
• 1:10:15
  [SPEAKER_00]: And unfortunately, Alan Richen was so focused on trying to be an army ranger that he missed the numerous ominous, foreshadowy news stories about an asteroid approaching Earth.
• 1:10:27
  [SPEAKER_00]: Oh no, and appease the asteroid broke off and it landed right near where they were supposed to go.
• 1:10:32
  [SPEAKER_00]: So they think they have found the plane they were supposed to blow up.
• 1:10:35
  [SPEAKER_00]: They found a real UFO.
• 1:10:38
  [SPEAKER_00]: They tried blowing it up.
• 1:10:39
  [SPEAKER_00]: you vote unlike that.
• 1:10:41
  [SPEAKER_00]: The UFO turns into a giant robot and starts killing them.
• 1:10:46
  [SPEAKER_00]: And they don't even have live ammunition.
• 1:10:48
  [SPEAKER_00]: Oh dear.
• 1:10:48
  [SPEAKER_00]: So they're fucked.
• 1:10:50
  [SPEAKER_00]: And that's the movie from that point on.
• 1:10:52
  [SPEAKER_00]: We're out in the field.
• 1:10:53
  [SPEAKER_00]: We don't have communications.
• 1:10:55
  [SPEAKER_00]: Don't have real weapons.
• 1:10:56
  [SPEAKER_00]: We're fucked and we're fighting basically, you know, the veritech from Robotech.
• 1:11:02
  [SPEAKER_02]: See, I like stories like this.
• 1:11:04
  [SPEAKER_02]: That's a fun idea.
• 1:11:05
  [SPEAKER_02]: I get really impatient with stories of soldiers who encounter monsters because they're prepared.
• 1:11:13
  [SPEAKER_02]: They usually have weapons.
• 1:11:14
  [SPEAKER_02]: Like, no, it's a lot more exciting a story and it's an area.
• 1:11:18
  [SPEAKER_02]: If you're in a situation where you have to rely on something that's not a weapon, we have to use your wits or you are in ill-prepared to face a monster.
• 1:11:27
  [SPEAKER_00]: Yeah, a lot of them.
• 1:11:28
  [SPEAKER_00]: these movies that sort of use the military as our in to a science fiction situation are so pro military which to be fair this movie very much is too okay but they're so pro military that they just want the military to look badass like all of like the soldiers and the transformers movies they have to be quickly and badass and be able to kill a transformer all on their own like they're they're cool badass guys right but like the ones of these that work
• 1:11:55
  [SPEAKER_00]: are like aliens and predator where here are people who are set up as tough guys who can do anything they've all the best equipment and everything and then as soon as they run into an alien the find out all of that shit is worthless and they lose their nerve.
• 1:12:07
  [SPEAKER_02]: Well, predator for sure, especially predators like really leans into sort of that those masculine, ultra violent, soldierly tropes.
• 1:12:17
  [SPEAKER_02]: and the monster still gets them.
• 1:12:19
  [SPEAKER_02]: They don't know how to deal with that.
• 1:12:21
  [SPEAKER_02]: I feel like aliens, they all get slaughtered, but the ones that survive sort of maintain their machoness.
• 1:12:27
  [SPEAKER_02]: Yeah, but they've only like two of them.
• 1:12:29
  [SPEAKER_02]: Yeah.
• 1:12:30
  [SPEAKER_02]: Only one of them becomes like really cowardly.
• 1:12:32
  [SPEAKER_02]: And people laugh at him.
• 1:12:34
  [SPEAKER_00]: It's not about being cowardly.
• 1:12:35
  [SPEAKER_00]: It's about being all you're training was for nothing.
• 1:12:38
  [SPEAKER_00]: Yeah, you are not as useful here as a little girl and a civilian.
• 1:12:43
  [SPEAKER_00]: Yeah, who actually pay attention and listen to things.
• 1:12:47
  [SPEAKER_00]: So it's making, it's not making a coherent point as predator was about it, but it's still in there as my point.
• 1:12:54
  [SPEAKER_00]: Yeah, yeah.
• 1:12:54
  [SPEAKER_00]: Got these tough guys and they're out of their element and they're fucked.
• 1:12:57
  [SPEAKER_00]: And to replace the like monster with a giant robot.
• 1:13:05
  [SPEAKER_00]: is cool.
• 1:13:07
  [SPEAKER_00]: I am enough of a little boy that I admit that I think that's cool to watch Alan Richardson this giant of an actor who I really like.
• 1:13:18
  [SPEAKER_00]: I haven't watched Jack Retro told
• 1:13:27
  [SPEAKER_00]: the minister of bad, well, what the hell was that movie called?
• 1:13:30
  [SPEAKER_00]: The minister of on gentlemanly, on gentlemanly warfare, on gentleman warfare, it's like, it's not behavior, that's stupid.
• 1:13:37
  [SPEAKER_00]: Like, no, the minister of on gentlemanly warfare,
• 1:13:40
  [SPEAKER_00]: is a fun movie guy richie made a couple years ago about a real life, until pretty recently highly of British soldiers.
• 1:13:48
  [SPEAKER_00]: Yeah, pretty until recently very highly classified guns and nav around kind of situation where a whole bad rag tag group of guys were brought in to do this incredibly difficult dangerous mission.
• 1:13:58
  [SPEAKER_00]: And Alan Richardson plays this giant and if memory serves queer guy who murders tons of Nazis with a bow and arrow.
• 1:14:09
  [SPEAKER_00]: shoots a bow and arrow so fucking hard at one arrow and peels two Nazis at once.
• 1:14:14
  [SPEAKER_00]: Like it's like watching Jason Voorhees cut his way through World War II.
• 1:14:19
  [SPEAKER_00]: And I'm watching this and I'm like, I love all of this.
• 1:14:21
  [SPEAKER_00]: This is cool.
• 1:14:23
  [SPEAKER_00]: I like Alan Richson.
• 1:14:24
  [SPEAKER_00]: He doesn't have a lot to work with here, but he's capable of carrying an action movie where not a lot is asked of him, which is I think the
• 1:14:38
  [SPEAKER_00]: cast as the tough guy and you could bring something to it.
• 1:14:41
  [SPEAKER_00]: It's unfortunate that the rest of the cast has very little to work with, even Andrews who are very, very good.
• 1:14:47
  [SPEAKER_00]: But yeah, he's good.
• 1:14:49
  [SPEAKER_00]: He carries it.
• 1:14:50
  [SPEAKER_00]: Patrick Hughes that takes a little too long to get going if you ask me, but once he does, there's a lot of really cool sequences.
• 1:14:56
  [SPEAKER_00]: There's one bit where they manage to get like an armored Jeep up and running and there's a chase between them and the robot, which is genuinely
• 1:15:07
  [SPEAKER_00]: It's pretty cool.
• 1:15:08
  [SPEAKER_00]: I could have done without, um, I mean, look, it's, it's a military movie.
• 1:15:15
  [SPEAKER_00]: It's a pro military movie.
• 1:15:16
  [SPEAKER_00]: Yeah.
• 1:15:17
  [SPEAKER_00]: And again, I was raised in a military family.
• 1:15:19
  [SPEAKER_00]: My father was a Marine.
• 1:15:20
  [SPEAKER_00]: My brother was a Marine.
• 1:15:21
  [SPEAKER_00]: My grandfather was a Marine.
• 1:15:24
  [SPEAKER_00]: I was told not to.
• 1:15:25
  [SPEAKER_00]: You do not have the aptitude for it.
• 1:15:28
  [SPEAKER_00]: Thanks, Dad.
• 1:15:29
  [SPEAKER_00]: That was really nice of you because a lot of other dads would have been like, no, you have to join the Marines, join the family business, that wasn't what we did.
• 1:15:38
  [SPEAKER_00]: So I don't, I thought they don't like the military that I don't like movies that explore the military, or show them in a positive light.
• 1:15:45
  [SPEAKER_00]: What I don't like is when they show the military in a very simplistic light.
• 1:15:49
  [SPEAKER_00]: That's basically just their all-action heroes.
• 1:15:52
  [SPEAKER_00]: They're gonna do good.
• 1:15:53
  [SPEAKER_00]: And anyone that they fight is a faceless monster.
• 1:15:56
  [SPEAKER_00]: Yeah.
• 1:15:56
  [SPEAKER_00]: That's not healthy.
• 1:15:57
  [SPEAKER_00]: And especially, you know,
• 1:15:59
  [SPEAKER_00]: this week.
• 1:16:01
  [SPEAKER_00]: It's a rough theme to have thrown in your face.
• 1:16:06
  [SPEAKER_00]: And I don't think it's great.
• 1:16:07
  [SPEAKER_00]: But purely speaking as a B movie action sci-fi monster robot flight.
• 1:16:15
  [SPEAKER_00]: It works.
• 1:16:16
  [SPEAKER_00]: It's pretty good.
• 1:16:17
  [SPEAKER_00]: It could have been great.
• 1:16:18
  [SPEAKER_00]: It could have been smarter.
• 1:16:19
  [SPEAKER_00]: It could have been subversive.
• 1:16:21
  [SPEAKER_00]: It could have been funny or it could have been clever.
• 1:16:23
  [SPEAKER_00]: But as just as a straight up meat and potatoes, military
• 1:16:28
  [SPEAKER_00]: Yeah, it did that and it did pretty good.
• 1:16:30
  [SPEAKER_00]: All right, good as to them.
• 1:16:34
  [SPEAKER_00]: Um, and then lastly, uh, we have gun fighter paradise.
• 1:16:40
  [SPEAKER_02]: This is a very, uh, very low budget.
• 1:16:45
  [SPEAKER_02]: Weirdly mellow down beat, semi experimental horror philosophy film.
• 1:16:52
  [SPEAKER_02]: Mm-hmm.
• 1:16:52
  [SPEAKER_02]: Uh, it's follows a character named, let me look it up, um,
• 1:16:57
  [SPEAKER_02]: played by an actor named Bras Cubus and Stoner, he narrates throughout the entire movie and he's also ever snow.
• 1:17:05
  [SPEAKER_02]: In fact, he's actually very straight-laced.
• 1:17:08
  [SPEAKER_02]: He wears fatigues and his faces constantly painted with these diagonal camouflage stripes.
• 1:17:15
  [SPEAKER_02]: Okay.
• 1:17:15
  [SPEAKER_02]: And he talks very much about sort of the importance of, I guess not the importance, just how he was raised, how he's raised around guns, the opening monologues about sort of the
• 1:17:25
  [SPEAKER_02]: intoxicating scent of gunpowder and how this reminded him of campfires and it reminded him of like the first time he had sex in a tent, sex to a campfire.
• 1:17:34
  [SPEAKER_02]: All of these things are kind of conflated in his mind.
• 1:17:36
  [SPEAKER_02]: Is this contemporary set or?
• 1:17:38
  [SPEAKER_02]: It's set in a present day and it's set in just sort of in I think it's in North Carolina, sort of an unspecified part in North Carolina.
• 1:17:49
  [SPEAKER_02]: And
• 1:17:51
  [SPEAKER_02]: As he sort of like wanders through the landscape and he talks to all of these other characters, it's just sort of like a mood piece, really.
• 1:17:58
  [SPEAKER_02]: He discusses just sort of the philosophy of the gun and how a lot of these things are sort of things like religion and God and masculinity are also kind of conflated together
• 1:18:19
  [SPEAKER_02]: um, righteous violence, but he's not an angry guy.
• 1:18:23
  [SPEAKER_02]: It's actually really interesting because it's just sort of an accepted part of his worldview.
• 1:18:28
  [SPEAKER_02]: But it's presented in the semi-sureal way where we understand that this is kind of an unusual way of thinking.
• 1:18:34
  [SPEAKER_02]: This is kind of an inhuman way of thinking, that this kind of bedrock for a lot of this culture is,
• 1:18:40
  [SPEAKER_02]: a very very strange thing and also that it's really it's miswielded a lot because while he is just sort of going and there's also this hallucinatory element he meets one of his friends.
• 1:18:54
  [SPEAKER_02]: uh... it's character named Joel and he starts uh... they find like some psychedelics and they uh... get on a dune buggy and take some psychedelics and just sort of write around and sort of like them communing with the good lord and while they're high they start singing these really beautiful church hymns and they even admit out loud i don't know if we sang that and or if we just sort of heard it
• 1:19:16
  [SPEAKER_02]: So all of these kind of weird, so it's yeah, this kind of weird psychedelic, spiritual experience that these characters are having.
• 1:19:23
  [SPEAKER_02]: But also kind of on the margins of this film is this serial killer who is living by the same philosophy and is actually just sort of like brutally murdering people.
• 1:19:34
  [SPEAKER_02]: And like taking that sort of cathartic death is also a part of all of this.
• 1:19:40
  [SPEAKER_02]: Actually, we've done some quotes for this movie.
• 1:19:43
  [SPEAKER_02]: Oh, like from the movie itself.
• 1:19:45
  [SPEAKER_02]: Yeah, from the movie itself.
• 1:19:46
  [SPEAKER_02]: Yeah, like southern fathers find peace and contradiction
• 1:19:50
  [SPEAKER_02]: Southern fathers need their sons to be religious mercenaries.
• 1:19:55
  [SPEAKER_02]: And that's their way of offering love.
• 1:19:57
  [SPEAKER_02]: You know teaching teaching their kids to be religious mercenaries.
• 1:20:00
  [SPEAKER_02]: So there's like some thought in this thing's had.
• 1:20:03
  [SPEAKER_00]: It's interesting because I'm looking at the Wikipedia page of this because this is one of my radar.
• 1:20:06
  [SPEAKER_00]: Yeah.
• 1:20:08
  [SPEAKER_00]: And I'm looking at like some of the things that they say about the movie.
• 1:20:11
  [SPEAKER_00]: And obviously these are just general, you know, observations and summaries.
• 1:20:15
  [SPEAKER_00]: critics have referred to the film as surrealist and experimental as well as sardonic satirical and absurd but here's here's a sentence that amuse me test now multiple critics have also noted the film's pissing dialogue
• 1:20:29
  [SPEAKER_00]: and unique blocking and cinematography.
• 1:20:31
  [SPEAKER_02]: Yeah, there's, there's, pithy isn't a great compliment.
• 1:20:35
  [SPEAKER_00]: Pithy, pithy.
• 1:20:36
  [SPEAKER_02]: But that can be witty or, or, really, or sparkling.
• 1:20:41
  [SPEAKER_02]: How often have you heard pithy use this compliment?
• 1:20:44
  [SPEAKER_02]: You're very pithy today.
• 1:20:45
  [SPEAKER_02]: Frequently, I use it as a compliment.
• 1:20:47
  [SPEAKER_02]: When I write it, I use it as an oppressive way.
• 1:20:50
  [SPEAKER_02]: It's pithy supposed to be a pejorative.
• 1:20:53
  [SPEAKER_00]: I don't think I've ever heard pithy not use as at least the casual pejorative.
• 1:20:57
  [SPEAKER_02]: I'm jumping to my dictionary because I was not pithy was pithy definition, concise, forcefully expressive.
• 1:21:11
  [SPEAKER_02]: Consisting holy or in part of pith, a bounding and pith.
• 1:21:16
  [SPEAKER_00]: Well, yes, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if you're, if
• 1:21:38
  [SPEAKER_00]: This is somehow been conflated over the years with something similar.
• 1:21:42
  [SPEAKER_00]: Ha, I don't know what, offhand, pithy, pithy.
• 1:21:47
  [SPEAKER_00]: It's a bit of a pithy.
• 1:21:48
  [SPEAKER_00]: It's a good thing.
• 1:21:49
  [SPEAKER_02]: No coward is pithy, you know, it's, I've always used it as sort of a...
• 1:21:55
  [SPEAKER_02]: somewhat synonymous with witty.
• 1:21:59
  [SPEAKER_02]: Yeah, no, you were right now.
• 1:22:00
  [SPEAKER_02]: I'm wrong, man.
• 1:22:01
  [SPEAKER_00]: I got to tell you.
• 1:22:01
  [SPEAKER_00]: That's that's really weird.
• 1:22:03
  [SPEAKER_00]: Yeah, I do.
• 1:22:04
  [SPEAKER_00]: All right.
• 1:22:05
  [SPEAKER_00]: I guess I know a lot of people who use the pithy wrong over the years and I just picked that up.
• 1:22:10
  [SPEAKER_02]: This is clearly one of those movies that's though is made by like a guy and his friends like his local buddies.
• 1:22:17
  [SPEAKER_02]: There's a character played
• 1:22:19
  [SPEAKER_02]: by an actor named Valiant himself from a band called, maybe it's not Valiant, because it's with an E, Valiant Thor.
• 1:22:28
  [SPEAKER_02]: Have you heard of Valiant Thor?
• 1:22:29
  [SPEAKER_00]: I've never heard of Valiant Thor, but it sounds like this sort of thing you would tell me about.
• 1:22:32
  [SPEAKER_02]: What is Valiant Thor known for?
• 1:22:34
  [SPEAKER_02]: Like I know, I know about Valiant Thor, but I couldn't like list what they're, they're like this, they're like this, they're disgusting.
• 1:22:40
  [SPEAKER_00]: Does that have anything to do with rock or something?
• 1:22:41
  [SPEAKER_02]: I know what Valiant Thor is from.
• 1:22:43
  [SPEAKER_02]: There's a Valiant Thor song on one of the guitar hero video games.
• 1:22:48
  [SPEAKER_02]: Oh, I think you could download it.
• 1:22:50
  [SPEAKER_00]: I probably, but I probably familiar with it.
• 1:22:55
  [SPEAKER_02]: Yeah.
• 1:22:55
  [SPEAKER_02]: So yeah, what the guy from Valyant Thor is is in this movie.
• 1:23:00
  [SPEAKER_02]: Oh, he's our bummingly table.
• 1:23:03
  [SPEAKER_02]: Yeah, so clearly this guy's like getting these people together.
• 1:23:06
  [SPEAKER_02]: And then it climaxes with sort of this rather arch.
• 1:23:11
  [SPEAKER_02]: confrontation that this main character stoner has, with I think essentially the ghost of his father and how it kind of gets to confront the unhealthiness of it and how there are two American flags.
• 1:23:23
  [SPEAKER_02]: There's the stars and stripes, but there's also don't tread on me and how the don't tread on me flag has been rather crassly repurposed by an extreme right wing set of American philosophy.
• 1:23:36
  [SPEAKER_02]: All of this is just sort of floating around through this
• 1:23:39
  [SPEAKER_02]: rather strange slow-moving, very archpeter, which is going to alienate a lot of people, just because it feels so ameless and so dream-like.
• 1:23:49
  [SPEAKER_02]: I found myself kind of digging it though, I kind of digging this even though it's really low budget and a lot of it's going to be
• 1:23:56
  [SPEAKER_02]: In a dingy way, like there's a way to make a low budget film and like frame up your shots and make it look like There's some kind of dine dynamism to it.
• 1:24:06
  [SPEAKER_02]: You can even get that from something really low budget and like you can get an eight millimeter You put it you put the effort in you can make a very low budget and we look very good
• 1:24:13
  [SPEAKER_02]: there are still some low budget movies where however much they try still looks like they're filming in grandma's house.
• 1:24:19
  [SPEAKER_02]: Yeah.
• 1:24:20
  [SPEAKER_02]: And that's there's a lot of that floating around.
• 1:24:22
  [SPEAKER_00]: There's a lot of state of that.
• 1:24:23
  [SPEAKER_00]: I admire that.
• 1:24:24
  [SPEAKER_00]: There's a certain like yeah, it's a better paradise.
• 1:24:26
  [SPEAKER_00]: Yeah, it's not necessarily, yeah, it's, I would hesitate to say it's like, it's not like,
• 1:24:32
  [SPEAKER_00]: professional sounds condescending.
• 1:24:34
  [SPEAKER_00]: It's like it doesn't feel like, you know, money, or classy, but there's a certain just honesty of we just have to make a fucking movie.
• 1:24:41
  [SPEAKER_00]: We have to tell the story and we'll do it anyway.
• 1:24:44
  [SPEAKER_00]: We can, even if we don't have the materials, we desperately need and we'll make it fucking work.
• 1:24:48
  [SPEAKER_00]: And if you have something to say, and you have talent and a hip personality, you can do that.
• 1:24:53
  [SPEAKER_00]: Yeah.
• 1:24:53
  [SPEAKER_00]: And that can still work.
• 1:24:54
  [SPEAKER_00]: And there's out.
• 1:24:54
  [SPEAKER_00]: There's a ton of dignity in it.
• 1:24:56
  [SPEAKER_00]: If you guys may.
• 1:24:57
  [SPEAKER_00]: So,
• 1:24:59
  [UNKNOWN]: good.
• 1:25:01
  [SPEAKER_02]: Hard to say.
• 1:25:02
  [SPEAKER_02]: Like it's good as a relevant and vicious admirable interesting ideas.
• 1:25:09
  [SPEAKER_02]: Yeah, all those things.
• 1:25:11
  [SPEAKER_00]: Well, you're going to have to come up with some kind of take on it because it is time to review our movies.
• 1:25:15
  [SPEAKER_00]: Our movie review round up at the end of our episode.
• 1:25:18
  [SPEAKER_00]: We review our movies on the critically claimed scale, which since our podcast begins at the letter C ranges from C minus to C plus.
• 1:25:27
  [SPEAKER_00]: Yeah.
• 1:25:27
  [SPEAKER_00]: A C minus is a movie that is below average.
• 1:25:30
  [SPEAKER_00]: We do not recommend this movie.
• 1:25:32
  [SPEAKER_00]: Uh, and that's about that and the C is an average movie.
• 1:25:36
  [SPEAKER_00]: These are mixed bag movies or more for one audience and another kind of deals And then finally a C plus is above average.
• 1:25:42
  [SPEAKER_00]: These are movies.
• 1:25:43
  [SPEAKER_00]: We genuinely recommend whether we simply like them a lot or think they're one of the best movies ever made on that note Wait, Nate, you got to come up with something.
• 1:25:50
  [SPEAKER_02]: I'm going to give it a B.
• 1:25:52
  [SPEAKER_02]: Uh, B.
• 1:25:53
  [SPEAKER_02]: The highest grade we've ever given.
• 1:25:56
  [SPEAKER_02]: Yeah, dub B.
• 1:25:57
  [SPEAKER_02]: No, sorry.
• 1:25:59
  [SPEAKER_02]: I see.
• 1:25:59
  [SPEAKER_02]: I'm going to give it a C.
• 1:26:02
  [SPEAKER_02]: I sometimes forget the podcast run.
• 1:26:03
  [SPEAKER_02]: I'm gonna give it a C, not a C plus, not a C minus.
• 1:26:06
  [SPEAKER_02]: Let's see, because there's a lot to admire, but it's also very, very arch and another, it's not off-putting, it's just difficult.
• 1:26:17
  [SPEAKER_00]: Okay.
• 1:26:18
  [SPEAKER_00]: War machine, I'm also giving a C, is a very functional action sci-fi movie that never does
• 1:26:28
  [SPEAKER_00]: anything it could possibly do to be more than that, but it feels like it could have, like it could have had stronger characters, it could have had more sailing and theme, and instead we're just doing the pure meat and potatoes version of it, but it's pretty good.
• 1:26:41
  [SPEAKER_00]: It's a pretty good meat and potatoes thing, if you don't mind the raw raw pro military aspects of it, heal.
• 1:26:49
  [SPEAKER_02]: heal.
• 1:26:49
  [SPEAKER_02]: I'm going to go see plus.
• 1:26:51
  [SPEAKER_02]: I plot problems not with standing.
• 1:26:54
  [SPEAKER_02]: I thought the performances were really good.
• 1:26:56
  [SPEAKER_02]: And I like the premise a lot.
• 1:26:57
  [SPEAKER_02]: And I like some of the chilling questions it asks.
• 1:27:01
  [SPEAKER_02]: And it has a pretty rough ending as well.
• 1:27:04
  [SPEAKER_02]: Oh dear.
• 1:27:06
  [SPEAKER_00]: Well, speaking of rough to say to say speaking of rough dull rough ending, it's a dog movie.
• 1:27:11
  [SPEAKER_00]: It's speaking of rough dolly the horror film dolly.
• 1:27:14
  [SPEAKER_00]: Yeah, I'm not a huge fan, but there is definitely a type of movie that this belongs to.
• 1:27:21
  [SPEAKER_00]: This is definitely a subjohn in and of itself.
• 1:27:22
  [SPEAKER_00]: And this is not a particularly bad version of it.
• 1:27:25
  [SPEAKER_00]: It's just intentionally designed to be ugly and unpleasant.
• 1:27:30
  [SPEAKER_00]: But I've seen versions of that, which are so ugly and unpleasant, that I am mad at the filmmaker.
• 1:27:35
  [SPEAKER_00]: And this isn't one of them.
• 1:27:36
  [SPEAKER_00]: It's just, I feel like it's not not, too, really.
• 1:27:38
  [SPEAKER_02]: So we give it a low C. I'm gonna give it a C minus.
• 1:27:40
  [SPEAKER_02]: I don't, I'm not, I can stand a lot of disgusting stuff.
• 1:27:46
  [SPEAKER_02]: And I'm not put off by this movie because it's disgusting.
• 1:27:48
  [SPEAKER_02]: In fact, I find the gore to be rather exhilarating in this movie,
• 1:27:52
  [SPEAKER_02]: It's just really one note, and it's not very creative, and it's not that scary.
• 1:27:56
  [SPEAKER_02]: It's just kind of gross Yeah, what's my point?
• 1:27:59
  [SPEAKER_00]: I feel like it's not for scares.
• 1:28:00
  [SPEAKER_02]: It's just to be like, oh look at a gross This is yeah There are some gross numbers that really do make me recoil Sometimes in a good way sometimes in a bad way.
• 1:28:09
  [SPEAKER_02]: Yeah, this is kind of a boring version of it So yeah, see mine The bride see plus see plus for sure.
• 1:28:16
  [SPEAKER_02]: Yeah, this is this is my new favorite thing
• 1:28:20
  [SPEAKER_00]: I love this movie to pieces, I highly recommend checking it out and I highly recommend checking it out, understanding that you're about to see something kind of ganzo and ridiculous and that it is more than anything else, a pastiche of the shit Maggie Jill and Hall likes and things is thematically relevant and I respect the shit out of that and I think everyone did a great job bringing it to life.
• 1:28:42
  [SPEAKER_02]: I, I, this is one of those things where I would love to have lunch with Maggie Jimlin all I'd like to speak with her about this movie Yeah, and then just be really intimidated the entire time I didn't think I'd be very nice to upset her, you know No, I didn't really want since she was very very nice, but uh, you know, that's a, that's a, that's a professional situation although I seem that lunch would be too
• 1:29:02
  [SPEAKER_00]: I would very much love to pick her brain up and about this movie.
• 1:29:05
  [SPEAKER_00]: You're right because this is so This is a lot of movie.
• 1:29:10
  [SPEAKER_00]: Just a lot of movie But it all locks together.
• 1:29:13
  [SPEAKER_02]: It doesn't it doesn't feel like overwhelming or busy It doesn't feel like anything.
• 1:29:17
  [SPEAKER_00]: It doesn't feel like anything doesn't belong It doesn't feel like she'd bid off more than she could choose.
• 1:29:21
  [SPEAKER_00]: She's doing exactly what she wants to do She's in a total control over it and it's not to everyone's taste very enough, but it's definitely to mine And then lastly hoppers huge C plus I love it
• 1:29:31
  [SPEAKER_02]: Also a C++.
• 1:29:32
  [SPEAKER_02]: I liked it a lot.
• 1:29:34
  [SPEAKER_02]: I didn't love it and follow them like this one.
• 1:29:36
  [SPEAKER_00]: I very very charmed by this one My favorite.
• 1:29:38
  [SPEAKER_00]: It's definitely my favorite picture movie in a long while.
• 1:29:41
  [SPEAKER_00]: Yeah, probably some trouble.
• 1:29:43
  [SPEAKER_00]: I missed Alio So you didn't miss much.
• 1:29:46
  [SPEAKER_00]: Yeah, I wouldn't say you've been missing it
• 1:29:48
  [SPEAKER_00]: Um, but, uh, yeah, no, I, I've, I've been paying attention on these pictures, made stuff of lights in the last few years, but this is definitely the one that I feel that they're doing something very distinct, uh, very odd, uh, very imaginative and getting something out of it in a way that, uh, just feels genuinely inspired for them in a way that they haven't.
• 1:30:08
  [SPEAKER_00]: And like, even elemental, I mean, we have like a lot.
• 1:30:12
  [SPEAKER_00]: Mmm.
• 1:30:12
  [SPEAKER_00]: It's a rom-com, but two of them are elements.
• 1:30:16
  [SPEAKER_00]: It's not really inspired, man.
• 1:30:17
  [SPEAKER_00]: You're just kind of doing that.
• 1:30:18
  [SPEAKER_00]: Which is fine.
• 1:30:19
  [SPEAKER_00]: It's fire visual stuff.
• 1:30:20
  [SPEAKER_00]: A very, very pretty, you know.
• 1:30:22
  [SPEAKER_02]: A character's made of fire.
• 1:30:24
  [SPEAKER_00]: They just fell in the water.
• 1:30:25
  [SPEAKER_00]: I just felt like there was, there was a limits to their imagination.
• 1:30:28
  [SPEAKER_00]: Okay.
• 1:30:28
  [SPEAKER_00]: And here, the imagination feels limitless.
• 1:30:31
  [SPEAKER_00]: That's right.
• 1:30:31
  [SPEAKER_00]: All right, that is it for critically claimed this week.
• 1:30:33
  [SPEAKER_00]: Thank you, everybody, for listening.
• 1:30:34
  [SPEAKER_00]: We will have a special episode later this week, in which we, as always, do our annual Oscar predictions?
• 1:30:42
  [SPEAKER_00]: Is it important?
• 1:30:43
  [SPEAKER_00]: No, do we enjoy it?
• 1:30:44
  [SPEAKER_00]: Yeah, we're going to do this.
• 1:30:46
  [SPEAKER_00]: We'll have fun.
• 1:30:48
  [SPEAKER_00]: So we'll give you the ins and outs.
• 1:30:50
  [SPEAKER_00]: I have seen almost all the nominees.
• 1:30:53
  [SPEAKER_00]: Uh, and pretty much every category except documentary, uh, which I'm, I'm, if I can fit it in, I'm going to try to see as many of those as I can before we record, but there's a very realistic possibility that I won't be able to, but generally speaking, almost every other movie I'm seeing, uh, so I'll be coming through this from a, uh, somewhat learning perspective.
• 1:31:12
  [SPEAKER_02]: I've seen most of them I did finally see another one of the major nominees just last night I saw if I had legs I'd kick you which I didn't realize that was just a horror move Yeah, I really did some really really bleak stuff in there.
• 1:31:24
  [SPEAKER_00]: Yeah.
• 1:31:25
  [SPEAKER_00]: Yeah.
• 1:31:25
  [SPEAKER_00]: I liked it a lot.
• 1:31:29
  [SPEAKER_00]: Um, but anyway, uh, so that'll be kind of later this week.
• 1:31:33
  [SPEAKER_00]: Be a lookout for that, uh, hang and head on over to our Patreon page patreon.com slash critically claim network for a lot of exclusive material weekly newsletters.
• 1:31:40
  [SPEAKER_00]: You don't have to pay for those, but a $1 a week or more you get exclusive shows.
• 1:31:46
  [SPEAKER_00]: Add free regular shows, you get to vote for future episodes of the Iron List.
• 1:31:52
  [SPEAKER_00]: We just had a poll for March, where we're doing something a little different, and that's all very, very exciting.
• 1:31:58
  [SPEAKER_00]: So huge shout outs to our patrons.
• 1:31:59
  [SPEAKER_00]: We couldn't do this.
• 1:32:01
  [SPEAKER_00]: If you wanted to discuss anything we talked about in this episode, or anything at all that interests you, our email address is letters.
• 1:32:08
  [SPEAKER_00]: It critically claimed that net, Whitney Wood is a PO box.
• 1:32:12
  [SPEAKER_02]: Yeah, send us a physical letter if you like, a postcard.
• 1:32:15
  [SPEAKER_02]: Whatever you like to the critically acclaimed network PO Box 641565 Los Angeles, California, 9 0064 and we will be doing one of those very soon because we we had a very full PO Box.
• 1:32:28
  [SPEAKER_00]: Well, are we sure did by Golly and if you and one of you knows what you did yes and we thank you for it
• 1:32:36
  [SPEAKER_00]: But it's a very full inbox, but we will talk about that very, very soon.
• 1:32:41
  [SPEAKER_00]: So again, thank you, buddy, for listening.
• 1:32:42
  [SPEAKER_00]: Thank you for joining us.
• 1:32:44
  [SPEAKER_00]: Please subscribe.
• 1:32:45
  [SPEAKER_00]: We was in review if you haven't already.
• 1:32:46
  [SPEAKER_00]: Really, really helps.
• 1:32:47
  [SPEAKER_00]: And we're on the social media as you can find this.
• 1:32:52
  [SPEAKER_00]: That's it.
• 1:32:52
  [SPEAKER_00]: Never forget, everyone is a critic.
• 1:32:55
  [SPEAKER_01]: I want to go to the Midnight Show.
• 1:32:59
  [SPEAKER_01]: I'm sorry, what?