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Transcript

There's No Escape from the Bronx · Movie Meltdown

• 0:05
  Speaker 1: Hey there, I'm Joanna Cassidy, and I am listening to
• 0:08
  Speaker 1: Movie Meltdown.
• 0:20
  Speaker 2: It's showtime.
• 0:21
  Speaker 3: The following feature has been rated R by the Motion
• 0:24
  Speaker 3: Picture Association of America.
• 0:26
  Speaker 1: It is intended for mature audiences and parental discretion is advised.
• 0:31
  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
• 1:05
  Speaker 4: What's up and welcome to Movie Meltdown.
• 1:18
  Speaker 1: I'm Brian. And I'm George.
• 1:20
  Speaker 5: And we're coming to you live via digital recording from
• 1:22
  Speaker 5: the Oddity Studios.
• 1:24
  Speaker 1: Back.
• 1:25
  Speaker 5: to round out the trilogy. What trilogy is it? Star
• 1:30
  Speaker 5: Wars is Lord of the Rings.
• 1:31
  Speaker 1: No, no, no.
• 1:32
  Speaker 5: We'll, we'll get to that in a minute. So before we, uh,
• 1:36
  Speaker 5: ruin your lives with that, we'll address the usual semi
• 1:40
  Speaker 5: usual question. Um, have you seen anything interesting lately?
• 1:44
  Speaker 1: Uh, a few things. Yeah. Um, let's see.
• 1:47
  Speaker 2: I went to theaters, uh, to actually go see Dune
• 1:50
  Speaker 2: part two.
• 1:50
  Speaker 1: Uh, All right, right to the important part. Popcorn bucket? No,
• 1:55
  Speaker 1: no popcorn bucket.
• 1:57
  Speaker 2: Fine. A, my theater was sold out, and B, those
• 2:02
  Speaker 2: things are going online for upwards of $ 100.
• 2:03
  Speaker 1: So it's not worth finishing in there because you'll never
• 2:08
  Speaker 1: be able to sell it.
• 2:10
  Speaker 2: Well, you might be able to finish in the popcorn bucket.
• 2:11
  Speaker 2: That's entirely your own business.
• 2:13
  Speaker 1: I mean, that's what it's good for as far as
• 2:15
  Speaker 1: I can tell. I just rewatched. I forgot about the
• 2:18
  Speaker 1: SNL series. Yeah. And it was on last night. I
• 2:22
  Speaker 1: was like, man, that is good. Because they just build
• 2:26
  Speaker 1: up to it before you know it's coming. It's like,
• 2:28
  Speaker 1: there it is. They totally commit to the... flesh likeness
• 2:33
  Speaker 1: of it all I mean as soon as I saw
• 2:35
  Speaker 1: the damn thing like somebody is going to stick their
• 2:38
  Speaker 1: penis in there well I was.
• 2:39
  Speaker 5: Like it's what I keep thinking when these kind of
• 2:42
  Speaker 5: ridiculous things come up and I'm like they're in every
• 2:46
  Speaker 5: business now there's a boardroom there's a committee over every
• 2:49
  Speaker 5: stupid little decision somebody sitting at that giant ass conference
• 2:55
  Speaker 5: table didn't go um.
• 2:57
  Speaker 1: Guys know what and Really. I mean, just somebody.
• 3:02
  Speaker 5: That's why you need to bring in some regular weirdos
• 3:05
  Speaker 5: like us to sit at the.
• 3:07
  Speaker 1: Table to be like, you know what's going to happen
• 3:09
  Speaker 1: with this? Let me tell you.
• 3:11
  Speaker 2: Anytime I was working in the news business and we're
• 3:13
  Speaker 2: talking headlines or stories or whatever else like that, Everything
• 3:17
  Speaker 2: we talk about in these meetings and preparations, we need
• 3:20
  Speaker 2: to have past the 12-year-old boy.
• 3:22
  Speaker 1: Yeah.
• 3:22
  Speaker 2: Like, can you sit there and tell this story or
• 3:25
  Speaker 2: relay this headline to a 12-year-old boy and he won't
• 3:28
  Speaker 2: giggle because he'll find something naughty about it?
• 3:32
  Speaker 1: Yeah. Basically, because you're just getting yourself in trouble after
• 3:36
  Speaker 1: you've thrown it out there and it's too late. Can't
• 3:38
  Speaker 1: take it back anymore. Yeah. Nobody's ever going to think
• 3:40
  Speaker 1: about Dune 2 without that being attached to it. Exactly, yeah.
• 3:45
  Speaker 1: So distractions aside, myself to blame. How was Dune 2?
• 3:50
  Speaker 1: It was a fine film.
• 3:51
  Speaker 2: The cinematography is beautiful in it. Denis Villeneuve, I really
• 3:54
  Speaker 2: like his take on things.
• 3:55
  Speaker 1: He's impressive. Even if you don't like this giant-ass story
• 3:59
  Speaker 1: that he's telling, just as a filmmaker, he's really impressive.
• 4:03
  Speaker 2: That second hour drags like a bastard, though, I will say.
• 4:06
  Speaker 2: First hour is very exciting. Third hour is magnificent. That
• 4:10
  Speaker 2: second hour, I'd dose off twice.
• 4:13
  Speaker 1: I feel like there's an asterisk on every Dune. Welcome
• 4:16
  Speaker 1: to Dune. settle in you're gonna be here for a
• 4:18
  Speaker 1: while you're probably not gonna need all of this bullshit
• 4:22
  Speaker 1: but here we go like.
• 4:23
  Speaker 2: Yeah i mean that's like i mean i know this
• 4:25
  Speaker 2: story really well i've seen every iteration of film i.
• 4:28
  Speaker 1: Don't because i can't ever really make enough sense of
• 4:30
  Speaker 1: it like again i always love the visuals i always
• 4:33
  Speaker 1: think some of the concepts are cool and then i'm
• 4:36
  Speaker 1: like we get into the weird space politics and spice
• 4:40
  Speaker 1: minds and i'm just i I don't care anymore. It's
• 4:43
  Speaker 1: just too much.
• 4:48
  Speaker 2: He was making an allegory for us going into the
• 4:50
  Speaker 2: Middle East for the first time. And kind of trying
• 4:53
  Speaker 2: to colonize and explore that area. And, oh, they got
• 4:55
  Speaker 2: a whole bunch of oil and stuff like that. Everybody
• 4:58
  Speaker 2: needs oil. And so now that's the most important place
• 5:00
  Speaker 2: in the world now. And that's literally everything about Dune.
• 5:03
  Speaker 2: The Fremen are basically, you know, the Afghanis or the
• 5:06
  Speaker 2: Iraqis or the Iranians. Or if they're even terrorists, you
• 5:12
  Speaker 2: wouldn't even want to call them. You know, Al-Qaeda or,
• 5:14
  Speaker 2: you know.
• 5:15
  Speaker 1: Whatever else. That's all the original run.
• 5:17
  Speaker 5: I know as time went on, all of the fans,
• 5:20
  Speaker 5: and I know I was just listening to a show
• 5:21
  Speaker 5: that went into the whole overall story of Dune, and
• 5:25
  Speaker 5: they were basically saying eventually it gets a very religious
• 5:28
  Speaker 5: take on it in the book series. But they were like,
• 5:31
  Speaker 5: he didn't even have that in that first book. It's
• 5:34
  Speaker 5: like that comes into play more as he wrote the
• 5:36
  Speaker 5: sequels and stuff. But that first story was kind of
• 5:39
  Speaker 5: just that simple, if you want to use the term
• 5:42
  Speaker 5: simple for Dune.
• 5:43
  Speaker 1: But it was.
• 5:44
  Speaker 5: A way more concentrated version that didn't have near as
• 5:47
  Speaker 5: many overarching thematic sort of religious overtones kind of stuff
• 5:52
  Speaker 5: that comes into play way later.
• 5:54
  Speaker 1: Because I think he just needed something else to write about.
• 5:56
  Speaker 2: And David Lynch, his version in the 80s kind of
• 6:00
  Speaker 2: he kind of jumped ahead a little bit too. So
• 6:02
  Speaker 2: he kind of fast-forwarded almost into the third book with
• 6:06
  Speaker 2: getting some of Paul's godlike abilities and basically bringing in
• 6:09
  Speaker 2: the sister earlier than she needed to be. Because that's
• 6:11
  Speaker 2: the one thing I like about the Dennisville news. You
• 6:14
  Speaker 2: see visions of his sister when the mother goes through
• 6:19
  Speaker 2: this specific ceremony without getting into too much detail. She's
• 6:24
  Speaker 2: already pregnant. And so when mom goes to the ceremony...
• 6:27
  Speaker 2: this daughter essentially also goes through it as well. So
• 6:31
  Speaker 2: basically this child is already able to telepathically communicate with
• 6:34
  Speaker 2: her mother and brother. And, you know, it's like, she's,
• 6:39
  Speaker 2: she's going to come out of the womb, like talking like, Hey,
• 6:41
  Speaker 2: how you doing? You know, you know, kind of thing,
• 6:43
  Speaker 2: but with crazy powers.
• 6:44
  Speaker 3: And all kinds of complicated.
• 6:47
  Speaker 2: Um, But, so they're already telegraphing for the next movie.
• 6:51
  Speaker 1: Yeah.
• 6:52
  Speaker 2: And Anya Taylor-Joy has a built-in role because she, they
• 6:55
  Speaker 2: already threw her in, like, as basically saw, like, the
• 6:57
  Speaker 2: adult version of her and that was who she was.
• 6:59
  Speaker 1: Just solid planning. Because, you know, she's taken over, like,
• 7:03
  Speaker 1: from being kind of a new up-and-coming actress to she
• 7:07
  Speaker 1: is the go-to now. She's... just behind Zendaya. They kind
• 7:11
  Speaker 1: of came out of nowhere and just took over the industry. Exactly.
• 7:14
  Speaker 1: And more power to them because they're both impressive.
• 7:16
  Speaker 2: Yeah, I would say right now Cindy Sweeney is coming
• 7:18
  Speaker 2: in a solid third. I would say almost daring to
• 7:21
  Speaker 2: tie Zendaya.
• 7:22
  Speaker 1: Which is really weird because she, like all of the stuff,
• 7:24
  Speaker 1: I was looking back because up until again, I think
• 7:27
  Speaker 1: when she was on, no, I saw the trailers for
• 7:29
  Speaker 1: that new dumb rom-com. And I was like, who is she?
• 7:32
  Speaker 5: And then she was on SNL. And I was like,
• 7:33
  Speaker 5: how did she get to host Zendaya? And then I
• 7:36
  Speaker 5: look back and I'm like, no, she's in all this stuff.
• 7:38
  Speaker 5: I just have not watched any of it.
• 7:40
  Speaker 1: She came from a lot more dumb stuff that I
• 7:43
  Speaker 1: didn't care about.
• 7:44
  Speaker 2: Yeah, and there's a heavy rumor that there's going to
• 7:46
  Speaker 2: be a Barbarella remake and she's Barbarella.
• 7:48
  Speaker 1: I can see that.
• 7:49
  Speaker 2: Yeah, because she keeps saying she wants to do like
• 7:50
  Speaker 2: a sci-fi or fantasy kind of thing.
• 7:53
  Speaker 1: And so there's a big heavy rumor that's going to be.
• 7:55
  Speaker 2: I was like, that's a great casting choice because Barbarella
• 7:59
  Speaker 2: in the French stories and the sci-fi and the comics,
• 8:03
  Speaker 2: whatever else, she's bang.
• 8:06
  Speaker 1: So I'm just going to say, and she enjoys the sex.
• 8:09
  Speaker 2: That all kind of comes into play with her adventures
• 8:11
  Speaker 2: is sex and nudity and all that kind of stuff
• 8:14
  Speaker 2: like that. It's also a bit of a parody on
• 8:18
  Speaker 2: the sci-fi shit as well. So it's almost kind of
• 8:22
  Speaker 2: making fun of that sort of thing.
• 8:24
  Speaker 5: They definitely teased that in the original movie, but it
• 8:27
  Speaker 5: was also like 60s, so there's only so much they
• 8:30
  Speaker 5: could do at that point.
• 8:31
  Speaker 2: It was pretty tame, except for the thing where they
• 8:33
  Speaker 2: put Her and the orgasm machine, essentially.
• 8:35
  Speaker 1: And so you're like, okay.
• 8:37
  Speaker 5: I'm still disturbed by the dolls, really. I'm like, all
• 8:40
  Speaker 5: the sex is not near as disturbing as the weird
• 8:43
  Speaker 5: little creepy dolls.
• 8:43
  Speaker 1: Yeah, yeah, yeah. There's some weird stuff going on there.
• 8:47
  Speaker 5: But, yeah, still, you know, in the grand scheme kind
• 8:50
  Speaker 5: of tame compared to stuff being thrown at us today.
• 8:53
  Speaker 1: Yeah.
• 8:53
  Speaker 2: And, of course, she's got a new movie that's out
• 8:55
  Speaker 2: in theaters right now, some horror movie.
• 8:58
  Speaker 1: If anybody decided to put her in a nun habit,
• 9:02
  Speaker 1: I mean, it's almost like its own joke, basically, for
• 9:04
  Speaker 1: knowing the things that she's very famous for. Like, no, no,
• 9:09
  Speaker 1: let's cover you up completely.
• 9:10
  Speaker 2: Well, it's like she's like a nun that gets possessed
• 9:13
  Speaker 2: so she becomes a sexy nun or something.
• 9:15
  Speaker 1: I can't remember. I've actually heard good reviews.
• 9:18
  Speaker 5: Yeah, and like she's very like willing to lean into that.
• 9:22
  Speaker 5: Like she knows that's kind of the joke of it.
• 9:24
  Speaker 1: Like she's almost, well, again, I didn't have much faith
• 9:27
  Speaker 1: in her coming into this. And then she's pretty solid
• 9:29
  Speaker 1: on SNL.
• 9:30
  Speaker 5: And then after that I've seen some interviews and I'm like,
• 9:33
  Speaker 5: She seems like she's in charge of these things going on.
• 9:36
  Speaker 5: She's not just being used for her attributes. She's kind
• 9:41
  Speaker 5: of smart enough to be like, no, I know this
• 9:44
  Speaker 5: is how I look. I know how people are going.
• 9:46
  Speaker 1: To see me.
• 9:47
  Speaker 5: What if I play with that? What if I use
• 9:49
  Speaker 5: that for my upcoming projects? And I'm like, that's smart.
• 9:52
  Speaker 2: Yeah, if she's in control and that's her play, then yeah,
• 9:54
  Speaker 2: that is very smart.
• 9:55
  Speaker 1: That makes it fine, yeah. It's like you've got a very.
• 9:58
  Speaker 2: Limited window of how you're going to look like that
• 10:00
  Speaker 2: because time will catch I mean you can work out
• 10:04
  Speaker 2: as much you want you know whatever else time will
• 10:06
  Speaker 2: eventually catch up with you so you won't be As
• 10:09
  Speaker 2: gorgeous as you are, things will start to droop and sag,
• 10:12
  Speaker 2: and things happen.
• 10:15
  Speaker 1: And even that aside, you just won't want to do
• 10:17
  Speaker 1: any of that anymore. Sure, yeah. You're like, everything hurts now.
• 10:20
  Speaker 1: I don't want to make more than one movie every
• 10:21
  Speaker 1: couple of years. I'm 45. No one wants to see
• 10:24
  Speaker 1: my titties right now. I'm tired.
• 10:28
  Speaker 2: So yeah, she's smart for doing it now. I love
• 10:31
  Speaker 2: the whole gag she had on SNL. It's like, do this, this,
• 10:34
  Speaker 2: and if it doesn't work out, show your boobs.
• 10:35
  Speaker 1: It's like, here you go, hon.
• 10:37
  Speaker 5: I do like that they bothered to write a Hooters sketch.
• 10:39
  Speaker 5: I was like, it's a knockoff version, but basically, yeah.
• 10:43
  Speaker 1: I love that.
• 10:44
  Speaker 2: Everybody's bringing stacks of hundreds. It's like, here, I took
• 10:48
  Speaker 2: out my kid's college fund. Here you go, here's your tip.
• 10:50
  Speaker 1: The other girls are coming up and being like, no,
• 10:52
  Speaker 1: we don't want you. Go get her. I was like, wow.
• 10:56
  Speaker 1: That is how stupid men operate. So, yeah, I get it.
• 10:59
  Speaker 1: I get it.
• 11:01
  Speaker 5: So, yeah, I've been actually more impressed with her as
• 11:04
  Speaker 5: time's gone on. I came into it not really knowing
• 11:06
  Speaker 5: much about her.
• 11:07
  Speaker 1: But it's promising. I like that. It is, yeah.
• 11:11
  Speaker 2: And then going back, I've seen a couple older things. Well,
• 11:14
  Speaker 2: in line with Dune, probably my favorite iteration is the
• 11:17
  Speaker 2: documentary Jodorowsky's Dune.
• 11:19
  Speaker 5: I do feel like I watched that when it first
• 11:22
  Speaker 5: came out. And again, what I've seen of his work
• 11:25
  Speaker 5: is about as insane as everything going on in any
• 11:28
  Speaker 5: version of Dune. So if anybody could have done something
• 11:32
  Speaker 5: interesting with it, kind of right up there with Lynch.
• 11:34
  Speaker 5: But you'd have to let Lynch be Lynch, which they
• 11:37
  Speaker 5: would not do. And he wasn't really. I mean, at
• 11:40
  Speaker 5: that point, he wasn't really. I mean, he was that
• 11:43
  Speaker 5: weird guy who made a movie that almost nobody saw.
• 11:45
  Speaker 1: Then he made a relatively straight movie.
• 11:47
  Speaker 5: And then they handed you the biggest budget movie ever made.
• 11:50
  Speaker 2: So.
• 11:52
  Speaker 1: And then wouldn't let him make it the way he
• 11:54
  Speaker 1: wants to make it. So that wasn't really his fault.
• 11:56
  Speaker 5: But yeah, the other version there, the one in the documentary,
• 11:59
  Speaker 5: seems like the kind of thing that I'm like.
• 12:01
  Speaker 1: All right, I would watch that. I still don't know
• 12:03
  Speaker 1: that it would be successful.
• 12:07
  Speaker 2: The thing I love about the documentary is, of course,
• 12:09
  Speaker 2: Alejandro Jodorowsky. Yeah, he's weird.
• 12:12
  Speaker 1: He's out there.
• 12:12
  Speaker 2: But man, the dude's an artist. He's got some integrity.
• 12:15
  Speaker 2: And he's so damn charming.
• 12:17
  Speaker 1: Yeah. He's a lovable guy. He really is.
• 12:19
  Speaker 5: Which is so weird when you look at the things
• 12:21
  Speaker 5: he makes. They're so insane and weird and perverted.
• 12:26
  Speaker 1: Like, he's a creepy dude, artistically speaking. He's very creepy.
• 12:30
  Speaker 5: But then as a guy, yeah, I've seen interviews, and
• 12:32
  Speaker 5: I'm like, wait, that's the guy that made this?
• 12:34
  Speaker 3: Yeah.
• 12:34
  Speaker 2: And then, like, when he was younger, he was a
• 12:36
  Speaker 2: very dashing and, you know, good-looking Italian guy.
• 12:39
  Speaker 1: Yeah, yeah. Wait, no, he's not Italian. He's, oh, shit.
• 12:42
  Speaker 1: I got a man's nationality wrong. Anyway. He's a crazy person.
• 12:47
  Speaker 2: But yeah, very dashing young man or whatever else. But yeah,
• 12:53
  Speaker 2: that movie would have been insane if it had come out.
• 12:58
  Speaker 1: Oh, yeah.
• 12:58
  Speaker 2: The thing I love, the man never read the book.
• 13:01
  Speaker 2: Never read the book. He just heard basically a friend
• 13:05
  Speaker 2: of his kind of give his review and tell him
• 13:07
  Speaker 2: about the story.
• 13:07
  Speaker 1: And he's like, that sounds fascinating. I want to make
• 13:09
  Speaker 1: a movie about that. I mean... I don't want to read.
• 13:15
  Speaker 1: That's how I'm going to make movies, too. Yeah.
• 13:18
  Speaker 2: But it's also, like I said, it's fascinating that, like,
• 13:21
  Speaker 2: you know, he grabbed Mobius. He grabbed Dan O'Bannon. He grabbed, oh, what,
• 13:27
  Speaker 2: the alien guy, H.R.
• 13:29
  Speaker 1: Giger. Yeah.
• 13:30
  Speaker 2: You know, all the technical people and artists that Alejandro,
• 13:34
  Speaker 2: you know, recruited to make this movie, Dino DeLorenzo, got
• 13:40
  Speaker 2: them to make his movie.
• 13:43
  Speaker 1: Speaking of the highest quality.
• 13:45
  Speaker 2: Yeah, and they didn't want Alejandro, but let's get Lynch.
• 13:50
  Speaker 2: And then basically, like you just said, they completely.
• 13:53
  Speaker 1: And again, didn't know what they were getting themselves into.
• 13:55
  Speaker 1: Completely neutered Lynch.
• 13:57
  Speaker 2: One of my favorite parts of the documentary is he
• 13:59
  Speaker 2: goes to see the movie, Alejandro goes to see the movie, and.
• 14:02
  Speaker 1: He's like, it was awful! I loved it. It was fantastic.
• 14:05
  Speaker 2: He's like, but it was also, it made me sad
• 14:07
  Speaker 2: because I know that's not Lynch.
• 14:09
  Speaker 1: Yeah. That's the producer that did that. And Lynch will
• 14:11
  Speaker 1: tell you that. That's the difference. Guess who didn't go
• 14:14
  Speaker 1: see the new Dune movie? David Lynch. Yeah. They ask him,
• 14:17
  Speaker 1: he's like, I don't want anything to do with Dune.
• 14:20
  Speaker 1: He's like, I'm not going to see that movie. I'm
• 14:22
  Speaker 1: not going to watch my, I don't claim that movie
• 14:25
  Speaker 1: is one of my movies. Yeah.
• 14:26
  Speaker 2: It is still, of all these years later, a sore spot.
• 14:29
  Speaker 5: Yeah, because he claims everything else he did is all
• 14:32
  Speaker 5: the other stuff, some of which were way more involved
• 14:34
  Speaker 5: with studios. But Dune is the one he's like, nope,
• 14:37
  Speaker 5: that is not my movie.
• 14:38
  Speaker 1: Nope, not even close.
• 14:39
  Speaker 2: Yeah, and I still get some intrinsic enjoyment of the
• 14:44
  Speaker 2: 84 film because that's the one I grew up on for.
• 14:46
  Speaker 1: So many years. Visuals are amazing. Like, again, you at
• 14:50
  Speaker 1: least see what was going on there, some of which
• 14:52
  Speaker 1: maybe was rescued from that other version, you know, visually,
• 14:55
  Speaker 1: concept-wise anyway. Yeah.
• 14:57
  Speaker 5: And then just Lynch still has such a flair for
• 14:59
  Speaker 5: that that, like, you see part of it. It's just,
• 15:03
  Speaker 5: it's a bastardized version of what it could have been. But,
• 15:06
  Speaker 5: you know, it's, yeah, I think it's still so visually amazing.
• 15:09
  Speaker 1: It's cool. Yeah.
• 15:10
  Speaker 2: But since now that, you know, there's interest now in
• 15:13
  Speaker 2: Dune Part 1 and Part 2's out in theaters, Alejandro's,
• 15:17
  Speaker 2: or Jodorowsky's Dune is actually on Max currently.
• 15:21
  Speaker 1: So I'm like, ah, good. Major platform. Let's get it. Yeah, so.
• 15:24
  Speaker 2: Like I said, just a very charming documentary. And also,
• 15:26
  Speaker 2: it's interesting, at the end of the movie, they're like, okay,
• 15:29
  Speaker 2: so since Dune came out, here's all these other sci-fi
• 15:34
  Speaker 2: action fantasy films that... heard about Jodorowsky's Dune. Because basically
• 15:39
  Speaker 2: this whole story, even sometimes the script and the ideas
• 15:42
  Speaker 2: were all passed around for like 30 years throughout Hollywood.
• 15:45
  Speaker 2: It was like, these are mind-blowing ideas. And nobody can
• 15:48
  Speaker 2: do them. But so many other movies took parts. He
• 15:54
  Speaker 2: wanted to begin Dune with basically, we're starting here and
• 15:57
  Speaker 2: then we're at the furthest point of the universe and
• 15:59
  Speaker 2: keep zooming in, zooming in, zooming in and traveling throughout
• 16:02
  Speaker 2: the universe. To get to this one point, and that's
• 16:05
  Speaker 2: where our story begins. This is mind-blowing, traveling through the
• 16:12
  Speaker 2: galaxy sort of thing to begin your film with.
• 16:14
  Speaker 1: And what film did that? Contact.
• 16:18
  Speaker 2: Or with the slowing down of time and dodging things
• 16:24
  Speaker 2: and doing superhuman things. Feats in the real world. What
• 16:29
  Speaker 2: was used that later?
• 16:30
  Speaker 1: The Matrix. After they stole it from Blade.
• 16:32
  Speaker 2: Yeah. You know, so it's like, you know, or like
• 16:35
  Speaker 2: the visuals of, you know, Blade Runner.
• 16:37
  Speaker 1: Definitely.
• 16:38
  Speaker 2: You know, basically you wouldn't have had that without having
• 16:41
  Speaker 2: Jodorowsky's death.
• 16:42
  Speaker 5: To me, the most go-to is like. even the elements
• 16:45
  Speaker 5: of Star Wars. Like, Lucas was a big Dune fan.
• 16:48
  Speaker 1: Yes, he was.
• 16:48
  Speaker 5: So why are they talking about spice? Why are there
• 16:51
  Speaker 5: spice wars? Why is there a giant snake skeleton there?
• 16:54
  Speaker 5: It's like he didn't have the visuals to do all
• 16:56
  Speaker 5: of that, but.
• 16:57
  Speaker 1: He's like, I want a touch of that. I want
• 16:58
  Speaker 1: just a little bit, because I'm a big Dune geek. So, again,
• 17:02
  Speaker 1: even the most successful sci-fi movie of that time, like,
• 17:05
  Speaker 1: was still kind of, you know, riding a little bit
• 17:08
  Speaker 1: of the Dune... you know, ideas at least.
• 17:10
  Speaker 2: Yeah, even the documentary's director, you know, people kind of
• 17:15
  Speaker 2: basically pretty much say, like, the entire lightsaber fights in
• 17:19
  Speaker 2: the original Star Wars were lifted straight from Jodorowsky's Doom.
• 17:23
  Speaker 1: Yeah.
• 17:23
  Speaker 2: Because the sword fighting, like, the way everything was, you know,
• 17:26
  Speaker 2: storyboarded out. It's like, that was lifted straight from that. So,
• 17:30
  Speaker 2: there's so much stuff that's borrowed from this idea so that,
• 17:33
  Speaker 2: in one way, Jodorowsky's vision does live on, you know,
• 17:37
  Speaker 2: in this documentary through other films that have used his ideas, whatnot.
• 17:41
  Speaker 1: But yeah, I was like, I.
• 17:42
  Speaker 2: Would have really have liked to see his version.
• 17:45
  Speaker 5: That's the only reason I knew there was a previous
• 17:48
  Speaker 5: version years and years ago, because I was such a
• 17:51
  Speaker 5: Giger geek that like I had, I was buying those
• 17:54
  Speaker 5: books as like a teenager, just like looking at his
• 17:56
  Speaker 5: weird ass artwork.
• 17:58
  Speaker 1: I love that guy.
• 17:59
  Speaker 5: Speaking of another crazy old bastard, he's a weird dude,
• 18:03
  Speaker 5: obviously just looking at his artwork, but you get in
• 18:05
  Speaker 5: there and it's like, before you even get to the
• 18:07
  Speaker 5: alien concept art, here's these Dune things that got sketched
• 18:11
  Speaker 5: out and just like nothing came of them. So yeah,
• 18:14
  Speaker 5: I remember having a book that had the couple of different.
• 18:17
  Speaker 1: Sketches that he did for it. And I'm like, where's
• 18:19
  Speaker 1: this movie? I just want to see these vigils come
• 18:21
  Speaker 1: to life. So yeah.
• 18:23
  Speaker 2: And this would have been, you know, it was like
• 18:24
  Speaker 2: they started developing this like 74. So this would have
• 18:27
  Speaker 2: been like, you know, midway through the seventies where this
• 18:29
  Speaker 2: would have come out and if Paramount had actually put
• 18:31
  Speaker 2: it out too, that's like they approached Paramount with this.
• 18:34
  Speaker 1: It was like, yeah, they were like, no. There's no, again,
• 18:37
  Speaker 1: like even now you're.
• 18:38
  Speaker 5: Pushing it to be able to do the technical stuff.
• 18:41
  Speaker 5: And like now we have freedom to kind of do anything.
• 18:44
  Speaker 5: It may or may not look good, but we can
• 18:46
  Speaker 5: do just about anything now. But like mid-70s version of
• 18:49
  Speaker 5: sci-fi was, again, just to get to where Star Wars was,
• 18:52
  Speaker 5: was pushing it.
• 18:54
  Speaker 2: Well, the thing is that, you know, 2001 inspired everybody.
• 18:59
  Speaker 2: And with its technical achievements and whatever else to.
• 19:02
  Speaker 1: Be able to do. pretty real world about.
• 19:04
  Speaker 5: It and like we're trying to not do anything too
• 19:08
  Speaker 5: fantastical because he wanted it kind of hard science and
• 19:10
  Speaker 5: ground out as best as it could so again it's
• 19:14
  Speaker 5: it's more impressive because it looks as realistic as.
• 19:17
  Speaker 2: It does yeah but again it was still no one
• 19:20
  Speaker 2: had ever seen anything like yeah before and so that
• 19:22
  Speaker 2: inspired everybody so basically you know yodorovsky's like okay uh
• 19:26
  Speaker 2: 2001 was amazing i want to make a movie that's
• 19:29
  Speaker 2: further out than 2001 you know So, basically, it makes
• 19:33
  Speaker 2: this look completely tame.
• 19:34
  Speaker 1: And it would have been.
• 19:36
  Speaker 2: It sure as shit would have been.
• 19:38
  Speaker 5: He made a lot of crazy-ass movies. So, you can
• 19:40
  Speaker 5: go watch his other stuff and be like, yeah, these
• 19:43
  Speaker 5: are insane.
• 19:43
  Speaker 1: So, who knows what Dune... You might not have even
• 19:46
  Speaker 1: been able to piece together a story of Dune based on...
• 19:49
  Speaker 1: some of his other insanity.
• 19:51
  Speaker 2: Well, that's the weird thing is that for a guy
• 19:53
  Speaker 2: who didn't read the book, he had the story down
• 19:56
  Speaker 2: really well.
• 19:56
  Speaker 1: There was a lot of stuff he added and there
• 19:58
  Speaker 1: was much more.
• 20:00
  Speaker 2: Of the God stuff thrown in later on, even in, like,
• 20:04
  Speaker 2: the fight scene between Paul and Fade, Fade actually kills Paul,
• 20:09
  Speaker 2: but then Paul immediately is resurrected right there, you know,
• 20:12
  Speaker 2: as God version Paul, and so then, you know, like,
• 20:16
  Speaker 2: He turns fade to dust, kind of shit like that.
• 20:18
  Speaker 2: So it's like immediately he kicks into the weird shit.
• 20:22
  Speaker 2: But for the most part, he had the story.
• 20:24
  Speaker 1: And how long was his movie going to be?
• 20:26
  Speaker 5: Because it's so impossible to tell this story even in
• 20:29
  Speaker 5: a two-hour version, let alone as.
• 20:31
  Speaker 1: We see now.
• 20:36
  Speaker 2: When they originally approached Paramount, it was going to clock
• 20:39
  Speaker 2: in somewhere around five hours.
• 20:41
  Speaker 1: Yeah, that does not surprise me. and i feel like
• 20:44
  Speaker 1: paramount would have been like not a chance in hell
• 20:46
  Speaker 1: is that happening yeah and he and he was and
• 20:48
  Speaker 1: he didn't want to split it he's like no well
• 20:51
  Speaker 1: you know.
• 20:52
  Speaker 2: It's an experience you're gonna sit there for five hours
• 20:54
  Speaker 2: like i mean there are a lot of movies out
• 20:56
  Speaker 2: there like that now i guess it's a lot easier
• 20:58
  Speaker 2: to do in digital format versus dragging prints around with.
• 21:02
  Speaker 1: You but yeah i keep i don't have patience for
• 21:05
  Speaker 1: most of that but i do hear like so many
• 21:07
  Speaker 1: especially from other countries that they're like Well, here's this
• 21:10
  Speaker 1: documentary that's nine hours long. Jesus, what?
• 21:14
  Speaker 5: But it's still a movie. It's not meant to be
• 21:16
  Speaker 5: like a series. It is a go sit in the
• 21:18
  Speaker 5: theater for nine hours and maybe we'll.
• 21:20
  Speaker 1: Take a break midway through. And I'm just like, that
• 21:23
  Speaker 1: is a lot to deal with, man. That is. I mean,
• 21:26
  Speaker 1: you know. Sometimes 90 minutes is rough.
• 21:28
  Speaker 2: Yeah, I mean, you know, in the 60s and the 70s,
• 21:30
  Speaker 2: you know, when you had your big epic, you know,
• 21:32
  Speaker 2: your L.C.
• 21:33
  Speaker 1: And the Ten Commandments and, you know, Ben-Hur. Lawrence of Arabia.
• 21:36
  Speaker 1: Lawrence of Arabia, like there were intermissions. Yeah, they gave
• 21:39
  Speaker 1: you a chance to go get some more popcorn. Go
• 21:41
  Speaker 1: hit the bathroom.
• 21:42
  Speaker 2: Hell, Monty Python and the Holy Grail gives you an
• 21:44
  Speaker 2: intermission for God's sakes.
• 21:46
  Speaker 1: If nothing else, just because it's funny. Yeah, it's funny.
• 21:48
  Speaker 1: Because their movie's like barely two hours. But nonetheless, it's like,
• 21:54
  Speaker 1: why don't we have.
• 21:55
  Speaker 2: I mean, granted, that was a device to basically change
• 21:58
  Speaker 2: out prints. Yeah, it was real world more than anything. Yeah,
• 22:01
  Speaker 2: but in the digital world, we don't have to worry
• 22:03
  Speaker 2: about that anymore. But we still have to piss for
• 22:05
  Speaker 2: God's sakes.
• 22:06
  Speaker 1: Well, and we keep making these three, three and a
• 22:09
  Speaker 1: half hour movies sometimes. And it's like, what? Guys, really,
• 22:12
  Speaker 1: we've got to work on something here. Yikes.
• 22:17
  Speaker 2: To go, though, from that to what we're about to
• 22:20
  Speaker 2: talk about.
• 22:22
  Speaker 5: Well, I've got one, and I was trying to think
• 22:24
  Speaker 5: of something I'd seen lately, and then I was like, well,
• 22:26
  Speaker 5: how do I... Sometimes we'll try to find something that's
• 22:29
  Speaker 5: sort of fitting with what we're talking about.
• 22:32
  Speaker 1: Other times I'll, like, counterbalance and go the other way.
• 22:35
  Speaker 1: This one's kind of both. It's... It's the opposite because
• 22:40
  Speaker 1: it's a giant, big studio movie, but it's also a
• 22:45
  Speaker 1: disaster all on its own. So I will go back
• 22:48
  Speaker 1: and say I have brought up many a time on
• 22:51
  Speaker 1: this show one of my go-to movies as a kid,
• 22:54
  Speaker 1: one of the reasons I am the dork I am
• 22:56
  Speaker 1: and I love big, cheesy Hollywood movies. As a kid,
• 23:00
  Speaker 1: I could not get enough of the Poseidon Adventure.
• 23:03
  Speaker 3: Ah.
• 23:04
  Speaker 1: I don't even know what it was.
• 23:06
  Speaker 5: Because I didn't get into that many other disaster movies
• 23:09
  Speaker 5: of the time, of which there were quite a few.
• 23:11
  Speaker 5: And some of them, I'm still going back going, wait,
• 23:13
  Speaker 5: I don't think I've even seen this one.
• 23:14
  Speaker 1: But that one hit, and I saw it on TV,
• 23:18
  Speaker 1: I'm assuming.
• 23:18
  Speaker 2: Yeah.
• 23:19
  Speaker 5: And then I saw it. Every time it would be like,
• 23:21
  Speaker 5: Sunday night movie, The Poseidon, and I'd be there every time.
• 23:24
  Speaker 5: I'd be like, yes, flip that bitch over, let's go.
• 23:27
  Speaker 1: So I just thought it was the coolest freaking thing,
• 23:30
  Speaker 1: and I still do. There's no joke. Yeah, the original's
• 23:34
  Speaker 1: a classic. I will certainly defend it alongside you, yes.
• 23:37
  Speaker 1: It works on both.
• 23:38
  Speaker 5: It's popcorn, but at the same time, it's really well made.
• 23:41
  Speaker 3: It is.
• 23:41
  Speaker 1: It's surprisingly well, and as I'll find out, really well made.
• 23:46
  Speaker 5: But the funny thing was, and I feel like somewhere
• 23:49
  Speaker 5: along the way I watched the sequel and it's fun
• 23:51
  Speaker 5: for its own cheesiness. But other than that, and when
• 23:56
  Speaker 5: they rolled around.
• 23:58
  Speaker 1: In 2006 and decided to do a remake, I just never,
• 24:04
  Speaker 1: I was like, eh, whatever.
• 24:06
  Speaker 5: And I hadn't paid attention, which was a little weird,
• 24:09
  Speaker 5: mostly because I actually knew somebody, and technically they were
• 24:12
  Speaker 5: on the show many, many years ago who worked on
• 24:15
  Speaker 5: that movie. And actually, I remembered I knew them at
• 24:18
  Speaker 5: the time when they left town to go for a
• 24:20
  Speaker 5: couple of months and they were doing production work and
• 24:23
  Speaker 5: set design. And so it's like I had a specific
• 24:27
  Speaker 5: tie-in to it, and I still just kind of went, eh, whatever.
• 24:30
  Speaker 5: So what's funny even more, dorky on my part, is
• 24:33
  Speaker 5: what pushed it over the edge finally was I saw,
• 24:36
  Speaker 5: once again, rabbit hole off of this show. I'm looking
• 24:39
  Speaker 5: for something 10 steps over and somehow got to the
• 24:42
  Speaker 5: trailer for this most recent.
• 24:43
  Speaker 1: One and went, wait, is that Emmy Rossum? So that's
• 24:47
  Speaker 1: what won me over.
• 24:49
  Speaker 5: I knew the other big cast. I don't think I
• 24:51
  Speaker 5: even knew. She's sort of our, I guess if there's
• 24:53
  Speaker 5: a female lead, we'll get into that in a minute.
• 24:56
  Speaker 5: But yeah, I've been, I always, I got a weird
• 25:00
  Speaker 5: thing for Emmy. I always had a thing for, and
• 25:03
  Speaker 5: when I started watching Shameless, and then I moved and
• 25:05
  Speaker 5: didn't have cable, so I missed a lot of the
• 25:07
  Speaker 5: tail end of it. So I went back and started
• 25:10
  Speaker 5: re-watching it, and I'm just so obsessed with their horrible,
• 25:14
  Speaker 5: horrible family.
• 25:15
  Speaker 1: So I'm midway into that. So I saw this, and
• 25:18
  Speaker 1: I was like, that's what pushed it over the edge.
• 25:19
  Speaker 5: I was like, oh, well, there's a good reason for
• 25:21
  Speaker 5: me to see how they did on this remake, and
• 25:23
  Speaker 5: I can see how Amy comes out in this.
• 25:26
  Speaker 1: Yeah.
• 25:27
  Speaker 2: Yeah.
• 25:28
  Speaker 1: You know, the sad thing is, it's Wolfgang Peterson. that
• 25:32
  Speaker 1: I mean he's a legit director and not just a
• 25:35
  Speaker 1: regular old director he's done a ton of action like
• 25:39
  Speaker 1: it should work perfect plus the cast is great I
• 25:43
  Speaker 1: mean Kurt Russell Kurt Russell is our lead it's Kurt
• 25:46
  Speaker 1: Russell other than Emmy Josh Lucas Kevin Dillon Andre Brouwer
• 25:51
  Speaker 1: Richard Dreyfuss for God's sakes I'm like you've got the
• 25:55
  Speaker 1: cast you've got the budget you've got a huge director
• 25:58
  Speaker 1: that knows how to do action why is this so
• 26:01
  Speaker 1: bad Like it's not, it's not even like depressing bad.
• 26:05
  Speaker 1: It's not even funny bad. It's just soulless. It's so, yeah,
• 26:08
  Speaker 1: it is. There is no, and that's what I say.
• 26:10
  Speaker 1: Like when I was like, let's get back to the characters.
• 26:12
  Speaker 1: There are no characters in this.
• 26:14
  Speaker 5: Like, and I'm thinking back and I'm like, you know,
• 26:16
  Speaker 5: that the old movie is not any longer.
• 26:19
  Speaker 1: It's just structured.
• 26:21
  Speaker 5: Cause I feel so connected to those characters in that
• 26:23
  Speaker 5: original seventies version. And we get to this and I'm like,
• 26:27
  Speaker 5: Couldn't tell you if that one's got a son only
• 26:30
  Speaker 5: cause he's here.
• 26:31
  Speaker 1: I see him over there. Um, that's her dad. I
• 26:34
  Speaker 1: know that much. She's getting married to that guy. I
• 26:38
  Speaker 1: feel like you'll die before the thing. So like, I'm
• 26:40
  Speaker 1: already putting money on who's going to die. Yeah. So
• 26:42
  Speaker 1: I'm like, there's just, I, you, the most basic caricatures
• 26:48
  Speaker 1: and like, they don't even try to elaborate. It's just like,
• 26:50
  Speaker 1: this is it. And like immediately, like, first of all.
• 26:53
  Speaker 5: We get a big, and you can tell it is,
• 26:57
  Speaker 5: we've moved into the two thousands because I'm sure. And
• 27:00
  Speaker 5: he still built a lot of stuff for this as
• 27:02
  Speaker 5: a sad thing. Cause I watched the behind the scenes
• 27:04
  Speaker 5: and I'm like, they built that huge set that ends
• 27:07
  Speaker 5: up being like the, the main room that they're in
• 27:10
  Speaker 5: that flips upside down and there's still fires and people
• 27:12
  Speaker 5: fall in. And sure they built all that.
• 27:14
  Speaker 1: That's legit. But like the very.
• 27:16
  Speaker 5: First thing you see is, is a big 360 zoom
• 27:20
  Speaker 5: around the boat that is not effing there. It is
• 27:25
  Speaker 5: a hundred percent cartoon.
• 27:27
  Speaker 2: Yeah.
• 27:27
  Speaker 1: I'm just like, and it again looks 2006 version CG.
• 27:31
  Speaker 1: So if they didn't know, you might not be able
• 27:34
  Speaker 1: to tell if they had a big enough budget, but
• 27:36
  Speaker 1: like then I'm like, it looks, it looks really, I mean,
• 27:40
  Speaker 1: and he's trying, like, I like the movement that they're doing.
• 27:44
  Speaker 5: They're following this dude, like running on the deck. So
• 27:46
  Speaker 5: it's a, Interesting shot from a director who kind of.
• 27:49
  Speaker 1: Knows what he's doing, but... It's a video game. Those
• 27:52
  Speaker 1: effects look pretty rough.
• 27:53
  Speaker 2: Yep.
• 27:54
  Speaker 5: Now, again, they get further in, and a lot of
• 27:56
  Speaker 5: the stuff is practical. It's real-world stuff, but that.
• 28:00
  Speaker 1: Does not help the fact that there are no characters
• 28:03
  Speaker 1: that you give a shit about. No, not a one.
• 28:06
  Speaker 1: It is so dumb.
• 28:08
  Speaker 2: It's almost like if you like the actor, then you're
• 28:10
  Speaker 2: attached to them, but you're not attached to the character.
• 28:13
  Speaker 1: Even then, I'm just like, I kind of don't care
• 28:15
  Speaker 1: about Kurt Russell. Kurt Russell is freaking awesome. Like, I
• 28:18
  Speaker 1: can't tell you a movie. I don't think Kurt Russell
• 28:21
  Speaker 1: is amazing.
• 28:21
  Speaker 5: And even when it's a lesser movie or he's not
• 28:24
  Speaker 5: the main person, but I'm like, he's so like, no,
• 28:27
  Speaker 5: like that's why I was like, I'm here for Emmy.
• 28:29
  Speaker 5: She has nothing to do with that movie. Like she,
• 28:32
  Speaker 5: that's why I'd like, didn't even hear about her being
• 28:34
  Speaker 5: in it. Cause nobody would even know. You can insert
• 28:37
  Speaker 5: any random girl and like, okay, now scream and you're
• 28:40
  Speaker 5: going to fall.
• 28:41
  Speaker 1: And that's on fire. All right, good. Brent, let's go.
• 28:44
  Speaker 1: It is so useless.
• 28:45
  Speaker 2: Yeah, I've only seen it the one time, and I've
• 28:49
  Speaker 2: never revisited it.
• 28:50
  Speaker 1: I just go back to the OG. It's so bad.
• 28:53
  Speaker 2: I mean, there's so many moments. Like, you know, Ernest
• 28:56
  Speaker 2: Borgnine's great in the original.
• 28:57
  Speaker 1: Gene Hackman's great. Gene Hackman's amazing. Fucking Shelley Winters. She's
• 29:02
  Speaker 1: just nailing it.
• 29:03
  Speaker 2: This elderly woman who, yeah, she used to be a
• 29:05
  Speaker 2: champion swimmer, but she's an elderly woman now.
• 29:08
  Speaker 1: And was a big.
• 29:09
  Speaker 5: Lady at that point. When she was younger, not so much,
• 29:12
  Speaker 5: but she got to be a big lady.
• 29:13
  Speaker 2: But that moment when she saves the day, but then
• 29:16
  Speaker 2: she still dies on us, that is an emotional moment
• 29:20
  Speaker 2: that never fails.
• 29:21
  Speaker 5: And the other, to me, I was like, there's the big,
• 29:25
  Speaker 5: in the original film, that Gene Hackman moment at the end.
• 29:27
  Speaker 1: Yeah. I'm like, it is epic. Not to spoil it,
• 29:32
  Speaker 1: but it's just an epic moment of like, you guys
• 29:35
  Speaker 1: are gonna die this needs to be done i'm gonna
• 29:38
  Speaker 1: do what i need to do and i'm just like
• 29:40
  Speaker 1: it's so freaking good it is amazing and i'm like
• 29:44
  Speaker 1: okay where's the equivalent maybe it's not the same person
• 29:46
  Speaker 1: maybe like you want to mix it up a little
• 29:48
  Speaker 1: bit but i'm like so we get to the sort
• 29:51
  Speaker 1: of the same moment in there with the the boyfriend
• 29:55
  Speaker 1: slash gonna be your husband and Kurt Russell. And it's like, oh,
• 29:57
  Speaker 1: somebody's gonna have to do something about this. And then
• 30:00
  Speaker 1: we get to that and I'm.
• 30:01
  Speaker 5: Like, this is the most lackluster version of that decision
• 30:04
  Speaker 5: I've ever seen.
• 30:05
  Speaker 1: Like, it's still like, oh, and there it is. Alright, well,
• 30:09
  Speaker 1: that's really how we're gonna... Okay. I was like, wow.
• 30:12
  Speaker 5: Talk about dropping the ball when it comes to that
• 30:15
  Speaker 5: big epic moment of like, nope, that's it.
• 30:18
  Speaker 1: So, yeah. I'm at least thankful that they retitled the
• 30:23
  Speaker 1: remake yeah so at least it's not a full remake
• 30:27
  Speaker 1: it's just kind of the same situation.
• 30:30
  Speaker 5: We just moved ahead in time and look, it's another
• 30:32
  Speaker 5: big boat and shit's going to go wrong.
• 30:36
  Speaker 2: Just avoid the remake. Go see the original if you haven't.
• 30:40
  Speaker 1: Even the sequel's more like, it's fun. It's ridiculous.
• 30:45
  Speaker 5: It's not the classic that the first one is, but
• 30:47
  Speaker 5: I'd love to go back to that compared to this thing.
• 30:49
  Speaker 1: That is true. That is very true. I haven't seen
• 30:51
  Speaker 1: the sequel in a number of years either. It was
• 30:53
  Speaker 1: the same thing.
• 30:53
  Speaker 5: I remember watching it because it was one of those
• 30:55
  Speaker 5: trying to remember which... wait, I've seen this one a
• 30:58
  Speaker 5: million times, but isn't.
• 30:59
  Speaker 1: Telly Savalas show up? And I'm like, no, no, that's
• 31:02
  Speaker 1: the sequel. Yeah. Was, was the sequel theatrical release or
• 31:05
  Speaker 1: was that made for TV? I think it was. I
• 31:07
  Speaker 1: think it was.
• 31:08
  Speaker 5: And it just didn't, it was like not near as well.
• 31:10
  Speaker 5: And they just very quickly shuffled it to Sunday night movie.
• 31:13
  Speaker 5: And like, cause that's where I think I saw it,
• 31:15
  Speaker 5: but I'm pretty sure I remember it being like an.
• 31:17
  Speaker 1: Actual theatrical release, but. Who knows? I just remember it
• 31:21
  Speaker 1: still being better than this. But that's what shocked me.
• 31:25
  Speaker 5: Because I totally forgot about all the details of that movie.
• 31:28
  Speaker 5: I was like, I think Kurt Russell's in it. That's
• 31:30
  Speaker 5: about all I remembered. I had no idea who directed it.
• 31:33
  Speaker 5: So watching that, I was just like, man, what happened here?
• 31:37
  Speaker 2: Well, I mean, there always comes a certain point where
• 31:40
  Speaker 2: a director becomes basically, if you're still, if you're not,
• 31:43
  Speaker 2: Constantly going out there and innovating and trying something new
• 31:46
  Speaker 2: and pushing the boundaries or whatever else. You eventually become
• 31:49
  Speaker 2: a journeyman director. You become a seasoned director. But you
• 31:52
  Speaker 2: also become a director that is basically a cookie cutter. Yeah.
• 31:55
  Speaker 2: You go through the motions. You make a film. You
• 31:57
  Speaker 2: complete start to end. But it's not going to be
• 31:59
  Speaker 2: anything great.
• 32:00
  Speaker 1: And you have to eventually, if you're going to continue working...
• 32:05
  Speaker 1: you have to start to lie to yourself because again,
• 32:08
  Speaker 1: I watched that behind the scenes and half of it
• 32:10
  Speaker 1: is Wolfgang Peterson talking to the camera and he's like
• 32:13
  Speaker 1: super excited about what they're doing. And I'm just like, really?
• 32:16
  Speaker 5: I was like, do you know that this is, I mean,
• 32:20
  Speaker 5: cause you have to read the script. There are no characters. Like,
• 32:23
  Speaker 5: is this not cause it isn't that way in your
• 32:26
  Speaker 5: older movies. So why now are you okay with just
• 32:28
  Speaker 5: being like, ah, whatever. And then stuff catches on fire.
• 32:31
  Speaker 1: Like, I don't know.
• 32:32
  Speaker 5: That's the part of watching him talk about it. Like
• 32:34
  Speaker 5: he thinks it's the greatest thing he's ever done.
• 32:36
  Speaker 1: I'm just like, are you aware?
• 32:39
  Speaker 5: Or is this just something you have to do that? Like,
• 32:42
  Speaker 5: you're not going to do this project if you don't
• 32:43
  Speaker 5: convince yourself it's worth doing.
• 32:45
  Speaker 1: So this is part of the.
• 32:46
  Speaker 5: Process, but I mean, maybe it did break him because
• 32:50
  Speaker 5: that's the last big budget English language movie he's done.
• 32:54
  Speaker 1: Yeah.
• 32:54
  Speaker 5: Since then I looked, he did do something. It was the,
• 32:58
  Speaker 5: The only other time he's gone back to German language.
• 33:01
  Speaker 5: He did one in 2016 that does.
• 33:04
  Speaker 1: Have Til Schweiger in it, which is almost reason for
• 33:06
  Speaker 1: me to check it out if I wanted to read, which,
• 33:09
  Speaker 1: you know, that's not normal for me.
• 33:11
  Speaker 5: But he is... Til's pretty awesome. So, like, I would
• 33:14
  Speaker 5: watch him. It's like some sort of... I think the
• 33:17
  Speaker 5: English language translates to fight against the bank.
• 33:20
  Speaker 1: So I think it's some sort of heist movie that
• 33:22
  Speaker 1: involves him as a... And it's all German language. And, like, again,
• 33:26
  Speaker 1: I watched.
• 33:27
  Speaker 5: part of the trailer and it looks like a pretty
• 33:29
  Speaker 5: low budget thing comparatively so i was like i don't
• 33:31
  Speaker 5: know maybe that killed him certainly in the hollywood system
• 33:34
  Speaker 5: because i mean that's the thing he did das boot
• 33:37
  Speaker 5: and never went back like he didn't do an ever
• 33:40
  Speaker 5: immediately moved into hollywood movies yeah never did another german
• 33:43
  Speaker 5: language film didn't like all he did was big budget
• 33:46
  Speaker 5: hollywood stuff from there on out and then just killed
• 33:50
  Speaker 5: it for him i guess because he was just like
• 33:52
  Speaker 5: well i'm done directing now and eventually they lured him
• 33:55
  Speaker 5: back in germany and were like here We got Till.
• 33:57
  Speaker 1: We'll make this movie. Come on.
• 33:58
  Speaker 3: Yeah.
• 33:59
  Speaker 1: But even then, he hadn't done anything since 2016.
• 34:02
  Speaker 2: Well, karma caught up to him for the never-ending story
• 34:07
  Speaker 2: for basically scarring all of our childhoods.
• 34:09
  Speaker 1: No joke, man. I am still not recovered from the
• 34:12
  Speaker 1: swamps of sadness. I think I live in the swamps
• 34:15
  Speaker 1: of sadness. Wait a minute. This is all making sense now.
• 34:19
  Speaker 3: Art Thacks.
• 34:21
  Speaker 1: It's not funny, man.
• 34:22
  Speaker 2: Nope.
• 34:24
  Speaker 1: Entire generation traumatized.
• 34:27
  Speaker 2: It's even more traumatized when you hear the truth of
• 34:30
  Speaker 2: that scene.
• 34:31
  Speaker 1: Oh no. Do I want to know? It's as bad
• 34:34
  Speaker 1: as you think. Is it Milo and Otis level?
• 34:38
  Speaker 2: Yeah. Let's put it this way. The horse didn't make
• 34:45
  Speaker 2: it either. Essentially, in the movie, the horse is drowning.
• 34:52
  Speaker 2: This is pre-CG. The only way to really.
• 34:55
  Speaker 1: Mimic that Is to actually drown the horse. Wolfgang. Seriously,
• 35:03
  Speaker 1: get it together, man.
• 35:04
  Speaker 2: Yeah.
• 35:06
  Speaker 1: Yeah.
• 35:06
  Speaker 2: I believe the horse survived that scene. It did not
• 35:09
  Speaker 2: survive the shoot.
• 35:10
  Speaker 1: Wouldn't you at least have a riser under him or something?
• 35:13
  Speaker 1: And the second you get that shot, pull the whole
• 35:15
  Speaker 1: thing back up and get him out of there? Doesn't matter.
• 35:17
  Speaker 2: This is an animal that doesn't understand what the fuck
• 35:20
  Speaker 2: is going on.
• 35:20
  Speaker 1: That's true. It's kind of hard to explain.
• 35:23
  Speaker 2: Just kind of like, what's that old west trick, the
• 35:25
  Speaker 2: flying W, where basically you get, you know, like the
• 35:28
  Speaker 2: horses are running at full speed and basically suddenly, you know,
• 35:30
  Speaker 2: like if they get shot and they have to like,
• 35:32
  Speaker 2: something pulls them back and they fall face forward.
• 35:35
  Speaker 1: That's a natural movement for them as well. Yeah, they're
• 35:38
  Speaker 1: going to react the way they would. It's not going
• 35:40
  Speaker 1: to be good. So this is why that's the time
• 35:44
  Speaker 1: it's okay to use CG.
• 35:45
  Speaker 5: Because the alternate is running horses off of cliffs and
• 35:48
  Speaker 5: shit they did in old Hollywood.
• 35:50
  Speaker 1: Or throwing cats off of cliffs into the ocean. Or
• 35:53
  Speaker 1: drowning cats one after the other. Yeah, stop doing that shit, Hollywood.
• 36:00
  Speaker 1: And or whatever weird German country.
• 36:03
  Speaker 2: If you grew up on Milo and Otis and you
• 36:05
  Speaker 2: know nothing about the making of the scenes, keep it
• 36:08
  Speaker 2: that way.
• 36:09
  Speaker 1: Keep it that way.
• 36:09
  Speaker 2: You don't want to know how many Milos there were.
• 36:12
  Speaker 1: I think Otis was good the whole time, though. Otis
• 36:15
  Speaker 1: was fine. Milo. Which is crazy, because they were both
• 36:19
  Speaker 1: in horrible situations the whole time. So why he.
• 36:21
  Speaker 5: Was that much luckier and or smarter, I don't know.
• 36:24
  Speaker 5: Probably because Otis didn't get thrown off.
• 36:26
  Speaker 1: The fucking cliff. Yeah. I don't know, man. Milo sure did.
• 36:31
  Speaker 1: Stop doing these things. This is when it's okay to
• 36:37
  Speaker 1: be like, wow, that horse looks CG. Oh, it's all right.
• 36:39
  Speaker 1: They just killed him, so let's go with it. I'll
• 36:42
  Speaker 1: forgive bad CG on that. That boat was no excuse.
• 36:46
  Speaker 1: You can sink a boat and it ain't going to
• 36:48
  Speaker 1: hurt nobody's feelings. Exactly.
• 36:50
  Speaker 2: You can CG all the animals you want so none
• 36:52
  Speaker 2: of them get hurt. Fuck a bunch of boats.
• 36:54
  Speaker 5: Spaceships, giant monsters that don't exist. Go ahead and make
• 36:58
  Speaker 5: those as practical as you can. So that was my
• 37:03
  Speaker 5: recent outing into what I was not fully prepared for.
• 37:09
  Speaker 5: I expected to at least have a good time.
• 37:12
  Speaker 1: And yeah, it wasn't even again, if it would have
• 37:15
  Speaker 1: been like cheesier, I could have gotten into the dumbness
• 37:18
  Speaker 1: and enjoyed it on some level, but it's just so
• 37:21
  Speaker 1: run of the mill. And, I just don't care about
• 37:24
  Speaker 1: any of these people. And it's a shame because I
• 37:26
  Speaker 1: like so many of those actors.
• 37:29
  Speaker 2: Even though it's completely opposite side of the spectrum, but
• 37:31
  Speaker 2: still it's a remake and they went full cheese, was
• 37:34
  Speaker 2: the Piranha remake.
• 37:35
  Speaker 5: Oh, yeah.
• 37:35
  Speaker 1: And that's so much fun. Again, working in a Richard
• 37:38
  Speaker 1: Dreyfuss tie-in. It's like one of the two. I can't remember.
• 37:42
  Speaker 1: Was that the first one or the second one? First one.
• 37:44
  Speaker 5: But they definitely went with that joke, and that's kind
• 37:46
  Speaker 5: of here. I'm like, well, here's another horrible water situation for.
• 37:50
  Speaker 1: You, Richard Dreyfuss. Have fun. But he's in the whole...
• 37:52
  Speaker 1: That's the thing.
• 37:53
  Speaker 5: I thought maybe he'd be the big star that they'd
• 37:55
  Speaker 5: kill off quick because he's like, look, I gave you
• 37:57
  Speaker 5: about a week of shooting, and I'm out of here.
• 37:59
  Speaker 1: He's in the whole damn movie. He paid for Richard
• 38:02
  Speaker 1: Dreyfuss this whole time and gave him nothing to do.
• 38:04
  Speaker 1: Way to go.
• 38:05
  Speaker 3: Yeah.
• 38:06
  Speaker 2: But yeah, Alexandra Aja's Piranha remake is so fucking fun.
• 38:11
  Speaker 1: That's what you do. Lean into it, man.
• 38:13
  Speaker 2: Yeah, it's like we just, yeah, they leaned hard into
• 38:18
  Speaker 2: the cheese.
• 38:19
  Speaker 1: And I haven't seen, I know he didn't do the second.
• 38:22
  Speaker 5: It was not bad, as I remember. I remember watching it,
• 38:25
  Speaker 5: but it's been a while. That's why I was like,
• 38:27
  Speaker 5: at this point, I don't even remember which is which.
• 38:29
  Speaker 5: I just remembered some of the nightmare imagery in the
• 38:32
  Speaker 5: first one better.
• 38:33
  Speaker 1: But I feel like I watched the second one.
• 38:34
  Speaker 2: Because isn't the second one like a Piranha 3D, but
• 38:36
  Speaker 2: it's like 3DD or something?
• 38:38
  Speaker 1: 3DD, of course. To extra lean into the cheesiness of it.
• 38:42
  Speaker 2: But like we skip Piranha 2 and just go straight
• 38:44
  Speaker 2: to the 3DD.
• 38:46
  Speaker 1: Because it was in 3D, of course. Yeah, yeah, yeah. Yeah,
• 38:51
  Speaker 1: so that's what. So to me, I was like, that's
• 38:53
  Speaker 1: a pretty good lead into today's film. Sure. A giant
• 38:58
  Speaker 1: train wreck just with a way bigger budget versus where
• 39:02
  Speaker 1: we're about to go.
• 39:04
  Speaker 5: So I guess it's time to get into this episode's movie.
• 39:10
  Speaker 1: It's time for Sofa Theater.
• 39:15
  Speaker 4: The authorities declare the Bronx a high-risk zone.
• 39:18
  Speaker 1: There's only one alternative. Destroy it. Attention! Attention!
• 39:23
  Speaker 2: Abandon all buildings.
• 39:25
  Speaker 1: This is a final warning.
• 39:27
  Speaker 2: The Bronx is a public disgrace.
• 39:29
  Speaker 1: The Bronx is a plague. Who the hell wants to
• 39:31
  Speaker 1: live in New Mexico? They're all lies! People are being
• 39:36
  Speaker 1: slaughtered in there! Exterminated! You know what they're calling your methods? genocide.
• 39:51
  Speaker 1: The technical term is disinfestation. Escape from the Bronx. Ain't
• 40:10
  Speaker 1: on my cruel or happy face. I'm happy behind it.
• 40:15
  Speaker 1: It takes me inside another place where no one can
• 40:22
  Speaker 1: find it. Escape.
• 40:26
  Speaker 3: I get out when I can.
• 40:28
  Speaker 1: I escape. It's all escape. I'm crying in my bed.
• 40:36
  Speaker 1: Come on, let's escape. Just get me out of here. So,
• 40:42
  Speaker 1: this Silver Theater feature is Escape from the Bronx. We'll
• 40:45
  Speaker 1: get to other titles later. The year is 1983. Hey,
• 40:49
  Speaker 1: wasn't that the same year as the last one? Yes.
• 40:52
  Speaker 5: Yes, it is, if that puts into perspective what you're
• 40:55
  Speaker 5: about to discuss. And the director is Enzo G. Costarelli,
• 40:59
  Speaker 5: once again.
• 41:00
  Speaker 1: Mamma mia. And the plot, according to IMDb, a ragtag
• 41:06
  Speaker 1: group of people must fight extermination squads amidst the ruined city. Yeah,
• 41:11
  Speaker 1: that's pretty much about all that goes on.
• 41:13
  Speaker 5: So, spoiler alert, we're going to ruin this, but how
• 41:17
  Speaker 5: much is there to ruin? So, anyway, more importantly, it's
• 41:21
  Speaker 5: free on some streaming service more than likely. So go
• 41:24
  Speaker 5: look for it. You've got no money invested and you'll
• 41:27
  Speaker 5: have a good time. More so than that Poseidon movie.
• 41:31
  Speaker 5: I at least enjoyed this way more than that.
• 41:34
  Speaker 1: Where would you like to begin? Well, we gotta go
• 41:38
  Speaker 1: with the title first.
• 41:39
  Speaker 2: Because there is some confusion. See, of course, you know,
• 41:44
  Speaker 2: exploitation movies always would get retitled. Sometimes they'd go to
• 41:48
  Speaker 2: different countries. So, of course, the Italian.
• 41:50
  Speaker 1: This is very Italian. Yeah, the Italian title is Escape
• 41:53
  Speaker 1: from the Bronx. It was released... as.
• 41:57
  Speaker 2: Escape from the Bronx in the U.S., and also it
• 42:00
  Speaker 2: was released as Escape 2000. In the U.K., it was
• 42:05
  Speaker 2: released as Bronx Warriors 2, which actually makes a lot
• 42:07
  Speaker 2: more sense.
• 42:08
  Speaker 5: Makes more sense, because this does, to jump ahead slightly,
• 42:11
  Speaker 5: but as we mentioned in the last movie in this trilogy,
• 42:15
  Speaker 5: it has nothing to do with anything. So that one's maybe,
• 42:18
  Speaker 5: if it were in the same timeline, off in the
• 42:20
  Speaker 5: distant future somewhere. But yeah, this is a total sequel
• 42:24
  Speaker 5: to that first movie we watched.
• 42:25
  Speaker 1: So it picks up... Almost right after. I mean, even then,
• 42:29
  Speaker 1: I was trying to figure out time-wise. I'm like, maybe
• 42:31
  Speaker 1: six months? A year at the most? Like, it's pretty
• 42:34
  Speaker 1: close follow-up to where we left that first movie. So, yeah,
• 42:38
  Speaker 1: this is a direct sequel. It is.
• 42:40
  Speaker 2: Really, it's even much more of a direct sequel than,
• 42:41
  Speaker 2: you know, Warriors of the Wasteland was. But the confusion
• 42:45
  Speaker 2: lies in here. In 1982, an Australian exploitation film by
• 42:50
  Speaker 2: the name of Turkey Shoot, directed by Brian Trentridge-Smith, starring...
• 42:54
  Speaker 2: Steve Railsback, and Olivia Hussey.
• 42:57
  Speaker 1: I know of that one, yes.
• 42:59
  Speaker 2: Basically, it's kind of like a prison camp kind of movie. Basically,
• 43:02
  Speaker 2: the prisoners are essentially kind of like tortured, and people
• 43:06
  Speaker 2: are trying to escape. It's a decent action movie, but
• 43:10
  Speaker 2: it's got some rough scenes in it, too. The thing
• 43:14
  Speaker 2: about that movie is that when it was released in
• 43:17
  Speaker 2: other countries, it sometimes kept the name Turkey Shoot, but
• 43:21
  Speaker 2: it was also retitled Escape 2000. So when you're looking
• 43:26
  Speaker 2: for it online, you can't find it under Turkey Shoot.
• 43:29
  Speaker 2: You find it under Escape 2000. But if you're looking
• 43:35
  Speaker 2: for Escape from the Bronx, you can find it under that.
• 43:39
  Speaker 2: But Mystery Science Theater 3000 did an episode spoofing Escape
• 43:45
  Speaker 2: from the Bronx, but they grabbed the Escape 2000 version.
• 43:49
  Speaker 2: Which is really funny when you see the title card.
• 43:52
  Speaker 2: Because the title card for Escape from the Bronx... It
• 43:55
  Speaker 2: feels like a natural part of the movie.
• 43:56
  Speaker 1: Yeah.
• 43:57
  Speaker 2: When you see the Escape 2000 title card, it literally
• 44:01
  Speaker 2: looks like someone's put a fucking sticker on the goddamn movie.
• 44:06
  Speaker 1: Somebody stepped in front of the camera holding a cue card.
• 44:08
  Speaker 1: Escape 2000! Oh my, it's so bad.
• 44:11
  Speaker 2: I mean, in a movie, it's already bad enough as
• 44:14
  Speaker 2: it is. But, yeah, so there's a bit of confusion
• 44:18
  Speaker 2: if you're looking for this online.
• 44:20
  Speaker 1: Yeah. Just, if the movie stars Steve Railsback, it's not
• 44:24
  Speaker 1: a state for the Bronx. You're doing it wrong. Or
• 44:25
  Speaker 1: you're watching a better movie, actually. I mean, yeah. It
• 44:28
  Speaker 1: depends on what you want in this situation. Honestly, yes.
• 44:31
  Speaker 2: I mean, we need to do some Australian exploitation because
• 44:35
  Speaker 2: that's some really crazy shit, but it's also highly entertaining.
• 44:38
  Speaker 1: Especially 70s version. Yeah. Yeah. About all we've done is
• 44:42
  Speaker 1: really 2000s. Yeah, even 80s stuff. Yeah. 80s exploitation, especially
• 44:48
  Speaker 1: the Australia's Word, really kicks in. I mean, hell must. Well,
• 44:52
  Speaker 1: anything post-Mad Max, yes. It's a different game at that point. Yeah.
• 44:57
  Speaker 1: Even 70s stuff was weird.
• 44:59
  Speaker 2: Well, either you had stuff like Picnic at Hanging Rock
• 45:03
  Speaker 2: or you had sex romps. You know, basically the Australians
• 45:09
  Speaker 2: doing their own version like Porky's or something.
• 45:11
  Speaker 1: Cars That Ate Paris is the one I always go to.
• 45:14
  Speaker 1: Or that one, yeah.
• 45:15
  Speaker 5: I was like, I went and saw that and I
• 45:18
  Speaker 5: was like, I'm not even sure what's going on here.
• 45:21
  Speaker 1: I love that car. I love that car. Other than that,
• 45:24
  Speaker 1: I'm not even sure. Like, again, it's almost like original
• 45:27
  Speaker 1: Mad Max level of inconsistent. It's like, well, so is it?
• 45:31
  Speaker 1: Are things falling apart here? Because it seems like everything
• 45:34
  Speaker 1: is just taking place in this one tiny little town.
• 45:37
  Speaker 1: I'm like, but what the hell is going on in this? So, yeah.
• 45:40
  Speaker 1: It's another one of those. Australia is insane.
• 45:43
  Speaker 3: Yeah.
• 45:45
  Speaker 2: But the thing I love about this movie, of course,
• 45:48
  Speaker 2: it's poor budget shows literally from the first frame. Because
• 45:53
  Speaker 2: when you watch some streaming... You get a still frame
• 45:57
  Speaker 2: of this sign that basically is like, we're clearing out
• 46:00
  Speaker 2: the Bronx. Everybody evacuate your buildings. You're being relocated to
• 46:04
  Speaker 2: sunny New Mexico.
• 46:04
  Speaker 5: I was going to ask if you have one of
• 46:06
  Speaker 5: those signs up at your house. Because the thing is,
• 46:09
  Speaker 5: I was like, I want to get one of those.
• 46:10
  Speaker 1: I was like, really? It's the most generic stenciled thing. Yeah,
• 46:12
  Speaker 1: you could just make one. You could just make yourself
• 46:14
  Speaker 1: one with no money invested. Yeah. That would be funny.
• 46:18
  Speaker 1: Have that right in front of your door as you
• 46:19
  Speaker 1: come in. Yeah, yeah, yeah. But it holds.
• 46:23
  Speaker 3: Yeah.
• 46:24
  Speaker 2: On this shot for a few seconds for a few
• 46:26
  Speaker 2: seconds for a few seconds you're going start start are
• 46:30
  Speaker 2: you sure we start start and then finally boom the
• 46:33
  Speaker 2: movie springs to life and things move and you have
• 46:37
  Speaker 2: people speaking now like holy shit this is how the
• 46:40
  Speaker 2: movie begins.
• 46:42
  Speaker 1: That guy was off getting his coffee he's like just
• 46:45
  Speaker 1: the camera's running it's like somebody forgot to push the
• 46:47
  Speaker 1: button for the first few seconds you know And he
• 46:50
  Speaker 1: just comes back and is like, that's right, we're shooting
• 46:52
  Speaker 1: a movie, alright.
• 46:52
  Speaker 2: Yeah, Luigi fell asleep at the wheel. So that's literally
• 46:56
  Speaker 2: how our movie begins.
• 46:57
  Speaker 5: See, that's the sad thing, is to me, watching this,
• 47:00
  Speaker 5: I was like, I feel like this is even more
• 47:03
  Speaker 5: low budget than the first one.
• 47:05
  Speaker 1: Oh! And the first one wasn't a blockbuster budget. They,
• 47:09
  Speaker 1: I mean, definitely by, it's funny, it's weird. Blows my mind.
• 47:15
  Speaker 2: It's like the second movie has nothing to do with
• 47:18
  Speaker 2: the first or the third.
• 47:20
  Speaker 1: Nothing whatsoever. Not at all. Not at all.
• 47:22
  Speaker 2: It has similar actors. That is the only thing. It's
• 47:26
  Speaker 2: the only connection. The crew, the actors, the directors, and
• 47:29
  Speaker 2: the writers, the only commonality.
• 47:30
  Speaker 1: Yeah.
• 47:31
  Speaker 5: Because the story has nothing to do with it. It's
• 47:33
  Speaker 5: set in a totally different time, set in a totally
• 47:35
  Speaker 5: different place that has.
• 47:36
  Speaker 1: Nothing to do with the Bronx. Right. Nor our lead character,
• 47:39
  Speaker 1: who is the only thing that comes back around on
• 47:41
  Speaker 1: this one. Mm-hmm.
• 47:43
  Speaker 2: Yeah, we can't even get Fred Williamson back for this one.
• 47:46
  Speaker 1: I know. He's in the first two. Can't get him
• 47:47
  Speaker 1: in this one.
• 47:48
  Speaker 2: But God bless it, we get Henry Silva in this one.
• 47:52
  Speaker 2: And I love me some Henry Silva.
• 47:53
  Speaker 1: He is his own special, special thing. Sort of taking over.
• 47:57
  Speaker 1: Once I saw him in the outfit, I'm like, so
• 47:59
  Speaker 1: he's sort of the new Vic Morrow. Yes, he sure is.
• 48:01
  Speaker 1: He just sort of stepped into that new role. Yeah.
• 48:04
  Speaker 1: But God, I just.
• 48:07
  Speaker 2: When you have any kind of exploitation film and Henry
• 48:11
  Speaker 2: Silva's in the movie, A, you know he's playing a
• 48:13
  Speaker 2: bad guy, and B, he's going to chew up the
• 48:16
  Speaker 2: scenery in ways that, it doesn't show off great acting talent,
• 48:20
  Speaker 2: but it shows a real gusto for the job.
• 48:23
  Speaker 1: And it eases in. Because for a while, I'm like,
• 48:25
  Speaker 1: he's just kind of phoning it in for a while.
• 48:28
  Speaker 1: And then eventually we get to, oh, no, there we go.
• 48:31
  Speaker 1: Once we get to the coffee scene. Yes! Yes! I
• 48:34
  Speaker 1: made a note of the coffee scene. I was like, wow,
• 48:37
  Speaker 1: what are we even doing right now?
• 48:40
  Speaker 5: Is this from a different movie? Like, did he even
• 48:43
  Speaker 5: know the camera was rolling? Is he just pissed that
• 48:47
  Speaker 5: Luigi got him the wrong coffee?
• 48:48
  Speaker 1: Yeah. I don't know exactly.
• 48:52
  Speaker 2: But yeah, so we're getting our movie. People are being
• 48:54
  Speaker 2: cleared out of their homes. And we've got guys wearing
• 48:57
  Speaker 2: shiny silver suits with either astronaut helmets or biker helmets.
• 49:01
  Speaker 1: I already have a question. Yes. Why? Because at first
• 49:04
  Speaker 1: I was like, okay, is there like some sort of
• 49:07
  Speaker 1: biological or some sort of disease going on? And that's
• 49:10
  Speaker 1: why the Bronx is locked off.
• 49:12
  Speaker 5: And like, at least then, if it was more of
• 49:14
  Speaker 5: an outbreak kind of a movie, that would make sense
• 49:17
  Speaker 5: why you would be wearing your space.
• 49:18
  Speaker 1: Suit while you're patrolling the streets. But no, it seems
• 49:22
  Speaker 1: like there's no... I was like, then why the hell
• 49:24
  Speaker 1: would you be dragging... Just to be a knockoff stormtrooper?
• 49:27
  Speaker 1: Because that's kind of what they feel like as the
• 49:29
  Speaker 1: movie goes on.
• 49:30
  Speaker 2: They are definitely the wish versions of stormtroopers.
• 49:33
  Speaker 1: But my only other.
• 49:34
  Speaker 2: Thing is that, well, I mean, you know, there's some
• 49:36
  Speaker 2: dudes with guns, but then, like, every third soldier has
• 49:39
  Speaker 2: a flamethrower.
• 49:40
  Speaker 1: So it's like.
• 49:41
  Speaker 2: Are we wearing fire retardant suits for everybody's safety because
• 49:44
  Speaker 2: the flamethrower guys are so bad at their jobs?
• 49:47
  Speaker 5: That was my original, like my only attempt at putting
• 49:51
  Speaker 5: some sort of reasoning behind this bullshit. It was like,
• 49:54
  Speaker 5: I saw that and was like, well, okay, if they're
• 49:56
  Speaker 5: able to breathe the air, there's no reason for them
• 49:58
  Speaker 5: to have that giant suit on with a helmet. But
• 50:00
  Speaker 5: then as we went on, and there were lots of
• 50:02
  Speaker 5: dudes with flamethrowers, I was like, okay, well, at least
• 50:04
  Speaker 5: if it's a flame-proof suit, it's protecting them as they're
• 50:08
  Speaker 5: carrying this.
• 50:08
  Speaker 1: Giant torch around. Yeah. But not to jump to the end,
• 50:11
  Speaker 1: but at the end, one of the guys in the
• 50:13
  Speaker 1: suits gets burnt up. So I was like, okay, it's nothing.
• 50:16
  Speaker 1: It does nothing. It does nothing. Why are you wearing
• 50:18
  Speaker 1: this damn suit? Oh, that's actually made of lycra. That
• 50:21
  Speaker 1: went up like a tinderbox. I know. I was just like, okay,
• 50:24
  Speaker 1: the only thing I was trying to give you, you
• 50:27
  Speaker 1: just burned to hell. Yeah, yeah. Way to go. So yeah,
• 50:30
  Speaker 1: I don't understand that part. And with the.
• 50:32
  Speaker 2: Exception of the first guy, the first homeless fellow who
• 50:35
  Speaker 2: gets torched, who was obviously a stunt actor and is
• 50:38
  Speaker 2: used to.
• 50:39
  Speaker 1: Full body burn. They did a couple of those this time.
• 50:41
  Speaker 1: I was like, those are impressive at least for this
• 50:43
  Speaker 1: budget level.
• 50:44
  Speaker 2: Aside from those guys, everybody else who gets torched from it,
• 50:48
  Speaker 2: you see the guy with the flamethrower and he hits
• 50:50
  Speaker 2: the thing. You see a shot of flame hit out
• 50:53
  Speaker 2: towards the person. You can obviously tell that A, the
• 50:56
  Speaker 2: person is standing way far back, is nowhere near the flame.
• 51:02
  Speaker 2: And basically the second cut of them getting burned is
• 51:05
  Speaker 2: obviously a cut.
• 51:07
  Speaker 1: I mean, really, that's a good thing.
• 51:10
  Speaker 5: Because knowing their budget and safety skills, odds are they would.
• 51:14
  Speaker 1: Have just burned these people. Well, of course, yeah. They
• 51:15
  Speaker 1: would have all become Milos in this movie. That is true, yeah.
• 51:18
  Speaker 1: Let's just give them a little pat on the back
• 51:21
  Speaker 1: for like, thanks for not killing anyone that we know of.
• 51:25
  Speaker 1: So that's surprising in its own right when you watch
• 51:28
  Speaker 1: this movie. Yeah.
• 51:30
  Speaker 2: We do get to, basically, Mark Gregory does return his trash,
• 51:34
  Speaker 2: and we get to him very early in the movie,
• 51:36
  Speaker 2: bringing him back, just kind of casually hanging out on
• 51:38
  Speaker 2: his motorcycle in a construction yard with a lot of pipes.
• 51:42
  Speaker 1: That is a slightly different, I don't remember the big
• 51:45
  Speaker 1: piece on the front of that motorcycle. It still had
• 51:47
  Speaker 1: the skull. Well, it had a better skull.
• 51:49
  Speaker 5: But it had, yeah, it had a different light-up skull,
• 51:52
  Speaker 5: which is awesome, don't get me wrong, but I was like,
• 51:53
  Speaker 5: it was like a big front piece on it.
• 51:56
  Speaker 1: Right? I don't remember that being on the old one.
• 51:58
  Speaker 1: It's been a year later. He had a different bike.
• 51:59
  Speaker 1: He got a new bike. He got a new bike.
• 52:01
  Speaker 1: I got an upgrade. I'm just making sure. Yeah, yeah.
• 52:03
  Speaker 2: But it seems like he's running supplies for other people.
• 52:06
  Speaker 2: But he comes across, basically, we get a helicopter that's
• 52:11
  Speaker 2: scanning the area.
• 52:11
  Speaker 1: And they find trash. Of course.
• 52:15
  Speaker 2: And so you've got a sniper guy in the passenger
• 52:19
  Speaker 2: spot shooting at trash from the helicopter. So one would
• 52:24
  Speaker 2: think if you're in a helicopter with a high-powered rifle
• 52:28
  Speaker 2: and you're aiming down on somebody, that's.
• 52:30
  Speaker 1: A good scenario to be in if you're trying to
• 52:34
  Speaker 1: murder people. Exactly.
• 52:36
  Speaker 2: What we don't expect is that basically you miss your
• 52:39
  Speaker 2: target entirely. A few squibs go off literally in front
• 52:45
  Speaker 2: of his face, kicking up dust and like, How did
• 52:48
  Speaker 2: you miss him? He wasn't like behind. You got a
• 52:51
  Speaker 2: clear shot.
• 52:53
  Speaker 1: That's not the part I had issue with. Because to me,
• 52:56
  Speaker 1: that is every one of these movies. Once again, these
• 52:58
  Speaker 1: are our stand-in stormtroopers. None of them can shoot for shit.
• 53:01
  Speaker 1: Very true. That is your job in this type of
• 53:03
  Speaker 1: dumb movie. Yes. But when he turns around and with
• 53:06
  Speaker 1: his tiny little revolver makes an entire helicopter explode in
• 53:12
  Speaker 1: like one or two shots. I was like, I don't know.
• 53:14
  Speaker 1: He fires five times. He fires five times But still
• 53:18
  Speaker 1: I don't.
• 53:19
  Speaker 2: Think it explodes Well, my also favorite is if you
• 53:23
  Speaker 2: notice the G.I. Joe figure that's basically flying from said
• 53:27
  Speaker 2: exploding helicopter.
• 53:28
  Speaker 1: Yeah. Yeah, there's a couple of times we get some
• 53:30
  Speaker 1: nice mannequins dropping, falling, lighting on fire.
• 53:34
  Speaker 2: I mean, yeah, there's certainly mannequins and shit like that,
• 53:36
  Speaker 2: but no, this was literally... Oh, yeah. They took a
• 53:39
  Speaker 2: three and three quarter inch G.I. Joe figure that was
• 53:42
  Speaker 2: in that model helicopter. When it blew up, he's flying
• 53:45
  Speaker 2: like the arms and limbs aren't moving. He's just like
• 53:48
  Speaker 2: just tumbling.
• 53:48
  Speaker 1: In like an L shape. You know, he's like.
• 53:53
  Speaker 2: special effects uh but yes uh yeah uh trash's magic
• 53:57
  Speaker 2: revolver does come into play in many occasions in this a.
• 54:00
  Speaker 1: Couple of times but yeah that one i was just
• 54:02
  Speaker 1: like i don't think that's how that if you're really
• 54:05
  Speaker 1: good you can take down a helicopter midnight run style
• 54:08
  Speaker 1: yeah you gotta be precise with your one shot but
• 54:12
  Speaker 1: you can do it That's not how you do it.
• 54:14
  Speaker 2: A standard issue police Smith & Wesson revolver cannot take
• 54:19
  Speaker 2: out a helicopter, even if you shoot it five times.
• 54:22
  Speaker 1: You've got to hit. You've got to go for the propeller.
• 54:26
  Speaker 1: There's a shot you can do, but that's not what
• 54:28
  Speaker 1: he was doing. And it doesn't just burst into flames.
• 54:31
  Speaker 2: And also, he didn't get a lot of gun training
• 54:33
  Speaker 2: because you notice anytime he fires that revolver, when he
• 54:37
  Speaker 2: squeezes the trigger, there's a lunge forward.
• 54:40
  Speaker 1: That's the best way to get the most precise version
• 54:43
  Speaker 1: of your shot. Jerk yourself a lot.
• 54:46
  Speaker 2: Every time he shoots that damn gun throughout this entire movie,
• 54:50
  Speaker 2: he's always lunging forward.
• 54:52
  Speaker 1: He shoots every shot. He's like 18. They picked him
• 54:56
  Speaker 1: up at the gym. He doesn't know nothing about no fire,
• 54:59
  Speaker 1: no guns.
• 55:00
  Speaker 2: That's where the technical crew comes in with safety training
• 55:03
  Speaker 2: and weapons training. Okay.
• 55:05
  Speaker 1: Think they had any of the stuff you're mentioning. Oh yes,
• 55:08
  Speaker 1: that's right. Yeah, that was it.
• 55:11
  Speaker 5: So, we cut to the parents.
• 55:14
  Speaker 1: Yes. The poster is a little much. I was going
• 55:19
  Speaker 1: to address the poster.
• 55:20
  Speaker 2: A giant full length black and white poster of your son.
• 55:24
  Speaker 1: It's like at least one sheet. Maybe larger. It might
• 55:27
  Speaker 1: be your subway poster. It took up the entire wall.
• 55:30
  Speaker 1: It is a huge poster. Floor to ceiling. It's just
• 55:34
  Speaker 1: the hottest shot of your son you can find to
• 55:36
  Speaker 1: put on your wall. Black and white. Artsy, obviously. Yeah, yeah, yeah.
• 55:40
  Speaker 1: Very artsy. It'd be classy, yeah. But it's like, do, I.
• 55:42
  Speaker 2: Mean, parents always have photos of your children in their home.
• 55:46
  Speaker 1: But it's like an 8x10 on the mantel. Sure, or
• 55:48
  Speaker 1: something on the wall. Not like a 16-year-old girl's wall
• 55:52
  Speaker 1: poster of the guy that they're into. Then I would
• 55:55
  Speaker 1: give you, but mom and dad, no. Yeah, it's like.
• 56:01
  Speaker 1: And where did they get that? Like in this future
• 56:04
  Speaker 1: world Bronx, they're printing out posters of the freedom fighter
• 56:10
  Speaker 1: that may or may not have gotten killed in the
• 56:11
  Speaker 1: last movie. But yeah, what press is running off like
• 56:15
  Speaker 1: revolution posters to give to... Can Walgreens even do a
• 56:19
  Speaker 1: wall print of that size? Not back in those days.
• 56:22
  Speaker 1: If you jump ahead a few decades, yes, you could
• 56:25
  Speaker 1: go get at least a good 24 by 36 version
• 56:28
  Speaker 1: of it, I'm sure. But... Yeah, I don't know.
• 56:31
  Speaker 5: That's why I was like, what? Is he the Che
• 56:33
  Speaker 5: of this world? And they're just printing up t-shirts with
• 56:35
  Speaker 5: him on it?
• 56:36
  Speaker 1: Like, what is going on? And it's not even addressed.
• 56:39
  Speaker 1: It's just there. You just see it there. And also,
• 56:43
  Speaker 1: it's like, I love the whole, like, his dad's going
• 56:45
  Speaker 1: to stand tall. We're not going anywhere. And mom is
• 56:48
  Speaker 1: just constantly like, let's leave. Let's get out.
• 56:51
  Speaker 2: Also, do you notice that his parents are just like,
• 56:54
  Speaker 2: unusually attractive people well.
• 56:56
  Speaker 1: Obviously that's how you get him i mean but you
• 57:00
  Speaker 1: know sometimes two uggos make a pretty but like his
• 57:02
  Speaker 1: parents are like really attractive they're also pretty old so
• 57:06
  Speaker 1: it's like how old were you when you had him
• 57:08
  Speaker 1: well you know it's the future it's rough i guess
• 57:11
  Speaker 1: but uh they were actually 32 they just look like
• 57:14
  Speaker 1: they were in their mid-60s.
• 57:15
  Speaker 2: Yeah, but the wish stormtroopers come busting in and torch
• 57:21
  Speaker 2: Ma and Pa trash.
• 57:22
  Speaker 1: Dad gets a good shot. We get a head squishing.
• 57:25
  Speaker 2: Yeah.
• 57:26
  Speaker 1: There's at least two head squishings. We got some head squishings, yeah.
• 57:30
  Speaker 1: And it looks super realistic. Yeah, Dad ain't going out
• 57:33
  Speaker 1: like a bitch, but... He holds his own for an
• 57:36
  Speaker 1: old man.
• 57:36
  Speaker 2: And then, like, mom does the stupid thing of, like,
• 57:39
  Speaker 2: she traps herself in a room and is constantly cowering
• 57:42
  Speaker 2: lower and lower and lower into a corner thinking, maybe
• 57:44
  Speaker 2: they don't shoot me if I'm crouched down this far.
• 57:47
  Speaker 1: They won't see me if I'm behind this over here.
• 57:49
  Speaker 2: And, like, now they're just going to torch you.
• 57:51
  Speaker 1: Torch you.
• 57:52
  Speaker 2: Yeah. And then when Trash finds the bodies of his
• 57:55
  Speaker 2: burnt parents, he's like, are those different actors?
• 57:58
  Speaker 1: Because they look like different actors. Yeah. And then he.
• 58:03
  Speaker 5: I guess moved them because originally they were in two
• 58:06
  Speaker 5: different places. But when we cut back later, he got
• 58:08
  Speaker 5: them side by side. So he hauled their burning carcass
• 58:13
  Speaker 5: over to lay next to each other so he could
• 58:15
  Speaker 5: creepily hold their hand.
• 58:17
  Speaker 1: I mean, it was as sad as you're going to
• 58:18
  Speaker 1: get in this type of movie. So I was like,
• 58:20
  Speaker 1: all right, that's a sad moment. But the logistics of
• 58:23
  Speaker 1: it are distracting me. I'm like, well, how did he?
• 58:25
  Speaker 1: And now I don't know.
• 58:28
  Speaker 2: But then our boy Henry Silva is introduced.
• 58:31
  Speaker 1: As our resident... Resident wacko. Floyd. Leader. Who names your
• 58:37
  Speaker 1: villain Floyd? Floyd.
• 58:39
  Speaker 2: Yeah. It's not like he's Mr. Floyd or Colonel Floyd
• 58:43
  Speaker 2: or General Floyd.
• 58:44
  Speaker 1: He's just Floyd. Yeah. Well, he's a wrangler.
• 58:47
  Speaker 5: I'll give him that. I was like, at least that
• 58:49
  Speaker 5: one makes sense. He is out there wrangling the bad
• 58:52
  Speaker 5: guys from their perspective.
• 58:54
  Speaker 2: And I love it too that we do get, oh,
• 58:57
  Speaker 2: was it a Neo-Girlami or.
• 58:59
  Speaker 1: AKA Thomas Moore? Which is the worst. Back as our
• 59:03
  Speaker 1: corporate president. Yeah, yeah. And he gives a name now.
• 59:06
  Speaker 1: He's Clark. Direct sequel action here. it totally picks up
• 59:11
  Speaker 1: where the bullshit from the last movie.
• 59:12
  Speaker 2: Left off but he got a name now because he
• 59:15
  Speaker 2: didn't have a name in the.
• 59:15
  Speaker 1: First president you know he was he was.
• 59:18
  Speaker 2: Just he was like the president of the corporation's like
• 59:20
  Speaker 2: does the man not have a name you bothered to
• 59:23
  Speaker 2: cast him.
• 59:23
  Speaker 1: But yeah the president um He.
• 59:28
  Speaker 2: Doesn't pop in until about halfway through the movie, but
• 59:31
  Speaker 2: we get Gene Carlo Preet back in this, who is
• 59:33
  Speaker 2: Scorpion in Warriors of the Wasteland. And since we like
• 59:38
  Speaker 2: one-name S-words, he's Strike in this one.
• 59:42
  Speaker 1: Yeah, Strike. Do we know.
• 59:45
  Speaker 5: Because I kept looking for it. Do we know who
• 59:48
  Speaker 5: did the voiceover? Was that the same actor?
• 59:51
  Speaker 2: Nope.
• 59:51
  Speaker 1: Because it's so familiar. I sat there the whole rest
• 59:54
  Speaker 1: of the movie going... know that person who the hell
• 59:57
  Speaker 1: do so do.
• 59:57
  Speaker 2: We know it was not it was not the same
• 59:59
  Speaker 2: actor i don't know who did the voiceover it sounds
• 1:00:01
  Speaker 2: so familiar you're right i'm like i know i know
• 1:00:04
  Speaker 2: this actor from american movies damn it yeah i'm like
• 1:00:07
  Speaker 2: which one is it i agree i kept looking for
• 1:00:09
  Speaker 2: it online and i could not find it they specifically
• 1:00:12
  Speaker 2: say this person did this and there was a voice
• 1:00:15
  Speaker 2: actor that had done a bunch of other italian stuff
• 1:00:17
  Speaker 2: that did different characters yeah but nothing specific on him i.
• 1:00:20
  Speaker 1: Was like damn it this is frustrating um i.
• 1:00:22
  Speaker 2: I will say though the the child sidekick Strike Jr.,
• 1:00:27
  Speaker 2: that's actually his real son.
• 1:00:29
  Speaker 1: Well, within there, he did say it was his son,
• 1:00:32
  Speaker 1: so it was just art imitating life and vice versa.
• 1:00:35
  Speaker 2: That's why their chemistry was actually so good, because they
• 1:00:38
  Speaker 2: are father and son.
• 1:00:39
  Speaker 1: Which is weird, though, because looking at him, I was like,
• 1:00:41
  Speaker 1: that doesn't really look like his son. I was like,
• 1:00:43
  Speaker 1: I wonder what mom looks like, because he doesn't really
• 1:00:45
  Speaker 1: look that much like him.
• 1:00:47
  Speaker 2: Well, see, the thing is, I think this, again, this
• 1:00:49
  Speaker 2: is about, what, a year removed from Indiana Jones and
• 1:00:52
  Speaker 2: the Temple of Doom?
• 1:00:53
  Speaker 1: Yeah, yeah.
• 1:00:54
  Speaker 2: So it's like, ooh, that kid kind of looks a
• 1:00:56
  Speaker 2: little Asian. Maybe we could get him as our little
• 1:01:00
  Speaker 2: Asian child, but then he becomes slightly murderous.
• 1:01:03
  Speaker 1: And it becomes like a running thing, because our last
• 1:01:06
  Speaker 1: movie had a dumb sidekick kid. Right. So I'm like,
• 1:01:09
  Speaker 1: we already kind of did that move. So now it's
• 1:01:11
  Speaker 1: just a different sidekick kid that likes to blow shit up. Well,
• 1:01:14
  Speaker 1: that was a white blonde kid. Yeah, yeah. And he
• 1:01:16
  Speaker 1: was kind of an old man, but seemed like a kid. Right.
• 1:01:20
  Speaker 1: Never figured out why. Right. So, yeah, he's just a
• 1:01:23
  Speaker 1: regular kid now.
• 1:01:23
  Speaker 2: Whereas this is just a child who's apparently really good
• 1:01:26
  Speaker 2: with explosives and murdering people.
• 1:01:28
  Speaker 1: And sets them up everywhere. Everywhere. Like, every few seconds
• 1:01:31
  Speaker 1: he's just.
• 1:01:32
  Speaker 2: Boom!
• 1:01:33
  Speaker 1: And then it goes off. And I'm like, dude, how
• 1:01:34
  Speaker 1: do you even have time to put these all everywhere? Yeah,
• 1:01:37
  Speaker 1: and he's really cocky, too, about his placement.
• 1:01:39
  Speaker 2: Because he's just sitting there making a little explosion sound
• 1:01:43
  Speaker 2: effect right before the one goes off and kills three people.
• 1:01:46
  Speaker 5: And very casually, as they're walking around later, he's like, eh, tripwire.
• 1:01:49
  Speaker 5: And just ducks under it. And I'm like, how many
• 1:01:51
  Speaker 5: times a day do you have to do this? And
• 1:01:53
  Speaker 5: if you don't, you blow yourself up because you've put them.
• 1:01:56
  Speaker 1: Everywhere, kid! Yeah, that seems complicated.
• 1:01:59
  Speaker 2: I tell you what, the kid serves a purpose.
• 1:02:01
  Speaker 1: He at least does something in this movie, more than
• 1:02:03
  Speaker 1: a lot of characters.
• 1:02:06
  Speaker 2: But let's not forget a character that is in the movie,
• 1:02:09
  Speaker 2: is presented as somebody important, but literally does nothing.
• 1:02:13
  Speaker 1: That's a lot of them, actually.
• 1:02:16
  Speaker 2: I'm specifically talking about DeBloom.
• 1:02:19
  Speaker 1: The Pirates of Penzance? Yes.
• 1:02:21
  Speaker 5: Where is his outfit from? Because that's another one. I'm like,
• 1:02:23
  Speaker 5: I have seen that exact outfit somewhere.
• 1:02:26
  Speaker 1: Ice Pirates. Well, see, that's what I thought. Eventually, I
• 1:02:29
  Speaker 1: came to it.
• 1:02:30
  Speaker 5: I looked up the one he's wearing at least half
• 1:02:32
  Speaker 5: the time is like a different medium brown.
• 1:02:34
  Speaker 1: It's not like that black studded.
• 1:02:36
  Speaker 5: But it looked exactly like, in my head, I was like,
• 1:02:38
  Speaker 5: isn't that what he's wearing in Ice Pirates?
• 1:02:40
  Speaker 1: Yeah, yeah, it looked totally like Ice Pirates. So yeah,
• 1:02:42
  Speaker 1: once again, just lifting stuff right and left. Or vice versa.
• 1:02:45
  Speaker 1: Maybe they saw this movie and went, ah, that's the
• 1:02:47
  Speaker 1: costume I want. Put that on me. Costuming, get on that.
• 1:02:50
  Speaker 2: And for this role, we cast the great Antonio Sabato,
• 1:02:54
  Speaker 2: who would many years later give us Antonio Sabato Jr.
• 1:02:58
  Speaker 1: He's at least fun in this. He is. He has
• 1:03:01
  Speaker 1: a good time on, again... A little scenery chewing going on.
• 1:03:05
  Speaker 1: A lot of scenery chewing. But he's at least entertaining,
• 1:03:08
  Speaker 1: which is, again, more than you can say for most
• 1:03:10
  Speaker 1: of the characters, including Trash, really. Yeah. He's the most
• 1:03:13
  Speaker 1: boring leading man ever. Oh, my God. Yeah, yeah. Yeah,
• 1:03:15
  Speaker 1: Mark Gregory, like, what happened to him between the first movie...
• 1:03:21
  Speaker 1: And the third movie, because he looks older, and it's
• 1:03:25
  Speaker 1: literally a year later. It's a year later, yeah. It's
• 1:03:28
  Speaker 1: a year later. But all these movies were literally shot
• 1:03:31
  Speaker 1: within a nine-month span. Shot, written, produced, everything. So it's like.
• 1:03:37
  Speaker 2: What the fuck happened to this guy? Because he looks older.
• 1:03:40
  Speaker 2: He looks tired. He looks like he's got giant disco
• 1:03:43
  Speaker 2: coke nostrils.
• 1:03:44
  Speaker 1: He made that first movie and that was enough to
• 1:03:47
  Speaker 1: almost kill him.
• 1:03:48
  Speaker 2: I mean, holy shit, this guy looks better.
• 1:03:51
  Speaker 1: Well, I noticed he didn't have the impressive I'm going
• 1:03:53
  Speaker 1: to take my shirt off moment like most action stars
• 1:03:56
  Speaker 1: would of this era. Yeah, that shirt stayed on for
• 1:03:59
  Speaker 1: the whole movie. And most of it, the jacket. So
• 1:04:02
  Speaker 1: I was just like, he is covering up for something.
• 1:04:05
  Speaker 1: And I couldn't see a major. He didn't look hefty.
• 1:04:09
  Speaker 1: It only been nine months. I don't know how he
• 1:04:10
  Speaker 1: could be that bad off.
• 1:04:12
  Speaker 5: But the fact that he just wouldn't even take his
• 1:04:14
  Speaker 5: shirt off, I was like, you certainly didn't in the
• 1:04:16
  Speaker 5: first movie, so I don't know what's going on now.
• 1:04:18
  Speaker 1: Yeah. Speaking of the jacket, I did want to address
• 1:04:23
  Speaker 1: the patch. Uh-huh. I guess this is just because, again,
• 1:04:27
  Speaker 1: this is one of those like now you wouldn't touch that.
• 1:04:31
  Speaker 1: I guess this is just a very rebellion going against
• 1:04:36
  Speaker 1: the system kind of a mode because it is a
• 1:04:39
  Speaker 1: stars and bars kind of a thing. It is a
• 1:04:42
  Speaker 1: rebel flag on his jacket, which, again, in the Bronx
• 1:04:46
  Speaker 1: seems like a weird pull. But I guess they're just
• 1:04:48
  Speaker 1: going for the general rebels, rebel against the system kind
• 1:04:52
  Speaker 1: of a thing. But I'm like, you can't ignore it.
• 1:04:55
  Speaker 1: It's there in the whole movie. And I was like, well.
• 1:04:57
  Speaker 5: We had a little of that the first time, if
• 1:04:59
  Speaker 5: you remember. I know somebody had one on their jacket.
• 1:05:01
  Speaker 5: Somebody had one on their bike or something.
• 1:05:04
  Speaker 2: It was the guy who kept turning on everybody.
• 1:05:06
  Speaker 1: Yeah. The glasses, leather jacket. Yeah, he definitely seemed a
• 1:05:10
  Speaker 1: little more like a slimy bastard. He would be into that. Yeah,
• 1:05:14
  Speaker 1: it was Evil John Denver. Yeah, yeah. So that made sense.
• 1:05:17
  Speaker 1: But now we've even got our hero wearing it. So
• 1:05:19
  Speaker 1: I'm like, again, at that time, you could still have
• 1:05:24
  Speaker 1: that and it wouldn't necessarily be the Kiss of death
• 1:05:27
  Speaker 1: that is now become in anything you use it for.
• 1:05:29
  Speaker 3: Yeah.
• 1:05:30
  Speaker 1: So just addressing that it's there. It is there. Yeah.
• 1:05:33
  Speaker 5: But again, at that era, you could get away with it.
• 1:05:36
  Speaker 5: I watched, uh, Countless episodes of Dukes of Hazzard. Do
• 1:05:40
  Speaker 5: I think they were thinking about that as they jumped
• 1:05:41
  Speaker 5: in the car every time? No, it was just, yay,
• 1:05:44
  Speaker 5: this is where we live.
• 1:05:45
  Speaker 1: This is what we do. That was a bit of symbolism. Yeah,
• 1:05:48
  Speaker 1: you can still get away with that. And it worked
• 1:05:50
  Speaker 1: at that point. It made sense. Well, again, it made
• 1:05:52
  Speaker 1: more sense for them, let alone the dude in the Bronx. Right, yeah.
• 1:05:55
  Speaker 2: It doesn't really make sense at all. Yeah, the Italian
• 1:05:58
  Speaker 2: guy in the Bronx didn't quite fit.
• 1:05:59
  Speaker 1: It didn't make any sense.
• 1:06:00
  Speaker 5: But again, at the time, you could still have that.
• 1:06:04
  Speaker 5: It didn't necessarily mean anything officially. It still kind of
• 1:06:08
  Speaker 5: did because this is the country we live in.
• 1:06:10
  Speaker 1: But I don't know. Just addressing it. Yeah.
• 1:06:14
  Speaker 2: One scene I also kind of really enjoyed here. You
• 1:06:18
  Speaker 2: start to get some fighting back from Trash and his
• 1:06:21
  Speaker 2: people against the Wish stormtroopers and Henry Silva's character. But
• 1:06:26
  Speaker 2: my favorite is there's basically a scene where you got...
• 1:06:28
  Speaker 2: A bunch of people are just kind of sitting around
• 1:06:30
  Speaker 2: on a street corner or whatever else. And the death
• 1:06:34
  Speaker 2: truck rolls up and the guys pour out. And they're like,
• 1:06:37
  Speaker 2: all right, we're going to clear these guys out.
• 1:06:39
  Speaker 1: And the guys are just standing around casually in a
• 1:06:41
  Speaker 1: large cluster group. And then suddenly the hobos open fire
• 1:06:46
  Speaker 1: and attack. And then the Wish Stormtroopers fight back. And
• 1:06:51
  Speaker 1: then a majority of the... Dudes standing around in the
• 1:06:54
  Speaker 1: cluster all get killed, surprisingly enough. It wasn't the best plan,
• 1:06:58
  Speaker 1: we'll say. It was like, who's strategizing this shit? Yes,
• 1:07:03
  Speaker 1: you might want to spring that on them, but you
• 1:07:05
  Speaker 1: need some cover or they're just going to murder all
• 1:07:08
  Speaker 1: your guys. If trash is our general, he's kind of
• 1:07:13
  Speaker 1: dropping the ball.
• 1:07:14
  Speaker 2: He sucks at what he does. Another thing, too, I
• 1:07:18
  Speaker 2: hadn't noticed about our strike character. Did you notice the
• 1:07:22
  Speaker 2: giant leather holster for the gun?
• 1:07:25
  Speaker 1: Like, his pistol? Yeah. That's way oversized. And it's, like,
• 1:07:29
  Speaker 1: in the wrong spot. Like, normally it's on your hip. It's, like,
• 1:07:32
  Speaker 1: way up here on his thigh. It's in his crotch. Yeah.
• 1:07:34
  Speaker 1: I was like, that's not how you wear that. But,
• 1:07:36
  Speaker 1: I mean, whatever. It's the sort of post-apocalyptic. You just
• 1:07:40
  Speaker 1: wear whatever the hell you want in those movies.
• 1:07:42
  Speaker 2: I mean, it's a German machine pistol. It has all
• 1:07:44
  Speaker 2: those little pistols. It has, like, a little clip on it. But, like,
• 1:07:47
  Speaker 2: the size of the pistol versus the size of the holster...
• 1:07:50
  Speaker 2: does not match.
• 1:07:52
  Speaker 1: Well, and he's always carrying it, so the holster's just
• 1:07:54
  Speaker 1: kind of hanging there most of the time. It's like,
• 1:07:57
  Speaker 1: do you even need that? Because you're just carrying it
• 1:07:59
  Speaker 1: around the whole time.
• 1:08:01
  Speaker 2: And then we have our stalwart reporters. We have the
• 1:08:05
  Speaker 2: crusader lady and her camera guy.
• 1:08:09
  Speaker 1: I didn't expect the arc for her the way it
• 1:08:11
  Speaker 1: went down.
• 1:08:13
  Speaker 2: There was probably a message that was completely lost.
• 1:08:16
  Speaker 5: Well, just in general, the fact that I mean, I
• 1:08:19
  Speaker 5: guess in these movies you get, once again, our hero move, like,
• 1:08:23
  Speaker 5: I assumed she would at least get to the end
• 1:08:25
  Speaker 5: with him on this little journey, but she made it
• 1:08:28
  Speaker 5: halfway through and was like, I'll go distract him.
• 1:08:30
  Speaker 1: I'm like, well, she did distract him as they murdered her.
• 1:08:34
  Speaker 2: Yeah, it's like she's busting out her anti-corporation speech. Fortunately,
• 1:08:41
  Speaker 2: it's around a crowd of people, and there's media there,
• 1:08:44
  Speaker 2: and then she's basically gunned down on live television, and
• 1:08:47
  Speaker 2: then basically the media crew are apprehended.
• 1:08:49
  Speaker 1: And absolutely nothing happens because of it.
• 1:08:52
  Speaker 2: And then prior to that, her camera guy who's taking
• 1:08:56
  Speaker 2: photos of things going on, he gets burned to death.
• 1:08:58
  Speaker 1: Well, I was like, did the... camera survive again i
• 1:09:01
  Speaker 1: was like after every step of the way i'm like
• 1:09:03
  Speaker 1: trying to make something out of this i'm like so
• 1:09:05
  Speaker 1: did at least he get because he was getting pretty
• 1:09:08
  Speaker 1: damning footage there i was like if we're trying to
• 1:09:10
  Speaker 1: get it out to the world i was like but
• 1:09:12
  Speaker 1: we don't see her pick up the camera like we
• 1:09:14
  Speaker 1: don't see like it ever served any purpose it was
• 1:09:16
  Speaker 1: just Eh, let's kill that guy now. It's just time
• 1:09:20
  Speaker 1: for him to go.
• 1:09:21
  Speaker 2: And did you notice that the cameraman, he's actually been
• 1:09:26
  Speaker 2: in all three movies. Because he was one of one's
• 1:09:31
  Speaker 2: bad guys. Basically, he's playing a bad guy in every
• 1:09:34
  Speaker 2: other movie. But he also has another very infamous film
• 1:09:38
  Speaker 2: that he was a part of.
• 1:09:39
  Speaker 1: Oh, Lord. He was in Troll 2. Oh, God. He's
• 1:09:43
  Speaker 1: the Preacher. Nobody wants to claim they were in Troll 2.
• 1:09:46
  Speaker 2: Yeah, basically there's the guy that's dressed like.
• 1:09:48
  Speaker 1: A priest or a preacher the whole time. Yeah, that's him.
• 1:09:51
  Speaker 1: Same dude. As soon as I said it, I was like, oh,
• 1:09:55
  Speaker 1: it's the Troll 2 guy. There's no hope for that guy.
• 1:10:02
  Speaker 2: The whole time I was thinking that guy got burned. Like,
• 1:10:03
  Speaker 2: that guy was somebody's nephew.
• 1:10:05
  Speaker 1: Around that time, we also get to the point where
• 1:10:08
  Speaker 1: they blow up the building. Oh, yes. And if we're
• 1:10:11
  Speaker 1: talking about the G.I. Joe, man, oh, man, that building
• 1:10:14
  Speaker 1: was just a train set building. Dude, they destroyed Mr.
• 1:10:17
  Speaker 1: Rogers' neighborhood.
• 1:10:18
  Speaker 5: It was like, it was impressively put together, but I
• 1:10:21
  Speaker 5: was like, that was a miniature, dude.
• 1:10:23
  Speaker 1: Like, sometimes it's so good you can't tell. That is
• 1:10:26
  Speaker 1: not one of those times. It was literally, it looked
• 1:10:28
  Speaker 1: like the opening of Mr.
• 1:10:29
  Speaker 2: Rogers' neighborhood and then somebody hit the detonator and you
• 1:10:33
  Speaker 2: blew up Mr.
• 1:10:34
  Speaker 1: Rogers' neighborhood. It was like, ooh, HO scale, cool. Yeah. Yeah,
• 1:10:37
  Speaker 1: I noticed that, too.
• 1:10:39
  Speaker 2: And there was also a moment where a car gets exploded.
• 1:10:45
  Speaker 2: I think it's like there's a scene where there's basically
• 1:10:48
  Speaker 2: like they're all looking for trash throughout the city. And
• 1:10:51
  Speaker 2: so you got like a bunch of like soldiers running
• 1:10:54
  Speaker 2: around doing things. But there's also like these like unexplained
• 1:10:57
  Speaker 2: Goombas in suits and sedans, large sedans. standing around like
• 1:11:03
  Speaker 2: they're like mafia guys and you know and basically oh
• 1:11:06
  Speaker 2: yeah we gotta go you know and then like of
• 1:11:09
  Speaker 2: course they get attacked and I love it there's a
• 1:11:11
  Speaker 2: couple guys standing by a car and somebody throws a
• 1:11:13
  Speaker 2: grenade and the next thing you see is two obvious
• 1:11:16
  Speaker 2: dummies standing in front of said car getting blown up
• 1:11:19
  Speaker 2: and getting tossed it's like like.
• 1:11:20
  Speaker 1: I said some of those mannequin shots are pretty impressive
• 1:11:23
  Speaker 1: not in the way they wanted them to be but
• 1:11:25
  Speaker 1: from my end they were very entertaining.
• 1:11:28
  Speaker 2: Yeah that out um And, of course, we can't get
• 1:11:33
  Speaker 2: past any of these movies without somebody throwing in a backstabbing. Yeah.
• 1:11:37
  Speaker 2: There's always got to be a backstabber.
• 1:11:39
  Speaker 1: A pretty running theme.
• 1:11:41
  Speaker 2: And in this case, it's President Clark's corporate stooge dude.
• 1:11:44
  Speaker 1: The vice president. The vice president, yeah. You got to
• 1:11:47
  Speaker 1: watch your vice president because that's how they move ahead.
• 1:11:50
  Speaker 2: Yeah. It's like, oh, well, there, you know, it's like,
• 1:11:52
  Speaker 2: you know, he's got this plan of, you know, basically
• 1:11:55
  Speaker 2: the whole idea is like, we're going to clear all
• 1:11:56
  Speaker 2: the people out of the Bronx and then we're going
• 1:11:59
  Speaker 2: to raise everything and build up new buildings and shopping
• 1:12:02
  Speaker 2: centers and apartment complexes and Starbucks and everything else.
• 1:12:05
  Speaker 1: And it'd be nice and pretty. I mean, that's kind
• 1:12:07
  Speaker 1: of how they operate in general. Yeah, I mean, it's gentrification.
• 1:12:10
  Speaker 1: That's how gentrification works. It's gentrification, yeah. That's exactly what
• 1:12:13
  Speaker 1: they want. They just get rid of all these homeless
• 1:12:15
  Speaker 1: people and these trashy bastards and build up a nice
• 1:12:18
  Speaker 1: Starbucks and a couple of high-end condos and... Yeah.
• 1:12:22
  Speaker 2: But I love it when basically president Clark gets kidnapped.
• 1:12:25
  Speaker 2: It's the big, the reason why they get strike at
• 1:12:27
  Speaker 2: the big plaza. We're going to kidnap the president and
• 1:12:30
  Speaker 2: make them do what we want. Cause they'll want him
• 1:12:32
  Speaker 2: back again.
• 1:12:33
  Speaker 1: Once, once again, the very stealing from other movies, that's
• 1:12:37
  Speaker 1: the escape from New York of it all. Yeah.
• 1:12:39
  Speaker 5: Except it's like from the opposite side. I know it's
• 1:12:41
  Speaker 5: doing it the other way. Instead of going and get
• 1:12:44
  Speaker 5: the president, it's you go kidnap the president.
• 1:12:47
  Speaker 1: Yeah. Yeah. Yeah. So it's still kind of stealing that same. Absolutely. Yes.
• 1:12:51
  Speaker 2: Uh, And so the corporate stooge is a little like, oh,
• 1:12:53
  Speaker 2: the kid at the president.
• 1:12:54
  Speaker 1: Well, tough shame by him. What a shame. And then
• 1:12:56
  Speaker 1: literally it's like looking at the model. It's like, why
• 1:12:59
  Speaker 1: is he taking notes? And then you realize he's.
• 1:13:01
  Speaker 2: Writing the fucking obituary and relaying it to the secretary
• 1:13:06
  Speaker 2: after he's done writing it. The guy's not even dead.
• 1:13:09
  Speaker 2: It's like, that's a nice moment.
• 1:13:12
  Speaker 1: Too bad they got the president. Yeah.
• 1:13:14
  Speaker 4: Yeah.
• 1:13:17
  Speaker 1: There were a few quality lines. I do like that
• 1:13:21
  Speaker 1: I specifically bothered to write down, I'm worse than anybody.
• 1:13:26
  Speaker 1: It says a lot about this movie. Yes. I'm worse
• 1:13:29
  Speaker 1: than anybody. Oh, also... Let's not forget because, of course,
• 1:13:37
  Speaker 1: Trash has the magic revolver. Strike has the magic shotgun.
• 1:13:42
  Speaker 1: Because apparently one shotgun shell can blow up a large van. Anything, really. Yeah,
• 1:13:51
  Speaker 1: there's a few times when I questioned. Because there was one,
• 1:13:55
  Speaker 1: I think it's a little later. But I'm just like,
• 1:13:56
  Speaker 1: this is just, again, bad on you as the bad
• 1:13:59
  Speaker 1: guys in this.
• 1:14:00
  Speaker 2: Because.
• 1:14:01
  Speaker 1: He comes around the corner.
• 1:14:02
  Speaker 5: There's at least two guys there with at least semi,
• 1:14:06
  Speaker 5: if not fully automatic weapons.
• 1:14:08
  Speaker 1: He has a shotgun.
• 1:14:09
  Speaker 4: Right.
• 1:14:09
  Speaker 1: He gets the first one off, kills the one dude.
• 1:14:12
  Speaker 1: That's fine. But he takes enough time to bring out
• 1:14:17
  Speaker 1: another shell. I was like, that guy should have killed
• 1:14:20
  Speaker 1: you by now. Like, for you to have time to
• 1:14:22
  Speaker 1: re-cock the thing and get it reloaded for you to
• 1:14:25
  Speaker 1: take out the other guy, this guy standing there with
• 1:14:28
  Speaker 1: an automatic weapon should have mowed you down. But no, no,
• 1:14:31
  Speaker 1: he just stands there waiting his turn. I'm like, no,
• 1:14:34
  Speaker 1: that's not how this is supposed to go.
• 1:14:36
  Speaker 2: And also there's another scene where a single shot is
• 1:14:41
  Speaker 2: fired from said shotgun and blows up a car. But
• 1:14:44
  Speaker 2: when the car blows up, it is obviously a Matchbox
• 1:14:48
  Speaker 2: or Hot Wheels car that it's getting blown up.
• 1:14:50
  Speaker 1: It's a shame. I want to play with it.
• 1:14:52
  Speaker 2: Yeah, you cannot dispute that. It's like, oh, my God.
• 1:14:56
  Speaker 1: You could tell, man, they just had no money for
• 1:14:59
  Speaker 1: this movie.
• 1:15:00
  Speaker 5: Well, and most of it, again, just comparing, we had
• 1:15:03
  Speaker 5: a good amount of they at least spent a week
• 1:15:06
  Speaker 5: or so next to New York, getting some scenery. Like,
• 1:15:10
  Speaker 5: we've got a few shots at the beginning, but after that,
• 1:15:13
  Speaker 5: it has all those underground shots of nothing but the
• 1:15:15
  Speaker 5: same tube back and forth that is definitely in Rome
• 1:15:19
  Speaker 5: somewhere because they shot all the interiors in Rome.
• 1:15:21
  Speaker 2: It's probably the same interiors from the first film.
• 1:15:23
  Speaker 1: Yeah, I'm sure.
• 1:15:24
  Speaker 5: But that's why I was like, I feel like there's
• 1:15:27
  Speaker 5: so much, and even that street, that one street that
• 1:15:29
  Speaker 5: the big finale's on, I'm sure as they closed off
• 1:15:32
  Speaker 5: street somewhere in Rome. So they knocked out their day
• 1:15:35
  Speaker 5: and a half of shooting shots of New York right away.
• 1:15:38
  Speaker 1: And we're like, nope, heading on over now. We're done.
• 1:15:41
  Speaker 1: So it feels so more contained and even more low
• 1:15:46
  Speaker 1: budget than that first movie. Exactly.
• 1:15:50
  Speaker 2: There's one effect shot that I think is probably where
• 1:15:53
  Speaker 2: all the budget went. Because basically, Stryker eventually runs out
• 1:15:56
  Speaker 2: of shotgun shells. And so he's like, you know what,
• 1:15:59
  Speaker 2: fuck it. He grabs the thing and basically uses the
• 1:16:01
  Speaker 2: shotgun like a club, which is the correct choice.
• 1:16:04
  Speaker 1: I mean, in that situation, that's what you would do.
• 1:16:07
  Speaker 1: And also, he did it correctly.
• 1:16:09
  Speaker 2: He basically grabbed the barrel and was using the handle
• 1:16:12
  Speaker 2: as the club part. And you get a great shot
• 1:16:15
  Speaker 2: of a dude getting his face smashed in with helmet
• 1:16:18
  Speaker 2: and everything like that.
• 1:16:18
  Speaker 1: That's the second head squishing. Yeah.
• 1:16:20
  Speaker 2: That second head squishing was the best shot in the
• 1:16:23
  Speaker 2: fucking movie.
• 1:16:24
  Speaker 1: That's the thing. I was like, both of them look
• 1:16:26
  Speaker 1: very fake, but they look like they spent a lot
• 1:16:29
  Speaker 1: of time and money on them. So I was like, yeah,
• 1:16:31
  Speaker 1: that was fun.
• 1:16:32
  Speaker 2: I liked that. I was like, I rewound that shot.
• 1:16:35
  Speaker 2: I was like, that was really well done, guys. He's like,
• 1:16:38
  Speaker 2: I gotta give you your flowers on something.
• 1:16:39
  Speaker 1: Yeah. I was like, that one worked pretty well. Ugh.
• 1:16:43
  Speaker 1: And then, well, we get like a whole bunch of
• 1:16:46
  Speaker 1: deaths in a row here. It's the whole movie. Just
• 1:16:50
  Speaker 1: an endless barrage of people getting shot. Occasionally burned on fire.
• 1:16:55
  Speaker 1: Because the evil Floyd, a.k.a.
• 1:16:58
  Speaker 2: Beloved Henry Silva, he kills our President Clark.
• 1:17:01
  Speaker 1: So he just shoots him cold blood. What a bastard.
• 1:17:03
  Speaker 1: What a bastard.
• 1:17:05
  Speaker 2: And then also kills Antonio Sabato.
• 1:17:08
  Speaker 1: A pirate guy.
• 1:17:08
  Speaker 2: So he gets killed in dramatic fashion.
• 1:17:10
  Speaker 1: And so you're like, yeah, you killed Antonio, you bastard.
• 1:17:15
  Speaker 1: But then trash.
• 1:17:16
  Speaker 2: Ends up blowing up Floyd. So it was like he
• 1:17:19
  Speaker 2: gets his comeuppance.
• 1:17:21
  Speaker 1: I think that was already past the point of my
• 1:17:24
  Speaker 1: other line that I wrote down, which once again is very,
• 1:17:28
  Speaker 1: very puts you in the mindset of this movie when
• 1:17:30
  Speaker 1: we got a line that says, nobody would sit on
• 1:17:33
  Speaker 1: a john full of dynamite. That was spoken in this movie.
• 1:17:38
  Speaker 1: It was. It was, yes. I think that Stryker, what's
• 1:17:42
  Speaker 1: his name? Stryker. I think he said that one.
• 1:17:45
  Speaker 5: But yeah, that was another one of those that was like,
• 1:17:47
  Speaker 5: you know, sometimes you're just writing yourself into this hole.
• 1:17:50
  Speaker 5: It's like, you made that line up, so it's on you, man.
• 1:17:55
  Speaker 1: I'm just watching this dumb thing. But yeah.
• 1:17:59
  Speaker 2: It always amuses me with this third film. It's like,
• 1:18:03
  Speaker 2: they had no money for this. You can tell the
• 1:18:07
  Speaker 2: piss was out of it. There's not even a hint
• 1:18:11
  Speaker 2: of any kind of romantic lead.
• 1:18:14
  Speaker 1: That's why I was like, they killed her off halfway through.
• 1:18:16
  Speaker 1: I'm like, so it's just these two dudes wandering through
• 1:18:19
  Speaker 1: the sewer now.
• 1:18:21
  Speaker 2: And then, like, you know, basically the bad guys are
• 1:18:23
  Speaker 2: all killed.
• 1:18:24
  Speaker 1: The, you know, the.
• 1:18:26
  Speaker 2: Corporate president's killed. The vice president who's trying to overtake things.
• 1:18:29
  Speaker 2: Everybody gets killed. All the bad guys are dead. Most
• 1:18:34
  Speaker 2: of Trash's companions are dead. And Trash is kind of like,
• 1:18:37
  Speaker 2: gives a look to the camera, shrugs, walks away.
• 1:18:40
  Speaker 1: End of movie. Am I done with this bullshit? That's
• 1:18:42
  Speaker 1: like what he's saying.
• 1:18:43
  Speaker 2: So, okay, I guess he's still in the Bronx and
• 1:18:46
  Speaker 2: he's gonna live in squalor.
• 1:18:48
  Speaker 1: And that was my not to jump all the way
• 1:18:50
  Speaker 1: to the end but that was my takeaway we got
• 1:18:52
  Speaker 1: to the end and I could tell the credits were
• 1:18:54
  Speaker 1: about to roll and I was like what did we
• 1:18:56
  Speaker 1: accomplish with this movie nothing I was like nobody nothing
• 1:19:01
  Speaker 1: moves forward like it just we watched people get murdered
• 1:19:05
  Speaker 1: for an hour and a half and that's pretty much
• 1:19:07
  Speaker 1: it like other than that Nothing really happened.
• 1:19:11
  Speaker 2: No, it's like we didn't take down the corporation in
• 1:19:14
  Speaker 2: its head or anything.
• 1:19:16
  Speaker 5: Or again, her like rousing speech and the gets back
• 1:19:19
  Speaker 5: to the press and then the people in the outside
• 1:19:21
  Speaker 5: world are like, oh, we can't destroy the Bronx.
• 1:19:23
  Speaker 1: Like we don't know what's going on in the outside world.
• 1:19:26
  Speaker 5: We don't know why the Bronx is the way it is,
• 1:19:28
  Speaker 5: why we're getting rid of it other than they don't
• 1:19:30
  Speaker 5: like poor people.
• 1:19:31
  Speaker 1: And then like they don't change that. They're still going to.
• 1:19:34
  Speaker 1: I guess bulldoze the rest of the Bronx and blow
• 1:19:36
  Speaker 1: it all up and put in their condos. I'm like,
• 1:19:38
  Speaker 1: what did we accomplish here?
• 1:19:40
  Speaker 2: You actually got to think like, okay, so President Clark
• 1:19:42
  Speaker 2: was killed and then we got the vice presidents taking over.
• 1:19:45
  Speaker 2: But then basically they had to essentially appoint a second
• 1:19:48
  Speaker 2: to that guy. So then that guy wasn't around.
• 1:19:51
  Speaker 1: Some third in command somewhere just became president.
• 1:19:54
  Speaker 6: Yeah.
• 1:19:54
  Speaker 2: I mean, there's another corporate stooge is now in charge.
• 1:19:57
  Speaker 2: Like things keep rolling.
• 1:19:58
  Speaker 1: And they're not going to, again, they've got a miniature
• 1:20:01
  Speaker 1: built in the office. They're not going to change their plan.
• 1:20:04
  Speaker 1: You got to get rid of these losers over here
• 1:20:06
  Speaker 1: in the Bronx. That's a very nice. We spent a
• 1:20:09
  Speaker 1: lot of time and money on that miniature. That may
• 1:20:11
  Speaker 1: have been the whole budget right there. Yeah, because that
• 1:20:14
  Speaker 1: was a very impressive miniature of the city. Those were
• 1:20:15
  Speaker 1: nice miniatures. They went to somebody's office and stole those probably.
• 1:20:18
  Speaker 2: Yeah, there was that architectural firm had a really good
• 1:20:21
  Speaker 2: idea for a city and they're like.
• 1:20:22
  Speaker 1: Let's use that for the movie. And they found it
• 1:20:24
  Speaker 1: and broke in at night. Stole all their stuff. Stole it, yeah.
• 1:20:28
  Speaker 1: But yeah, that was maybe the most impressive thing. So yeah,
• 1:20:31
  Speaker 1: that was, once we got to the end, I was like,
• 1:20:33
  Speaker 1: what did we do? this was pointless I'm talking to
• 1:20:38
  Speaker 1: you movie and me maybe I was like what am
• 1:20:41
  Speaker 1: I doing these are the movies I choose to watch
• 1:20:44
  Speaker 1: no these are the movies I choose you to watch
• 1:20:46
  Speaker 1: don't get me wrong I enjoy it but it does
• 1:20:49
  Speaker 1: feel like by the end I was like we didn't
• 1:20:51
  Speaker 1: even accomplish anything with this one At least the first one,
• 1:20:54
  Speaker 1: something kind of happened. It's like, we solved no problems.
• 1:20:57
  Speaker 1: Nothing was really done here. We just killed time and people.
• 1:21:01
  Speaker 1: That's pretty much it.
• 1:21:02
  Speaker 3: Yep.
• 1:21:03
  Speaker 1: Yep. That's about right. I know. That's something I love
• 1:21:07
  Speaker 1: about these exploitation films.
• 1:21:09
  Speaker 2: They entertain you for various reasons in the 90 minutes
• 1:21:13
  Speaker 2: or less that they're on, but it's like... When you
• 1:21:17
  Speaker 2: look back, it's like, what exactly did we accomplish? We
• 1:21:19
  Speaker 2: wasted 90 minutes when we did.
• 1:21:22
  Speaker 1: Pretty much.
• 1:21:23
  Speaker 2: And they wasted months of production and money.
• 1:21:25
  Speaker 1: Let's see. The other random stuff... Because then we get
• 1:21:29
  Speaker 1: to them trying to get there to go get the president.
• 1:21:32
  Speaker 1: We're in the sewer-ish. I'm like, what is it?
• 1:21:36
  Speaker 5: Because it also has bars everywhere like it's a prison.
• 1:21:40
  Speaker 5: So I was like, is it a prison they turned
• 1:21:42
  Speaker 5: into a sewer? Or a sewer they turned into a prison?
• 1:21:44
  Speaker 1: But the thing is.
• 1:21:46
  Speaker 2: There was a moment where like, okay, we're doing like
• 1:21:49
  Speaker 2: a photo op with the mayor or the governor or
• 1:21:52
  Speaker 2: whatever else. And we're doing it outside one of these
• 1:21:55
  Speaker 2: burned out. It's kind of almost like Trump showing up
• 1:21:57
  Speaker 2: with the Bible outside the church saying, look how Jesus-y
• 1:22:00
  Speaker 2: I am.
• 1:22:00
  Speaker 1: Look, I made my trip all the way over here
• 1:22:02
  Speaker 1: for this. Yeah. So it's like we got the corporate president.
• 1:22:05
  Speaker 2: We've got the mayor, governor, whoever the fuck he was,
• 1:22:08
  Speaker 2: you know, showing up in front of this burned out building,
• 1:22:10
  Speaker 2: which they said was a church.
• 1:22:11
  Speaker 1: That church looked like a fucking castle. Yeah. Or a
• 1:22:15
  Speaker 1: stronghold of some sort. Again, this is in amusing quotes,
• 1:22:19
  Speaker 1: the Bronx, not Rome.
• 1:22:22
  Speaker 2: So basically, our heroes are sneaking around this burned out
• 1:22:26
  Speaker 2: building and then just waiting for the moment where the
• 1:22:29
  Speaker 2: president is standing by himself up against an unfortified wall,
• 1:22:34
  Speaker 2: just completely oblivious of his surroundings.
• 1:22:36
  Speaker 1: Where is his secret service? They're terrible.
• 1:22:39
  Speaker 2: Literally is grabbed from behind and pulled into the building
• 1:22:43
  Speaker 2: and all his guards show up 30 seconds later going, where.
• 1:22:47
  Speaker 1: Did he go? Yeah.
• 1:22:51
  Speaker 5: Yeah, but that whole set, it was like the whole
• 1:22:54
  Speaker 5: rest of the movie. I was like, what is this
• 1:22:56
  Speaker 5: supposed to be? Like, what sewer system can you lock
• 1:22:59
  Speaker 5: people in prison cells?
• 1:23:00
  Speaker 1: Or vice versa.
• 1:23:02
  Speaker 5: What prison has a sewer grate running through the middle
• 1:23:05
  Speaker 5: of it? I was like, this makes no sense.
• 1:23:07
  Speaker 1: It looks cool in your post-apocalyptic world, but it makes
• 1:23:11
  Speaker 1: no sense logically why either of these would be crammed together.
• 1:23:16
  Speaker 1: And that's about when they.
• 1:23:18
  Speaker 5: after they kidnap him, he's also doing that little trick
• 1:23:20
  Speaker 5: with the water, which he has not even like a full-size, like,
• 1:23:26
  Speaker 5: five-gallon gas tank kind of plastic. It's like a tiny
• 1:23:30
  Speaker 5: little thing that he's dumping into the water, which is
• 1:23:33
  Speaker 5: this huge stream running through the middle of this place
• 1:23:37
  Speaker 5: with tons of water in it. So this little couple
• 1:23:40
  Speaker 5: of ounces of whatever the hell he put in there,
• 1:23:42
  Speaker 5: then suddenly, as soon as he throws.
• 1:23:44
  Speaker 1: The match in there, like... boom the whole thing goes
• 1:23:49
  Speaker 1: up i was like so the water is now flammable
• 1:23:51
  Speaker 1: from that tiny little diluted amount well if this is
• 1:23:54
  Speaker 1: a post-apocalyptic sewer maybe maybe all the water's maybe it's
• 1:23:59
  Speaker 1: just the bronx and all the water is flammable yeah
• 1:24:02
  Speaker 1: it's like i don't drink bronx water i don't know
• 1:24:04
  Speaker 1: if you live in the bronx let us know if
• 1:24:06
  Speaker 1: you can drink the tap water right It may have
• 1:24:08
  Speaker 1: gotten better now. Yeah, hopefully by now they've got some
• 1:24:11
  Speaker 1: sort of system in play. At that point it was
• 1:24:14
  Speaker 1: all flammable. Yeah, I love that too.
• 1:24:16
  Speaker 2: It's like tiny canteen of flammable liquid being poured into
• 1:24:20
  Speaker 2: running water system and the flames.
• 1:24:23
  Speaker 1: And a lot of running water.
• 1:24:24
  Speaker 2: And the flames will stay there and not float down.
• 1:24:29
  Speaker 1: Okay. It filled up the entire... Not even like a
• 1:24:31
  Speaker 1: stream of it down the middle. The entire thing just
• 1:24:34
  Speaker 1: burst into flames. The whole room. Even in spots where
• 1:24:36
  Speaker 1: he didn't pour the liquor. Yeah, like on the side
• 1:24:38
  Speaker 1: where it wasn't like water. It's like just fire.
• 1:24:42
  Speaker 2: Or deeper into the room. This thing, it should have
• 1:24:44
  Speaker 2: been like a wall of fire along this.
• 1:24:46
  Speaker 1: In that one spot. No, it was just everywhere. Fire.
• 1:24:49
  Speaker 2: This was like an 18 square foot section of fire
• 1:24:53
  Speaker 2: that sprouted.
• 1:24:53
  Speaker 1: Again, from your guy's standpoint, that was a pretty cool
• 1:24:56
  Speaker 1: fire effect. Yes, it was. Does not make any sense
• 1:24:59
  Speaker 1: in this movie, but it looked very cool. I will
• 1:25:02
  Speaker 1: give you that. Oh, yeah. Or other things that don't
• 1:25:07
  Speaker 1: make sense.
• 1:25:08
  Speaker 5: Now, why does crazy blowing shit up child, why does
• 1:25:12
  Speaker 5: he have the power to hook jumper cables up to
• 1:25:14
  Speaker 5: your train car tracks.
• 1:25:16
  Speaker 1: And somehow it makes an explosion?
• 1:25:19
  Speaker 5: Because the two different times we saw him do that,
• 1:25:22
  Speaker 5: it wasn't like the other ones because the other one
• 1:25:23
  Speaker 5: looks like he's got C4 or something that he's strapping
• 1:25:26
  Speaker 5: to the wall and that explodes.
• 1:25:27
  Speaker 1: That makes sense.
• 1:25:28
  Speaker 5: But the other ones, he kept just hooking up wires
• 1:25:31
  Speaker 5: to the tracks and that just explosions happen.
• 1:25:36
  Speaker 2: Well it's science i don't know if it was supposed
• 1:25:39
  Speaker 2: to be like those guys were supposed to be getting
• 1:25:41
  Speaker 2: electrocuted when they because like it was still a big
• 1:25:44
  Speaker 2: explosion what happened like three times in a row where
• 1:25:46
  Speaker 2: like guards are coming and then they step on something
• 1:25:48
  Speaker 2: and then like two of them go up in a
• 1:25:50
  Speaker 2: poof and we're so it's like are they being exploded
• 1:25:52
  Speaker 2: or electrocuted or what the hell is going on i.
• 1:25:55
  Speaker 5: Don't know but they should at least give a again
• 1:25:58
  Speaker 5: our our guy doesn't know what the hell is going
• 1:26:00
  Speaker 5: on so they could explain it to trash and then
• 1:26:02
  Speaker 5: we would know what he's doing yeah No, he just
• 1:26:04
  Speaker 5: hooks up some little mini jumper cables and somehow it
• 1:26:07
  Speaker 5: makes the magic explosions.
• 1:26:08
  Speaker 1: I don't know.
• 1:26:09
  Speaker 2: And again, it should be noted that the character with
• 1:26:12
  Speaker 2: the highest body count in the film is the child.
• 1:26:16
  Speaker 1: The child.
• 1:26:18
  Speaker 2: He kills like ten to one versus everybody else because
• 1:26:22
  Speaker 2: he's blowing up like two or three people at a time.
• 1:26:25
  Speaker 2: And he does this multiple times throughout the film. And
• 1:26:29
  Speaker 2: he's only in half the movie. So he catches up
• 1:26:32
  Speaker 2: to Trash by the time he has his first fight scene.
• 1:26:36
  Speaker 2: For all the people Trash has killed in the first
• 1:26:39
  Speaker 2: part of the movie.
• 1:26:39
  Speaker 1: He's already offed more people than Trash. I mean, it's like,
• 1:26:42
  Speaker 1: Jesus H.
• 1:26:43
  Speaker 2: this is like a 12-year-old boy who's killed like 87 people.
• 1:26:48
  Speaker 1: He's really good at his job. I don't know what
• 1:26:51
  Speaker 1: his job is other than blowing people up.
• 1:26:54
  Speaker 2: At the same time, it's not like this child is
• 1:26:57
  Speaker 2: evil or sinister or you're scared. His performance is very sweet.
• 1:27:02
  Speaker 2: He's just a skilled assassin.
• 1:27:05
  Speaker 1: To him, it's like a game. He's having fun. It's
• 1:27:08
  Speaker 1: probably as realistic. Kids growing up in a war zone,
• 1:27:12
  Speaker 1: that's kind of how they turn out. It's like, man,
• 1:27:14
  Speaker 1: this kid's going to be demented as an adult. Yes. Oh, yes.
• 1:27:23
  Speaker 2: Like I said, there's just so many facets to this movie.
• 1:27:25
  Speaker 2: That's what's so fun about picking apart exploitation movies. Like,
• 1:27:28
  Speaker 2: there's so many facets that you can just get enjoyment
• 1:27:31
  Speaker 2: out of this. But it's like, you're just gonna... If
• 1:27:33
  Speaker 2: you really, really dig into this like we are, you're like,
• 1:27:36
  Speaker 2: oh my god, why?
• 1:27:37
  Speaker 1: Well, that was, yeah.
• 1:27:39
  Speaker 5: That was, I guess, one of the things it's known
• 1:27:41
  Speaker 5: for is the body count. So I was gonna get,
• 1:27:43
  Speaker 5: because they do the rundown here.
• 1:27:47
  Speaker 1: And let's see.
• 1:27:47
  Speaker 5: Because that, I think, is a lot of the reason
• 1:27:50
  Speaker 5: that they made different cuts of it. They started editing
• 1:27:53
  Speaker 5: out some of the violence.
• 1:27:54
  Speaker 1: I'm sure the head squishings.
• 1:27:56
  Speaker 2: Yeah.
• 1:27:56
  Speaker 5: Because I thought one of the reasons it was Escape
• 1:27:58
  Speaker 5: 2000 was that was one of the American.
• 1:28:00
  Speaker 1: Releases that they cut out a bunch of the violence. Mm-hmm.
• 1:28:04
  Speaker 5: And so, yeah, according to this, it's like the full
• 1:28:06
  Speaker 5: death toll in the uncut version is 174.
• 1:28:08
  Speaker 1: Wow.
• 1:28:09
  Speaker 6: 110 shootings, 40 explosions, 9 flamethrowers, 1 stabbing, 1 off-screen kill,
• 1:28:17
  Speaker 6: 4 unknowns, 6 electrocutions, which.
• 1:28:20
  Speaker 1: May have been the guys there. I don't know. And
• 1:28:22
  Speaker 1: 2 bashed faces through the helmet. So, yeah. Yeah, 174
• 1:28:27
  Speaker 1: in a movie that barely has like five characters in it.
• 1:28:33
  Speaker 1: There are almost no people in it, but yet a
• 1:28:36
  Speaker 1: just nonstop supply of knockoff stormtroopers just getting... mowed down
• 1:28:41
  Speaker 1: and blown up.
• 1:28:42
  Speaker 2: It's either homeless people that you never see their faces
• 1:28:45
  Speaker 2: or stormtroopers.
• 1:28:46
  Speaker 1: That you never see their faces. We don't care. Yeah,
• 1:28:48
  Speaker 1: so it's probably the same five dudes getting blown up
• 1:28:50
  Speaker 1: over and over and over again. We don't recognize you
• 1:28:52
  Speaker 1: when you're wearing that helmet, so that's why they're wearing
• 1:28:54
  Speaker 1: the helmets. We've only got 12 guys. We've got to
• 1:28:56
  Speaker 1: make this work. Yeah, we've got to make it work.
• 1:28:58
  Speaker 2: Yeah, it's not like in Aliens where we had only
• 1:29:00
  Speaker 2: three suits.
• 1:29:00
  Speaker 1: Like, we got six suits.
• 1:29:05
  Speaker 5: Well, and then once we get to the little scene
• 1:29:09
  Speaker 5: at the end where it's on the street, more or less.
• 1:29:12
  Speaker 1: First of all, I guess the Italian version of the Bronx,
• 1:29:17
  Speaker 1: they think the biggest, most cool thing they have is
• 1:29:20
  Speaker 1: ice cream. Because there's like two or three different places
• 1:29:23
  Speaker 1: selling ice cream. I'm like, there's one that's an ice
• 1:29:26
  Speaker 1: cream shop, but there's another just stenciled on the wall
• 1:29:28
  Speaker 1: with a big ice cream. I'm like, that is the
• 1:29:31
  Speaker 1: wonders of America. We have ice cream here, man, and
• 1:29:33
  Speaker 1: they are thrilled about it. So there's a lot of
• 1:29:36
  Speaker 1: ice cream. Unfortunately, none of those places were open. No,
• 1:29:39
  Speaker 1: I know. That was the sad part. Because I wanted
• 1:29:42
  Speaker 1: some ice cream at that point.
• 1:29:43
  Speaker 2: Yeah, I really wanted to get a bomb pop and
• 1:29:45
  Speaker 2: blow some people up.
• 1:29:46
  Speaker 1: But the other thing I thought was so funny was
• 1:29:48
  Speaker 1: the visual of what looks like, again, this looks like
• 1:29:52
  Speaker 1: footage off the news.
• 1:29:53
  Speaker 5: It just looks like a street in the middle of
• 1:29:54
  Speaker 5: a war zone that we could have now. But that
• 1:29:57
  Speaker 5: Porsche driving down the street.
• 1:29:59
  Speaker 1: I was like, this seems oddly out of place and
• 1:30:03
  Speaker 1: doesn't seem like it's going to go well for that guy.
• 1:30:05
  Speaker 1: Because if I'm aiming something to blow up, look at
• 1:30:08
  Speaker 1: that nice porch going by. Let's take that out.
• 1:30:11
  Speaker 2: That was the producer's car, probably.
• 1:30:13
  Speaker 1: I'm sure it was.
• 1:30:14
  Speaker 2: And then I love that they, probably the reason why
• 1:30:17
  Speaker 2: they had that, because they also had a Hot Wheels
• 1:30:20
  Speaker 2: replica of said car. So when, you know, corporate backstabbing
• 1:30:24
  Speaker 2: stooge gets blown up driving away from the scene... Also, again,
• 1:30:28
  Speaker 2: Magic Shotgun comes in place once more.
• 1:30:32
  Speaker 1: It's a Matchbox car that gets blown up.
• 1:30:34
  Speaker 5: Well, he probably had that sitting on his desk. He's like, oh,
• 1:30:37
  Speaker 5: that's like my car, and I bought this one. And
• 1:30:40
  Speaker 5: they're like, well, okay, you won't let us blow up.
• 1:30:42
  Speaker 1: Your real car. Can we have the Hot Wheels? He's like,
• 1:30:45
  Speaker 1: I guess. Mama mia. Fine. You owe me a Hot Wheels. Yeah,
• 1:30:49
  Speaker 1: you owe me a Matchbox. That'll be 37 cents. Oh, yeah.
• 1:30:59
  Speaker 1: I don't know. See, I get it. That's what's so
• 1:31:02
  Speaker 1: fucking fun about these movies.
• 1:31:04
  Speaker 2: It's like you can pick it apart as much as
• 1:31:06
  Speaker 2: you want, but it's just going to get worse.
• 1:31:09
  Speaker 1: If you keep picking, it's never going to heal. Oh,
• 1:31:13
  Speaker 1: we're not going to heal from these movies, I can
• 1:31:15
  Speaker 1: tell you that.
• 1:31:16
  Speaker 2: So, which country's exploitation do you want to go into next?
• 1:31:19
  Speaker 1: I don't know. That's what I was going to ask.
• 1:31:21
  Speaker 1: Now that we've gotten to the end of this, and
• 1:31:22
  Speaker 1: my only takeaway was, what have we accomplished? We have
• 1:31:25
  Speaker 1: to figure out where we're going next. So, we've rounded
• 1:31:28
  Speaker 1: out this trilogy. Yes, we have.
• 1:31:31
  Speaker 5: That wasn't really a trilogy.
• 1:31:34
  Speaker 1: It was three movies. It wasn't really a continuous trilogy.
• 1:31:37
  Speaker 1: That did not stop us.
• 1:31:38
  Speaker 2: There were two movies that were different sequels.
• 1:31:41
  Speaker 1: There were a duology. No trilogy, really. But there were
• 1:31:46
  Speaker 1: three movies. There were three movies, yes. So, yeah. I
• 1:31:49
  Speaker 1: was going to throw it out there. Or... In general,
• 1:31:53
  Speaker 1: as we're moving ahead in this overall plan of nonsense,
• 1:31:57
  Speaker 1: I was going to say if anybody has any suggestions,
• 1:32:00
  Speaker 1: feel free to throw them out there.
• 1:32:01
  Speaker 5: But otherwise, it's just up to you and I to
• 1:32:04
  Speaker 5: come up with some other nonsense for the next round
• 1:32:06
  Speaker 5: in this. So we can pick a specific country or
• 1:32:11
  Speaker 5: we can just go random and start pulling crazy ass movies.
• 1:32:15
  Speaker 1: I mean, we could do that.
• 1:32:17
  Speaker 2: But I mean, if we're going for a country next, we.
• 1:32:19
  Speaker 1: Have to go Australia. I mean. We can definitely go
• 1:32:22
  Speaker 1: with Australia, but then where do we... Do we start
• 1:32:24
  Speaker 1: doing it, like, chronologically or just random picks of the
• 1:32:29
  Speaker 1: weirdest shit?
• 1:32:30
  Speaker 2: Well, I mean, it all kind of depends. Like, do
• 1:32:32
  Speaker 2: you want to talk about comedic sex romps or, you know, like,
• 1:32:37
  Speaker 2: weird comedies that American audiences really don't understand because it's
• 1:32:41
  Speaker 2: all Australian kind of ideals and humor and whatever else?
• 1:32:46
  Speaker 1: Which, granted, some parts... Like.
• 1:32:49
  Speaker 2: The southern parts of this country and Australia would be
• 1:32:53
  Speaker 2: good friends. Rednecks and Aussies could be good friends.
• 1:32:57
  Speaker 3: I think.
• 1:32:57
  Speaker 1: I realized that at some point. I was like, there's
• 1:32:59
  Speaker 1: rednecks everywhere.
• 1:33:00
  Speaker 5: I'm sure somewhere in the backwoods of France, there's somebody
• 1:33:04
  Speaker 5: with a fancy French accent that's still just a terrible redneck.
• 1:33:08
  Speaker 1: I'm sure. I'm sure.
• 1:33:10
  Speaker 2: As much as I've been exposed to the Australian culture
• 1:33:14
  Speaker 2: and media and whatever else, it seems like for every
• 1:33:17
  Speaker 2: great redneck we would have here, there's at least five
• 1:33:20
  Speaker 2: Australian people.
• 1:33:21
  Speaker 1: Doesn't have to be men. People. Oh, no. Yeah, I
• 1:33:24
  Speaker 1: can think across the board. People that say, hold my
• 1:33:26
  Speaker 1: fucking beer, mate.
• 1:33:27
  Speaker 5: Yeah, I mean, they would laugh at whatever thing you
• 1:33:30
  Speaker 5: just did that you think makes you look cool.
• 1:33:33
  Speaker 1: It's like, yeah, that's what passes in your country.
• 1:33:36
  Speaker 2: It's like, okay, yeah, take whatever we do here in
• 1:33:38
  Speaker 2: the States versus what they do in Australia and also
• 1:33:42
  Speaker 2: add in the fact that there are at least 27
• 1:33:44
  Speaker 2: varieties of creature that are designed to kill you.
• 1:33:48
  Speaker 1: That's what I was going to say. Because living there,
• 1:33:51
  Speaker 1: you have to realize everything is there to kill you.
• 1:33:55
  Speaker 1: Everything they have in their country is meant to kill humans.
• 1:33:58
  Speaker 1: So it's a little different than hanging out, even in
• 1:34:01
  Speaker 1: the Bronx.
• 1:34:03
  Speaker 2: But they seem to live in harmony with it. People
• 1:34:05
  Speaker 2: pick up poisonous snakes and have no problem with it.
• 1:34:08
  Speaker 1: Roll with it. Don't worry about it because they're drunk.
• 1:34:12
  Speaker 1: And they're built with sterner stuff. You go hang out
• 1:34:15
  Speaker 1: at the bar and you step over a crocodile that's
• 1:34:18
  Speaker 1: about to eat you. Yeah. You just don't worry about
• 1:34:21
  Speaker 1: that shit. That's fluffy. Don't mind him. I don't doubt
• 1:34:26
  Speaker 1: people of Australia. They are hardcore, man. Yeah. But their cinema,
• 1:34:31
  Speaker 1: God bless them.
• 1:34:33
  Speaker 2: Because like I said, if you start in the late
• 1:34:35
  Speaker 2: 60s and the 70s, yeah, you get a lot of like,
• 1:34:38
  Speaker 2: you know, weird, you know, like I said, you're picnicking,
• 1:34:41
  Speaker 2: hanging rock kind of shit. You're lots of, you know,
• 1:34:43
  Speaker 2: like a lot of comedy sex romps or a thing
• 1:34:45
  Speaker 2: like that. And you start to get like a little
• 1:34:47
  Speaker 2: bit in the horror stuff like that. But then we
• 1:34:50
  Speaker 2: start like in like the late 70s going into the 80s,
• 1:34:54
  Speaker 2: we start hitting.
• 1:34:54
  Speaker 1: The action movies. Yeah.
• 1:34:56
  Speaker 2: And God damn, for every crazy Italian, Chinese, Hong Kong,
• 1:35:04
  Speaker 2: whatever kind of fucked up genre of foreign movie.
• 1:35:08
  Speaker 1: Aussies, Aussie, Aussie, baby. Because, man, it's so beautiful. And
• 1:35:13
  Speaker 1: I'm sure they could make it for so much cheaper.
• 1:35:17
  Speaker 1: Because you've got the visuals built in. It already just
• 1:35:19
  Speaker 1: looks like that. Absolutely, yeah. So you don't have to
• 1:35:21
  Speaker 1: set up anything. You just pay a couple of people
• 1:35:24
  Speaker 1: to go hang out there and shoot some crazy stuff
• 1:35:27
  Speaker 1: and blow up cars.
• 1:35:28
  Speaker 2: But the thing that adds a lot of the flair
• 1:35:32
  Speaker 2: and the flavor to Australian exploitation cinema is... is that
• 1:35:36
  Speaker 2: there was a lot of artistic chances that were taken
• 1:35:38
  Speaker 2: in this genre. Across the board, it doesn't matter if
• 1:35:42
  Speaker 2: it's a horror movie, a thriller, an action movie, an
• 1:35:46
  Speaker 2: adventure pic, whatever the case may be. There will be
• 1:35:49
  Speaker 2: artistic chances being taken. And also, there are safety measures
• 1:35:56
  Speaker 2: that are non-existent. Especially at that time. I don't think
• 1:36:01
  Speaker 2: they even considered safety measures. Of course, the most famous
• 1:36:06
  Speaker 2: independent Australian film of all time will be the original
• 1:36:09
  Speaker 2: Mad Max. There has not been a movie that has
• 1:36:13
  Speaker 2: since trumped its cultural, financial, whatever else, impact, its influences,
• 1:36:18
  Speaker 2: everything else. But there's at least two scenes in that
• 1:36:22
  Speaker 2: movie where you can watch someone die.
• 1:36:24
  Speaker 1: Great!
• 1:36:27
  Speaker 2: And they die in vehicular combat. But yeah, there are
• 1:36:30
  Speaker 2: two specific scenes in that film that is captured on
• 1:36:33
  Speaker 2: film like, that guy died.
• 1:36:36
  Speaker 1: What a fun movie. At least we got a movie
• 1:36:41
  Speaker 1: out of it. I don't know that that makes it okay,
• 1:36:44
  Speaker 1: but they did their job, damn it. They blowed up
• 1:36:48
  Speaker 1: that car and rolled it 78 times, and it looked awesome.
• 1:36:52
  Speaker 2: And God bless him. The mastermind himself, George Miller, is
• 1:36:56
  Speaker 2: giving us yet another Mad Max film coming this summer,
• 1:37:00
  Speaker 2: and I can't wait.
• 1:37:01
  Speaker 1: Speaking of, there's your girl in it.
• 1:37:04
  Speaker 2: Yep.
• 1:37:04
  Speaker 1: Which was an odd move.
• 1:37:05
  Speaker 5: I was like, she's not that much older. I know
• 1:37:08
  Speaker 5: mathematically she's a little older, but you can just get
• 1:37:10
  Speaker 5: Charlene to show up, and.
• 1:37:12
  Speaker 1: Nobody would have any complaints, so... It was interesting to
• 1:37:15
  Speaker 1: pull somebody different just to do a little prequel version.
• 1:37:19
  Speaker 2: Either way, I'm going to watch it. Yeah, they wanted
• 1:37:21
  Speaker 2: to get somebody obviously a little younger than Charlize. But
• 1:37:24
  Speaker 2: I think Anya Taylor-Joy, her body type also, it's much
• 1:37:29
  Speaker 2: more believable that she grows up to be Charlize.
• 1:37:32
  Speaker 1: You know, sort of thing.
• 1:37:32
  Speaker 2: Like, especially when you get towards like the end of
• 1:37:35
  Speaker 2: the movie, you see like in the trailer, like she's
• 1:37:36
  Speaker 2: starting to look like Charlize did in Fury Road.
• 1:37:38
  Speaker 1: Yeah.
• 1:37:39
  Speaker 2: So it's like, okay, that, yeah. But I think what's
• 1:37:42
  Speaker 2: going to steal the show is freaking Hemsworth. Yeah. It's
• 1:37:46
  Speaker 2: like he's playing the bad guy in the movie. Obviously,
• 1:37:49
  Speaker 2: you know, it's like the Immortan Joe character that we
• 1:37:53
  Speaker 2: meet in Fury Road works apparently, seems like to work
• 1:37:56
  Speaker 2: for Hemsworth's character.
• 1:37:58
  Speaker 1: That's kind of what you need to make these things work.
• 1:38:01
  Speaker 5: That's what made Fury Road come together was having that
• 1:38:05
  Speaker 5: insane through line of him, basically.
• 1:38:08
  Speaker 2: But yeah, Hemsworth, like just the two, like the teaser
• 1:38:11
  Speaker 2: trailer and the first full trailer, like just seeing his
• 1:38:13
  Speaker 2: performance in that trailer, I'm going, he had a last
• 1:38:17
  Speaker 2: with this movie.
• 1:38:17
  Speaker 1: You can tell. I mean, this is Chris, right? Yeah.
• 1:38:20
  Speaker 1: That's the thing. Like, if you give him a chance
• 1:38:23
  Speaker 1: to do what he needs to do, like, there's he's
• 1:38:26
  Speaker 1: just been, like, stuck in so many specific things, not
• 1:38:29
  Speaker 1: just blaming Thor, but like he's got a very narrow window.
• 1:38:32
  Speaker 5: Like we've got one good Thor movie and like other
• 1:38:35
  Speaker 5: than that, like he's stuck being kind of blaming most
• 1:38:38
  Speaker 5: of them. So it's like you see him do something
• 1:38:40
  Speaker 5: and like in a movie everyone didn't like.
• 1:38:43
  Speaker 1: He is the treat of Ghostbusters. That version of Ghostbusters,
• 1:38:48
  Speaker 1: I'm like, it's a shame this is an all-female cast
• 1:38:50
  Speaker 1: because this guy just stole your movie. He's so good
• 1:38:54
  Speaker 1: in that movie. The Vacation remake. Oh, see? I don't
• 1:38:57
  Speaker 1: even remember. Again, there's all those other things that he shows.
• 1:39:00
  Speaker 1: Because that's the thing. The El Royale movie. Oh, the
• 1:39:05
  Speaker 1: showdown or the bad night, the ill night.
• 1:39:07
  Speaker 2: Yeah.
• 1:39:09
  Speaker 1: He is so good. If I didn't already know who
• 1:39:11
  Speaker 1: you are, I'd be like, who is this dude? And
• 1:39:14
  Speaker 1: how is he not the huge star? And like, that's
• 1:39:16
  Speaker 1: the thing.
• 1:39:16
  Speaker 5: He's a huge name, but like, you just didn't get
• 1:39:19
  Speaker 5: enough of those performances. So when we're giving him the
• 1:39:22
  Speaker 5: chance now, it's like, He just steps up and he
• 1:39:24
  Speaker 5: can do it.
• 1:39:25
  Speaker 1: You just need to give it more of these roles.
• 1:39:28
  Speaker 2: If you have not seen the Vacation remake, it's got
• 1:39:30
  Speaker 2: Ed Helms and Christina Applegate.
• 1:39:32
  Speaker 1: I know of it, I just never. Again, it was
• 1:39:35
  Speaker 1: one of those remakes that I never got around to. Dude,
• 1:39:37
  Speaker 1: it's actually worth seeing.
• 1:39:39
  Speaker 2: Because, of course, the plot line is this is Rusty,
• 1:39:42
  Speaker 2: grown up as an adult now, trying to emulate his dad.
• 1:39:45
  Speaker 1: One of many, many Rustys out there. Yes.
• 1:39:49
  Speaker 2: But you've got Ed Helms playing the adult Rusty. And
• 1:39:53
  Speaker 2: we do get a cameo from Clark and Ellen. That's
• 1:39:56
  Speaker 2: the only Griswold cameo we get.
• 1:39:58
  Speaker 1: Well, that's how it always works. It's always Clark and
• 1:40:00
  Speaker 1: Ellen and some other Rusty and or other child.
• 1:40:03
  Speaker 2: They wanted to get Randy Quaid, but he was still
• 1:40:06
  Speaker 2: having his crazy in Canada phase.
• 1:40:07
  Speaker 1: Yeah. I don't know that that ever goes away.
• 1:40:10
  Speaker 5: Maybe not Canada, but I don't know that crazy ever
• 1:40:12
  Speaker 5: goes away with Randy Quinn.
• 1:40:14
  Speaker 1: See, he's on the convention circuit. I've seen him showing
• 1:40:16
  Speaker 1: up now.
• 1:40:17
  Speaker 5: So I wondered how much he's reigned in or if
• 1:40:19
  Speaker 5: it's one of those, you just show up and who
• 1:40:22
  Speaker 5: knows what's.
• 1:40:22
  Speaker 1: Going to happen.
• 1:40:23
  Speaker 4: Yeah.
• 1:40:24
  Speaker 2: Well, I'm curious to see, but yeah, but they're the
• 1:40:27
  Speaker 2: only group that yeah. Clark and Ellen showing up. The
• 1:40:29
  Speaker 2: only Griswold's in there, but like Audrey, you know, basically is,
• 1:40:33
  Speaker 2: you know, shows up later on the film and she's
• 1:40:35
  Speaker 2: married to Chris Hemsworth. And he's basically like, It's hilarious
• 1:40:38
  Speaker 2: because you get to their place and she's living in.
• 1:40:41
  Speaker 1: Very high lifestyle. She's rich.
• 1:40:45
  Speaker 2: And you find out that basically they're living in Texas
• 1:40:48
  Speaker 2: and Chris Hemsworth is the number one weatherman in the city.
• 1:40:53
  Speaker 1: I can see that. Well, I know a lot of large.
• 1:40:58
  Speaker 2: market when it comes to media stuff and you can
• 1:41:00
  Speaker 2: have somebody that has like a lot of money as
• 1:41:02
  Speaker 2: an on-air talent they still can't afford that place.
• 1:41:04
  Speaker 5: Not that i was like i can see him being
• 1:41:07
  Speaker 5: pretty looking in front of a map somewhere going yeah
• 1:41:10
  Speaker 5: well coming in over here i can see him being
• 1:41:12
  Speaker 5: a weatherman and being like people being.
• 1:41:14
  Speaker 2: Like oh this guy but of course the the running
• 1:41:17
  Speaker 2: joke that the entire movie is basically like he's like
• 1:41:19
  Speaker 2: this perfect manly you know like you know beautiful looking
• 1:41:23
  Speaker 2: dude and like you know rusty's basically at home you
• 1:41:26
  Speaker 2: know he's always playing off the you know, the, the
• 1:41:28
  Speaker 2: shnibly little weak dudes like that. But the, the great
• 1:41:31
  Speaker 2: thing though, is that there's several scenes in, I mean,
• 1:41:34
  Speaker 2: cause Hemsworth's not in very long, but he has at
• 1:41:37
  Speaker 2: least two scenes where it's like, he's just basically standing
• 1:41:41
  Speaker 2: there in his skivvies, And just, like, parading around with
• 1:41:44
  Speaker 2: his cut abs and huge dong. And there's even, like,
• 1:41:49
  Speaker 2: a point where, like, he's just standing there talking to
• 1:41:51
  Speaker 2: Rusty and his wife. And, like, just literally, like, cocks
• 1:41:55
  Speaker 2: a leg up so you can really see that package. Really, like,
• 1:41:58
  Speaker 2: front and center. And you're like, why am I looking
• 1:42:01
  Speaker 2: at your dick right now?
• 1:42:02
  Speaker 1: That's exactly why. But, yeah. But it's just... Oh, yeah.
• 1:42:06
  Speaker 1: It's like... Yeah. The vacation remake's worth seeing. But, like,
• 1:42:08
  Speaker 1: it's just.
• 1:42:09
  Speaker 2: Just seeing those bits of Hemsworth in the trailer playing
• 1:42:14
  Speaker 2: the bad guy, it's like, man, he looks like he's
• 1:42:16
  Speaker 2: having a blast.
• 1:42:17
  Speaker 1: The big fake nose. I'm telling you, if you give
• 1:42:20
  Speaker 1: him a chance, he can deliver. And he's leaning heavy
• 1:42:23
  Speaker 1: into the weird part of the Australian accent.
• 1:42:25
  Speaker 2: When he's in his normal Aussie accent, he doesn't talk
• 1:42:29
  Speaker 2: like that.
• 1:42:29
  Speaker 1: It's pretty minimal, yeah.
• 1:42:30
  Speaker 2: He's leaning into evil Crocodile Dundee kind of thing. And
• 1:42:33
  Speaker 2: I was like, I'm there for it.
• 1:42:36
  Speaker 1: Yep. I'm sold either way. Yeah.
• 1:42:39
  Speaker 3: So.
• 1:42:39
  Speaker 5: What you're saying is we're not going to watch anything
• 1:42:41
  Speaker 5: near that level.
• 1:42:44
  Speaker 1: Oh, I'm sure we'll get something close. I mean, they're
• 1:42:48
  Speaker 1: not going to be that level of budget. Not budget-wise.
• 1:42:51
  Speaker 1: They'll still be murdering people on set. Oh, yes, yes,
• 1:42:53
  Speaker 1: very much so. That will happen, don't worry. But budgetary,
• 1:42:57
  Speaker 1: not quite that level.
• 1:42:59
  Speaker 2: Yeah, so we mentioned Turkey Shoot earlier, which, again, definitely
• 1:43:03
  Speaker 2: would be one I'd want to put high on our
• 1:43:04
  Speaker 2: list of watching. That's the movie that almost killed Steve
• 1:43:07
  Speaker 2: Rails back. Jeez. Actually, there's a great documentary called Not
• 1:43:13
  Speaker 2: Quite Hollywood, the story of Aussie exploitation.
• 1:43:16
  Speaker 1: I remember when it came out. I don't think I've
• 1:43:19
  Speaker 1: seen it. If so, I've forgotten so much of it
• 1:43:22
  Speaker 1: that I obviously need to watch it again.
• 1:43:25
  Speaker 2: I grew up on exploitation cinema. I was one of
• 1:43:28
  Speaker 2: those weird kids. The worse the movie, the better. I'm
• 1:43:31
  Speaker 2: all about it.
• 1:43:31
  Speaker 1: I've seen more than my share.
• 1:43:33
  Speaker 2: When this documentary came out, it gave me a whole
• 1:43:36
  Speaker 2: new love and also introduced me to a handful of
• 1:43:38
  Speaker 2: movies I had not seen.
• 1:43:40
  Speaker 1: There's a lot of them from that era that I
• 1:43:43
  Speaker 1: have to have slipped through the cracks because there were
• 1:43:45
  Speaker 1: too many of them.
• 1:43:47
  Speaker 2: The documentary is so damn fun. It's a rock concert
• 1:43:53
  Speaker 2: set to the tone of a documentary about a film
• 1:43:55
  Speaker 2: industry of a certain country.
• 1:43:58
  Speaker 1: It's a blast. It's fun.
• 1:44:00
  Speaker 2: The soundtrack's a lot of fun. It's all Aussie bands
• 1:44:03
  Speaker 2: that aren't ACDC. It's everybody but ACDC. They even get
• 1:44:07
  Speaker 2: to pull out Rose Tattoo a couple of times. Like,
• 1:44:09
  Speaker 2: hell fucking yeah! Because Rose Tattoo is basically ACDC that
• 1:44:13
  Speaker 2: never left Australia. So it's the same band. They stayed
• 1:44:17
  Speaker 2: in the bars. They didn't go into the arenas.
• 1:44:21
  Speaker 1: I think that's a little early because for a while
• 1:44:23
  Speaker 1: there I liked a lot of bands and then after
• 1:44:25
  Speaker 1: a while I kept going they are all from Australia
• 1:44:28
  Speaker 1: like it wouldn't dawn on me only later I was
• 1:44:30
  Speaker 1: like wait all of these are from Australia but they
• 1:44:32
  Speaker 1: were post that I think so.
• 1:44:35
  Speaker 2: Yeah but yeah so there's just yeah there's some it's
• 1:44:38
  Speaker 2: a lot of fun last time I saw that documentary
• 1:44:41
  Speaker 2: was on like freebie or 2B or something like that
• 1:44:44
  Speaker 2: so it's running around free somewhere so yeah not quite
• 1:44:48
  Speaker 2: Hollywood the name of the documentary see it It's a blast.
• 1:44:53
  Speaker 5: And pick out which one of the horrendous movies you
• 1:44:56
  Speaker 5: want us to watch.
• 1:44:59
  Speaker 1: So if not, we're just going to pick our own.
• 1:45:01
  Speaker 1: So let us know if you have suggestions that we
• 1:45:04
  Speaker 1: may or may not take you up on. We can
• 1:45:06
  Speaker 1: always watch Stunt Rocker. I'm sure you want to watch
• 1:45:11
  Speaker 1: Stunt Rocker.
• 1:45:14
  Speaker 2: Give me an excuse to watch Stunt Rocker hell yeah
• 1:45:18
  Speaker 2: Stunt Rocker will be a movie that will surprise you
• 1:45:22
  Speaker 2: of the level of quality because it's not really a
• 1:45:25
  Speaker 2: movie so much as it's a bunch of cut scenes
• 1:45:30
  Speaker 2: of stunts being performed by the world's most premier stuntman
• 1:45:34
  Speaker 2: who happened to come from Australia also set to the
• 1:45:37
  Speaker 2: tune of the Southern California knockoff Iron Maiden band called Sorcery.
• 1:45:43
  Speaker 1: I know the whole pitch of it, yeah. It's its
• 1:45:48
  Speaker 1: own concept.
• 1:45:49
  Speaker 2: If you spent any time in Wild and Wooly for
• 1:45:52
  Speaker 2: a long period of time, you probably saw some.
• 1:45:54
  Speaker 1: Parts of Stunt Rocker. It was going on in the background. Yeah,
• 1:45:58
  Speaker 1: there was a couple folks there that loved some Stunt Rocker.
• 1:46:00
  Speaker 1: That's how I.
• 1:46:01
  Speaker 2: Basically discovered the movie was through Wild and Wooly. So
• 1:46:03
  Speaker 2: God bless them.
• 1:46:05
  Speaker 1: The classics never die. Rest in peace. But yeah, yeah.
• 1:46:10
  Speaker 2: Yeah, so Stunt Rocker and Turkey Shoot would be my
• 1:46:14
  Speaker 2: two top picks. Throwing something else in there, but yeah,
• 1:46:18
  Speaker 2: those would be my two offerings. Because I would want
• 1:46:21
  Speaker 2: to avoid Mad Max because everybody's seen it.
• 1:46:23
  Speaker 1: Yeah, and I feel like.
• 1:46:25
  Speaker 2: It's a classic, but everybody's seen it. Let's discover... And.
• 1:46:27
  Speaker 1: We discuss it every time we get to one of
• 1:46:29
  Speaker 1: these because it had such an impact on everything. Both
• 1:46:33
  Speaker 1: that and maybe even more so Road Warrior, where every
• 1:46:36
  Speaker 1: movie that came after that, you see the ripple effect
• 1:46:40
  Speaker 1: of that coming along. Yep. Yeah, we will still reference them,
• 1:46:44
  Speaker 1: I'm sure, but we don't need to necessarily watch them. Yeah.
• 1:46:48
  Speaker 2: George Miller is on my short list of directors I
• 1:46:50
  Speaker 2: would love to meet. Because you have done so much
• 1:46:54
  Speaker 2: for me, sir, and you still continue.
• 1:46:57
  Speaker 1: That's the thing.
• 1:46:58
  Speaker 2: He's a director that has been working for decades now.
• 1:47:02
  Speaker 2: And he's still doing it.
• 1:47:04
  Speaker 1: He's still at it. And he's weird. And he'll take
• 1:47:08
  Speaker 1: a break. And then he'll go in a whole new direction.
• 1:47:10
  Speaker 1: And then he'll come back.
• 1:47:13
  Speaker 2: If you've not seen the film, have you at least
• 1:47:14
  Speaker 2: seen the trailer for A Thousand Years of Longing?
• 1:47:18
  Speaker 1: I do remember seeing the trailer. And again, I was like,
• 1:47:20
  Speaker 1: and this is where he went next? It was so
• 1:47:23
  Speaker 1: weird to follow up the last movie with this one.
• 1:47:27
  Speaker 1: He is a fascinating director. Yes, he is.
• 1:47:31
  Speaker 2: He wanted to make something for his kids, so he
• 1:47:34
  Speaker 2: does the Babe movies.
• 1:47:36
  Speaker 1: Which are quality. They really are. They are. That's the thing.
• 1:47:41
  Speaker 5: I remember watching them when they first came out and
• 1:47:43
  Speaker 5: playing them. Again, that was back in the video store days.
• 1:47:46
  Speaker 1: You could play that all day because it's for kids.
• 1:47:48
  Speaker 1: But as we watched it, we're like, this is really
• 1:47:51
  Speaker 1: well written. It's not like it's just a slapped together.
• 1:47:54
  Speaker 5: Just put something on there for kids to look at
• 1:47:56
  Speaker 5: for an hour and a half.
• 1:47:57
  Speaker 1: Like, it was genuinely well written. And then they got
• 1:48:01
  Speaker 1: good actors. Like, it's surprising how good the movie as
• 1:48:04
  Speaker 1: a whole functions. Yeah, it's amazing.
• 1:48:07
  Speaker 2: Yeah, I was working in movie theaters at the time
• 1:48:09
  Speaker 2: when both films came out. So, I mean, my ass
• 1:48:13
  Speaker 2: is standing in the back of the theater waiting to
• 1:48:15
  Speaker 2: clean up popcorn in that movie, crying every time James
• 1:48:18
  Speaker 2: Cromwell says, that'll do, pig.
• 1:48:19
  Speaker 1: Oh, yeah. Goddamn, baby. James Cromwell delivers in that movie.
• 1:48:24
  Speaker 1: And again, in something that shouldn't be that good, really,
• 1:48:28
  Speaker 1: but damned if it is. God, yeah. Son of a bitch. Yeah.
• 1:48:32
  Speaker 2: It's like, he's like, I want to make something for
• 1:48:34
  Speaker 2: the kids.
• 1:48:35
  Speaker 1: And so you make Babe. It's like talking pig, cute stuff,
• 1:48:38
  Speaker 1: well done. It's like, God, I hate you. Even the
• 1:48:42
  Speaker 1: movies I don't want to watch, I have to watch
• 1:48:44
  Speaker 1: because it's you and it's good. Yeah. He is a
• 1:48:47
  Speaker 1: fascinating man. He really is.
• 1:48:50
  Speaker 2: Yeah, he's on my short list. Of my short list
• 1:48:55
  Speaker 2: of five, I've only met one.
• 1:48:57
  Speaker 1: I don't know. I try not to even set the
• 1:49:01
  Speaker 1: goal anymore. I'm like, if it happens, that's good. We'll
• 1:49:04
  Speaker 1: roll with it, though.
• 1:49:06
  Speaker 2: Yeah, and for anyone's edification, the other four are Carpenter,
• 1:49:11
  Speaker 2: Sam Raimi, which if I got out of the house
• 1:49:14
  Speaker 2: and went to Lexington last year, I.
• 1:49:15
  Speaker 1: Could have met Sam. I hit that one, so yeah.
• 1:49:18
  Speaker 2: Though I did manage to have a Tarantino autograph without
• 1:49:21
  Speaker 2: having actually met Tarantino.
• 1:49:23
  Speaker 1: That's probably the best version. No, I want to meet him.
• 1:49:27
  Speaker 1: Don't get me wrong. I'm fascinated by him. I think
• 1:49:29
  Speaker 1: he's a fascinating director. He is a lot to deal with.
• 1:49:34
  Speaker 1: I know. He's my kind of a lot to deal with.
• 1:49:35
  Speaker 1: I want to talk to this man. I want to
• 1:49:37
  Speaker 1: hang out and watch movies and just hear him randle
• 1:49:39
  Speaker 1: on about shit. I was going to say, you won't
• 1:49:41
  Speaker 1: get a word in edgewise. Good. But you'll get to
• 1:49:43
  Speaker 1: hear a lot of stories. If I'm sitting with Tarantino,
• 1:49:46
  Speaker 1: fuck what I got to say. I want to hear
• 1:49:47
  Speaker 1: what he's got to say. He's got a lot to say.
• 1:49:49
  Speaker 2: Yeah, that's why I listen to the man's podcast. That's
• 1:49:52
  Speaker 2: why I buy his books and shit. It's like, I'm
• 1:49:55
  Speaker 2: all in. Actually, Rodriguez would kind of be a tie.
• 1:50:01
  Speaker 1: He's another fascinating dude.
• 1:50:02
  Speaker 2: It's far more normal, but yeah. You could have a
• 1:50:06
  Speaker 2: conversation with Rodriguez.
• 1:50:07
  Speaker 1: Yeah, definitely. He seems like the most down-to-earth guy ever.
• 1:50:10
  Speaker 1: Also a good cook, too. Well, that's the thing. He
• 1:50:13
  Speaker 1: does everything. You look back at those old movies, he's
• 1:50:16
  Speaker 1: not only like... Like, he's doing the stuff nobody else does.
• 1:50:19
  Speaker 1: Not only is he writing, directing, like, he's editing it.
• 1:50:22
  Speaker 1: And he's running catering. He's, like, working the music end
• 1:50:26
  Speaker 1: of it. He's making food for everybody because everybody on
• 1:50:28
  Speaker 1: the set's his family anyway. Or friends. He just kept
• 1:50:31
  Speaker 1: hiring everybody in the family. Like, you watch those early
• 1:50:33
  Speaker 1: movies and it's just Rodriguez, Rodriguez, Rodriguez. And it's like,
• 1:50:37
  Speaker 1: it's not just a common name. Like, he hired everyone
• 1:50:40
  Speaker 1: he knew. Because why wouldn't you not? Like, why would
• 1:50:42
  Speaker 1: you not support your own family? So, I liked... I
• 1:50:45
  Speaker 1: like that move. It was pretty cool. But yeah, he's
• 1:50:47
  Speaker 1: another just fascinating, weird choices over the years. Yeah.
• 1:50:51
  Speaker 2: But yeah, John Carpenter and George Miller would be the others.
• 1:50:53
  Speaker 1: So yeah. Yeah.
• 1:50:57
  Speaker 2: Those are definitely, that's my, that's my short list. Like
• 1:50:59
  Speaker 2: I said, I've only met Romero, but God, that was
• 1:51:02
  Speaker 2: a wonderful experience. They always say never meet your heroes
• 1:51:05
  Speaker 2: unless that hero is George Romero.
• 1:51:06
  Speaker 1: He was cool. That was very brief.
• 1:51:09
  Speaker 2: I had a, I got, I got to have a
• 1:51:11
  Speaker 2: nice conversation with him when I had the signing and,
• 1:51:14
  Speaker 2: and then later on he was I was going into
• 1:51:19
  Speaker 2: the lounge bar he was coming out and some people
• 1:51:22
  Speaker 2: were talking and something like that and so I kind
• 1:51:25
  Speaker 2: of glommed into the conversation basically kind of joined in
• 1:51:29
  Speaker 2: the crowd and got to have a couple of you
• 1:51:31
  Speaker 2: know things to say and listen to what he was
• 1:51:33
  Speaker 2: saying so so technically I had a.
• 1:51:36
  Speaker 5: Conversation with him he was another that seemed super down
• 1:51:39
  Speaker 5: to earth he was yeah.
• 1:51:40
  Speaker 1: Came from nothing essentially and like had a way bigger
• 1:51:44
  Speaker 1: impact than he ever had the success to meet it
• 1:51:47
  Speaker 1: but well and at the time i met him.
• 1:51:49
  Speaker 2: Too this was basically like 10 years before the walking.
• 1:51:52
  Speaker 1: Before it hit so well before he started doing that
• 1:51:56
  Speaker 1: kind of stuff like if it's the same time i
• 1:51:59
  Speaker 1: met him it was like it was wonderfest it was
• 1:52:01
  Speaker 1: it was before they were even doing conventions on that
• 1:52:05
  Speaker 1: like he hadn't done a convention like that ever and
• 1:52:09
  Speaker 1: didn't expect anybody to show up for him so.
• 1:52:11
  Speaker 2: That's that's that's my my favorite part of that story
• 1:52:14
  Speaker 2: is when he's telling the the organizer of the convention
• 1:52:16
  Speaker 2: like oh no one cares about me in these movies
• 1:52:18
  Speaker 2: yeah he's gonna show up and the whole damn weekend
• 1:52:21
  Speaker 2: there was a line around that hotel.
• 1:52:22
  Speaker 1: And then fast forward to 10 years later it's like
• 1:52:26
  Speaker 1: he did every convention because like it became an industry
• 1:52:30
  Speaker 1: by then but like that early on the the The
• 1:52:34
  Speaker 1: convention circuit wasn't as big as it was, and there
• 1:52:36
  Speaker 1: wasn't a push for him and zombie movies and everything else. Right, yeah. So, like,
• 1:52:41
  Speaker 1: all of that changed in the span of, like, ten years. Like,
• 1:52:44
  Speaker 1: so much. It was insane.
• 1:52:45
  Speaker 2: Yeah, but the thing I love, too, is that entire
• 1:52:48
  Speaker 2: line of people, it's like, It wasn't like those were like, oh,
• 1:52:50
  Speaker 2: I occasionally like zombie movies or Walking Dead's kind of fun.
• 1:52:53
  Speaker 2: I want to meet the guy who kind of inspires me.
• 1:52:55
  Speaker 2: Those were all Romero fans.
• 1:52:56
  Speaker 1: Those were hardcore Romero fans.
• 1:52:58
  Speaker 2: Every single one of them. I stood in line with friends.
• 1:53:01
  Speaker 2: I made friends when I was in line with people.
• 1:53:04
  Speaker 2: You didn't mind standing in line at the time because
• 1:53:06
  Speaker 2: you knew at the end of this you were going
• 1:53:08
  Speaker 2: to get to meet Romero and everybody that was coming back.
• 1:53:10
  Speaker 2: was having smiles on their faces. So it's like he
• 1:53:13
  Speaker 2: had a fantastic weekend getting all the flowers. Savini was there.
• 1:53:18
  Speaker 2: So that was even more icing on the cake.
• 1:53:20
  Speaker 1: So that's trouble right there.
• 1:53:21
  Speaker 2: That was even more icing on the cake because I
• 1:53:23
  Speaker 2: got to meet fucking Tom Savini and get his signature.
• 1:53:28
  Speaker 2: And he was cool. So it was just a tremendous weekend.
• 1:53:32
  Speaker 2: So I was like, if I can have an experience
• 1:53:34
  Speaker 2: every time, I need to go to one of Carpenter's
• 1:53:36
  Speaker 2: shows because he's got a new record coming out again.
• 1:53:39
  Speaker 1: He just seemed like he was doing it because he
• 1:53:42
  Speaker 1: said he'd do it. And he was just trying to
• 1:53:44
  Speaker 1: get through.
• 1:53:45
  Speaker 5: Because I had a very brief interaction with him.
• 1:53:48
  Speaker 1: And that's what it was. And I tried to explain.
• 1:53:50
  Speaker 1: We had a weird connection to him. And I tried
• 1:53:53
  Speaker 1: to explain that to him. And he was like, uh-huh.
• 1:53:56
  Speaker 1: He was just like, all right, move along. We're done. So, again,
• 1:54:00
  Speaker 1: I don't blame him for that. He was just anybody
• 1:54:02
  Speaker 1: that gets stuck at one of those tables with a
• 1:54:04
  Speaker 1: line around the building. You're just like, okay, whatever. Move along, weirdo.
• 1:54:09
  Speaker 1: I feel like he would be a little more prickly
• 1:54:12
  Speaker 1: to deal with. It depends. I feel like, yeah.
• 1:54:17
  Speaker 2: Yeah, granted, he's older now, too. He's always been a
• 1:54:20
  Speaker 2: little surly. That's what I always loved about him, very matter-of-factly.
• 1:54:24
  Speaker 2: At the same time, I was like, okay, well, there's
• 1:54:26
  Speaker 2: a lot of the same things that we're into. He's
• 1:54:28
  Speaker 2: a big video game player, so am I. So I
• 1:54:30
  Speaker 2: was like, I could talk to him about that. So
• 1:54:32
  Speaker 2: if I could talk to John Carpenter about.
• 1:54:33
  Speaker 1: Video games, I'm sure. Yeah, I mean, I give him
• 1:54:35
  Speaker 1: more credit for impact than a lot of people. So, yeah,
• 1:54:39
  Speaker 1: what he did is so phenomenal. Yeah, I mean, obviously,
• 1:54:43
  Speaker 1: the video game.
• 1:54:44
  Speaker 2: Of when I really started noticing directors in our tours
• 1:54:48
  Speaker 2: as a young film fan, Carpenter was the first guy
• 1:54:51
  Speaker 2: because he's the dude that put his name on top
• 1:54:53
  Speaker 2: of every movie.
• 1:54:53
  Speaker 5: And he's still my go-to like without even thinking about it.
• 1:54:57
  Speaker 5: Cause I was so many times people like normal people
• 1:55:00
  Speaker 5: are just like, Oh, what's your favorite movie?
• 1:55:02
  Speaker 1: What's your favorite? Like specifically horror. Like, My go-to.
• 1:55:05
  Speaker 5: Like, I immediately just knee-jerk reaction go to him. It's like, Halloween, Thing,
• 1:55:10
  Speaker 5: take your pick. They're both masterpieces.
• 1:55:12
  Speaker 1: So, it's like, either way you go, he was there
• 1:55:15
  Speaker 1: at the very beginning of that run of 80s horror and, like,
• 1:55:19
  Speaker 1: just knocking out the best stuff there was. You know, so, yeah.
• 1:55:24
  Speaker 2: I mean, my top three of his will always be Thing,
• 1:55:26
  Speaker 2: Escape from New York, and Assault on Precinct 13.
• 1:55:29
  Speaker 1: Yeah.
• 1:55:29
  Speaker 2: With, you know, basically with honorable mention of number four
• 1:55:32
  Speaker 2: being Big Trouble in Little China.
• 1:55:34
  Speaker 1: That's like its own special place for me. I love
• 1:55:36
  Speaker 1: that one. But again, it's like, that's just so weird.
• 1:55:39
  Speaker 5: Like, again, to look at like, okay, Halloween, the thing,
• 1:55:43
  Speaker 5: and then that.
• 1:55:44
  Speaker 1: Like, I love it, but man, this is a weird offshoot.
• 1:55:47
  Speaker 1: It's an action comedy. I love it.
• 1:55:49
  Speaker 2: It's a chop-socky movie. It's a supernatural movie.
• 1:55:53
  Speaker 1: It's ridiculous at many points.
• 1:55:56
  Speaker 2: It's also an anti-action movie because your main hero is
• 1:56:01
  Speaker 2: a doofus. And basically his sidekick is the badass.
• 1:56:04
  Speaker 1: Oh, yeah. And never gets credit. Yeah. So it's like,
• 1:56:08
  Speaker 1: holy shit. It's so amazing. But, yeah, so not what
• 1:56:12
  Speaker 1: you expect from the guy who brought you these other masterpieces. Yeah. Like, yeah,
• 1:56:16
  Speaker 1: I love it, but it's so weird comparatively. Yeah. So, yeah,
• 1:56:22
  Speaker 1: all these guys, pretty awesome.
• 1:56:24
  Speaker 2: Yep.
• 1:56:24
  Speaker 1: So there you go, folks.
• 1:56:25
  Speaker 2: We've given you a bit of an assignment there. So
• 1:56:28
  Speaker 2: if you don't want us to travel to sunny Australia
• 1:56:32
  Speaker 2: for our next venture into exploitation cinema, then give us
• 1:56:35
  Speaker 2: something else.
• 1:56:35
  Speaker 1: Throw something out there. Otherwise, we're just going to pick
• 1:56:38
  Speaker 1: some random Italian. We're going to throw some shrimp on
• 1:56:41
  Speaker 1: the barley, baby. Australian nonsense. So, yeah. Yes, sir. All right.
• 1:56:49
  Speaker 1: I think that about covers it. I think it does, too.
• 1:56:52
  Speaker 1: I think we've done enough damage today. Yeah, I think so.
• 1:56:55
  Speaker 1: So we'll save the rest for next time. Indeed. Otherwise,
• 1:56:59
  Speaker 1: that about does it. We will return next time, same
• 1:57:01
  Speaker 1: geek feed. Thanks for listening. Y'all take care now.
• 1:57:27
  Speaker 2: We'll be right back.
• 1:58:00
  Speaker 1: On my own. They just can't see No need to
• 1:58:14
  Speaker 1: hear the things that they say Life's for my own
• 1:58:20
  Speaker 1: to live my own way guitar solo.
• 1:59:14
  Speaker 2: Things have to change.
• 2:00:56
  Speaker 1: So much. So much. Nonsense. So little, really, on the screen,
• 2:01:26
  Speaker 1: and yet a lot. Yep.
• 2:01:29
  Speaker 2: That's the glory of exploitation. It's like it's a whole
• 2:01:33
  Speaker 2: bunch of bullshit. But it's fun bullshit.
• 2:01:36
  Speaker 5: Sometimes they really deliver and come up with something amazing
• 2:01:40
  Speaker 5: for no.
• 2:01:41
  Speaker 1: Budget, and then other times it's just, eh, let's kill
• 2:01:44
  Speaker 1: people for.
• 2:01:44
  Speaker 3: An hour and a half. This episode is a production
• 2:01:46
  Speaker 3: of Movie Meltdown, produced and edited by The Oddity Studios,
• 2:01:49
  Speaker 3: with opening music performed by The Empires. For more on
• 2:01:52
  Speaker 3: how to sponsor or support the show, email producer at moviemeltdown.com.
• 2:01:56
  Speaker 1: Talk hard! This program is a proud member of the
• 2:02:05
  Speaker 1: Battleship Pretension Fleet.