Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 2008's Passchendaele

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2008's Passchendaele · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave, the
• 0:06
  movie talk show where each week one of us takes a movie off our
• 0:08
  shelf, presents it to the other, and discusses it at length.
• 0:20
  And this week we've got coming off of Daves shelf 2008
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  Paschendale written and directed, produced by Paul Gross
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  trifecta absolutely Rarity David, welcome back to the
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  couch. It's another week.
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  How are you doing? How you feeling?
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  How's things? And then why this movie right
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  now? Phillip, I am wonderful.
• 0:39
  Thank you for asking. Thanks for having me.
• 0:42
  Welcome anytime, buddy. Mostly Thursdays, though.
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  Yeah. Why this movie?
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  Why now? Let's just get right into that
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  jump right then. It is our annual Remembrance Day
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  film, which you probably forgot, figured out or forgot.
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  It gives me the opportunity to watch people kill people.
• 1:01
  Yes, we've been doing a little bit of lately.
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  That's true. There's for different reasons,
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  different motivations here. Evasion.
• 1:08
  That's right. Still innocent people though,
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  generally speaking. Yeah.
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  And I decided to keep a Canadian this year and I do have a little
• 1:17
  bit of history of the film, so I thought maybe I could bring that
• 1:20
  to the table for a. Change Finally, a movie you've
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  seen before. Yeah, absolutely.
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  And we'll talk about it and we'll see if it's a possibility
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  that it could end up on one of our shelves, but we'll find out,
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  OK? That's the whole point these
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  days. If it goes, sure.
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  If it deserves an upgrade of sorts.
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  If you have it on DVD or VHS, perhaps have a 4K was kicking
• 1:40
  around when you buy it. There's a lot of questions here.
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  Doubtful that 4K would be coming out of this.
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  Movie, I think yeah, it's hard to tell.
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  You never know these days. I've seen some weird movies
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  coming out in 4K. They're.
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  Releasing the Teenage Mutant Ninja Turtles movie in 4K.
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  There we go. The first one actually makes
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  sense to me, but Part 3 not someone who needs.
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  It this is a movie I actually saw in theatres.
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  Wow, we have to go all the way back to two.
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  Thousand 82000. 8 has gone to a movie.
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  Theatre. I don't know what I was doing in
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  2008. It's a pretty blurry time.
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  God, I don't know where I was working.
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  OK. It was pre Rogers I had briefly
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  in. Vancouver in 2008.
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  Yeah, you didn't meet until 20/20/10.
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  You recall that beautiful day? Regardless, I was excited to
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  watch the film because I was going through my war movie
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  phase. Gotcha.
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  So I had We Were Soldiers, which I think 2003, obviously Saving
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  Private Ryan, I was probably on my 18th watch by then.
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  Hadn't gone sour yet. Hadn't gone sour yet.
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  Absolutely. That was probably peak, peak
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  Saving Private Ryan and just a slew of others that I absolutely
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  love Pearl Harbor. Of course, also around the 2003.
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  Mark Exactly. So I was eating it up.
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  So I was excited to get a Canadian version of a war movie.
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  I saw the trailer and said OK, this looks like it's legit.
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  And World War One, which we don't visit very often for
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  reasons I didn't bother to look into options for guns, maybe a
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  little more. Yeah, I think there's something
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  about the majesty of two, and part of that I think is just the
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  age group of the people making those movies.
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  But there is certainly some meat on the bone.
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  I did recently purchase that World War One, All Quiet on the
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  Front, Western, Western Front. I think I got it.
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  I got something in it. World War One.
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  I haven't watched it yet. Save it for next year maybe.
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  Yeah, yeah, we'll be here. God willing, Phillip, please,
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  I'll throw it over to you if you don't mind if you can talk a
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  little bit about your history with the film, if any.
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  My history goes back about 3 days.
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  I was familiar enough with the trailer and having working
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  having worked at the video store in 2008, nine and well beyond.
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  I was familiar with the movie as an object, but not as a movie.
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  I think I probably rented it when it came out.
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  I was seeing a lot of renting a lot of movies, but I don't know
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  that I'd ever made it into. The player like it ever got
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  that. Way when you're getting free
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  rentals, you just sort of like grab a couple what's new and
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  sort of sit on. Them.
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  I was so bad for that. Even games too.
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  I'd rented it totally kept it for a couple of weeks, barely.
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  It's the. What do you call it there?
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  It's the. Florence Nightingale effect.
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  Wait, that's something else in this.
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  Movie, it's like a spoil of riches.
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  You know, you're sort of like, why?
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  I don't have to appreciate anything because I have it at my
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  fingertips and then once it's gone, then it's like, you wanna
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  shoot? I wish I could rent any movie I
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  wanted for nothing, or I wish I could rent any game I wanted.
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  I did the same thing, but I actually got it at Jumbo and
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  still didn't play it. You paid the money, but I paid
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  the money for it and the late fees.
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  By the end there's nowhere in Ottawa I could rent.
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  I just had late fees everywhere. Really.
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  I wish I was kidding. And then I got the job with
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  Rogers like we hired you. I know despite your track record
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  did not do a criminal record check on that in late. 80s It's
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  not my fault. Sarah.
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  Sarah. Sarah Kate was.
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  Gone. Kate was my.
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  Come on. No.
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  Your timelines. Wow.
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  You know what? Kate wouldn't have hired you.
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  I think is the key. So you would have lucked out.
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  No, no, no. She'll love me.
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  No, no. Really some likable.
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  I get the job done. Certainly you came in handy at
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  times. Thank you, that's all I was
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  looking for that's willing to close up shop at 11:00.
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  You, you were the guy. You stood up and you you'd sold
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  some phones and that was more than what I was doing at the
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  time. So yeah, I respect the hell.
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  Out of thank you, thank you so. Keep.
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  So yeah, first viewing. Wonderful.
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  Yeah, absolutely. Watch it a few times for the
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  podcast here and. Thank you for putting your time,
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  you know. Now we're fifty.
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  Yeah, yeah, absolutely. I'm happy to do it every other
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  week here for you. And yeah, it was interesting to
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  watch. It's a movie that I have weirdly
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  kind of mixed feelings on and watched it and had the first run
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  through I was feeling one way, and then the second I was
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  feeling somewhat differently. Interesting.
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  And I just thought any movie that can do that is probably
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  doing something better than or, right, maybe for lack of a
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  better term and something. Wrong at the same time.
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  Yeah, two different things. But I like a movie that grows
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  with you, right? We've talked about certain
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  movies where it's like the more times you watch it, it actually
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  degrades, and other times it improves and other times it's
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  somewhere in the middle. And I think any movie that is
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  willing to change with you and perception and what you're
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  bringing to the table or expectations or on and on,
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  that's probably in the end, a good thing.
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  And OK, so this movie at the very least good or bad
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  conceptually, that a fact that it was a different experience, I
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  think makes it interesting. Safe to say it wasn't a time
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  waster then. No, of course.
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  Wonderful. That's always good.
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  Because you know what? My movies, there's always that.
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  Worry. Oh, absolutely.
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  We have wasted lots of time, yeah, in the grand scheme of
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  things, but I wouldn't put this in the time wasting category.
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  And a bit of a different pace for things we've done lately
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  too. Certain course we heard a little
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  Halloween bit and then we did a couple.
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  I was excited to watch this when you revealed.
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  That's all I can really. Help the title.
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  I was obviously familiar enough with the title, if not the movie
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  itself. But you didn't see the trailer
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  beforehand. Right.
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  Maybe in 2008, but you didn't know the memory reference to it.
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  Yeah. And I try, as you know, I'm
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  going to every one of your movies or even frankly, every
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  movie, completely as blind as I can, which I figured you would,
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  so I wasn't too worried about that.
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  But Phil, please tell me. Well, I know, but tell everybody
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  what this movie is about according to your good old
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  friend IMDb. Well, we've got here, David.
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  The lives of a troubled veteran, his nurse girlfriend and a naive
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  boy intersect first in Alberta and then in Belgium during the
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  bloody World War One Battle of Passchendaele.
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  It was bloody. And muddy.
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  And very muddy. Very muddy.
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  I don't know if she's his girlfriend.
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  I don't know if they ever made it official so I don't love it.
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  I don't love it in 1915. It's official if you touch
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  hands, I think. That.
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  They did, yes, absolutely. This was a steamy movie.
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  Totally steamy. No, it's not stimulated.
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  But it certainly had a romance, of course, involved in this film
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  when I went to see it in theatres.
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  I will tell you, I did watch the trailer.
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  OK. Prior.
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  Prior, Yeah, Because I was a trailer guy back in 2008.
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  As soon. As that probably.
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  Trickled off a little bit and it did not give me what exactly
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  what I expected. Explain that please.
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  I'm thinking full on war movie OHS like a lot of lot of like
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  passion Dale, a lot of OK over there.
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  Yeah, not the over here gotcha. But watching it years later and
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  knowing that I was able to sort of approach it with tempered
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  expectations and seeing if I was able to extrapolate a movie here
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  that I could kind of enjoy and. Despite the love portion of it
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  was testing. I mean, I love Pearl Harbor.
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  Yeah, this movie owes a lot to Pearl Harbor, I would say.
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  But Pearl Harbor a was a long movie and incorporated as well.
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  Well, don't tell me now. I'm going to ask you at the very
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  end for sure which movie you think is better.
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  Sure, but there's certainly married in in that context for
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  sure. They're trying to tell this epic
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  story through a couple of different lenses for sure, for
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  sure. And I love lenses.
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  I wear contact lenses, you know, not coloured ones.
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  These are these baby Blues. Are all natural. .01 buddy that
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  sounds population. I am a visible minority yo.
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  Take a look at me. Barely visible, barely visible,
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  translucent skin and whatnot. Yeah, no trips to Mercury for
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  me, let me tell you. A little too close to the sun.
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  This movie was directed. I think you mentioned this in
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  the beginning. Written and performed by the
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  great Paul Gross. Absolutely.
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  Did you watch Due South? Never.
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  Did you know of? It, yes, of course, OK.
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  It played a lot on TV Tropolis, which was Channel 54.
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  For those who are on Ottawa cable television, OK, it would
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  play Beverly Hills 90210 Golden Girls.
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  OK, the classics, some classics, but some older stuff that were
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  not so classic and this kind of fell into that category.
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  So I never watched it. I had a full schedule at that
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  time. I was watching TBS, probably
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  whatever was on then. Sure.
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  Routine. You know, three Saving Private
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  Ryans a day? Yeah, absolutely.
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  I had the rear projection TV at that time, that big fat 52 inch
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  Butte. Geez Louise.
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  So my experience with Paul Gross is I know who this guy is.
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  No, this was a passion project of his.
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  Yeah, I think it's his first feature and he probably cashed
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  in whatever chips he could. I mean, for all intents and
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  purposes was a Canadian star. Like he was on Beggars and
• 10:39
  Choosers, which is a really kind of a fun comedy show.
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  He made Men with Brooms I think maybe a little bit before this
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  or 2004 five something like that.
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  Yeah, sounds about right. And then obviously due South.
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  So he was a guy with some St. cred in Canada.
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  And like you're saying, the passion project, this was a
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  based on a stories that he was hearing from his dad's
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  grandfather. Grandfather, apologies and don't
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  worry about it. So I love that.
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  I love cashing in whatever credibility you've got for the
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  thing that matters to you, whether it turns out well or
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  not, The intention is respectable and the passion it
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  takes to deliver a movie period is a lot of effort and time.
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  Absolutely. You could feel that he put that
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  into it, obviously the time. Yeah, I think it's clear that
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  it's a tall order for one person to do so many roles and you talk
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  to anybody in the business, it's certainly not easy to do, and
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  you don't have someone there to keep you in line.
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  I know we've talked about Spielberg sort of running wild
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  sometimes when we didn't have that person say maybe that's not
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  such a great idea. Yeah, like Minority Report.
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  No ones there to say that's not funny.
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  So I do feel that you could run into that problem, but I
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  certainly did get the expression we're all in on this. 20 million
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  bucks, OK for the film. Yep, most expensive Canadian
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  movie to date still and didn't make a lot of money, though it
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  actually lost money, of course. Yeah, those things don't bother
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  me. But for the accountants
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  listening. It's important for.
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  Them. To know so they can they can jot
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  down. We took a pretty big loss on
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  this one. I had a conversation with
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  somebody at work recently and I talked about 1 Battle After
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  Another, which is a movie that recently came out that I
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  absolutely love. And it's 2 hours and 42 minutes
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  and it's Paul Thomas Anderson. And the first thing that this
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  person said to me was well Jabad more people didn't see it
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  probably sucks cause it didn't make any money.
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  You're like, well, I saw, I don't care.
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  And that's the thing. It's just sort of like it's such
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  a binary reality that I just don't understand, particularly
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  from like some layperson in some lunch room and you have no money
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  invested. You've got no, who gives a shit
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  if it made $100 million or if it made $250,000?
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  It's never been definer of quality ever, in the history of
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  time. I would agree with that.
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  My I think my concern comes from wealth.
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  It doesn't make money. They'll stop making movies like
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  that, and if it's something you like and enjoy, it's like, well,
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  we just can't. Afford to that is totally
• 13:01
  reasonable. That is something I feel, but so
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  and so in the lunchroom, yeah, made the argument like they
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  didn't see it or wouldn't see it.
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  Oh, that's the reason. It didn't.
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  Well, that's the implication. But they're part of the problem.
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  Then that's right. Like it may look interesting or
• 13:15
  it may have actors I like or it may have whatever, but it only
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  made this much, so it's probably not very good.
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  And like that's just the biggest, silliest.
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  It's like looking at the IMDb and going, well, it's a four
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  point. 3 So forget. Don't you dare bring IMDb into
• 13:26
  this. It's that fundamental
• 13:28
  conversation. So in this one, OK, you spent
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  20, you make 6 or whatever. So what?
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  Yeah. Did you like it or did you not
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  like it? You win some and you can let the
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  accountants. Worry about the rest of it.
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  That's right, they're. Listening and this guy made
• 13:39
  another movie. You did I eat a Rd.
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  There you go. There you go.
• 13:43
  He directed, wrote it, did not start it this time, probably too
• 13:47
  old or learned, but that. I think he's great in this.
• 13:52
  Movie that's good to hear we'll dive into that as the movie goes
• 13:54
  through I I see different levels of Paul gross in this movie.
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  There are moments where I like him and there's moments where I
• 14:00
  don't like them. Sure, inconsistent for my
• 14:01
  liking. But we can.
• 14:03
  We can pull that one apart, buddy.
• 14:04
  Sure, but he's probably too old if you're waiting five more
• 14:06
  years to make another war. Movie 7 more years like you're 7
• 14:10
  years older, you're gonna be running on the field when you
• 14:12
  supposed to be in your. 20s, Well, depends on your role.
• 14:14
  You could play a major, you could play a Ternal.
• 14:17
  Come on buddy, You see that guy in Saving Private Ryan in that
• 14:20
  office there? He's like 75.
• 14:22
  Arena just had dancing. These aren't young people.
• 14:24
  Here we go. They're still not young.
• 14:26
  People that's right weren't then and still aren't.
• 14:29
  Well, dentistry is dead, is he? OK.
• 14:33
  Thanks for. Check out our Ranger Games
• 14:35
  episode for some more Dennis Farina.
• 14:37
  I was thinking striking distance, but hey, either way.
• 14:40
  That's another one. You either you're looking at a.
• 14:41
  Shitty couple of arenas. We have and they're both high
• 14:44
  quality films off my shelf. Just like this, Phillip.
• 14:47
  Now let's get into it. OK.
• 14:49
  Are you ready? I'll be.
• 14:50
  I'll be covered. The bases.
• 14:51
  Do you think so? Yeah.
• 14:53
  Wonderful. Now this movie will start in
• 14:56
  Europe because that's where, well, that's where the war took
• 14:59
  place. Mostly in around there.
• 15:02
  Certain countries were involved. You know, I get the sense Canada
• 15:07
  was more involved in the First World War.
• 15:09
  I'm not a history buff by any stretch of the imagination, but
• 15:12
  I know I had a book by Tim Book, Tim Cook.
• 15:17
  Tim Cook had a book and I actually read a couple of
• 15:20
  chapters, which is. Pretty good for me.
• 15:21
  That is pretty. Good.
• 15:22
  I yearned to read and and it's a book on World War One.
• 15:26
  Maybe we'll get back into it now that I'm in the You sure it's
• 15:29
  not a book on cooking? No, it's not a cookbook.
• 15:32
  It's the wife gets those old fashioned.
• 15:37
  Sure, I get the. War.
• 15:38
  You get the war on the guns and she gets the cooking.
• 15:41
  Yeah, absolutely. And we start out with a war
• 15:44
  sequence where Paul Gross is introduced with a four man
• 15:48
  squad, which we're used to in the war video games.
• 15:52
  I've been playing a lot of Battlefield 6 lately.
• 15:54
  OK. I haven't seen you enroll.
• 15:56
  Yet no, no, not enlisting. I might have to shame you into
• 15:59
  it. I don't know.
• 16:00
  Stand up, Phil. Why have you not purchased this
• 16:02
  game? Mike's got it.
• 16:04
  Dollars. We'd love to have you in the.
• 16:06
  Squad, I don't think you would. The thing I don't know if you
• 16:09
  need a runner in a gunner. I mean, I might not revive you,
• 16:12
  but you, you do you. You're not going to hurt me any.
• 16:14
  So you might get a couple kills, buddy.
• 16:16
  We could use a running gunner. Alright, yeah, if there's.
• 16:18
  Room for me I'll. Definitely room for you.
• 16:20
  Just me and Mike in that pose. I have a separate posse.
• 16:22
  With many many Jay and the. Boys, we have this Americans in
• 16:25
  there. So some different conversations,
• 16:27
  no doubt. Keeps it interesting.
• 16:28
  Sure. Good guys.
• 16:29
  Living in Langley. Langley But Phil, this year
• 16:33
  about your initial thoughts of the beginning of this film with
• 16:37
  Paul Gross leading the church, He's the squad leader.
• 16:41
  Yeah, he's definitely involved. What's interesting, and I don't
• 16:46
  know if I like it necessarily, but there is a casual
• 16:49
  nonchalance to this particular endeavor, it seems, where.
• 16:54
  With Michael Dunn specifically. Yeah, the tone of this
• 16:58
  particular battle sequence is a little odd for me, but generally
• 17:03
  I find it engaging enough to hook you into the movie.
• 17:05
  It's like a shorthand for the war movie.
• 17:08
  We have the four guys. We've got a little bit of
• 17:11
  camaraderie. We've got some people dying.
• 17:13
  We've got the use of the mirror, which has been a horror movie
• 17:17
  trope we've seen. And certainly what happens to
• 17:19
  Skinner I find to be strangely emotional.
• 17:22
  It's a beautiful shot and it's an fascinating moment.
• 17:26
  You know when we talked about Saving Private Ryan, the opening
• 17:30
  of the, not the opening, fucking stupid opening, but the opening
• 17:34
  battle sequence. We don't know anybody.
• 17:37
  There is no not personally. That's the thing.
• 17:39
  We haven't been introduced to anybody.
• 17:40
  The gate comes down and everybody gets shot.
• 17:43
  That is an emotional thing from a visceral perspective and from
• 17:46
  a what if it were me and what if this and what if that.
• 17:49
  So the fact that this guy's Skinner, it means nothing that
• 17:52
  he has a name. But the fact that we're in this
• 17:55
  theatre, as you're saying, the skirmish and Skinner is sitting
• 17:59
  down mumbling to himself, unsure of what's happening.
• 18:02
  And we've got the other guy in the middle had been downed,
• 18:06
  right? We talked about him in like 8
• 18:08
  ball in Full Metal Jacket. Where do you save them?
• 18:11
  Do you not save him? He's in there, right?
• 18:13
  So there's a lot of these elements happening, but him just
• 18:16
  being shot in the back and unsure of what to do next or
• 18:19
  being crippled by that and not knowing and.
• 18:22
  The audience we don't even. Know and done not knowing and
• 18:25
  kind of calling over like come on and then he just quietly
• 18:28
  slumps over I thought that was exceptionally well not only
• 18:31
  directed it's not really a performance necessarily but I
• 18:35
  love the sequence overall that. Is they got this guy for that
• 18:38
  role specifically, he falls over well.
• 18:41
  Yeah, yeah, and I love the stabs guy in the head.
• 18:45
  Yeah, I figured you would like that.
• 18:47
  You don't remember any of the movie at all for my first
• 18:50
  viewing. OK, so I'm almost going in with
• 18:52
  a clean slate. Sure.
• 18:53
  But I know enough to keep my expectations down because I know
• 18:57
  that was the issue the first time, so I could make that
• 18:59
  correction. And my first impression was
• 19:02
  done. Paul Gross's character, Sure.
• 19:04
  He Michael also last name McRae, which was his mother's name.
• 19:07
  Not to spoil that he wasn't dirty enough for me.
• 19:11
  OK. The look, sure.
• 19:13
  I also felt he was too comfortable in the situation in
• 19:16
  which he was in. Sure.
• 19:17
  Yeah, a little too laid back. Yeah, I alluded to that.
• 19:20
  Yeah, I'm happy that you were able to find a scene that you
• 19:23
  enjoyed, because at this point in the movie I was a little
• 19:25
  worried. OK, see that is a thing where
• 19:29
  you and I very much differ. Whereas I find sometimes you are
• 19:35
  swayed, let's say, by the thing you don't like.
• 19:38
  I'm easily swayed by and therefore everything around it
• 19:41
  that touched it that was in the vicinity of it.
• 19:45
  Fails. It's like shrapnel.
• 19:47
  Yeah, exactly. To some extent like this, this
• 19:49
  collateral damage to like, I don't like this guy's
• 19:52
  performance, so everybody's performance around him is shit
• 19:55
  or everything the movie is trying to do plot wise is shit
• 19:58
  because. I wouldn't go that far, but.
• 20:00
  This thing is failing me. I'm trying to get better at
• 20:02
  that, at recognizing we had this conversation, I think.
• 20:05
  Like Paul Rugby or Paul Rudd, Paul Gross not being dirty
• 20:11
  enough to me doesn't shape any aspect of the rest of the scene.
• 20:15
  So to say that you're saying like you have no interest or no
• 20:18
  connection to Scanner or no connection to.
• 20:20
  The substances, I didn't say that I had just had my concerns.
• 20:23
  OK with the. Movie because if you don't do
• 20:28
  the little things, I fear that you're not going to be able to
• 20:31
  do the big things. But I can recognize beautiful
• 20:33
  blue eyes, don't get me wrong. And I would question probably
• 20:36
  that kill in a in a horror movie.
• 20:39
  Like I don't think that knife goes through the skull like
• 20:41
  that. Yeah, but in this movie you're
• 20:44
  OK with? It I didn't question it all.
• 20:46
  Yeah, I think the bayonet, the force behind it, we just watched
• 20:50
  a guy get a Corkscrew through his hand.
• 20:52
  And says nothing. This is nothing tame.
• 20:55
  You remember the machete into Jason's face, cutting it like
• 20:58
  you know. Half right, that's all checks
• 21:00
  out. It's medically sound.
• 21:02
  Moments later he there's an explosion, I'm assuming friendly
• 21:05
  fire and luckily he just got a lot of mud on him.
• 21:08
  Yeah, those sadly he dirtied up. Yeah.
• 21:10
  Yeah, finally, exactly. This is the this is what I had
• 21:13
  ability of the movie. I'm right back into it.
• 21:16
  Luckily, he's only concussed. Yeah, sure.
• 21:19
  From what we can tell, I didn't get the full medical report on
• 21:21
  him. We have the introduction of the
• 21:31
  actress. Canadian Renee Zellweger.
• 21:34
  That's true. We got Caroline Deverna.
• 21:37
  Deverna. Born in Montreal.
• 21:39
  Correct. Beautiful girl.
• 21:41
  Yeah, beautiful. And.
• 21:42
  I would say one of the better performers in this movie.
• 21:45
  I hope you're not gonna argue. That no, of course.
• 21:47
  Wonderful. She is on the screen a fair
• 21:49
  amount of time considering this is a war movie.
• 21:53
  Ish only if you look at it as a war.
• 21:54
  Movie. Well, that's why they're on the
• 21:56
  ish there. Yeah, through the Ishan.
• 21:58
  When the movie opens with the war scene and then immediately
• 22:00
  goes to this love scene or not love.
• 22:02
  Scene or not there yet, we're not even a first name basis.
• 22:05
  That's right. That's right.
• 22:06
  The introduction of this, I was like, well, this is the
• 22:08
  relationship, this will be this will be the story.
• 22:10
  And then it certainly as we continue in Calgary and the sort
• 22:12
  of jaunty score. So early 1900s.
• 22:15
  Yeah, absolutely. I love it.
• 22:17
  I thought that score was really great.
• 22:18
  I didn't like it. Later there's a scene where they
• 22:20
  implemented, which I absolutely. Detest I'm sorry to hear.
• 22:23
  That, but I really liked it. And this sort of introduction to
• 22:26
  the comings and goings. I was digging it.
• 22:29
  You've been to Calgary several times.
• 22:30
  Absolutely. That's well documented.
• 22:32
  Absolutely. Airport days.
• 22:34
  Yeah. Few free lifts here and there
• 22:36
  twice a year at least, at least for some meetings and so forth.
• 22:40
  Absolutely wonderful, Phillip. Now 1915.
• 22:44
  This is pre puffer for anyone who had asthma.
• 22:50
  Yeah, good luck. You're out.
• 22:52
  You're on your own. Absolutely.
• 22:54
  David. Mann, David Mann, David Mann.
• 22:56
  Yeah, I like to call him Francis, Man.
• 23:00
  Uh, our first sense of trouble from Phillip.
• 23:05
  OK, OK, we'll dive into that one as it go.
• 23:07
  I did not have a Francis candidate at this episode, but
• 23:10
  I, I can see where you're coming from.
• 23:12
  He just scratched the surface. Sure, I'll give you that.
• 23:16
  He's showing up in a lot of TV too.
• 23:17
  He's he's a face. Didn't recognize him.
• 23:19
  OK, alright, so you have to tell me.
• 23:22
  I don't know. He's in the one of the Flash
• 23:25
  shows, DC shows. I think he was a guy.
• 23:28
  I don't know. OK, just has a face.
• 23:30
  Sure has a face. Maybe just looks like.
• 23:33
  Ezra Miller. It looks like Ezra.
• 23:34
  Miller Go maybe that's fun game Mixer, but I know he was in TV
• 23:37
  in something along those lines and he's David Mann is trying to
• 23:41
  be a man right now. But yeah, Phillip, he's missed
• 23:47
  three days this month. Yes.
• 23:49
  My question to you is how deep are we in the month when you
• 23:54
  miss work because he works at the newspaper because of his
• 23:56
  asthma, can't fight overseas? Absolutely.
• 23:59
  I don't know if you knew that before going right away.
• 24:01
  OK, alright, laying it out there for you.
• 24:03
  So I'm thinking, is this the first week of the month?
• 24:06
  Sure, if you're 5 days in, you missed three.
• 24:07
  That's a different story than you're at 31 days.
• 24:09
  This is the last end of the month.
• 24:11
  It's not too bad. You're an office guy.
• 24:13
  That's right. 3 * 3. Times won't even notice as I've
• 24:15
  been gone, but we do introduce him as having a chip on his
• 24:20
  shoulder. He's got a very chippy,
• 24:23
  intrinsic nature too. He wants to serve, but he can't.
• 24:27
  He feels ill at ease because of it.
• 24:29
  Yes, discomfort, but he also recognizes that his
• 24:33
  father-in-law or hopes to be father-in-law.
• 24:36
  Who's a doctor? Who's a doctor has greater
• 24:38
  expectations for him than maybe he has for himself, and so that
• 24:42
  feeds into it. And there's sort of the argument
• 24:45
  that the father-in-law kinda doesn't really care for him.
• 24:48
  Hates him apparently. Yeah, he says he.
• 24:50
  Hates. I don't think he does.
• 24:51
  I just don't. I do.
• 24:52
  He wants him killed ultimately. Well, he does send him to dodge.
• 24:55
  Sure No, he says he sends him to fight for his country, Phillip
• 24:59
  to be brave to collaborate Asmatic fit listen, I think that
• 25:03
  that is they don't use these guys.
• 25:05
  I don't know. You're certainly right.
• 25:08
  So yeah, the the implication is you should be embarrassed and
• 25:11
  the only way that he can seek redemption, if you will, and
• 25:14
  respect from his father-in-law is going to war.
• 25:18
  And so that's his struggle throughout the movie.
• 25:19
  That's his character, basically. And then we have his girlfriend
• 25:23
  who's Canadian, Rachel Adams, who actually is also Canadian.
• 25:27
  So that makes no sense, but just kind.
• 25:30
  Of look like her. Yeah, sure.
• 25:31
  Are you with me? No.
• 25:32
  OK, No. Alright.
• 25:33
  I can agree with you on the other one.
• 25:35
  Not this one. Alright, fair enough, Fair
• 25:36
  enough. When we go back to Mr. Gross.
• 25:38
  Michael Dunn Yes. And he's had a parole hearing.
• 25:42
  It's not, but that sure got a bit of a vibe.
• 25:45
  Yeah, yeah, yeah, sure has elements of The Shawshank
• 25:47
  Redemption. Absolutely, he did go awall.
• 25:49
  Yeah, they kind of give you a little bit of what his story.
• 25:51
  Is you don't wanna do that. Yeah, but I love his explanation
• 25:53
  as to why. Yeah, cuz he got a medal.
• 25:55
  Yeah, he says. I stabbed a kid, a kid in the
• 25:58
  head, and the first time you could walk, you went AWOL.
• 26:01
  Yeah, because I got a medal for doing having a guy in the hat.
• 26:04
  Yeah, I love. It I love that, he repeats.
• 26:06
  It, yeah. And that that is the dichotomy.
• 26:09
  That is the paradox. That is where we want you to do
• 26:12
  these things that we we don't think particularly back in World
• 26:18
  War One days of the ramifications.
• 26:20
  No big deal. It's not concussion, it's shell
• 26:22
  shocked or it's neuro. Yeah, damn it.
• 26:26
  Yeah, I appreciate you taking. That leap but is now known as
• 26:30
  PST. Yeah, even PTSD all.
• 26:34
  Of them. But my question you, Phillip, is
• 26:38
  what's the worst thing you've done to get a trophy?
• 26:41
  I know you're playing your PlayStation games.
• 26:43
  You'd love to get all the. Trophies, that's for sure.
• 26:46
  Yeah. I know you've killed a few
• 26:47
  characters. What would you do?
• 26:50
  I did play Until Dawn recently and it killed everybody.
• 26:53
  Yeah. And he got trophy for it.
• 26:54
  Yeah, it was rewarded. For it, and you feel pretty good
• 26:56
  about it, don't. You.
• 26:57
  Well, I feel pretty good about getting the trophy, yeah.
• 27:00
  So do you ever think about what you did though?
• 27:02
  Even though it's not real real in the moment, it's I like
• 27:06
  watching them die. Yeah, I know you did.
• 27:08
  I know you did. That's OK.
• 27:10
  We still love you, just not as much.
• 27:13
  That's right. And we also find out somewhat
• 27:17
  similar again to Saving Private Ryan, I'm not going to go back
• 27:19
  to it too often, but his two other brothers, 43, so him and
• 27:24
  three other brothers. So I think they're all younger
• 27:27
  brothers. They all died.
• 27:29
  He was, although he went AWOL. They tagged it as Mia, which is
• 27:33
  more or less. Done to a mother you're.
• 27:36
  Dead. Yeah.
• 27:37
  So similar to Padme's mom died of a broken heart.
• 27:42
  Did you pick up on that? Did you pick up on that?
• 27:44
  There's two Star Wars references in this I don't know if you
• 27:46
  picked up on. Out of this I honestly not
• 27:48
  purged so much. If that's a prequel reference
• 27:52
  then yeah, I have purged. All of that, it is.
• 27:54
  It was from Revenge of the Sith. That's how she died.
• 27:57
  Went to the shit, yeah. It's coming off the shelf.
• 28:00
  No time soon, thank God, no time soon.
• 28:03
  But he gets reassigned. He gets reassigned to
• 28:05
  recruitment. Yeah, he's given a desk.
• 28:07
  Job and I think that guys caught, he's trying to help,
• 28:10
  he's trying to help. He's like this is the best way.
• 28:12
  You're not back in the fight and you're also not going to jail.
• 28:16
  Yeah. We find out her name is Sarah.
• 28:19
  Sarah. Mann, yeah.
• 28:21
  Did you like that little moment with the older nurse?
• 28:23
  Yeah. I did.
• 28:24
  That reminded me of Pearl Harbor.
• 28:26
  So you liked? It then.
• 28:27
  No. I mean, I liked it OK.
• 28:29
  I thought I didn't like this scene really at all.
• 28:32
  OK, well, sorry to hear that. Yeah, we're doing so well.
• 28:35
  I like him generally as an actor.
• 28:37
  I like the generally, but for some reason, the way that this
• 28:39
  romance in particular in the scene, one of the things that
• 28:42
  this movie does and we'll talk about it a few other times
• 28:45
  throughout is I feel it rushes like the stuff with the mom that
• 28:50
  would be and could be a scene like a real moment.
• 28:54
  They've done it before 98. That's the thing.
• 28:57
  And so you're just sort of saying.
• 28:59
  If you want to make it obvious. And there's no weight behind it.
• 29:02
  So I want to feel things. As you know, when I go see a
• 29:04
  movie, absolutely. And watching that and then this
• 29:08
  stuff with her, I don't immediately feel like there's
• 29:12
  the connection in the movie wants us to feel it.
• 29:14
  I feels rushed. Whereas as the movie progresses,
• 29:17
  I feel it a little bit more. But right away, it feels like I
• 29:20
  just don't want to leave you. OK.
• 29:22
  But like, we don't have a sense as to how long that relationship
• 29:25
  has been. We don't even have a first name.
• 29:27
  Like that's the rules, buddy. I can see like she's beautiful.
• 29:30
  So it's largest. OK, I don't wanna leave because
• 29:32
  you're hot and you get to give me a sponge bath.
• 29:35
  Like that's enough I guess. You love a sponge bath.
• 29:38
  I know, but. When that's the hinge of what's
• 29:41
  going to be the next hour of the movie, really the rest of the
• 29:44
  movie is going to be relying on. This there's a hinge.
• 29:46
  There, that's not how I would want to introduce.
• 29:49
  It some scenes don't last long enough and then some scenes.
• 29:53
  Are too long. I don't have that feeling
• 29:55
  necessarily. I actually think for the most
• 29:56
  part personally anyway, I feel like the rest of the movie is
• 29:59
  paced really well. I find that stuff that is it's
• 30:02
  more often rushed than meandering.
• 30:05
  And I think it's those scenes where it's apparent that he is
• 30:07
  trying to do 3 jobs to direct it and be in it could be related, I
• 30:12
  don't know. It's just, well, that could be a
• 30:14
  productive. Thing then then.
• 30:15
  Well, he wrote it too. That's what I mean, But that
• 30:18
  acting in it doesn't mean like if he wrote it, he wrote it.
• 30:21
  And that was written months ago or years ago.
• 30:23
  So I don't know how much of it is in the moment.
• 30:26
  But if he's written it and then he has to perform it and direct
• 30:30
  it, he doesn't really have the opportunity to maybe rewrite it
• 30:33
  and kind of tinkle with it. Twinkle with a twinkle.
• 30:36
  Twink it, tinker, tinker with it.
• 30:40
  Trucker Twinkle Little *. So that's why your aspirin.
• 30:49
  I'm hooked on it, much like Sarah's, a bit of a fan of
• 30:52
  morphine. Yeah, morphine the better, is
• 30:54
  what I always. Say, yeah, absolutely.
• 30:55
  I know you had a bit of a problem for a while, Phillip.
• 30:58
  Coming out on the other side. Being But anyways, we'll get
• 31:01
  that a little bit later. First we have to introduce the
• 31:04
  British fellow, Mr. Hughes. Yes, absolutely.
• 31:09
  Colonel. Colonel.
• 31:12
  Colonel. I don't think that's correct.
• 31:14
  That's OK. What are your initial thoughts
• 31:17
  on this character? He's great.
• 31:19
  He probably has the best dialogue in the movie.
• 31:21
  Yeah, he's got good. Dialogue, which I will argue the
• 31:24
  dialogue isn't always very good, but Hughes gets the best of it
• 31:30
  or delivers it. Well, you definitely delivers it
• 31:32
  well, Yeah, for sure. Yeah, I agree.
• 31:34
  There's some stiff dialogue for sure.
• 31:37
  But when the guy comes with the blueprint, Sparkling just has a
• 31:41
  great. That's such a pomposity to him
• 31:43
  that is really fun to listen to. But at the beginning, we're
• 31:45
  talking about using gas. What's the short small scene?
• 31:49
  It's hilarious. Like we use gas and like.
• 31:51
  Yeah, we do. Yeah, this taps his nose out.
• 31:54
  Or cut from the same cloth sort of thing, which I don't think
• 31:57
  they are. Differently proves out to be
• 31:59
  bears, bears out to be not true. Yeah, that one's not even a
• 32:01
  cloth. It's like a mineral or
• 32:04
  something. Something else I have written
• 32:06
  down here. Paul Gross is a Canadian Tom
• 32:08
  Cruise. Yeah, I see that.
• 32:10
  Yeah. OK.
• 32:11
  Because we're 2 for three then? Yeah.
• 32:13
  Yeah. I mean in only the most minor of
• 32:16
  ways. Certain angle, certain angles
• 32:18
  and mouth in some ways, yeah. Yeah, I can see it.
• 32:22
  Appreciate looking, man. Yeah, good looking, man.
• 32:24
  We got just a quick sort of peek into the recruitment process
• 32:30
  throughout the first part of the movie within Calgary.
• 32:33
  That's his job now. He's going to recruit and
• 32:36
  they're going to even set up a tent.
• 32:38
  Yep. We talked about the fact that
• 32:41
  you've liked camping, so you've clearly spent some time in a
• 32:44
  tent. No, I hate.
• 32:46
  Ohio, I was gonna ask you if you ever felt shame while being in a
• 32:49
  tent. I've been in one tent in my
• 32:51
  entire. Life and did you feel shame?
• 32:53
  No, although you felt something after we were finished in it.
• 32:59
  Maybe some of it was shame. Well, that's.
• 33:01
  Never felt it. OK, as long as he didn't feel
• 33:03
  it, that's all that matters. That's all it.
• 33:04
  Matters some shameful behaviors perhaps if someone were on
• 33:07
  looking. But my question to you is if
• 33:10
  you're. One question keep them.
• 33:11
  Coming. I know, I know.
• 33:13
  You've given me great answers, great insight.
• 33:15
  If you're a 18 year old kid, why are you going into that tent?
• 33:20
  Why are you there? If I wasn't going to the war, I
• 33:23
  probably wouldn't show up at this event.
• 33:26
  You ditch it. I would ditch it.
• 33:27
  I would. Men and women can go because
• 33:30
  they know they're fine. Yeah, exactly.
• 33:31
  Sure. But no ones going to look at
• 33:32
  them and say why aren't you guys?
• 33:34
  They're sitting down. Yeah.
• 33:35
  They get the on purpose. Exactly.
• 33:37
  They're told to sit. Yeah.
• 33:38
  So I would probably be at home on my telescope or perhaps
• 33:40
  reading a book. Because there's nothing else to
• 33:42
  do in 1915, my friend. No, no.
• 33:45
  Very little. I was thinking about that.
• 33:46
  What do you do? You listen radio, I think.
• 33:49
  Is AM FM was out yet? No.
• 33:52
  So. However, David is there and we
• 33:56
  know that he does want to go. He's already got the fire inside
• 34:00
  and this only bolsters that I would suggest.
• 34:03
  Dunn gave him the You're not going.
• 34:05
  Spiel yeah, I like the scene a lot establishes the crux of the
• 34:09
  rest of the movie ultimately crux in so much as David is
• 34:13
  desperate to enlist desperate to make a name for himself.
• 34:17
  Not unlike again Dunkirk, which is later than this movie came
• 34:21
  out later in this movie. But that same feeling of I want
• 34:23
  to be a part of the war. So get in this little boat and
• 34:26
  we're going to go and save our countrymen.
• 34:28
  You. Want to feel left out?
• 34:29
  I think it's even more than that on David's case, that the
• 34:32
  principle is David really needs this and wants this for a number
• 34:35
  of reasons, not least of which to impress his father-in-law.
• 34:37
  I don't think for the right reasons, arguable I suppose, and
• 34:40
  Mike is the barrier for lack of a better.
• 34:44
  Term war blocker. Exactly.
• 34:53
  We have an attack in the motherland here, here on here on
• 34:57
  home turf with the one armed man.
• 35:00
  Yeah, yeah, yeah. Call back to our other fugitive
• 35:02
  episode. Available in the archives item.
• 35:05
  Not familiar with this actor, but does he in fact just have
• 35:08
  one arm? No, he doesn't.
• 35:09
  OK, And you should be familiar with him.
• 35:12
  We spent many, many minutes talking about.
• 35:14
  Him. You did.
• 35:15
  Maybe a few weeks ago on a movie off of your shelf.
• 35:20
  That's Gil Bellows. Gil Bellows.
• 35:22
  He plays Tommy in The Shawshank. With Tommy and Shawshank, Yeah,
• 35:27
  OK. Goes to school, learns the
• 35:29
  thing. OHS Warden hasn't shot.
• 35:31
  Really, well, he's aged. 14 years, they'll do that.
• 35:35
  Shawshank was that old. 1994 Oh, there you.
• 35:38
  Go. That's why it didn't recognize.
• 35:39
  I'm pretty good at. This, If he was on the screen
• 35:41
  for 26 seconds, Orrin MacGyver, he would have said, I know that
• 35:45
  guy. Yeah, yeah.
• 35:47
  But the fact that he was a pretty pretty.
• 35:50
  You know, way too long. Yeah, that's the problem.
• 35:53
  Yeah, he's great. Yeah, he's great.
• 35:54
  As an actor generally and I like the scene between the two of
• 35:57
  them. I believe for the most part
• 35:59
  these two are buddies and it's conveyed pretty well.
• 36:01
  I like Gil Bellows as an actor generally.
• 36:03
  And he gets to showcase his acting chops right in the next
• 36:07
  scene at the bar. The bear that Bah were you used
• 36:12
  to frequent when you're younger? Maybe you still do.
• 36:15
  You still go to RJ's Boom Boom Saloon.
• 36:17
  No, no, they might close. Wow.
• 36:20
  Not. Sure, what I am sure of is David
• 36:22
  Guns had a couple of drinks, plays a good drunk.
• 36:25
  Good man, you mean. David, Man, why is it?
• 36:27
  What did I say? David Dunn?
• 36:28
  Yeah, that's gonna be a problem. I'll probably do it again.
• 36:30
  Yeah, sure. Does this increase his Francis
• 36:33
  Ness when he's had a few drinks? More annoying?
• 36:36
  Absolutely. Fundamentally, he's a young kid
• 36:38
  who's in over his head. Cut him some slack, he's in love
• 36:41
  and. I don't know what the love has
• 36:43
  to do with it. I guess I don't.
• 36:45
  Know. None of this behavior is
• 36:47
  entirely because he's in. Love.
• 36:49
  No, it's the alcohol makes you do stupid things like pick a
• 36:52
  fight with a guy with the one. Arm Well, you think you could
• 36:55
  take? Him.
• 36:55
  The odds are more even, I guess, than if you had two, I suppose.
• 36:59
  But. It doesn't end well for him.
• 37:01
  So once again, this humiliated, disrespected kid is humiliated
• 37:06
  and disrespected once again in the confines of a bar here.
• 37:09
  So you know, things aren't looking good for David.
• 37:12
  He's looking for an identity. And that makes sense to me.
• 37:15
  We all. Are what it does allow the film
• 37:18
  to do is give us a reason for Paul Michael Dunn to see Sarah
• 37:24
  conveniently. Yeah, that worked out well.
• 37:26
  Yeah, that worked out well. Totally.
• 37:28
  We learned something in Friday the 13th.
• 37:31
  Teddy gave us some good. Tidbit of the computer don't
• 37:34
  lie, I think Mike's a dead fuck. No, no, no.
• 37:38
  Is you don't want to get rejected twice.
• 37:40
  Same woman. That's the same woman.
• 37:41
  So he's gotta be careful here. I don't know if he's officially
• 37:43
  asked yet, but he does ask her out.
• 37:47
  I'm flirting. Yeah.
• 37:49
  That's the scene I remember from the trailer.
• 37:50
  Yeah, it's cute. It's I think it's really cute.
• 37:53
  It is really cute. I don't dance.
• 37:54
  With men in uniform, like a Lucy uniform, he really jumps on that
• 37:58
  really quick. That's a naked soldier.
• 38:01
  She's making that quite difficult on and she says it.
• 38:03
  She calls herself out. Yeah, I'm making this hard,
• 38:05
  aren't I? Think it's great now they've
• 38:07
  actually had a chance to interact and have communication
• 38:09
  and have a little playful banter and have some.
• 38:12
  Outside the confines, yeah. We've actually seen it, whereas
• 38:16
  the introduction is eyes open and we're to assume he's already
• 38:20
  in love. So has he been in there for
• 38:21
  weeks, days, months? He's in and out, in and out guy.
• 38:25
  The hospital. Yeah.
• 38:26
  Yeah. OK.
• 38:27
  I don't know. Florence Nightingale.
• 38:29
  I jokingly said that name in the beginning, but that's the
• 38:32
  effects. Hmm.
• 38:33
  Yeah, I think it's the name. Yeah, check it out.
• 38:35
  There's it's well documented. Yeah, no, absolutely, absolutely
• 38:38
  looks Stockholm syndrome. Exactly what I will say about
• 38:41
  the movie, as much as I agree, like the performances and I
• 38:45
  really like this relationship is kind of blossoming and I see the
• 38:47
  potential there and in terms of characters.
• 38:49
  The writing, however, is I think, at times very heavy on
• 38:55
  the foreshadow. And when you're first watching
• 38:59
  it, you don't know, right. So these lines are just these
• 39:02
  lines. But in this moment, they're
• 39:04
  talking about how he has these images and dreams of crucified
• 39:08
  Canadians or he's been hearing about.
• 39:10
  And Mike says to Roy Gil Bellows, you know, no, no, that
• 39:14
  didn't happen. But they said it happened.
• 39:16
  Yeah. But it didn't still.
• 39:19
  And you're like, OK, but that doesn't really lead anywhere in
• 39:22
  the moment. The moment, yeah, obviously it
• 39:24
  pays off later, but in the moment it feels.
• 39:25
  It pays off, but. But what you get after that is a
• 39:28
  quiet moment with these friends that we don't really see Roy
• 39:32
  again. You know, ultimately he's not
• 39:33
  really a big. Part of the reason for a moment
• 39:35
  later and. That's and that doesn't kind of
• 39:37
  where I think the movie suffers a little bit in that I think
• 39:40
  this should be a three hour movie.
• 39:42
  You want more Gill? In general, I think there's just
• 39:44
  more room to play. Like Pearl Harbor, you want a
• 39:47
  three hour movie? I think that this movie has
• 39:52
  warned because he's not 3 hours. I don't mind that it's shorter.
• 39:55
  I like that it's due in terms of it's easy to swallow, sure, but
• 39:58
  then you should be cutting some other things out of it.
• 40:00
  So to introduce Gil Bellows, who's an actor I really like and
• 40:03
  give him very little to kind of work with.
• 40:05
  And he has this beautiful scene where he talks about if not for
• 40:08
  this arm, I'd be on that path with you and I would be with.
• 40:11
  You go with Guy. And he says you know I am and
• 40:15
  Mike kind of pulls it out of him and he says I'm proud of you.
• 40:18
  Like that to me is actually a really beautiful moment amongst
• 40:20
  2 grown men that it clearly have some history and 1 feels the
• 40:24
  weight of I should be with you, yeah.
• 40:27
  And you want that history? You want a little bit more?
• 40:29
  And then it disappears. So it's like, that's a big chunk
• 40:33
  of emotional real estate that has taken up with very little
• 40:37
  movie time. And that's fine.
• 40:38
  Again, not everything needs to be so spelled out.
• 40:40
  But I like this character. I like this relationship, so I'd
• 40:43
  be willing to spend more time with them.
• 40:45
  But he's gone now. War.
• 40:46
  Movies tend to be longer and usually that's fine with me
• 40:50
  because I'm into the genre. Obviously I'm fine with Pearl
• 40:53
  which is A2 disc set in one of its really blurry releases and I
• 40:58
  feel there is some stuff that is left on the table that I would I
• 41:01
  would have liked to travel down. I wonder if there's like a 20
• 41:04
  minute more directors cut somewhere, you know, kind of
• 41:06
  thing. But a lot more.
• 41:07
  But like 20 more minutes that kind of fills out some of these
• 41:10
  character beats a little bit more.
• 41:11
  Yeah, I agree. There's certain moments later
• 41:13
  where I would like some more time for things to breathe and
• 41:17
  get a better sense of time. You know how I feel about that
• 41:20
  time sense of time. I've got a couple of notes about
• 41:22
  that, but not right at the moment.
• 41:24
  I wanna go horseback riding. Don't we all?
• 41:27
  I don't know about that. I don't know if a lot of people
• 41:29
  do. I know my wife would love for us
• 41:30
  to go. It's just one of those things
• 41:32
  you gotta make time for it. Yeah, probably a little bit of
• 41:34
  training involved. I don't think so.
• 41:35
  He's pretty easy. OK.
• 41:37
  Oh, you've done. It I've never touched a horse in
• 41:38
  my life, but I I think. I touched one either like you've
• 41:41
  never petted 1. I don't think I've ever been
• 41:43
  close enough to touch. One you see me spend a lot of
• 41:45
  time with the track. No, my ex had horses.
• 41:49
  They owned horses, but I never saw any of them.
• 41:51
  Either well, no one's gonna say no to a horseback ride.
• 41:53
  And this is where you get a beautiful landscape, gorgeous,
• 41:57
  breathtaking. I shot in Denver.
• 41:59
  Denver. John Denver.
• 42:01
  Actually, it's the Canadian Denver.
• 42:02
  Yes, Alberta. Some people had issues with how
• 42:05
  it was filmed in Calgary, saying it was like CBC ish.
• 42:09
  I didn't get that. I thought the whole film was
• 42:11
  professional and I even felt that it was elevated in parts of
• 42:16
  Calgary and more so in Passionel, like when we get to
• 42:20
  Belgium. But here is.
• 42:22
  A beautiful shot, beautiful scenery, gorgeous.
• 42:26
  I don't understand what you're like.
• 42:27
  I don't. Not me.
• 42:28
  Hey, no, no. I just don't understand.
• 42:29
  What about this movie? Nothing about this movie reads
• 42:32
  as like TV movie. That's about.
• 42:34
  This movie reads low quality, low rent now compared.
• 42:37
  To one person, this is multiple people.
• 42:39
  I could went off OK, you just clearly hate this movie.
• 42:42
  Sure, for whatever. Now you're just trying to say
• 42:44
  worse things, but I Did I miss something?
• 42:46
  There's nothing about this movie that reads that to me.
• 42:48
  Good. Glad.
• 42:50
  It obviously is nothing wrong with BBC is $20 million go.
• 42:54
  It's a huge Canadian production and a small American production.
• 42:58
  But you've got a cinematographer, Middleton.
• 43:02
  Yeah, who he's done work. Well, it works predominantly in
• 43:05
  television, but the television that he works on is fucking
• 43:08
  beautiful. So I have.
• 43:10
  No, I haven't seen Game of Thrones, but gorgeous people
• 43:13
  seem to like it. Yeah.
• 43:14
  I think it's a Vista type of view, I would say, if not that,
• 43:19
  I think it's a little melodramatic in some of these
• 43:22
  moments, but has nothing to do with the cinematography.
• 43:24
  Just two people sitting on a Ridge looking out over the grain
• 43:28
  and the ocean. Like, that is a thing where
• 43:29
  you're like, OK, this is like a romantic, sweeping romantic
• 43:33
  movie moment. There's a beautiful Ridge.
• 43:35
  I loved it. It wasn't Destiny's Rich.
• 43:37
  Another great Canadian show. That's right.
• 43:39
  Yeah. You ever watched it?
• 43:40
  No. Terrible or not, A Hacksaw
• 43:42
  Ridge, but I think it's beautiful and the way that they
• 43:47
  interact with one another on this sort of date.
• 43:50
  Is thankful it's not a date. That's right, just a ride.
• 43:53
  But she clearly indicates that she's broken.
• 43:57
  But she does say that even. Yeah, literally.
• 43:59
  I think that's a quote. Yeah.
• 44:00
  It's a warning sign, right? These are people that are
• 44:02
  damaged and damaged times, and we don't know why or what.
• 44:05
  But you know, with Mike, we know Mike is damaged in his ways
• 44:08
  because we've seen some of it, but we don't know her story.
• 44:11
  I do like her explanation though.
• 44:13
  If I allow this to happen, I'm going to resent you for loving
• 44:17
  me. Yeah, and I.
• 44:18
  Think like if you don't like yourself and then someone loves
• 44:22
  you, like well I. Don't love me.
• 44:23
  Yeah, you love me. I grow resentful over I think
• 44:25
  you're dumb for loving me. And then I'm gonna eventually
• 44:27
  hate you. Sure.
• 44:28
  Absolutely self-destructive. You know, we call it Janini Ink,
• 44:31
  OK. Call it a need for morphine for.
• 44:35
  Sure. But yeah.
• 44:36
  And we see the headstone. It shows that he died and he's
• 44:39
  19. 15 he's just trying to call it.
• 44:41
  That's right ahead of the game. But let's Mosey on over to the
• 44:46
  other romance. You sure?
• 44:48
  That's brewing what I wrote down as an artillery injury
• 44:52
  conference. That's, I think, probably as
• 44:54
  close as anything. Yeah, Doctor Walker running the.
• 44:57
  Show, yeah, I don't really know the purpose, no what he's trying
• 45:00
  to sell necessarily, but he's talking about artillery being
• 45:03
  the biggest enemy of a soldier. Doctor Walker is a great
• 45:06
  speaker. Though he speaks well, he's all
• 45:07
  Raider. And the scene intercuts a little
• 45:10
  bit between the conference. Go to it and the lovers.
• 45:17
  Yeah, David and. Oh God, what's her name?
• 45:20
  I don't even know. Cassie.
• 45:21
  She's Cassie and Cassie Walker. They don't really say her name
• 45:24
  in the. Movie a couple times, but not
• 45:25
  noteworthy. OK, what is noteworthy?
• 45:29
  Sex scenes, yes, I think our noteworthy and we get we get one
• 45:32
  right here. What's a good one liner she
• 45:35
  gets? What is arguably the best line
• 45:37
  in the movie? I would argue that it might.
• 45:39
  Be where they're talking about this is that inner cutting
• 45:42
  thing. Yeah, we're hearing him, yes.
• 45:44
  And seeing that he's talking about foreign matter and so
• 45:48
  forth, so she looks up at him and says, would you like to
• 45:51
  introduce some foreign matter into me, like some shrapnel?
• 45:56
  And he's all for it. I mean, is that get you in the
• 45:59
  mood? Or I think it's.
• 46:01
  Yeah. And they they do it do it do it
• 46:05
  do it keep. It clean buddy children again.
• 46:07
  That's keep it clean. I was more interested being the
• 46:11
  adult on the couch. Here is artillery shrapnel.
• 46:14
  It's the most dangerous thing, thing you need to be worried
• 46:18
  about the most on the battlefield.
• 46:21
  And then we have a classic moment of reflection.
• 46:25
  Or we just had the camera on him.
• 46:27
  He doesn't say anything for a little bit.
• 46:29
  The Flash. Of someone blowing up in front
• 46:31
  of him or himself perhaps. Just to recap case you missed.
• 46:34
  It yeah, this guys damaged. Yeah, wet matches.
• 46:37
  That's the key. That's the worst thing, and
• 46:39
  people kind of take it as as a ha ha sure joke and people
• 46:42
  laugh. So does the Colonel, and I
• 46:43
  believe so does. I thought it was funny.
• 46:45
  Walker is frustrated, annoyed by it, but yeah, it's treated
• 46:49
  definitely very light come out. Thanks.
• 46:51
  Mike's just being a jerk, ultimately.
• 46:53
  Which I didn't get that. I think he's just trying to be
• 46:55
  funny. I think he's just telling the
• 46:57
  truth, which. Explains.
• 46:58
  Well, we don't know, do we? Until very shortly.
• 47:01
  Afterwards it doesn't play it as a joke, is what I mean to say.
• 47:03
  I don't think he's playing in any way other than.
• 47:05
  Earnest goes to War, which is a very good film by the way.
• 47:09
  Ernest joins the Army. Yeah, well, he went to camp.
• 47:11
  I know that. Yeah, he went to jail.
• 47:13
  Yeah, he saved Christmas. Literally actually went to jail.
• 47:16
  The actor did. I don't know.
• 47:17
  No, I don't know. Just kidding.
• 47:18
  Just making stuff up. Classic podcasting, random non
• 47:22
  truths. We do have a pivot point though
• 47:25
  after this scene where we find out the father of the brother
• 47:31
  and sister, David and Sarah. Very good.
• 47:35
  Turns out he went to play for the other team.
• 47:38
  I don't know if you went to play, but he definitely played
• 47:40
  for the other team. Yeah, so they were born German.
• 47:43
  German, Yes, Came to Canada. The kids were born in Canada.
• 47:47
  Yeah. He clearly wrestled with it and
• 47:50
  had to make a decision and he decided to go back.
• 47:52
  Yeah, she says later, as she forced him into that decision.
• 47:54
  Well, yeah, she's taking ownership and I respect that.
• 47:57
  You gotta respect that. You do.
• 48:00
  What do you do? But it does lend to a great line
• 48:04
  from Hughes. She calls him out.
• 48:06
  Say, well, you're British. Yes, I'm.
• 48:08
  I was born in Canada. Like, come on here.
• 48:10
  What are we talking about? But he was born under the son of
• 48:13
  the British Empire. Well, she was born under the
• 48:16
  cloud of Germany. That's good writing.
• 48:22
  My question to you, Phil, since this has happened, did you feel
• 48:25
  that it escalated quickly? Was this a little bit rushed?
• 48:29
  No. There's a scene later that I
• 48:30
  find more rushed than this. This felt fine, OK.
• 48:33
  I think ultimately the definition that she is German
• 48:39
  and by that meaning that sort of she's othered and whatever.
• 48:42
  Else, potential saboteurs. Saboteur and an effort to
• 48:46
  establish that why, in some of the ways in which she is broken.
• 48:50
  She knew that, she knew that, but Mike doesn't seem to.
• 48:52
  Care. Of course he doesn't.
• 48:54
  He doesn't care. What I love is he says, actually
• 48:57
  I may have killed him. I killed him.
• 48:58
  I don't know. Yeah, that's a great line too.
• 49:00
  And I think it's performance. Again, I don't know what you've
• 49:02
  read, but I, I saw, I think he's good in this movie.
• 49:06
  I have no real problems with his performance throughout.
• 49:08
  And in this moment, it's one of those he plays the casual nature
• 49:12
  of the conversation, the caring nature of the character with the
• 49:15
  reality of, yeah, I probably, I, you know, I could have.
• 49:18
  I thought this particular scene I thought was really well
• 49:20
  executed. There's people that didn't like
• 49:22
  him at all in the movie. I don't understand.
• 49:23
  There's people that liked him throughout the movie.
• 49:25
  I'm in the middle. I'm stuck on this.
• 49:26
  Date in the. Middle I'm up and down hard to
• 49:29
  believe 1 scene I like him, one scene I don't I'm.
• 49:32
  Confused like a 565.65 7. Yeah, right in there. 6.4
• 49:37
  actually 6.4 right on with IMDb. What I mean by escalated quickly
• 49:44
  is that their house is like already destroyed by we assume
• 49:48
  or they all assume it's the neighbors.
• 49:49
  Who else could? It be Mr. Harper that's right.
• 49:51
  He looks like trouble. Yes, he does.
• 49:53
  I I think that is I think that part maybe it does escalate
• 49:56
  pretty fast once it's revealed who he is.
• 49:58
  But again, we're dealing with that's the world.
• 50:00
  You know, there is a time Twitter, most of my, you know, I
• 50:04
  think back on something like World War 2 where there's
• 50:06
  Japanese internment camps and, you know, within Canada there
• 50:09
  are these places that have been exiled and people that have been
• 50:12
  ostracized and so forth. So if we're in the middle of
• 50:15
  World War One, it comes out that you're a German.
• 50:16
  I believe it would escalate to the point of, Oh yeah,
• 50:19
  absolutely right. Once it's known, and it may not
• 50:21
  have been known to everybody because it's a private thing, I
• 50:23
  think it gives an opportunity for.
• 50:26
  It gives an opportunity for her to shoot up.
• 50:27
  I think that's what. It does, yeah.
• 50:28
  Give Mike, give Mike a chance to beat up a neighbor.
• 50:32
  So, you know, that's OK. Too.
• 50:33
  Yeah, that's true. Done stuff.
• 50:34
  He has shown that he's tough shit.
• 50:36
  We're going to continue to see how tough this character is.
• 50:39
  This is just the beginning of his toughness.
• 50:42
  Yes, all right. Who is also tough, David,
• 50:45
  because he runs off to the forest cemetery where he's
• 50:50
  finding German headstones and kicking them all over.
• 50:53
  Yeah, and that jerk move feels wrong.
• 50:58
  It just feels like bad filmmaking.
• 51:00
  This is the scene I don't like at.
• 51:01
  All OK, Well, I agree with you 100% it's.
• 51:05
  Just bad writing. Like how is he going to express
• 51:08
  his anger with his German father?
• 51:10
  I know we'll have him kick German headstones and say I hate
• 51:14
  Germans. That just feels too easy.
• 51:16
  What else are you going to do? What else?
• 51:19
  What else? You got nothing.
• 51:21
  You got nothing. Well, this is performance, you
• 51:23
  don't need to write it. But it gives us a great scene
• 51:27
  down by the river. I hate this scene.
• 51:29
  I know I was being sarcastic, OK?
• 51:32
  I didn't know what they were talking about.
• 51:35
  They're going on about something.
• 51:36
  Very melodramatic dialogue. Don't you see I'm already at
• 51:40
  war? With the.
• 51:41
  Universe OK, so we've already established this character is
• 51:46
  wrestling with something. We've done it now for almost an
• 51:48
  hour. To have someone just spell it
• 51:50
  out like that in the scene just fucking bores me.
• 51:52
  I hate. It was there too many lines.
• 51:53
  You don't know the lines, draw lines.
• 51:55
  There's a lot of lines. Yeah, that's another line I
• 51:57
  don't particularly care for. You don't like the line about
• 52:00
  the lines. No, I I don't mind the concept
• 52:03
  of that, and I think it's actually pretty true that we
• 52:05
  live in these worlds and we won't know until we cross them
• 52:08
  what is relevant and what isn't. But again, it was shot nice.
• 52:11
  Yeah, sure. Again, the filmmaking doesn't
• 52:13
  bother me in the direction of it.
• 52:14
  I just think this chunk is bad. Let's move on to the next chunk.
• 52:19
  This is to find out if you find this one interesting or not
• 52:22
  please. Sarah needs to detox, does she?
• 52:25
  Well, she can't afford. It yeah, that's probably yeah,
• 52:28
  this felt very quick to me the. Fact that it may not be safe at
• 52:30
  her house. You better stay at mine.
• 52:33
  Yeah, well played. Like they leave behind, yeah.
• 52:36
  Exactly, they meet up and obviously go to his not so
• 52:40
  lovely apartment. That's a bit of a downgrade.
• 52:42
  They had a house even on the outside was smashed up, still
• 52:45
  nice on the inside. Sure.
• 52:46
  I would have taken my chances personally then.
• 52:48
  This whole yeah and I appreciate the scene as someone who's done
• 52:53
  a little bit of detoxing. Didn't go through this
• 52:55
  specifically and it wasn't morphine though.
• 52:57
  Wouldn't mind giving it a shot, no pun intended.
• 53:01
  Did you get the sense that she was going through that process?
• 53:05
  It is another example of felt rushed, felt hurried, and was
• 53:11
  something that if you're going to introduce this element, give
• 53:14
  it time to. Breathe more time, OK?
• 53:16
  We've seen her shoot up once, she makes it an allusion to it
• 53:20
  one other time, and now she's detoxing and has seen that in
• 53:23
  something like The Good Thief is the linchpin of the whole.
• 53:26
  Movie that's built around that. That's the thing, it's like, so
• 53:29
  it has room. We've watched this character and
• 53:31
  he needs to do this to achieve something else.
• 53:33
  That's a showcase. And it goes exactly 100%.
• 53:36
  So you're gonna have that scene in a movie?
• 53:38
  Lot of vomit. It better be something and I
• 53:42
  don't think that this is something enough.
• 53:43
  I think it's too short. I think it dissolves.
• 53:46
  I don't feel the performance is really there on her end.
• 53:49
  Not enough vomit, just not enough sweat.
• 53:52
  All of it just looks pretty comfortable.
• 53:54
  And my guess is I don't never touched a drug as you know.
• 53:58
  You should. But if you're doing that, then I
• 54:01
  would hope that it would be more than that.
• 54:03
  And I've seen other movies. It is more than that.
• 54:05
  So if you're going to use that element, make it count.
• 54:07
  And I don't think they make it count on this.
• 54:08
  I'm gonna argue. That.
• 54:09
  Please. I got the sense of it, OK, and
• 54:13
  because this isn't The Good Thief, it's a small part of the
• 54:16
  film. Just give me a sense she's going
• 54:18
  through withdrawals and through detox and that's all I need.
• 54:21
  To what gain? It just needs to move the movie
• 54:24
  forward. We don't need to spend time
• 54:26
  here. OK, do we need to introduce her
• 54:28
  as a junkie to begin? With, yeah, they had to deal
• 54:30
  with morphine like we want to be part of.
• 54:32
  The movie Morphine got involved. Pharmaceuticals, you know.
• 54:37
  Sure, press the thumb on the scale.
• 54:38
  I just don't think the character the trait needs to exist, and if
• 54:41
  this is the payoff, I think it really is wasted.
• 54:44
  Personally, no. Well, it's a disagree to agree.
• 54:46
  Yeah, sure. Only thing that I really enjoyed
• 54:48
  of this scene, you can call it that, is there is a moment at
• 54:51
  the end of her detox with, you know, the 46 seconds.
• 54:54
  Yeah, I got it. Is that he's asleep on the
• 54:57
  floor. Yeah, if there's a guy that
• 54:59
  doesn't sleep and he's established he doesn't sleep, he
• 55:02
  doesn't call him out. And now that busted.
• 55:05
  I was thinking more like this relationship is at a place where
• 55:10
  and his life is at a place on some level where he can't sleep,
• 55:12
  which is why what happens Next up ends that.
• 55:15
  And I find that if I could dig into a moment, I find that to be
• 55:20
  the only kind of compelling linkage is he's seemingly at a
• 55:24
  place of peace. And then because that gets
• 55:26
  upended right almost right away, there's a sadness that comes
• 55:31
  from that. Yeah, it's a bit of a dig.
• 55:33
  I like that about you. Well, we are reminded though why
• 55:36
  he claims he can't sleep. Feels bad about something.
• 55:40
  Yes, yes. Even though you loved it.
• 55:43
  Yeah, I thought it's, yeah. I mean, it's great to visual,
• 55:46
  but it's a character trait. It's a character point.
• 55:47
  It's the whole movie is resting on this one moment, or his whole
• 55:51
  character is anyway, and this is a moment where he gets to
• 55:53
  explain it or gets to define it to her.
• 55:55
  Because she hasn't heard this story before about him killing
• 55:58
  the blue eyed kid. Yeah, he indicates he's got to
• 56:01
  pay for it one way or another. I think that that's just a
• 56:03
  little biblical, perhaps. I think 100% there's those
• 56:06
  allegories and those sort of tones over it, but I think
• 56:08
  that's what's happening. That's why people wrestle with
• 56:10
  those decisions. If you are of the particular
• 56:13
  faith is you know, there's a reason why you say they do it
• 56:18
  rather than they had sex or they fucked or whatever, is that
• 56:21
  there's some atonement if you said it and it means it reflects
• 56:25
  poorly on you or reflects something on you.
• 56:28
  So you're making these choices, these judgment calls to avoid
• 56:31
  the judgment or whatever else of yourself or some higher power or
• 56:34
  some sibling or some family or pet or pet, whatever.
• 56:37
  We're all making these decisions.
• 56:38
  And so him having to kill somebody and that reckoning is
• 56:42
  coming either. On this planet.
• 56:44
  Or with himself or a higher power if you're into it.
• 56:48
  But some point he's gonna get called out for it.
• 56:51
  And I think that that is what weighs on us as humans is if we
• 56:54
  allow ourselves to live by this judgment, then we are in a
• 56:57
  constant state of panic and worry.
• 57:00
  And that isn't. Healthy.
• 57:01
  And one thing I did hear about World War One, oddly enough,
• 57:03
  about that is they would intentionally shoot over
• 57:06
  people's heads because they didn't want to kill anybody.
• 57:09
  Sure. So imagine there's some level of
• 57:11
  truth to that or I wouldn't have heard it exactly.
• 57:14
  Would suspect that sure makes sense to me.
• 57:16
  Because, he says in the movie, I killed lots of guys.
• 57:18
  Yeah. But this one, well, he did say,
• 57:20
  coming around you smug. He was smug.
• 57:22
  I think for me what it is, is we talked about this in in movies,
• 57:27
  right? We can watch a war movie and
• 57:29
  people off in the distance, they get bombed.
• 57:31
  They don't have names. They don't names.
• 57:32
  Well, they do. We as an audience don't care.
• 57:36
  Yeah. And when someone's getting mowed
• 57:38
  down 200 orcs in the battlefield, it doesn't fucking
• 57:41
  matter. Don't care about the orcs.
• 57:43
  But if somebody is hand to hand combat and what's his name in in
• 57:48
  Saving Private Ryan is getting stabbed in the stomach while
• 57:51
  Upham watches, there is a moment because that is a person we know
• 57:55
  and we can believe and we can find ourselves within.
• 57:58
  Didn't like him anyway, so the connection is deeper for him.
• 58:03
  Mike because he's like, I killed 1000 people, but I never looked
• 58:06
  at them in the eye when I did it.
• 58:07
  And made the active choice. That's it.
• 58:09
  Take that person's life. I didn't need to do that.
• 58:12
  That's a product of something else.
• 58:14
  The movie doesn't do enough with that, I don't think.
• 58:17
  But the fact that it's running throughout the entirety of the
• 58:20
  movie makes the character more interesting.
• 58:23
  It makes the movie more interesting as a result.
• 58:25
  Smug from a thug? I don't see the smug,
• 58:28
  personally. I never really got that, but but
• 58:30
  a thug indeed. I read a whole book on smugness.
• 58:34
  Definitely, definitely qualifies.
• 58:36
  OK. And we find out David qualifies
• 58:39
  to join the good fights. Yes, because Doctor Walker.
• 58:43
  Yes, let's not forget he's a doctor.
• 58:44
  He gives them a little piece of paper that says don't worry
• 58:48
  about it. You're good.
• 58:49
  You're fine. You're fine.
• 58:50
  You go see this guy? Yeah.
• 58:51
  Mr. Hughes, Major, Colonel, Whatever.
• 58:54
  Sign me up. Yeah, yeah.
• 58:56
  It's interesting, but we got a quiet moment between Sarah and
• 58:59
  Mike, and there's just one rule. Don't die, don't die.
• 59:03
  That's hard to not do eventually.
• 59:06
  Tough rule to abide by for sure. Yeah, eventually you're gonna
• 59:11
  break that. Yeah.
• 59:12
  Break that rule. Break that vow.
• 59:13
  Yeah. For sure, that's why I don't do
• 59:15
  vowels. I got married, no vows.
• 59:18
  It's smart, yeah. You don't know what you're
• 59:20
  getting. This is committing to nothing.
• 59:23
  Wild card. That's right.
• 59:25
  But David's off to war. And basically when Sarah kind of
• 59:29
  calls him out, Yeah. You can't go, yeah, your
• 59:31
  liability over this, right? You got bigger.
• 59:33
  Problems. Yeah, and he says, well, who do
• 59:35
  you think signed me up? Yeah, what a jerk.
• 59:38
  This is more bad writing to me. You know what, Phil?
• 59:42
  I don't disagree, but I want to give credit to the actor in this
• 59:46
  moment because you can see in his eyes he knows he's lying to
• 59:49
  her. Sure.
• 59:50
  It's like kind of clung. On to I think that performance
• 59:53
  is fine. My issue with the writing is
• 59:54
  more of her storming out of the room.
• 59:57
  Yeah, come on and rushing over call ahead and assuming what
• 1:00:00
  Mike said was true like there's no question whatsoever accuses
• 1:00:04
  him. I'm not someone just fly by
• 1:00:06
  night. I am here.
• 1:00:07
  You did this and Mike not responding, just standing kind
• 1:00:10
  of stone face dumbfounded by the whole process.
• 1:00:14
  But did not like the way she stormed in breaking good glass.
• 1:00:17
  That's good China. There's getting those cheap.
• 1:00:19
  Glass. I don't know, pay attention to.
• 1:00:23
  The class as part of the 20 million, yeah, they spent, was
• 1:00:25
  on that glass. In her defence, though, she just
• 1:00:28
  came clean. She's a little on edge.
• 1:00:30
  Alright, sure, alright. At least at least she didn't,
• 1:00:33
  you know, regress. Regress.
• 1:00:34
  You know, well, we don't see her for a little while after this.
• 1:00:37
  We don't know, but Mike is basically committing at that
• 1:00:40
  point. Yeah, sign me back up.
• 1:00:42
  And how does he get signed back? UP pays a visit to our good
• 1:00:45
  friend Mr. Hughes doesn't deserve a title.
• 1:00:50
  Sharpening the knife. Yeah, this is a good scene.
• 1:00:53
  Yeah. And what I love about it is how
• 1:00:55
  the match story comes back. Yeah, because it isn't a farce.
• 1:00:58
  Yeah, it's the real deal. And as a smoker, I'm telling you
• 1:01:02
  I connected to this. You're in a situation and you
• 1:01:05
  don't have a light you're. Fucked dude, I'm jonesing after
• 1:01:08
  I had a coffee with dinner. If I don't have smokes I will do
• 1:01:11
  anything to get one. Yeah yeah, but being in that
• 1:01:13
  situation, you better have a light.
• 1:01:15
  Totally got 15 Vicks in my uniform so.
• 1:01:18
  Just in case, right? Yeah.
• 1:01:20
  So I thought it was a really. Powerful scene.
• 1:01:23
  It's a fantastic performance. I think it's an excellent
• 1:01:25
  sequence. Yeah, I'm up and down with them
• 1:01:27
  and this isn't up. I've been down and now I'm up.
• 1:01:30
  Yeah, not Farsi says over and over again.
• 1:01:32
  Which I think is. Yeah, first was a word heavily
• 1:01:34
  used back in the day. Yeah, first was you don't use it
• 1:01:37
  that often anymore. I think we should bring it.
• 1:01:39
  Back, OK. Air Force very good Canadian
• 1:01:42
  radio show that turned into a. We may have used it when we
• 1:01:44
  talked about the Naked Gun a couple.
• 1:01:46
  Weeks. Maybe, but maybe.
• 1:01:47
  Perhaps. But almost like immediately
• 1:01:49
  after Cassie reveals the truth, That's, yeah, doesn't really
• 1:01:54
  give it any time to kind of sit. That's it.
• 1:01:57
  We see no consequence to some of these things.
• 1:01:59
  Sometimes I don't mind getting right to it.
• 1:02:01
  I don't want to feel that I'm not too upset about the ordeal.
• 1:02:05
  Sure. But the fact that we get Sarah
• 1:02:07
  just having a big explosive breakout and literally 60
• 1:02:11
  seconds later someone goes, that didn't happen, OK.
• 1:02:14
  But she does have a great line where she's telling Cassie it's
• 1:02:17
  your dad just wants him to be dead.
• 1:02:20
  And her performance in this again is consistently good.
• 1:02:22
  I. Think she's great and yeah, what
• 1:02:24
  have you done is a bit of a heavy-handed line.
• 1:02:27
  What have you done? But a performance I think is
• 1:02:29
  excellent, so it doesn't feel like it's a melodramatic,
• 1:02:32
  overwritten line when it's performed with some earnestness
• 1:02:35
  and some talent. Now this movie isn't as good as
• 1:02:46
  Letters to Ejima. I don't know if you've seen it.
• 1:02:49
  No, we've never. But never went back to it.
• 1:02:51
  At least there is a letter involved.
• 1:02:52
  That's right. Letter to Sarah.
• 1:02:54
  This is last time you get to see your buddies, right?
• 1:02:56
  Yes. Yes, yes.
• 1:02:57
  Is it? Doesn't say anything?
• 1:02:58
  No. But he's there.
• 1:02:59
  His aura is there. Him and his one arm.
• 1:03:02
  I didn't really connect to the poetry.
• 1:03:06
  Personally. I wouldn't go that far.
• 1:03:08
  Maybe I just don't like the words chosen.
• 1:03:11
  You know, some words work for you.
• 1:03:12
  Why would I wrote something completely different, which I
• 1:03:14
  think would be better? You think so I can write poetry.
• 1:03:17
  OK. Yeah, you can't read it or
• 1:03:19
  speak. Oh, I don't understand it.
• 1:03:22
  They don't get it, but I can make lines.
• 1:03:24
  Shrine. Yeah, yeah, I can do the the the
• 1:03:27
  ABA ABA great Band or I can go the AB or I can do.
• 1:03:33
  The way around with it. Yeah, I can.
• 1:03:34
  You are pretty good with the rhyming, so I understand.
• 1:03:37
  You know, this is poetic for the sake of illustration, which I
• 1:03:41
  don't love as much as I don't mind the relationship between
• 1:03:43
  the two. I don't really love this third
• 1:03:45
  party conversation style that they've developed.
• 1:03:48
  Paint me a picture. OK, That's cutesy to me.
• 1:03:50
  That's like the bullshit animal crackers.
• 1:03:54
  Oh. Yeah, in our magazine, right
• 1:03:56
  where you're just, that's great. Let's try and throw together
• 1:04:00
  some cute way of speaking to sort of a shorthand that these
• 1:04:04
  have a relationship. Close my eyes.
• 1:04:07
  Oh man. Close your eyes, close your
• 1:04:09
  ears. That's turn off.
• 1:04:10
  The rates seem good comparison. Phillips So that's how I look at
• 1:04:13
  this scene, and I just find it never really delivers.
• 1:04:15
  I prefer a hiq haiku. Is that what it is?
• 1:04:18
  Haiku. There it is.
• 1:04:19
  Damn it. I'm pretty sure I missed this
• 1:04:21
  the first time. Missed what, three months?
• 1:04:24
  Later. Oh, OK, The whole movie changes
• 1:04:27
  at this point. OHS absolutely.
• 1:04:28
  So three months later, this is much.
• 1:04:29
  Different. This is where the 18,000,000
• 1:04:31
  comes into play and we get. Lots of rain, a lot of rain, a
• 1:04:35
  lot of rain. Breathtaking.
• 1:04:36
  It really is well shot. Blows my mind not.
• 1:04:40
  Only how well you recreate the rain or the trenches and all
• 1:04:43
  that stuff. But as performers like to work
• 1:04:45
  in that environment over a day after day after day is
• 1:04:49
  incredible to me. Getting paid.
• 1:04:51
  What ends up happening in this moment though, and part of the
• 1:04:55
  beautiful shot in the scenery and the way it's put together,
• 1:04:57
  is we have a scene where someone walks down a plank or whatever
• 1:05:02
  else goes out of frame and then bodies just.
• 1:05:06
  Start right out. Of nowhere and rise out.
• 1:05:08
  I thought, wow, that's incredible.
• 1:05:10
  Any chance you get that feeling of the heads popping out,
• 1:05:13
  whether it's in a war movie or or in a horror movie, the the
• 1:05:16
  overhead of the Raptors coming through just any of those kind
• 1:05:19
  of elements of I didn't know something was there and now
• 1:05:22
  they're all there. I love.
• 1:05:23
  That some real showcase moments for the cinematography and a
• 1:05:26
  scene I like. After that is our introduction
• 1:05:29
  to a gentleman named Adam Harrington.
• 1:05:31
  Your boy he is now. I thought he was fantastic in
• 1:05:34
  this film. He was somebody who brought
• 1:05:37
  authenticity to the role, OK. I just loved his presence on the
• 1:05:41
  screen. I've seen him in a couple of
• 1:05:43
  things. He's done a couple video games.
• 1:05:44
  I think he's just really good in this type of role, OK.
• 1:05:47
  And I love the question that he asks once he promotes our good
• 1:05:51
  man at the protest of Mr. Hughes.
• 1:05:54
  Basically, he's going to be executed or is going to be
• 1:05:56
  promoted and I. Like that and I think in this
• 1:05:58
  situation. You need a man.
• 1:05:59
  Yeah, like I need good men with experience.
• 1:06:02
  And I was like, I met you before.
• 1:06:03
  Yeah, maybe I don't know all the details.
• 1:06:05
  Yeah. Yeah.
• 1:06:06
  But I need you. You're my.
• 1:06:07
  Guy. You're a guy.
• 1:06:07
  Yeah. So yeah, he promotes Gun McRae,
• 1:06:10
  who's obviously done at this. Point.
• 1:06:11
  Yeah. And he's like, why did you come
• 1:06:13
  back for love? Beautiful.
• 1:06:16
  Which she criticizes David earlier.
• 1:06:18
  Like, you don't go to war for love.
• 1:06:20
  That's cute. I'm on board with it.
• 1:06:21
  Absolutely. I don't know how I feel about
• 1:06:23
  Hugh showing up. Like, how far are you willing to
• 1:06:25
  go with this vendetta? He had a cozy spot in Canada in
• 1:06:30
  recruitment. You come all the way, this shit
• 1:06:32
  cool, just to get him in trouble.
• 1:06:34
  That to me is a little too much contrivance for me.
• 1:06:37
  You just need him to be here. It's Jean Valjean and Javert in
• 1:06:42
  Les Mis. Exactly right.
• 1:06:43
  You were going to say that? And that is running throughout
• 1:06:46
  the movie that this chase is on and he's trying to track him
• 1:06:49
  down. So it doesn't really deliver to
• 1:06:50
  me. But no, it's a little out of
• 1:06:52
  place, but nonetheless, here we go.
• 1:06:55
  Yeah, we get a little funny scene where we get to have on
• 1:06:58
  his first platoon and his first run, you know, someone gets
• 1:07:01
  injured. It does happen.
• 1:07:03
  Yeah. Paul runs into the hospital.
• 1:07:05
  We need a doctor and the great little throwaway line, like
• 1:07:08
  everybody here needs a doctor. But.
• 1:07:10
  But we see Sarah. And so this to me, like you just
• 1:07:13
  talked about the kernel, I'm a little bit like.
• 1:07:15
  Where'd you come? From We need to have all these
• 1:07:17
  characters still be part of the story.
• 1:07:19
  Yeah. So we're just going to reset the
• 1:07:20
  clock. Yeah.
• 1:07:21
  Basically the gangs back to. Yeah, the gangs all back
• 1:07:24
  together. We're gonna do it in Belgium
• 1:07:25
  instead of, you know, just so that part just feels like, well.
• 1:07:28
  Yeah, this is where you're pushing it.
• 1:07:30
  Feels a little piled on at this point.
• 1:07:32
  This is where I wanted the sense of time.
• 1:07:35
  So like I said, if you missed that three months later, it's
• 1:07:38
  going to make it even harder for you to swallow this kind of
• 1:07:40
  pillow that we're handed here. Swallow this.
• 1:07:42
  Yeah. I would have liked to spend a
• 1:07:45
  little bit of time, just quick cuts of him protecting David
• 1:07:49
  just a little bit here and there. 10 minutes.
• 1:07:52
  Yeah. I think that would have really
• 1:07:53
  helped me get comfortable in our new totally place.
• 1:07:58
  Mike says I'm going to go to save him.
• 1:08:00
  Like, that's why he's there, ultimately from Show Me That
• 1:08:03
  Sister. Yeah.
• 1:08:04
  And we don't get any reconciliation between the two.
• 1:08:07
  Yeah. There's a quiet moment where
• 1:08:08
  they hold hands at one point and that's supposed to tie that in
• 1:08:12
  a. Bow.
• 1:08:12
  No bow. And I don't buy any of it
• 1:08:14
  because we haven't seen those moments.
• 1:08:16
  Private Ryan, when things are happening is because we spent
• 1:08:18
  the movie watching these people grow together or fight or hate
• 1:08:22
  each other and come. Whatever those emotions are, we
• 1:08:25
  don't see that here. And This is why I don't mind the
• 1:08:27
  movie being 2 hours and 15. Minutes.
• 1:08:30
  Give me 20 more minutes to flush it out a bit.
• 1:08:33
  Like a lot of people don't like this movie because we spent too
• 1:08:36
  much time in Calgary. I don't have no issue with the
• 1:08:38
  amount of time we spent in Canada.
• 1:08:40
  I love Canada, it's lovely country, especially this time of
• 1:08:43
  year. The leaves have you what have
• 1:08:45
  you, but I still need. That time in Belgium for sure,
• 1:08:49
  for just character development if nothing else.
• 1:08:51
  Exactly. What we do get, luckily, is a
• 1:08:53
  real showcase of cinematography. These shots, particularly in the
• 1:08:59
  Belgian, that's sort of back end of the movie.
• 1:09:00
  We loved the earlier stuff for sure, but in this, that scene
• 1:09:04
  where they're all walking over the Ridge, we're seeing the
• 1:09:06
  reflection of the squadron going.
• 1:09:08
  So many puddles. And all the puddles, the big
• 1:09:10
  overhead shot showing the trenches, showing all of that.
• 1:09:12
  Like there's an element of this movie that the scope of it.
• 1:09:15
  Yeah. And what they're dealing with is
• 1:09:17
  so evident in these shots that I'm like, that's beautiful.
• 1:09:19
  What's interesting about this is you see the grit and when we
• 1:09:23
  played Battlefield 1. If you recall.
• 1:09:25
  They nailed that World War One atmosphere totally.
• 1:09:29
  That's 2016. In the 10 years since they've
• 1:09:32
  made Battlefield 5. Battlefield 2042 They have not
• 1:09:37
  come close. That's as best as it got.
• 1:09:39
  To capturing the world that you're supposed to be in.
• 1:09:42
  The new one is good. It's an action piece, it gets
• 1:09:45
  you in there. It's modern day.
• 1:09:47
  But nothing has captured what that game was able to capture.
• 1:09:50
  And I don't know why. I don't know how these games go
• 1:09:52
  backwards. How is this less?
• 1:09:54
  Into transactions, that's what it's all about.
• 1:09:57
  Let's not get into that for different podcasts time
• 1:10:00
  altogether. But like you said, the shots are
• 1:10:02
  amazing and I think we have this shot of the century just getting
• 1:10:09
  out of this year in our show. Wow, that's impressive.
• 1:10:13
  That could be wrong. Sure.
• 1:10:14
  I want to hear your thoughts around it now.
• 1:10:15
  I know from watching Friday the 13th Part 4, I know if you're in
• 1:10:20
  that situation, you're doing it with the war happening right
• 1:10:25
  behind you basically in the room with sure, sure, it's not Jason,
• 1:10:30
  but it's a whole that going on totally.
• 1:10:33
  You're going to do it 100%. Yeah.
• 1:10:34
  If it's four months too, it's been awhile and you got the
• 1:10:37
  green light, the lights been given, but what were your
• 1:10:40
  thoughts about that shot when they're, you know, making love?
• 1:10:44
  I want to keep this classy. Yeah, I think it's all great.
• 1:10:48
  I love that. I think it's.
• 1:10:49
  Just seeing the. Absolute going on out there,
• 1:10:51
  absolutely. It's under the light, in the
• 1:10:53
  bombs going off, the darkness as well.
• 1:10:55
  Like all of it. The passion between them.
• 1:10:57
  I think you feel it. You.
• 1:10:58
  Know that's not sex, that's that's love making.
• 1:11:00
  I just think that whole sequence is really great.
• 1:11:03
  And as we have found out earlier, he's taken over a #2
• 1:11:06
  squad. I think it is, yeah, he's he's
• 1:11:08
  in charge of a group of men. Think it's all we really need to
• 1:11:11
  know. But the reserves, not the first
• 1:11:13
  ones in, and he's implying that we'll probably won't even see
• 1:11:17
  action. Yeah, there's an attack
• 1:11:19
  happening at 6:00 PM and. Everyone synchronized.
• 1:11:22
  Check your watches. That's right.
• 1:11:23
  Hopefully your matches aren't wet.
• 1:11:25
  Yes, which unfortunately for the Quebecker didn't take 2 door
• 1:11:29
  crater. We need that needs to be made
• 1:11:31
  clear. Luckily there's a lot of
• 1:11:33
  craters. What were your thoughts about
• 1:11:35
  the rat coming out of the mouth? Oh, it's great.
• 1:11:38
  They're no good reason. But really well.
• 1:11:39
  Done, and I think it would happen right?
• 1:11:41
  Like rats are trying to find warm spells.
• 1:11:42
  Showy, but I think. Great.
• 1:11:44
  Yeah, it really was a big fan of it is.
• 1:11:46
  Good, right? Acting.
• 1:11:47
  Hmm. There's some blood and guts in
• 1:11:49
  this and like some not gore necessarily, but definitely some
• 1:11:52
  aggressive effects that kind of would put you a little uneasy
• 1:11:55
  and I like. That have you seen Hacksaw
• 1:11:57
  Ridge? No.
• 1:11:58
  OK, it's. More in line with that.
• 1:11:59
  Yeah, well, even more like they make a real point of the graphic
• 1:12:03
  nature of it, for better, for worse.
• 1:12:06
  It's important to me. I think it's it matters and this
• 1:12:08
  more than anything. And those types of movies, if
• 1:12:10
  they're going to tell that story right, tell it right.
• 1:12:12
  Absolutely. There is a quiet moment though.
• 1:12:15
  I want to hear your thoughts about it's more dialogue.
• 1:12:17
  He's obviously protecting David. Yes, in one of the craters, yes.
• 1:12:21
  I think they picked a good one. And he's talking about the
• 1:12:23
  forest burn. Cause they have to.
• 1:12:25
  Yeah, the oceans go up and down as they have to.
• 1:12:28
  Yeah. And this is something that we do
• 1:12:30
  all the time. So we're good at it and we're
• 1:12:33
  good at it because we do all, we do it all the time and we're
• 1:12:36
  used to it because we do it all the time.
• 1:12:38
  Did you get anything out of that little?
• 1:12:41
  I mean, what I think he's trying to talk about is fighting in
• 1:12:43
  war. The problem is what's.
• 1:12:44
  Happening in 1915, and I think that it's probably more
• 1:12:50
  appropriate now than it is. Then 1917 I don't, sorry.
• 1:12:53
  But if you've gone through now 100 years, yeah, then we've seen
• 1:12:58
  wars. Yeah, go and come.
• 1:12:59
  And go. This is the first.
• 1:13:00
  One. But this is the first Great War,
• 1:13:02
  right? So the Great War.
• 1:13:03
  But I think it's probably maybe a little anachronistic.
• 1:13:06
  Yeah. But I like it a lot.
• 1:13:07
  I never questioned Paul's, like, passion.
• 1:13:09
  And I was impressed by his effort in this movie.
• 1:13:11
  This is what I want to do with it.
• 1:13:13
  So I always felt that he didn't like phone anything in.
• 1:13:16
  Here like he's no again. I think his performance is
• 1:13:19
  really very good throughout. Just need a couple more
• 1:13:21
  rewrites, maybe, perhaps a couple scenes, a couple, no big
• 1:13:24
  deal, no big deal. But we do speed things up a
• 1:13:27
  little bit. We get into more of the action
• 1:13:29
  that everybody wants. Yes, Finally, you're from the
• 1:13:31
  trailer. It's now your time to shine.
• 1:13:34
  Yeah, we have explosions happening.
• 1:13:36
  This is where is competing with American made Hollywood war
• 1:13:40
  movies. I think it stands with the rest.
• 1:13:41
  I think so absolutely. The only issue really I have is
• 1:13:46
  the fact that. Relief and reinforcements aren't
• 1:13:49
  the same thing, it turns out. Yeah, yeah, but they've been
• 1:13:52
  there for a while. 8 hours this. 8 hours sick for 8 hours.
• 1:13:56
  I will tell you that when I came in after a flight cancelled and
• 1:13:59
  people yelling at me for hours and hours and it's 4:00 in the
• 1:14:02
  morning. Tell me to watch Passion.
• 1:14:04
  Dale and I knew that my relief, the 4:00 AM people were starting
• 1:14:07
  and they came upstairs and I still had a lineup of 20.
• 1:14:10
  I was out. You're out.
• 1:14:12
  Thank you. Got fresh eyes you?
• 1:14:14
  Got 4 new people, see you later. I've been dealing with this for
• 1:14:17
  14 hours of my shift. I'm gone.
• 1:14:19
  That's interesting. So you're on the relief side.
• 1:14:21
  I'm on the reinforcement side, working at the store during
• 1:14:24
  Black Friday sales. And I have my morning shift and
• 1:14:27
  I have basically everybody on the schedule, of course.
• 1:14:30
  And it's 5:00 comes around, have the night crews all here.
• 1:14:33
  Yeah, I'm done. Yeah, I'm not leaving till 8.
• 1:14:36
  Alright, so cut from a different cloth.
• 1:14:39
  Cloth. And Speaking of cloth, it's
• 1:14:44
  around here again. A lot of things are happening
• 1:14:46
  here. I really don't like this moment.
• 1:14:49
  Hughes dies. Yeah, just like that.
• 1:14:53
  He was your guy. It's just.
• 1:14:54
  Most closely resembled your personality.
• 1:14:57
  I liked him in this movie. I don't like the fact that he's
• 1:15:00
  there in the first place, but he's the villain, sure, and he
• 1:15:04
  gets it in the neck. There is some some contrivances
• 1:15:07
  and some cliches that are. Yeah, he had to.
• 1:15:09
  He has come up once. Basically, yeah, right.
• 1:15:11
  So I did draw some issues with that throughout the movie, but
• 1:15:15
  I'm willing to forgive a lot of it because I do feel Paul Gross
• 1:15:18
  is like attempt at a solid piece of total.
• 1:15:21
  Of I would have preferred for him to stay in Calgary and find
• 1:15:23
  out later that Dunn died and David died.
• 1:15:25
  You know, whatever and like the things he did, the choices he
• 1:15:27
  made had consequence and Sarah hated right, like I would like
• 1:15:30
  there's other that other half an hour later, but for the purposes
• 1:15:33
  if you can kill him in one scene, you kind.
• 1:15:35
  Of get it, Yeah. Right.
• 1:15:38
  One thing I do like is that I guess it pushes the line because
• 1:15:43
  right away we've got the German storming, the battles going on,
• 1:15:46
  the Germans are overrunning because the battalion is left,
• 1:15:49
  and so 70 guys are left to take over this plot of land. 6060
• 1:15:54
  Sixty Guys. And worse, it's getting worse by
• 1:15:56
  the minute. And so while they're keeping
• 1:15:59
  them at Bay, there is this feeling of, and you know, it's
• 1:16:02
  based on a true story. These numbers are pretty
• 1:16:04
  accurate. So I don't want to get too hot
• 1:16:06
  up on it, but it was a little like, OK, here's 60 guys beating
• 1:16:10
  400 guys, you know, just feels a little.
• 1:16:13
  Against the odds. For sure.
• 1:16:14
  Yeah. Read a history book and like,
• 1:16:16
  wow, that's a great story. Watching in real time on a
• 1:16:18
  movie, I'm like, that's bullshit.
• 1:16:20
  It's 60 people, not gonna do it, not gonna work.
• 1:16:22
  But obviously it did. And.
• 1:16:23
  Whatever else we were, soldiers worked out for them.
• 1:16:25
  Too, That's right. But it always everybody.
• 1:16:27
  I don't buy it. So that's a problem I have.
• 1:16:30
  That's a you problem. Check the facts.
• 1:16:32
  We do have the quiet moment with that kid soldier.
• 1:16:35
  Like that's a child soldier. I don't know if that was the
• 1:16:39
  implication. Very young kid I.
• 1:16:40
  Don't know if that's a practice like Johnny was doing.
• 1:16:44
  I don't know. I'm.
• 1:16:44
  Not, I mean the young kid at the beginning as well, right?
• 1:16:46
  He looked pretty young. Pretty soon.
• 1:16:48
  So some of that. Yeah.
• 1:16:50
  Yeah. We spent a little bit of time on
• 1:16:51
  that shot, and then David finally does something right.
• 1:16:55
  It's the only time in the movie succeeds at anything, I think.
• 1:16:58
  Yeah. And it took a little convincing,
• 1:17:00
  took some convincing. Shoot them.
• 1:17:02
  Shoot the fucker. Shoot him.
• 1:17:04
  And he does, luckily. That's a very unbelievable
• 1:17:06
  moment. Just based on the angle of the
• 1:17:09
  German soldier and the power he's putting into that bayonet.
• 1:17:13
  Done. Wouldn't have a chance.
• 1:17:14
  Well, even if he did, if he got shot, it's all going to propel
• 1:17:17
  him forward the very least. Even if you fight him and hold
• 1:17:21
  him back, the sheer force of the gunshot is going to push him
• 1:17:25
  into you. There's some super humanists of
• 1:17:28
  grossest character in the last 15 that I do not like.
• 1:17:30
  It's too much. And David kind of brings that on
• 1:17:33
  too. So not only saves Mike's life.
• 1:17:35
  Good job. Way to go.
• 1:17:37
  Thanks so much. Probably going to get a little
• 1:17:38
  thingy for that. And yeah, but then for no real
• 1:17:42
  reason. Well, there's a reason.
• 1:17:43
  Just not a good one. OK, explain it to me.
• 1:17:45
  He believes his chances are better to survive.
• 1:17:49
  If he joins the. German.
• 1:17:50
  He joins the Germans. Ohhh.
• 1:17:52
  It also obviously it's something to do with his father of course
• 1:17:55
  as well. Yeah, luckily he knows a little
• 1:17:57
  bit of German. Not enough?
• 1:17:58
  Not yeah. Not enough.
• 1:18:01
  Yeah. I question, is it being part of
• 1:18:04
  the film? I don't like it at all.
• 1:18:06
  No. It's garbage.
• 1:18:06
  It is terrible and it gets worse.
• 1:18:09
  Oh. Yeah, no.
• 1:18:10
  This is demonstrably worse, and I can't sit there and say that
• 1:18:14
  it's bad and not have at least one idea of how it could be
• 1:18:18
  better. And I I came up with.
• 1:18:20
  One, don't do it. Don't do it.
• 1:18:24
  But if I can come up with another way to end this, then
• 1:18:27
  you know there's multiple different, better ways to do it.
• 1:18:31
  And I generally don't mind religious overtones, but not at
• 1:18:34
  the cost of good storytelling. OK.
• 1:18:37
  Yeah. And I think that is what
• 1:18:39
  happens. It's just too on the fucking
• 1:18:41
  note. Oh, it's it's Ouch strung.
• 1:18:43
  Up strung up, basically a Christ like pose and Mike basically
• 1:18:48
  takes it upon himself to try and save him.
• 1:18:51
  Well, he has to. It's in the script.
• 1:18:52
  He wrote it. He did promise.
• 1:18:54
  He did promise. He's gonna bring I wish I hadn't
• 1:18:57
  wrote this because now I have to do it.
• 1:18:58
  And then he gets shot a lot. A few times.
• 1:19:01
  I saw the one couple times right shoulder.
• 1:19:04
  But yeah, I believe you and not gonna argue with you on that.
• 1:19:06
  One then there's this ceasefire that happens.
• 1:19:08
  I know that's all the rage these.
• 1:19:10
  Days but. I don't think neither none of
• 1:19:12
  these. Took, they don't take and he has
• 1:19:15
  a moment with the German version of him.
• 1:19:18
  Basically, yeah, the German commander or whatever.
• 1:19:20
  And he gets the nod. Go ahead, go ahead, take.
• 1:19:23
  It. Now, this is not quite the nod
• 1:19:25
  that you're used to. No, it's a difference.
• 1:19:26
  Is a different type. God rather than head down
• 1:19:28
  situation. I don't mind the nod.
• 1:19:31
  I don't mind. That if you stories from the
• 1:19:33
  battlefield in that, like you talked about shooting over each
• 1:19:35
  other's heads, there's like, what are we doing?
• 1:19:37
  Mutual respect. Well, ceasefire at Christmas.
• 1:19:39
  It's a mutual understanding of certain things you don't do,
• 1:19:42
  which are counterproductive or counterintuitive to what Mike
• 1:19:45
  did earlier because that would fall under that same category of
• 1:19:48
  he's helpless. He's dead in front of me.
• 1:19:50
  Basically, I don't need to stab this guy in the head, but I'm
• 1:19:54
  going to. And then two hours later, he's
• 1:19:58
  asking on some level for the grace that he didn't, yeah, give
• 1:20:01
  the other kid. And maybe there is something.
• 1:20:03
  To that I'm sure there is if you.
• 1:20:05
  But it's going into it's interesting, but that
• 1:20:07
  theoretical conversation is more interesting than anything I'm
• 1:20:11
  seeing on the screen right now. Yeah, it's it's a tough one.
• 1:20:14
  He carries the cross back with the iconography is just too on
• 1:20:17
  the nose for me. And my, my, my problem is in
• 1:20:21
  going into this movie a new sort of what to expect.
• 1:20:24
  So I was relying on a monk moment.
• 1:20:28
  The movie wasn't that great. It was actually made for TV.
• 1:20:31
  That legitimately was yes, yes, yes.
• 1:20:34
  But that moment, humanity drew out the emotion in me and it
• 1:20:38
  made the whole experience good. That's the only chance I have
• 1:20:43
  with this movie to walk away feeling that.
• 1:20:45
  This is what they could be doing.
• 1:20:46
  Yeah, and it's frustrating. I agree.
• 1:20:48
  I agree. And it wants you to feel these
• 1:20:50
  things. Obviously the movies building to
• 1:20:52
  this, but I am with you in that I am a person that is very in
• 1:20:55
  tune with emotions, particularly when I'm watching a movie.
• 1:20:57
  And I felt nothing other than frustration because I just
• 1:20:59
  thought like, I don't buy it. I don't like it.
• 1:21:02
  And it doesn't deliver on the things I think it wants to by
• 1:21:05
  hammering home this beautiful ellagic moment with them.
• 1:21:09
  And it doesn't even get any better.
• 1:21:10
  When Mike's injured now brought into the hospital and having his
• 1:21:14
  moment with Sarah, because that is now removed from the David
• 1:21:17
  and the Jesus and all that sort of iconography.
• 1:21:20
  Were you able at all to lock into this relationship and this
• 1:21:24
  emotionality? She's wearing white.
• 1:21:28
  No, and I'll tell you why. This is what I wrote down for
• 1:21:31
  that scene. Done dies because she doesn't
• 1:21:33
  bother assessing him, so I don't know if it's a carryover from
• 1:21:39
  the previous scene, sure, and I'm just upset at the movie.
• 1:21:41
  Yeah, I think. So, But she pays no attention to
• 1:21:43
  the wounds. I don't see her applying any
• 1:21:45
  pressure. Yeah.
• 1:21:46
  If you remember Saving Private Ryan, yeah, sure.
• 1:21:48
  Put some pressure, Jackal. The more pressure, yeah.
• 1:21:50
  We've got the blueprints here. We know.
• 1:21:52
  We know how to do. This, I know it's just trying to
• 1:21:54
  give you a tear in the eye and ultimately this movie does
• 1:21:57
  succeed in doing that in the next scene, but I feel like it's
• 1:22:01
  just it was forced out of me. I don't even know how it
• 1:22:04
  happened. It's not a Zimmer score,
• 1:22:06
  although the score we haven't talked about.
• 1:22:08
  That is very good I thought. Yes, it helped in parts.
• 1:22:11
  It helps, we can say that, but that's how I felt about that
• 1:22:14
  ending. I was kind of left a little
• 1:22:16
  empty with it. Yeah, well, summarize the rest
• 1:22:19
  of the movie, we're pretty much done here.
• 1:22:20
  So what are your kind of overall?
• 1:22:21
  Thoughts with absolutely this this finish it off at the grave
• 1:22:25
  site. No better place than that.
• 1:22:27
  David loses a leg, apparently. Yeah, he looked pretty beat up
• 1:22:29
  on the cross, so it makes sense, I guess.
• 1:22:31
  So they, I mean, they specifically show a shot of his
• 1:22:33
  knee all blown. Apart.
• 1:22:34
  OK, there you go. That checks out then.
• 1:22:36
  Alright, that's fine. Yeah.
• 1:22:37
  And I did tear up at this point. OK, but I don't know why.
• 1:22:39
  Sure. I'm not sure.
• 1:22:40
  It's probably the music. Like you're saying, it's
• 1:22:42
  unearned. Yeah, it's not earned like
• 1:22:44
  Miller earned it, but I think what it comes down to for the
• 1:22:46
  movie and it's totality is I recognize what he was trying to
• 1:22:51
  do. Yeah, but I think it struggles
• 1:22:54
  to compete with any other war movie.
• 1:22:57
  OK. But I do think it succeeds in
• 1:23:00
  being a good Canadian movie. OK, that's interesting.
• 1:23:05
  Yeah, I hate that demarcation, let's say.
• 1:23:07
  Demarcation. What does that?
• 1:23:08
  Word mean well, it's just you're saying it's not a great movie.
• 1:23:12
  It's a great Canadian movie and that is sort of antithetical to
• 1:23:14
  what we talked about earlier, which is sort of who cares how
• 1:23:17
  much money it makes or how much it's right like those kind of
• 1:23:20
  elements. It's Canadian.
• 1:23:21
  Does that make it better or worse?
• 1:23:22
  Or does it mean it's is it Teemu movie right, Like what?
• 1:23:27
  What about being Canadian means that it's not quite what it
• 1:23:30
  could? Be well, realistically, we're
• 1:23:31
  working with the $20 million budget and I think they did a
• 1:23:35
  lot with that 20 million. But when it comes to story, the
• 1:23:40
  contrivances, the cliches which were riddled throughout the
• 1:23:43
  movie did is uniquely Canadian, though.
• 1:23:45
  That's my question, no. Because we've seen American.
• 1:23:47
  Movies 100%. So what I'm saying is the
• 1:23:49
  American movies are able to do it better.
• 1:23:52
  They can. Less cliches, less contrivances.
• 1:23:55
  I can buy into things that are happening on my screen, such as
• 1:23:59
  Hughes dying in the way he's dying, such as her just showing
• 1:24:02
  up in Passchendaele, The gang is all back together.
• 1:24:06
  Elements like that that are scattered throughout the movie
• 1:24:09
  is done better in almost every other.
• 1:24:12
  Wow, OK. High budget war movie.
• 1:24:14
  OK. And Pearl Harbor, I think is a
• 1:24:16
  much better film. Wow.
• 1:24:18
  Much better. OK, yeah.
• 1:24:20
  Couldn't agree less. So you like this over Paul
• 1:24:22
  Herbert? Absolutely.
• 1:24:23
  It's interesting. 100% because I think that these people, I find
• 1:24:27
  every performance in this movie to be better than every
• 1:24:30
  performance in Pearl Harbor. And I think that there's a the
• 1:24:33
  scale of it helps this movie be grounded in a more reality than
• 1:24:39
  Pearl Harbor. The CGI, the big explosions, all
• 1:24:41
  of that fakery, like all of those extravagances, to me, hurt
• 1:24:46
  the movie rather than benefit. From it.
• 1:24:48
  But I if I when I walk away from Pearl Harbor and I walk away
• 1:24:52
  something different, I feel I feel a million things.
• 1:24:54
  I am in tears. You've gone through a thing.
• 1:24:57
  Hans Zimmer and I just went on this rollercoaster ride.
• 1:25:01
  It has action, it has romance. It has what I think, great
• 1:25:04
  acting, great story. Michael Bay does certain things.
• 1:25:07
  Really, really well. It tastes right.
• 1:25:09
  Yeah, absolutely. And this I'm like, OK, well I
• 1:25:12
  see what I was trying to do. Sure.
• 1:25:14
  I guess maybe my question is like if this movie were made, if
• 1:25:17
  this were Hearts war or something, right?
• 1:25:20
  Like, could you tell the difference because we talked
• 1:25:22
  earlier about like, Canadian or not, Canadian wouldn't make.
• 1:25:25
  So a $20 million war movie made by Gregory Hoblit, who directed
• 1:25:29
  Hearts War. Which I like better by the way.
• 1:25:32
  Do you know that when you're watching it, this is better or
• 1:25:35
  worse because it's American or because it's Canadian, right?
• 1:25:37
  Like how much of the bias of Canadian Ness but it's kind of
• 1:25:40
  feeding into it good or bad. Hey that's one thing, but
• 1:25:43
  Canadian are not getting which is how you framed.
• 1:25:44
  It yeah, you know that part is you have.
• 1:25:46
  To look up. I don't.
• 1:25:47
  Care. I'm gonna have to accept that I
• 1:25:49
  said it. Yeah, I might edit it out.
• 1:25:51
  I haven't decided yet. I think what I meant to say or
• 1:25:54
  how admit for it to come across is I couldn't tell.
• 1:25:57
  It's Canadian, so I think it's the best Canadian film ever
• 1:26:00
  made. But there's a bunch of war
• 1:26:03
  movies, sure that I like better than that, that I like better.
• 1:26:05
  We Were Soldiers, Pearl Harbor, Saving Private Ryan, Hearts War.
• 1:26:10
  These are all, in my opinion, better movies than this.
• 1:26:13
  And that's just a handful. I could probably name off
• 1:26:16
  several more because I have a pretty big.
• 1:26:17
  Collection. Yeah, exactly.
• 1:26:18
  I don't know. I mean, I agree.
• 1:26:20
  For me, I loved it and I really loved it.
• 1:26:23
  I went in with very lightly ending.
• 1:26:25
  I've never seen it before. It's my movie.
• 1:26:27
  So it's one that strangely I thought benefited from a repeat,
• 1:26:30
  which is I liked it OK, But there were times where I was
• 1:26:33
  like, this is boring. There were times that the
• 1:26:35
  writing isn't so strong, performances or whatever.
• 1:26:37
  But throughout I was like, yeah, there are moments that didn't
• 1:26:40
  click for whatever reason. Watching it a second time, I was
• 1:26:44
  like, I don't know what I was thinking last time. 10 out of
• 1:26:47
  10. Not ten out of 10, cause there's
• 1:26:49
  big problems with it, right? But fundamentally I was like,
• 1:26:51
  this is a very good movie with, I thought very good
• 1:26:54
  performances, interesting and writing that was spotty at
• 1:26:58
  times, but when it was working, I thought worked really well.
• 1:27:01
  And filmmaking that I had no expectation on.
• 1:27:03
  Which is to say, you know, it's a big Canadian.
• 1:27:06
  Movies. I didn't know the budget.
• 1:27:09
  I don't care about things like that, as you know, but like I so
• 1:27:11
  I was like wow, I thought this is a very good movie made very
• 1:27:15
  competently by good people. So anyway, I was all over it.
• 1:27:18
  I thought it was really good and I was happy to see it a second
• 1:27:21
  time. It'll go on the shelf.
• 1:27:23
  What fork ever comes out? Yeah, really.
• 1:27:25
  I found out myself really connecting with it, even though
• 1:27:27
  I think the ending is dog shit, despite all that really weird
• 1:27:30
  thing because I love all the war stuff up until this sort of
• 1:27:33
  Christ like figure and all that other bit.
• 1:27:36
  Wow. But the fighting up until that
• 1:27:37
  point I thought was really effective.
• 1:27:38
  I really liked. It.
• 1:27:39
  So here we have it nearing the end of season 5.
• 1:27:43
  Yeah, Phil losing all credibility.
• 1:27:46
  It's it. And it's from my shelf.
• 1:27:47
  Yeah. And you liked it significantly
• 1:27:50
  more than. Significantly more than you, for
• 1:27:51
  sure. I mean, it's not in my top ten
• 1:27:53
  of the year or anything like that, but I think it is a very
• 1:27:56
  good movie doing what it's doing.
• 1:27:57
  Wow, because I just appreciate the cinematography and some of
• 1:27:59
  the performances, and I like most of the movie, most of the
• 1:28:03
  elements. Shrapnel wasn't it gets in, you
• 1:28:05
  know, whatever else. Well, Phillip, you never cease
• 1:28:08
  to amaze me. They would never have thought in
• 1:28:11
  a million years you'd want this on your.
• 1:28:13
  Shelf. Yeah, I've found myself enjoying
• 1:28:15
  it more than I. Thought, well, I want to find
• 1:28:16
  this movie on your shelf next time I'm here.
• 1:28:18
  Wow. Cool that's it folks.
• 1:28:20
  Thanks for listening. We do appreciate it.
• 1:28:21
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• 1:28:25
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• 1:28:27
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• 1:28:38
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