Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 2013's A Good Day to Die Hard

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2013's A Good Day to Die Hard · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave, the
• 0:06
  movie talk show where each week one of us takes the movie off
• 0:08
  the shelf, presents it to the other end, discusses it at
• 0:11
  length. This week we've got coming off
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  of Daves Shelf 2013's A Good Day to Die Hard, also known as Die
• 0:24
  Hard 5. We can do that, I think.
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  We at this point I would well, we agreed.
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  We can call things like Die Hard 1 Rocky one.
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  We can do that in this. Forum, yes, and I think that
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  given that A Good Day to Die Hard is a fucking terrible
• 0:37
  title, I'm going to call it Die Hard 5.
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  Moving forward, that's perfectly fine.
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  So that's. We have that right.
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  Yeah. Privilege.
• 0:43
  Yeah, absolutely. I've got your your sign off.
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  We don't do anything individually with 100%
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  commitment. Now you know, I'm I'm all aboard
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  Dieard 5, absolutely the 5th and.
• 0:54
  As far as we know, final installment, it'll be the final
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  Bruce installment. I would say that's a safe bet.
• 1:01
  So we can look at it from that context at the very least, even
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  if they try and reboot it or do something else with it, come
• 1:06
  back with a movie 16 years later called.
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  John McClain. I thought it was actually in the
• 1:11
  works. Yeah.
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  They've been talking about doing a prequel.
• 1:14
  Oh, interesting. I don't know who they would
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  cast. Also, do I like it only becomes
• 1:18
  John Mcclane because of Nakatomi so.
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  He's just a beat cop. He would just be a cop in New
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  York, OK? That would be a good series.
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  Just a regular cop that's. What I mean, so you're just
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  slapping a name on it doesn't mean anything.
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  But that's what we do now. That's true.
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  Anyways, you're probably going to ask me why now.
• 1:33
  I am indeed going to ask you why now.
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  And I think one of the reasons is pretty obvious.
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  You have a hard on for Bruce Willis.
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  That is obvious. It is obvious from here.
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  We just, we, we completed the Rockies.
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  Yes, that's. True.
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  If I don't do this now, when? True.
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  Never get lost in the shuffle. And I would never do that to.
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  You. No, I appreciate that.
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  You cannot go through life without seeing Die Hard 5.
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  You are welcome. So please tell me, Phil, your
• 2:02
  history, although brief probably.
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  Very brief. Yeah, yeah, yeah.
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  Maybe just a few initial thoughts.
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  Don't give me too much. I hope you I hope you used my
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  hack. Start at -5 and keep it I
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  expectations tapered I. Went in with as low expectations
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  as possible and they were met. I I was worried that you'd focus
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  on the negative. I have a hard time thinking of
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  anything positive from this movie.
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  I am going to. Get it out of you.
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  I hope so. I am like a like a good
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  therapist. I'm hopeful.
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  You know, sometimes when the disparity is so great between
• 2:40
  our tastes, I think sometimes I want to be turned.
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  I want to be convinced that I didn't just waste an hour and
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  40, whatever minutes of my life that there is actually merit
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  that I missed. So I'm relying on you, David, in
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  this instance, just as frankly, I try and sway your opinion on
• 2:56
  those movies that I really love and you have zero time for it.
• 3:00
  And if it it can't happen, will happen and and may happen again
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  today, we don't know. We'll find out.
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  We'll. Find out.
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  But we'll find out first by starting with what is your
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  history. Obviously we know of your Bruce
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  Willis fetish. We understand that yes, I spoke
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  very plainly of my Sylvester Stallone fetish.
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  So there's no judgement necessarily other than he's
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  terrible. It's been well detailed.
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  Yes. So I wonder how you came to the
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  movie and what your I believe you've told this story before,
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  but I'm curious to hear it again.
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  I believe I have. I don't want to sound like a
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  broken record of sorts, but it is one where I went into the
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  theaters to watch it. Yes, I stepped out of there.
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  Was it? The last time?
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  Was it the last time you saw? Dunkirk Buddy.
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  Dunkirk 2050 and Mad Max. I got a couple under my belt
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  there since 2013, Lesson 6 though probably and I was
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  disappointed I went in there. Pumped.
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  You were psyched. I was psyched.
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  I liked 4. How could I not be my favorite
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  actor, my favorite role? Your favorite character?
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  Sure. And you loved 4.
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  Not right away. My most enjoyment of four was on
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  our podcast. Actually I think.
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  That might be true. Yeah, yeah.
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  And three, as you remember, went backwards.
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  Yes, it regressed. It did regress.
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  And Two's always been strong. You know, I'll do a quick, quick
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  ranking at the end. At the end.
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  Real quick. Real quick.
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  Won't take long at all. No, we'll we'll dive to
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  participate, even appreciate it, but I still bought it on.
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  Blu-ray sick. Yeah, I know that feeling.
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  I bought movies. I hate it.
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  I'm like oh but I need it for the set.
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  Have a few here. In fact, I own this movie.
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  Now that I think about it, how about the Die Hard box set on
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  Blue? I mean, it's part of the set
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  there. It is part of the set.
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  Great sound mix. I'm going to go ahead and say
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  that, but I enjoyed it. My second viewing on Blu-ray at
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  that time, I want to say 46 inch TV maybe I go up 10 inches every
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  every 5-6 years. Sure.
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  Give or take which I'm coming up close.
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  So I was interested to go back to it again because.
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  You really didn't like it in the theater?
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  Yes. And then you now liked it when
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  it came out on Blu-ray, however many months later.
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  So now, yeah, we're talking 10 years later. 12 years.
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  Later, yeah, and I feel I may have watched it once in between
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  now and that first Blu-ray watch.
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  Hit me with it. What do you got I better or
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  worse than your last memory of it?
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  Both. Interesting.
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  Yeah, I'm a. Interesting enigma wrapped in a
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  Riddle. I absolutely just to give away a
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  little bit the 1st 15 minutes. Yeah.
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  I was in love with this movie really more than any other time
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  that I've watched it. Wow.
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  OK, in it's in it's entirety. Yeah, I probably fell.
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  Just maybe just shy of my second watch in which I really enjoyed
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  the movie. OK.
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  Just shy. Yeah, yeah, yeah.
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  Maybe just being older and wiser and under a critical eye, Sure.
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  Saying OK. Five years of movie watching
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  with a with a certain panache, yeah.
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  So Needless to say, it's not perfection.
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  Of course not. Not a classic, but it's much
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  like Rocky 5, underrated. OK, interesting.
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  Underrated. And again, my goal is to bring
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  you around just a little bit. I want to bring you up from a
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  3.1 to maybe a 3.9 even though that's.
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  That's a wish suggesting I was at a 3.1.
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  That's bold. Now before we get too deep, I
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  want to know what IMDb, what the old, what old faithful has to
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  say about this movie and it's synopsis.
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  John Mcclane travels to Russia to How about a seemingly wayward
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  son, Jack, only to discover that Jack is ACIA operative working
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  undercover, causing the father and son to team up against
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  underworld forces. There it is.
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  It's pretty much what happens, yeah.
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  So far it hasn't failed us. No, it's told the truth now I
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  wonder here. What let's just.
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  Talk we'll get into director and writer and so forth, of course.
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  What do you think conceptually of taking John Mcclane out of
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  USA? Yeah.
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  So I wonder how you felt just initially on the idea of Die
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  Hard in Russia. Like was that something that
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  excited you prior to seeing it just in general, like, and do
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  you think that's appropriate for the character?
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  Very good question, Philip, and I'll answer it right here on
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  live radio. You keep calling it radio.
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  I don't know. It's not radio.
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  I know close enough and it's not live.
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  No, that of those things. That of those things.
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  But what this movie is, yes, I think we're going to make some
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  comparisons to Rocky. Impossible not to.
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  I think you want me. To I'm begging, let's talk about
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  Rocky more Rocky 4. Peaked.
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  In Russia. In Russia.
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  I'm just lagging one movie behind here.
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  So I think this is Mcclain's character in a sense, peaking
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  before we have to bring it back down, making it bigger, which
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  I've gone on record saying I don't always love, but Star Wars
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  like more, more, more explosion, stuff like that.
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  Give me a good story. But I think taking it to Russia
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  fits. I think it's a reasonable idea
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  to execute. I think what immediately?
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  I didn't ask. I find, what I find strange
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  about it is I find that it's very small.
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  I don't know if that's a budgetary thing.
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  And in scope, in scope, in scope, in style too.
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  We'll get into the more specifics of that, but just in
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  scope. And you know, it's shot in
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  Prague. I don't know if that matters.
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  It just, it just feels like a small movie.
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  And there's a certain part that I appreciate in the kind of
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  history of the character where he's put into this, like
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  Nakatomi Towers, He's in the airport in Dulles.
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  There is a containment. But I think about New York and
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  he's everywhere. I think about even in four he's
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  kind of everywhere, and this, even though he's free to be
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  anywhere, I find the movies very small, so that sticks out to me
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  as being a problem. That's an interesting take then,
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  really, and I'm going to respect it.
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  Yeah, thanks. So who is to blame for bringing
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  John Mcclay into Russia? Who do we have the the privilege
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  of chatting about next? Oh, where to start?
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  Are we talking about the writer that took him there, or the
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  director that took him there? Or both?
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  Kootenai took him there. Let's talk about it.
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  Let's. Start with the worst that work
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  our way out of this little sure hole cul-de-sac of crap.
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  Skippy. What's Skippy?
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  He is the writer. Yeah.
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  And he's not very good. Charitably called, right?
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  Yeah, I would give you sort of his resume, but I looked at it
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  and I already forgot. I think he did one thing that
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  called Thursday. Hell of a day that got.
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  Okay, reviews, sure. Otherwise a lot of a lot of
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  failures. So not good, not good.
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  What's slightly better, but not great, is John Moore.
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  Sure, but let's talk about the writing for a little longer.
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  Was there anything? We can move away.
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  Well, I mean, we're going to talk about the specific scenes,
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  but I wonder, like we just come off of Rocky 5, Rocky 6, which.
• 9:53
  Yeah, Bruce written this maybe. We yeah, that's the question.
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  You know, there's definitely, I think, some benefit to Stallone
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  writing the character, knowing that character inside and out.
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  But I also think Bruce is a superstar, maybe less so in
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  2013, but generally. He is Philip.
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  He's a superstar, which means that he may not have the
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  ability, let's say, to write specifically, but he definitely.
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  Has input. Has input, has his character
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  down. I remember reading back in 2010
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  when Cop Out came out was out with the Tracy Morgan directed
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  by Kevin Smith. Like garbage movie, but he's a
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  guy that gets involved to a certain extent.
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  Kevin Smith. Wish he hadn't.
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  We can blame Skippy, and I think that we're certainly right, too.
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  Yes, but don't you dare, Bruce of a power in a position that he
• 10:41
  could. Yeah, add more to it.
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  I think that's what. Makes Sylvester and Bruce quite
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  different people. Is the involvement in the film
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  in the project? Sylvester really kind of puts
• 10:52
  more of a stamp. Yeah, OK, on it where Bruce big
• 10:56
  Ego comes in, does what he wants to do and may not be the right
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  call. Maybe he's not asking too many
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  questions either at this point of his career.
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  Just sort of like, all right, what do you want me to do?
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  He. Is at a point of his career
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  where he's splitting time between good films.
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  And crap. Oh, that's right.
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  Yes, he was doing Red or something around this time.
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  Red was there and Looper was there.
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  Yeah. Looper.
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  Yeah. Great film.
• 11:17
  I've never seen it, but I've heard good things about it.
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  I don't watch Bruce Willis movies.
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  You're right. Yeah, It'll it'll, you know,
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  it's yeah. Like you're I loved.
• 11:23
  Brick And that was Ryan Johnson's previous movie and I
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  love. That Oh, you, you.
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  It got received Well, yeah, Come off.
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  I remember. Thinking I this if there was one
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  to watch in this sort of modern era, that would have been the
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  one. I would.
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  I did. But I didn't.
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  Here's my. Commitment to you, my next Bruce
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  movie. Not tomorrow, not next week.
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  It'll be Looper just for everybody.
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  I don't respect. Write it down.
• 11:40
  A lot of respect for you today. Just God bless.
• 11:43
  Amen. But there's things like Catch
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  44. Yeah.
• 11:47
  And a bunch that I actually own on Blu-ray because they were
• 11:50
  cheap, but none of them are good.
• 11:51
  I'm talking like when you look at IMDb, I know it's not like
• 11:55
  the Bible or anything like that, but you get 5 point twos, you
• 11:58
  know, 6 point O's, like OK, these are probably great movies,
• 12:01
  but maybe they're OK. Yeah, I'm talking 3.13 point
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  eights, 4 point ones. That's what we're sort of
• 12:06
  getting into at this point, his career, and it doesn't get any
• 12:10
  better other than that Brooklyn one with your guy from 25th
• 12:13
  Hour. Oh, Edward Norton.
• 12:14
  Edward Norton. Yeah, yeah, yeah.
• 12:16
  Motherless Brooklyn. Yeah.
• 12:18
  So that's a decent one later in his career.
• 12:19
  So, but back to the main point is he he doesn't involve himself
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  as much out of probably not watching to.
• 12:27
  Yeah, I think he's just sort of above it, it seems.
• 12:29
  Yeah, like, I don't know. I don't know.
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  I don't talk to the guy, but the writing is bad.
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  And I think he had an opportunity, like everybody
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  does, to sort of make it and prove it.
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  And no one did. Yeah.
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  You're not going to get an argument for me from the
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  writing. I'm going to try to get you back
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  on a few other aspects of the film that I think did well.
• 12:46
  Can't even talk about John Moore now Max Payne fame.
• 12:49
  You know, you mentioned that that he had directed that movie
• 12:52
  and I had a rush of anxiety bile.
• 12:58
  You mentioned even a couple weeks back with the Olga being
• 13:02
  in that movie and exactly that movie is just a blur to me.
• 13:06
  Milas Kunis, if I'm saying that. Really.
• 13:07
  Kunis? Yeah, yeah, yeah, yeah.
• 13:10
  Donald Log. Mark Wahlberg, if you're
• 13:12
  certainly Mark Wahlberg. Yeah.
• 13:14
  But yeah. So a movie that I don't really
• 13:15
  remember did not like it. I did not hope.
• 13:17
  You did not, no. But I like that game a lot.
• 13:20
  It's fantastic. I even bought it again like cuz
• 13:23
  they remaster it. Yeah, like 13 bucks.
• 13:25
  Still though, 13 bucks for a PS. I know.
• 13:28
  And it's like you want it to look better than it does.
• 13:30
  Yeah. And just I can't go.
• 13:31
  Over that, No, I did. I will tell you though, I also
• 13:34
  felt a little like hankering some bizarre way, so I just went
• 13:37
  down to YouTube and they just basically I watched all of the
• 13:40
  cutscenes and sort of told the story that way.
• 13:42
  Jack. Lapino played by Amari.
• 13:46
  Velasco Oh, remember that. Just remember that.
• 13:50
  But yeah. So what do you think of the
• 13:51
  style of this movie then? Because again, we talked last
• 13:53
  week the stylistic choices that Stallone was making with the
• 13:56
  sort of monochromatic, heavy digital, kind of grainy film at
• 14:02
  the beginning of the movie, then going to that hard HD with.
• 14:05
  Hard HD. Bright lights and like a soft.
• 14:08
  HD. But just some stylistic choices
• 14:12
  from even the beginning of five with the colors, playing with
• 14:16
  style. Did you think that this guy more
• 14:19
  had any style at all? Actually, allow me, if you will,
• 14:22
  to take you back a couple of weeks.
• 14:25
  Quantum of Solace. Another hack director, yes.
• 14:28
  Maybe, perhaps. And I really had some issues
• 14:32
  with the action sequences true recall, mainly around the
• 14:35
  editing. Yes, I remember that.
• 14:37
  But I said, and I stick by it. I said there's a good movie in
• 14:40
  here. If it's re edited, I'm not going
• 14:43
  to do it. I don't have the means.
• 14:44
  I don't have the tools or the talent.
• 14:46
  Yeah, definitely. Not the talent.
• 14:48
  And I'm thinking, had what was implemented in this movie been
• 14:52
  implemented in Quantum of Solace?
• 14:54
  That's a good movie. Do you like the style and
• 14:56
  editing of this movie? Yes, OK, at least.
• 14:58
  For the the first big set piece, OK with mainly the car stuff,
• 15:04
  anything to do with automobiles, yes, I think is really well
• 15:07
  shot. There's not quick cuts every
• 15:09
  little car accident sure I feel it yeah, yeah.
• 15:12
  And I think it's done actually quite well.
• 15:14
  And I'm actually pleasantly surprised that John Moore had
• 15:17
  the ability to to make it this good.
• 15:20
  I mean, I don't have a lot of experience with him as a
• 15:22
  director other than Max Payne, so it's not really fair to make
• 15:25
  a big comparison. But I found at least for the 1st
• 15:29
  20 minutes really on the edge of my seat like this is really well
• 15:33
  done. Oh, it's OK.
• 15:34
  Right from like the opening credits, like right off the
• 15:36
  start I was like glued to the. Screen I was, I was really
• 15:39
  impressed. That's pretty high praise.
• 15:41
  I, you know, barring that scene or a couple of those scenes,
• 15:44
  generally, I found the movie to be flat, like Earth flat in
• 15:47
  content, which is true. I do feel that also, but more
• 15:51
  specifically, just stylistically, like there's not
• 15:53
  a lot of verve to it. There's not a lot of style.
• 15:55
  There's not a lot of. Sometimes less is more.
• 15:58
  I think yeah, in this case more is less.
• 16:02
  There you go. But quantum was like too much,
• 16:05
  right? It's like no the particular
• 16:06
  action sequences exactly. So I think this is kind of the
• 16:09
  opposite. Maybe I just found it
• 16:10
  refreshing, but you know, you're not really an action guy, so
• 16:13
  we'll just leave it to the expertise please on this one and
• 16:17
  this is. Where I need you to elevate.
• 16:19
  Yeah, I think mostly it is like the fine details with every
• 16:23
  little car accident. The car accidents I'll give you.
• 16:26
  You see it right And then like this is a very expensive movie.
• 16:30
  Yeah. Like a lot of it's shot in
• 16:31
  Prague. Though, so it doesn't have to be
• 16:33
  that expensive. Well, a lot of but good cars get
• 16:36
  damaged. I mean, I'm sure there's ways
• 16:37
  they make it look. Yeah, no, I don't know the
• 16:39
  insurance and outs of it. I think that ultimately the only
• 16:43
  real problem with the action generally that I had was the.
• 16:47
  Yeah, a helicopter. Those sequences that kind of pop
• 16:50
  up and I think mostly just sort of rolling my eyes at the
• 16:53
  severity of it than anything in particular.
• 16:55
  Yeah. You don't respect a good chopper
• 16:57
  scene. You never have.
• 16:58
  No, even in Predator, you're like, don't get to the chopper.
• 17:00
  Stop the new chopper, get off, get away from the chopper.
• 17:04
  Now I'm gonna, I'm gonna backtrack just a little bit for
• 17:07
  a brief moment only because I noted this in a previous movie
• 17:11
  that we did. Were you sort of confused at all
• 17:14
  by the black screen at the very beginning that held on for at
• 17:17
  least, what, 1015 seconds, way too long?
• 17:20
  I did, absolutely. I'm good with it.
• 17:22
  But I was like, oh, yeah, I thought the same.
• 17:24
  I didn't know what was happening, but this is my copy
• 17:27
  and I knew I paid full dollar for this one, so it wasn't from
• 17:29
  Wellington. I knew this was a good copy, so
• 17:32
  I wasn't concerned. But I love how the news comes up
• 17:36
  again, the cell mix, to be perfectly honest with you, I'm
• 17:38
  hearing the phone ring behind me like it's a good HD master,
• 17:43
  whatever that is. It's not the atmosphere.
• 17:45
  The other one, sure, sure, sure. DTS that sound around right, But
• 17:50
  they took their time with it. Yeah, I didn't really.
• 17:53
  You notice, but I'm looking. Around I didn't notice the
• 17:55
  sound, I noticed the the visual, I noticed that it went.
• 17:57
  Black for a while. I think just looking at your
• 17:59
  room, you have done this movie an injustice by not having your
• 18:04
  surround sound set up yet. Sure.
• 18:05
  Do you need a hand with a you need some tweaking?
• 18:07
  I can help. I get you, maybe not not free,
• 18:11
  but of. Course not.
• 18:12
  Of course not. More cake Rhubarb.
• 18:15
  Cake. Very delicious.
• 18:16
  Very delicious. Now, Philip, this movie doesn't
• 18:24
  waste any time to give us at least a little taste of what the
• 18:27
  plots going to be with a couple of Russians, Yuri Komarov and
• 18:32
  the other guy. The other guy.
• 18:34
  Yes, this is a good guy. I have it written down
• 18:38
  somewhere. Oh yeah.
• 18:38
  It'll come, it'll come out, we'll get there.
• 18:40
  But the bad guys sure come with baddies.
• 18:42
  Like, well, no, we don't see them as bad guys, do we?
• 18:44
  Well, I guess not, I think. We see one as a good guy that's
• 18:46
  true touché as a prisoner, and the other one is a power broker.
• 18:50
  Either way, they love chess. Yeah, yeah.
• 18:52
  Did you know there's a musical called Chess about the Cold War
• 18:55
  in Russia? Yeah, I believe it.
• 18:56
  One night. What would you like?
• 18:57
  Bangkok. You ever hear that song?
• 18:59
  Yeah, yeah, yeah. I'll put it on the Facebook
• 19:01
  page. Freshly updated.
• 19:04
  Yeah, I appreciate that, by the way.
• 19:05
  Thank you. But I think we have the makings
• 19:10
  of what will be a coherent plot, generally speaking, compared to
• 19:15
  maybe now let's put the Rockies aside because we know what we're
• 19:17
  getting into. But formulaic.
• 19:19
  Yeah. But getting into maybe Quantum
• 19:20
  of Solace as a quick comparison, which I think.
• 19:23
  Incidentally, I have it similar to Quantum, which is to say I
• 19:25
  don't really know what's happening in this movie.
• 19:27
  Let's talk about what gets John Mcclane to Russia.
• 19:30
  Yes, please. Let's let's do.
• 19:32
  It we have Max Payne's very own Amari Nolasco.
• 19:35
  Oh yes, talking to Bruce just after a file but yeah, he has a
• 19:39
  has a file. It's not the Penske file Philip.
• 19:42
  I know that's what you're thinking, but we cut to John
• 19:45
  just doing it from firing range still has it.
• 19:48
  Yes, right in the right in the noggin do.
• 19:50
  You think he's too old? Well, it's not really his fault.
• 19:54
  I mean, more like, do we buy the character just right off the
• 19:58
  bat, still doing that job at that age?
• 20:01
  I think he can still hold his own.
• 20:03
  I think he looks old and moves old, and as an actor, I mean
• 20:06
  like just physically. And that's fine.
• 20:08
  Let people get old, it's not a problem.
• 20:09
  I'm just more thinking, do we buy that this detective cop
• 20:13
  would still be who he is? Yes, OK, yeah.
• 20:16
  And I'm not, I'm not a good shot.
• 20:17
  So I mean it's obviously. I'm just not saying that just
• 20:20
  because I'm a I'm a fan. No, I think that that's fair.
• 20:22
  I mean, people can do jobs late. I just he looks old a few times
• 20:26
  in this movie. Yeah, well, he's had a pretty
• 20:29
  hell right busy. Life.
• 20:31
  Yeah. It was nice to see, however
• 20:33
  briefly, his daughter. You may remember her from 4.
• 20:37
  Good for. You Beautiful woman, Mary
• 20:40
  Elizabeth Winstead, really cute. But because I had known based on
• 20:46
  your chatter over the years that this movie was a father son
• 20:50
  movie we never heard in all of part 4.
• 20:53
  They never once said, how's your brother doing?
• 20:56
  That's true right there. So there's no indication that
• 20:58
  she's anything other than an only child.
• 21:00
  Well, he's estranged, right? Yeah, So anyway, just it's like,
• 21:03
  again, it's just convenient writing and that's Skippy.
• 21:06
  It'll happen every time with him.
• 21:08
  But I was glad that she was in it because I would have been
• 21:12
  more suspicious, let's say, if she was just never in it.
• 21:15
  And you're like, oh, she gets her movie and that doesn't
• 21:18
  mention the brother at all. And then he gets a movie that
• 21:20
  doesn't mention her at all. You're like, OK, this is.
• 21:22
  Kind of cheap. Well, watch the extended cut.
• 21:24
  That's right, she's out. She's gone.
• 21:26
  But anyway, so I was pleased to see her even though she's not
• 21:29
  really doing. It I think you just really like
• 21:31
  her. She's I think it's purely
• 21:32
  physical. I think it's got nothing to do
• 21:34
  with the plot or anything. Biological thing, David.
• 21:37
  I can't help her. That's okay, that's okay.
• 21:40
  Yeah, she sees him off to Russia.
• 21:42
  Couple I love yous. It's always nice.
• 21:45
  They've they fixed their they they were estranged in the in
• 21:47
  last movie, they rectified their estrangement.
• 21:50
  They they they're able to hack it back together, am I right?
• 21:54
  And now he gets to estrange again.
• 21:56
  Yeah, exactly. And he's got the Russian book
• 21:58
  for idiots. Yes, I think there's still you
• 22:01
  still have to have the best scene, the favorite scene.
• 22:05
  It still has to exist, of course.
• 22:07
  Doesn't mean it's. Necessarily good, but it's
• 22:09
  there. It's there, it's here.
• 22:10
  I think I. Think it's here.
• 22:13
  It's here 100%. I love it.
• 22:14
  It's it's fantastic. So not only did I like the
• 22:17
  credit intro. Yeah, yeah, yeah.
• 22:19
  All that. The setup is a word.
• 22:20
  Whatever. This character, this actor, this
• 22:23
  Russian taxi driver is awesome. Steals the movie it.
• 22:26
  It really does. For that 2-3 minutes, yeah, it's
• 22:28
  amazing. I have big problems with the
• 22:30
  scene itself because I think it's actually a really terrible
• 22:32
  scene. I'm confused now.
• 22:35
  But he is so good in it that I just enjoy him.
• 22:38
  He's a scene saver. We are in Russia, we are in
• 22:42
  traffic. We are.
• 22:44
  We are gridlocked. It's the Gardener Expressway,
• 22:47
  isn't it? And we're hearing bullshit
• 22:48
  banter between the two of them, which, again, is hilarious,
• 22:50
  right? I love all the.
• 22:51
  Russians sexy clubs. Sexy clubs, Sinatra, chairman of
• 22:55
  the board, all of that I thought was really funny.
• 22:57
  Absolutely. But the question is, he is
• 23:01
  trying to say, Bruce is I want to go to this place.
• 23:05
  I've already forgotten what? He asked.
• 23:06
  Sure, he just says. Like I'm trying to find the the
• 23:09
  courthouse. Yes, of course.
• 23:11
  But they have presumably been driving from the airport to what
• 23:17
  is apparently downtown Moscow. You don't know that.
• 23:21
  In in traffic and only in that point is he saying this is where
• 23:25
  I want to go. And not only that, it's two
• 23:27
  blocks away. It's two blocks away.
• 23:30
  So like this is where I'm like, this is such lazy storytelling.
• 23:34
  Skippy Woods. But he is so funny to me that
• 23:40
  I'm actually OK with it. But the garden ring just saying
• 23:42
  like it's always bad. It's like a little set up and
• 23:45
  pay. Off it makes sense.
• 23:46
  It is. That's what movies.
• 23:47
  Do Philip? Even Skippy does not.
• 23:49
  I have no problem with that, but it's so lazy that it's kind of
• 23:53
  silly to me. Have you not learned from a, the
• 23:56
  movies off of my shelf specifically, but action movies
• 23:59
  in general, that you need to kind of turn the blind eye on
• 24:04
  certain aspects of the movie and really focus on, you know, the
• 24:08
  good stuff? We joked before I do that with
• 24:10
  horror movies, so yeah, it's only fair.
• 24:12
  But you don't. You need to re listen to our
• 24:14
  Friday the 13th episode. I was mostly on board with that
• 24:17
  one. OK, anywhere.
• 24:19
  I mean, you chose it for the the long haul.
• 24:21
  I didn't have a choice. OK, you didn't have a choice.
• 24:24
  You literally had a choice. It was actively a choice.
• 24:29
  And I don't want to do this too much.
• 24:31
  Quantum of Solace last time, Not going to bring it up anymore.
• 24:34
  Not the last time, but. The CIA guy I commented on I
• 24:39
  knew like a doppelganger. David Harbour, you're saying?
• 24:42
  Yes, exactly. He's a terrible person.
• 24:44
  But this guy, Jay Kootenai, his introduction, I know a guy that
• 24:49
  we used to work in. The company that I worked with
• 24:51
  looks like him, but also walks like him.
• 24:55
  A Walker and a talker. Well, not the talking part, just
• 24:57
  the looking OK and The Walking OK, not the trifecta.
• 25:00
  OK, because that's something weird.
• 25:02
  And I think this shot, and I think you know what I'm talking
• 25:05
  about here, it's the cameras, the lower half, he's just
• 25:08
  walking through this sort of restaurant bar.
• 25:12
  And I think that's just exciting.
• 25:14
  He grabs the gun like, this is a good movie.
• 25:16
  This is action, Phil. It's the heart pumping.
• 25:18
  OK. Does it make a lot of sense?
• 25:20
  No, not really. And I have to.
• 25:22
  And I recognize it to a certain extent it does.
• 25:24
  But I just think my first impression of this character,
• 25:27
  this guy is cool. Yeah, that's cool.
• 25:30
  Ultimately he's not really, no, but seeing his lower half body,
• 25:34
  I think Mary Hart would appreciate it too.
• 25:37
  And he's, again, this is a possibly John Tesh.
• 25:39
  We don't know. We don't know.
• 25:42
  But I think it's such a cool stylistic choice.
• 25:45
  I think it's not flat like it's bum.
• 25:47
  It's not flat. OK.
• 25:48
  Yeah, interesting. Did you think that camera shot
• 25:51
  was anything special? Not uniquely watched again.
• 25:55
  Put it on. Now it's right loaded up.
• 25:57
  But nothing stood out as being bad either.
• 26:00
  But I can't say I was excited by almost anything in this first
• 26:03
  wave. OK, we get to the, you know, the
• 26:06
  son getting his garbage thrown on him as he's walking into the
• 26:09
  courthouse. If you notice, you know, kind of
• 26:11
  right around this time, that was the scene that I found to be to
• 26:15
  be an opportunity that wasn't necessarily taken.
• 26:19
  But it does slow MO. We see Bruce seeing that, and
• 26:22
  there's a sort of feeling of like, that's my, you know, you
• 26:24
  can almost. Yeah.
• 26:25
  If Bruce was more willing at this stage of the game to kind
• 26:29
  of be more engaged. Let's say, and that kind of
• 26:31
  hurts the movie. Unfortunately, if you're trying
• 26:33
  to tell a father son movie, we've talked before, right?
• 26:35
  We've Wilaki 5 and 6 in some ways are all.
• 26:39
  There's a father and a son. In both of those movies, they're
• 26:42
  kind of pretty central to the plotting and that relationship
• 26:45
  needs, and Stallone isn't a great actor, but he's able to at
• 26:48
  least drive a little bit of something out of it.
• 26:51
  Now, maybe it's because they're both adults in this, a little
• 26:53
  bit more so than in certainly in Rocky 5.
• 26:55
  I think the main thing is when when Stallone is the writer, you
• 27:00
  don't phone that in. You're committed.
• 27:01
  You're committed. Yeah, there is some some missed
• 27:03
  opportunity, but at this point, the movie, I'm still like 100%
• 27:09
  engaged. It tapers.
• 27:11
  It tapers. Totally.
• 27:12
  And I'm still there. I I found myself difficult to
• 27:15
  get into it, but I did enjoy the cars blowing up Ruthless.
• 27:19
  And he's kind of, this guy's kind of having fun.
• 27:21
  Loose Cannon. He's actually my favorite
• 27:22
  character in the movie. Alec.
• 27:23
  Yeah. I think he's got an energy and a
• 27:25
  charisma that nobody else brings to the movie.
• 27:28
  And it's not just that he's Comic Relief.
• 27:30
  I just think he's crazy and he's allowed to be maybe a little bit
• 27:34
  more out there, but just fundamentally in a movie that I
• 27:37
  felt has low energy flat. He's no Tommy Morrison, that's
• 27:40
  for sure. Exactly.
• 27:42
  So I I just found the movie to be relatively uninteresting for
• 27:45
  much of it. But here's a guy with character.
• 27:47
  Here's a guy with charisma. Here's a guy with style.
• 27:49
  You latched onto him. Yeah, and I kind of like his
• 27:51
  approach. You kind of like, oh, this guy's
• 27:53
  crazy. I buy it, good, good, blowing it
• 27:54
  up and and so forth. So I found and again that like
• 27:57
  you're saying with the cars explosions and such, that is
• 28:00
  something that I found to be visceral.
• 28:02
  I don't need explosions, but I I needed to feel like this is
• 28:05
  really happening. And I think it it does succeed,
• 28:08
  yes, in that first action piece. Which is like, it's going to be
• 28:10
  loud. You know, I thought all of that
• 28:12
  was really well executed. And what it kind of trickles out
• 28:14
  into is eventually they escape the son and John.
• 28:20
  Jack escapes with Yuri. Yuri.
• 28:24
  Yeah. And we kind of get some more
• 28:26
  hijinks there. We want to tell me what your
• 28:28
  thoughts on that particular exchange is.
• 28:31
  Are you talking about the exchanges between father and
• 28:33
  son? Yeah, this is now they're face
• 28:35
  to face and sort of what's happening around them and how
• 28:38
  they react to one another's presence and such.
• 28:40
  Yeah, the son, Jack John Junior, doesn't want Dad there.
• 28:46
  No, doesn't even want to call him Dad.
• 28:48
  No, that's how you know it. Really.
• 28:49
  Exactly. Very similar to the vibes we got
• 28:52
  the beginning of four with the daughter, so same.
• 28:54
  Thing I think too. Wasn't she not using his name?
• 28:56
  Yeah, and she's Janeiro not? Yeah, exactly.
• 28:59
  Well, at the end, she's McClain. Yeah, Yeah.
• 29:01
  But. So there is that same.
• 29:03
  Yeah, yeah. It's basically a rehash.
• 29:05
  It is a rehash, absolutely. I'm not gonna argue that.
• 29:07
  No, I can't. Sometimes they can work,
• 29:09
  sometimes. Sometimes.
• 29:10
  Sometimes not so much. Again, there's no real dialogue
• 29:14
  that I think is good, really. Skippy.
• 29:20
  It's kind of Bruce and I am going to take responsibility
• 29:24
  because I'm his. Representation.
• 29:25
  You are his representation. Form on the on this show.
• 29:28
  Yep, specifically. Yes, you're the Avatar.
• 29:30
  Compound that with the lack of chemistry between him and Jay
• 29:35
  Kutney, it's just not very good. So important is now.
• 29:41
  It doesn't completely ruin the experience from the overall
• 29:45
  picture, but it would have been nice to have something.
• 29:49
  Yeah, I found that there was a little bit more and only
• 29:52
  slightly more in four the the chemistry between Mary Elizabeth
• 29:56
  Winstead and and he. But even then.
• 29:58
  She wasn't in a lot of it. Exactly.
• 30:00
  And ultimately, there's. Together all the.
• 30:02
  Time. So if you're trying to build
• 30:03
  that up and you don't have whatever that chemistry is, we
• 30:07
  talked about this in Quantum of Solace, right?
• 30:09
  We've got the terrible actor Olga.
• 30:11
  The Olga effect, yes, right. Exactly.
• 30:13
  Coined by our great Philip here. Yes, like the fact that to me
• 30:17
  she has no ability but no chemistry with bond or it's it's
• 30:22
  non existent. To me, it makes anything that
• 30:25
  happens with that relationship to be kind of.
• 30:28
  Uncredited. Useless like it just.
• 30:30
  Yeah, I guess it's happening, but you're hitting the beats.
• 30:32
  Where is everything with Eva Green and Casino Royale?
• 30:35
  I felt like this is necessary for the plot to move forward.
• 30:39
  Like it just felt like it wasn't only a story, it was actually
• 30:43
  something else that elevated and in this feels hollow and just
• 30:48
  there because. It's on the paper.
• 30:50
  They need. Yeah, exactly.
• 30:51
  Quick, funny story because I think he should've been recast.
• 30:55
  Yes, Jay Kooten, Heen uppers. Take it easy.
• 30:58
  Take it easy. I remember seeing a trailer and
• 31:02
  the son was played by the same actor who portrayed himself in
• 31:06
  Unbreakable in the flashback scenes to the car accident.
• 31:11
  That guy and I've seen him in nothing.
• 31:13
  OK now this is 20/13/2012. Maybe when the trailer came out.
• 31:17
  Is it fan made or did they recast him?
• 31:20
  Good question. Got rid of him and brought in
• 31:22
  Jay Kootney. If that's the case the other guy
• 31:24
  must have been really bad and I haven't seen anything with Jay
• 31:28
  Kootney in since. Maybe he's grown.
• 31:30
  Sure, I mean. He's a boxer.
• 31:34
  He acted like one, that's for sure, but it's disappointing
• 31:38
  because, like the boxer in Rocky 5, Tommy Morrison, things are
• 31:43
  hinged on his performance because you're in every.
• 31:47
  Scene almost, yeah. And that's a problem, yeah.
• 31:50
  And he doesn't elevate and I think character like writing
• 31:53
  wise. So he's a bad actor, I think.
• 31:55
  Yeah, writing didn't help and you did not throw any papers.
• 31:58
  Not at all because I'm watching it and at times you're like,
• 32:00
  there is no, and maybe this is a Bruce factor as well, but
• 32:04
  there's not like a handoff moment.
• 32:06
  It's like McLean that's still kind of bailing him out.
• 32:09
  This 60 year old cop, this guys, the CIA, it doesn't matter.
• 32:14
  You let these things go. But when you're looking at it
• 32:17
  and it's like the whole plot is hinged on, it starts to grate on
• 32:20
  the moving. I don't feel any chemistry.
• 32:22
  No, the anger feels hollow. I'm going to call you McClain.
• 32:26
  Damn you, McClain. That's good.
• 32:28
  That's better than your rocky impression.
• 32:30
  It's it's as life full as his performances anyway.
• 32:34
  Had a very hard time getting connected and strangely I don't
• 32:37
  know if you noticed this but I think Bruce just for about 5
• 32:40
  minutes just yells Jack like for like everything he says he does
• 32:45
  say. That a couple.
• 32:46
  Times he gets hit by the truck Jack and then the guys chase
• 32:49
  after him Jack Jack Jack like 6 times in like 2 minutes scene.
• 32:54
  I'm just like what is happening? We get it.
• 32:57
  Oh man. That's got to ring a bell.
• 32:59
  Yeah, it's a lot. I'm not sure if you notice that
• 33:07
  the cell phone when it was ringing as he was driving his
• 33:10
  daughters trying to get in touch with him.
• 33:11
  I did notice, right? I'm watching buddy.
• 33:13
  I'm locked in. I want you to listen though,
• 33:16
  because the what the ringtone is, and I think it's got to be
• 33:19
  an Easter egg, which you know, I don't love, but I'm pretty sure
• 33:23
  that the ringtone playing on the phone is Ode to Joy, which if
• 33:28
  you recall. The original Die Hard.
• 33:30
  From Die Hard 2 I believe one of the trailers has Ode to Joy
• 33:34
  playing over the movie. Pretty sure it's the original.
• 33:36
  Could be anyway. That piece of music is familiar
• 33:38
  to me in a Die Hard context and I was impressed.
• 33:40
  Not noticed that. So I don't know if it's just me,
• 33:43
  maybe it wasn't there and I'm making it up, but I have a
• 33:46
  recollection. It felt like, that's cute.
• 33:49
  What's noteworthy is we don't want them, but when they're not
• 33:53
  there, be like, oh, I wish that was there.
• 33:55
  Sure, like or there's an opportunity.
• 33:57
  Yeah, like John Mcclane flying to Russia.
• 34:00
  Yes. Do you want a scene of his feet
• 34:02
  scrunching with your toes because he had the fear of.
• 34:04
  Flying. That's right.
• 34:05
  And that was the advice given. Yeah, and we don't get it.
• 34:08
  And part of me wanted it. Yeah, had we got it.
• 34:10
  I'm like, oh come on, guys, that's silly.
• 34:12
  We get it. I think you love the Bad backs
• 34:15
  cameo and Briosa if I recall. So ridiculous.
• 34:19
  Who is not ridiculous and a good dear friend of.
• 34:24
  Bruce Segway, man in the biz? Absolutely.
• 34:26
  I should get paid to do Segways. This gentleman has worked with
• 34:29
  Bruce at least twice before. OK, in Tears of the Sun coming
• 34:34
  in 2026. Tears of the Sun, what a great
• 34:36
  title. It really is and a great film.
• 34:38
  OK. And hearts wore deep, deep in
• 34:41
  the archives. That's A season 1.
• 34:43
  That's ancient season. One, maybe 2 Cole Haaser.
• 34:46
  You know who that is? I think he's the yellow Stoner.
• 34:50
  I don't know. I don't have that subscription.
• 34:53
  I think I like that show, though, oddly enough.
• 34:55
  Sure. Kevin Costner, right?
• 34:57
  He's. Yeah, he's.
• 34:58
  A part of it. I love him.
• 34:59
  I don't know. Cole Hauser.
• 35:01
  Hauser. Yeah, he's Cole Hauser.
• 35:03
  I think he's. Hauser.
• 35:03
  All right, but you don't know him.
• 35:04
  But you know her. The name.
• 35:05
  Say his name. OK, He's in Goodwill hunting.
• 35:08
  Maybe plays Billy. Hey, haven't seen it.
• 35:11
  Don't ruin it for me. I want to go.
• 35:13
  And completely fresh in that movie.
• 35:15
  Houser stories. He's the CIA guy at the safe
• 35:19
  house from Langley. Yeah, yeah.
• 35:21
  Originally, originally from Langley, born and raised.
• 35:24
  And I love Cole. Yeah, he's good.
• 35:26
  He's great. Yeah.
• 35:27
  Now that you mentioned him, like I know who you're talking about.
• 35:30
  But there's a problem. He's not long for the world.
• 35:32
  Yeah, he's in one quick scene earlier, which I actually missed
• 35:36
  the first time watching it. He saw the second time, but they
• 35:38
  somehow tracked them down to the safe house.
• 35:40
  How? Who cares?
• 35:42
  Yes, Phil, Who cares? Doesn't matter.
• 35:44
  Does not matter. Starts to matter eventually, but
• 35:46
  you're right, doesn't matter now.
• 35:48
  They wound Yuri because you don't want him dead because he's
• 35:50
  got the file. That's right.
• 35:52
  Check box, right? Yep.
• 35:53
  And the Cole gets it right in the skull.
• 35:55
  Doesn't work well. I think you'd appreciate that.
• 35:57
  I did though. I did.
• 35:58
  I did. Written down.
• 36:00
  Good, Good, good, good shot, Good shot.
• 36:03
  Yeah, the warehouse scene in general is one that kind of
• 36:06
  annoys me. I'm sorry to hear that.
• 36:08
  A little bit more so just you've got Willis just on a Jag.
• 36:12
  I'm on vacation. I'm not supposed to be.
• 36:14
  Here, that's a problem, he says. I'm on vacation about five times
• 36:18
  and he's not on vacation. He's looking for his son.
• 36:21
  Not a lot of people from North America visit Moscow for
• 36:25
  vacation. They don't, not am I Ross.
• 36:26
  Not these days. If he's going to the Bahamas,
• 36:29
  maybe because there's a beach, possibly a couple drinks, I earn
• 36:32
  6. All I'm saying is it's stupid.
• 36:36
  It's and it's disappointing. It's just, it's like we trying
• 36:38
  to be quippy. Rockies, the one liners are
• 36:40
  better. A little bit happy.
• 36:41
  I said it. I said it.
• 36:43
  Another thing that sticks out when he's in this moment is we
• 36:46
  got Willis talking to himself. Like he's talking to me, he's
• 36:49
  talking to me. He's talking to Yuri in this
• 36:51
  instance, and he's talking about how he's always worked too hard
• 36:56
  and never really followed my kid around.
• 36:59
  I didn't do enough as a father, You know what it's like.
• 37:02
  Outside by the van, Yeah. You know what I thought about TV
• 37:05
  show My 2 Dads? I don't know, I just thought of
• 37:08
  that show. There you go.
• 37:10
  Yeah, I just thought like so hollow.
• 37:12
  Hollow and forced, like we need this moment and Jack is
• 37:16
  eavesdropping community. That's right.
• 37:18
  That's. Right.
• 37:19
  But that actually needs to happen to Fast forward the we
• 37:25
  need to be buddies again totally.
• 37:26
  So that eavesdrop is required. Yeah, oddly enough, it's just
• 37:29
  like handled, like it's fumble, like it's like a football, like
• 37:33
  a football, if you will. It's it's not well executed, but
• 37:37
  it does need to be there. It's just so trite, everything
• 37:39
  that's coming out of their mouths.
• 37:40
  And I feel bad for McClain because his son stomps on his
• 37:43
  phone and he's still in a two year contract.
• 37:45
  That's right, he's been paying that off for a long.
• 37:47
  Time, those are big contracts back then, absolutely still.
• 37:49
  Paying for text messaging and. Voicemail.
• 37:53
  Miserable. Miserable.
• 37:55
  Tell us, I'll have something to say about that.
• 37:56
  Absolutely. Verizon.
• 37:58
  Viacom. But this all leads us to more or
• 38:02
  less our second action sequence, our next sort of setting,
• 38:08
  because we have to go get not the file, but the key to the
• 38:12
  file, and that's key. It is key.
• 38:14
  It is. Essential because I missed that
• 38:15
  the first time. The conditions of this whole
• 38:19
  deal. Now is Yuri wants to take his
• 38:22
  daughter with him outside Russia, right?
• 38:25
  Totally. Of course, wouldn't you want?
• 38:27
  Well, in those circumstances they will.
• 38:29
  I've seen this so many times in episodes of MacGyver, because
• 38:32
  they do a lot of stuff in Bulgaria and all over the world
• 38:34
  is if you're a political person, they will take your family.
• 38:38
  That's right. So.
• 38:39
  They'll they'll take everything you've got.
• 38:40
  So that's fair. It's a good deal, totally
• 38:41
  reasonable. But she gets there kind of
• 38:43
  quick. That's what he suspects.
• 38:45
  Mcclain's on it. He may not have the physicality
• 38:49
  like you still tried to say earlier, but he still got it up
• 38:54
  here. Ironically speaking, the issue I
• 38:56
  have with that, because I like that, right?
• 38:58
  Like you're a cop, that's the instinct, right?
• 39:00
  And and sure, you're CIA, you're trained.
• 39:02
  Like if that's the story you want to tell, there's like
• 39:05
  there's room for that. You're the blue collar cop and
• 39:07
  I'm the white collar cop or vice versa.
• 39:09
  Sorry, right. Like there's some play there.
• 39:11
  The movie doesn't really maximize that or really touch on
• 39:13
  it at all. But I do enjoy that he's still
• 39:15
  got like that instinct. But this is where that example
• 39:18
  of he still has to be the hero in a way that you've
• 39:22
  theoretically been building the sun to be the handoff almost.
• 39:27
  And Willis just won't allow it. Or Skippy won't.
• 39:30
  Because he would fumble it. Yeah, biggest issue I have with
• 39:33
  it generally though is. Dancing.
• 39:36
  There's no urgency to the conversation, so if Bruce is
• 39:39
  suspecting something, I don't know.
• 39:40
  I just, I feel like there needs to be some movement, but instead
• 39:43
  they just stand. Blocking in this movie is very
• 39:45
  bad. Like it's stiff.
• 39:46
  It's very stiff and like everyone just standing, talking
• 39:48
  without any movement. And then she ends up turning on
• 39:51
  Yuri and you're like, oh, what? Yeah, OK.
• 39:54
  That's a bit of a theme in this whole scene that that sense of
• 39:57
  urgency isn't there. Like when the chopper is coming,
• 40:00
  same thing. He's just standing, watching.
• 40:02
  You better get. We know Bruce and McClain in
• 40:05
  particular as a man of action. He's a man of action.
• 40:08
  In all the previous movies. And again, is this that he's too
• 40:11
  old to do it? But they haven't played him up
• 40:12
  as being too old to do it. And is it that he's lost a step?
• 40:16
  Well, no, because he still kind of knows the things.
• 40:19
  So what is the character's position now?
• 40:22
  Is it that he's? Skippy.
• 40:24
  Slow like I just don't know what you're doing with the character
• 40:26
  if if like you're saying the old McClain and old by being like 4
• 40:31
  years earlier and Die hard 4. 6. Six years earlier would have
• 40:34
  seen something happening, like a chopper directly facing it.
• 40:38
  You looked at it for a couple of minutes like having a staring
• 40:42
  content would have run someplace, grabbed a gun
• 40:45
  something grab somebody threw something he.
• 40:48
  Would have made a meal in that time.
• 40:49
  Exactly. Would have done something and
• 40:51
  this, we're just watching and that's what happening in all
• 40:53
  throughout this scene. But I think we're going to come
• 40:55
  up on probably your favorite dialogue.
• 40:57
  Talk to me. I think when they use the knife,
• 41:01
  they get away. Now we have a shootout.
• 41:02
  And Bruce doesn't usually use the big guns, no, but he had
• 41:06
  just used one at the safe house and now he's got a pretty decent
• 41:09
  size gun. But they're behind like a
• 41:12
  counter creating a barrier, which is important and gunfire,
• 41:16
  in case you didn't know. And he wants to get all dad on
• 41:20
  him, I guess. Yeah.
• 41:21
  And then the son says, you, you doing this now, right before
• 41:25
  we're, you know, we're going to die.
• 41:26
  Yes, you know, you don't get to have this heartfelt conversation
• 41:30
  now. So you remember it, of course.
• 41:32
  Good line. Eh, it's OK.
• 41:34
  I mean, it's not bad. It's like, OK, this is like
• 41:36
  having some fun because the movie so far hasn't been that
• 41:39
  much fun. The only one who's having fun is
• 41:41
  the the assassin who's tap dancing.
• 41:43
  Oh, he's had a great time. This guy I like so much, he's
• 41:45
  got such charisma. But yeah, that's a funny line.
• 41:48
  I guess it's just. That that guy Alec had three
• 41:51
  options, grocery clerk, dancer or killer, and he kind of in
• 41:56
  between with the killer stuff. Yeah, yeah, I respect it.
• 41:58
  Yeah. But yeah, I I thought that was
• 42:00
  kind of silly. But again, like to your point
• 42:01
  earlier, it has to happen now so that it can happen later.
• 42:05
  But what's in the script now is the helicopter has something to
• 42:09
  say. Yes, now you don't like
• 42:13
  helicopters. I guess you never played chop
• 42:16
  lifter. Chop lifter Firefox.
• 42:18
  Yeah. Some good ones out there.
• 42:20
  Blue Thunder. Yeah, something like that.
• 42:22
  Roy Schneider's in a helicopter movie.
• 42:24
  There you go. Yeah.
• 42:25
  J and Michael Vincent in a helicopter movie.
• 42:28
  Oh, that reminds me real quick. Christopher Plummer.
• 42:32
  Yeah, I was thinking of a different show, but he was in
• 42:34
  the show called Counter Strike. Oh, yes, that's right.
• 42:37
  That's what the show I was thinking of.
• 42:38
  Yes. It wasn't the IT wasn't the
• 42:40
  helicopter one, which was, Wolf, something that was a different
• 42:44
  show that was equally as bad, but low budget.
• 42:47
  Yeah, But Counter Strike, yes. There you go.
• 42:51
  Also a good game. Yeah, absolutely.
• 42:53
  So I hear the kids love it. But tell me, Philip, do you like
• 42:59
  this? Scene.
• 43:00
  No, I told you before the chat, the chopper stuff.
• 43:02
  Why did I ask? Yeah, I just think it's what is
• 43:07
  it? It's poor direction.
• 43:09
  I found this to be an action sequence again, Willis and here,
• 43:12
  just watching it happen. It's a lot of explosions, yes,
• 43:15
  but I don't really get a sense of the geography where they are
• 43:17
  in relationship. Again, you can't worry about
• 43:20
  that stuff. Just enjoy those bullets
• 43:21
  whizzing by. It it, it was lifeless to me.
• 43:25
  Did you think it elevated? I thought you jacked.
• 43:27
  Up. I thought it was really well
• 43:28
  shot. Then once they start to get up
• 43:29
  moving, you see all the bullets coming in.
• 43:31
  They jump out the window, the window.
• 43:34
  Very fortunate. There was some scaffolding and
• 43:36
  then they go down the tubi thing.
• 43:38
  So I thought, yeah, I think I was well choreographed.
• 43:41
  Yeah. I think at that point it's a
• 43:43
  struggle for me to kind of find some high ground.
• 43:45
  By the time it turned into that, I was sort of disinterested,
• 43:49
  let's say. Well, that's too bad.
• 43:50
  Buddy, So not to suggest it was good or bad at that point
• 43:52
  because I was kind of to it so it could have been the best, but
• 43:54
  I was so burned out. I was like this.
• 43:57
  Not working. I am giving this second action
• 44:00
  sequence a check mark, and it sounds like you're not.
• 44:02
  No, I wouldn't say that's OK. That's OK.
• 44:04
  We there'll be more opportunities.
• 44:06
  Not a lot because this movie is only an hour 38.
• 44:08
  You're welcome. You're welcome.
• 44:10
  Yes, but one of the opportunities I didn't love is
• 44:14
  the quiet moment between the two posts, all of this chaos.
• 44:19
  Where's all this glass breaking? That's right, probably just a.
• 44:21
  Coincidence. Also, maybe a shout out to
• 44:23
  Glass. You leap for these connective.
• 44:25
  Issues the moment in which he's sort of confessing to his son,
• 44:31
  Jack. Jack, that is a pretty good day.
• 44:35
  Yeah. Like, you know, I get to run
• 44:37
  around with my son. Yeah.
• 44:39
  Killing dozens of people and getting shot at, taking out,
• 44:44
  taking out a rod, rebar, whatever.
• 44:46
  Like making fun of him. Yeah.
• 44:48
  And cry. You're gonna cry like a you
• 44:49
  know, that's a great. Scene.
• 44:51
  That's a really good scene. It's really silly to me, but I
• 44:53
  was just thinking to myself like what is wrong with this movie?
• 44:57
  Just a few things. Anyway, I just don't find any of
• 45:01
  the emotionality we've talked before.
• 45:02
  Bruce is not good for that, whereas Stallone, just by
• 45:04
  contrast, I felt delivers on the emotion better than some of the
• 45:10
  other stuff he had he's asked to do.
• 45:11
  The sun scenes were not good. Not the sun.
• 45:13
  It's not you can't not the sun scenes, but the emotion on the
• 45:16
  street. All Adrian, of course, you know,
• 45:18
  I didn't want this. This isn't what I'm you know
• 45:20
  the. Best scene of that movie.
• 45:21
  That's right. So like those are elements where
• 45:22
  I'm like, oh, he's allowing himself to be that.
• 45:24
  And Bruce just never allows that to happen.
• 45:26
  And here's an example where he's trying to connect with his son
• 45:29
  and be. Yeah, it's not, I guess like
• 45:31
  it's. It's just not there's just
• 45:33
  doesn't elevate. It's in the basement and he
• 45:34
  can't get it out. He.
• 45:35
  Just doesn't elevate the the to that to that.
• 45:37
  There's no elevator to get it out.
• 45:38
  Yes. Either way, Philip, this
• 45:40
  journey's gonna take us to. Grenoble in the French Alps.
• 45:43
  Yeah, beautiful this time of year.
• 45:45
  Yeah, yeah, yeah. Yeah, as John wished, yes, but
• 45:48
  if only. If only they are going to
• 45:51
  Chernobyl, which history tells me had some issues.
• 45:56
  Yeah, some issues. Bad news.
• 45:58
  I haven't seen the show. It's fantastic.
• 45:59
  Yeah, I've heard. I heard it's really, really.
• 46:01
  I honestly don't have a lot of knowledge, just the very basic
• 46:04
  on it. But that's where they're off to
• 46:07
  because that's where the file is.
• 46:09
  Yeah. Allegedly, quote, quote, UN
• 46:11
  quote. It's one big file.
• 46:13
  It's a big file, big hard drive. Hey, what's in these crates?
• 46:16
  Bruce asked. 6 times. Yeah, don't worry about it.
• 46:18
  And this is more or less our final sort of father son moment
• 46:23
  to really solidify that, solidify it and and sort of
• 46:27
  bring it home so we can have that final shot.
• 46:29
  Yes, that we're going to get a little bit later.
• 46:31
  It's also where the plot that doesn't make a lot of sense even
• 46:34
  start to make even less sense. No, it makes sense.
• 46:36
  Checks out. Bruce says, John, I love you,
• 46:40
  boy. He says, I love you too.
• 46:42
  I got your back. I got yours too.
• 46:45
  There it is. That's all you need.
• 46:46
  That's all Skippy. It's Skippy.
• 46:47
  That's Skippy. That's from the heart, Yeah.
• 46:49
  It's either Skippy or George Lucas.
• 46:53
  We're we're, we're not sure. Yes, but you're happy.
• 46:56
  But once inside, something odd happens.
• 46:59
  Yeah, something odd. Alec gets shot in the head.
• 47:02
  Yeah, which I, you know, I could appreciate anytime.
• 47:05
  There's this sort of switcheroo surprise, right?
• 47:10
  Again, a guy loves horror movies.
• 47:11
  I like it when someone dies out of the blue.
• 47:13
  You're not anticipating. Good shot, too.
• 47:15
  Like a nice shot in the face. Absolutely.
• 47:17
  So, like, I'm on board with that.
• 47:19
  My disappointment just comes from the fact that I like that
• 47:21
  character. Yes, you did.
• 47:23
  Not, I mean not beyond ID. I couldn't even tell you his
• 47:26
  name right, But I just like his energy.
• 47:28
  Alec. And the fact that he gets shot
• 47:31
  in the face means he won't be around anymore.
• 47:33
  But also it just makes me wonder what what?
• 47:38
  You know, well, let me clue you in the please.
• 47:39
  The daughter does the Russian roundabout.
• 47:43
  Yeah. Classic Russian.
• 47:44
  Classic Russian roundabout. So she's supposedly with the
• 47:48
  other guy. In the beginning, yes, we kind
• 47:49
  of talked about and we thought she betrayed Dad, but she's
• 47:55
  working with Dad. That's right, thanks to the
• 47:57
  golden ring. Yeah, the traffic issue.
• 48:01
  And this is where Yuri makes a call.
• 48:04
  Yes, long distance. I don't know the rates back then
• 48:07
  on these 2013 plans. I'm not sure, but he calls the
• 48:11
  other guy, which we haven't spent much time with because
• 48:14
  he's not really in. This whole movie kind of
• 48:16
  operates similarly to what the Bond movies were, which was who
• 48:19
  is the bad guy? Oh yeah.
• 48:20
  That's right, it's Mr. White. Yeah, effectively, he's Mr.
• 48:23
  White. He's some mastermind, maybe.
• 48:25
  But it's like, do I care? No.
• 48:27
  And oh, Yuri's the good guy. No, wait, he's the bad guy.
• 48:29
  She's the good guy. No, wait, she's maybe the bad
• 48:31
  guy. And dancer.
• 48:32
  He's the bad guy. Oh, wait, he's dead.
• 48:34
  You're like. OK, well, the most important
• 48:36
  thing is Bruce is the good guy. Bruce is the always need to
• 48:40
  know. But he basically has him
• 48:44
  assassinated. Yeah, choked him out.
• 48:45
  Yeah. Yeah, I like that scene.
• 48:47
  You love a good massage scene. That is a bad ending, I would
• 48:51
  say. I think that's.
• 48:52
  A bad ending, You think that's the.
• 48:53
  Worst you have to pay a little extra for it, but that would be
• 48:56
  in the bad ending category. I do like the CCCP tattoo on the
• 49:02
  other guy. Yeah.
• 49:03
  Brings me back to, like, hockey. Sure.
• 49:05
  Absolutely. You know, 7272 Henderson.
• 49:08
  Yeah, Yeah. Everyone remembers that goal,
• 49:11
  absolutely. But question remains, why?
• 49:14
  What? Who?
• 49:18
  Not really a question story, but they don't know Yuri is flipped.
• 49:22
  Yes. So, but luckily we have a very
• 49:27
  good cop with some very good instincts.
• 49:30
  Yes, his son doesn't have a clue.
• 49:32
  Not a clue. Despite having lived three years
• 49:34
  with this guy. It's embarrassing.
• 49:36
  It's a little embarrassing, yeah.
• 49:38
  I never feel like John Junior is ever really doing anything.
• 49:43
  His daughter in Part 4, she's the hostage, she's the
• 49:46
  bargaining chip, right? So you're like, OK, that's her
• 49:48
  role and that's fine. But you've built up his son now
• 49:51
  to be, he's working full time here like an actual operative.
• 49:55
  He is part of the intelligence, has all the tools in the
• 50:00
  training, and yet can't figure out seemingly anything that's
• 50:03
  happening. Do you think this might be what
• 50:05
  it is, is having to work with Bruce and trying to be on camera
• 50:10
  with him is maybe intimidating potentially like that's a
• 50:14
  totally like working like if I was working with Bruce, sure.
• 50:17
  This is like. And if you weren't a very good
• 50:18
  actor, right? Which I am not.
• 50:20
  I was in one movie, it seemed got cut out.
• 50:22
  It was terrible. Yeah.
• 50:23
  He was a millionaire, more or less.
• 50:25
  An idol of mine. Yeah, Like, not quite.
• 50:27
  I don't like to idolize, But if I were to, he would be first in
• 50:30
  line, probably, and I would really struggle.
• 50:32
  So that might have played a role.
• 50:34
  We don't know what's going on behind the scenes, but I imagine
• 50:36
  that could have played a bit of a role.
• 50:37
  I think so. I think there's partly.
• 50:39
  That and I think the other part is you have to be willing to
• 50:42
  participate, right? Actors are giving and taking and
• 50:44
  listening and hearing and, and like, you know, acting and
• 50:46
  reacting. That's right.
• 50:48
  And I wonder that Bruce at this stage of his life is not, I've
• 50:52
  heard the rumors of the stories. He's just not that giving an
• 50:55
  actor. And so it's possible that it's
• 50:57
  just that right where this guy shows up.
• 50:59
  It's my first big movie. I'm in a movie with Bruce
• 51:01
  Willis. Oh my gosh, my hero, my idol.
• 51:04
  And so I he's bringing that energy and he's being maybe shut
• 51:07
  down by the fact that Bruce just doesn't want to go along with
• 51:09
  it. Tough to say.
• 51:10
  I don't know obviously how it was made or anything like that.
• 51:12
  But in watching it, there again, the lack of chemistry, the lack
• 51:16
  of excitement, the lack of joy, the lack of interest, the lack
• 51:18
  of behaviors, performance, anything of interest between
• 51:21
  these two throughout the whole movie.
• 51:23
  It's not even like isolated scenes.
• 51:25
  I think he works. Bruce works best with kids, 6th
• 51:28
  Sense, The Kid and Unbreakable. Those are his top three
• 51:31
  performances. Yeah, I think you're probably.
• 51:33
  There's something to that. Probably not.
• 51:34
  I mean, I hated the kid and yeah, well, didn't much care for
• 51:37
  the others, but I hated the kid in part because of the kid.
• 51:39
  Yeah. He's a terrible kid, bad kid,
• 51:42
  the worst. Yippee Ki yay.
• 51:50
  Oh yeah, let's get to it. All right, Might as.
• 51:52
  Well, because you have. To we talked about you have to.
• 51:54
  Parts 3 and 4 even. Did he?
• 51:57
  Did he say it at 4:00? Yeah, he did.
• 51:58
  Yes, but he didn't get to say motherfucker.
• 52:01
  Maybe not. Cuz I think it was a PG13 maybe
• 52:04
  or something like Yippie Kaye mother and then something blew
• 52:06
  up. What are your thoughts on this
• 52:08
  one? Here it is.
• 52:09
  I want it 3 minutes later. OK.
• 52:11
  It's a little early. OK, a little early, yeah.
• 52:14
  I mean, I said, and I stand behind yeah, the best one is 2.
• 52:19
  Yes. The timing of it is just
• 52:21
  perfect. Imagine.
• 52:22
  And you're not gonna get that again.
• 52:23
  No, the things we do for our kids, you'd be kind like I just.
• 52:27
  Yeah, it's not great. It's not great.
• 52:28
  No tacked on. It's thrown in.
• 52:30
  It is. It's just winking nod for Dave,
• 52:32
  basically. It's just me just talking to
• 52:34
  you, not the other million fans out there, Phil.
• 52:37
  Maybe when the helicopter's going down, like when they're
• 52:40
  jumping out the window a little bit later, like, then I think I
• 52:43
  think there's a better place. For him, yeah, I think, you
• 52:45
  know, particularly if if the bad guy Yuri is dying, which is
• 52:48
  about to happen here, there's an opportunity there.
• 52:51
  But I do love what happens. Tell me his preach.
• 52:55
  His his solution is to open up the back of the helicopter and
• 53:00
  let the vehicle out. Like that's, that's really
• 53:04
  pretty clever. And I know you don't like the
• 53:06
  helicopter stuff, but I really think, I know this is 2013 and I
• 53:11
  know they're really getting into like, the computer graphics.
• 53:14
  And this is like, oh, man, we can do a lot of cool stuff.
• 53:16
  And I think they really utilize that really well in this movie.
• 53:20
  Agreed. And this whole I don't like the
• 53:23
  helicopter stuff because I think it's just like heavy-handed.
• 53:27
  Like, I just think, OK, I like heavy.
• 53:29
  I like heavy hands. What can I tell you?
• 53:31
  Put some weights in them. Put some weights in the hands,
• 53:33
  buddy. But all the explosions, yeah,
• 53:37
  everything happened around that. And that's what you need to work
• 53:41
  in this movie. Agreed.
• 53:42
  It's one of the few scenes in the movie that I think requires,
• 53:46
  and it's appropriate to have the big explosion, the big sort of
• 53:50
  finale, if you will, of course, at the end of a fireworks show.
• 53:54
  You know, this is where everything's blowing off and
• 53:55
  whatever else, kind of like Quantum a couple weeks back with
• 53:58
  the fire and you know this and that.
• 54:00
  So make it a big thing if you're going to do it.
• 54:03
  And this movie, I think, does a pretty good job of that.
• 54:05
  You had that grenade earlier with a good flame.
• 54:06
  That's right. Yeah.
• 54:07
  In a way that up until now I haven't really been hooked into
• 54:11
  any action sequences, I thought this was an appropriate way to
• 54:13
  end. Well, let me ask you this
• 54:15
  because this is part of it slow MO.
• 54:18
  Necessary, I think. Yeah, yeah.
• 54:20
  Good, they do it twice. Yeah, maybe a little bit much,
• 54:23
  but generally speaking, I think you're necessary.
• 54:24
  Sweet spot, buddy and sweet spot, all the movies I've
• 54:28
  watched, it's I don't see it often.
• 54:29
  So it's not like, oh, this again, like, OK, yeah, that's a
• 54:32
  nice change. Let's do it.
• 54:34
  Nothing stood out as being pained.
• 54:36
  Style, almost. That's right, bullet time.
• 54:39
  Now it is a little lucky that it happened to be the public pool
• 54:42
  like water was below. That's that's luck.
• 54:44
  But John Mcclane. 'S kind of like the.
• 54:47
  Everything. The what do you call it?
• 54:49
  The the awnings? The earlier?
• 54:52
  Good luck. Yeah, this is more luck because
• 54:54
  they didn't even know it was there.
• 54:55
  Yes, Right. Yes.
• 54:56
  But they survive. Obviously.
• 54:58
  Yeah. Not Yuri's death.
• 55:00
  Yuri talked to me. I almost.
• 55:01
  Oh my God. I almost skipped it.
• 55:03
  Phil can't believe it. Hans Gruber.
• 55:05
  Part 2. Two point O if you will.
• 55:07
  I would say maybe unlike the glass earlier shattering, unlike
• 55:12
  a couple other things that we had mentioned, this seems like
• 55:14
  very yeah, this is for you guys. Yes, I'm OK with it.
• 55:18
  I thought this was appropriate and it was utilized in the right
• 55:22
  way. It is a bit of a weak nod, but
• 55:24
  it's your final, sort of. Exactly.
• 55:26
  So I actually, I found it fun too.
• 55:28
  I didn't like, I wasn't like cheering.
• 55:29
  It wouldn't be like, Oh yeah, you did it.
• 55:31
  But I was like, appropriate. I like that.
• 55:33
  I think it's made better because of the daughter's reaction when
• 55:37
  he goes through the helicopter. Blades.
• 55:38
  Yeah, that's good stuff. She reacts to it.
• 55:40
  I'm like, yeah, that. Sucks.
• 55:42
  I'll leave a mark. Yeah, cuz she did the Russian
• 55:43
  roundabout. They're working together now.
• 55:45
  Yeah. So yeah, she likes that.
• 55:47
  Yeah, no, that. I like that too.
• 55:49
  And I appreciate that you go through the blades.
• 55:51
  Yeah, everybody's gonna get that opportunity.
• 55:53
  I haven't seen it since Indiana Jones.
• 55:54
  That's right. I, I just, I'm glad that they
• 55:56
  didn't kind of cop out to it. You know that you're like.
• 55:59
  Good movie by the way. Is that your, Have you heard
• 56:01
  questionable? Kevin Smith?
• 56:02
  Terrible, terrible, terrible. Well, Phil, let's bring this one
• 56:06
  home. We got one more scene.
• 56:08
  Yep. This is your final moment.
• 56:10
  Yep. And we have them getting off the
• 56:12
  plane. Daughter's there to not hug Dad.
• 56:16
  That stood out to me. I don't know why actually stood
• 56:18
  up to my wife. It's like, why didn't she hug
• 56:21
  Dad? Jug.
• 56:21
  The brother? Yeah.
• 56:22
  I don't know. Edit it.
• 56:24
  Out. It's still strange, yeah.
• 56:26
  I don't know, right? They're loving you like.
• 56:27
  They're they're it is odd. I don't know.
• 56:29
  I don't know. That would be a good point,
• 56:30
  though. Yeah, I'm a hugger.
• 56:31
  So I mean, I would you are. Yeah, that's.
• 56:34
  Great. Don't try it.
• 56:35
  Ever. Are you OK with this?
• 56:38
  Just OK? Well, I mean, what do you do?
• 56:40
  What? Do you, I mean, there's nothing
• 56:41
  I could do or suggest that make that better other than just
• 56:44
  omitting it all together because I think getting off the plane,
• 56:48
  some bullshit dialogue between them, look, I guess we're all
• 56:50
  together again or whatever. And then they're doing stuff and
• 56:52
  we can't hear it. Because actually, and what I
• 56:54
  really would want to be H, to be honest, is I want pedelia.
• 57:01
  Oh yes. I couldn't remember.
• 57:03
  I was thinking I want Holly Gennaro.
• 57:04
  Yeah, I would have paid 1,000,000 bucks as a, as a
• 57:08
  producer. Like bring her in.
• 57:09
  I don't know why, because obviously we've established
• 57:12
  certainly in three that they were on the outs, but he was
• 57:14
  going to call her and like. She's still the mother to her.
• 57:16
  Children, that's the thing. And so I think if dad is going
• 57:19
  to Russia to save the son and the son is as big a fuck up as
• 57:22
  he seems to be according to the dialogue that that she would be
• 57:25
  involved in that conversation at some point, especially if
• 57:27
  they're as a strange as we're led to believe.
• 57:30
  The mom should play a part in that to me.
• 57:32
  And we love Bonnie. I love Bonnie Bedelia.
• 57:35
  I love. Who are you talking to here?
• 57:36
  Holly, you know, so I just think if you're going to end it, if
• 57:38
  this is going to be your moment, make it a moment.
• 57:41
  And this movie does not really seem to be interested in making
• 57:44
  it a moment. I still loved her even though
• 57:45
  she murdered somebody and presumed innocent.
• 57:47
  That's right, we didn't care. I would still stay married to
• 57:49
  her. We love her, respect her.
• 57:52
  What I thought was going to happen after this scene, I
• 57:55
  thought Aerosmith was going to come on with.
• 57:56
  I don't want to miss a. Thing.
• 57:57
  Yeah, a little bit. Hey, that blown out Armageddon
• 58:00
  style there. I don't know.
• 58:01
  Why it just triggered that moment I?
• 58:04
  Didn't think of it until right now, but 100% I agree.
• 58:06
  Bruce movie. That's true.
• 58:08
  So yes, yes, it felt fitting. Yeah, the the lyrics may have
• 58:11
  not fit, obviously, but questionable, I don't know.
• 58:14
  Yeah, it's crazy to me. Speaking of questionable David,
• 58:19
  here's where I'm at with this. Tell me, Phil, I want, I want to
• 58:21
  hear. Did I do anything?
• 58:23
  Wow. I think it's terrible.
• 58:25
  I think it's a really bad though.
• 58:26
  I think it's terrible. I think it's.
• 58:28
  Is it though? Is it terrible?
• 58:30
  I think. 4 is worse. OK, that's interesting, but only
• 58:34
  minorly and that's because of the hacking.
• 58:36
  Because I just think that's so like, not interesting.
• 58:39
  This at least is trying for action set pieces that feel
• 58:42
  organic enough. The plot I think is kind of
• 58:45
  useless and doesn't really deliver.
• 58:47
  I think the relationship with this sun is bad.
• 58:49
  Like, you know, there's a lot of things I don't like about this
• 58:51
  movie, but but there is at least a villain that is you loved Alec
• 58:57
  to be more interesting than than whatever Oliphant was doing in
• 59:01
  the other one. But it just generally speaking,
• 59:04
  I think the movie falls very flat.
• 59:06
  There's no life, there's no energy to it.
• 59:09
  And I think it's as a result, it kind of cheapens the brand, you
• 59:13
  know, And I think we're, if we're, if we're looking at it,
• 59:15
  Rocky is as sort of a close comparator.
• 59:18
  I think Rocky took more chances, did more with the character.
• 59:22
  He had more heart. To change things like his
• 59:24
  character, right? Exactly.
• 59:25
  And it doesn't age, so things like that.
• 59:27
  I just thought that one, not that you have to do that, but it
• 59:30
  makes it more interesting when you're watching 5 or 6 of this
• 59:32
  movies to keep it fresh. And I found this to be recycling
• 59:37
  a lot of useless plotting and introducing characters that
• 59:41
  without any depth. So it just felt like a a retread
• 59:44
  of what we've already seen and done but to a lesser extent.
• 59:47
  So because of that, nothing was elevated or made more
• 59:51
  interesting. So I I just never got my hooks
• 59:53
  into it. You didn't hate it?
• 59:55
  I didn't hate it, but I didn't hate it like it.
• 59:57
  There just wasn't. Me.
• 59:58
  You didn't hate it. That's right.
• 59:59
  All right. I brought you back, buddy.
• 1:00:00
  Sure, there you go. You liked it better than 4.
• 1:00:02
  So I think I liked it better. Than I'm going to I'm going to
• 1:00:04
  accept that I'm going to take. It you tell me what your
• 1:00:08
  thoughts on this movie are. My thoughts are honest and I
• 1:00:12
  appreciate the the question. I understand where you're coming
• 1:00:16
  from. I'm not an idiot, I'm not blind,
• 1:00:18
  I have ears. I know Bruce is tough to work
• 1:00:21
  with and I know he wasn't putting all the efforts into the
• 1:00:26
  character. I think anyways, maybe doesn't
• 1:00:28
  seem like it. Maybe he didn't realize he
• 1:00:29
  wasn't. I don't.
• 1:00:30
  I don't know the insurance and the outs of it though.
• 1:00:32
  So this movie doesn't land in a lot of areas as supporting actor
• 1:00:37
  is a thing and it's important. Like Rocky 5, there's a lot on
• 1:00:42
  the secondary character, and that's not in this movie.
• 1:00:45
  Nowhere. Nowhere to be found.
• 1:00:47
  But for an action movie, I think it does enough to say, you know
• 1:00:52
  what, if you're looking for an action movie and that's enough
• 1:00:55
  for you and you want to be entertained for an hour and 38
• 1:00:58
  minutes, have some popcorn and maybe you joined a little bit of
• 1:01:02
  the McLean character. I think this will fill that.
• 1:01:06
  I think I have to ask you this question about what you just
• 1:01:09
  said. If you want an action movie as
• 1:01:10
  you're describing. Oh.
• 1:01:11
  Yeah, would I pick this one? Would you a pick this one?
• 1:01:14
  But also if you wanted a Die Hard movie, OK, right, Because
• 1:01:17
  that's a good point. You can have a bunch of
• 1:01:18
  explosions in a good car chase, and that's fine if that's what
• 1:01:21
  you're looking for. You can get it.
• 1:01:22
  Somewhere better get that anywhere else.
• 1:01:24
  So as a Die Hard movie, not we're going to grade them, but
• 1:01:27
  just generally like, does this deliver what you would want out
• 1:01:30
  of a John Mcclane Die Hard movie?
• 1:01:32
  I would say the first action set piece is probably arguably one
• 1:01:38
  of the best in the series. OK, OK, bold.
• 1:01:41
  I don't think there any of these movies where I felt this excited
• 1:01:45
  in the 1st 5 minutes of a Die Hard movie.
• 1:01:48
  And I'm going to stick to my guns on that one because I don't
• 1:01:51
  know what it was. It was just the music.
• 1:01:53
  It was just the news popping up on the screen, the story about
• 1:01:57
  the two Russians. I don't know.
• 1:01:59
  I just like, I like this. I I got into it and then the
• 1:02:01
  whole car chase stuff. I'm like, yeah, they're showing
• 1:02:04
  all the little stuff that makes an action sequence good.
• 1:02:07
  And I appreciate that. Fair.
• 1:02:09
  And I wasn't expecting that even though I'd seen it, but had been
• 1:02:14
  a while. So, but I I see your point.
• 1:02:16
  But having said all that, let's provide ourselves in the
• 1:02:20
  audience are official, official. Now that we've.
• 1:02:22
  Closed it out. We've closed it out.
• 1:02:24
  The rankings of Die Hard. I want to start with you and
• 1:02:28
  let's go like we did for Rocky. Worst to favorite?
• 1:02:32
  Worst to favorite? Well, not even worse, but least
• 1:02:34
  favorite to favorite because it doesn't mean it's bad, just
• 1:02:37
  means it's well in this case it for you possibly go ahead.
• 1:02:41
  Go I think it's four. I just alluded to it.
• 1:02:45
  I think the hacking is a is a mess.
• 1:02:47
  All the font is not convincing. As an actor, Justin Long is sort
• 1:02:51
  of a terrible known companion to me and stop it.
• 1:02:54
  Although by comparison compared to where we're at.
• 1:02:57
  But Oscar, Yeah. But generally speaking, not, not
• 1:03:01
  not my favorite, but. Interesting chemistry error
• 1:03:04
  right there, but Justin Long and that's why it's not my least
• 1:03:06
  favorite, this one, although I didn't mind it and I love that
• 1:03:09
  first piece. It is still the least favorite
• 1:03:13
  of mine. The fifth one, and then, yeah,
• 1:03:16
  this. So as you can imagine, then my
• 1:03:18
  second least favorite, if you will, is this one.
• 1:03:20
  I think this one's a real mess, too.
• 1:03:21
  No real problem. We just talked about it for a
• 1:03:23
  while. But where you at next?
• 1:03:26
  Oddly enough, and this has changed in the last year.
• 1:03:29
  Three Wow, OK, that last 40 really kills it.
• 1:03:33
  Listen to the episode that I listen to a couple other
• 1:03:36
  podcasts. They felt the same way that last
• 1:03:39
  half hour, 45 minutes even it just it's.
• 1:03:42
  Too bad cuz it starts out so great.
• 1:03:45
  Yeah, I think that's ultimately where I'm at with my third third
• 1:03:48
  favorite third least it's it's die hard 3.
• 1:03:51
  So much of that first hour is so good right away hits the ground
• 1:03:56
  running. Great introduction of a new
• 1:03:58
  character. Not like a Justin Long, exactly
• 1:04:00
  like Sam Jackson. Come on here, bring in so much
• 1:04:02
  energy to a. Chemistry.
• 1:04:04
  Chemistry, exactly all the things it does, it does so right
• 1:04:07
  for the first hour and that last half hour 40 is really, really
• 1:04:13
  rough. It's painful and it does sort of
• 1:04:14
  knock it down a peg or two, so it gives you.
• 1:04:16
  Pressure after that would be 4. OK, I've got #2 after that, for
• 1:04:21
  me, die hard, too. I it's an airport now.
• 1:04:25
  I got a different feeling around airports.
• 1:04:27
  Yeah. I was thinking.
• 1:04:29
  Randy Harlan directing whom I love from Nightmare Four and
• 1:04:33
  Long Kiss Goodnight and it just there's enough in that movie
• 1:04:35
  that gets me excited. Although I do still find it kind
• 1:04:38
  of silly that no one trusts him or believes him after he saved
• 1:04:42
  Nakatomi Towers and like. Well.
• 1:04:44
  Get out of here, McLean. Love that guy.
• 1:04:48
  My second favorite is the original wow.
• 1:04:52
  I I thought about this on the on the car ride over.
• 1:04:55
  OK, I'm like honestly, which one is my favorite and I'll tell you
• 1:04:59
  why I'm going to jump ahead of you.
• 1:05:00
  Well, we know which one. You're obviously process of
• 1:05:02
  elimination, but I have the most fondest memory of two.
• 1:05:07
  OK as a kid. Yeah, sure.
• 1:05:09
  I. Don't know if it's imprinted,
• 1:05:10
  locked in. Yeah, it's the snow of it.
• 1:05:12
  It's the John Amos. It's just a rare sequel that I
• 1:05:16
  think at least go can go somewhat toe to toe with the
• 1:05:19
  original. Not a lot can do that.
• 1:05:22
  And there's certain elements about it that I, I just really
• 1:05:24
  enjoyed. And because of that, even though
• 1:05:26
  deep deep in the basement, the original Die Hard is the best.
• 1:05:30
  Movie. I agree with you that it is
• 1:05:32
  very, very good. I just don't have to.
• 1:05:34
  I can't put it at the top. Top in, in part because you're
• 1:05:37
  not. Gonna get a fight for me.
• 1:05:38
  I just think that the first one is just perfection, like it's so
• 1:05:41
  well orchestrated. And Bobby?
• 1:05:44
  Oh yeah, it's got the lines right.
• 1:05:46
  It's got the. Lines the vibe, the the the
• 1:05:48
  creation of a superstar right in front of your eyes, even if you
• 1:05:51
  don't know it, including Alan Rickman, because of course he's
• 1:05:53
  nobody at that point and he becomes Hans, you know, and and
• 1:05:57
  it has a career kind of based on it, right?
• 1:05:59
  It's it's an incredible movie that holds up John Mctiernan and
• 1:06:02
  directing brilliantly Brown Predator, Predator, like just a
• 1:06:07
  lot of really good stuff in that movie that isn't in this movie.
• 1:06:10
  Well, I think the last thing we should note is I think we should
• 1:06:13
  have a new category for our year end review chemistry.
• 1:06:17
  OK, interesting. Least likely to be in a trunk
• 1:06:21
  there. You can title it that, that's
• 1:06:24
  it. But I, I want to say I'm just
• 1:06:26
  happy that this wasn't your least favorite Die Hard.
• 1:06:28
  I'm going to count that as a win.
• 1:06:30
  I think if you ask me another day, I I it might cause four and
• 1:06:33
  five are fairly close. But but for now, yes, you're
• 1:06:35
  right. He's not my hater favorite.
• 1:06:37
  I really. Did the hack.
• 1:06:38
  I really hated the hacking. Do you like a hacky sack?
• 1:06:40
  I've hacked a sack before. I bet you have.
• 1:06:42
  I lived on a beach in Vancouver for a while, you know.
• 1:06:46
  You're hipster doofus. Absolutely.
• 1:06:48
  Yeah, absolutely. You know, you don't want to play
• 1:06:50
  hacky sack on Reck Beach. Reck Beach is a nude beach hacky
• 1:06:53
  sack. It's like good naked, bad naked
• 1:06:55
  hacky sack is bad naked. Thanks folks for listening.
• 1:07:00
  We always appreciate it. Please rate US five stars in
• 1:07:02
  your pod catcher of choice. Subscribe to you, Never miss an
• 1:07:04
  episode, visit us on the updated Facebook page.
• 1:07:07
  And of course, please share the podcast with any Russians that
• 1:07:11
  you may know. Don't want to miss a thing.
• 1:07:16
  Except in this movie.