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Baskin (2015) - Xenomania 60 · Xenomania

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Jon: This week on Xenomania, join us as we explore the
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Turkish hellscape that is Baskin.
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Along the way, we will discuss Turkish names that we can't pronounce, and
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a really amazing hellish time loop.
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This is Baskin.
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This is Xenomania.
0:38
Kearns: Baskin,
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Ryan: So good.
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Such a good film.
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Shutter production, IFC films.
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I mean, anything.
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I feel like with IFC branded on it, it's gonna be gory and it's gonna be a winner.
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I mean, midnight me train Maniac, just to name a couple basking fits right into it.
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Kearns: I loves midnight.
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Me trains.
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Ryan: I have you, have you seen the movie?
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Kearns: Yes.
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Ryan: Oh,
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Kearns: I just couldn't resist the joke.
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The great movie
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Ryan: I was like, there's no, there's not a lot of meats on there.
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Kearns: Baskin was a pleasant surprise.
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So for some reason I went into this thinking you guys both hated it.
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And I was like, all right, so this is gonna be one of those like grind through
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it for the episode kind of movies.
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And I was like, oh no, this is good.
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Oh, this is good.
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No, this is good.
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Jon: I love Baskin.
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Baskin was like an accidental shutter find.
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Kearns: Oh,
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Jon: was.
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Kearns: Those are the
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Jon: I was, just flipping through, like looking for a movie, reading descriptions,
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and I just went in with the description.
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So everything that happened after that was a complete surprise.
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Ryan: That's cool.
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Kearns: Very cool.
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Very
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Jon: Yeah.
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It,
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Kearns: This
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Jon: it,
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Kearns: picks the boxes.
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Jon: it's like a, like fairly recently, like eight or nine years ago, but like
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right around this time that I watched it first, 'cause I had, I stumbled across
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Facebook memories of, 'cause I watched it with my friend Mill and just us going
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back and forth, what did we just watch?
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This movie is so messed up.
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What did we just, you know, just, and it is, but it's so messed up in a good way.
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Ryan: It's like
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Kearns: It is.
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Ryan: level.
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Kearns: I. There's, there's definitely an influence from Hellraiser.
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Absolutely.
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Um, event Horizon too.
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I was thinking of that a lot when I was
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Jon: Mm-hmm.
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Kearns: Um, doesn't lean too far.
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Right?
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Inside of the, the what do, whatever you wanna call that structure,
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house, tenement, whatever it is.
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Jon: Abandoned police station
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Kearns: Oh, that's what it was.
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Okay.
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Um.
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Jon: to hell.
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Kearns: Yeah, ported the hell, you know, one or the other.
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so Baskin itself starts out, deer viewers with, a little kid here and
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his mom get railed and, you know, that's a great way to set the tone.
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And he is, he goes, you know, checks the TV and whatnot.
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Then he gets beckoned by this hand, and we get our, we get introduced
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to the main antagonist pretty early.
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It's him.
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And also a very cool Turkish folklore myth
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Jon: Mm-hmm.
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Kearns: thing, which we'll talk about a little bit later on, but the
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movie starts with that tone, that
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Jon: Mm-hmm.
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Kearns: in-home kid getting
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Jon: Mm-hmm.
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Kearns: kind of tone.
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Jon: How scared would you have to be as a kid to go bang on your mom's
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door when you knew she was having sex?
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Ryan: Oh,
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Kearns: Well, you added the last part.
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I almost answered quickly, but I've told you guys the story
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about the child's play thing.
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When I would run and bang on the door after I watched Chucky at like
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Jon: Mm-hmm.
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Kearns: old, the original child's play.
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And then I had a nightmare about meeting me on the way to her room and getting me,
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and I got to the room and they were sick of my crap, waking 'em up every night.
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So I banged on the door and it was locked and I, I think
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I lost like a year of my life.
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I was so scared.
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Cheers, everybody.
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Ryan: I, never been scared.
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I, I feel like I'm scared, I always like ran to my room 'cause
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that was like my safe spot.
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The only time I actually really ran was from Evil when she pops out
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from the cellar, not expecting it and pretty young to watch the film.
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But yeah, I got the hell out of there.
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I went to my room, put the Sumer Nintendo on.
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I chilled out.
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My uncles were
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Kearns: Hmm.
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Ryan: I'm like, thanks.
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Thanks for that trauma.
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Can't go in the basement for a while.
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Kearns: Yep.
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Never
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Jon: Yeah, I,
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Kearns: boiler
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Jon: my, my worst nightmare from a movie when I was a kid
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was not horror related at all.
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It was planted to the apes.
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Kearns: Oh,
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Jon: It was planted of the apes, like IIUI had recurring nightmares that
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the old Italian couple across the street from me turned into the apes
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from, planted the apes and chased me around the neighborhood, like
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Kearns: Amazing.
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Jon: multiple, multiple times.
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Sometimes on their knuckles, sometimes on two feet.
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The two feet was way worse.
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Kearns: That's so cool.
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Ryan: I can see John in the opening scene, like looking over through the haze as
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they're riding the horses with the nets.
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Get
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Kearns: Yeah.
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No.
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Jon: Dirty Apes.
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Kearns: Well, this kid catches it worse than any of us did.
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they get right to the action.
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So we, I love movies that have misdirection.
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I love movies that have time loops.
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I love movies that, link things from beginning to end and have
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hidden things you can look up after this has all of them.
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Jon: And things you catch, when you watch it.
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More.
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Like, this was the first time I really caught when they pass over into hell
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because they do pass over into hell and it's when they're in the van, it's not e
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By the time they, get to the, abandoned police station, they're already in hell.
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'cause there's a shot as they're driving with the van where they invert the shot.
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Kearns: Oh,
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Jon: It is just a quick moment where the, it's upside down and that's, hell
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Ryan: They do.
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Kearns: cool.
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I
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Jon: yeah.
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Kearns: at all.
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That's
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Jon: I, I've seen this movie five or six times.
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I think this is the first time I put that together.
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Kearns: Neat.
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Ryan: just doing something pretty cool to
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Jon: I mean,
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Ryan: it up a
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Jon: I mean, yeah, he's doing something cool, but I think that's the moment.
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'cause after that nothing, nothing is remotely okay.
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Ryan: it, that's throughout you know, I mean we'll cover, it's like
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what are those people doing there?
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ones who are by the fire?
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Kearns: I don't know if that was like a little purgatory kind of thing.
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Jon: That's what I think.
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Yeah.
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Kearns: A little nod to like the idea of the respite because they even say
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like, maybe chill here and rest a bit before you get started on that.
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Jon: Mm-hmm.
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Kearns: Um, like.
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It's sort of, yeah.
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One of the characters there.
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By the way, I have to tell you guys about later, this reminds me of
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somebody we know, um, I love the frogs.
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And
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Jon: Mm-hmm.
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Kearns: to kind of touch on the frogs a bit.
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Ryan: Yeah, the frogs were a nice surprise.
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Like once I saw that, I kind of went back to like C, c, D thought of the story
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of Moses and, and how the frogs dropped down because they're like, they're nasty.
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They're slimy, they carry disease.
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And right after I see it, like when, um, Sy not Cefi, um, VU, when Vus,
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uh, goes into the bathroom and he
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Jon: I think that's Cefi.
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Ryan: is it phy?
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Jon: Yeah, vus.
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VUS is the hotheaded guy
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Ryan: Okay,
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Kearns: ready for like a left here menu of names, listeners, because even
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though it's Turkish and not Greek,
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Jon: and
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Kearns: names are gonna bug you out.
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Jon: about a 5% chance that we pronounce them all correctly, especially
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Ryan: get
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Jon: we get in, we get into some of the actors' names, like, forget it.
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Kearns: Yep.
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The,
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Ryan: gonna.
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Kearns: the frogs usually signified that Babo was around.
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Jon: Mm-hmm.
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Kearns: by the way, um, would touch on a little bit at this
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point is, like we said there from the beginning, he's in the scene.
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We, segue from the child abduction scene to two, four, no five cops hanging out
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in a, like a little cantina cafe being
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Jon: Mm-hmm.
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Kearns: pricks.
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not really at the beginning.
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They're like gambling in the beginning, like
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Jon: Yeah,
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Kearns: version of a fantasy football draft.
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Jon: so it's like two of them are really jerks, VUS and Apo, uh, Effie's,
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like kind of sick the whole time.
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And then Remsey, who most of the movies just referred to as Boss.
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And, Arta, the youngest one, are more like reserved, like, and it's
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later sort of revealed that they have kind of a sense of what's going on
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and what's about to happen to them.
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Kearns: Yep.
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Almost as though it's not their first time running through the cycle, which
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is alluded to a bit later as well.
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And there is a cycle feeling to this.
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We'll get into that a little bit later too, but, Baba, who will,
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we'll just say now, he's a demon.
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It's an allusion to a demon in, Turkish folklore.
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He's teem baba, which is a very niche little bit of folklore
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too, which I liked a lot.
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It's like a Serbian slash Turkish niche folk myth, he's just a nightmare
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demon that abducts children creeps into the house uh, baba means father.
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Jon: Yep.
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Kearns: Which in this context, it's super neat and he's there
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Jon: Mm-hmm.
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Kearns: beginning
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Jon: Yeah.
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Kearns: figure, and he's usually heralded by the frogs.
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If you see the frogs, you know that Baba's like right around there.
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Jon: Yeah, so it's probably a good time to sort of introduce that actor
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as well, which will also be the first name that I absolutely butcher tonight.
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Kearns: Mm-hmm.
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Jon: Baba is played by meme, Sarah Holo.
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Kearns: That
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Jon: Um,
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Ryan: Good.
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Jon: and he's not really made up like he, so he has a rare skin condition
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that makes him look like that.
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And it was like really a big factor in him getting cast.
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'cause this is also his like feature film debut.
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Ryan: Oh,
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Kearns: And he crushed it.
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Yeah, exactly.
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I was gonna say, he did not miss a beat.
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Jon: Mm-hmm.
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Kearns: he seemed comfortable in the role.
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was jacked.
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Ryan: He
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Kearns: He had like little person jacked, jacked to him
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Jon: Yeah.
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Kearns: gotta be like four foot 10 maybe.
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Uh, which also adds to a weird mystique.
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But he walks up, he is like this swollen little dude.
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When he actually unveils his physique, you're like, oh my god.
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Ryan: It's the
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Jon: Mm-hmm.
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Ryan: it's the menace.
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It's also like the lighting too.
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I feel like, uh, what the director, I'm gonna mess up Con Al, um, how he uses
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the lighting with, in the beginning with the red and the static and the TV and the
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blue and to show like danger and death.
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It's a
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Jon: Mm-hmm.
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Ryan: and
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Jon: Mm-hmm.
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Ryan: gets you as the viewer to gain more attention to it
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besides reading the subtitles.
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Jon: Mm-hmm.
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So what eval did after he cast meme for this role is he had him go home
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and watch, nightmare on Elm Street.
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Kearns: Oh,
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Jon: Hell raiser
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Ryan: Okay.
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Kearns: mm-hmm.
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Jon: the descent.
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Ryan: I
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Kearns: Oh, interesting.
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Jon: Apocalypse now.
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Kearns: I feel the apocalypse now more than the other three.
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Jon: Yeah.
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Yeah.
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Ryan: Yeah.
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Jon: Like they, the hell raiser stuff is there and you know, he's not, he
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doesn't have like the wise cracking Freddy Kruger stuff, but he does have
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sort of like that sort of menace to him.
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And, you know, the descent I feel like is less in him than in the
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movements of his minions, so to speak.
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The way they move around is very much like the descent.
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Ryan: Yeah,
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Kearns: Mm-hmm.
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Ryan: very true.
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Maybe it was just to get the idea of like the visual and like how to
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Jon: Yeah.
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Ryan: as that character maybe.
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Kearns: Hell
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Jon: Yeah.
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Kearns: ips.
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And ips were a plenty, and I'm sure they, you know, with their budget and
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stuff, they didn't have the money to make millions of them, so they had
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to make the ones that they had count.
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They do a good job with it.
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Jon: Mm-hmm.
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Kearns: one thing the movie doesn't sell, is the expansive nature.
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When you think of like a hell or, you know, you think of dimension
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or a large space, this movie is very confined, claustrophobic,
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Jon: Yeah.
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Yeah.
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Very.
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It's, I mean, it's really, it's really resets, right?
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Like the, you have the restaurant, the van, and then
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the abandoned police station.
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There's, you know, the brief campfire stuff, but it's really
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just those three locations.
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Ryan: Yeah,
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Kearns: Yeah.
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Ryan: it, it's very contained, but with that being contained, it allows
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the suspense to build more that little campfire scene to get you to the
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police station shows that intensity.
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And like, are you making the right decision?
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Like we're trying to do the right thing, quote unquote, we're also
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gonna get into some trouble.
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Kearns: Trouble.
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Trouble seems to follow 'em because they're mostly pricks.
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So we, we get that in the cafe.
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Uh,
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Jon: Mm-hmm.
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Kearns: the, the director needed to make us like, understand why these people might
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end up in hell and they do a great job.
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So
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Jon: Yeah.
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Yeah.
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Kearns: he,
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Ryan: Oh,
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Kearns: was a Yemen in the beginning that does the, that gets after the kid,
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Jon: Yahoo.
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That's Yahoos.
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Yeah.
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Yeah.
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he's really the one, like, he is the, he's the dirt bag of this group by a long way.
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Kearns: They're all kind of corralling
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Jon: Mm-hmm.
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Kearns: of the mo or egging him on,
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Jon: Yeah.
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Kearns: he's that guy too
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Jon: Yeah.
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Kearns: other like two medium evils
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Jon: Mm-hmm.
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Kearns: yeah, there's two that are generally seem like they're good guys.
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The driver, I forget his name, the guy was in the bathroom
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we were alluding to, or, yeah.
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Safety.
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And then, uh, our, our protagonist.
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Jon: Mm-hmm.
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Kearns: I always wanna say Abba.
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So I was waiting for you to say his name again, Arta, is a cool name.
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I wonder what the
14:48
Jon: Mm-hmm.
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Kearns: name is.
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But as we go on, so you get this, feeling of, alright, these guys are
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pricks, they're corrupt police officers.
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They do whatever they want, and I don't care if bad things happen to them.
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Bad things start happening pretty fast.
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Effie gets sick in the bathroom.
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Jon: Mm-hmm.
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Kearns: the, the first hint that there's something else going on
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in the movie besides the fact that there's a cloaked figure delivering
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buckets of meat to the restaurant.
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Ryan: Questionable me
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Kearns: the chief, their boss seems to know what's going on with
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Cefi and why he's getting sick
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Jon: Mm-hmm.
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Mm-hmm.
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Kearns: as though he's well aware of what's happening.
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Jon: Yeah.
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And Effy goes and gets sick, and he is got the frog and the
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soap dish in there, and yeah.
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Kearns: him in the mirror.
15:34
You get
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Jon: Mm-hmm.
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Kearns: and then we kind of segue right over to like, bam, okay, we're
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getting in the van, we're leaving.
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They, you know, they had the fight.
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And, uh, off we go.
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We're, we're, we're driving.
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We get a call while we're driving
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Jon: Mm-hmm.
15:47
Kearns: a 4, 4, 5, 5, I think it is.
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And I couldn't figure out what the code is.
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Everything I found said it's just a made up code.
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Jon: Yeah, it, they say in the movie that it's a call for backup
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Ryan: Yes.
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Jon: and it's at, uh,
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ku.
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Kearns: the name,
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Jon: Yeah.
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That's the name of, yeah.
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Yeah.
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Like a little town and with an abandoned police station that goes back
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to like the Ottoman rule in Turkey.
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Kearns: Who knows, you know, why not have a little hell
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mouth town right off the, the
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Jon: Yeah.
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Kearns: the, the guy knows how to get to.
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And he's like, I've heard stories about this since I was a child.
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So it makes it sound like it's
16:34
Jon: Yeah.
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Kearns: click away from them, but nobody goes there.
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Jon: Mm-hmm.
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Kearns: So that's a little suspend your disbelief.
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E but that's where we can kind of pause for a second and maybe
16:45
do some of our games and stuff.
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'cause we're kind of throwing a lot at the
16:48
Jon: Yeah.
16:49
Kearns: at
16:49
Jon: This is a good,
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Ryan: Yeah,
16:51
Jon: a good game.
16:51
Time break.
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I've been sort of debating how I want to do this one.
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It's a stash, slasher stash.
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Kearns: Okay,
17:00
Ryan: stash.
17:01
Jon: Um, I think I'm gonna make it.
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You can only stash three today.
17:06
Ryan: Okay.
17:07
Kearns: you bastard.
17:08
Are
17:08
Jon: Um,
17:08
Kearns: again?
17:09
Jon: there are eight.
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Kearns: Okay.
17:12
Gotta cut five.
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Jon: You gotta cut.
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Yep.
17:16
Right off the bat.
17:20
Right off the bat.
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Kearns: psychedelic rage scream of a movie.
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How do you, you slash this?
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Ryan: I have not seen Mandy yet, so I am safe and I can slash it
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Kearns: literally a slash film.
17:35
Uh,
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Ryan: Fair on
17:38
Kearns: I don't trust John, so I'm going to slash it.
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I feel like he put this, this banger up early for a reason to trick us into
17:47
Jon: So you,
17:47
Kearns: And then.
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Jon: you're both slashing Mandy.
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Huh?
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That like Mandy is late era Nicholas Cage at his best.
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'cause you have a director in, um, Panos Cosmas that sort of, sort of can keep
18:03
him in enough check that his overacting craziness doesn't ruin the movie.
18:11
Kearns: Sort of,
18:12
Ryan: bees,
18:14
Kearns: yeah.
18:15
I still gotta slash it.
18:16
Ryan: it's on my list.
18:18
Kearns: You're up to something.
18:19
Ryan: I do wanna watch it, but not tonight.
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Kearns: He's been good in a few of his weird movies that
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Jon: Mm-hmm.
18:26
Kearns: in the last five years.
18:27
Jon: Mm-hmm.
18:28
Ryan: he's, he's popping back up good reason.
18:31
He
18:32
Kearns: I
18:32
Ryan: butt off for so long on the Bee movie list, trying to get his money back
18:35
up, his credibility, and there again.
18:39
Jon: Yeah, I mean,
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Kearns: actor.
18:42
Jon: he's kind,
18:43
Kearns: happened to.
18:44
Jon: he's kind of there again, like he still takes some
18:48
really, really awful roles.
18:52
Ryan: Yeah,
18:53
Jon: he, and then, and again, like it's sort of a, a thing like the last 10 or 15
18:59
years, the best movies are the ones where a director can get, keep him somewhat
19:04
restrained within the madness before he gets to like the insane overacting,
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Kearns: Mm-hmm.
19:12
Ryan: that's true.
19:14
Jon: right?
19:15
So we're both slashing Mandy next.
19:17
Kearns: the way, just as a quick aside, there's a great clip of uh, face Off
19:22
where he's holding Travolta screaming Die Die if it's circulating the
19:26
internet, and it gives you a good idea what it's like to work with Nick Cage.
19:31
Uh, this is definitely a slash screw this movie.
19:33
I hate this movie so much.
19:36
This movie is like the most unrealized potential in any
19:39
film I think I've ever seen.
19:40
Ryan: Disappointment.
19:43
Jon: Yep.
19:45
That's the probably, I think that's probably the easiest one.
19:49
Next.
19:50
Kearns: hate it.
19:50
So Yeah.
19:51
Jon: Yep.
19:52
Ryan: Uh,
19:55
Kearns: They're not all Nick Page movies
19:57
Jon: They're not,
19:58
Kearns: in the village.
20:00
Jon: they're not there.
20:01
There.
20:02
He's not an OG Wickerman either.
20:06
Kearns: dude.
20:06
Oh
20:06
Jon: a connection though.
20:08
Ryan: I'm gonna stash this one.
20:10
I like this.
20:10
I like the wickerman.
20:14
I'll stash the original Wickerman,
20:16
Kearns: so
20:16
Jon: All right.
20:18
Kearns: This is number four
20:20
Jon: Uh,
20:21
Ryan: three.
20:26
It's like,
20:29
Kearns: I'm gonna slash it.
20:31
Ryan: Ooh,
20:32
Kearns: I'm gonna slash I think he's got some bangers coming up.
20:34
Ryan.
20:36
Ryan: I'll take the chance.
20:37
But the wicker man is, it's so
20:38
Kearns: It's iconic.
20:41
Ryan: Just the
20:42
Jon: is iconic Now.
20:45
We'll see.
20:46
We'll see how you feel about slashing that one
20:49
Kearns: I
20:49
Jon: next.
20:51
Kearns: Oh,
20:53
Jon: Yes.
20:53
Kearns: Stash.
20:55
love this movie.
20:56
Ryan: The endless.
20:59
no,
20:59
Jon: haven't seen it?
21:00
Oh, Ryan.
21:02
Oh, Ryan.
21:04
Ryan: though.
21:05
Jon: Oh, Ryan, you're breaking my heart.
21:07
Ryan: I'm, I'm sorry, John.
21:09
Right
21:09
Kearns: Mandatory
21:10
Jon: You're tearing me a heart apart, Ryan.
21:13
Kearns: My dare be apart.
21:15
Ryan: Right, right after Valentine's Day.
21:17
I'm sorry, John.
21:18
Kearns: You
21:19
Jon: Oh
21:19
Kearns: Spring right after Valentine's Day if you want.
21:22
Ryan: Mi Midsummer,
21:24
Kearns: I was, I'm waiting for that to pop up actually.
21:26
'cause Wickerman has me thinking of mid summer.
21:28
But
21:30
Ryan: that does, that's a stash for me.
21:32
Kearns: start out with Mandy,
21:36
the time loops
21:38
Jon: it's not time loops.
21:39
That's not bad.
21:39
That's not a bad guess.
21:41
It's not time loops though.
21:43
Ryan: Hell,
21:44
Jon: It's not.
21:45
Hell,
21:46
Ryan: right?
21:48
Jon: maybe this one will help.
21:50
Kearns: Colts Colts.
21:52
Ryan: Ooh.
21:52
Jon: It is cults.
21:53
It is cults.
21:54
Ryan: Nice.
21:55
Kearns: S howling is a, is a stash.
21:58
Ryan: Ah, but that means, hold on.
22:00
If I
22:01
Kearns: I'll do two in a row.
22:01
I'm not scared.
22:02
The howling is a banger.
22:03
Two
22:04
Ryan: then I'll have one to keep and then two to get rid of.
22:07
Ah,
22:11
man.
22:12
Yeah, I'm gonna have to, I'm gonna have to stash it.
22:15
I do like the howling
22:18
this, now it's getting hard.
22:20
isn't fun no more.
22:22
Jon: Uh huh.
22:23
That's why I made it.
22:24
Ryan: I'm joking.
22:24
I'm
22:24
Jon: That's why I made it.
22:25
Three and five.
22:26
Four and four I think is too easy for this one.
22:30
Um,
22:31
Kearns: Fair.
22:31
Jon: three and five is tougher.
22:33
All right, so we're
22:34
Kearns: more or three more?
22:35
Ryan: Three
22:36
Jon: three left.
22:37
Kearns: Oh, that's not good.
22:37
Okay.
22:38
Jon: Three left.
22:39
You both have one stash and two slashes.
22:42
And here's your next one.
22:47
Children of the corn.
22:49
Kearns: dig these, Malachi, I dig these, but like, I'm gonna slash
22:55
children of the corn just purely because there was like 15 sequels
23:00
and I got children of the corned out.
23:02
Jon: Mm-hmm.
23:03
Ryan: But the first one's such a classic with Linda Hamilton and,
23:07
Kearns: It's really good.
23:08
Ryan: but
23:08
Kearns: I, I'm okay with slashing it.
23:10
Ryan: he might have mid Sommer on here.
23:12
I will
23:14
Kearns: I would keep,
23:15
Ryan: i'll regretfully slash this.
23:17
Kearns: midsummer, but I didn't find it to be very like, you
23:21
know, groundbreaking in any way.
23:23
You know what I mean?
23:24
Ryan: No, I
23:24
Jon: Mm-hmm.
23:25
Ryan: like an homage to the wickerman in its own sense with a
23:29
group of, with a group of friends.
23:32
Kearns: Mm-hmm.
23:33
Ryan: it with.
23:34
Old people jumping off cliffs.
23:38
Kearns: Yeah.
23:39
Jon: Fair,
23:39
Kearns: Thought
23:40
Jon: fair,
23:40
Kearns: I thought it was fine.
23:42
Jon: fair enough.
23:43
All right.
23:47
Second to last.
23:49
Kearns: This is usually where it gives us a really good media.
23:51
Oh,
23:53
Ryan: gonna slash this.
23:53
I've heard a lot from John about this.
23:57
Jon: Oh,
23:58
Kearns: dude.
23:59
Martyrs is really good.
24:00
Ryan: I, I know,
24:02
Jon: you are breaking my heart tonight, Ryan.
24:05
Ryan: I
24:05
Kearns: I'm gonna,
24:05
Ryan: is gonna go on the
24:06
Kearns: I feel like this is part of his trap though, giving you a bunch of crap.
24:09
So I stash it and then I have to slash the last one.
24:12
Ryan: Midsummer.
24:14
Kearns: I wouldn't mind that I take martyrs over midsummer.
24:18
Ryan: Wait,
24:18
Kearns: I'm gonna stash.
24:19
Martyrs.
24:20
gonna stash it.
24:21
I gotta,
24:23
Ryan: this is spoiler, everyone.
24:24
This is with the filet scene, right?
24:27
Jon: Yeah.
24:29
Kearns: yeah.
24:30
Ryan: No.
24:31
Jon: This movie messed me up so much the first time I watched it and the second
24:35
time I watched it and the third time.
24:36
Kearns: one for somebody who hates body horror.
24:39
It's a great movie though.
24:41
Ryan: but is it worse than bring her back?
24:44
Kearns: No,
24:45
Jon: It is more disturbing to me.
24:47
It's way more di this disturbed me way more than bring her back.
24:52
Kearns: her back isn't that it's disturbing, overly disturbing.
24:55
It's the gratuitous overdoing of, of self-harm stuff I feel like
25:01
even detracts from the movie.
25:02
I don't even think it adds to it.
25:04
I think that movie would be much better without some of the over the
25:07
top stuff they make that little kid do.
25:09
Jon: Mm-hmm.
25:10
Kearns: is different
25:13
Ryan: filet,
25:16
I,
25:17
Jon: Yeah.
25:18
This, this is, so, I watched this movie the first time, maybe six months before
25:23
I met Allison, and we were dating for a little while and I was like,
25:28
all right, you wanna watch the movie?
25:29
That's disturbed me the most in my entire life.
25:33
She's like, yeah, because she's always down for disturbing me.
25:38
So we watched it and at the end I, you know, I'm, I'm like, messed up.
25:43
And I look at her and she, and I'm like, well, no, it wasn't that bad.
25:48
Kearns: Oh my
25:48
Jon: Didn't bother her at
25:50
Kearns: John.
25:52
Jon: At all.
25:54
Oh.
25:55
Kearns: Yeah.
25:56
This
25:56
Jon: But I,
25:56
Kearns: this one will mess you up.
25:58
Watch the endless first.
25:59
It'll be a little happier for you.
26:01
Jon: well, if you're gonna watch The Endless,
26:04
Kearns: Yeah.
26:05
Jon: you're,
26:05
Kearns: tell you what to do.
26:06
Jon: if you're gonna watch The Endless, you have to watch Resolution first,
26:09
because while it's not a sequel to the Resolution, they are set parallel.
26:16
Like there's the same stories running through the two movies.
26:21
Just, you know, from different element aspects of each, from, of each movie.
26:27
You definitely have to watch them together.
26:30
Ryan: Film simultaneously, or film
26:32
Kearns: I don't
26:32
Jon: No, I don't think simultaneously.
26:35
I think just separately.
26:37
Ryan: That's pretty impressive.
26:38
Jon: Yeah.
26:39
Mm-hmm.
26:42
Ryan: to do something like that, to have two films and have the same story
26:47
run along and film separately, that's
26:49
Jon: Mm-hmm.
26:50
Ryan: Jay, that
26:52
Jon: Yep.
26:52
All right.
26:54
So the last movie, and I feel like I did no deceiving here.
26:58
All the deception was done by Ryan with his Soer.
27:03
Mid Soer is on here, mid Soer is on here.
27:05
You know what?
27:07
Mid Soer is not on here.
27:10
We are going with the greatest movie featuring, featuring a cult ever.
27:15
I kept Rosemary's Baby off 'cause I know Ryan has never seen it.
27:20
Ryan: I, I, I have it in beautiful 4K.
27:23
I will make sure to watch it this
27:25
Jon: I be, I believe you have to say glorious 4K.
27:28
I believe everybody I've ever watched talk about four ga, four Ks calls it glorious.
27:34
I think it's like mandatory.
27:36
Kearns: It's mandatory.
27:37
Ryan: Yes,
27:38
Jon: movie.
27:39
Ryan: I, I'm fine with that.
27:41
Kearns: I'm good with this.
27:42
I'll take martyrs over Indiana Jones in the Temple of Doom.
27:46
It feels like a genre jump.
27:48
Ryan: brains
27:49
Kearns: Genre jump too.
27:50
But no, I love this movie.
27:52
You kidding me?
27:52
Jon: Mm-hmm.
27:53
Ryan: the opening scene when they're in the restaurant and gives them the
27:56
poison and just round, just short, round,
28:01
Kearns: Temple of Doom's my favorite.
28:02
I like it.
28:03
I
28:03
Jon: Mm-hmm.
28:04
Kearns: out of all.
28:04
The Indiana
28:05
Jon: Yep.
28:06
Me too.
28:06
Ryan: less
28:06
Kearns: fight me on that.
28:07
Yep.
28:08
Jon: Absolutely.
28:09
Ryan: Wow,
28:09
Jon: Absolutely.
28:11
I, I like Last Crusade, but I feel like last crusade.
28:17
Sort of falls more into like the goofiness that of, of things.
28:23
Kearns: gets a little campy.
28:24
Jon: And so,
28:25
Kearns: of doom's.
28:25
Darker.
28:27
Jon: yeah.
28:28
And we all know I, I like the darker versions of everything.
28:31
Kearns: That was a fun one.
28:32
That was a good Stash or slash
28:34
Jon: Nice.
28:34
Ryan: temp.
28:34
Kearns: it too.
28:35
I'm happy
28:36
Jon: think, I think it worked out that you were both kind of
28:39
happy despite Ryan's deception.
28:42
Kearns: Yeah.
28:43
Ryan: I, I thought midsummer would be on the
28:45
Kearns: I did think Midsummer was gonna be there, to be honest with you.
28:48
Ryan: a big culty
28:49
Kearns: He could have done hereditary, he could have done a bunch of cult
28:51
movies that are a little bit more recent.
28:52
I'm glad he didn't.
28:53
'cause I think there's so many of 'em are sort of tropey
28:56
Ryan: would've sl I
28:58
Kearns: overly derivative.
29:00
Like I'm not a film snob by any means, but when I see something that's
29:03
just ripping off Rosemary's Baby over and over again, I'm like, ah.
29:09
So
29:10
Jon: That's fair.
29:11
Kearns: Baskin is not ripping off Rosemary's baby.
29:13
That's for sure.
29:14
Ryan: No,
29:15
Jon: No,
29:15
Ryan: not.
29:16
It's, more its own thing with a little burrowing here and here, but
29:21
making it unique in its own way.
29:23
Jon: yeah.
29:24
It, it has its clear influences, but it's not ripping anything off.
29:31
Ryan: No, it's, it's original to the core.
29:34
Um, with the lore, you know, the religious background and just the
29:39
characters too because I mean, like we're saying like couple these
29:42
characters, you know, they're somewhat likable, but the rest are just jerks.
29:48
And to go back to the boss the beginning, like you can tell like he's got an idea.
29:54
We were saying that he knows something.
29:56
I always kept thinking like, because they have these flashbacks
30:00
between him and, um, arta
30:04
Jon: Mm-hmm.
30:05
Ryan: that
30:06
Jon: I don't think those are flashbacks.
30:07
I think those are in the moment they sort of jump out of,
30:13
Ryan: bodies.
30:14
Jon: out of their bodies, out of the police station, back to like the comfort
30:19
of that restaurant so they can discuss.
30:21
what is going on And you know, you get, you get a moment.
30:25
The first, I think it's the first time they jump back to the restaurant where
30:32
boss, whose name is actually Remsey,
30:37
reveals to Arta that Art is the only other person that is ever seen the
30:43
hooded figure that's around him.
30:46
Like Remsey has seen it all for a while apparently, and Arta is the
30:50
only other person to ever see it.
30:53
And we all, we also learned that Arta has had, uh, was to
30:57
some extent raised by Remsey.
31:00
That artist uncle gave him to Remsey at some point, so.
31:06
Kearns: his parents died in a car
31:08
Jon: Mm-hmm, mm-hmm.
31:10
Kearns: died in a car accident, and we
31:12
Jon: Yeah,
31:12
Kearns: that path for
31:13
Jon: we, so we.
31:14
Kearns: for quite a while.
31:16
Jon: Yeah, we, so we sort of get re revealed to us that Arta has some
31:22
supernatural ability of his own, some ability to like see future or
31:28
see ghosts, you know, like he tells of, you know, a dream about his, his
31:33
childhood friend and, you know, whatever.
31:36
He, and then he dreams that he's dead, and then the next day the friend dies,
31:40
like he's got something else going on.
31:45
Kearns: I interpreted that as the friend was already dead, and when he dreamed
31:48
of him, that was him fulfilling the
31:50
Jon: Mm-hmm.
31:51
Kearns: or of telling him, like visiting him after he died
31:55
Jon: Mm-hmm.
31:55
Kearns: scared to go talk to him in the dream.
31:57
So he woke up and then his mother told him that he had been killed in a car accident.
32:02
Jon: I, I, I,
32:03
Ryan: with that.
32:04
Jon: I've sort of always interpreted as he dreamt it and then the car
32:08
accident happened, but I mean, you guys could have that right.
32:13
Kearns: He'd go either or.
32:14
Ryan: I felt like, yeah, he like reached out to him after, 'cause it was like
32:17
fulfilling the promise and then it was like, oh, you know, he just died.
32:21
And it's like, oh man.
32:24
Kearns: Yeah,
32:25
Ryan: Like
32:25
Kearns: but I
32:27
Jon: Mm-hmm.
32:27
Kearns: too, we'll, we'll touch on this again later 'cause I
32:30
don't want to loop too far ahead.
32:32
But there's something interesting about these car wrecks that I
32:34
do want to go back to later on.
32:37
'cause for him to lose like all these people and it's, it doesn't say car
32:40
accident necessarily or whatever.
32:42
He is like killed by car.
32:44
Jon: Mm-hmm.
32:44
Kearns: over and over again, which is like,
32:46
Jon: Mm-hmm.
32:47
Ryan: Mm-hmm.
32:47
Kearns: that makes sense later.
32:49
Um,
32:50
Jon: a lot of sense later.
32:52
Kearns: five tufts, if you will, are on their way to get what they deserve.
32:56
a few weird things are happening.
32:57
they have this funny singing scene I liked in the
33:00
Jon: Yeah.
33:00
Ryan: Yep.
33:01
Kearns: and they, uh,
33:04
Into a creek because they run over, presumably one of these gypsy
33:10
people that's around the fire.
33:12
And then we kind of get the real part.
33:15
The real movie is beginning like the real sense of what's happening,
33:20
Jon: Yes.
33:21
Yep.
33:21
Kearns: stuck somewhere.
33:23
Jon: Mm-hmm.
33:24
Kearns: phone, no radio.
33:27
Jon: Nothing works anymore.
33:28
As soon as the,
33:31
and you know, so they, entered this abandoned police station looking for
33:35
who they're supposed to be backing up, and it's not too long before they
33:40
find one of them or sort of, I guess, what's left of the one that they find.
33:47
He, I mean, he's in one piece physically, but he is no longer
33:51
a functioning human being.
33:54
He's now just in a corner bashing his head into the wall
33:59
Kearns: Which is
34:00
Jon: and.
34:01
You know, his clear, some clear trauma.
34:03
I mean, you know, he sort of points out where his partner
34:07
is and he's in way worse shape.
34:11
Kearns: Yes.
34:11
Much worse shape.
34:13
Ryan: What he sells.
34:14
He gives like a creepy smile.
34:15
Like something's like overtaken him.
34:18
Jon: Yeah.
34:18
Ryan: when he was bumping his head, I feel like that was
34:20
like him just on like standby.
34:23
And then once he saw them, it's like he turned on slowly but surely, like
34:28
he leads him to his partner and stuff.
34:30
I think it's like little possession involved, which is a nice little add-on.
34:35
Kearns: Yeah.
34:36
Could
34:36
Jon: Mm-hmm.
34:37
Kearns: Well we see later on that, that's definitely a facet of this.
34:40
Jon: Mm-hmm.
34:41
Ryan: Oh yeah.
34:41
Kearns: does talk about that a little bit more too, but he's Remy, or is it?
34:48
Remey tells Cefi to take him.
34:52
I believe and Steffy takes the crazy dude and the other four
34:57
continue on their descent.
34:58
Ooh.
35:00
And they start to see, I mean, this is where you get your hell, razor vibes very
35:03
Jon: Yep.
35:04
Kearns: during the eclipse and stuff.
35:06
Jon: Yep.
35:07
Kearns: visceral scenes of, of carnage and, you know, sex and all sorts of
35:13
Jon: Mm-hmm.
35:14
Kearns: And these
35:14
Jon: Mm-hmm.
35:15
Kearns: out.
35:15
Uh, and
35:17
Jon: Yeah.
35:17
Kearns: is where they start to get picked off too.
35:19
Jon: Yep.
35:20
Yep.
35:20
And poor Cefi goes first.
35:23
Uh, he stumbles, uh,
35:25
Ryan: I felt bad.
35:26
Jon: just stumbles into a room full of like chained up humanoid things
35:31
that, or not chained to walls, just sort of chained to themselves.
35:36
And they come after him.
35:40
Kearns: They get him and then
35:41
Jon: They get him
35:42
Kearns: I trying to help just laughs at him.
35:44
When he gets, he gets got, it's like,
35:46
Jon: Yep.
35:48
Kearns: Pretty
35:48
Jon: Yep.
35:48
Kearns: Um, the second in command, what do they call him?
35:51
Chief?
35:52
They have some nickname for him.
35:54
Chief.
35:54
He gets, he gets cracked over the head with his sledgehammer.
35:57
That's
35:57
Jon: Yeah.
35:58
Ryan: Yep.
35:58
Kearns: Right in his big old, big old dome hapo.
36:02
and the rest of them continue and you get your chase scenes and stuff.
36:05
We don't have to get too far
36:06
Jon: Mm-hmm.
36:07
Kearns: wanna talk about the way they made it.
36:09
There's definitely some puppeteering, there's not a lot
36:10
of CGI from what I could tell.
36:12
Ryan: No, no.
36:14
Kearns: A lot of lighting work like Ryan
36:15
Jon: Mm-hmm.
36:16
Ryan: In your
36:16
Jon: Mm-hmm.
36:17
Ryan: camera shots like you're feeling, like what they're feeling.
36:20
There's the chase.
36:22
Close quarters, claustrophobic.
36:24
Yeah.
36:27
Kearns: Here is claustrophobic, and I'm just gonna keep on with your
36:29
train of thought because you're muted.
36:32
Ryan: It's like, yeah, it's like going into a haunted house and
36:36
like you're in that black room.
36:38
Or there's like the polka dots or the person just wearing all the black and you
36:42
know, there's someone there and you can't see and you just gotta follow the trail.
36:47
Like that's how it was up.
36:49
And you open your eyes and through the camera's view, and you see
36:52
this, like the rooms all light up.
36:56
You see all these mps creatures around, and this little guy, you
37:01
know, Baba comes outta nowhere,
37:03
Kearns: We jumped over the giant first though.
37:05
Baba comes a little bit after the Giants.
37:08
Ryan: true.
37:09
Kearns: has a name too.
37:10
There's a big.
37:12
Minion with a cool design to him and, uh, there is a name, I can't remember it.
37:19
I don't know.
37:20
It could be either or.
37:21
Ryan: Because if you, it looks feminine based on the veil.
37:25
Like I was, I used to watch Captain Planet, so I was
37:29
getting like Dr. Blight vibes.
37:33
If you've ever seen Captain Planet, no.
37:36
Kearns: He's a hero.
37:38
Ryan: on the cover and how the hair is designed,
37:40
Kearns: 2 0.
37:43
Ryan: gonna bring pollution down to zero.
37:44
Damn.
37:45
Kearns: Yeah,
37:45
Ryan: Kept him
37:45
Kearns: sure is.
37:47
Um, male or female, regardless, it's, it's a great character and,
37:51
Jon: Mm-hmm.
37:52
Kearns: gets the job done and that he heralds in another
37:56
Heralding Baba who's in.
37:59
Compared stature wise is much tinier.
38:02
But you get the cloak, you get the cool reveal.
38:05
They did a great job.
38:06
They don't, they take their time with this movie, which is something I
38:08
Jon: Mm-hmm.
38:09
Kearns: They build suspense, they make
38:11
Jon: Yeah.
38:11
Kearns: count.
38:12
It really works out.
38:13
Jon: Mm-hmm.
38:13
Ryan: When he takes the cloak off the hood and like he's unveiling, you see the
38:17
chains and the key locks and the tattoos.
38:20
You're like, this is not a good dude.
38:23
shit's gonna happen.
38:24
These
38:25
Jon: No,
38:25
Ryan: aren't gonna make it.
38:27
Jon: no, he's not.
38:28
Ryan: thought
38:28
Jon: He is not.
38:29
He is immediately not a benevolent figure.
38:32
He is immediately malevolent
38:37
Kearns: He starts doing
38:37
Jon: and,
38:38
Kearns: stuff to them right away.
38:40
Jon: and, and they're, they're chained to columns now, the four that are alive.
38:44
For apo, who is, you know, severely brain damaged at this
38:48
point, and VUS and ar and remsey.
38:54
Yeah, because APO gets it bad
38:58
Kearns: Apo does get it bad.
38:59
I, I kind of squirmed a bit on the couch
39:02
Jon: that
39:03
Ryan: Uh,
39:04
Jon: that's the,
39:05
Kearns: tough.
39:06
Jon: that's probably the roughest one.
39:08
You know, where he
39:09
Kearns: Uh, the next one isn't too easy to handle either 'cause
39:13
Jon: Mm,
39:13
Kearns: coming at my eyes.
39:14
Ryan: no,
39:15
Jon: yeah.
39:16
Yeah.
39:18
But I, I don't know.
39:18
There's something about watching a man's small intestines be
39:22
pulled out like, like a rope
39:26
Kearns: Yeah, it's
39:26
Jon: and
39:27
Kearns: That is
39:27
Jon: like that.
39:28
That was rough.
39:30
Kearns: Makes
39:30
Jon: That was rough.
39:31
Kearns: afternoon, you know what I mean?
39:33
Jon: Yeah.
39:33
Kearns: Yeah.
39:34
Jon: It's not the best.
39:35
It's not the best.
39:37
Kearns: disemboweled I hear.
39:38
It's called
39:40
Jon: Yeah.
39:41
Yeah.
39:42
Not great.
39:43
Ryan: times not fun,
39:45
Kearns: why, like we said, the hill raises vibes right there.
39:49
Ryan: Oh, absolutely.
39:51
Kearns: It is rough.
39:52
When is it?
39:53
Yemen?
39:54
Not, I always say Yemen.
39:56
Jon: Vus.
39:57
Kearns: it.
39:57
Vu grabs it.
39:58
Yeah.
39:59
Jon: Javu is fate is probably worse than APOs.
40:02
APOs is the worst.
40:03
Was the worst for me to look at.
40:06
He gets like ya, VUS gets the ceremonial knife to the eyes, and then,
40:13
Kearns: it.
40:14
Ugh.
40:14
Jon: yeah, and then he gets Dr. He gets dragged off to have intimate relations
40:23
with one of the humanoid creature things.
40:26
Kearns: That's a weird thing too.
40:28
I didn't even think we were gonna talk about this, but then that, that
40:32
minion gives birth to a stone baby on,
40:38
Jon: Well,
40:39
Kearns: I don't know what that's supposed to symbolize.
40:41
Jon: I, I, yeah.
40:42
I don't know.
40:43
I, I feel like that's part of vus faith fate because of his conversations at the
40:50
beginning where he is talking about his sexual proclivities and his, I don't care.
40:56
Kearns: I,
40:56
Jon: Uh, whatever.
40:57
I'll do it.
40:57
I don't care.
40:58
I like, I'll, I'll bagg anybody and he's kind of forced to do it.
41:05
Kearns: and then put up or shut.
41:07
Jon: Yep.
41:08
Ryan: it's the uncomfortability, like it's what, like what a di have it for
41:14
a director to do this, to make you feel the thrill, to make you feel like, whoa.
41:20
What's, what, what'd I say?
41:22
Kearns: Just so you know, we're gonna edit in.
41:24
It's gonna just say discomfort
41:25
Ryan: This,
41:27
Kearns: over the screen.
41:27
During this whole part.
41:30
It's gonna be flashing.
41:30
We're gonna give people epileptic seizures because this one,
41:35
Ryan: The, okay.
41:35
Well, the director allows you to feel discomfort.
41:38
The thrills.
41:39
He makes you laugh.
41:40
He makes you feel good.
41:42
very talented.
41:44
Jon: Yeah.
41:44
I,
41:44
Ryan: in this film.
41:45
Is this his first film he ever directed,
41:47
Kearns: none of that matters.
41:48
We're gonna start doing merch.
41:49
It's gonna be Ryan's uncomfortability merch.
41:53
Jon: mm-hmm.
41:53
Kearns: we're gonna do hoodies, we're gonna do t-shirts, guys, girls, you
41:57
know, they wear the juicy, the little
41:59
Jon: Mm-hmm.
41:59
Kearns: say Uncomfortability across the bum.
42:02
It's gonna be our claim to fame, baby.
42:04
This is where we're going with things.
42:06
Ryan: just, just be uncomfortable.
42:08
There
42:08
Kearns: We're going with things.
42:09
Yeah, the director is
42:10
Jon: Mm-hmm.
42:10
Kearns: You were saying something about the director uncomfortability.
42:14
Jon: Uncomfortability.
42:16
Ryan: is this his first film he ever directed or has he done prior
42:20
Kearns: I believe he'd done other films,
42:22
Ryan: Okay.
42:22
Jon: Yeah, not a lot.
42:24
And it, this is like a full envisioning of a short film from a couple
42:28
he made a couple years earlier.
42:31
Baskin originated is like an 11 to 13 minute short film
42:36
that he expanded on here.
42:39
Kearns: I did read about that.
42:40
That's right.
42:40
Ryan: when that happens.
42:42
Jon: Mm-hmm.
42:43
And like
42:44
Kearns: to be said about letting a project die and moving on too, but
42:47
Jon: mm-hmm.
42:48
Kearns: like when you have a short piece that you can expand upon, that's
42:51
Jon: Mm-hmm.
42:53
When, when I first watched this, I was certain Ken Everal was
42:58
about to like, break out huge in the US and it's happened.
43:02
I mean, Alexander Aja is the one that comes to mind first.
43:05
Like he was making French extremity har horror movies and that.
43:09
Then he's Hollywood's golden boy for like remakes and other stuff.
43:15
But it never, it, it never happened for ever all and I it almost
43:20
Ryan: Yep.
43:21
Jon: reading a little, reading more about him, it almost seems like a choice.
43:27
He doesn't necessarily want to come and make big American movies that
43:31
this is, this is what he wants to do.
43:35
And like I,
43:36
Kearns: Is
43:36
Jon: I mean, yeah, if that, if that's the case, like my level
43:40
of respect goes way, way up.
43:41
Like it's not about like being super rich or making Hollywood movies.
43:46
It's about I love doing this and this is how I'm gonna do it.
43:50
Ryan: I respect that,
43:51
Kearns: Fair enough.
43:51
Let's hope that is the case.
43:53
Ryan: that's what you
43:54
Jon: And he,
43:54
Ryan: I
43:55
Jon: he's, he's a good couple recent ones I want to check out.
43:58
There's one called, um, Sahara, which I'd know nothing about.
44:01
I just stumbled on it, like researching for this episode.
44:06
And then he did a remake of a movie called The Coffee Table,
44:10
Kearns: Mm-hmm.
44:11
Jon: which he, he titled Turkish Coffee Table.
44:14
I haven't seen the coffee table yet.
44:16
It's on my list.
44:17
It's definitely from the little bit I've heard about it.
44:20
It's definitely a right time kind of movie.
44:24
It's it, from the descriptions I've heard, it is the darkest of black
44:30
comedies that you're gonna find.
44:34
Ryan: Okay.
44:35
Sold?
44:37
Kearns: Yeah, I was gonna say
44:39
Jon: Yeah.
44:39
Kearns: a double feature with Fargo and then see how much he ups the
44:42
ante with Turkish coffee table.
44:44
Ryan: Oh,
44:44
Kearns: Let's do it.
44:46
Jon: Yeah.
44:47
Kearns: That's cool.
44:49
All right.
44:50
Baskin
44:51
Jon: Asking.
44:52
Kearns: MP Baba killing off
44:54
Jon: Mm-hmm.
44:56
Kearns: flashback at this point, or flash two, pause mode and, um,
45:02
Ryan: Yeah.
45:02
Jon: yeah, we, yeah, we get Remsey dying in the restaurant, Baba slits
45:10
his throat in the basement, and you go, we're back in the restaurant.
45:15
And Remsey is, you know, is sort of, in his dying words, is telling Arta that the
45:21
one who dies first will come back to the other, and, you know, to not scare him.
45:31
And, you know, Ramsey's gone there.
45:33
Ryan: Yep.
45:34
Kearns: It also
45:34
Jon: Mm-hmm.
45:35
Kearns: this his childhood friend that's there to guide him in this moment?
45:39
Like I had a whole bunch of wonderings.
45:40
Nothing that I really, no thread I pulled on that really gave
45:43
me anything more than that.
45:45
Jon: Mm-hmm.
45:45
Kearns: substantiated from it, but it seemed like a lot of possibilities
45:48
came from that one little bit.
45:49
Plus he pulls the key out for him at that
45:52
Jon: Yeah.
45:53
Yeah.
45:54
Yep.
45:55
Kearns: scene's.
45:55
Jon: he gets the key that fits the keyhole in Baba's head.
46:02
Ryan: Which was cool too, how they did that.
46:05
Jon: Mm-hmm.
46:05
Kearns: And he just
46:06
Jon: Mm-hmm.
46:07
Kearns: of gets one over and that's how he begins his, redemption arc. I don't
46:11
know what is it, his heroic escape, I guess is a better way to describe it.
46:14
Jon: Yeah.
46:15
Kearns: But,
46:15
Ryan: The manic Ash Williams escape
46:18
Jon: Mm-hmm.
46:19
Kearns: And at this point too, we found out that Arta is the child
46:23
from the beginning of the movie as
46:24
Jon: Yes.
46:25
Yes.
46:26
Kearns: that out as well.
46:26
So Baba had some sort of eye on him at the very least since the beginning.
46:31
If not abducted him at the beginning.
46:32
'cause I didn't
46:33
Jon: Mm-hmm.
46:33
Kearns: pulled earlier and this was some sort of time loop thing, but it
46:37
looks like that's not the case either.
46:40
Jon: And you, like, you, you have those moments of like, oh, art
46:45
has made it, we're gonna have something of a happy ending.
46:48
We're gonna have a lone survivor.
46:50
And he's staggering through the woods back to the road, and he gets to the road
46:55
and there's a van coming and he waves and he gets smoked by the van, and it's the,
47:02
Ryan: twist.
47:03
Jon: van full of himself and four other cops.
47:07
Ryan: Such a
47:08
Kearns: of the movie to begin the cycle anew,
47:10
Jon: Mm-hmm.
47:11
Kearns: very akin to what we think of with hell, repetition,
47:15
Ryan: Yep.
47:16
Kearns: torture.
47:17
Jon: Yep,
47:18
Ryan: Countless the times.
47:20
Jon: yep.
47:21
Kearns: it also gives a little bit of light to what the girl
47:23
says around the campfire.
47:25
Maybe you should rest here for a little while.
47:28
she understands that
47:29
Jon: Mm-hmm.
47:30
Kearns: to go through this over and over and over.
47:33
Ryan: Yeah.
47:34
Kearns: they give you a little bit of a light and
47:36
Jon: Mm-hmm.
47:36
Kearns: there's a way out.
47:37
He can win this.
47:38
He's the good guy.
47:39
And then you see, oh no, it's, this is much more dismal
47:43
than I thought it would be.
47:45
Jon: Yeah.
47:46
Ryan: I like that
47:47
Jon: Yep.
47:48
Kearns: Mm-hmm.
47:49
Ryan: Like sometimes like, know, I was always in that idea like you have
47:53
to have a happy ending, with horror.
47:56
No.
47:57
Just, just tear those people's hearts out and have like a sad ending
48:02
and people will love it even more.
48:04
Jon: Listen, if you earn it, if you earn it, you should do it.
48:09
Ryan: yep.
48:09
Jon: If you're just putting it in at the end to shock people don't do it.
48:14
Ryan: Now this movie earned it
48:15
Jon: Bask and earns it.
48:17
Ryan: yeah,
48:18
Kearns: time.
48:19
A
48:19
Jon: Basket earns it.
48:20
Kearns: This movie's just a huge surprise for me.
48:22
I, I haven't seen something that felt this refreshing in a while.
48:26
Jon: Mm-hmm.
48:27
Kearns: didn't feel like he took huge chances.
48:28
It was just well done.
48:30
There was a
48:30
Jon: Yeah.
48:31
Kearns: artistically pulled off, kept.
48:34
I like thinking throughout a movie like, like this, and it
48:37
had me thinking the entire time.
48:40
Jon: Yep.
48:40
Yep.
48:41
So before we do our reviews, do you guys want to hear what
48:43
some other people thought?
48:45
Kearns: I couldn't believe that you found a review that we could use.
48:48
Ryan: star.
48:50
Jon: I mean, I had, I had to weed through a lot of oof takes on this movie and
48:56
some, somehow, um, racists have found this movie and don't particularly like it.
49:02
So I had to weed through a bunch of disgustingness, but I did
49:05
find some, some usable ones.
49:07
Here's five stars
49:09
Kearns: Okay.
49:10
Jon: Really well shot with an oppressive atmosphere and some beautifully grotesque
49:15
imagery builds to a delicious orgy of gore twisting throughout, descending to
49:22
a thought provoking hellish final scene.
49:26
Exquisite macabre and entertainingly extreme horror filmmaking.
49:34
Kearns: Well written,
49:35
Jon: Yeah, that's a,
49:38
it's a, mm-hmm.
49:42
Yeah,
49:42
Kearns: and done.
49:43
I agree.
49:44
Ryan: grammar.
49:46
Kearns: I
49:46
Jon: Yep.
49:46
Yeah,
49:47
Ryan: more of this guy or girl.
49:49
Jon: yeah.
49:50
Um, we maybe don't need as much of this next guy, one star,
49:54
Ryan: Uh,
49:56
Jon: and it's, it starts off in a direction, I don't understand.
49:59
Maybe he's from Turkey and this makes more sense there, but far be it for
50:04
a Turkish film to delve into horror, but it manages to creep out at first
50:10
and then becomes a slow burn descent into some pit of sex and go snuff.
50:17
I do think a lot of talent and dedication went into create the lacking and confusing
50:22
plot, but when better films like.
50:27
Passion of the Christ and as above, so below or out there, this is hardly
50:33
a comparison and more of a national turkeys initiate into this type of genre.
50:40
Kearns: you got your Z Lott.
50:42
Got your Z Lott.
50:43
Ah, it's very clear to see where the bias comes in here.
50:46
This is,
50:47
Jon: Yeah.
50:48
Kearns: religious person,
50:50
Jon: Yeah.
50:50
And I mean,
50:51
Kearns: which is fine.
50:53
Jon: yeah, I mean, which is what sort of, what makes me believe that this
50:56
person is very likely of Turkish descent.
51:01
You know, given that Turkey is so divided religiously between, you
51:07
know, Christianity and Islam that you probably would expect to get,
51:13
takes like that on a movie that sort of skews more Muslim than Christian.
51:20
Kearns: Fair point.
51:21
Ryan: Yeah.
51:24
Jon: And one last one.
51:25
This is a little bit of a longer one.
51:28
It's also a half star review.
51:31
Kearns: Ooh.
51:32
Ryan: Half star,
51:33
Jon: Yeah.
51:35
Ryan: blasphemy.
51:36
Jon: myself a pretty big fan of horror movies and thrillers.
51:40
At this point, I've drained the majority of all streaming services
51:45
of their decent horror movie supply, so I thought I'd branch out.
51:50
I searched all over Hulu and eventually found Baskin.
51:56
I read the short description and my interest was peaked.
51:59
I checked Rotten Tomatoes to see if it was worth the watch.
52:03
And to my astonishment, this film had almost 80% certified fresh welp.
52:10
Here we are now.
52:12
I literally made a Rotten Tomatoes account just to review this movie.
52:17
Kearns: one of these guys.
52:18
Jon: Yep.
52:20
Baskin is 90 minutes of my life.
52:23
I'll never get back, but here I am hoping my review will dissuade at
52:29
least one other horror movie enthusiast from ever picking this trash up.
52:36
The plot is terrible.
52:39
The writing is terrible.
52:41
The acting is mostly terrible with some okay moments, the place
52:47
where this movie truly shines is in the makeup, but that's no way.
52:52
A few good makeup artists could ever save this steaming pile.
52:58
Avoid this like the plague.
53:02
Kearns: Probably thinks that Baba is all makeup too, which is pretty funny.
53:04
Jon: I'm sure he does.
53:05
I'm sure he does.
53:07
Kearns: be like, ah, the makeup sucks too.
53:09
Ryan: That's so
53:10
Jon: Mm-hmm.
53:10
Kearns: This
53:11
Jon: There's no makeup.
53:11
Guess what?
53:12
Ryan: Oh, all natural
53:13
Kearns: Some people.
53:14
So when you get into movies that are heady, like this one is, and the
53:17
Jon: Mm,
53:18
Kearns: isn't familiar because we are used to the same allegories,
53:20
this isn't Christian allegory.
53:22
Jon: no.
53:23
Kearns: anything, this would be focused more, a little bit more
53:25
towards Islam or even something else.
53:28
Jon: Yeah,
53:28
Kearns: when you're
53:29
Jon: it's,
53:29
Kearns: that there, you're not getting your usual
53:32
Jon: yeah, it's, it's probably closer to like Turkish folklore than any
53:37
Kearns: Yeah,
53:37
Jon: like modern religion, but,
53:39
Kearns: what we filthy whites would call like what we would call sort of
53:43
Celtic folklore and things like that.
53:47
You know, the
53:47
Jon: mm-hmm.
53:48
Kearns: Nordic, the Anglo way of thinking of
53:51
Jon: Yeah.
53:51
Kearns: is their version, a more Persian version, if you will.
53:55
Ho
53:55
Ryan: Mm-hmm.
53:55
Kearns: ho,
53:55
Jon: version.
53:57
Kearns: yes sir.
53:58
Ryan: version, if
53:59
Kearns: They had a rich culture, a rich culture.
54:01
So I think that that might factor in.
54:02
We might not even have to just say that this guy's racist, not, not ne.
54:05
Jon: No, I don't, I don't think it, yeah, I, I think, listen, it,
54:10
I will concede Baskin is probably not gonna be for everybody.
54:15
It.
54:15
Ryan: No.
54:16
Jon: There are parts of it that are slow, and that's something
54:19
that people struggle with now.
54:22
You know, it's 90 minutes, but there's not,
54:24
Kearns: Tiktoks out there.
54:25
You hear
54:26
Jon: yeah,
54:26
Kearns: the phones down, you're ruin in your brains.
54:29
Jon: it's okay.
54:30
It's okay to watch that stuff, but don't let that be the only thing that you can
54:34
view, the only tempo you can view, things can move slowly and still be great.
54:42
Ryan: Expand
54:43
Kearns: There you wait and then you get this thing, it's called anticipation.
54:47
And then there's something called a payoff.
54:49
Oh, it's delightful.
54:50
Jon: Mm-hmm.
54:51
Kearns: You know, it's just the best, the tops.
54:53
So I get, I get where like maybe where this guy's opinion stems from,
54:57
but I don't agree with it at all.
54:59
And I
54:59
Jon: No, I don't.
55:00
Yeah.
55:01
Yeah.
55:02
I, I think if you've exhausted the supply of streaming horror,
55:06
you've probably watched a lot of.
55:10
You know, the modern American things that are paced, how they're paced, and when you
55:15
find something that's not paced that way, it's gonna not resonate with you the same.
55:21
Kearns: Hmm,
55:21
Ryan: That's true.
55:24
Fair point.
55:25
Kearns: there we go.
55:27
Jon: So with those ideas out, what's you guys' ratings?
55:35
Ryan: Hmm.
55:36
Kearns: I don't often go higher than somethings, but
55:39
I'm gonna give Baskin a four.
55:41
Four stars.
55:42
Four stars.
55:44
I think it earned it, man.
55:46
I, they did a lot with a little,
55:48
Jon: Mm-hmm.
55:48
Kearns: sure it wasn't a zero budget, but I know it wasn't a huge budget.
55:52
Jon: No.
55:52
Ryan: No,
55:52
Kearns: Uh.
55:54
They, they hit nail down a few vibes.
55:56
The misdirection thing alone is, a huge leg up for me, and I like that.
56:00
I don't really, I like that.
56:01
I don't necessarily know what, how it ends and that, that's not a negative, but they
56:08
Jon: Mm-hmm.
56:08
Kearns: at the end,
56:10
Jon: So, uh, I'm gonna, and I don't know what, how this translates
56:16
to making a movie in Turkey.
56:18
I just looked it up real quick.
56:19
$350,000 budget.
56:22
350,000 US dollars.
56:25
I mean, like I said, I don't know what that,
56:27
Kearns: to a million,
56:28
Jon: yeah.
56:29
I don't know.
56:31
And you know, 2015.
56:33
Kearns: you're renting places, you're paying per for
56:36
Jon: Mm-hmm.
56:36
Kearns: stuff.
56:36
All that's way cheaper.
56:38
So
56:39
Jon: they didn't,
56:39
Ryan: Oh.
56:40
Jon: they did not have a lot,
56:42
Kearns: so?
56:42
Jon: did not have a lot of permits ever.
56:44
All admits that.
56:46
Yeah.
56:46
He was just Gorilla Gorilla filming a lot of this, like
56:49
Kearns: great.
56:50
It's good for you.
56:51
Jon: Yeah.
56:51
They didn't have,
56:52
Kearns: types of costs,
56:53
Jon: yeah.
56:54
Yeah.
56:55
Kearns: Everything would be cheaper there, so that you can
56:57
get, you can stretch that further.
56:59
Um, that's great though.
57:01
That's a great
57:02
Jon: Yeah.
57:02
Kearns: right there.
57:02
Jon: Yeah.
57:03
Ryan: That is
57:04
Jon: I love that.
57:04
Kearns: You're
57:05
Jon: Ryan, what do you got?
57:07
Ryan: So I was gonna go with a four, but I am gonna go with a
57:12
3.75, because I didn't like it.
57:16
I, I think it's a good movie.
57:18
I like the actors, I like the story, I like the writing, love
57:21
the directing and the camera work.
57:23
I just wish it was longer.
57:25
wish maybe a little more.
57:28
I like how the ending, you have 'em all trapped and they're going through their
57:31
thing, but maybe like them separated and.
57:39
have each of the characters go through their own individual hell, except
57:44
like the, but I mean, that's about it.
57:46
Maybe a little longer would gimme to the four stars.
57:48
Jon: Mm.
57:49
Ryan: and like a hundred minute film.
57:51
110 minute fill.
57:53
Jon: Mm-hmm.
57:54
I,
57:54
Ryan: minutes.
57:55
Jon: I get that.
57:55
I, saw some of that stuff in some of the reviews about like, there not
57:59
being enough character development.
58:00
I would say they sort of developed the characters in the priority, like obviously
58:06
Ryan: Yes.
58:07
Jon: Arta and re, Arta and Remsey are the two people you
58:10
want the most development with.
58:13
And then it's vus, and then APO and SFI are just sort of there, like they get
58:19
little, they get little bits, bit parts and stuff, but you know, it's, this is
58:24
really, you want know Remsey and Arta.
58:28
Ryan: Okay.
58:29
Just
58:30
Jon: you know, with that, with that said, I think I go higher than both of you.
58:33
I think I'm at a 4.5 on this because I like this movie.
58:37
I like this movie more every time I watch it
58:40
Kearns: It's a good
58:41
Jon: there's it,
58:41
Ryan: that.
58:42
Jon: it's, it's layers.
58:43
Like you see different things every time you watch it.
58:47
Kearns: That's cool.
58:48
Hear that listeners.
58:50
You gotta get after it.
58:51
The only problem is it's not terribly easy to stream or access either.
58:55
I wish it was for
58:56
Jon: Yeah,
58:56
Kearns: mainstream viewers 'cause you have to hunt for it a bit.
59:00
Ryan: Uh,
59:00
Jon: there is there.
59:02
I don't think it's still on shutter.
59:04
No, it was, I don't think it's been on there for a while.
59:07
But there is a really nice 4K from, uh, Severn.
59:12
Ryan: Ooh.
59:13
Okay.
59:13
Jon: Real nice.
59:14
It's a real nice, nice.
59:16
They did a really good job with it.
59:18
They, you know, give it some cool packaging.
59:22
Kearns: Nice.
59:23
Ryan: Does
59:23
Kearns: Good for.
59:23
Ryan: with a key though?
59:24
Jon: Yeah,
59:25
Ryan: be cool if
59:25
Jon: no.
59:26
Kearns: Sure it does.
59:26
Ryan: it and
59:27
Jon: No, no, but um,
59:29
Kearns: the key to my heart.
59:30
Jon: and you can like severance, severance one of those places that gives you a
59:34
couple times a year, 50% off sales.
59:36
So, you know, you'll, you could probably pick it up for like
59:41
20 to $25 in one of those.
59:45
Ryan: Physical
59:45
Kearns: Alright.
59:46
Ryan: a comeback.
59:47
Kearns: Good to
59:48
Jon: Support it, support the physical media because if, like you said, it's not
59:53
easy to find this movie to stream, but you know what you don't have to do if you
59:57
have a physical copy is stream anything.
1:00:00
Kearns: It's true.
1:00:02
That's very true.
1:00:03
All right guys, that's basking for us.
1:00:05
We're gonna segue into our top fives now
1:00:08
Ryan: five this week, gentlemen is Top five films dead Depict hell.
1:00:13
gonna start it off with, I think everyone's favorite, at least in
1:00:16
the year of 1997 based on the hype.
1:00:18
And that's Spawn I Al
1:00:22
Kearns: CGI does not hold up, but yes, it's a great movie.
1:00:25
Ryan: no, I mean, I mean the scenes where they depict how.
1:00:29
Um, a little quick background.
1:00:31
Uh, former Marine, Al Simmons is turned on by his superior, Jason Wynn.
1:00:38
And Angelica pri an army for Mal Bulia, the ruler of hell led by the clown.
1:00:44
The violator played by John Zamo and
1:00:48
Kearns: John?
1:00:48
Who?
1:00:49
Ryan: John Lucas.
1:00:50
Amo
1:00:51
Kearns: John what?
1:00:52
It sounds like a baseball player from the Dodgers Zamo coming up the
1:00:57
Jon: Now Bating Lou.
1:01:02
Kearns: I believe we, I believe it's pronounced leg,
1:01:06
Ryan: John Leg was ammo it.
1:01:09
Killer role, but I being, how they depict hell the CGI doesn't hold up with the
1:01:13
health spawns celebrating and stuff, but
1:01:16
Kearns: Yeah,
1:01:17
Ryan: cool little scene for 1997, which leads to a better follow up in version
1:01:23
of not constant time, but Constantine.
1:01:27
Um, good.
1:01:28
You know, good interpretation of the character.
1:01:31
I love the show that was on NBC for one season, but the movie does
1:01:35
a great job and it's about him kind of dealing with his demons.
1:01:40
He's half, you know, dealing with half angels, half demons and try and
1:01:44
prevent Gabriel, the fallen angel from causing an apocalypse on Earth
1:01:48
and their quick depiction of hell.
1:01:51
just so good, especially with Lucifer at the end.
1:01:54
I'm skipping on the actor's name, but just a phenomenal
1:01:58
Kearns: he's a Russian
1:02:02
He's a good character.
1:02:03
Ryan: oh, he's amazing.
1:02:04
He was in prison Break.
1:02:05
Uh.
1:02:06
Flash.
1:02:07
He was actually count vertigo, which
1:02:10
Kearns: I have to find because he's Fanta, it's Peter Stormer
1:02:14
Ryan: There we go.
1:02:15
He's so
1:02:16
Kearns: Stormer.
1:02:17
How do you pronounce it?
1:02:19
Ryan: I
1:02:19
Jon: I think you got it.
1:02:20
Ryan: got it.
1:02:22
Jon: I think it's storm air.
1:02:23
Ryan: Which leads me to another great character actor who's still alive.
1:02:28
Tim Curry, and this is Legend.
1:02:30
He played
1:02:31
Kearns: I miss him.
1:02:33
Ryan: Whoa, whoa, whoa.
1:02:33
He's, he's still alive.
1:02:34
He
1:02:35
Kearns: Ah, right.
1:02:36
Ryan: But it starts Tom Cruise, uh, Mia, Sarah, Tim Curry.
1:02:40
It's about Jack, a pure being who must stop the Lord of darkness from
1:02:44
covering the world with eternal night by killing a simple unicorn.
1:02:48
And it's got that universal vibe when they show hell, it's creepy and I love it.
1:02:53
Which leads to, of course, number two Event Horizon.
1:02:58
Lost
1:02:59
Kearns: waiting for it.
1:03:00
Ryan: Oh, it's, yeah, that's ever just seeing it again.
1:03:03
It's definitely a number two.
1:03:04
And it's not like they're going into hell.
1:03:07
They're bringing
1:03:08
Kearns: Number two.
1:03:09
Ryan: them.
1:03:09
Kearns: Never a number two.
1:03:11
Jon: It's never a number two.
1:03:13
Kearns: a number two.
1:03:13
No.
1:03:14
Ryan: ironically, my number one is a number two, and that's hellbound.
1:03:18
Hell raise too.
1:03:20
I come on that.
1:03:22
Kearns: works.
1:03:23
That worked way too well for it being unplanned.
1:03:25
Alright, keep going.
1:03:27
No, let's not ruin it.
1:03:28
Ryan: Well, Christie Co. Cotton, you know, uh, played by Lawrence.
1:03:32
Uh, Christie Lawrence, uh, comes back and she submitted to a psychiatric
1:03:37
hospital after the events of the first film where Uncle Frank tried to, uh,
1:03:41
do some unimaginable things to her.
1:03:43
And the good doctor who runs the whole thing is trying to open hell.
1:03:48
And you venture into hell, you get to learn more about the centa bytes.
1:03:52
And, you know, hell looks like a very modern place, but it's not a safe place.
1:04:00
Definitely not a safe place.
1:04:01
But that's my top five on that one.
1:04:04
Kearns: Nice.
1:04:04
Top five, Ryan.
1:04:05
Jon: like it.
1:04:06
Ryan: you.
1:04:06
Jon: I like it.
1:04:08
Ryan: thank you.
1:04:09
Jon: I like.
1:04:10
Ryan: What's your top five?
1:04:11
Because yeah, I want to know.
1:04:13
Jon: So I, I mentioned earlier how I first came across Baskin and how
1:04:18
it was just like a little blurb on Shutter with the, you know, the image.
1:04:24
And I sounded good, so I watched and I loved it.
1:04:27
So I went with five other movies plus an honorable mention that I went into
1:04:34
blind and ended up really, really liking.
1:04:37
And most of 'em are the same way as, um, Baskin, they were on Shutter
1:04:43
or another streaming service, and I stumbled on 'em and love them, love them.
1:04:48
But number six is not one of those.
1:04:49
Number six, the honorable mention is Prometheus, because somehow I missed
1:04:56
the whole ad campaign to Prometheus.
1:04:58
I didn't know it was an alien movie until the very end.
1:05:02
And
1:05:03
Ryan: Okay.
1:05:03
Jon: so like, that was like such an awesome moment to be oh.
1:05:09
And so it deserve, it doesn't really fit with the rest of the list that
1:05:13
I put together, but I did wanna put that on here just for that.
1:05:18
Kearns: for the story.
1:05:19
Yeah,
1:05:20
Jon: Yeah.
1:05:20
Kearns: That's pretty sweet.
1:05:22
Ryan: I'm,
1:05:22
Jon: Yeah.
1:05:22
Ryan: jealous about that
1:05:23
Kearns: Me too.
1:05:24
Ryan: all the trailers and I was like, oh, this is definitely alien.
1:05:27
I'm so hyped.
1:05:28
And, uh,
1:05:30
Jon: I knew it was out.
1:05:31
I heard a little description of it and like I wanted to see
1:05:34
it, but I knew nothing going in
1:05:38
Ryan: I was
1:05:39
Jon: Oz.
1:05:39
Ryan: you,
1:05:40
Kearns: Scott was involved.
1:05:41
Jon: I knew Ridley Scott was involved, but like, he's made stuff that's not alien.
1:05:46
Kearns: Bear.
1:05:46
Yeah.
1:05:46
That's kind of dumb on me to say like Ridley LOV tours.
1:05:49
It was the mania.
1:05:51
Ryan: wow.
1:05:53
Jon: my number five, I'm pretty sure I've never called this one out, is
1:05:58
it's an Indonesian movie directed by Joko Anir who is never missed.
1:06:03
He's,
1:06:04
Ryan: Okay.
1:06:04
Jon: seen a number of his movies now.
1:06:07
They, they're all disturbing, wonderful, well told stories.
1:06:13
Number five is Satan's Slaves.
1:06:17
Um, so,
1:06:19
Kearns: it, but
1:06:20
Ryan: seventies.
1:06:21
Jon: man, there was a seventies one, it's not the same ti same title.
1:06:26
This is not a remake of the seventies one, it's just a seventies movie
1:06:30
that was called Satan Slaves.
1:06:32
Very different I, um, but so, uh, the matriarch of an Indonesian
1:06:37
family, succumbs to a long-term illness, leaving the survivors in
1:06:42
a bizarre and worsening haunting that puts them all in grave danger.
1:06:50
It like the, it's creepy atmosphere.
1:06:53
Like it, was another shutter movie that I sort of found the same way, just flipping
1:06:57
through, like, what do I wanna watch?
1:06:59
Oh, that sounds good.
1:07:01
And like,
1:07:02
Ryan: champs.
1:07:03
Jon: absolutely blew me away.
1:07:05
Uh, which is also how I found my number four, which is a 2020
1:07:09
Belgian movie called Yummy.
1:07:14
so a young couple plus the woman's mother traveled to an eastern
1:07:19
European hospital for cosmetic surgeries for the wife and mom.
1:07:25
wife is getting a breast reduction.
1:07:27
Mom is getting another facelift.
1:07:29
and a board boyfriend wanders the hospital and finds out the
1:07:34
darker side of this hospital.
1:07:37
And they're the strange tests that they're running and the
1:07:40
zombies that they're creating.
1:07:44
it's horror comedy.
1:07:45
It's, a good time.
1:07:48
It doesn't reinvent everything, but it's a lot of fun.
1:07:51
my number three, also not reinventing a whole lot, it's a
1:07:54
movie called We Summon the Darkness.
1:07:56
I,
1:07:58
so three friends head to a metal show where they meet
1:08:02
three women and they hit it off.
1:08:04
And after the show they go hang out all with the backdrop of a
1:08:09
series of ritualistic murders.
1:08:11
we get a nice, little twist in this one that I won't reveal anything about.
1:08:15
And you get Alexandria Drio, who's really good in this and really nice to look at.
1:08:23
And you get some Johnny Knoxville, he gets some Johnny Knoxville in this one too.
1:08:29
Kearns: Probably the least appealing thing
1:08:30
Ryan: Oh, I'm like
1:08:31
Kearns: that you've listed.
1:08:34
I like Knoxville.
1:08:36
Jon: I'd say it's a very different role for him, for sure.
1:08:39
It's a very different Johnny Knoxville role.
1:08:42
I don't think I've ever seen him in anything similar.
1:08:46
Um, he's a reverend,
1:08:50
Ryan: Oh, oh, oh.
1:08:51
Jon: like a, one of the, one of the fire and brimstone type.
1:08:56
Ryan: I can see that though.
1:08:57
Kearns: Interesting.
1:08:58
Jon: Yeah.
1:08:59
It's a good role for him.
1:09:00
Um, my number two is a movie.
1:09:04
I think I actually heard about this on a podcast first called The Devil's Candy.
1:09:10
Ryan: Sounds
1:09:11
Jon: a family moves in a new home in Texas, and the painter husband becomes
1:09:15
possessed by a sinister force and begins to unravel in some pretty horrifying ways.
1:09:22
it's a really, really cool descent into madness movie.
1:09:27
and you, get Ethan Embry, you get Sheri Applebee, and you get a really
1:09:33
super creepy performance from Taylor Vance, who if you, you may not
1:09:39
recognize the name, if you Google him, you will recognize the man.
1:09:43
And you'll realize for him to put in a performance that I point out is creepy,
1:09:48
it has to be kind of extra creepy because he, he's a creepy dude to begin with.
1:09:54
Ryan: Okay.
1:09:55
Jon: And number one, I feel like maybe I've put this one out before, but it's
1:10:00
an Argentinian movie called Terrified.
1:10:05
Kearns: I think you
1:10:05
Jon: Um.
1:10:06
Kearns: about terrified before.
1:10:07
Ryan: yes.
1:10:07
You have.
1:10:09
Jon: so, a paranormal investigator, her colleague and a police officer began to
1:10:14
investigate a Buenos Ari's neighborhood after a string of unusual events.
1:10:19
Uh, what they discover is horrifying and they'll be lucky to survive
1:10:26
Kearns: Yeah, they will be lucky to survive, but they'll be terrified.
1:10:32
Jon: this, uh, terrified is legit scary, like terrified, had
1:10:36
moments that legit scared me.
1:10:40
Kearns: Right now I have to watch it because that's high praise from you, John.
1:10:45
But All right guys, that's the top fives for the
1:10:48
Jon: He's in top five.
1:10:49
Kearns: the episode on Baskin, and you're gonna listen to me and John say
1:10:53
goodnight because Ryan's muted again
1:11:00
later, everybody.