Latest / Frightmares / Ep. 398 - The Frighteners (1996)

Transcript

Ep. 398 - The Frighteners (1996) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:11
  Speaker 2: Hello, filthy movie lovers. My name is Gentry Austin.
• 0:16
  Speaker 3: And I'm Casey Scott.
• 0:17
  Speaker 2: And we're the hosts of The Sin Syndicate, a film
• 0:20
  Speaker 2: podcast for something weirdos, anti-criterion bros, and Joseph Sarno aficionados.
• 0:28
  Speaker 2: Join us semi-weekly as we peer into the adults-only theaters
• 0:32
  Speaker 2: and sticky-floored cinemas of the golden age of sexploitation. When
• 0:37
  Speaker 2: the morals were loose, the laws were murky, and the
• 0:41
  Speaker 2: intercourse was all simulated. Find us now on the Someone's
• 0:46
  Speaker 2: Favorite Productions podcast network.
• 0:55
  Speaker 4: The following podcast will contain spoilers. tangents, hot takes, and
• 1:00
  Speaker 4: excessive foul language, viewer discretion is advised.
• 1:04
  Speaker 2: Enjoy the show.
• 1:47
  Speaker 3: Welcome back to Frightmares Podcast. I'm your host, Austin Proctor,
• 1:50
  Speaker 3: and joining me today for episode 398, fucking distracting the
• 1:54
  Speaker 3: shit out of me with her dancing, is my weird
• 1:58
  Speaker 3: and beautiful wife, Gabrielle Proctor.
• 2:00
  Speaker 4: That's what they call me, weird and beautiful.
• 2:03
  Speaker 3: Okay.
• 2:06
  Speaker 2: Okay.
• 2:07
  Speaker 4: Okay.
• 2:08
  Speaker 3: Eight o'clock on a Friday, and this is never when
• 2:11
  Speaker 3: we record. I don't, I'm not ever up this late.
• 2:13
  Speaker 3: I'm always.
• 2:13
  Speaker 4: It's sleepy bye-bye time.
• 2:15
  Speaker 3: Yeah. But the kid is away, so the adults will stay.
• 2:20
  Speaker 4: Do labor. Awake.
• 2:22
  Speaker 3: Today, on another installment of Spectacular Frights, we're discussing our
• 2:25
  Speaker 3: deep cut pick, The Frightener from 1996. A movie that's,
• 2:30
  Speaker 3: it's like Ghostbusters. If the Ghostbusters were broke, emotionally damaged,
• 2:33
  Speaker 3: and committing insurance fraud.
• 2:34
  Speaker 4: They probably would. probably were also committing insurance fraud.
• 2:37
  Speaker 3: Let's see where this lands. The Nightmare Index.
• 2:41
  Speaker 4: I mean, they were doing code violations. Why not insurance fraud?
• 2:45
  Speaker 3: Whatever. What have you recently watched?
• 2:49
  Speaker 4: Let's see. I have recently watched Supernatural. I'm in season four.
• 2:55
  Speaker 3: Is that good?
• 2:58
  Speaker 1: Yeah, four out of 15 seasons, so I'm almost done.
• 3:03
  Speaker 3: Oh, yes, I see.
• 3:05
  Speaker 4: Let's see. I recently rewatched.
• 3:12
  Speaker 1: Steel Magnolias in honor of Dolly Parton. If you talk
• 3:18
  Speaker 1: through all the sad parts, then you don't cry. So
• 3:22
  Speaker 1: a little tip and trick for you.
• 3:24
  Speaker 3: Oh, yeah.
• 3:26
  Speaker 4: Then you got to see 9 to 5. I watched
• 3:30
  Speaker 4: that with you. 9 to 5.
• 3:33
  Speaker 1: And, of course, in the midst of that, I also
• 3:37
  Speaker 1: did a rewatch of Muppet Treasure Island.
• 3:39
  Speaker 3: Oh, yeah. Totally.
• 3:42
  Speaker 4: For Tim Curry.
• 3:43
  Speaker 3: Oh, well, you gotta say that. So I was like,
• 3:47
  Speaker 3: what does that have to do with Dolly Parton?
• 3:49
  Speaker 1: Yeah, and then you and I just showed our child
• 3:52
  Speaker 1: all of the Shrek movies.
• 3:54
  Speaker 3: That is true. Wow, that's it.
• 3:56
  Speaker 4: I've really slowed it up.
• 3:58
  Speaker 3: Slowed it down.
• 3:59
  Speaker 4: Whichever. Because of the watching Supernatural.
• 4:04
  Speaker 3: Oh, my God.
• 4:05
  Speaker 4: And Spooky Love. I'm also trying to finish Spooky Love,
• 4:07
  Speaker 4: and I'm like three episodes from the end.
• 4:09
  Speaker 3: Didn't you? Okay. Time ago, you said something about you've
• 4:15
  Speaker 3: been watching a lot of movies, but I might get
• 4:16
  Speaker 3: sucked into a show. That wasn't Supernatural. Wasn't it a
• 4:18
  Speaker 3: different show? Right?
• 4:20
  Speaker 1: No, I said at some point I'll get sucked into
• 4:22
  Speaker 1: a show. There was no specific show in mind.
• 4:25
  Speaker 3: I know, but I'm saying it wasn't Supernatural. It was
• 4:27
  Speaker 3: another show, right?
• 4:28
  Speaker 4: Probably Buffy or something like that.
• 4:30
  Speaker 3: I swear it was another show you got sucked into
• 4:32
  Speaker 3: before Supernatural. Wow, well, you managed to kill two minutes
• 4:35
  Speaker 3: with your recently watched... You're welcome. Ten out of ten.
• 4:39
  Speaker 4: Okay, so in Supernatural, here's where we're at.
• 4:42
  Speaker 3: Oh, my God, please don't. If I ever decide to
• 4:45
  Speaker 3: watch it.
• 4:46
  Speaker 4: No, but I did think it was funny that we.
• 4:49
  Speaker 1: I happened to watch an episode that involved people astral
• 4:53
  Speaker 1: projecting to talk to Grim Reapers, which is very on
• 4:57
  Speaker 1: brand for this film.
• 4:59
  Speaker 3: Yeah, true, true. All right, well, I guess I'll talk
• 5:02
  Speaker 3: about the things I've watched. Watched, oh, did you talk
• 5:06
  Speaker 3: about Teenage Sex and Death that Can't Meow?
• 5:09
  Speaker 4: No, I didn't get to.
• 5:09
  Speaker 3: Okay, movie's clearly not made for me.
• 5:13
  Speaker 4: It clearly was not.
• 5:14
  Speaker 3: Not a fan of that movie whatsoever.
• 5:17
  Speaker 1: Yeah, I got to vaguely talk about it, but I
• 5:19
  Speaker 1: didn't talk about it too much since you hadn't seen
• 5:21
  Speaker 1: it yet. I really enjoyed it. I really enjoyed what
• 5:25
  Speaker 1: they were trying to express with it. I know that
• 5:28
  Speaker 1: didn't work as well for you. Definitely, it's going to
• 5:31
  Speaker 1: be one of those movies that it's either your thing,
• 5:33
  Speaker 1: it's not your thing.
• 5:34
  Speaker 4: And that's fine.
• 5:35
  Speaker 3: The core premise and story of the explanation of baby face,
• 5:42
  Speaker 3: killer face.
• 5:42
  Speaker 4: Little death.
• 5:43
  Speaker 3: Little death.
• 5:44
  Speaker 4: Which is another term. for an orgasm in French.
• 5:50
  Speaker 1: Which I was spending the whole damn movie thinking, I've
• 5:54
  Speaker 1: heard the phrase little death, and then I was like driving,
• 5:58
  Speaker 1: and I'm like, I can't even look this up, but
• 6:00
  Speaker 1: is it an orgasm?
• 6:01
  Speaker 4: Is that what it is? I don't remember why I
• 6:04
  Speaker 4: knew that phrase.
• 6:04
  Speaker 3: It's actually Japanese for sad orchestra. Karaoke. Anyways, yeah, I
• 6:13
  Speaker 3: don't know. Acting, great. You know, I can't deny that.
• 6:17
  Speaker 3: I didn't really expect it to really only center around
• 6:20
  Speaker 3: two people, which it primarily does. But again, the base
• 6:24
  Speaker 3: story of little death and what was happening, like the
• 6:28
  Speaker 3: overarching story without spoiling it. That was a great idea.
• 6:31
  Speaker 3: I loved that, but everything in between, I was like,
• 6:34
  Speaker 3: this is just not my thing. I don't, it just wasn't,
• 6:40
  Speaker 3: I was not the target audience that basically that's what
• 6:42
  Speaker 3: it boiled down to. Nothing about the movie was inherently bad.
• 6:46
  Speaker 3: It just did not appeal to me.
• 6:49
  Speaker 4: Which is fine. It's going to happen.
• 6:50
  Speaker 1: I mean, not every film is made for everybody, and
• 6:54
  Speaker 1: as long as you're still open to trying films, that's
• 6:57
  Speaker 1: all you can do.
• 6:58
  Speaker 3: And listen, you know, at the end of the day,
• 7:00
  Speaker 3: I am a man, and there's beautiful women in this,
• 7:04
  Speaker 3: and it's not working for me. I was like, yeah,
• 7:06
  Speaker 3: I don't know. Because usually that'll at least be like, well, hey,
• 7:09
  Speaker 3: you know, if a movie's bad and there's good-looking people
• 7:12
  Speaker 3: in it, men or women, you know, Whatever. But even
• 7:15
  Speaker 3: then I was like, I just, I don't, I also
• 7:17
  Speaker 3: really wish they explained more about the character, her, the
• 7:21
  Speaker 3: main actress, because she was very quirky and had these
• 7:24
  Speaker 3: odd mannerisms. And I was like, something happened to you
• 7:26
  Speaker 3: when you were a kid. I know she saw the movie.
• 7:30
  Speaker 4: At an inappropriately young age.
• 7:32
  Speaker 3: But a movie's not going to define your entire existence.
• 7:35
  Speaker 3: Rarely does. I mean, maybe in this case... For her,
• 7:38
  Speaker 3: it did. Okay, maybe in this case, that's what it was.
• 7:41
  Speaker 3: But also, you know, it's clearly a story from... I
• 7:46
  Speaker 3: believe the director is a trans woman.
• 7:49
  Speaker 2: Yes.
• 7:50
  Speaker 3: So that whole experience, I can't really relate to. I
• 7:53
  Speaker 3: never had a sexual awakening... So it's like, I don't know,
• 7:57
  Speaker 3: it's hard for me to really relate to anything going on. So, again,
• 8:02
  Speaker 3: it's not a bad movie. It's just I was not
• 8:04
  Speaker 3: the target audience, I don't think.
• 8:05
  Speaker 1: I mean, there were definitely, for me, I could see
• 8:08
  Speaker 1: what they were doing. I could understand what they were doing.
• 8:10
  Speaker 1: I was very interested in how they were presenting it.
• 8:16
  Speaker 1: And even though I could not personally relate to every
• 8:19
  Speaker 1: experience they were expressing.
• 8:21
  Speaker 4: I still.
• 8:23
  Speaker 1: Know of people or know that those are experiences that exist.
• 8:26
  Speaker 1: So I was able to really appreciate it because I
• 8:30
  Speaker 1: know that it's not my personal experience.
• 8:33
  Speaker 4: It is somebody's personal experience.
• 8:36
  Speaker 3: I appreciate the representation for sure.
• 8:38
  Speaker 4: Yeah.
• 8:38
  Speaker 1: And I think like it was beautiful to look at
• 8:41
  Speaker 1: like the design, the cinematography, the way they did some
• 8:45
  Speaker 1: of those shots with like hand painted backdrops that they
• 8:48
  Speaker 1: were like cutouts around the buildings.
• 8:50
  Speaker 4: I mean, insane.
• 8:52
  Speaker 3: It's weird, though, that they did it on the one
• 8:53
  Speaker 3: in front of the camp building, but not the one
• 8:56
  Speaker 3: with the mountains. I thought that was strange. Like when
• 8:58
  Speaker 3: she first gets off the bus or whatever, like when
• 9:00
  Speaker 3: she first out of the car and arrives at camp
• 9:03
  Speaker 3: and it goes up to the mountains. And I was like,
• 9:04
  Speaker 3: that's clearly all CG. I was like, why did we
• 9:06
  Speaker 3: do one for this? But I don't know. It was
• 9:09
  Speaker 3: just weird. I was like, because I thought that was
• 9:11
  Speaker 3: I was like, oh, this is the scene that I
• 9:12
  Speaker 3: saw behind the scenes of where they had a little.
• 9:14
  Speaker 3: I was like, oh, no, that's that's definitely CG. OK.
• 9:17
  Speaker 3: And then it happened.
• 9:18
  Speaker 4: Yeah.
• 9:19
  Speaker 3: Like five seconds later.
• 9:20
  Speaker 4: Well, speaking of divisive movies that people are split on,
• 9:26
  Speaker 4: we saw Buddy.
• 9:26
  Speaker 3: I already talked about Buddy.
• 9:28
  Speaker 4: I didn't get to talk to you about Buddy. You're
• 9:30
  Speaker 4: fucking too late to the game.
• 9:31
  Speaker 2: Bye.
• 9:32
  Speaker 3: I gave Teenage Sex and Death, too long of a name,
• 9:35
  Speaker 3: two and a half stars. Like I said, not bad,
• 9:39
  Speaker 3: but it just wasn't for me. So it's. And it's
• 9:41
  Speaker 3: hard for me to give a good rating to something
• 9:43
  Speaker 3: that I genuinely didn't enjoy. I think the only time
• 9:45
  Speaker 3: I've really done that is to The Godfather because I'm like,
• 9:48
  Speaker 3: I get this. Whatever. It's fine. I'm just not interested
• 9:52
  Speaker 3: in the source material of what's going on in The Godfather.
• 9:55
  Speaker 3: But like the movie as a whole is just put
• 9:57
  Speaker 3: together brilliantly.
• 9:58
  Speaker 4: Yeah.
• 9:58
  Speaker 3: I guess this is kind of the same thing, but
• 10:00
  Speaker 3: I don't know. It just didn't do much. Also the
• 10:02
  Speaker 3: blood in the movie was a major, not turn off.
• 10:06
  Speaker 3: What am I trying to say? I was like, this
• 10:07
  Speaker 3: is like, it's excessive. And I was like, that's, that's
• 10:10
  Speaker 3: past my limit of excessive. I was like that. This
• 10:13
  Speaker 3: is just ridiculous. It's a little silly.
• 10:16
  Speaker 4: I think that was the point.
• 10:17
  Speaker 3: No, I get it. I'm saying that it's too silly
• 10:19
  Speaker 3: for me. It's too silly for me.
• 10:21
  Speaker 1: When there was like that onslaught of kills in front
• 10:23
  Speaker 1: of that cabin and they were just ludicrous kills.
• 10:27
  Speaker 3: Yeah. I was like, this is just too, I was like,
• 10:30
  Speaker 3: I guess this is my two, because I love cheesy,
• 10:32
  Speaker 3: campy shit. But I saw this and I was like,
• 10:35
  Speaker 3: I guess I have, this is my limit.
• 10:35
  Speaker 1: And I think they camped it up harder to be like, yeah,
• 10:39
  Speaker 1: we're really willing to accept these very comical deaths, no problem.
• 10:43
  Speaker 1: let's crank it up some more to like even highlight
• 10:47
  Speaker 1: even further how silly some of those deaths are.
• 10:49
  Speaker 3: It just didn't fit though, because the movie is grounded
• 10:52
  Speaker 3: in such a reality. And all of a sudden you
• 10:53
  Speaker 3: see a kill and you're like, well, that's ridiculous. So it,
• 10:56
  Speaker 3: for me, I didn't really fit with what was going
• 10:59
  Speaker 3: on and how serious of a tone the movie had
• 11:02
  Speaker 3: outside of the, you know, them showing the movies, obviously
• 11:06
  Speaker 3: the movies are camp movies, but in the world that
• 11:08
  Speaker 3: we're shown, it's like those kills just make zero sense.
• 11:12
  Speaker 4: Yeah.
• 11:13
  Speaker 1: Um, And I think that's what they were trying to highlight.
• 11:16
  Speaker 1: Because if you think like when Jason has that sleeping
• 11:19
  Speaker 1: bag kill. Do you know how hard it would be
• 11:22
  Speaker 1: to pull someone up long ways and actually get that
• 11:26
  Speaker 1: kind of momentum with just your arms and not getting
• 11:28
  Speaker 1: pulled along?
• 11:29
  Speaker 3: Yeah, that was like the sixth or seventh movie, though.
• 11:32
  Speaker 3: So by that point, we've established.
• 11:34
  Speaker 1: I think it's poking fun at like those kind of
• 11:36
  Speaker 1: kills where it's like the way that would be physically impossible.
• 11:39
  Speaker 3: Not for Jason.
• 11:41
  Speaker 4: Yeah, for Jason. Who's got this supernatural strength.
• 11:44
  Speaker 3: Yeah.
• 11:45
  Speaker 1: But I'm saying in reality, you can't actually, because first off,
• 11:50
  Speaker 1: they'd have to stay, their body would have to stay straight.
• 11:52
  Speaker 1: We bend in several places.
• 11:54
  Speaker 3: This is a very bizarre analogy.
• 11:56
  Speaker 1: And then you have to swing the body by keeping
• 11:58
  Speaker 1: the momentum going. Well, that's over 100 pounds of weight
• 12:01
  Speaker 1: you're swinging.
• 12:03
  Speaker 3: Mm-hmm.
• 12:04
  Speaker 4: And somehow not going, not.
• 12:06
  Speaker 1: Moving forward with that swing. And I think that's what,
• 12:09
  Speaker 1: those are the kinds of kills. That's just the first
• 12:11
  Speaker 1: one that came.
• 12:11
  Speaker 4: To my mind.
• 12:12
  Speaker 3: That one's silly in a fun way. This one was
• 12:14
  Speaker 3: just like, this started.
• 12:15
  Speaker 4: Off with- So they were just hamming it up further.
• 12:17
  Speaker 3: No, I get it.
• 12:18
  Speaker 1: I know, that's what I was just saying.
• 12:20
  Speaker 3: It's just like, the opening kill had that happen. And
• 12:22
  Speaker 3: I was like, oh, all right. That was a choice.
• 12:27
  Speaker 3: It's a little excessive for me. Again, not the target audience.
• 12:30
  Speaker 3: I just, I don't think this was made with, me
• 12:33
  Speaker 3: in mind. How dare they? Uh, but yes, we did see,
• 12:37
  Speaker 3: but D gave that one. I said, I gave that
• 12:39
  Speaker 3: one a four, but, uh, what did you think of buddy?
• 12:43
  Speaker 4: Um, I think I gave it a three and a half.
• 12:45
  Speaker 3: I rated it higher than you. Didn't you enjoy it
• 12:48
  Speaker 3: more than me?
• 12:49
  Speaker 4: Yeah, I think I underrated it. I might go fix that. Um,
• 12:55
  Speaker 4: I don't know why I did that. Um, no, I really, uh,
• 12:58
  Speaker 4: enjoyed buddy, especially as, um, I guess you'd.
• 13:02
  Speaker 1: Call it an allegory for like child abuse, child trafficking,
• 13:09
  Speaker 1: and child exploitation.
• 13:12
  Speaker 2: Yeah.
• 13:13
  Speaker 1: And some people didn't like that or didn't get that.
• 13:16
  Speaker 1: And they say they're like, oh, the sets are cheap. Yeah,
• 13:19
  Speaker 1: it looks like the set of fucking Barney.
• 13:22
  Speaker 3: It's a dark parody of Barney.
• 13:25
  Speaker 4: Exactly.
• 13:26
  Speaker 3: Even the song they sing is directly from that set.
• 13:30
  Speaker 1: Yeah, and I actually just saw someone talking about how
• 13:34
  Speaker 1: Barney in real life, when.
• 13:36
  Speaker 4: It came out, it was actually scaring kids. It's a
• 13:39
  Speaker 4: fucking purple dinosaur. It's horrifying.
• 13:42
  Speaker 1: Because Sesame Street, they went through a lot of time
• 13:46
  Speaker 1: and effort and they got with child psychologists on what
• 13:49
  Speaker 1: would be the least terrifying and the most acceptable to kids.
• 13:53
  Speaker 4: Like, what would they be?
• 13:54
  Speaker 3: Big Bird is horrifying. How did they land on that one?
• 13:57
  Speaker 1: Big Bird has these big, calm eyes. Big Bird can express,
• 14:01
  Speaker 1: can emote from happiness to sadness. And The Sesame Street
• 14:06
  Speaker 1: people went through a lot of effort to make these
• 14:10
  Speaker 1: characters not terrifying. Barney, they did the polar opposite. He's
• 14:15
  Speaker 1: got little bitty eyes that are too small for his head,
• 14:19
  Speaker 1: almost completely blacked out, really overly large grin with overly
• 14:24
  Speaker 1: large teeth, and he cannot emote.
• 14:26
  Speaker 3: Well, he's also a dinosaur.
• 14:28
  Speaker 1: Well, even take away the dinosaur thing, because you get
• 14:30
  Speaker 1: this one, that's a unicorn, and they basically did the
• 14:34
  Speaker 1: same thing. a face that can only be happy eyes
• 14:37
  Speaker 1: that are a little too small and it can't show expression.
• 14:41
  Speaker 1: I mean, he is pissed throughout this movie and smiling
• 14:45
  Speaker 1: the whole time.
• 14:46
  Speaker 4: Yeah.
• 14:46
  Speaker 3: Well, I'm just saying it's like big bird and all
• 14:48
  Speaker 3: those other things are kind of just like not predatory animals.
• 14:51
  Speaker 3: And then you have a fucking dinosaur. So it's just like, yeah. Um,
• 14:55
  Speaker 3: but that's also kind of scary as well.
• 14:58
  Speaker 2: Yeah.
• 14:58
  Speaker 1: But I think that's, um, I thought it was really cool,
• 15:01
  Speaker 1: and I know people also didn't like that it went
• 15:04
  Speaker 1: to the real world. And it's like, yeah, because you
• 15:06
  Speaker 1: have to see the real world impact of these children disappearing.
• 15:12
  Speaker 3: You can't do too many cooks for 90 minutes, bro.
• 15:15
  Speaker 3: Everyone would go fucking crazy.
• 15:17
  Speaker 4: Yeah.
• 15:21
  Speaker 1: Having seen too many cooks, having seen Yule Log, I
• 15:25
  Speaker 1: expected to be taken on a journey where I had
• 15:29
  Speaker 1: no idea what was about to happen. It was going
• 15:31
  Speaker 1: to get weird, but it was going to have a point.
• 15:35
  Speaker 1: And I don't believe he did unedited footage of a bear,
• 15:39
  Speaker 1: but that was in the same show.
• 15:43
  Speaker 3: Same era.
• 15:43
  Speaker 4: As Too Many Cooks. They're technically in the same program.
• 15:46
  Speaker 3: And that one.
• 15:49
  Speaker 1: People are like, that one's so weird. It's actually a
• 15:52
  Speaker 1: statement on the side effects of medications, especially that mothers get.
• 15:57
  Speaker 1: So yeah, you kind of got to expect that there's
• 15:59
  Speaker 1: something going on that's a little bit deeper, but also
• 16:04
  Speaker 1: they're going to do it in the weirdest manner possible.
• 16:05
  Speaker 4: So I was already on board for what was going
• 16:07
  Speaker 4: to happen, whatever it was going to be.
• 16:10
  Speaker 3: Yeah, and like you said, you kind of have to
• 16:12
  Speaker 3: go to the real world because, yeah, I'm not... When they...
• 16:15
  Speaker 3: At the beginning of the movie, it's kind of repetitive,
• 16:17
  Speaker 3: and I was like, oh, God, is this just going
• 16:19
  Speaker 3: to be too many cooks for 90 minutes? But then, no,
• 16:21
  Speaker 3: because that would be a crazy thing to do.
• 16:23
  Speaker 4: And that would get exhausting.
• 16:25
  Speaker 3: Well, yeah. But also, on the same subject of Buddy,
• 16:30
  Speaker 3: apparently there have been parents taking their kids to this. Oh, no.
• 16:33
  Speaker 2: Oh, no.
• 16:34
  Speaker 3: Because they think it's a kid's movie. It's sausage. It's
• 16:37
  Speaker 3: literally sausage party all over again. Like, how the fuck
• 16:40
  Speaker 3: do you not do your research before you take a child?
• 16:43
  Speaker 3: And then they're getting mad. It's like, bitch, this is
• 16:45
  Speaker 3: on you. It's a fucking R-rated movie. Do your goddamn research.
• 16:50
  Speaker 3: Look at the fucking poster. How does that say kid's movie?
• 16:52
  Speaker 3: Because it does not look like a kid's movie.
• 16:54
  Speaker 4: Check the rating.
• 16:55
  Speaker 3: That's what I'm saying.
• 16:56
  Speaker 4: That's base level.
• 16:57
  Speaker 3: Check the rating. That's base level shit. Check the rating
• 16:59
  Speaker 3: before you take your kid to something. Read the description.
• 17:03
  Speaker 1: Yeah, they're actually having a similar problem right now, once again,
• 17:07
  Speaker 1: with HHN because there's a Fortnite section.
• 17:10
  Speaker 4: So they think, oh, kids can go to this.
• 17:12
  Speaker 1: And then people are bringing their literal toddlers and not
• 17:15
  Speaker 1: the weird little gremlin toddler that's super into that stuff.
• 17:18
  Speaker 1: Just any toddler.
• 17:19
  Speaker 3: Like, dude, Horror Nights has been around for 30 something years.
• 17:24
  Speaker 3: Fucking do your research.
• 17:26
  Speaker 1: But honestly, HHN needs to stop doing such family friendly.
• 17:31
  Speaker 3: No, I know.
• 17:32
  Speaker 1: I don't even know if you'd call Fortnite family friendly
• 17:34
  Speaker 1: so much.
• 17:35
  Speaker 3: It's a kid's game.
• 17:36
  Speaker 1: It's a kid's game, like a little bit older kid's game.
• 17:40
  Speaker 3: Young kids play that shit.
• 17:42
  Speaker 1: They need to stop adding in these things like this
• 17:44
  Speaker 1: that make it seem like it's meant for kids.
• 17:46
  Speaker 4: Like it's accessible.
• 17:47
  Speaker 1: Like when they did Five Night at Freddy's, which is
• 17:49
  Speaker 1: not a kid's thing, but kids are really into it
• 17:51
  Speaker 1: for some reason.
• 17:52
  Speaker 3: For some reason.
• 17:53
  Speaker 4: Which means their parents are not watching what they're watching.
• 17:55
  Speaker 3: No, it's a video game. I know what it is.
• 17:59
  Speaker 3: It's a very accessible video game that's fun to play
• 18:01
  Speaker 3: because it's spooky, but then you go to an event
• 18:03
  Speaker 3: where people are trying to scare the shit out of you.
• 18:06
  Speaker 1: Yeah, so stop taking these properties that are meant for
• 18:09
  Speaker 1: kids and putting them at non-kid-friendly events. But as a parent,
• 18:16
  Speaker 1: due diligence. Check at what you're taking your kid to.
• 18:19
  Speaker 1: You can safely assume if you're going to Mickey's Not
• 18:21
  Speaker 1: So Scary, that is a kid's event.
• 18:23
  Speaker 2: Right.
• 18:24
  Speaker 4: But if there's an event... It's called not so scary.
• 18:26
  Speaker 4: The movie's rated R, or the kids have.
• 18:28
  Speaker 3: That's a pretty dead giveaway.
• 18:30
  Speaker 1: Or the event is a late night event where you
• 18:33
  Speaker 1: have to be 18 or older to.
• 18:36
  Speaker 4: Go by yourself. To go by yourself.
• 18:38
  Speaker 1: Do you?
• 18:38
  Speaker 4: Don't take your 10-year-old.
• 18:39
  Speaker 3: Do you?
• 18:40
  Speaker 4: You can't be a minor unattended.
• 18:43
  Speaker 3: At HHN?
• 18:44
  Speaker 2: Yeah.
• 18:44
  Speaker 3: Really?
• 18:45
  Speaker 2: Oh.
• 18:46
  Speaker 4: Pretty sure.
• 18:46
  Speaker 3: Okay.
• 18:48
  Speaker 4: Because you.
• 18:49
  Speaker 1: Yeah, parents have to take their 16-year-olds that you can't
• 18:52
  Speaker 1: just push a 16-year-old inside and call it a day.
• 18:54
  Speaker 3: I feel like we've seen so many groups of young kids.
• 18:57
  Speaker 3: Where are those parents at?
• 18:58
  Speaker 4: They've fucked off somewhere else in the park. Oh my God, terrible.
• 19:01
  Speaker 4: That's why they're not being watched.
• 19:02
  Speaker 3: I guess I'll talk about my other movies another time
• 19:04
  Speaker 3: because somehow we went from four minutes to 20 all
• 19:07
  Speaker 3: of a sudden.
• 19:08
  Speaker 4: This is what you want to do.
• 19:09
  Speaker 3: This is what I wanted, but I do have three
• 19:11
  Speaker 3: movies to talk about from AV Entertainment, so I'll just
• 19:14
  Speaker 3: do that next time because it's not a rush. I
• 19:15
  Speaker 3: do individual reviews for them on TikTok anyway. That is
• 19:20
  Speaker 3: enough of that. I wish we brought HHN up sooner
• 19:22
  Speaker 3: because I want to talk about the whole Nikki thing,
• 19:24
  Speaker 3: but again, that's a conversation for another time, I suppose.
• 19:27
  Speaker 3: Let's get into the body count. This is The Frighteners
• 19:35
  Speaker 3: from 1996, released on July 19th of that year in
• 19:38
  Speaker 3: the U.S., Rated R for terror slash violence. I'm going
• 19:43
  Speaker 3: to circle back around to this when I talk about
• 19:45
  Speaker 3: the trivia because it's very interesting because there's only mild
• 19:47
  Speaker 3: sex and nudity, moderate violence and gore. mild profanity, mild alcohol,
• 19:51
  Speaker 3: drugs and smoking, and moderate frightening and intense scenes. Intense scenes.
• 19:56
  Speaker 3: Coming in at an hour and 15 minutes. A little long,
• 19:59
  Speaker 3: but I don't feel like it drags. Listed as a comedy, drama, fantasy, horror, mystery, romance.
• 20:06
  Speaker 4: It does do all of that.
• 20:07
  Speaker 3: I know, but don't break your neck with all those genres.
• 20:10
  Speaker 3: Directed by Peter Jackson, who directed the Lord of the
• 20:13
  Speaker 3: Rings trilogy and the Hobbit trilogy. Nothing too major. Also
• 20:16
  Speaker 3: written by him. He wrote those same trilogies. Also written
• 20:21
  Speaker 3: by Fran Walsh. She wrote the same thing. The Lord
• 20:24
  Speaker 3: of the Rings trilogy and the Hobbit trilogy. Composed by
• 20:26
  Speaker 3: Danny Elfman, which I also have fun trivia on, so
• 20:29
  Speaker 3: check back in later at the end of the episode
• 20:31
  Speaker 3: with that. He composed basically every Tim Burton movie, Tales
• 20:34
  Speaker 3: from the Crypt, Demon Knight, and the recent Send Help
• 20:37
  Speaker 3: from Sam Raimi, which I did not know. Or I
• 20:39
  Speaker 3: probably saw the end of that and was like, oh shit,
• 20:41
  Speaker 3: and then forgot. Cinematography by two people, for some reason.
• 20:45
  Speaker 3: I don't think I've seen, I'm sure they exist, but
• 20:47
  Speaker 3: this doesn't happen very often. But you have John Blick.
• 20:50
  Speaker 3: who did the cinematography for something called Solo, 1978, and
• 20:55
  Speaker 3: Last Tattoo, 1994, with seven total credits.
• 20:58
  Speaker 4: Okay.
• 20:59
  Speaker 3: And then Alun Bollinger, who also did the cinematography for
• 21:02
  Speaker 3: Heavenly Creatures.
• 21:04
  Speaker 2: I don't know.
• 21:05
  Speaker 4: Which we still need to watch.
• 21:06
  Speaker 3: I don't know why he decided to work with two people.
• 21:10
  Speaker 3: I mean, he worked with, obviously, Alun Bollinger on Heavenly Creatures,
• 21:13
  Speaker 3: but it's strange that he picked some random guy with, like,
• 21:16
  Speaker 3: no work. And then, I don't know. It's just very strange.
• 21:20
  Speaker 3: Because he has a crew that he seems to work with, typically,
• 21:23
  Speaker 3: for the most part. That was just very strange. And
• 21:26
  Speaker 3: it's sad that they didn't do many more things, because
• 21:28
  Speaker 3: the cinematography was wild in this movie. Edited by James Selkirk,
• 21:32
  Speaker 3: who also edited Dead Alive, the Lord of the Rings trilogy,
• 21:35
  Speaker 3: and King Kong. Starring Michael J. Fox as Frank Bannister.
• 21:38
  Speaker 3: He was in the Back to the Future trilogy as
• 21:40
  Speaker 3: Marty McFly. What? I know, it's crazy. Trina Alvarado as
• 21:44
  Speaker 3: Lucy Linsky. She was also in Little Women as Meg March.
• 21:47
  Speaker 4: The superior Little Women, and I will die on that hill.
• 21:50
  Speaker 3: Fucking hot take. There's too many goddamn movies and TV
• 21:52
  Speaker 3: shows named Little Women. I don't even know where to start.
• 21:55
  Speaker 1: Little Women is such a aggressively readapted story.
• 22:00
  Speaker 3: I know. It's just like there's too many.
• 22:01
  Speaker 4: That's the best one.
• 22:02
  Speaker 3: There's too many. Peter Dobson as Ray Linsky. He was
• 22:05
  Speaker 3: also in the criminally underrated Pool Hall Junkies as Corey.
• 22:09
  Speaker 3: John Astin as the judge. He was in 64 episodes
• 22:11
  Speaker 3: of The Addams Family as Gomez Addams. Jeffrey Combs as
• 22:14
  Speaker 3: Milton Dammers, also in Re-Animator as Dr. Herbert West. Dee
• 22:17
  Speaker 3: Wallace as Patricia Bradley, who was also in E.T. as
• 22:20
  Speaker 3: the mom. And Jake Busey as Johnny Bartlett, who was
• 22:23
  Speaker 3: also in Starship Troopers as Ace Levy.
• 22:25
  Speaker 4: Yeah, he was.
• 22:25
  Speaker 3: Yeah, I didn't go to her page, but fucking everyone
• 22:28
  Speaker 3: should know who Dee Wallace is. Facts. Estimated budget of
• 22:31
  Speaker 3: $ 30 million, only grossing $ 29. 4 million. So close.
• 22:33
  Speaker 2: Woof.
• 22:36
  Speaker 3: Filmed in Wellington, New Zealand, and Tulsa, Oklahoma. So those
• 22:40
  Speaker 3: are two places that are wildly different. You can watch
• 22:43
  Speaker 3: this on AMC +. Movies that came out around the
• 22:45
  Speaker 3: same time, Independence Day, Matilda, The Hunchback of Notre Dame,
• 22:50
  Speaker 3: Nutty Professor, Kingpin, Escape from L.A., Jack, Striptease, Kazam, not Shazam,
• 22:56
  Speaker 3: that movie never existed, I will die on that fucking hill.
• 23:00
  Speaker 3: Fucking Mandela effect, stupid ass shit. Bordello of Blood and
• 23:03
  Speaker 3: Harriet the Spy.
• 23:05
  Speaker 4: I have only not seen three of these.
• 23:07
  Speaker 3: Well, you haven't seen, we already established that you have
• 23:09
  Speaker 3: not seen, where the fuck did it go? Jack. Jack,
• 23:13
  Speaker 3: there we go. You haven't seen Kazam, have you?
• 23:16
  Speaker 4: Yes, I have.
• 23:16
  Speaker 1: I was going to marry Shaq as a child, okay,
• 23:20
  Speaker 1: specifically because of this movie.
• 23:21
  Speaker 4: And if that doesn't make.
• 23:22
  Speaker 3: Sense, well, I don't know either. I mean, you kind
• 23:23
  Speaker 3: of did. I'm just less black.
• 23:25
  Speaker 4: It did get me a tall man.
• 23:28
  Speaker 3: Kingpin?
• 23:29
  Speaker 4: No, I actually own that.
• 23:30
  Speaker 3: Oh, my God.
• 23:31
  Speaker 4: Striptease?
• 23:31
  Speaker 3: Yep. Okay, Jack Striptease and his nutty professor?
• 23:35
  Speaker 4: No, escaped from L.A.
• 23:36
  Speaker 3: Oh, escaped from L.A., okay. IMDb summary, after a tragic
• 23:40
  Speaker 3: car accident that kills his wife, man discovers he can
• 23:42
  Speaker 3: communicate with the dead, and he uses that gift to
• 23:45
  Speaker 3: con people. However, when a demonic spirit appears, he may
• 23:48
  Speaker 3: be the only one who can stop it from killing
• 23:49
  Speaker 3: the living and the dead. Does that make sense? Let's
• 23:53
  Speaker 3: go into the autopsy. All right, overall thoughts for The Frighteners. I.
• 24:01
  Speaker 4: Cannot believe. Okay.
• 24:03
  Speaker 3: What? What?
• 24:05
  Speaker 1: I cannot believe that they ripped off the plot of
• 24:10
  Speaker 1: a 2026K drama for this movie.
• 24:13
  Speaker 4: What? Because Spooky Love is specifically about a girl who
• 24:18
  Speaker 4: has a near-death experience and can now see ghosts that.
• 24:21
  Speaker 3: Talk to her.
• 24:22
  Speaker 4: So obviously a rip-off.
• 24:24
  Speaker 3: Clearly Marty McFly used his time machine to go to
• 24:27
  Speaker 3: specifically 2026 and understand what the fuck netflix was from 1985.
• 24:33
  Speaker 4: Select a random k-drama.
• 24:35
  Speaker 3: Because those definitely existed in 1985 yes did.
• 24:39
  Speaker 4: They k-dramas i have no idea probably.
• 24:43
  Speaker 3: Anyways what does this have to do with your.
• 24:45
  Speaker 4: Overall thoughts i don't know it's just being.
• 24:47
  Speaker 3: Fucking give me the overallness.
• 24:49
  Speaker 1: I really enjoy this movie i mean um towards the
• 24:52
  Speaker 1: end when they start introducing extra things it's like All right, guys,
• 24:57
  Speaker 1: because I feel like we should get to the wrap
• 24:58
  Speaker 1: up part. And I feel like we're just adding in
• 25:01
  Speaker 1: more plot. And I'm getting sleepy because this movie is
• 25:05
  Speaker 1: two hours long.
• 25:05
  Speaker 4: This hour is two movies long.
• 25:07
  Speaker 3: This two hours movie long.
• 25:08
  Speaker 4: Got it.
• 25:09
  Speaker 3: Yep.
• 25:10
  Speaker 4: But no, I told you while we were watching it,
• 25:12
  Speaker 4: this is one of those movies that is really easy
• 25:15
  Speaker 4: to watch.
• 25:15
  Speaker 1: I mean, like I know it deals with the dark
• 25:17
  Speaker 1: subject matter. There is this spooky tone to the whole thing.
• 25:21
  Speaker 1: But it also feels kind of light because it could
• 25:24
  Speaker 1: have gone way darker. The ghosts have a comical quality
• 25:27
  Speaker 1: to them. The camera work is really fun and lively.
• 25:33
  Speaker 1: And it just feels like something you could easily put
• 25:36
  Speaker 1: on and enjoy and, you know, make a bowl of popcorn,
• 25:40
  Speaker 1: light some candles, have.
• 25:41
  Speaker 4: A little movie night, call it a day.
• 25:43
  Speaker 3: Pop some popcorn.
• 25:45
  Speaker 1: Yeah, this is the kind of movies I really enjoy,
• 25:48
  Speaker 1: especially in the fall. Just movies that you can put on, enjoy,
• 25:51
  Speaker 1: just have a good evening. It's not something you have
• 25:53
  Speaker 1: to dig deep into. It's not Something that's going to
• 25:57
  Speaker 1: keep you up at night. It's just a nice little
• 25:59
  Speaker 1: time where you can just really enjoy yourself and not
• 26:03
  Speaker 1: have to worry about anything.
• 26:04
  Speaker 3: It's like Casper, but for adults.
• 26:06
  Speaker 4: Yes.
• 26:07
  Speaker 3: Yes.
• 26:08
  Speaker 2: Casper.
• 26:08
  Speaker 4: Definitely, absolutely a cozy movie.
• 26:11
  Speaker 3: Yeah. That's why I said that. Overall thoughts for me.
• 26:14
  Speaker 3: I do feel this is criminally underrated. I mean, underrated
• 26:17
  Speaker 3: in the sense of, because it's got great ratings. And
• 26:20
  Speaker 3: underrated is always such a weird term. I feel like
• 26:22
  Speaker 3: it's underrated in the sense that like people have just
• 26:24
  Speaker 3: kind of forgotten about this one. I know it is
• 26:26
  Speaker 3: getting a 4K treatment from Arrow and it's releasing in October.
• 26:29
  Speaker 3: So that's great. So maybe that'll kind of revive people's
• 26:32
  Speaker 3: interest in this movie. But yeah, when you talk about
• 26:35
  Speaker 3: spooky movies and I don't know, this one just doesn't
• 26:37
  Speaker 3: get brought up. And especially the fact that it's directed
• 26:39
  Speaker 3: by Peter Jackson, which is insane in and of itself.
• 26:43
  Speaker 3: It's not far fetched from his original movies where he
• 26:46
  Speaker 3: would start. But I do find it crazy that he
• 26:50
  Speaker 3: would do Bad Taste, Meet the Feebles, not Evil Dead, fucking...
• 26:55
  Speaker 3: Dead Alive. Dead Alive, and then go on to do
• 26:58
  Speaker 3: Lord of the Rings. Like, we started... This is strange, okay?
• 27:02
  Speaker 3: I don't understand what's happening. But I think this movie's great.
• 27:04
  Speaker 3: A lot of the effects hold up, but I did
• 27:06
  Speaker 3: not remember... There is a lot. I mean, it isn't
• 27:09
  Speaker 3: only 1996. And, you know, I'm sure for the time
• 27:12
  Speaker 3: it looked great with a $ 30 million budget, but... And man,
• 27:15
  Speaker 3: this movie has not aged well in certain departments, which
• 27:18
  Speaker 3: is a shame. I don't remember there being that much
• 27:22
  Speaker 3: bad CG.
• 27:24
  Speaker 4: Yeah, unfortunately.
• 27:27
  Speaker 3: It's like the only thing holding this movie back. And
• 27:29
  Speaker 3: I can't really ding it because for the time, I'm sure, again,
• 27:33
  Speaker 3: it was crazy. For 1996? I mean, think about it, really.
• 27:37
  Speaker 3: CG was obviously around and they were using it.
• 27:41
  Speaker 1: I mean, they clearly didn't try to phone it in. Like,
• 27:43
  Speaker 1: they clearly tried really hard with what they had. And
• 27:46
  Speaker 1: I appreciate that. And also, it's one of those instances
• 27:50
  Speaker 1: where I'm enjoying the movie enough that the CGI isn't like, oh, God,
• 27:55
  Speaker 1: this is ruining it for me.
• 27:56
  Speaker 4: Because we've talked about that. We've had several films where
• 27:58
  Speaker 4: we're like, damn, if the CGI didn't suck so hard,
• 28:01
  Speaker 4: I could really enjoy this movie.
• 28:03
  Speaker 3: We have to remember, this is 30 years old. So
• 28:05
  Speaker 3: it's okay that it's not the best. It's from the 90s.
• 28:09
  Speaker 4: No, and the way they.
• 28:11
  Speaker 1: They didn't just rely fully on the CGI either, like
• 28:15
  Speaker 1: the ghosts. They did designs for those ghosts. They did
• 28:19
  Speaker 1: makeup effects for those ghosts. So it's not just, oh,
• 28:23
  Speaker 1: we CGI'd some people and now they're ghosts. They actually
• 28:27
  Speaker 1: bothered with makeup and character design. And that's going to
• 28:31
  Speaker 1: sell your CGI way more, especially when it's not high quality.
• 28:36
  Speaker 4: Because the judge... Looks so cool.
• 28:38
  Speaker 3: Great design. He also is very reminiscent to me. I
• 28:42
  Speaker 3: don't think you've seen this movie, but it's called House 2,
• 28:44
  Speaker 3: the second story, first of all. 10 out of 10 title.
• 28:48
  Speaker 3: But there is a ghost in that movie called the Sheriff.
• 28:53
  Speaker 3: Very reminiscent. So I almost feel like it's some sort
• 28:56
  Speaker 3: of an homage to that because that's about a movie
• 28:58
  Speaker 3: where I think the main guy communicates with the ghost
• 29:02
  Speaker 3: or something. I can't remember them exactly.
• 29:05
  Speaker 4: Yeah, I got to watch those house movies.
• 29:07
  Speaker 3: They're fun. They're really fun. And so he reminded me
• 29:09
  Speaker 3: kind of of The Sheriff. But like I said, I
• 29:11
  Speaker 3: don't think it's like a direct ripoff. I don't think
• 29:13
  Speaker 3: Peter Jackson would stoop to that level. It just felt
• 29:16
  Speaker 3: like maybe that was some inspiration or something for him.
• 29:19
  Speaker 3: So where would you like to start with this one?
• 29:22
  Speaker 3: What do we want to unpack first? Because there's a
• 29:24
  Speaker 3: lot of... This is like trauma horror before that became popular.
• 29:28
  Speaker 3: You know what I mean?
• 29:29
  Speaker 4: Well, yeah. I mean, he....
• 29:32
  Speaker 1: You know, we were talking about how Michael J. Fox
• 29:34
  Speaker 1: was a different character for him because he's been a
• 29:38
  Speaker 1: sarcastic guy, um, and somewhat of a- Goofball? Pompous or
• 29:43
  Speaker 1: a little bit of a dick sometimes in his characters,
• 29:46
  Speaker 1: but he's always charming at the same time. He's always
• 29:51
  Speaker 1: really pleasant still. You find him irresistibly charming. He would
• 29:55
  Speaker 1: play that character, that guy who can sometimes be a
• 29:58
  Speaker 1: bit of a dill hole, but- Yeah, I said that.
• 30:02
  Speaker 3: You act like I'm surprised. You say that all the time.
• 30:04
  Speaker 4: I know.
• 30:06
  Speaker 1: But still charming, still has charisma, so you're willing to
• 30:11
  Speaker 1: let those little things go. Sure.
• 30:13
  Speaker 4: He's not in this. Bro's broken, and it has.
• 30:17
  Speaker 1: Turned him into someone who scams people and his only
• 30:23
  Speaker 1: contact are ghosts that he doesn't even respect or treat kindly.
• 30:28
  Speaker 1: He treats them like crap because he doesn't want anyone
• 30:31
  Speaker 1: around him because he's just broken as a person.
• 30:34
  Speaker 3: Not going to lie. I mean, I would totally make
• 30:36
  Speaker 3: a living off of haunting people's houses and then curing them.
• 30:40
  Speaker 3: It's like Ouija Origin of Evil, you know, except they're
• 30:44
  Speaker 3: faking all of that without the ghosts. You know, they
• 30:46
  Speaker 3: have all the elaborate setups, but Frank is just like, nah,
• 30:49
  Speaker 3: I've got the ghosts to fake the poltergeist. You know
• 30:52
  Speaker 3: what I mean?
• 30:53
  Speaker 1: And I think that makes him a more interesting character
• 30:57
  Speaker 1: because if he was also charming, you wouldn't really care
• 31:02
  Speaker 1: about why he's doing this as much. And the fact
• 31:04
  Speaker 1: that it's... He's living in regret of the fight that
• 31:08
  Speaker 1: he had with his wife over something so stupid as
• 31:11
  Speaker 1: a basketball hoop. And that fight eventually led to them
• 31:17
  Speaker 1: having a car accident, which unintentionally led to her death.
• 31:20
  Speaker 1: It wasn't his fault that she died, but they wouldn't
• 31:23
  Speaker 1: have been where they were had they not been fighting
• 31:28
  Speaker 1: and You can just see that really broke him as
• 31:30
  Speaker 1: a person.
• 31:31
  Speaker 4: I just think that makes him a much.
• 31:34
  Speaker 1: More interesting character than you get in a lot of
• 31:37
  Speaker 1: movies with this kind of setup.
• 31:40
  Speaker 3: And something that I'm just realizing now, probably because I'm
• 31:43
  Speaker 3: on the other side of my alcoholism, is that when
• 31:47
  Speaker 3: Milton Dammers is recalling the events of that day, he
• 31:51
  Speaker 3: said that Marty was... I'm going to do that a lot.
• 31:54
  Speaker 3: I'm going to do that a lot, just so we're clear.
• 31:57
  Speaker 3: but I feel like everyone's going to know who I'm
• 31:58
  Speaker 3: talking about. If Frank was drinking before all of this
• 32:02
  Speaker 3: happened and now, and the present where we are, he's
• 32:05
  Speaker 3: not drinking anymore. So I find that interesting. I mean,
• 32:07
  Speaker 3: it's not, they don't ever talk about it, but it's
• 32:09
  Speaker 3: assumed that he's sober.
• 32:11
  Speaker 2: Yeah.
• 32:11
  Speaker 3: So I'm wondering if that whole experience made him quit drinking.
• 32:15
  Speaker 4: You know, it probably did. I mean, Jesus.
• 32:17
  Speaker 3: Speculation is something only I would notice.
• 32:20
  Speaker 4: Well, no.
• 32:20
  Speaker 1: And I think that's something we've talked about, um, especially
• 32:24
  Speaker 1: working on our own stories and stuff about how, um,
• 32:27
  Speaker 1: alcoholism really, when it gets brought up, it is just the,
• 32:32
  Speaker 1: it really gets played out the same way over and
• 32:35
  Speaker 1: over again. It's alcoholics who, uh, destroyed their life. And
• 32:39
  Speaker 1: despite that are always one decision away from drink or
• 32:45
  Speaker 1: like one bad half a second away from drinking again.
• 32:48
  Speaker 3: And isn't the case.
• 32:50
  Speaker 2: Yeah.
• 32:51
  Speaker 1: Like, Granted, there's always a risk of relapse in your
• 32:54
  Speaker 1: entire lifetime. There's still a percentage chance, but not every
• 32:59
  Speaker 1: alcoholic is sitting there staring at the liquor bottle waiting
• 33:04
  Speaker 1: for an excuse to pop up.
• 33:06
  Speaker 2: Yeah.
• 33:06
  Speaker 3: I mean, really, it does come down to who you have,
• 33:09
  Speaker 3: like your support group and stuff like that. Because obviously,
• 33:12
  Speaker 3: if you don't have a support group and you don't
• 33:13
  Speaker 3: have the right people, then yeah, you're pretty much at
• 33:15
  Speaker 3: risk all the time. But so. It's kind of, it's
• 33:18
  Speaker 3: more situational.
• 33:19
  Speaker 2: Yeah.
• 33:19
  Speaker 4: It's your support group. And, and also, um, you know,
• 33:23
  Speaker 4: some choices you make too.
• 33:24
  Speaker 1: Um, yeah, because that's, I mean, no, but if you're,
• 33:28
  Speaker 1: but it's always portrayed the same way and it just
• 33:31
  Speaker 1: kind of annoying. That's like, geez, some people get sober
• 33:35
  Speaker 1: and that's, that's extremely important to them. They're not like, gosh,
• 33:38
  Speaker 1: I hope one day the opportunity arises or it's such
• 33:42
  Speaker 1: an inconvenience that I have.
• 33:43
  Speaker 4: To be sober. They're like, nope.
• 33:45
  Speaker 1: That was a bad life choice I made. I'd like
• 33:47
  Speaker 1: to not remake that bad life choice.
• 33:49
  Speaker 3: Yeah, once you can see how bad it was.
• 33:52
  Speaker 1: And so you get this in this, like you just said,
• 33:54
  Speaker 1: you got it in this, but in a subtle way where.
• 33:57
  Speaker 4: Yeah, you don't see.
• 33:59
  Speaker 3: He could have easily spiraled out. I mean, that's if
• 34:01
  Speaker 3: I'm not. And he might have not even, you know,
• 34:03
  Speaker 3: they don't go into it enough. He might have not
• 34:05
  Speaker 3: even had a problem with it. Even though it was
• 34:07
  Speaker 3: 1231 and he was drinking, which typically if you're not
• 34:10
  Speaker 3: an alcoholic and you're not drinking at 1231 in the afternoon.
• 34:13
  Speaker 3: But I digress. So it's maybe something that he didn't
• 34:16
  Speaker 3: really even have a problem with. He was just having
• 34:18
  Speaker 3: a beer or whatever. And they don't touch on it.
• 34:21
  Speaker 3: But after that event, yeah, you don't see him consuming
• 34:24
  Speaker 3: alcohol at all. And he could have easily, like I said,
• 34:26
  Speaker 3: spiraled into just drinking himself to death with the grief
• 34:29
  Speaker 3: and the regret. But he didn't, so I'd like to think,
• 34:33
  Speaker 3: you know, in my little head, it's just he realized that, wow,
• 34:36
  Speaker 3: while I was drinking, when this happened, I probably shouldn't
• 34:38
  Speaker 3: do that anymore.
• 34:39
  Speaker 1: Yeah, just like he let that basketball hoop rot and
• 34:42
  Speaker 1: planted a garden for his wife.
• 34:44
  Speaker 2: Yeah.
• 34:45
  Speaker 1: Because he feels the full weight of that regret, and
• 34:48
  Speaker 1: that's what he's been living on, the regret he feels.
• 34:51
  Speaker 3: I'm also glad he decided to change his hairstyle, because
• 34:53
  Speaker 3: that long hair, trying to look like John Travolta in
• 34:57
  Speaker 3: Pulp Fiction. I don't think they definitely a choice.
• 35:00
  Speaker 1: I don't think they dug into it, but it kind
• 35:01
  Speaker 1: of gave the vibes of guy who used to be
• 35:03
  Speaker 1: a hotshot business.
• 35:05
  Speaker 4: Kind of guy.
• 35:07
  Speaker 3: Um, well, yeah, he's an architect.
• 35:09
  Speaker 4: Um, yeah. Hotshit architect.
• 35:11
  Speaker 1: And then this horrible thing happened and he just didn't
• 35:16
  Speaker 1: care anymore. I mean, like he was literally living in
• 35:19
  Speaker 1: the remains, the corpse of his life.
• 35:22
  Speaker 3: Well, and that kind of is a, what's the word
• 35:25
  Speaker 3: I'm looking for? Kind of a, embodiment, no personification of
• 35:30
  Speaker 3: his life.
• 35:31
  Speaker 4: Yeah. It's the house that's falling around him.
• 35:33
  Speaker 3: It's an, it's an empty shit. He's an empty shell
• 35:35
  Speaker 3: of a person. He's got an empty shell of a house,
• 35:38
  Speaker 3: which is, which is interesting. You know, he doesn't have
• 35:40
  Speaker 3: the willpower to finish the house and he doesn't really
• 35:43
  Speaker 3: have the willpower to better himself.
• 35:45
  Speaker 4: Or let it go.
• 35:46
  Speaker 1: He can't let it go. So he's just going to
• 35:48
  Speaker 1: live there. And the only, if you notice the only
• 35:50
  Speaker 1: thing that did look nice was the garden. He was,
• 35:53
  Speaker 1: he was clearly capable of attending these things.
• 35:56
  Speaker 3: Right.
• 35:56
  Speaker 1: But he didn't feel like he deserved to finish the home.
• 36:01
  Speaker 4: The home he was building for his family, his future
• 36:03
  Speaker 4: family with his wife.
• 36:04
  Speaker 3: Yeah, that's true.
• 36:05
  Speaker 1: He didn't build it, but he did make that garden
• 36:07
  Speaker 1: for her, the garden she wanted. And I do really
• 36:10
  Speaker 1: love that it ends on the note of him tearing
• 36:13
  Speaker 1: it down and him actually moving on. Because he spends
• 36:19
  Speaker 1: the entire movie talking about how some spirits don't move on.
• 36:23
  Speaker 3: Yeah, and that's why they're there.
• 36:24
  Speaker 1: He's got his friends that are still there, but most
• 36:28
  Speaker 1: of them go on, and he keeps talking about how
• 36:31
  Speaker 1: these other spirits that are newer need to just move on,
• 36:34
  Speaker 1: but he's not.
• 36:35
  Speaker 3: He's not taking his own advice.
• 36:36
  Speaker 4: Yeah.
• 36:37
  Speaker 3: And I get it. I sat in that, in a
• 36:41
  Speaker 3: completely different world, knowing I needed to stop drinking and
• 36:45
  Speaker 3: never doing it. You hit a block sometimes. So the
• 36:49
  Speaker 3: death of a wife would be something to, yeah, he
• 36:52
  Speaker 3: kind of just gave up. And they don't really go into,
• 36:57
  Speaker 3: I think that's one of the, a lot of the
• 36:59
  Speaker 3: things I'm going to say negatively, quote unquote, about this
• 37:02
  Speaker 3: movie aren't something that I'm going to like ding it for.
• 37:04
  Speaker 3: But I do wish there was more of a connection between, well,
• 37:07
  Speaker 3: I had a near-death experience and now I see ghosts. Okay, well,
• 37:11
  Speaker 3: where did these, because he's got like three ghosts. It's like, okay, well,
• 37:15
  Speaker 3: how did they come to be here? Helping you, you know, like,
• 37:19
  Speaker 3: what happened to them? They don't really explain some things
• 37:22
  Speaker 3: that don't, I guess, necessarily need an explanation. But I'm
• 37:26
  Speaker 3: curious how he, you know, came to work with these
• 37:28
  Speaker 3: three guys and what happened to them and how they
• 37:30
  Speaker 3: died and stuff like that.
• 37:32
  Speaker 4: Yeah, I wish they were also utilized more in some places.
• 37:35
  Speaker 3: Yeah. But, I mean, the effects on them look great.
• 37:38
  Speaker 3: I love the transparent blue effect that they were going for.
• 37:41
  Speaker 2: Yep.
• 37:42
  Speaker 3: I love the portrayals themselves. You have this big brolic
• 37:46
  Speaker 3: black dude, this nerdy, wimpy guy who seems like he's
• 37:49
  Speaker 3: just oozing fluids. It's very unsettling. I'm not a fan
• 37:54
  Speaker 3: of that. He's just leaking all of these things.
• 37:56
  Speaker 4: Maybe it's ectoplasm.
• 37:58
  Speaker 3: I guess it is. And then you've got the judge who, again,
• 38:02
  Speaker 3: no real explanation, but he's missing most of his torso.
• 38:06
  Speaker 3: And the mechanics of this movie, too, are something else
• 38:08
  Speaker 3: that just kind of drive me, what?
• 38:11
  Speaker 1: Part of that is because they established like he's just
• 38:14
  Speaker 1: kind of falling apart from years of decay. Because if
• 38:17
  Speaker 1: you look at the main actresses, the husband that dies,
• 38:22
  Speaker 1: Ray is rotting or Roy, Roy, whatever his name is,
• 38:27
  Speaker 1: is rotting over the course of the film.
• 38:29
  Speaker 4: He is, he is deteriorating.
• 38:31
  Speaker 3: Ray Linsky.
• 38:32
  Speaker 4: There you go. Ray is literally deteriorating over the course
• 38:35
  Speaker 4: of the film.
• 38:36
  Speaker 3: Just a real piece of shit.
• 38:39
  Speaker 4: Like, you know what?
• 38:40
  Speaker 3: I think, In most respects, he's a kind of a
• 38:43
  Speaker 3: piece of shit.
• 38:45
  Speaker 1: Like, he's kind of a douche. He's very dismissive of
• 38:50
  Speaker 1: his wife. He clearly lost her all of her money,
• 38:54
  Speaker 1: which is really jacked up. And then at the same time,
• 38:58
  Speaker 1: you can see that he's a guy who does actually
• 39:00
  Speaker 1: care about his wife. He's just a guy who's making
• 39:04
  Speaker 1: a lot of big mistakes.
• 39:05
  Speaker 4: Yeah.
• 39:07
  Speaker 1: He is, but like deep down, he cares about his wife. Like,
• 39:11
  Speaker 1: even as a ghost, he's not leaving because even though
• 39:15
  Speaker 1: he's pissed off at.
• 39:15
  Speaker 4: Her for being mad at him for losing her money.
• 39:18
  Speaker 3: Right.
• 39:19
  Speaker 4: Because that makes sense.
• 39:21
  Speaker 1: He still follows her into danger to try to protect her.
• 39:24
  Speaker 1: He still tries to defend her as a ghost. Like,
• 39:28
  Speaker 1: he does care about her deep down.
• 39:29
  Speaker 4: Well, I. just a deeply flawed man.
• 39:31
  Speaker 3: That could also be because this is the only opportunity
• 39:35
  Speaker 3: he has to protect her now that he knows what's
• 39:37
  Speaker 3: going on and stuff.
• 39:38
  Speaker 1: Yeah.
• 39:39
  Speaker 3: Well, you know, uh, they also don't really, I know she, uh,
• 39:44
  Speaker 3: Linsky is a doctor, right? Or something.
• 39:46
  Speaker 1: Yes.
• 39:47
  Speaker 3: Yeah, but they don't really explain what he, there's so
• 39:49
  Speaker 3: many things that just aren't explained. And again, they don't
• 39:51
  Speaker 3: really need an explanation, but like even just some context
• 39:54
  Speaker 3: or background would help this movie because they start bringing
• 39:56
  Speaker 3: up so many different things down the road. And just like,
• 39:59
  Speaker 3: oh my goodness, I feel like there it's, it's the
• 40:01
  Speaker 3: story is lacking in some departments and almost too full
• 40:04
  Speaker 3: in other departments.
• 40:05
  Speaker 2: Yeah.
• 40:06
  Speaker 3: Sometimes I guess it gives you some sort of balance,
• 40:09
  Speaker 3: but the main focal point here that you don't realize
• 40:12
  Speaker 3: until the end, obviously is Jake Busey's character, Charlie Bartlett,
• 40:16
  Speaker 3: I don't know what it is with the Buseys, but
• 40:19
  Speaker 3: their teeth are just so, they upset me. They just
• 40:24
  Speaker 3: look like a row of urinals. I don't know how
• 40:26
  Speaker 3: else to explain it.
• 40:27
  Speaker 4: That's nice.
• 40:28
  Speaker 3: I don't, like, I just want to fucking take a piss. What?
• 40:32
  Speaker 4: You want to piss on their teeth?
• 40:34
  Speaker 3: I don't, dude, their teeth are so upset.
• 40:36
  Speaker 4: That's what you want out in the universe, that you
• 40:39
  Speaker 4: would like to piss.
• 40:40
  Speaker 3: I don't want to. I'm just saying they look like
• 40:43
  Speaker 3: a row of urinals. They're white and that's what they
• 40:46
  Speaker 3: look like. I don't know what it is. They just
• 40:48
  Speaker 3: have strange teeth. I can't explain it, but they're very unsettling.
• 40:54
  Speaker 4: They have a prominent upper jaw.
• 40:55
  Speaker 3: Yeah, there's just something very uncanny about their teeth and
• 40:59
  Speaker 3: their smile. Like their mouth is so big and their teeth,
• 41:02
  Speaker 3: it's like they have too many teeth, you know?
• 41:04
  Speaker 4: Maybe they do.
• 41:04
  Speaker 3: Too many teeth. And of course he's playing the psycho
• 41:07
  Speaker 3: because who else would play a psycho other than a Busey?
• 41:10
  Speaker 4: Those are facts.
• 41:12
  Speaker 3: And he fits perfectly, but he's not the only crazy
• 41:14
  Speaker 3: person in this movie.
• 41:16
  Speaker 2: God, no.
• 41:16
  Speaker 3: And that's what I think, that's where this movie thrives
• 41:20
  Speaker 3: so much, is Milton Dahmer's, I mean, in his own sense, too,
• 41:26
  Speaker 3: Frank is kind of crazy, because he's lost his wife,
• 41:29
  Speaker 3: he can see ghosts, so he's crazy in a much
• 41:32
  Speaker 3: more restrained way. I wouldn't label him as manic.
• 41:35
  Speaker 1: No, but he does really ham it up for the
• 41:39
  Speaker 1: purposes of his business.
• 41:41
  Speaker 2: Right.
• 41:42
  Speaker 3: Which is great, which I love. And I kind of
• 41:44
  Speaker 3: wanted more of that. Obviously, I know the story goes
• 41:47
  Speaker 3: in a kind of takes a different course, but I
• 41:49
  Speaker 3: really enjoyed him going to like, he did it really
• 41:52
  Speaker 3: only at one house. And then the second house he
• 41:53
  Speaker 3: goes to, he gets called out. But I kind of
• 41:56
  Speaker 3: wish we saw a little more of those little cases
• 41:58
  Speaker 3: that he would go on where he sent the ghost there.
• 42:00
  Speaker 3: And I really liked that. I thought that was fun.
• 42:02
  Speaker 3: That could have been an entire movie right there. But
• 42:06
  Speaker 3: so he's more. like weird and in a restrained way.
• 42:09
  Speaker 3: And then I think the first real instance of mania
• 42:11
  Speaker 3: we see is Charlie Bartlett, but it's in that news clip.
• 42:14
  Speaker 3: So that's from like 1964. And then Milton Dahmer's enters,
• 42:18
  Speaker 3: you know, played by Jeffrey Combs and he, I don't even,
• 42:21
  Speaker 3: where do we begin with this man? What has happened
• 42:24
  Speaker 3: to this man? That's a character I think almost demands
• 42:28
  Speaker 3: a backstory and you get fucking zero backstory. I need
• 42:31
  Speaker 3: to know more about Milton Dahmer's.
• 42:34
  Speaker 4: Yeah, he's.
• 42:36
  Speaker 1: Very anal type character. He's got this crazy haircut. It's
• 42:42
  Speaker 1: so funny because you think he's going to be this
• 42:45
  Speaker 1: guy who really.
• 42:48
  Speaker 4: Just gets in the mind of people and stuff. He's
• 42:51
  Speaker 4: fucking crazy.
• 42:52
  Speaker 3: He is so neurotic.
• 42:54
  Speaker 4: I think he decides that Frank is psychically killing people. Yeah, yeah, yeah.
• 42:57
  Speaker 4: So he's wearing a lead vest. Like what the hell
• 43:00
  Speaker 4: is that supposed to do?
• 43:02
  Speaker 3: Only around his body. Like he couldn't just get into his, like,
• 43:05
  Speaker 3: you know, he couldn't get into Milton's mind and just
• 43:07
  Speaker 3: like snap his, one of his synapses or something like.
• 43:10
  Speaker 1: Yeah.
• 43:11
  Speaker 4: And then, um, he like, he gets weird about taking
• 43:15
  Speaker 4: a plane to come down. So he took too long
• 43:17
  Speaker 4: because he was driving.
• 43:18
  Speaker 3: No, he took a train.
• 43:19
  Speaker 4: A train.
• 43:20
  Speaker 3: Which is like the slowest form of transportation.
• 43:23
  Speaker 1: Um, And then he just starts throwing out wild accusations
• 43:27
  Speaker 1: and doing wild kooky things because he's decided he knows
• 43:32
  Speaker 1: exactly what's going on and he does it with full confidence,
• 43:35
  Speaker 1: even though he's wildly wrong.
• 43:37
  Speaker 3: Yeah, because this movie, I don't feel, I guess it
• 43:41
  Speaker 3: does kind of have some cartoonish elements. but he brings
• 43:45
  Speaker 3: that cartoonish energy to an entire new level that like the,
• 43:50
  Speaker 3: the shifting eyes, the, like the manic facial expressions. He's
• 43:54
  Speaker 3: got the strangest posture. He does these bizarre vocal inflections
• 44:00
  Speaker 3: and he is like, yeah, he just, it feels like
• 44:03
  Speaker 3: he might just explode into violence at any given moment.
• 44:05
  Speaker 3: And he eventually kind of does, but like he, I
• 44:09
  Speaker 3: feel like he's just always teetering on the edge of
• 44:10
  Speaker 3: just completely losing it. So he is just a neurotic,
• 44:15
  Speaker 3: sociopath like does he even work for the FBI.
• 44:19
  Speaker 4: And I love that it's like why.
• 44:22
  Speaker 3: Is the FBI involved anyways.
• 44:24
  Speaker 1: He basically kidnaps a woman and then he gets upset
• 44:27
  Speaker 1: that she's yelling about being forced into a police car
• 44:31
  Speaker 1: and then he just turns on music louder but he's
• 44:33
  Speaker 1: freaking out and you're just like Is it the sound.
• 44:37
  Speaker 4: Of a female voice that you're doing that for? Because
• 44:39
  Speaker 4: you're making music louder.
• 44:41
  Speaker 3: Right, right, right.
• 44:42
  Speaker 4: What is that and why?
• 44:44
  Speaker 3: I don't want to hear it. I need to definite
• 44:45
  Speaker 3: it out with other things. And why does this man
• 44:48
  Speaker 3: does not want to sit? There's even a moment when
• 44:52
  Speaker 3: he thinks Frank is getting into his mind where he
• 44:54
  Speaker 3: sits down, makes a face, and gets back up from
• 44:57
  Speaker 3: sitting down. And I'm like, what is it with you
• 45:00
  Speaker 3: and not wanting to sit down? And then when he
• 45:02
  Speaker 3: gets in the police cruiser, he puts that little donut down.
• 45:05
  Speaker 4: Yeah, it made no sense. It was so strange.
• 45:07
  Speaker 3: I need to know. They don't explain anything. And then
• 45:10
  Speaker 3: he even opens his shirt at one point and says,
• 45:12
  Speaker 3: my body is a roadmap to fucking what? Trauma? What
• 45:16
  Speaker 3: happened to you? Were you abused?
• 45:18
  Speaker 4: You're doing weird stuff.
• 45:19
  Speaker 3: I need to know. And they don't explain anything. I
• 45:22
  Speaker 3: think that's like my biggest, I would say, criticism of
• 45:26
  Speaker 3: this movie is there are so many things that I
• 45:30
  Speaker 3: definitely wanted to I mean, like he started monologuing at
• 45:34
  Speaker 3: one point. Like I thought we were going to get some,
• 45:37
  Speaker 3: some backstory about what happened to him, but we don't
• 45:40
  Speaker 3: get anything. And it's frustrating unless I just missed it.
• 45:43
  Speaker 4: I'm seeing if there was anything.
• 45:45
  Speaker 3: Yeah. See if there's anything because you know, I, this
• 45:48
  Speaker 3: time I didn't take any notes. I wrote down like
• 45:51
  Speaker 3: specific key things that I wanted to mention in case
• 45:54
  Speaker 3: I've conversation kind of like slowed down, but I've just
• 45:58
  Speaker 3: kind of stopped taking notes and it seems to be
• 45:59
  Speaker 3: working out very well. But he was ultimately my favorite
• 46:03
  Speaker 3: part of this movie because A, it's Jeffrey Combs and B,
• 46:05
  Speaker 3: his performance elevated everything that was happening to just this
• 46:09
  Speaker 3: absolutely manic level. And then he's not the only person
• 46:14
  Speaker 3: that's crazy. So you have Frank restrained, Milton unrestrained. We
• 46:19
  Speaker 3: already know Busey. or Charlie Bartlett is crazy. But then
• 46:22
  Speaker 3: in the end, it turns out Dee Wallace is just
• 46:24
  Speaker 3: as crazy as Charlie Bartlett because not only was she
• 46:27
  Speaker 3: involved in the whole thing with the killing the people,
• 46:30
  Speaker 3: but she was killing people too. Like she wasn't just
• 46:34
  Speaker 3: like his pawn, which was a great reveal.
• 46:38
  Speaker 1: Yeah, because they just assumed that since she was younger,
• 46:41
  Speaker 1: she wasn't, she was young, she wasn't involved.
• 46:44
  Speaker 3: She wasn't involved, but she even got sent away for
• 46:47
  Speaker 3: I think it was like five years. I don't know.
• 46:51
  Speaker 3: She got sent away for a certain amount of time
• 46:53
  Speaker 3: and then eventually got out. I think she got out
• 46:55
  Speaker 3: five years before the event of this movie.
• 46:58
  Speaker 4: Yes, that's what they said.
• 46:59
  Speaker 3: And that's how she established, then she established a connection
• 47:02
  Speaker 3: with him through a Ouija board. Oh, okay, so that's
• 47:05
  Speaker 3: how he got out. Because Charlie Bartlett says he got
• 47:08
  Speaker 3: out of hell. And I guess that's how you get
• 47:10
  Speaker 3: out of hell, is a Ouija board.
• 47:11
  Speaker 4: Well, she was communicating with him. She had his ashes.
• 47:16
  Speaker 3: Oh, that's right.
• 47:17
  Speaker 4: Yeah.
• 47:18
  Speaker 1: Also, Damers couldn't sit because, I guess somewhere in there
• 47:22
  Speaker 1: they mentioned that.
• 47:24
  Speaker 4: He has hemorrhoids.
• 47:26
  Speaker 3: Okay. All right. That makes sense.
• 47:29
  Speaker 2: But yeah.
• 47:29
  Speaker 4: I assumed it was hemorrhoids because he couldn't sit, but
• 47:32
  Speaker 4: I was like, I'm not sure. I'm guessing hemorrhoids.
• 47:34
  Speaker 3: There's a character in Bob's Burgers who has a severe germophobia,
• 47:38
  Speaker 3: and there's literally a scene, it's a montage of her
• 47:40
  Speaker 3: not sitting where she's holding herself up. from sitting because
• 47:44
  Speaker 3: she's such a germaphobe. I just thought it might've been
• 47:46
  Speaker 3: a case of that. So, okay. So hemorrhoids. Yeah. I mean,
• 47:48
  Speaker 3: that'll do it. Uh, but yeah, I definitely wanted more
• 47:51
  Speaker 3: about his character because he seems like he's had a
• 47:54
  Speaker 3: very interesting background with whatever is going on, but he's
• 47:57
  Speaker 3: immediately accusatory of Frank for killing his wife. And I
• 48:02
  Speaker 3: wonder why his wife is the only person after Charlie
• 48:08
  Speaker 3: Bartlett died that had the number on her forehead in
• 48:11
  Speaker 3: the real world. Do we know anything on that?
• 48:15
  Speaker 1: Because literally they showed it at the end that the D.
• 48:20
  Speaker 4: Wallace's character was there.
• 48:21
  Speaker 2: Yeah.
• 48:22
  Speaker 4: And she carved it in her head.
• 48:24
  Speaker 3: Yeah. So then I guess it's just weird that it stopped.
• 48:28
  Speaker 3: I don't know.
• 48:29
  Speaker 4: Because her mom wasn't letting her out of the house.
• 48:33
  Speaker 3: Oh, that's right. That's right. Okay.
• 48:36
  Speaker 4: Yeah, I think her mom kind of knew something was
• 48:39
  Speaker 4: going on.
• 48:39
  Speaker 3: Picked up on that shit. Well, she probably picked up
• 48:41
  Speaker 3: on all the Ouija board activity and the shit going
• 48:44
  Speaker 3: on in the house. Yep. So she assumed something was
• 48:47
  Speaker 3: going on. But yeah, I found that to be quite interesting. Yeah,
• 48:53
  Speaker 3: and they bring that up to the police officer. I
• 48:56
  Speaker 3: know him as Roger Predactor from Ace Ventura. Oh, yeah.
• 49:00
  Speaker 3: Pet detective. He's the owner of the.
• 49:02
  Speaker 4: Sure is.
• 49:02
  Speaker 3: Yeah, he's the one that... like the manager yeah he
• 49:05
  Speaker 3: like jumps out the window and that's when he's like
• 49:07
  Speaker 3: oh this is double pane soundproof glass uh so he
• 49:12
  Speaker 3: they know about the whole incident back then but he
• 49:14
  Speaker 3: doesn't get charged with anything because i guess it was
• 49:17
  Speaker 3: an accident is that what they chalk it up to
• 49:19
  Speaker 3: even though he was drunk as well. So you'd think
• 49:21
  Speaker 3: there would be some involuntary manslaughter involved there.
• 49:25
  Speaker 1: Yeah, I'm guessing they couldn't prove anything because his knife
• 49:29
  Speaker 1: was missing.
• 49:29
  Speaker 4: Or his box cutter. His blade was missing. It was
• 49:33
  Speaker 4: never recovered. So they didn't have any evidence to prove
• 49:36
  Speaker 4: that he killed her.
• 49:37
  Speaker 3: That's true.
• 49:38
  Speaker 4: So.
• 49:39
  Speaker 3: And I wonder why they took that. Do you think
• 49:41
  Speaker 3: they would leave that there to frame him or something?
• 49:44
  Speaker 4: They crazy, so maybe that's why.
• 49:47
  Speaker 3: I'm not really thinking very clearly here. Yeah, so then
• 49:53
  Speaker 3: we have, what's her face? The Dr. Linsky. What's her name?
• 49:59
  Speaker 3: Judy Golland. Lucy from Little Women. You said that Little
• 50:04
  Speaker 3: Women is the superior one?
• 50:06
  Speaker 2: Yeah. Yeah.
• 50:07
  Speaker 4: Yeah, it is.
• 50:07
  Speaker 3: Do you recognize her from that?
• 50:10
  Speaker 4: Yeah, she's Meg March. She's not a March sister. She's
• 50:12
  Speaker 4: the oldest March sister.
• 50:13
  Speaker 1: I don't know what a March sister is.
• 50:16
  Speaker 4: The Marches are the little women. She's the oldest.
• 50:19
  Speaker 1: Winona Ryder plays the.
• 50:23
  Speaker 4: Next sister down. Kirsten Dunst is in it.
• 50:25
  Speaker 3: Oh, Jesus.
• 50:26
  Speaker 4: Claire Danes. Susan Sarandon.
• 50:29
  Speaker 3: Good Lord. Okay. That's probably why it's the best one.
• 50:31
  Speaker 4: Gabriel Burns.
• 50:32
  Speaker 3: Christian Bale. Everybody's in that movie.
• 50:38
  Speaker 4: It's so good.
• 50:39
  Speaker 1: I actually think you would like that one because they
• 50:42
  Speaker 1: keep it the story, but I think they keep it
• 50:47
  Speaker 1: moving in a way that it doesn't feel so heavy
• 50:49
  Speaker 1: like a period piece because sometimes you can get really
• 50:51
  Speaker 1: bogged down in the plot.
• 50:53
  Speaker 3: True.
• 50:53
  Speaker 4: Oh, Eric Stoltz is in that too.
• 50:55
  Speaker 3: Well, Trina Alvarado, played by Lucy Linsky, I really like
• 50:58
  Speaker 3: her in this movie, and you always confuse her for
• 51:00
  Speaker 3: who again?
• 51:02
  Speaker 4: Andy McDowell.
• 51:02
  Speaker 2: Yeah.
• 51:03
  Speaker 3: Andy McDowell.
• 51:03
  Speaker 1: To be fair, I showed you a picture of Annie
• 51:05
  Speaker 1: McDowell and you said, is that not her?
• 51:07
  Speaker 3: I said, is that not her?
• 51:08
  Speaker 4: It's because they have a very similar narrow face and
• 51:11
  Speaker 4: they have that dark curly hair.
• 51:12
  Speaker 3: Dark, yeah.
• 51:13
  Speaker 4: A very fair collection.
• 51:14
  Speaker 3: It's the same, yeah.
• 51:15
  Speaker 4: The thing is, is.
• 51:16
  Speaker 3: It's the same hairstyle.
• 51:18
  Speaker 4: Annie McDowell, I'm pretty sure, is a few years older
• 51:21
  Speaker 4: than her. Not by much.
• 51:22
  Speaker 3: Yeah.
• 51:23
  Speaker 4: But.
• 51:24
  Speaker 3: Similar look. Very similar look.
• 51:26
  Speaker 1: Yeah, I just get them confused. But I do really like...
• 51:29
  Speaker 1: Trina Alvarado in this movie.
• 51:31
  Speaker 3: She's great. I think she pairs very well with Ray,
• 51:34
  Speaker 3: with obviously Michael J. Fox, especially with Milton, because they
• 51:39
  Speaker 3: are the complete opposite energy. And I think that's what
• 51:41
  Speaker 3: I really like about Milton is that like Michael J.
• 51:44
  Speaker 3: Fox and Milton Dahmer are like the opposites of each other,
• 51:47
  Speaker 3: you know?
• 51:48
  Speaker 4: Yeah.
• 51:49
  Speaker 3: They represent completely two different things. But Lucy in this
• 51:53
  Speaker 3: is great. And I think You know, unfortunately. I mean,
• 51:56
  Speaker 3: I'm not really mad that Rey died. I do wish
• 51:59
  Speaker 3: we'd know. Did they say why he died? Oh, it
• 52:01
  Speaker 3: was because he had the 37 on his head. That's right. So,
• 52:06
  Speaker 3: and that brings up another question. Are they just targeting
• 52:09
  Speaker 3: random people, you know, in this afterlife as the Grim Reaper?
• 52:13
  Speaker 3: Are they just going after, like, whoever?
• 52:15
  Speaker 4: I think, honestly, I think.
• 52:18
  Speaker 1: At first, it was a kind of whoever situation. And
• 52:21
  Speaker 1: then towards the end, they were starting to target people.
• 52:23
  Speaker 4: Who were more directly related to what was going on.
• 52:28
  Speaker 3: True.
• 52:29
  Speaker 1: Because they target Lucy. They target the newspaper lady. They
• 52:35
  Speaker 1: target a few people. But they're still also doing random
• 52:38
  Speaker 1: targets that are just anybody's.
• 52:40
  Speaker 3: Like the guy in the bathroom.
• 52:41
  Speaker 4: Yeah.
• 52:42
  Speaker 3: It does seem to be closely related to Frank, though,
• 52:44
  Speaker 3: which I find interesting. Maybe because the first kill that
• 52:48
  Speaker 3: they did after Patricia was back and Johnny Bartlett was
• 52:55
  Speaker 3: in ghost form, maybe they kind of just kept it
• 52:58
  Speaker 3: close around Frank for some reason. I don't know why,
• 53:01
  Speaker 3: but it just seems kind of like that's what's going
• 53:03
  Speaker 3: on because a lot of people around him seem to
• 53:06
  Speaker 3: fall victim to dying.
• 53:08
  Speaker 4: Yeah.
• 53:08
  Speaker 3: And that's why he didn't want... At one point, he
• 53:10
  Speaker 3: was like, Lucy, you don't mean anything to me. Get
• 53:13
  Speaker 3: away from me. And I was like... That's a lie.
• 53:15
  Speaker 3: And you were like, no, he's doing that on purpose.
• 53:17
  Speaker 1: He's doing that because if you look at his face,
• 53:19
  Speaker 1: he looks absolutely just defeated.
• 53:22
  Speaker 4: His friends are gone.
• 53:23
  Speaker 3: I mean, could you imagine though, reliving the same events
• 53:27
  Speaker 3: that killed your first wife and it happening again? Yeah.
• 53:30
  Speaker 1: And then he keeps having to see that and he
• 53:31
  Speaker 1: doesn't want to see her die too.
• 53:33
  Speaker 4: And he feels powerless. So he's just.
• 53:37
  Speaker 1: Even more defeated somehow than he was before. And he
• 53:40
  Speaker 1: wants her to get out of harm's way.
• 53:42
  Speaker 3: Yeah, yeah, I get it. But I was just like, yeah,
• 53:46
  Speaker 3: that was pretty crazy. I couldn't imagine going through that once,
• 53:48
  Speaker 3: let alone going through it twice. Of course, now the
• 53:51
  Speaker 3: second person wasn't his wife. It was someone who adamantly
• 53:53
  Speaker 3: tried to out him as being a fraud. So it's
• 53:56
  Speaker 3: a little different. But it's kind of hard to say
• 53:58
  Speaker 3: you didn't kill her when you were literally with her
• 54:00
  Speaker 3: and she was in your car and you were the
• 54:02
  Speaker 3: last person to kind of see her. So there's that.
• 54:05
  Speaker 3: But I really did like the, even though it's very CG,
• 54:07
  Speaker 3: I like the design of the Reaper. Just this big
• 54:11
  Speaker 3: fucking caped thing. flying around and murdering the shit out
• 54:15
  Speaker 3: of people because what his MO is just reaching into
• 54:19
  Speaker 3: their heart and squeezing the life out of them, making
• 54:21
  Speaker 3: it look like a heart attack, but clean artery, so.
• 54:24
  Speaker 1: Yeah, I like that it gave you a chance for
• 54:27
  Speaker 1: a reveal on who was doing it.
• 54:29
  Speaker 3: Mm-hmm.
• 54:30
  Speaker 4: When?
• 54:32
  Speaker 1: When you don't know Johnny Bartlett is the Reaper.
• 54:35
  Speaker 3: Yeah, that is like the big twist of the movie.
• 54:37
  Speaker 4: That's the reveal. Right. But I also think it's funny
• 54:41
  Speaker 4: that that means that Johnny Bartlett had to conjure up
• 54:44
  Speaker 4: that idea, that disguise.
• 54:47
  Speaker 1: And earlier you had one of Frank's ghosts complaining that
• 54:51
  Speaker 1: he wanted new clothes. So apparently there's something they could
• 54:57
  Speaker 1: have done, but they didn't.
• 54:59
  Speaker 3: Um, is there a wardrobe for ghosts? Like, is there
• 55:02
  Speaker 3: an afterlife store?
• 55:04
  Speaker 1: It better be because if I'm wearing something like I'm
• 55:06
  Speaker 1: wearing now and that's what I have to live in
• 55:08
  Speaker 1: as a ghost, I'm going to be pissed.
• 55:10
  Speaker 3: Well, he did tell the, the, um, that guy is like,
• 55:13
  Speaker 3: you died in the seventies. It's unfortunate, but.
• 55:15
  Speaker 1: You know, Yeah, there was a thing a few years
• 55:19
  Speaker 1: ago that was like, I'm always dressing up when I
• 55:21
  Speaker 1: go out because this is what I become a ghost in.
• 55:24
  Speaker 4: I'm not going out in my sweatpants.
• 55:27
  Speaker 3: No, see, that's fine. Then I'll be comfortable in the afterlife.
• 55:29
  Speaker 3: God forbid you go out and you dress to the
• 55:32
  Speaker 3: nines and you're in a suit. Fuck that. I'll be
• 55:36
  Speaker 3: in my basketball shorts and my Bigfoot t-shirt.
• 55:40
  Speaker 4: Fantastic.
• 55:40
  Speaker 3: 10 out of 10. I love it. But yeah, so
• 55:44
  Speaker 3: you do get a really fun reveal in this. You
• 55:46
  Speaker 3: get an explanation of what happened to his, and I
• 55:49
  Speaker 3: feel like that's what you were saying earlier about the
• 55:50
  Speaker 3: ending of the film, is they're bringing up a lot
• 55:52
  Speaker 3: of shit at the ending of the movie, and it's
• 55:55
  Speaker 3: like they're trying to cram all this stuff in, and
• 55:56
  Speaker 3: it's like, guys, we had an hour and 50 minutes
• 55:58
  Speaker 3: to fit all of this in here.
• 56:00
  Speaker 1: Yeah, I don't think we needed a full fledged flashback
• 56:03
  Speaker 1: of them killing everybody. The first 12 people that Patricia
• 56:07
  Speaker 1: and Johnny killed, just knowing that she was a part
• 56:10
  Speaker 1: of it and she could have said something like, you
• 56:12
  Speaker 1: didn't think he did these all by himself, did you?
• 56:14
  Speaker 4: Or something that would have been enough.
• 56:16
  Speaker 1: I think it was really just to pull stretch out
• 56:19
  Speaker 1: the climax of the film a little bit more to
• 56:22
  Speaker 1: make it take longer to get through the building.
• 56:24
  Speaker 3: And it was really cool how they transitioned from- Oh,
• 56:28
  Speaker 3: it was cool looking, yeah. So I'll give it a
• 56:30
  Speaker 3: pass there because it's like, yeah, we didn't really need
• 56:32
  Speaker 3: to see them going around. The only thing that established
• 56:35
  Speaker 3: though is the fact that, well, no, because they established
• 56:37
  Speaker 3: that she was involved when they were at Patricia's house
• 56:42
  Speaker 3: when she's talking to Charlie Bartlett. So nevermind. But I
• 56:46
  Speaker 3: guess it just confirmed that she was also involved with
• 56:49
  Speaker 3: the actual killings because until we saw that flashback, we
• 56:52
  Speaker 3: weren't sure. She was- It could have just been her
• 56:54
  Speaker 3: helping him, but so I did like it, but yeah,
• 56:57
  Speaker 3: it did kind of feel a little shoehorned in there.
• 57:00
  Speaker 3: Like we could have done without that whole sequence, but
• 57:04
  Speaker 3: it's also really cool because at that, that isn't it.
• 57:07
  Speaker 3: That was a psych ward, right? Where they did all that.
• 57:10
  Speaker 4: It was the old hospital.
• 57:12
  Speaker 3: Okay. It would have been more fitting if it was
• 57:14
  Speaker 3: an actual psychiatric like asylum because of how many just
• 57:17
  Speaker 3: manic people there are in this movie. Cause my count
• 57:20
  Speaker 3: is three. technically four with Frank, but he's more restrained
• 57:24
  Speaker 3: because you have Bartlett, Patricia, and Milton Dommers who are
• 57:29
  Speaker 3: just absolutely fucking batshit crazy in this movie. And I
• 57:33
  Speaker 3: think that's another reason I love it so much is
• 57:36
  Speaker 3: because it's just this manic, unhinged, cartoonish energy, and I
• 57:41
  Speaker 3: feel it works very well. It's definitely a Peter Jackson movie.
• 57:44
  Speaker 3: It feels like his older stuff, right before he would do...
• 57:49
  Speaker 3: I mean, it doesn't feel anything related to like the
• 57:51
  Speaker 3: Lord of the Rings, but it does kind of feel
• 57:53
  Speaker 3: like a better entry point for his earlier stuff. Because
• 57:56
  Speaker 3: his earlier stuff is fucking, some of it is crass. Like,
• 58:00
  Speaker 3: I don't know if you, have you ever seen Meet
• 58:01
  Speaker 3: the Feebles?
• 58:02
  Speaker 2: No.
• 58:03
  Speaker 3: It's a movie that's entirely puppets.
• 58:05
  Speaker 4: Oh boy.
• 58:06
  Speaker 3: And it is crass and sexual and just dirty and grungy.
• 58:10
  Speaker 3: And you're like, this man made the Lord of the Rings?
• 58:14
  Speaker 3: How did we get there?
• 58:15
  Speaker 2: Yeah.
• 58:16
  Speaker 3: Do we know that story? I feel like that's something
• 58:18
  Speaker 3: you would know, how he got the Lord. Really?
• 58:21
  Speaker 4: This movie, I think, helped him get there.
• 58:24
  Speaker 3: I can see that.
• 58:25
  Speaker 2: Yeah.
• 58:26
  Speaker 3: Because they use little to no CG in that in
• 58:29
  Speaker 3: Lord of the Rings. I mean, obviously.
• 58:31
  Speaker 1: And then he was like, all right, everybody, let's crank
• 58:34
  Speaker 1: that shit to 1,000 for the Hobbit movies.
• 58:37
  Speaker 3: Yeah, true. Yeah. Well, I mean, a lot of that
• 58:40
  Speaker 3: stuff was forced perspective, and he did so much stuff
• 58:43
  Speaker 3: in camera, which I find interesting. I feel like he
• 58:45
  Speaker 3: did this movie and was like, okay. This was insane
• 58:48
  Speaker 3: to do. I want to do this more practically because
• 58:51
  Speaker 3: I don't want to rely on all of this CG.
• 58:53
  Speaker 3: I feel like this had to have pushed him in
• 58:57
  Speaker 3: the direction of doing things more practically.
• 59:00
  Speaker 2: Yeah.
• 59:01
  Speaker 3: And that's speculation. That's the vibe that I get.
• 59:04
  Speaker 1: I'm going to be honest. There are some Peter Jackson films.
• 59:08
  Speaker 1: I keep trying to say Percy Jackson.
• 59:10
  Speaker 3: Percy Jackson, Peter Jackson, Marty McFly, fuck.
• 59:14
  Speaker 4: Peter Jackson films, obviously, Lord of the Rings trilogy, that
• 59:19
  Speaker 4: I love. I have a weird soft spot for the
• 59:21
  Speaker 4: King Kong movie. Mostly the first half. The second half,
• 59:25
  Speaker 4: I always stop watching before the second half. I'm like, no,
• 59:28
  Speaker 4: I saw the first half. I'm good now.
• 59:29
  Speaker 3: First part I mean it's the first half on the
• 59:31
  Speaker 3: island is.
• 59:32
  Speaker 4: Crazy 14 hours long it's such a long ass movie
• 59:36
  Speaker 4: um and Jack Black is in it which is yeah
• 59:39
  Speaker 4: I actually enjoy him.
• 59:40
  Speaker 3: In that um do you not enjoy Jack Black.
• 59:43
  Speaker 1: No I'm saying it was a different role for him
• 59:45
  Speaker 1: at the time so I enjoy him in that yes yes.
• 59:48
  Speaker 4: Um I actually have one of the songs from the
• 59:49
  Speaker 4: score of.
• 59:50
  Speaker 3: That movie on my phone I'm not surprised.
• 59:51
  Speaker 1: At all but um and Dead Alive is gross but
• 59:56
  Speaker 1: still enjoyable uh Overall, his track record is not... He's
• 1:00:02
  Speaker 1: got some heavy hitters because of The Lord of the Rings,
• 1:00:05
  Speaker 1: but his track record overall is messy.
• 1:00:08
  Speaker 4: What do you mean?
• 1:00:10
  Speaker 1: The Hobbit movies were real hit or miss for people.
• 1:00:12
  Speaker 1: I know you like them.
• 1:00:13
  Speaker 4: I find them... I can't.
• 1:00:16
  Speaker 1: Tell you a damn one thing that happened in any
• 1:00:18
  Speaker 1: of them, and I've watched them through twice with you
• 1:00:20
  Speaker 1: because I just couldn't lock in on any of them.
• 1:00:24
  Speaker 1: I can remember the barrel scene looking real weird to me.
• 1:00:26
  Speaker 3: The barrel scene is great because one of those dwarves
• 1:00:29
  Speaker 3: just literally runs and jumps and goes, and just squeezes himself.
• 1:00:32
  Speaker 3: I mean, really, The Desolation of Smaug is a peak
• 1:00:35
  Speaker 3: film because the dragon not only speaks, which I didn't
• 1:00:38
  Speaker 3: see coming, but he is, I really think you need
• 1:00:40
  Speaker 3: to give him another shot at some point.
• 1:00:41
  Speaker 4: I'll give him one more try, but it's not looking great.
• 1:00:44
  Speaker 3: Look, Battle of the Five Armies is mediocre at best.
• 1:00:48
  Speaker 3: The long journey is good, and then the desolation of
• 1:00:51
  Speaker 3: Smaug is so, like, that's a peak movie for me.
• 1:00:54
  Speaker 3: It's so goddamn good. When they're trying to sneak around
• 1:00:57
  Speaker 3: that fucking dragon, it's, man. Plus the voice of Smaug
• 1:01:01
  Speaker 3: or whatever his name is. Smaug. Smaug. Great voice.
• 1:01:06
  Speaker 4: Benedict Cumberbatch.
• 1:01:07
  Speaker 3: Is it? Yeah. Oh, shit. He's doing a very sexy voice.
• 1:01:12
  Speaker 3: Very deep voice.
• 1:01:13
  Speaker 1: That's how we all learned that Austin's sexually attracted to Smaug. Um, no,
• 1:01:19
  Speaker 1: I mean like, yeah, I wasn't really as into those. Um,
• 1:01:23
  Speaker 1: as you said, some of his earlier films were kind
• 1:01:25
  Speaker 1: of on the crass side. Some of his films were
• 1:01:27
  Speaker 1: just kind of like Lord of the Rings to the
• 1:01:30
  Speaker 1: hobbits was kind of a downturn. And as far as
• 1:01:33
  Speaker 1: like the, um, quality of the storytelling, um, and the
• 1:01:39
  Speaker 1: work that was put into making it look the way
• 1:01:42
  Speaker 1: it did.
• 1:01:42
  Speaker 4: And that, that always bothered me.
• 1:01:44
  Speaker 3: True.
• 1:01:44
  Speaker 1: Um, I also know he did, I didn't realize he
• 1:01:47
  Speaker 1: directed it at the time because I had only read
• 1:01:49
  Speaker 1: the book, but.
• 1:01:51
  Speaker 4: He did Lovely Bones.
• 1:01:52
  Speaker 3: Did he?
• 1:01:54
  Speaker 4: That is a devastating book. It is really good.
• 1:01:57
  Speaker 3: Is that the one with Tucci? Or is that Flowers
• 1:02:00
  Speaker 3: in the Attic?
• 1:02:00
  Speaker 4: Yes, it is. No, Flowers in the Attic is a
• 1:02:02
  Speaker 4: whole other bag, man. No, Tucci is the guy in
• 1:02:08
  Speaker 4: Lovely Bones.
• 1:02:08
  Speaker 3: The guy.
• 1:02:09
  Speaker 4: And it is.
• 1:02:10
  Speaker 1: It is a hard story to adapt because of the
• 1:02:14
  Speaker 1: subject matter.
• 1:02:15
  Speaker 4: So I think he did pretty good with that one.
• 1:02:17
  Speaker 4: But I don't know.
• 1:02:18
  Speaker 1: Some of his films just kind of feel like he's
• 1:02:21
  Speaker 1: not living up to his own prestige sometimes.
• 1:02:23
  Speaker 3: Well, dude, I mean, how do you follow the fucking
• 1:02:26
  Speaker 3: Lord of the Rings, man?
• 1:02:28
  Speaker 4: You make The Hobbit the same way. Good lord.
• 1:02:33
  Speaker 3: Anything else you wanted to mention on this one?
• 1:02:38
  Speaker 4: No, I think I've complained about The Hobbit enough.
• 1:02:41
  Speaker 3: Shut up. About this movie, you dork.
• 1:02:46
  Speaker 4: No, no, no. Like I said, I enjoy this one.
• 1:02:48
  Speaker 4: It's flawed.
• 1:02:49
  Speaker 1: It's got a lot of plot holes in it.
• 1:02:52
  Speaker 3: Plot holes or?
• 1:02:54
  Speaker 1: Just like story. It feels like there's some missing information.
• 1:02:57
  Speaker 3: Yeah, yeah, yeah.
• 1:02:59
  Speaker 4: But you know what? It's still fun. You're still just
• 1:03:01
  Speaker 4: going along for the ride, and I'm okay with that.
• 1:03:05
  Speaker 3: Yeah, much like the others. I don't know if I
• 1:03:07
  Speaker 3: talked about this, but if that's the afterlife, count me out.
• 1:03:11
  Speaker 3: I'm good. But if this is this afterlife, I'm in
• 1:03:14
  Speaker 3: for this. This sounds fun. I could either go up
• 1:03:18
  Speaker 3: and be portaled to heaven or whatever, or I could
• 1:03:22
  Speaker 3: just stay and fuck around and be a ghost and
• 1:03:25
  Speaker 3: do spooky shit. I'm here for that. I'm here for
• 1:03:28
  Speaker 3: being a ghost. If I know that I'm a fucking ghost,
• 1:03:31
  Speaker 3: you know what I mean? I don't want to be
• 1:03:32
  Speaker 3: like the, the twist reveal is that I've been a go.
• 1:03:35
  Speaker 3: Like if someone came up to me right now and
• 1:03:37
  Speaker 3: it was like, you're a ghost. Oh, that would rock
• 1:03:39
  Speaker 3: my world. You know, we get a knock on the
• 1:03:43
  Speaker 3: door from three people who used to work here as servants. No,
• 1:03:48
  Speaker 3: this is a great movie. It's, it's, it's really fun.
• 1:03:51
  Speaker 3: It is a bit on the long side. It is flawed,
• 1:03:54
  Speaker 3: but I mean, you have a great cast. They have
• 1:03:55
  Speaker 3: great chemistry and the manic cartoonish goofiness is just, is
• 1:03:59
  Speaker 3: just my, my bag here. See, this is the level
• 1:04:03
  Speaker 3: of absurdity I like, you know? Yeah. Going back to
• 1:04:06
  Speaker 3: circling back to the camp miasma. I don't know. It's just,
• 1:04:08
  Speaker 3: that one was just weirdly too much for me.
• 1:04:11
  Speaker 4: Like I said, with, with how we are approaching our
• 1:04:14
  Speaker 4: wanting to make films and stuff, this is the kind
• 1:04:16
  Speaker 4: of vibes I want. Like it's fun to watch. There may,
• 1:04:19
  Speaker 4: it's there some spookiness, but it's fun.
• 1:04:21
  Speaker 3: Speaking of which, I can't believe I didn't mention this
• 1:04:23
  Speaker 3: on the last episode, but I guess it's a good
• 1:04:25
  Speaker 3: thing I didn't because now I'm mentioning it with you.
• 1:04:28
  Speaker 3: But Dust Bunnies is finally done being edited. It did.
• 1:04:32
  Speaker 3: I just finished that the other day. It has been
• 1:04:35
  Speaker 3: sent off to do some minor color grading. And then
• 1:04:37
  Speaker 3: once that is done, the movie's done, baby. We have
• 1:04:41
  Speaker 3: a trailer. We have a trailer that we'll put out.
• 1:04:44
  Speaker 3: So people can get kind of hyped up for it.
• 1:04:46
  Speaker 3: And then we're going to be submitting it to festivals.
• 1:04:48
  Speaker 3: And then once it's done, I would say like the
• 1:04:50
  Speaker 3: festival circuit, you know, in 2027, then we'll probably release
• 1:04:53
  Speaker 3: it to like YouTube in 2028.
• 1:04:56
  Speaker 4: Yeah. Get ready, guys. Get your popcorn.
• 1:05:00
  Speaker 3: It's like, well, to submit it to some of these festivals,
• 1:05:02
  Speaker 3: like it can't be available any, you know, like publicly.
• 1:05:04
  Speaker 3: So it's like, all right, well, we got to wait
• 1:05:06
  Speaker 3: to release it, unfortunately.
• 1:05:07
  Speaker 2: Yeah.
• 1:05:08
  Speaker 3: So it is what it is. But that is done.
• 1:05:10
  Speaker 3: We are on to some other projects here. It's going
• 1:05:12
  Speaker 3: to be a lot of fun. But let's move on.
• 1:05:13
  Speaker 4: Some projects you'll be able to see.
• 1:05:15
  Speaker 3: Yes. Some short films that you will be posting on,
• 1:05:18
  Speaker 3: you know.
• 1:05:19
  Speaker 4: That way I'm not worried about making festival runs.
• 1:05:21
  Speaker 3: Yeah. I'm probably going to film my short in 916
• 1:05:25
  Speaker 3: and 16 by 9 just so I can post it
• 1:05:28
  Speaker 3: to TikTok and stuff.
• 1:05:29
  Speaker 1: And I'm going to film mine however I feel like
• 1:05:31
  Speaker 1: you do it.
• 1:05:32
  Speaker 3: Fucking four or three. All right. Let's move on to
• 1:05:35
  Speaker 3: the final cut. So taglines, something has put the fear
• 1:05:39
  Speaker 3: of death in the living and sent the dead running
• 1:05:41
  Speaker 3: for their lives.
• 1:05:42
  Speaker 4: That is wordy.
• 1:05:43
  Speaker 3: That was something I was confused. Like I said, the
• 1:05:45
  Speaker 3: mechanics of this movie irritated me because I was like,
• 1:05:48
  Speaker 3: you can die when you're dead. What the fuck? No
• 1:05:51
  Speaker 3: rest for the wicked. Dead yet? Your number's up. Frightening,
• 1:05:55
  Speaker 3: isn't it? When your number's up, it's up. And death
• 1:05:59
  Speaker 3: is no way to make a living.
• 1:06:01
  Speaker 4: That might be the best one.
• 1:06:02
  Speaker 3: Yeah, it was during filming this on location in New
• 1:06:04
  Speaker 3: Zealand that Michael J. Fox made up his mind that
• 1:06:06
  Speaker 3: he had had enough of being away from his family
• 1:06:09
  Speaker 3: making movies and decided to head back to the small
• 1:06:11
  Speaker 3: screen and star in a new sitcom, Spin City. This
• 1:06:14
  Speaker 3: turned out to be his last leading role in the film. Yeah,
• 1:06:17
  Speaker 3: I actually.
• 1:06:18
  Speaker 1: Watched Spin City only because Michael J.
• 1:06:20
  Speaker 4: Fox was in it.
• 1:06:21
  Speaker 1: That was a political comedy. That was about a team
• 1:06:25
  Speaker 1: working in a mayoral office and.
• 1:06:27
  Speaker 4: I watched that.
• 1:06:28
  Speaker 2: Hmm.
• 1:06:29
  Speaker 3: Because Michael J.
• 1:06:30
  Speaker 4: Fox was in it.
• 1:06:30
  Speaker 3: He would unfortunately get Parkinson's and that kind of put
• 1:06:33
  Speaker 3: a stop to his career.
• 1:06:34
  Speaker 4: Yes, that was part of why Spin City fizzled out.
• 1:06:37
  Speaker 3: So going back to how this was rated R and
• 1:06:40
  Speaker 3: nothing is above moderate, I find this interesting. The original
• 1:06:44
  Speaker 3: film was made to be PG-13. However, the MPAA thought
• 1:06:47
  Speaker 3: the film was too intense for the rating and gave
• 1:06:49
  Speaker 3: it an R. No matter how much Peter Jackson would
• 1:06:52
  Speaker 3: edit the movie to try to get the desired rating,
• 1:06:55
  Speaker 3: the ratings board would keep it R. Jackson being angry
• 1:06:59
  Speaker 3: that he toned himself down for nothing changed the death
• 1:07:04
  Speaker 3: scene in the movie to be more graphic in order
• 1:07:06
  Speaker 3: to make the rating feel deserving.
• 1:07:08
  Speaker 4: Fair.
• 1:07:08
  Speaker 3: I do the exact same thing.
• 1:07:10
  Speaker 4: Fine.
• 1:07:10
  Speaker 3: You want it to be R? Fuck you. Michael J. Perfoxed.
• 1:07:14
  Speaker 3: Michael J. Perfoxed. Michael J. Fox performed many of his
• 1:07:20
  Speaker 3: own stunts in the film. No, weirdly, I'm not. Ironically,
• 1:07:24
  Speaker 3: he broke his foot by a simple fall while filming
• 1:07:26
  Speaker 3: in the forest at night. Sir Peter Jackson? Has he
• 1:07:29
  Speaker 3: been knighted?
• 1:07:30
  Speaker 4: I guess so.
• 1:07:30
  Speaker 3: Oh, wow. Said Fox's injury was actually a blessing in
• 1:07:33
  Speaker 3: disguise because it allowed him to work on the scripts
• 1:07:35
  Speaker 3: some more and edit some of the films, scenes, while
• 1:07:37
  Speaker 3: Fox recovered for a week. And Danny Elfman was so
• 1:07:41
  Speaker 3: impressed with Sir Peter Jackson's previous movie, Heavenly Creatures, that
• 1:07:44
  Speaker 3: he offered to do the score for one of Jackson's
• 1:07:47
  Speaker 3: next movies and agreed to this movie without ever even
• 1:07:51
  Speaker 3: knowing what it was about. And that's right, because Danny
• 1:07:54
  Speaker 3: Elfman comes to you and says, I want to score
• 1:07:56
  Speaker 3: your next movie. You don't fucking say no.
• 1:07:58
  Speaker 4: Yeah, God, I'd be like, holy shit, my movie's going
• 1:08:01
  Speaker 4: to be great.
• 1:08:02
  Speaker 3: You say, aye, aye, Captain. You're the, yeah, I guess.
• 1:08:05
  Speaker 4: I'm suddenly writing a movie around the music. Right. Actually,
• 1:08:09
  Speaker 4: there was a movie where they did that. What movie
• 1:08:11
  Speaker 4: was that?
• 1:08:11
  Speaker 3: I don't know. Goose. At around 20 minutes when Frank
• 1:08:14
  Speaker 3: is having breakfast talking to his ghost buddies early in
• 1:08:17
  Speaker 3: the film, the background clearly shows a sunset, not a sunrise.
• 1:08:21
  Speaker 3: I don't even know how you would deduce that because
• 1:08:23
  Speaker 3: they look the same, sir. At around 24 minutes when
• 1:08:26
  Speaker 3: Frank is recognized by the wealthy woman in the big house,
• 1:08:29
  Speaker 3: the newspaper holds, she holds, misspelled psychic as sickic, which
• 1:08:34
  Speaker 3: I pointed out. When Special Agent Dahmers holds up the
• 1:08:38
  Speaker 3: FBI badge, the shield on it is very unlike the
• 1:08:41
  Speaker 3: FBI shield. Okay, great, nerd. Rated 7.1 out of 10
• 1:08:46
  Speaker 3: on IMDb, which equivalents to a 3.55 out of 5
• 1:08:50
  Speaker 3: on the Nightmare Scale Index. That also has a 3.5
• 1:08:54
  Speaker 3: out of five on letterboxd, uh, 65% on the tomato
• 1:08:59
  Speaker 3: meter and a 71% audience score. What did you give this?
• 1:09:03
  Speaker 4: Give it three and a half.
• 1:09:04
  Speaker 3: Three and a half. Okay, fine. I gave it a four.
• 1:09:07
  Speaker 3: So that gives us a nightmare index of 3.64, which
• 1:09:13
  Speaker 3: puts us just above the haunting of at a 3.63
• 1:09:19
  Speaker 3: and just below afflicted, afflicted at a 3.68. Also fun fact,
• 1:09:25
  Speaker 3: this entire nightmare index is getting completely reworked because I
• 1:09:29
  Speaker 3: just came across something on letterbox that blew my mind hole.
• 1:09:32
  Speaker 3: When you, if you go on it on your browser
• 1:09:35
  Speaker 3: and you hover over the, like the 3.5 rating, it'll
• 1:09:38
  Speaker 3: show you the aggregate score, which is like a three,
• 1:09:41
  Speaker 3: like for this movie, for example, was a 3.47. So.
• 1:09:45
  Speaker 3: Because we have a lot of ties here. Oh, boy. Yeah,
• 1:09:49
  Speaker 3: we have a lot of ties. So I'm going to
• 1:09:51
  Speaker 3: go through and readjust them according to their aggregate rating
• 1:09:55
  Speaker 3: so we can get some more, you know, because we've
• 1:09:58
  Speaker 3: got like four movies tied right here. Fucking, that's annoying.
• 1:10:01
  Speaker 3: But that's not a bad rating. I'll live with that.
• 1:10:05
  Speaker 3: Similar movies according to IMDb, we have, this is what
• 1:10:09
  Speaker 3: I was talking about, Dead Alive, Bad Taste, Meet the Feebles,
• 1:10:12
  Speaker 3: Heavenly Creatures, All Peter Jackson, Tremors.
• 1:10:14
  Speaker 4: Yep.
• 1:10:16
  Speaker 3: Similar movies according to the letterbox. The End Keepers, Beetlejuice,
• 1:10:19
  Speaker 3: Insidious Chapter 2.
• 1:10:21
  Speaker 4: Insidious.
• 1:10:22
  Speaker 3: Insidious. 13 Ghosts, House on Haunted Hill, 1999. Wow, I
• 1:10:28
  Speaker 3: really fucked that one up. House on Haunted Hill, 1999,
• 1:10:31
  Speaker 3: and Sleepy Hollow. Funny reviews, what do you got?
• 1:10:33
  Speaker 4: I do, yes, I do. I have three.
• 1:10:35
  Speaker 3: Wow, I only have three, too. One, go.
• 1:10:39
  Speaker 1: Okay, let's see. Four stars from Horror Syndrome. Why did
• 1:10:45
  Speaker 1: I think that was Margaret Qualley's mom?
• 1:10:47
  Speaker 3: That goes one of mine.
• 1:10:48
  Speaker 4: Who's Andy McDowell, by the way.
• 1:10:50
  Speaker 3: Oh, okay.
• 1:10:51
  Speaker 1: That was why I picked it, because I was like, ah, good,
• 1:10:53
  Speaker 1: somebody else who thought that.
• 1:10:54
  Speaker 4: Was Andy McDowell.
• 1:10:56
  Speaker 3: Four stars from Evan Raymond Gunn Virus Pincus. Fucking wow.
• 1:11:02
  Speaker 3: This gothic horror comedy, Scooby-Doo Mysteries, clearly the movie Peter
• 1:11:05
  Speaker 3: Jackson was born to make. Jeffrey Combs is at his
• 1:11:08
  Speaker 3: best since Re-Animator. I guess you haven't seen Bride of Reanimator,
• 1:11:12
  Speaker 3: but that's fine. Agreed. Agreed.
• 1:11:14
  Speaker 1: Three and a half stars from Merritt K. Jeffrey Combs
• 1:11:17
  Speaker 1: turning into a Jim Carrey-esque performance as a deranged, rubber-faced
• 1:11:22
  Speaker 1: FBI agent makes this worth watching alone.
• 1:11:26
  Speaker 3: Another one about Jeffrey Combs, because I'm not alone in
• 1:11:29
  Speaker 3: feeling this. Four and a half stars from Trevor Henderson. We,
• 1:11:33
  Speaker 3: as a people, have failed the Frighteners. Needs more attention.
• 1:11:36
  Speaker 3: Worth it for an extra slimy Jeffrey Combs alone.
• 1:11:42
  Speaker 4: Three and a half stars for Max Power. If you
• 1:11:44
  Speaker 4: ever wondered if Michael J. Fox would make a good
• 1:11:46
  Speaker 4: John Constantine. Oh, yeah.
• 1:11:49
  Speaker 2: Yeah. Okay.
• 1:11:50
  Speaker 4: I'd have watched that. What would likely have been an abomination.
• 1:11:54
  Speaker 3: Michael J. Constantine. If you enjoy the show, please rate
• 1:11:59
  Speaker 3: and review on your favorite podcast app of choice. Follow
• 1:12:02
  Speaker 3: us on Facebook, Instagram, TikTok, Slasher Threads, and YouTube at
• 1:12:05
  Speaker 3: Frightmares Podcast. Our email is stayspookyatoutlook.com. You can follow me
• 1:12:10
  Speaker 3: personally on Letterboxd at DrProctor, all one word. You are?
• 1:12:15
  Speaker 4: WatsonLMP90. Boo.
• 1:12:17
  Speaker 3: Yeah, if you'd like to expand your movie podcast listening,
• 1:12:20
  Speaker 3: be sure to check out The Shameless Picture Show, The
• 1:12:22
  Speaker 3: Dead-Eyed Millennial Film Club, and One Week Rental as well.
• 1:12:26
  Speaker 3: Next week, Michael and I will be doing Presents from
• 1:12:30
  Speaker 3: 2024 as our modern pick. This one is available on
• 1:12:34
  Speaker 3: Hulu and Plex. Look at me go picking movies that
• 1:12:37
  Speaker 3: are streaming.
• 1:12:38
  Speaker 2: Whew.
• 1:12:39
  Speaker 3: So good.
• 1:12:40
  Speaker 4: Crazy times.
• 1:12:40
  Speaker 3: Until next week, guys, stay tuned and... Stay spooky.
• 1:12:44
  Speaker 4: Stay spooky. Thank you for listening.
• 1:13:22
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:13:26
  Speaker 1: please select the link in the description.