Latest / Houselights: A Film Director Podcast / The Parent Trap (1998) - Nancy Meyers | Houselights #280

Transcript

The Parent Trap (1998) - Nancy Meyers | Houselights #280 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the net party.
0:20
Speaker 2: Tonight on house Lights, we're swapping identities at summer camp,
0:24
Speaker 2: dunking oreos in peanut butter, and discovering that the fastest
0:27
Speaker 2: way to reunite your divorced parents is an elaborate con
0:31
Speaker 2: only a child could pull off. We're talking Nancy Myers's
0:34
Speaker 2: The Parent Trap, the nineteen ninety eight criminal divorce fantasy
0:38
Speaker 2: where Napa Valley and London are a single transatlantic phone
0:41
Speaker 2: call apart, and Lindsay Lohan is two people. I'm your
0:45
Speaker 2: co host, Tristan Rudel and joining me as always as
0:48
Speaker 2: a man who once tried to fence his own twin
0:50
Speaker 2: at a camp for a poker det John Mills, and
0:52
Speaker 2: the criminal mastermind who looked at a disgusting parental decision
0:55
Speaker 2: and thought, what this needs is more deception Darren Moser.
0:59
Speaker 2: It's fraud versus reconciliation, Lohn versus Lohan, a butler quietly
1:03
Speaker 2: falling in love in the background. This episode will hit
1:06
Speaker 2: you like a fistful of oreos to a freshly pierced ear.
1:09
Speaker 2: This is House Lights, you know.
1:11
Speaker 3: Honestly, I think you're kind of glancing past that the very,
1:15
Speaker 3: very attractive and charming. Bald Man gets the girl at
1:19
Speaker 3: the end of the film, which really is the That's
1:22
Speaker 3: the storyline that I responded to most here in the
1:24
Speaker 3: parent Trap, I thought that was the most endearing aspect
1:27
Speaker 3: of the story really, to be honest.
1:29
Speaker 2: Now, now, John, this is your first time watching this,
1:32
Speaker 2: it is.
1:33
Speaker 3: It is, it's my first time watching this film. That
1:36
Speaker 3: introduced Lindsay Lohan to the world. She was an unknown
1:40
Speaker 3: before this. This is like Kristially, Like Star Trek introduced
1:44
Speaker 3: Kristially to the world. This introduced Lindsay Lohan, both of
1:48
Speaker 3: whom went on to have their own social and cultural
1:51
Speaker 3: impact on the world in their own ways. So it's
1:55
Speaker 3: quite quite amazing how much they had riding on this
1:59
Speaker 3: little starlet at the time.
2:02
Speaker 2: Darren, you've seen this before. How many times have you
2:05
Speaker 2: seen this?
2:05
Speaker 3: Oh?
2:05
Speaker 1: Yeah, many many times. This was a Moser favorite. We
2:10
Speaker 1: love this. We had it on VHS and it's just
2:13
Speaker 1: a fun, fun movie. Now. We also watched the original
2:18
Speaker 1: sixty one several times as well. I was familiar with that,
2:22
Speaker 1: and I mean it is a very faithful remake. A
2:26
Speaker 1: lot of the main plot points are straight.
2:28
Speaker 2: Across the board.
2:30
Speaker 1: Although the twinning technology has come a long way, but
2:35
Speaker 1: it still holds up the sixty one Parent Trap, I think,
2:38
Speaker 1: And I just can't get the opening title sequence song
2:42
Speaker 1: out of my head. It's just so catchy, so swinging.
2:45
Speaker 1: But yes, ninety eight Parent Trap is a lot of fun,
2:49
Speaker 1: and it's it's it the thing, the most nineties thing
2:55
Speaker 1: about it. It's not the fact that airport travel is
2:58
Speaker 1: super easy. It's not the fact that we're at a
3:01
Speaker 1: girls summer camp and you know, there's not cell phones everywhere.
3:05
Speaker 1: It's the fact that a movie is being made where
3:09
Speaker 1: we're not gonna realistically look at divorce and it's just
3:13
Speaker 1: gonna Disney wave away and they come back to it.
3:17
Speaker 1: Because nowadays, that would be such a huge part of
3:21
Speaker 1: the plot.
3:22
Speaker 2: That's all I'm saying this. This would be if this
3:24
Speaker 2: was made today, this would be a heart wrenching, tear
3:28
Speaker 2: jerker that you'd see on lifetime.
3:31
Speaker 3: Now. I yeah, I think there's an audience for that,
3:34
Speaker 3: but I think there's still not. Everything's like Disney Story movie.
3:38
Speaker 3: But yeah, well you know what, Disney today might make
3:41
Speaker 3: that movie. Because honestly, and this happens every so often
3:44
Speaker 3: when I look back at like an old Disney movie,
3:45
Speaker 3: I haven't seen or I revisit one like this was
3:48
Speaker 3: Disney's brand. Like you know, you're saying it's like, oh,
3:51
Speaker 3: we don't really look at divorce. Yeah No, Like Disney
3:53
Speaker 3: was all about, Look, it's the fantasy thing. It's the
3:56
Speaker 3: you know, the we'll take something and we'll just sanitize
4:00
Speaker 3: the hell out of it to look for just the
4:02
Speaker 3: clean comedy angle to it and just have you know,
4:07
Speaker 3: mom and dad want to go somewhere where they they
4:09
Speaker 3: don't have to explain a thing on the screen. Mom
4:12
Speaker 3: and Dad, you're paying for a nap. You're paying for
4:14
Speaker 3: your kid to see the movie. That's their ticket price.
4:16
Speaker 3: Your ticket price is you can kind of zone out
4:18
Speaker 3: and just be like, okay, good, all right.
4:21
Speaker 2: I don't have to.
4:21
Speaker 3: Worry about anything right now. So this is squarely in
4:26
Speaker 3: the old Disney brand. I mean, if anything, watching a
4:29
Speaker 3: movie like this makes me pine for the old Disney
4:32
Speaker 3: brand because it was easy. Like I didn't grow up
4:35
Speaker 3: in a Disney family. I was a Spielberg Lucas kid,
4:38
Speaker 3: and you know, like coming up during Ghostbusters and Kremlins
4:41
Speaker 3: and all of that sort of stuff going on. So
4:44
Speaker 3: like looking back at this, like there's almost like a
4:46
Speaker 3: bit of nostalgia for me where I'm like, boy, what
4:48
Speaker 3: did I miss out? Why didn't my parents let me
4:50
Speaker 3: see sweet stuff like this? Instead, I'm watching Terminator when
4:53
Speaker 3: I'm ten years old. Thank you, Thomas, my brother. That
4:55
Speaker 3: was very nice.
4:57
Speaker 2: It's true like this, this movie very much encapsulates an era.
5:02
Speaker 2: It is very much of its time and specifically Nancy
5:05
Speaker 2: Meyers's future style. This was her directorial debut. Before this,
5:10
Speaker 2: she was a writer and a producer. She was usually
5:13
Speaker 2: wrote things with her then husband Charles Schier. They wrote
5:17
Speaker 2: and produced a private Benjamin Baby Boom and both of
5:20
Speaker 2: the Father of the Father of the Bride remakes, and
5:23
Speaker 2: Nancy Myers's fingerprint is all over the Father of the
5:27
Speaker 2: Bride movies, Like you could you could tell me like,
5:29
Speaker 2: oh yeah, she directed those, and you'd be and I'd
5:31
Speaker 2: be like, oh, oh sure, yeah, I believe you.
5:34
Speaker 3: Yeah. I never watched the originals on the Father of
5:37
Speaker 3: the Bride movies, and I have maybe I saw the
5:40
Speaker 3: original Parent Trap on, like you know, a Disney Sunday
5:43
Speaker 3: Night movie when I was a kid sort of thing.
5:45
Speaker 3: So like that, that's pretty wild, so far as I'm concerned,
5:48
Speaker 3: Like you guys can tell me, because Darren said, you've
5:50
Speaker 3: seen the original. You said, this is a faithful remake.
5:53
Speaker 3: Is there anything about myer?
5:56
Speaker 1: Ah, gosh not. I mean it is ridiculously faithful. I
6:03
Speaker 1: mean we're talking the structure. Is They had to they
6:07
Speaker 1: had to. They had to credit David Swift, who wrote
6:11
Speaker 1: the original nineteen sixty one Parent Trap, because they leaned
6:14
Speaker 1: on the structure so much. Yeah, I could see that.
6:17
Speaker 1: I mean, you're talking the cutting of the hair, the
6:20
Speaker 1: learning about each other, the you know, again, there's there's
6:24
Speaker 1: slight tonal differences, but the stick to.
6:28
Speaker 2: Shut to scare lions mountain lions away, and the sugar
6:30
Speaker 2: water and everything like that, even crossing.
6:33
Speaker 1: The arms and and doing like crossing your fingers and
6:36
Speaker 1: crossing your arms there. I could probably name fifty things
6:41
Speaker 1: that are direct, which is not bad. I mean it's it's.
6:44
Speaker 2: Obviously a shot for shot remake. But no, of course,
6:47
Speaker 2: not very much.
6:49
Speaker 1: It worked back then, so it worked now like but
6:52
Speaker 1: kept all the good parts.
6:54
Speaker 3: But they but Myers also gets like when I was
6:57
Speaker 3: watching the credits in the beginning, it's the production designer
7:00
Speaker 3: from the Godfather films and Apocalypse, now is the production
7:03
Speaker 3: designer here? Dean Tavalaius and Dean freaking Cundy is the
7:09
Speaker 3: DP on this. It's like, I mean, they if this
7:12
Speaker 3: is her first film, Disney was kind of like really
7:14
Speaker 3: rolling out the red carpet for her as like, Hey,
7:17
Speaker 3: we're going to give you know what, not only are
7:19
Speaker 3: we going to give you really solid talent behind the
7:22
Speaker 3: camera here, we're giving you the best talent that's That
7:26
Speaker 3: would be like somebody you know, that would be like
7:29
Speaker 3: the guy coming in to do back rooms, Like here's Deacons,
7:31
Speaker 3: He'll shoot the movie for you. It's like, oh, thanks, man,
7:34
Speaker 3: appreciate the help.
7:35
Speaker 2: That solid And that's the thing is that it's solidified
7:38
Speaker 2: her style, Nancy Myers's style, because sure she's very much
7:42
Speaker 2: known for the warm interiors. Everybody's rich, but yet their
7:46
Speaker 2: homes are super cozy and uh oh these.
7:50
Speaker 1: People are so rich, so rich.
7:52
Speaker 2: Oh my god, I want to see I want to
7:54
Speaker 2: see a version where they swap and the other person
7:56
Speaker 2: lives in like a really crappy and dangerous neighborhood.
8:00
Speaker 3: I was, I was. I was watching this with my kids,
8:05
Speaker 3: both of whom we have seen it before, and fortunately
8:08
Speaker 3: the youngest didn't hear my little snide comment. But like
8:11
Speaker 3: one of the older ones is sitting next to me
8:13
Speaker 3: and like, you know, whichever one of them like goes
8:16
Speaker 3: to Napa Valley or whatever. And I said exactly that,
8:19
Speaker 3: trist And I was like, Oh, this is really lucky.
8:21
Speaker 3: That's like in the hood or something like that. She's
8:24
Speaker 3: like what, I'm like, Well, both of these families are
8:26
Speaker 3: basically like living like royalty. Like neither one of these
8:30
Speaker 3: kids went back somewhere and was like, oh my god,
8:32
Speaker 3: there are bars on the window or anything like that.
8:35
Speaker 2: Now they get together and they're like, wait a second,
8:37
Speaker 2: Wait a second, you're a princess and I'm a moisture farmer.
8:42
Speaker 3: Yeah, right, right right, a little shafted here right now.
8:50
Speaker 1: But I like the point you were making though, John
8:52
Speaker 1: about the you know, the DP and the technic class pic,
8:55
Speaker 1: because that also makes sense pulling out the stops, because
8:59
Speaker 1: this is very tech nicole movie. It's a twin movie, yeah,
9:02
Speaker 1: with the same and that trick, like again, is kind
9:06
Speaker 1: of tricky to pull off. We can all see the
9:09
Speaker 1: oh there's the body doubles and oh look they happen
9:11
Speaker 1: to have their faces covered when they're fencing. How easy
9:14
Speaker 1: that is. But there are a lot of shots where
9:18
Speaker 1: there are both girls, and it's it's seamless, like this
9:21
Speaker 1: movie does it perfectly.
9:24
Speaker 3: The only time it really falls through from a technical
9:27
Speaker 3: aspect is when they're like going off together in yeah,
9:31
Speaker 3: like in the woods, when they're on the camping trip
9:34
Speaker 3: in specific, when they both pop out from behind a tree.
9:37
Speaker 3: It's like, yes, you can tell. It's a flat effect.
9:40
Speaker 2: And the reason why, like when you watch it and
9:43
Speaker 2: that's your one hundred percent right, John, And the reason
9:46
Speaker 2: why is because they waited too long to shoot her
9:50
Speaker 2: her reversal in the different outfit, and the sun was different.
9:52
Speaker 1: The lighting had changed, Yeah, And.
9:54
Speaker 2: So they're like, crap, do we come back on the
9:57
Speaker 2: same day or do we just tomorrow or same time
10:00
Speaker 2: day tomorrow or do we just live with it? And
10:02
Speaker 2: they clearly said we'll fix it in post, right, you know.
10:07
Speaker 3: I mean it's good enough and it's quick enough.
10:09
Speaker 2: I think that the nineties dizzy film.
10:12
Speaker 3: Yeah, I mean, if anything.
10:13
Speaker 1: One shot of one hundred like twin shots, like, it's
10:16
Speaker 1: not the end.
10:17
Speaker 3: Of the world. If anything, there's and again I'm not
10:21
Speaker 3: working with you know, knowledge, like intimate knowledge of the
10:24
Speaker 3: original or anything. This is like just chudging it on
10:26
Speaker 3: its own merit. But as a first time viewer, you
10:29
Speaker 3: know you got Cundy, You've got tavalairas in every and
10:33
Speaker 3: you got Sylvester.
10:34
Speaker 2: And yeah, yeah, Stephen A. Rotter is the editor and
10:37
Speaker 2: he won the Oscar for the right stuff, Like.
10:40
Speaker 3: No slouch is what we're saying right here, Folks, if
10:43
Speaker 3: you haven't seen the right stuff, maybe you want to
10:45
Speaker 3: go check it out. But I mean, that's the only
10:47
Speaker 3: thing though, is I thought the movie could have been shorter.
10:52
Speaker 2: Oh my gosh, this this movie had no business being
10:54
Speaker 2: that long. It's the It's the same length to the
10:57
Speaker 2: minute as the original to the minute, which is insane.
11:01
Speaker 2: But this movie had crazy. I said that to my
11:03
Speaker 2: wife because I watched this with both my kids and
11:05
Speaker 2: my wife today and I said the exact same thing
11:08
Speaker 2: that you just said. I said, it was like, this
11:09
Speaker 2: movie has no business being over two hours. And my
11:13
Speaker 2: wife said, both your kids love watching this movie and
11:17
Speaker 2: they pay attention the entire time, and that in itself
11:20
Speaker 2: is a feat. I don't agree with her. You think
11:23
Speaker 2: this would be well, my kids can pay attention.
11:26
Speaker 3: My kids can pay attention faster. Okay, That's just what
11:29
Speaker 3: I'm going That's what my reply would be I yeah.
11:32
Speaker 3: I mean I felt that there was easily like ten
11:34
Speaker 3: or fifteen minutes that could have come out of this,
11:36
Speaker 3: not in like a big like you know, swath of
11:39
Speaker 3: film cut out, but.
11:40
Speaker 2: The little throughout the movie.
11:42
Speaker 3: Yeah, little bits here and there. And I know last
11:46
Speaker 3: week we talked about with the whole nine yards, like
11:49
Speaker 3: it becomes a time capsule when you're watching a movie
11:52
Speaker 3: where I mean, first and foremost, Lindsay lowen Is is
11:55
Speaker 3: completely grown up now, has had her own career up
11:58
Speaker 3: to this point and had a reinvention up to this point.
12:00
Speaker 3: It's kind of like to come back and see her
12:02
Speaker 3: as a kid, You're like wow. But also, Natasha Richardson,
12:06
Speaker 3: I like it.
12:07
Speaker 1: It.
12:07
Speaker 3: Actually I didn't expect it to sort of like hit me,
12:09
Speaker 3: but when she came on screen, I was like, oh
12:11
Speaker 3: my gosh, it's been so long since we lost her.
12:14
Speaker 3: I'd forgotten how long it had been since, you know,
12:18
Speaker 3: her accident and for anybody who doesn't know, she fell
12:21
Speaker 3: during a ski, Lesson complained of a bad headache and
12:24
Speaker 3: then she was gone, like she suffered brain trauma and
12:27
Speaker 3: it it I mean, you know, just wow, who you
12:30
Speaker 3: know who sees that coming and seeing her in the film.
12:34
Speaker 2: Is like, oh wow, that's right.
12:35
Speaker 3: I used to see her an old ton of stuff,
12:39
Speaker 3: but it's been so long since she's been on film.
12:41
Speaker 3: It's just it's such a weird time capsule for that reason.
12:45
Speaker 2: Absolutely, And it's uh, you know when when you look
12:49
Speaker 2: at everyone who's in it, like this is like Dennis
12:52
Speaker 2: Quaid Richardson, Uh, and you have people's names that aren't
12:57
Speaker 2: playing on right now. But anyway, you had a lot
12:59
Speaker 2: of talent in front of the camera and behind the
13:02
Speaker 2: camera because we've been focusing on the crew a lot.
13:04
Speaker 2: But this movie only had a budget of fifteen million,
13:06
Speaker 2: so there was no like Tom Cruise, Bruce Willis or
13:10
Speaker 2: Will Smith paychecks that they had to make. But they
13:13
Speaker 2: got the talent that they needed to make the movie
13:15
Speaker 2: in front of and behind the camera. And also Hayley Mills,
13:20
Speaker 2: who was the original actress in sixty one who played
13:24
Speaker 2: both parts of the Daughters. She was asked to make
13:27
Speaker 2: a cameo in the remake, but she couldn't do it
13:29
Speaker 2: because she was touring with The King and I and
13:31
Speaker 2: Joanna Barnes, who played the fiance in nineteen sixty one,
13:36
Speaker 2: plays the fiance's mother in the remake. So the one
13:39
Speaker 2: who says, like, oh, Pet, you can call me aunt,
13:42
Speaker 2: like aunt VICKI like that was yeah, she played Vicky Robins.
13:47
Speaker 1: Played the love interest.
13:49
Speaker 2: I like that. I like that.
13:50
Speaker 3: I like it when, yeah, those things well, yeah, little
13:53
Speaker 3: cameos like that I very much enjoy. It's when the
13:57
Speaker 3: cameos get in the way can be a little little tough.
14:00
Speaker 3: But that didn't happen here, you know. I mean, and
14:02
Speaker 3: I didn't even know that it was a cameo, so
14:04
Speaker 3: obviously the part just worked as it was. You know,
14:08
Speaker 3: I think that, you know, to your point, Tristan, I
14:13
Speaker 3: really think a movie like this when you show it
14:15
Speaker 3: to a younger audience today, you know, your wife says, oh,
14:19
Speaker 3: both your kids were paying attention. My youngest was paying attention.
14:22
Speaker 3: And it's such a reminder that we collectively as a society,
14:27
Speaker 3: every generation feels that the generation behind them doesn't pay
14:30
Speaker 3: attention well enough and they can't lock in and they
14:33
Speaker 3: can't focus. But I think if anything, movies and a
14:37
Speaker 3: movie like this, I'll throw it out there by being
14:40
Speaker 3: as accessible to kids as they are, Like, the difficulty
14:44
Speaker 3: is finding the thing that they will engage with, and
14:48
Speaker 3: maybe there's some some sort of like weird alchemy that
14:51
Speaker 3: we're overlooking now, and you know, because nobody wants to
14:53
Speaker 3: make a movie like this anymore, it seems. And I
14:56
Speaker 3: know that's a big blanket statement, but I would say
14:59
Speaker 3: that as they're looking for things to draw people to
15:02
Speaker 3: the theater as it were, or to the streaming service,
15:05
Speaker 3: things like this would bring the kids in, which would
15:08
Speaker 3: then bring in the ticket sales and the families, because
15:13
Speaker 3: kids will pay attention to a two hour and six
15:15
Speaker 3: minute movie without a problem. It just has to be
15:17
Speaker 3: accessible to them the entire time, regardless of how accessible
15:20
Speaker 3: it is to the parents.
15:21
Speaker 1: That's my ten well, and and I mean, I like
15:26
Speaker 1: how this movie is. I like the stakes of this movie,
15:31
Speaker 1: like it's that's something a kid can wrap their head around, Like, Okay,
15:34
Speaker 1: we want to get the parents back together, but we
15:37
Speaker 1: got to keep secrets. And oh there's the now he's engaged,
15:41
Speaker 1: and so it it. All of the stakes and things
15:45
Speaker 1: that the that Haley and Annie have to do are
15:50
Speaker 1: are based around things that a kid can wrap their
15:54
Speaker 1: head around. It's not like, you know, and the company's
15:58
Speaker 1: merging and I got to stop it from being tossile
16:00
Speaker 1: takeover like that that's business world, like that's not in
16:04
Speaker 1: in their wheelhouse. But this is all interpersonal, it's all
16:09
Speaker 1: you know, I could see a Bluey episode like this,
16:12
Speaker 1: like it's it's so relatable.
16:14
Speaker 3: Yeah, well, I think that you know, Myers, Myers definitely
16:20
Speaker 3: deserves credit for the fact that she got such a
16:24
Speaker 3: great performance out of Lindsay Lohan that she becomes a
16:26
Speaker 3: star after this immediately. And I think that a lot
16:30
Speaker 3: of what we're talking about is the fact that the director,
16:33
Speaker 3: it's their job to get those performances, the performances they
16:37
Speaker 3: need for the you know, for whatever they're doing, whatever
16:40
Speaker 3: the style is, whatever is appropriate. The director's job is
16:43
Speaker 3: to make it happen. And I think that Myers is
16:48
Speaker 3: great strength here. Besides the fact that she has tremendous
16:51
Speaker 3: production crew working with her, is the fact that obviously
16:56
Speaker 3: by having such a terrific crew around her, she's able
16:58
Speaker 3: to focus on those performances. And there were only a
17:02
Speaker 3: couple of times where I couldn't really where I had
17:04
Speaker 3: a little bit of a challenge drawing a distinction between
17:07
Speaker 3: the twins in terms of their personality type. But most
17:12
Speaker 3: of the time, especially toward the beginning, it wasn't obnoxious
17:16
Speaker 3: where it was like one kid was, you know, wearing
17:19
Speaker 3: a leather jacket and spitting in people's faces, and the
17:21
Speaker 3: other kid was the prim and proper princess who dare
17:25
Speaker 3: not enter a room without curtsying or something like that.
17:28
Speaker 3: It's like they were believable kid performances from, you know,
17:32
Speaker 3: nuanced from the same young actress making her debut on film.
17:36
Speaker 3: So I think that's a real credit to Nancy Myers
17:38
Speaker 3: that she had so much comfort and able to get
17:45
Speaker 3: a child to relax. Now Loan obviously has a lot
17:48
Speaker 3: of natural talent to relax to the point where she
17:51
Speaker 3: could give those sort of dual performances that are at
17:54
Speaker 3: no point cloying or annoying or maddening in any way,
18:00
Speaker 3: but work for the whole time.
18:02
Speaker 2: Myers said that she was looking for a quote a
18:04
Speaker 2: little Diane Keaton and fifteen fifteen hundred actresses submitted tapes,
18:12
Speaker 2: including Scarlett Johansen, Mara Wilson, Michelle Treuschenberg, and Jenna Malone.
18:17
Speaker 2: Apparently they offered it to Jenna Malone but she declined
18:20
Speaker 2: it twice. And when Dennis Quayn screntested with Lowhan, he
18:25
Speaker 2: was like, this, this is it, this is the girl
18:29
Speaker 2: this is clearly the choice. Like he was sold the
18:31
Speaker 2: first timing that he met her.
18:32
Speaker 3: How how was that though, that you know, the actor
18:36
Speaker 3: recognizing the importance of that chemistry, Like he wasn't just
18:41
Speaker 3: saying Lindsay Lohan was a great talent. He was saying,
18:44
Speaker 3: this is a great talent, and I know that I
18:46
Speaker 3: can work with her. I can get a believable dad performance,
18:49
Speaker 3: because I think that's actually, you know, Quaid really does
18:54
Speaker 3: have a dad chemistry with Lohan in.
18:57
Speaker 2: This Quaid has her dad chemistry with everyone to shit,
19:02
Speaker 2: I mean.
19:03
Speaker 3: Wrong, even like Martin Short when he's inside his body
19:07
Speaker 3: or you know, stuff.
19:08
Speaker 2: Like that, Like I know that Tom Hanks is America's dad,
19:11
Speaker 2: but Dennis Quaid, he's like, if your parents got divorced
19:15
Speaker 2: and remarried, they it would be with Dennis Quaid.
19:18
Speaker 1: Yeah, mom, your parents.
19:20
Speaker 3: Yeah, if my mom gets divorced from Tom Hanks, I'm
19:23
Speaker 3: going to have her date Dennis Quaid, is what you're saying.
19:26
Speaker 2: Yes, that is exactly what I'm saying.
19:28
Speaker 1: Yeah, especially nineties Dennis Quaid like, yeah, he's just dad
19:34
Speaker 1: is written across his forehead right there.
19:37
Speaker 2: Well.
19:38
Speaker 1: One of the things I also think that I definitely
19:41
Speaker 1: want to shout out with for Nancy Myers is And
19:45
Speaker 1: we've talked about this aspect in other movies as well,
19:48
Speaker 1: and I'm saying this as a positive. Is I know
19:52
Speaker 1: how I'm meant to feel in every scene of this movie,
19:56
Speaker 1: because there's times when I'll watch a movie and I'm like,
19:59
Speaker 1: am I supposed to for them right now? Or am
20:01
Speaker 1: I supposed to be scared? Or I don't know, Like
20:04
Speaker 1: especially the first meets, the meetcutes with their opposite parents,
20:10
Speaker 1: it is so clear like, Okay, I'm supposed to feel
20:14
Speaker 1: you know, that longing of not seeing a beloved you know,
20:19
Speaker 1: family member for ages and now getting to reconcile and
20:23
Speaker 1: you know, or the moments where the sisters realize their
20:26
Speaker 1: sisters and you know, it's none of it comes off cheesy,
20:30
Speaker 1: but it could easily fall apart. These three scenes, the sisters,
20:35
Speaker 1: the meeting the mom again, the meeting the dad again,
20:38
Speaker 1: those have to land. That is the tripod that this
20:42
Speaker 1: movie emotionally is built on, and they all do. And
20:47
Speaker 1: then you have more comedy with the you know, the
20:50
Speaker 1: fiance potential step mother like that is still that is
20:54
Speaker 1: not as integral that relationship dynamic. That's antagonistic, but yeah,
21:00
Speaker 1: I give her props for through this whole movie you feel,
21:06
Speaker 1: you know, what you're meant to feel as you're moving
21:08
Speaker 1: along this story with the characters.
21:11
Speaker 3: Yeah, You're absolutely right, and there are times where the
21:14
Speaker 3: emotional cue does hit really well in terms of you know,
21:21
Speaker 3: there were times that I thought were really really effective
21:24
Speaker 3: emotionally in the film. I think that the only time
21:29
Speaker 3: where I felt distance from the characters in all honesty
21:33
Speaker 3: was with the whole fiance subplot that never really clicked
21:39
Speaker 3: for me. That felt the most And trust me, this
21:43
Speaker 3: is a big statement. With a movie like this, that
21:45
Speaker 3: felt like it was the most contrived part of it.
21:48
Speaker 3: And that's you know, that's I think that's saying something.
21:51
Speaker 3: And I'm sort of like struggling with you know, like
21:54
Speaker 3: do you think that's because you know, the actress was
21:58
Speaker 3: sort of like not Elaine Hendricks, who's a great actress.
22:04
Speaker 3: I love seeing her and stuff, but the chemistry on
22:08
Speaker 3: screen between her and Quaid didn't really work for me.
22:11
Speaker 3: And maybe it's not supposed to, you know, because she's
22:14
Speaker 3: the Cruela Deville that sort of thing, but like it
22:17
Speaker 3: never even felt it never felt real in any way
22:20
Speaker 3: to me. It felt the most like this is just
22:23
Speaker 3: a situation as opposed to this is you know, like
22:28
Speaker 3: I was saying. With Quaid and low Hand, I got
22:30
Speaker 3: the dad energy between the two of them, and when
22:33
Speaker 3: Quaid and Richardson meet up, I believed Quaid was falling
22:37
Speaker 3: for her again. But with Quaid and Hendrix, I didn't
22:40
Speaker 3: feel any sort of spark. There was nothing where I
22:43
Speaker 3: was like, oh, yeah, he's with her, because you know.
22:46
Speaker 2: That's I think that's a victim of the genre where
22:50
Speaker 2: they're so often often more often you see it with
22:54
Speaker 2: men rather than you do with women, Like you'll see
22:57
Speaker 2: so many love triangles, and I feel we've talked about
23:00
Speaker 2: this before, but you see so many love triangles between
23:02
Speaker 2: one woman and two men, and it's always the person
23:07
Speaker 2: that the woman is with currently, whether it's a fiance
23:09
Speaker 2: or a boyfriend or a husband, and they're just a
23:12
Speaker 2: complete douchebag. They are just like the worst person on earth.
23:16
Speaker 2: They're broie, or they're stupid, or they're conniving or just
23:20
Speaker 2: straight up evil, and you have no idea, zero idea
23:24
Speaker 2: why the woman is with this person is just so
23:26
Speaker 2: that they can have the dumping scene and no one
23:29
Speaker 2: feels bad about it. And I think that's that's the
23:31
Speaker 2: victim of it here is that, but you're just seeing
23:33
Speaker 2: the gender is swapped.
23:35
Speaker 3: I think that somebody who would have been able to
23:40
Speaker 3: get a more believable I thought this entire time that
23:46
Speaker 3: the name of the employee of Dennis Quaid question Mark
23:51
Speaker 3: was Jesse, but it was CHESSI apparently chess Y. Yeah,
23:57
Speaker 3: at no time did I understand. I thought it was
24:00
Speaker 3: the whole time, So let's work on our a diction everybody.
24:03
Speaker 3: But like in the credits, it's like Chessie. I was like, huh,
24:08
Speaker 3: no kidding, But I would have believed more if they
24:12
Speaker 3: had cut Hendricks's character and Chessie was like, oh yeah,
24:17
Speaker 3: I've been with him and then we realized we were
24:18
Speaker 3: in love. But Tristan, I think you're right, Like then
24:21
Speaker 3: I would have felt bad for Chessie. I would have
24:23
Speaker 3: felt awful for her. And I think it's just the
24:26
Speaker 3: actress who played her, Lisa and Walter. I think she's great,
24:30
Speaker 3: and I think she's really a lot of fun in
24:32
Speaker 3: the role. And also shout out to hometown girl. She
24:36
Speaker 3: was born and raised, you know, mere minutes from where
24:40
Speaker 3: I grew up, so you know, maybe that's why I'm
24:42
Speaker 3: cheering for her here, but I like, I really like
24:45
Speaker 3: Chessie's energy. I thought her energy was great and she.
24:49
Speaker 2: Was fantastic, and she's also really funny and Abbott elementary
24:52
Speaker 2: and looks the freaking same. It's creepy, you know.
24:57
Speaker 3: I know I have to watch that show. Still, I've
24:59
Speaker 3: heard nothing but good things.
25:00
Speaker 1: So I was thinking about what you were saying, John,
25:03
Speaker 1: and as we kind of alluded at the beginning of
25:05
Speaker 1: this of oh, if this had been made today, you
25:07
Speaker 1: know the changes in the in the performance, and maybe
25:11
Speaker 1: that would have been something a little smoother where the
25:15
Speaker 1: fiance you can actually see the connection. And then it
25:18
Speaker 1: becomes more of a Okay, why do I want to
25:22
Speaker 1: give this old relationship a chance? Like we heard each other,
25:26
Speaker 1: we'd be drifted apart. Like not that it can't heal,
25:29
Speaker 1: but there's legitimate reasons that they broke up. I was
25:32
Speaker 1: trying to think of a of a smooth balance, and
25:37
Speaker 1: it made me think of the sound of music. So
25:40
Speaker 1: you also have a triangle with two women and a
25:44
Speaker 1: man where she is you know, the fiance or the
25:48
Speaker 1: other woman is not terrible, like she is not cruel
25:53
Speaker 1: or mean or steps step motherish but she's just not
25:58
Speaker 1: the right fit for von Trapp and Maria is. So
26:04
Speaker 1: I feel like, yeah, you're right, John, if this movie
26:08
Speaker 1: as a Okay, it's ninety eight, it's not sixty one anymore,
26:11
Speaker 1: we're gonna balance this relationship.
26:14
Speaker 2: A little more. And that's just not the way we went.
26:17
Speaker 1: We went more in the Okay, she is the antagonist,
26:20
Speaker 1: we're gonna slapstick her hating camping and all of that,
26:25
Speaker 1: and that's fine, that's just how the movie went. And that's,
26:28
Speaker 1: like I said, very faithful to the original. But yeah,
26:32
Speaker 1: a different balancing of that triangle. I think a more modern,
26:38
Speaker 1: even more modern than in ninety eight, would would approach
26:42
Speaker 1: it that way, where she isn't the villain, but they
26:46
Speaker 1: can land the relationship more of but you're just not
26:50
Speaker 1: the right fit. And I don't know exactly how that
26:54
Speaker 1: would play out, but I could it could be done.
26:57
Speaker 2: Yeah, I think it can be done. But the thing
26:59
Speaker 2: is is that like with this specific movie with ninety eight,
27:03
Speaker 2: with sixty one and the novel that it's based off of,
27:06
Speaker 2: the pranks that happen is are a big part of
27:09
Speaker 2: the movie, specifically in sixty one, Like the pranks in
27:12
Speaker 2: sixty one, a are hit a little bit harder than
27:16
Speaker 2: in ninety eight. Actually, some of the pranks that you
27:18
Speaker 2: see in ninety eight at the camp are actually some
27:21
Speaker 2: of the same pranks that you see in sixty one.
27:23
Speaker 2: But towards the fiance, I feel like, if you don't
27:26
Speaker 2: have them be a terrible person and just a terrible fit,
27:30
Speaker 2: the pranks land very differently.
27:33
Speaker 1: Well yeah, yeah, then Annie and and Haley are terrible
27:37
Speaker 1: people and you don't want that.
27:39
Speaker 3: Well, I can also tell you living in the land
27:42
Speaker 3: of lizards right now, I am the lizard king. But no, seriously,
27:46
Speaker 3: like living in the land of lizards right now. When
27:48
Speaker 3: they picked up the lizard, like, you know, we're like,
27:51
Speaker 3: oh cute, that's nice. We do that all the time
27:53
Speaker 3: down here, Like we pick up, you know, these little lizards.
27:56
Speaker 3: We're like, oh, look, they're so cute, right, and we like,
27:58
Speaker 3: you know, have fun with them and everything that. But
28:00
Speaker 3: that scene where she like basically swallows a lizard like that,
28:05
Speaker 3: that would have been a straight up deal breaker in
28:08
Speaker 3: in anybody's book, you know, just because Darren you mentioned,
28:10
Speaker 3: you know, oh, she doesn't get along with camping. I'm like,
28:12
Speaker 3: that's not camping, that's just disgusting. That's just gross as
28:16
Speaker 3: all hell. But additionally, like you know, you talk about
28:21
Speaker 3: the pranks and everything, uh, you know, when they're dragging
28:24
Speaker 3: her out, but you know, my kid's next to me,
28:26
Speaker 3: and I was like, how is she not waking up?
28:28
Speaker 3: She goes, oh, she took sleeping pills as they're putting
28:30
Speaker 3: her out, you know, onto the lake, and I go,
28:32
Speaker 3: oh yeah, and I go, oh god, she could drown
28:35
Speaker 3: that if she just turns over. And I was like,
28:40
Speaker 3: this is a terrible proof, you know, like that's not
28:44
Speaker 3: funny at all.
28:46
Speaker 1: I'm just seeing like a family guy's sketch where it's like,
28:49
Speaker 1: you know, they cut in and they see her floating
28:52
Speaker 1: out and then she like snores and rolls over and
28:54
Speaker 1: then we just hear her go like bubbles and then
28:57
Speaker 1: the twins are like, oh oh oh like that, Yeah, exactly,
29:05
Speaker 1: that is.
29:05
Speaker 3: Right there, Alley, the kids are juveie during the ending.
29:10
Speaker 2: Yeah oh yeah, okay, okay, let's we need to address
29:16
Speaker 2: the elephant in the room. I know we kind of
29:18
Speaker 2: talked about it at the beginning about how Like would
29:21
Speaker 2: be made into a lifetime film and everything like that.
29:24
Speaker 2: But so I've seen this movie before, but just once
29:27
Speaker 2: it was. I think the last time I watched it
29:28
Speaker 2: was probably in ninety eight, ninety nine, and I couldn't
29:32
Speaker 2: even as a young person, I could not get past
29:35
Speaker 2: the fact that these parents should be in jail and
29:39
Speaker 2: their kids should never talk to them again. They should
29:42
Speaker 2: hire lawyers and divorce their family. And it's just it's
29:47
Speaker 2: insane to me, like you have to wave the Disney wand.
29:50
Speaker 1: Should They didn't let each other know that they existed,
29:53
Speaker 1: is at the Okay, yeah.
29:54
Speaker 2: They separated their their siblings at birth and just were
29:59
Speaker 2: just like, you know what, we're gonna keep one like
30:01
Speaker 2: it's it's like the it's like one step below the
30:05
Speaker 2: I should say, one step above the biblical story where
30:08
Speaker 2: he's just like, I'll just cut the child in half. Wait.
30:11
Speaker 3: Wait, so you're saying it's like sending one to a
30:13
Speaker 3: moisture farm and sending one to a royal house on
30:16
Speaker 3: a different planet.
30:17
Speaker 1: We already made this.
30:19
Speaker 3: I who I am turning it around on you and
30:22
Speaker 3: saying it's not so funny anymore, is it.
30:24
Speaker 2: No, it's different because you didn't have a maniacal half
30:27
Speaker 2: robot half man trying to find them and killed him.
30:30
Speaker 3: Okay, hold on, you got to hear both sides. All right,
30:32
Speaker 3: we'll table this discussion. But I think that when you're
30:35
Speaker 3: when you're looking at this, I agree with you. There's
30:38
Speaker 3: like I'm sitting there like there is no way in
30:40
Speaker 3: hell any judge on the face of the planet does
30:44
Speaker 3: this ever, Like you're right, they're in jail at this point.
30:48
Speaker 3: There's no there's nothing like this that's ever going to happen.
30:51
Speaker 3: This is this is as ludicrous is like on Seinfeldwin
30:54
Speaker 3: that like the premise is that you know, they get
30:56
Speaker 3: in a car accident, that he has to be his butler,
30:58
Speaker 3: Like it's a sit on premise basically. And I guess
31:03
Speaker 3: maybe back in the sixties when talking about divorce was
31:07
Speaker 3: a much more foreign concept, like you know, it was
31:11
Speaker 3: easier to play that for comedy. But yeah, I mean,
31:14
Speaker 3: obviously there's absolutely zero reality to that or the fact
31:19
Speaker 3: that either one of them would like when they meet
31:22
Speaker 3: each other for the first time and you know, one
31:24
Speaker 3: of them, you know, Annie's like, I don't know, yeah,
31:27
Speaker 3: he kind of looked like me, I don't know, turn
31:29
Speaker 3: to the side, turn to the side. They're they're having
31:31
Speaker 3: full on like psychotic meltdowns. They're like, ah ah, what
31:35
Speaker 3: is going on, you know, like and everybody at the
31:37
Speaker 3: camp is screaming too, and they're like, what is happening?
31:40
Speaker 2: Yeah?
31:41
Speaker 1: I well and another thing that not that it took
31:45
Speaker 1: me out. It just was a moment. So none of
31:48
Speaker 1: the camp mom like leadership thought like, Hey, when's when
31:54
Speaker 1: these parents are or guardians come to pick these kids up.
31:58
Speaker 1: Let's talk to them and be like, you know that
32:00
Speaker 1: your child met like basically their twin sister here, like,
32:04
Speaker 1: and they're just so unplugged from the situation. It's like, oh, okay, okay.
32:11
Speaker 2: Zero investments in the health and welfare of there.
32:14
Speaker 3: But see that's where again, if this were making it
32:18
Speaker 3: would be made as a Netflix six episode series and
32:21
Speaker 3: we would have an entire episode talking about how Marva
32:25
Speaker 3: Culp Senior and Marva Culp Junior were not accredited camp
32:29
Speaker 3: counselors and they instead lucked their way into managing the camp,
32:32
Speaker 3: which would explain their lack of attention to detail. So
32:36
Speaker 3: if you have a six episode season, you can dedicate
32:38
Speaker 3: a whole I mean, this is.
32:40
Speaker 1: The era of like camp nowhere, Like Ernest goes to
32:44
Speaker 1: camp like bad things not bad things, crazy things happened
32:49
Speaker 1: at camp. Camp was a lawless land of kids taking
32:53
Speaker 1: over the camp. Whoever heavyweights people totally unqualified to run
33:00
Speaker 1: children's education of camps. That was the lawless land that
33:03
Speaker 1: we lived in. So you know what, it totally tracks.
33:06
Speaker 3: At this point. There's just lucky a guy in a
33:07
Speaker 3: hockey mask didn't show up. But like, I think that,
33:11
Speaker 3: you know, I think that one of the funniest things
33:14
Speaker 3: was in the very beginning, in the very long, long
33:18
Speaker 3: opening of this movie, when one of the kids, when
33:22
Speaker 3: they're getting off the bus, one of the kids actually
33:24
Speaker 3: mentions how they can't get a phone signal when they're there,
33:28
Speaker 3: and I'm like, okay, number one in ninety eight, Wow,
33:31
Speaker 3: that kid had their own cell phone in ninety eight,
33:34
Speaker 3: when everybody said this movie, everybody well or or their
33:40
Speaker 3: father worked for the phone company and so they got,
33:43
Speaker 3: you know, to take advantage of new technology that was
33:47
Speaker 3: rolled out. But like, I think that that that blew
33:50
Speaker 3: my mind because of like, wow, that just made this
33:52
Speaker 3: movie timeless because somebody mentioned a sales a cell phone.
33:57
Speaker 2: That's great.
33:57
Speaker 3: Although of course later I'm I'm in my brain like
34:01
Speaker 3: they're calling each other, I'm like, uh, international rates apply.
34:05
Speaker 3: I think that both mom and dad are could be
34:08
Speaker 3: really upset about their phone bills. At the end of
34:10
Speaker 3: this movie, I'm saying, I'm.
34:12
Speaker 1: A dad can afford the long justice phone called to
34:15
Speaker 1: establish this touche very good.
34:18
Speaker 2: So I want to know. This is the hypothetical that
34:20
Speaker 2: I was hoping that they would kind of fill in
34:23
Speaker 2: during the credits when they show the photos from the
34:25
Speaker 2: second wedding, is what do you think happened after the wedding?
34:29
Speaker 2: The second wedding? What do you think happened? Where did
34:32
Speaker 2: they live? How did they get together that they split time?
34:35
Speaker 2: Where they buy coastal? Did she move to NAPA, did
34:39
Speaker 2: he move to London? What happened?
34:41
Speaker 3: I think they moved to a third city because they
34:44
Speaker 3: couldn't decide which one. He sold the vineyard, she kept
34:48
Speaker 3: designing outfits. He became a stay at home dad, and
34:51
Speaker 3: they lived in Milan because she's involved in design and clothing.
34:59
Speaker 3: So that's where I go with parent trapped to the
35:02
Speaker 3: parent trappening.
35:05
Speaker 1: I think it's a little more split. I think they're
35:08
Speaker 1: gonna live in a new a new place in London
35:13
Speaker 1: because remember she's got her dad, like, there's family involved
35:18
Speaker 1: as well that lives in the house. So I think
35:22
Speaker 1: they're gonna have a bigger house in London, uh, and
35:25
Speaker 1: spend all time there except summers. Summers we're gonna go
35:31
Speaker 1: back to the vineyard. He's sold the vineyard, I agree that,
35:34
Speaker 1: but he's kept the house or some part of the property.
35:39
Speaker 1: So that's like summer on the ranch. You know, we
35:41
Speaker 1: got the horses and you know, outdoor camping and all
35:45
Speaker 1: of that. I think that's how we're gonna balance it.
35:48
Speaker 1: I mean, it's interesting. I mean not to get onto
35:51
Speaker 1: other movies, but we're gonna have the same conversation in a.
35:53
Speaker 2: Couple of movies.
35:54
Speaker 1: Guys, it's gonna be it's coming back around. But yeah,
35:59
Speaker 1: it it is very much a Disney handwave of and
36:02
Speaker 1: they all lived happily ever after. And it's like, how
36:07
Speaker 1: thank god they're rich, because otherwise I.
36:11
Speaker 3: Don't know how they had not one but two weddings
36:14
Speaker 3: on the q E two. All right, Yeah, they're doing
36:16
Speaker 3: all right, They're doing all right.
36:18
Speaker 2: See I even though you guys didn't ask me, I
36:21
Speaker 2: personally believe that they move full time to NAPA because
36:24
Speaker 2: she can design wedding dresses anywhere, and they have enough
36:26
Speaker 2: money that you can fly anywhere that she wants. But
36:28
Speaker 2: they're the vineyard. You can't move the vineyard.
36:31
Speaker 1: That's true. I mean, yeah, they are imprompt to jump
36:36
Speaker 1: on a conquered level rich so like, I mean, that
36:39
Speaker 1: just says it all.
36:40
Speaker 2: Darren, I'm gonna ask you for your rating. How many
36:43
Speaker 2: oreos dunked in peanut butter? Are you giving this film
36:46
Speaker 2: to try that?
36:47
Speaker 1: Oh? So gosh, you know, I cannot find fault in
36:54
Speaker 1: this movie. It is. It is a fun movie. It
36:57
Speaker 1: is amazingly acted by I mean literally gently child star
37:02
Speaker 1: Lindsay Lohan, like she is cutting her teeth on this movie.
37:05
Speaker 1: It's a twin movie. The technical aspects that you have
37:08
Speaker 1: to pull off acting wise for that, the chemistry like
37:13
Speaker 1: they the casting is so good in this movie, like
37:16
Speaker 1: the casting is good. The yes, I can see the
37:20
Speaker 1: fact that the pace of this movie is set at
37:22
Speaker 1: like a leisurely three and it never deviates the entire movie.
37:28
Speaker 2: And that's okay.
37:30
Speaker 1: But yeah, I'm I'm just gonna give it a five.
37:32
Speaker 1: I cannot. I love watching this movie. My kids enjoy
37:36
Speaker 1: this movie. It's a great remake. It takes all the
37:39
Speaker 1: great parts of the first original. You modernizes a little bit,
37:43
Speaker 1: but doesn't overchange it because there wasn't really that much
37:45
Speaker 1: that needed changing. So do I feel we need another
37:51
Speaker 1: parent trap now that it's been like twenty something years. Nah,
37:54
Speaker 1: I'm good.
37:55
Speaker 2: I think we're fine.
37:57
Speaker 1: But yeah, And also I think it just gets an
37:59
Speaker 1: extra for that nineties. It is a time capsule. It
38:03
Speaker 1: is a beautiful, soft light lit you know, fun days
38:09
Speaker 1: at the airport, nostalgia trip. And I enjoy it. So
38:13
Speaker 1: I'm going to give it five Butler limos rolling.
38:18
Speaker 2: Around the camp. All right, mister Mills.
38:22
Speaker 3: I have to be very harsh on the run time
38:25
Speaker 3: because I did feel it, and I think that while
38:31
Speaker 3: it's beautifully designed and there are deb I mean like
38:35
Speaker 3: Nancy Myers is a hell of a debut, and Lindsay
38:38
Speaker 3: Lohan is perfect in this role. She's amazing, She's absolutely taught,
38:43
Speaker 3: not amazing. I do think that it's there's a ceiling
38:48
Speaker 3: on old school Disney in terms of how much it's
38:51
Speaker 3: going to work for me, and every time I encounter it,
38:55
Speaker 3: very rarely does it break through that ceiling. So this
38:58
Speaker 3: one hits that ceiling of four because this is solidly enjoyable.
39:02
Speaker 3: I don't regret watching it. I will I would, you know,
39:06
Speaker 3: somebody said a year from now I was like, oh,
39:07
Speaker 3: let's watch the Parent Trap. I'm like, okay, sure, but
39:10
Speaker 3: I'm not gonna I'm not walking around me like, man,
39:12
Speaker 3: did you see the Parent Trap? Because you know, to
39:15
Speaker 3: your point, Darren, it finds a pace and it just
39:18
Speaker 3: chugs along at that pace and never deviates even when
39:24
Speaker 3: it feels like there should be some deviation to speed up.
39:28
Speaker 3: Once you know where you're going, it's okay to get
39:31
Speaker 3: there a little bit faster, and there are ways to
39:34
Speaker 3: do it. So it's a solid four for me. What
39:36
Speaker 3: about you, Tristan?
39:37
Speaker 2: I think I'm gonna give it three and a half,
39:40
Speaker 2: but a good three and a half. Like this, this
39:42
Speaker 2: is not something that I think that's a three.
39:44
Speaker 1: And a half.
39:44
Speaker 3: John not a bad obviously, there's not a bad three
39:47
Speaker 3: and a half. That's an evil thing.
39:49
Speaker 2: No, there there there's a there is a bad three
39:52
Speaker 2: and a half. There is a there is a disappointed
39:54
Speaker 2: three and a half. Like there's something that like a
39:56
Speaker 2: three and a half could be something that you expected
39:59
Speaker 2: a lot more from or something that has like a
40:01
Speaker 2: big budget, or is you know, struck a chord with people,
40:04
Speaker 2: but you're just like, you know what, it just didn't
40:06
Speaker 2: hit the mark. For me, three and a half. This
40:07
Speaker 2: one is three and a half. Half shelf is just
40:09
Speaker 2: a little bit lower than yours when it comes to
40:11
Speaker 2: this kind of Disney, I mean, this is a good
40:14
Speaker 2: Like if I was an eleven year old girl, this
40:16
Speaker 2: would be a five star film. No offense to Darren,
40:18
Speaker 2: but this was like this As I'm watching this and
40:22
Speaker 2: I'm watching my kids react to it, and my oldest
40:26
Speaker 2: is nine, and I think my wife was eleven when
40:29
Speaker 2: this came out, and she fell in love with this movie.
40:32
Speaker 2: It's one of her favorites. Like it's this is a
40:35
Speaker 2: five star film for its demographic, and for that it
40:38
Speaker 2: needs to be praised, and it deserves to be praised.
40:40
Speaker 2: For me, as an almost forty year old man, you know,
40:44
Speaker 2: I'm just like, Okay, Yeah, there's a lot that I
40:46
Speaker 2: would change in order to make this appeal to me.
40:48
Speaker 2: But it shouldn't be changed to appeal to me. It
40:51
Speaker 2: should think this is for the demographic. So I'm kind
40:53
Speaker 2: of battling in between, you know what I should rate it,
40:56
Speaker 2: Like for me, it's three and a half, but for
40:58
Speaker 2: the demo it's five. So you know, I'm just gonna
41:01
Speaker 2: go to four. That's what I'm gonna do. No that, no,
41:03
Speaker 2: that all sounds fair.
41:04
Speaker 1: That was a really good shake.
41:07
Speaker 2: So Darren, what are we doing next week?
41:10
Speaker 1: All right, We're continuing here with Nancy Myers. Next week
41:14
Speaker 1: we're going to cover two thousands what women want next
41:18
Speaker 2: On Houselights, Join the Revolution, Join the net Party.