Latest / Xenomania / Guillermo del Toro’s Frankenstein – Xenomania 47

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Guillermo del Toro’s Frankenstein – Xenomania 47 · Xenomania

• 0:15
  Kearns: What's that, John?
• 0:17
  Jon: Oh, that is a Franken Hooker.
• 0:20
  Kearns: I like how your lighting automatically goes big when
• 0:23
  she gets close to the camera.
• 0:25
  Jon: Yeah.
• 0:26
  Kearns: Look at her face.
• 0:27
  Ryan: she's, she's asking for a date
• 0:30
  Kearns: That's the brat doll.
• 0:31
  You don't buy your kid for Christmas.
• 0:33
  Ryan: Yeah.
• 0:34
  That's definitely the brat doll you get for Christmas.
• 0:36
  It's like nightmare before Christmas style.
• 0:38
  The shrunken head.
• 0:40
  Jon: Absolutely.
• 0:41
  Kearns: tonight, guys.
• 0:43
  Jon: that was a Paul Bearer Press exclusive a couple years ago.
• 0:47
  Kearns: Oh, that's interesting.
• 0:49
  That is interesting.
• 0:50
  One of these days, you have to tell the listeners where to go to get all
• 0:55
  these wonderful trinkets into toys.
• 0:58
  Jon: There's a lot of places, there's a
• 0:59
  Kearns: Where does he get these wonderful toys?
• 1:02
  Ryan: yep.
• 1:02
  Kearns: Uh, right tonight we are doing Frankenstein, the remake by
• 1:07
  the amazing Guillermo del Toro.
• 1:09
  You're gonna hear me fanboy hard tonight, fellas.
• 1:13
  Ryan: He.
• 1:14
  Brilliant film.
• 1:15
  Jon: Mm-hmm.
• 1:15
  Ryan: I really, you, you think of everyone does a Mount Rushmore.
• 1:19
  My original Mount Rushmore was of course the classic, the bride,
• 1:23
  curse by Hammer and Mary Shelley's.
• 1:26
  But I have to remove Mary Shelley's and put this on the Mount Rushmore.
• 1:29
  He nails it incredibly well, Guillermo, but also he does a few
• 1:33
  changes to the story which work.
• 1:36
  Jon: Yeah.
• 1:37
  Ryan: nervous for a little part of that 'cause he does
• 1:39
  skip a big part of the story.
• 1:41
  Kearns: He does.
• 1:42
  He does.
• 1:43
  And I, picked up on that too when I was watching and I was like,
• 1:45
  oh, this is where it's gonna tank.
• 1:47
  And it did not, it was an artful decision and it worked out.
• 1:52
  Jon: Yeah, so I've never actually read the book.
• 1:54
  I started
• 1:55
  Kearns: Oh.
• 1:56
  Jon: other night,
• 1:57
  Kearns: Oh good.
• 1:58
  It's an amazing read.
• 1:59
  Ryan: is
• 1:59
  Jon: Dude, I, the number of classics like that, that I haven't read is appalling
• 2:04
  because I didn't read in high school.
• 2:06
  'cause I don't like being forced.
• 2:08
  Kearns: Yeah.
• 2:08
  Fair.
• 2:09
  Ryan: all.
• 2:09
  Kearns: We're forcing kids to read a Tale of Two Cities now.
• 2:11
  By the way.
• 2:12
  It's one of my favorite stories.
• 2:13
  it's a horrible read because of the language, but the story itself is amazing.
• 2:19
  Jon: Yeah.
• 2:19
  Ryan: need to learn old English.
• 2:20
  Okay,
• 2:21
  Kearns: At the Barn Publishing when we started up, we're going to do a remake of
• 2:25
  a Tale of Two Cities to make it palatable.
• 2:27
  We're gonna do it all in Vine format, seven second video
• 2:31
  clips for the whole thing.
• 2:34
  Ryan: that's gonna be brutal.
• 2:35
  I'm ready.
• 2:36
  Kearns: I think we could legally do it.
• 2:39
  Jon: I think
• 2:39
  Kearns: Thousand,
• 2:40
  Jon: can.
• 2:40
  Ryan: public
• 2:41
  Kearns: yeah.
• 2:42
  Jon: I
• 2:42
  Kearns: Public domain
• 2:43
  Jon: I don't think you have to worry about that at all.
• 2:46
  Ryan: Dark Knight rises.
• 2:48
  Kearns: there.
• 2:48
  Well, that really was just.
• 2:50
  Jon: public
• 2:50
  Kearns: That was inspired.
• 2:52
  Well, dark Knight Rises is completely, um, built atop the framework of
• 2:56
  the story of a tale of two cities.
• 2:58
  So Nolan did a great job with that too, but he didn't like outright steal it.
• 3:03
  You could do that with any public property.
• 3:04
  You might get sued, but you'd win that kind of thing.
• 3:08
  Or non-public property.
• 3:09
  I mean,
• 3:09
  Jon: why there are so many night of the living Dead.
• 3:13
  Releases and knockoffs because they messed up with the copyright.
• 3:18
  So
• 3:18
  Kearns: yeah.
• 3:19
  Jon: that's public domain and people have abused it for decades now.
• 3:26
  Kearns: And they've saturated
• 3:27
  Ryan: it's the
• 3:28
  Jon: Yeah.
• 3:28
  Ryan: Frankenstein.
• 3:29
  Frankenstein, Dracula, fan of the opera.
• 3:31
  Jon: Mm-hmm.
• 3:32
  Kearns: that they became, they became public.
• 3:34
  Well, Phantom of the Opera is not Weber still owns that.
• 3:37
  Ryan: oh, okay.
• 3:38
  Kearns: Yeah.
• 3:38
  Jon: he
• 3:39
  Kearns: Doesn't he?
• 3:39
  Jon: property, but I don't think he owns all of the phantom properties because
• 3:44
  Del Toro's talking about doing that next.
• 3:48
  Kearns: Hmm.
• 3:49
  Well, they might have to pay him.
• 3:51
  That's the only thing.
• 3:51
  Did he write the original?
• 3:53
  Did he write the original Phantom?
• 3:55
  Um, is, well, first question, is the Broadway show the original Phantom story?
• 4:00
  Ryan: No
• 4:01
  Kearns: not, if it's like Grimms fairytales, then yeah.
• 4:03
  Your SOL Weber.
• 4:05
  Jon: I, I, I think.
• 4:06
  Ryan: uh, originally a novel?
• 4:08
  Jon: Mm-hmm.
• 4:09
  I think the original is well into public domain now.
• 4:12
  Also, I think that's how Weber was able to do it.
• 4:16
  Kearns: Okay, that makes sense then.
• 4:18
  Good, good.
• 4:18
  I apologize, Ryan.
• 4:20
  Ryan: No, no.
• 4:21
  I mean, there's a difference because you have the original novel, which
• 4:24
  was written I think in 19 0 8, 19 10, and then you have the musical version
• 4:29
  which follows the novel, but it's
• 4:31
  Kearns: I did not know that this was a novel.
• 4:33
  Jon: Okay.
• 4:34
  Ryan: a little more, um, um, I don't wanna say goer, it's a little more grammar.
• 4:39
  Jon: Mm-hmm.
• 4:40
  Kearns: Gothic noir.
• 4:41
  Probably something like that.
• 4:42
  Yeah.
• 4:43
  Ryan: the silent version with Long Cheney SR.
• 4:45
  Covers it,
• 4:47
  Kearns: Listen to this guy.
• 4:48
  Go,
• 4:49
  Ryan: Oh, it's the, the
• 4:50
  Kearns: what did you write your dissertation on?
• 4:52
  This you wacky weirdo.
• 4:53
  Ryan: actually, no, I wrote my dissertation on Batman Returns,
• 4:56
  but that's a whole other story.
• 4:59
  Kearns: The dip we just took an intellectualism is stark.
• 5:05
  It is shocking.
• 5:06
  Ryan: Um,
• 5:07
  Kearns: we were.
• 5:07
  Where we were and where we are is there were different worlds now.
• 5:11
  Ryan: Emperor Penguins walking Danny DeVito to his watery grave.
• 5:14
  Um,
• 5:15
  Kearns: Oh man.
• 5:16
  Ryan: cinema, but let's, let's get back to great cinema in Frankenstein.
• 5:20
  Jon: Mm-hmm.
• 5:20
  Ryan: Guillermo del Toro, it's just amazing and he gets his little twist.
• 5:25
  we were watching you, we were sending each other, reels, and I love the fact
• 5:29
  that Oscar, Isaac was like a rock star.
• 5:32
  And, and now I wanna watch it again
• 5:34
  Jon: Mm-hmm.
• 5:34
  Ryan: mannerisms and thinking about it.
• 5:36
  It's a hundred percent there.
• 5:38
  Jon: Yeah.
• 5:39
  Yeah.
• 5:39
  Talking about how he watched lots of Prince performances to,
• 5:44
  Kearns: Oh,
• 5:45
  Jon: to
• 5:45
  Kearns: cool.
• 5:45
  Jon: down the mannerisms and stuff.
• 5:47
  And then, yeah, I want to rewatch it to see like, if that's really identifiable,
• 5:53
  Ryan: Yes,
• 5:54
  Jon: because I bet it is like.
• 5:57
  I bet it's completely like, oh yeah, there's some print stuff there.
• 6:01
  I think he watched a bunch of Rolling Stones for it.
• 6:04
  Like a whole,
• 6:05
  Kearns: does the stones for like the,
• 6:07
  Jon: yeah.
• 6:08
  Yeah.
• 6:09
  Because Jagger is so, you know Jagger?
• 6:15
  Kearns: we can't take away.
• 6:16
  Um, Isaac's performance has been overshadowed, at least in, in, um, on
• 6:21
  social media, I'd say by Jacob ARDI's
• 6:24
  Jon: Mm-hmm.
• 6:24
  Kearns: performance as the creature, because he does well because everybody's
• 6:29
  in the heartthrob like romantic he mode and stuff like that, and they're obsessed
• 6:34
  with how the creature turned out and like, you know, hot Frankenstein's monster.
• 6:38
  Ryan: Yeah.
• 6:38
  Kearns: he does do though, when you think of it objectively as a male
• 6:43
  who's not into other males, if you think of it in the objective filmmaking
• 6:47
  standpoint, the way he acts as the creature for the first half of the film
• 6:52
  with almost no dialogue is phenomenal.
• 6:55
  Jon: Mm-hmm.
• 6:56
  Kearns: And he's also covered in makeup, so he can't really
• 6:58
  rely on his expressions.
• 6:59
  It's a lot of, it's in the eyes, a lot of it's in his hand movements
• 7:02
  and it's really, really well done.
• 7:04
  Jon: Mm-hmm.
• 7:05
  10 hours of makeup.
• 7:08
  Kearns: Which he said he liked, by the way, on Fallon.
• 7:12
  He said he, he was like, yeah, you know, it gives me time to get into
• 7:15
  character because it pulls me outta this world so I can go into that world.
• 7:18
  And I was like, okay,
• 7:19
  Ryan: I don't know
• 7:20
  Jon: I mean, it takes 10 hours a day to do that.
• 7:23
  I don't know.
• 7:24
  I, I think I could have done that in fewer, but I'm also not an
• 7:29
  Kearns: I'm 15 solid minutes.
• 7:32
  Fair.
• 7:32
  Fair.
• 7:33
  Jon: So for me, Oscar Isaac is the big revelation in acting
• 7:38
  because I don't think I've seen him outside of a Star Wars movie.
• 7:43
  like, he's fine in those, but it's a, I didn't see it, I don't think,
• 7:46
  Kearns: Uh,
• 7:47
  Ryan: It's
• 7:48
  Kearns: he was in ai, dude.
• 7:50
  Ryan: Yes.
• 7:50
  He was
• 7:51
  Jon: didn't watch ai.
• 7:52
  Ryan: McKenna
• 7:53
  Jon: Okay, I saw that.
• 7:54
  Kearns: Oh, no.
• 7:55
  Yeah.
• 7:55
  Jon: yeah.
• 7:55
  Kearns: Xmo not ai.
• 7:57
  Damn Kerns.
• 7:58
  What is up tonight?
• 7:58
  I'm gonna get destroyed in the game tonight.
• 8:01
  My brain is not braining.
• 8:04
  I,
• 8:04
  Ryan: back.
• 8:04
  No, I'm joking.
• 8:06
  Kearns: um,
• 8:06
  Ryan: McKenna?
• 8:07
  Kearns: in AI who like falls in love with Siri?
• 8:08
  Is that Joaquin Phoenix
• 8:10
  Ryan: Yes.
• 8:11
  Kearns: for?
• 8:11
  She, it's not AI either.
• 8:12
  It's she, I think
• 8:14
  Jon: her, it's her, isn't it
• 8:15
  Kearns: her
• 8:16
  Jon: her?
• 8:17
  Kearns: whatever robotic pronoun they went with.
• 8:20
  Jon: is the one that Spielberg directed with Helly Joel.
• 8:26
  Ryan: Correct.
• 8:26
  Kearns: Ah, that's right, that's right, that's right.
• 8:30
  Now we're coming all back to full circle, all because of a gaff.
• 8:34
  Jon: Mm-hmm.
• 8:35
  Kearns: So, um, just for the listeners, it, the movie is available on Netflix.
• 8:39
  This is one of the few disclaimers we'll give you.
• 8:41
  We will be spoiling the movie.
• 8:42
  You can watch it before you listen to this.
• 8:44
  If you are watching this, I highly recommend you've already watched the film.
• 8:48
  It is phenomenal.
• 8:49
  You do not wanna spoil the subtle twists and turns We're
• 8:52
  gonna explore in a little while.
• 8:53
  Jon: You have, and just so many good performances, like, and so many more
• 8:58
  that I would've liked to see more of.
• 9:01
  Like Mia Gotha is great.
• 9:02
  I'd like to have seen a lot more of her, but it's a two and a half
• 9:05
  hour movie, so, you know, you
• 9:08
  Kearns: I could have gone for five on this.
• 9:09
  Jon: Ye Yeah, I mean, I thought, Felix Cameron as William was really good.
• 9:15
  He's another sort of revelation.
• 9:17
  He hasn't been in a ton of movies, and probably most notably as
• 9:21
  Paul bomber in the, most recent all quiet on the Western Front,
• 9:26
  Ryan: Okay.
• 9:26
  Jon: which
• 9:27
  Kearns: that's right.
• 9:27
  Jon: was also a Netflix movie.
• 9:30
  Ryan: it was.
• 9:32
  is coming out with some hits.
• 9:34
  Jon: Mm-hmm.
• 9:34
  Kearns: Yeah.
• 9:35
  they tend to,
• 9:37
  Jon: well, I, Netflix has the money to just take wild stabs at
• 9:42
  things, and some of them hit and some of them just completely dud,
• 9:46
  Kearns: that's true.
• 9:47
  Jon: when they hit, they hit
• 9:50
  Kearns: They hit hard.
• 9:51
  Ricky DVAs made that joke at the Golden Globes.
• 9:53
  The last time he hosted, he's like, we should just say, well done Netflix.
• 9:56
  Very good.
• 9:56
  Everybody go home.
• 9:57
  Jon: mm-hmm.
• 9:58
  Kearns: 'cause they, they just swept the Golden Globes that year.
• 10:01
  But this movie must have cost him a pretty penny.
• 10:03
  Just for casting.
• 10:04
  Charles dances in this.
• 10:05
  You don't come cheap.
• 10:06
  I bet you they got Ralph Venison for cheap, but, Charles
• 10:09
  dance must have cost a bit.
• 10:11
  Christophe Waltz is in this as well.
• 10:13
  He's, he's no dud.
• 10:15
  Jon: Nope.
• 10:17
  Kearns: there some smaller, smaller ones that have notoriety from like Harry Potter
• 10:22
  of David Bradley, if you recognize him as the Blind man and stuff like that.
• 10:26
  But they, I burn gorman's in this as well, which is a revelation to me.
• 10:31
  I just noticed that.
• 10:32
  so the cast is pretty well established.
• 10:35
  It's a firm cast
• 10:36
  Jon: you get Lars Mickelson, MAD's, his brother.
• 10:39
  So the brother of Hannibal.
• 10:42
  Kearns: brother of Hannibal.
• 10:45
  Jon: Mm-hmm.
• 10:46
  Ryan: but I mean they spent $120 million on this.
• 10:50
  I mean, they put the money out.
• 10:52
  Kearns: gonna make so much.
• 10:53
  Oh my God.
• 10:54
  Ryan: Um.
• 10:55
  Jon: I. I saw 29 something million streams in the first three days.
• 11:01
  Kearns: Mm-hmm.
• 11:02
  Ryan: so box office was only $422,705,
• 11:07
  Kearns: It was very small though.
• 11:09
  Jon: Yeah.
• 11:09
  It
• 11:10
  Kearns: It was, it was
• 11:10
  Jon: very limited release.
• 11:12
  And having seen
• 11:13
  Ryan: okay.
• 11:13
  Jon: having seen it, I know you know exactly why it was limited release.
• 11:17
  Why they put it in theaters at all is so that it's Academy Award eligible.
• 11:22
  Kearns: Yep.
• 11:24
  Ryan: it can win
• 11:25
  Kearns: Oh, it it better?
• 11:26
  Jon: I mean, listen, I, off the top of my head, I haven't watched a lot
• 11:30
  of the Oscar bait movies yet, and I think we've discussed previously,
• 11:36
  I haven't watched a lot of them in a few years, so I don't have a
• 11:39
  Kearns: Yeah.
• 11:39
  Jon: basis for it.
• 11:41
  But it's, it would be hard for me to imagine many movies better than this.
• 11:47
  Better, better cinema than this.
• 11:50
  Like this is what.
• 11:52
  The movie watching experience should be, you have all of it.
• 11:57
  Kearns: I agree a hundred percent man, I You nailed it with that.
• 12:00
  it's a story well told
• 12:02
  Jon: Mm-hmm.
• 12:02
  Kearns: at, its core and you need that for your best picture and just, it
• 12:06
  nails, it's just so firm on all sides.
• 12:09
  You have your special effects arm that just looks so good.
• 12:12
  You have your re-imagining.
• 12:13
  There's some nuance here.
• 12:15
  It's not the same old thing,
• 12:17
  Jon: Mm-hmm.
• 12:17
  Kearns: a new version for a new time we're living in as well.
• 12:20
  The acting is insane.
• 12:22
  The directing is insane.
• 12:25
  Jon: Mm-hmm.
• 12:25
  Kearns: mean, the script is insane.
• 12:29
  Ryan: Yes.
• 12:29
  He,
• 12:30
  Kearns: Where are we gonna go?
• 12:31
  Jon: Yeah.
• 12:32
  Kearns: They're gonna snub them somehow.
• 12:33
  I'm sure of it, but.
• 12:33
  Ryan: No, this is his swan song.
• 12:36
  I mean,
• 12:37
  Kearns: Mm.
• 12:38
  Ryan: I,
• 12:38
  Jon: I
• 12:38
  Kearns: And the Mountains of madness will be his swan song, sir.
• 12:41
  Ryan: okay.
• 12:42
  Jon: Thi this is, this is his masterpiece.
• 12:46
  I mean, he's gonna have to work really hard to do this, and I think I've
• 12:50
  Kearns: Yeah.
• 12:51
  Jon: times about his work.
• 12:54
  as
• 12:54
  Kearns: Well Pan's, I don't know if I like, I'm sorry.
• 12:56
  Yeah.
• 12:57
  Pan's Labyrinth is still my favorite of his work.
• 13:00
  Ryan: Yeah.
• 13:01
  Kearns: Yeah.
• 13:02
  Um, shape of Water is also another phenomenal, simple story.
• 13:06
  A simple, beautiful story and message that won best picture.
• 13:10
  Jon: yep,
• 13:11
  Kearns: But almost a year ago we were here bitching about the Oscars,
• 13:15
  and I hope it comes full circle.
• 13:16
  And we get to celebrate this time in December, be, or January whenever
• 13:20
  it comes out, because we were upset that Nosferatu was completely kind of
• 13:25
  overlooked at the academy by the academy.
• 13:29
  Ryan: Yeah.
• 13:29
  Kearns: And that's not fair, but this movie compared to it,
• 13:34
  Ryan: Oh God.
• 13:35
  I prefer Frankenstein over Nosferatu.
• 13:37
  Kearns: I mean, that's just, I, you shouldn't have even bothered saying that.
• 13:41
  Yeah, that's, I prefer steak over dog food too.
• 13:44
  Jon: I don't, I don't think it's particularly close, which I think
• 13:48
  for a lot of people would be, would've been a surprise after
• 13:50
  having sat through Nosferatu
• 13:54
  and I, it's not close.
• 13:56
  Kearns: Well, I mean, us
• 13:57
  Jon: me.
• 13:58
  Kearns: that dog food is not fair.
• 13:59
  It's just a very different movie.
• 14:01
  It's London Royal to your filet mignon.
• 14:04
  Ryan: Well, here's the question.
• 14:06
  Um, he's coming out with Wolf, I think it's coming out December,
• 14:11
  Kearns: Who is he?
• 14:12
  Ryan: uh, Robert Eckers.
• 14:14
  Jon: Oh yeah.
• 14:16
  Robert Eggers.
• 14:17
  I, I, is it this December?
• 14:21
  Is he turned it, did he turn it around that quickly?
• 14:24
  Ryan: I thought he did.
• 14:25
  'cause if it does, that might be in contention for, um, the Oscars as well.
• 14:30
  'cause that looks, from what I've seen, that looks amazing.
• 14:33
  Kearns: That would be foolish of him because if he's got a brain in his head,
• 14:36
  he doesn't want to go up against this.
• 14:38
  Yeah.
• 14:38
  I mean, if you, if you're cock shore, sure.
• 14:40
  Go after it and, but you're, you're looking for, you're looking for the crumbs
• 14:44
  of Frankenstein's gonna leave behind.
• 14:45
  Plus, they love to, to be able to pander and people love this movie.
• 14:52
  Ryan: True.
• 14:53
  Kearns: Social media is exploding.
• 14:55
  Ryan: So 2026.
• 14:56
  December of next
• 14:58
  Jon: Yeah,
• 14:58
  Ryan: So
• 14:59
  Jon: That makes
• 15:00
  Kearns: Mm-hmm.
• 15:02
  Jon: that, because that would be a quick turnaround for him to do.
• 15:04
  No Satu and then epic like that
• 15:10
  Ryan: Things have happened in Hollywood
• 15:11
  Jon: it, yeah.
• 15:12
  I mean it happens, but that would be a lot and especially like to, have
• 15:18
  to know if you're making that kind of horror movie, especially at this
• 15:21
  point in time, clear out like this is gonna, the next couple months, I think
• 15:26
  Frankenstein dominates that conversation.
• 15:29
  Kearns: It is better.
• 15:32
  Ryan: true.
• 15:33
  I'm shocked.
• 15:33
  It's not really number one on Netflix.
• 15:35
  I think it's been in the number two spot the last time I checked I
• 15:39
  Jon: I mean, I,
• 15:40
  Ryan: Christmas romance films.
• 15:42
  They're coming out and
• 15:44
  Jon: because yeah.
• 15:45
  I mean, 'cause that's, that's as big a demographic probably as they have
• 15:50
  at this point, as these women who love the, their little like Christmas
• 15:56
  Kearns: Hallmark?
• 15:56
  Yeah, the Hallmark stuff.
• 15:58
  But how many, streams did you say?
• 15:59
  26 point something million.
• 16:02
  Jon: I believe.
• 16:03
  Ryan: Ooh,
• 16:04
  Kearns: do half that over the next three weeks, it'll be crazy.
• 16:08
  Jon: And that's the kind of thing that will make it difficult to ignore for
• 16:14
  the academy, especially off of a year where their ratings were down and.
• 16:20
  They're gonna wanna bring one of these big properties in somehow attract viewers.
• 16:28
  And if Frankenstein is a massive hit, they, they almost
• 16:31
  have to just because of that.
• 16:34
  Ryan: I
• 16:34
  Kearns: I have a question.
• 16:35
  We have, a bit of a godfather situation here.
• 16:38
  Is Oscar Isaac the lead actor or is Jacob all Lordy the lead actor?
• 16:43
  Ryan: Oscar, would consider Oscar.
• 16:46
  Kearns: I mean,
• 16:47
  Jon: it's
• 16:47
  Kearns: Chino would've something to say to you about that.
• 16:50
  Yeah, it's
• 16:51
  Jon: halves of a whole.
• 16:53
  Kearns: so who gets the best supporting nod?
• 16:55
  Jon: I mean,
• 16:56
  Kearns: 'cause the Lordy iss probably gonna win.
• 16:58
  I'm just gonna say it.
• 17:01
  Jon: do you
• 17:02
  Ryan: both there.
• 17:02
  Jon: do, yeah.
• 17:03
  Do you wind up with co best Oscar nominees and then Christophe
• 17:07
  Waltz sneaks in for supporting
• 17:11
  Kearns: He wouldn't, he probably wouldn't win it for best supporting though.
• 17:14
  'cause it's a meek performance for him in particular.
• 17:17
  Jon: Mm. But it, I mean, he's the kind of guy they, he's the kind
• 17:21
  of guy they love to nominate too.
• 17:24
  Kearns: Oh yeah.
• 17:25
  'cause he looks so good on sitting there with his little actor face.
• 17:29
  Ryan: And he's
• 17:29
  Kearns: He's, he's just great.
• 17:31
  Ryan: he's coming off only murders in the building too.
• 17:33
  So there's a lot of spotlight on him this year, which is
• 17:36
  Kearns: It's true.
• 17:37
  Ryan: like
• 17:37
  Kearns: That is true.
• 17:38
  Yeah.
• 17:38
  He's great.
• 17:39
  He's always a good hang in movies and shows.
• 17:41
  all right.
• 17:42
  I just figured I'd throw that curve ball at you guys before
• 17:44
  we segue into John's evil game.
• 17:47
  Ryan: It's not that
• 17:48
  Kearns: 20 minutes in, we usually do the game 10 minutes in, but
• 17:51
  we're so excited about this movie.
• 17:53
  Jon: Yeah.
• 17:54
  We have, we have a
• 17:55
  Kearns: Yeah.
• 17:56
  I was waiting for you.
• 17:57
  I.
• 17:59
  Ryan: Keeper
• 17:59
  Jon: a
• 18:00
  Kearns: I keep or,
• 18:02
  Jon: Eight movies.
• 18:03
  You keep four.
• 18:04
  You cut four.
• 18:05
  Same rules as always.
• 18:07
  And I think, I think I got a good one for you.
• 18:10
  Kearns: okay.
• 18:10
  Jon: theme's Not gonna be too hard.
• 18:13
  There's your first movie.
• 18:15
  Kearns: Okay.
• 18:16
  Ryan: movies.
• 18:17
  Jon: It is Guillermo Deltoro movies,
• 18:19
  Ryan: Guim del
• 18:20
  Kearns: movies.
• 18:22
  Jon: so
• 18:23
  Ryan: it was,
• 18:24
  Jon: Yep.
• 18:25
  Kearns: No, it's laid two, so there's something to it.
• 18:29
  Jon: Yeah.
• 18:29
  Oh, it's Guillermo.
• 18:30
  Ryan: they're all
• 18:31
  Kearns: But
• 18:31
  Ryan: Toro.
• 18:32
  Kearns: yeah, they're all Del Toro.
• 18:34
  Cut.
• 18:34
  Well, knowing the theme cut,
• 18:36
  Jon: Yeah.
• 18:36
  It's that this, I think this would be one of your easier ones
• 18:43
  where, yeah, Ryan,
• 18:44
  Ryan: I'm gonna keep late too.
• 18:46
  I,
• 18:46
  Jon: I,
• 18:47
  Ryan: I love late too.
• 18:48
  was just talking
• 18:49
  Kearns: how do you keep Blade two, knowing you have to keep three of
• 18:51
  the movies that are gonna be on this list, unless Frankenstein isn't,
• 18:54
  Ryan: Well,
• 18:55
  Jon: I, I'll
• 18:56
  Kearns: then two of them have to be cut.
• 18:57
  Jon: that.
• 18:57
  I, I did not include Frankenstein.
• 19:01
  Kearns: Okay.
• 19:01
  That helps to keep this a little bit more interesting.
• 19:05
  Ryan: come on.
• 19:05
  You got Norman Reis in it.
• 19:07
  It's Ron Proman.
• 19:09
  Kearns: Isn't Ryan Reynolds in it?
• 19:11
  Ryan: No, that's the third one, sir.
• 19:12
  Kearns: Oh,
• 19:13
  Ryan: No, that's
• 19:14
  Kearns: garbage third.
• 19:15
  Ryan: Yeah, this is, this is a good follow up.
• 19:17
  This is a good sequel,
• 19:19
  Jon: Uh,
• 19:20
  Ryan: It's the
• 19:20
  Jon: uh, it's all right.
• 19:22
  is probably, this is probably one of my least favorite Del Toro movies.
• 19:29
  Kearns: Yeah, it's down there with
• 19:30
  Jon: fine,
• 19:31
  Kearns: Army on.
• 19:32
  Jon: like, it's not, his best work to me.
• 19:36
  Ryan: Okay.
• 19:37
  Kearns: He was brought on for the monster designs.
• 19:39
  Jon: absolutely.
• 19:40
  Kearns: didn't bring him on for his chops, which he clearly has.
• 19:43
  Jon: is probably why he got this
• 19:46
  Kearns: Boom,
• 19:47
  Ryan: Uh.
• 19:49
  Kearns: Keke
• 19:50
  Jon: Nice.
• 19:52
  Kearns: gotta keep mimic.
• 19:53
  I've seen this movie 20 times plus easily.
• 19:55
  Ryan: I'm keeping this one too.
• 19:57
  Jon: Ooh,
• 19:57
  Ryan: Um, I
• 19:59
  Jon: that's
• 19:59
  Ryan: I know
• 19:59
  Jon: bold.
• 20:00
  You are walking yourself into a hole here, sir.
• 20:03
  Ryan: this is my first M del Toro movie ever watched.
• 20:06
  I remember the DVD.
• 20:08
  Click open.
• 20:10
  Jon: yeah, I think
• 20:11
  Kearns: I met,
• 20:11
  Jon: I think it was mine too, without even realizing what
• 20:14
  your, who Guillermo Deltoro was.
• 20:17
  Ryan: So
• 20:18
  Kearns: I, um, had the chance to meet and briefly speak to Meira Servino at
• 20:22
  Chiller, and she's just delightful.
• 20:25
  She's a wonderful person who's really good.
• 20:28
  She's kind to her fans, so
• 20:31
  Jon: I
• 20:31
  Kearns: I appreciated seeing and the, it's very easy to see
• 20:33
  the difference between them,
• 20:35
  Ryan: Yeah,
• 20:35
  Kearns: the kind that are there that just get 50 grand and the kind that
• 20:38
  are there to be kind to fans, so
• 20:40
  Jon: Yep.
• 20:41
  Yeah, you can always telecons who's there for what?
• 20:45
  Kearns: mm-hmm.
• 20:46
  Ryan: it's true.
• 20:47
  Kearns: Mimics great Flick man.
• 20:49
  Jon: Yep.
• 20:50
  Ready for the next one?
• 20:52
  Kearns: Yes.
• 20:54
  Jon: Crimson Peak.
• 20:59
  Ryan: I've never, I haven't seen it, so I'm gonna wipe it.
• 21:04
  Jon: right.
• 21:07
  Kearns: Keeping Crimson Peak.
• 21:09
  Jon: I have to rewatch this.
• 21:11
  Kearns: It's understated.
• 21:12
  It's under, it's under known to,
• 21:15
  Ryan: Tom Hiddleston.
• 21:16
  Kearns: I shouldn't say understated.
• 21:18
  Jon: I didn't love it, but I want to rewatch it because
• 21:21
  I feel like I should have.
• 21:24
  Kearns: Well, when you rewatch it, you're probably gonna see what he was going for.
• 21:27
  Now that we're kind of more familiar with his ways,
• 21:30
  Jon: Yeah.
• 21:31
  Kearns: but yeah, it's Hiddleston.
• 21:33
  Viking Guy, Charlie Ham, or no?
• 21:35
  Uh, motorcycle guy.
• 21:36
  Charlie.
• 21:36
  Ham.
• 21:37
  Bernard Gorman's In everything.
• 21:39
  Guillermo del Toro did.
• 21:40
  He must owe him money or something.
• 21:42
  Jessica Chastain is in this, obviously she's on the cover, but
• 21:44
  yeah, it's a, it's a good flick.
• 21:47
  You'll like it, Ryan.
• 21:48
  It's deep.
• 21:48
  It's like one of those, you've gotta really be in the mood for a good story.
• 21:53
  Ryan: Gotcha.
• 21:54
  I'm sold.
• 21:55
  Jon: All right,
• 21:56
  Ryan: done anything.
• 21:56
  I'm disappointed with,
• 21:58
  Kearns: I got two keeps already.
• 21:59
  That's not good for me.
• 22:01
  Jon: Yep.
• 22:02
  Well, Pacific
• 22:05
  Kearns: Cut.
• 22:06
  Cut.
• 22:06
  I loved it.
• 22:07
  Cut.
• 22:07
  Jon: I love Pacific Rim, but yeah.
• 22:09
  Kearns: Loved it.
• 22:10
  Ryan: uh,
• 22:11
  Kearns: Gotta flush it.
• 22:12
  Ryan: Yeah, I'm gonna cut it.
• 22:13
  I, I do love this film as well, but, sorry,
• 22:19
  Kearns: There's one more that's going to actually, I probably should
• 22:21
  have chosen instead of Crimson Peak.
• 22:24
  Damnit Damnit, dammit.
• 22:26
  All right.
• 22:26
  Ryan: we're, we're two for two.
• 22:28
  Jon: All right.
• 22:29
  Two, two.
• 22:30
  Kearns: Depends on what you put on this list.
• 22:31
  Jon: Here we go.
• 22:35
  Nightmare Alley.
• 22:36
  Ryan: to see this.
• 22:37
  Jon: You.
• 22:37
  You have
• 22:37
  Ryan: I
• 22:38
  Kearns: I've seen
• 22:38
  Ryan: Thank.
• 22:40
  Jon: I love
• 22:41
  Kearns: it's quite
• 22:41
  Jon: Alison did not.
• 22:42
  I loved Nightmare Alley.
• 22:45
  It is
• 22:46
  Kearns: it.
• 22:48
  Jon: it's really, it really, a lot of it didn't feel like a Del Toro movie until
• 22:54
  seeing where he went with Frankenstein.
• 22:56
  Also, you can really more see.
• 23:00
  Del Toro's influence watching more Del Toro.
• 23:05
  Ryan: It's a remake.
• 23:07
  know that
• 23:08
  Jon: Yeah.
• 23:08
  I mean
• 23:09
  Kearns: Rooney, is that Rooney Mara?
• 23:11
  Jon: um,
• 23:12
  Kearns: Mara.
• 23:13
  Barely.
• 23:13
  Looks like Rooney Marra there.
• 23:16
  Ryan: Oh God.
• 23:17
  That is
• 23:17
  Kearns: My old high school Chum Rooney Mara.
• 23:21
  Just name drop.
• 23:23
  Ryan: tattoo.
• 23:24
  Kearns: I walked by that person in the hallways.
• 23:27
  Hooray.
• 23:30
  We have similar career paths.
• 23:33
  Anywho
• 23:33
  Jon: Yeah.
• 23:34
  Yeah.
• 23:35
  I mean, I think
• 23:35
  Kearns: I have to because
• 23:37
  Jon: to 'cause you
• 23:37
  Kearns: I have to.
• 23:39
  Jon: I want, I wanna redo,
• 23:40
  Ryan: it's on my
• 23:41
  Jon: I wanna redo this after you both have watched Nightmare
• 23:44
  Alley and see if it's still cut.
• 23:47
  Kearns: I watch Nightmare Alley, just not with Fidelity.
• 23:49
  Jon: Mm-hmm.
• 23:50
  Kearns: I think that was like a hungover couch watch.
• 23:52
  Ryan: Not with passion.
• 23:54
  Jon: All right.
• 23:56
  Next.
• 23:56
  I don't remember what's next.
• 23:58
  Oh, there it is.
• 24:00
  Kearns: This is the one that I would, that, I mean, I knew I was
• 24:03
  gonna cut this, but I loved what he did with the visuals in this movie.
• 24:07
  This movie was cool, man.
• 24:09
  Jon: the worlds he built.
• 24:12
  Kearns: Yep.
• 24:13
  Ryan: Yeah.
• 24:13
  Uh, I'm gonna have to, I'll, I'll cut it.
• 24:16
  I, I like the first one more, but I agree with currents.
• 24:19
  Kearns: Shout out to Ron Perman, too.
• 24:21
  Jon: Mm-hmm.
• 24:22
  Ryan: I can't wait for
• 24:22
  Kearns: And, uh, waterfall.
• 24:24
  Waterfall.
• 24:25
  The production company for the people.
• 24:26
  Baby,
• 24:27
  Ryan: Wonderful.
• 24:28
  Jon: I don't think you're getting a third one, man.
• 24:31
  Ryan: I, I, it's, it's in developmental hell,
• 24:34
  Kearns: you're, you're waiting for this.
• 24:36
  You're leaving my movies to the last two.
• 24:38
  I know it
• 24:39
  Jon: absolutely.
• 24:40
  I thi this was absolutely designed to trap you guys.
• 24:43
  I.
• 24:44
  Ryan: Yes.
• 24:44
  Kearns: Keep,
• 24:45
  Ryan: a definite yes.
• 24:46
  Love
• 24:46
  Kearns: keep.
• 24:48
  Fell in love with this movie over and over again, and I literally jumped
• 24:53
  in the air in the middle of the night whenever the, they, they announced it.
• 24:56
  I was watching the, uh, academy Awards specifically to see
• 24:59
  if they snubbed him again
• 25:01
  Jon: Uh
• 25:01
  Kearns: after Pan's Labyrinth, which is probably next.
• 25:03
  Keep that too.
• 25:05
  Jon: Yeah, it's
• 25:05
  Kearns: Those are my,
• 25:07
  Ryan: Oh, I
• 25:07
  Jon: absolutely next.
• 25:08
  No.
• 25:09
  Kearns: this is, this is the definition of a masterpiece, this film.
• 25:14
  Jon: I
• 25:14
  Ryan: seen it, but I'll accept it on my
• 25:16
  Kearns: Oh,
• 25:16
  Jon: You haven't seen pa man.
• 25:20
  Kearns: I,
• 25:20
  Ryan: at
• 25:20
  Kearns: how do I get 'em outta here?
• 25:21
  Ryan: I'm
• 25:22
  Kearns: do I get 'em outta here?
• 25:23
  Jon: this is like
• 25:24
  Ryan: Find a happy place.
• 25:25
  Kearns: Shame,
• 25:26
  Jon: This might,
• 25:27
  Kearns: shame.
• 25:28
  Jon: this might be the most glaring one you haven't seen.
• 25:31
  Of all the things that pop up that you haven't seen.
• 25:33
  This might be the biggest,
• 25:37
  Ryan: it's
• 25:37
  Jon: oh, it's on, it's
• 25:39
  Kearns: You're on a list now.
• 25:40
  Jon: Yeah.
• 25:41
  You're
• 25:41
  Kearns: You
• 25:42
  Jon: man.
• 25:43
  on the
• 25:44
  Kearns: the game just for not.
• 25:45
  Jon: a list.
• 25:45
  You are out of order.
• 25:47
  Kearns: You're out of order sir. Um, after we're done recording, you
• 25:52
  should take yourself to the fridge, make a little snack, go to the
• 25:56
  couch and watch the greatest movie.
• 25:59
  I, one of the greatest movies I've ever seen in my life.
• 26:01
  Jon: Mm-hmm.
• 26:02
  Kearns: And do not watch if there is a dub.
• 26:04
  Do not watch that.
• 26:05
  Jon: no,
• 26:06
  Kearns: watch the subtitled Spanish one.
• 26:08
  Jon: went looking today for a, like a cool 4K collection of this criterion.
• 26:14
  Didn't do the 4K.
• 26:15
  They only did a Blu-ray and then
• 26:17
  Kearns: Damn it.
• 26:18
  Jon: Warner did a 4K.
• 26:20
  That's not particularly well reviewed.
• 26:23
  I think
• 26:23
  Kearns: Hmm,
• 26:24
  Jon: of the colors didn't come out great, and it's not
• 26:27
  apparently not a great transfer.
• 26:29
  Ryan: Hmm,
• 26:30
  Kearns: man.
• 26:31
  Alright, so I'll buy the, I'll buy the criterion one then.
• 26:33
  'cause I gotta show this to my kids one day to ruin their lives.
• 26:37
  It is such, it's a beautiful, it's tragically beautiful.
• 26:41
  It's the best way I think I can describe this movie.
• 26:43
  Jon: Mm-hmm.
• 26:44
  Ryan: I'm, I'm sold.
• 26:45
  It's like the whole, like his version of a whole world, which you kinda get, uh, what
• 26:50
  was it, pants Labrinth was before Golden Army or it was Golden Army before Pants
• 26:55
  Kearns: It was after Golden Army.
• 26:56
  Ryan: It was Okay.
• 26:57
  Kearns: It was, yeah, I believe so.
• 26:58
  Lemme check.
• 26:59
  Ryan: gives a little bit of a taste then, P'S Labyrinth like goes full
• 27:05
  Jon: I'm trying to think.
• 27:06
  I think Pans might have been before Hellboy too.
• 27:08
  Ryan: Was it?
• 27:09
  Kearns: Army was 2008 Pan's Labyrinth was 2006.
• 27:11
  You are correct.
• 27:12
  Jon: Yeah.
• 27:13
  Ryan: So he gave it a taste in the Golden Army, but still.
• 27:17
  Kearns: We probably got Golden Army because Pan's Labyrinth
• 27:19
  was such a masterpiece.
• 27:21
  Jon: absolutely.
• 27:21
  Kearns: was pissed off when he didn't, it didn't win a single
• 27:24
  award besides, costume design.
• 27:26
  I want you to think about that when you're watching this movie.
• 27:29
  Jon: Mm-hmm.
• 27:30
  Ryan: Well,
• 27:30
  Kearns: Yeah.
• 27:31
  Ryan: did an awesome job in the first Hellboy, which is based
• 27:33
  on the first run of the comics, I think the first five issues.
• 27:38
  so the second one was like his taste.
• 27:39
  It's like Tim
• 27:41
  Kearns: Why are we talking about hell?
• 27:42
  We're on Pan's Lab.
• 27:43
  Ryan: What?
• 27:43
  Oh, sorry,
• 27:45
  Kearns: We're on Pan's Lab.
• 27:46
  No, keep going.
• 27:47
  I'm just messing around
• 27:48
  Ryan: Yeah, he did what Tim Burn did.
• 27:50
  he did the comic book movie and then he did his own version and
• 27:55
  they gave him the free run with the Golden Army, which was awesome.
• 27:58
  Jon: Mm-hmm.
• 27:58
  that, that's the,
• 27:59
  Ryan: is definitely on the list,
• 28:01
  Jon: that's the thing
• 28:02
  Kearns: on the list you have to watch it immediately
• 28:04
  Jon: Yeah.
• 28:05
  Like if you come, if you show up at work Monday without having
• 28:08
  watched pans, you have to leave.
• 28:13
  Kearns: and without pay,
• 28:14
  Jon: I, I, I'm,
• 28:15
  Kearns: you have to
• 28:16
  Jon: what?
• 28:16
  Kearns: dock your pay.
• 28:17
  Jon: I'm gonna get there extra early and I'm gonna have the security guard stop
• 28:22
  you on the way in and ask if you saw pans.
• 28:25
  And if you haven't, we're pulling the gate and turning you around,
• 28:29
  and you cannot come back until you've watched Pan's Labyrinth,
• 28:34
  Kearns: Call the police.
• 28:35
  I'm gonna call the police.
• 28:36
  Ryan: don't call the police.
• 28:38
  Kearns: Call the police on you.
• 28:38
  This man does not watched Pan's Labyrinth.
• 28:40
  Jon: I, I, I know about what time you usually get there, so I just have
• 28:43
  to get there five minutes earlier.
• 28:46
  It's not a big stretch.
• 28:48
  Kearns: Now he knows your trick though.
• 28:50
  Ryan: Oh,
• 28:51
  Jon: I,
• 28:51
  Ryan: Yeah.
• 28:52
  Jon: if I have to get,
• 28:53
  Ryan: him.
• 28:54
  Jon: if I have to get there before security and pull
• 28:57
  my car across the entrance,
• 29:02
  I will,
• 29:03
  Ryan: to
• 29:03
  Jon: I will prevent, I will prevent everybody that works there
• 29:08
  from going to work on Monday.
• 29:09
  If you haven't watched Pan's Labyrinth.
• 29:11
  Ryan: be a hero.
• 29:13
  You,
• 29:13
  Kearns: Yeah.
• 29:14
  Ryan: you'd
• 29:14
  Kearns: They'll all be like, Ryan's.
• 29:17
  Ryan's lack of film appreciation led to this.
• 29:22
  Like when the water main broke, you'll be a natural disaster of sorts.
• 29:26
  Ryan: Oh, God.
• 29:27
  I'm
• 29:27
  Kearns: An industrial disaster.
• 29:29
  So.
• 29:30
  You have to watch it though.
• 29:31
  Like, all kidding aside, it needs to be in your, your mind.
• 29:35
  'cause you're such a film guy.
• 29:36
  It's like a, it's a damn shame that you don't know this movie.
• 29:39
  Ryan: I've, I've studied, like, I've read articles about it.
• 29:41
  I've studied
• 29:42
  Kearns: No,
• 29:43
  Ryan: clips.
• 29:43
  Well,
• 29:44
  Kearns: no.
• 29:45
  Ryan: when you're in 2006 in
• 29:47
  Kearns: Don't ruin it for you.
• 29:48
  Ryan: that's the, that's the big scene that we talked about is when, um,
• 29:52
  that specific character pops out the tree and the meaning of it, I think
• 29:56
  talking to the little girl, right?
• 29:58
  Kearns: Yeah.
• 29:58
  The Seder
• 29:59
  Ryan: Yep.
• 29:59
  So like we've gotten, like how the visuals are, the camera angles, the closeups,
• 30:04
  the use of, um, the design, the, um, the
• 30:09
  Kearns: all great additions to a much larger whole, plus the fact that the
• 30:14
  Seder has always been an analogy or a metaphor for Jesus and all this
• 30:17
  other stuff that you're gonna pick up on as you watch the actual movie.
• 30:20
  You must watch the movie Ryan.
• 30:22
  Jon: all, that, all that didn't make you go home immediately and watch it
• 30:27
  Kearns: This is why we hate you.
• 30:29
  You realize this?
• 30:29
  Like we, you're aware of how amazing it is and you still haven't seen it.
• 30:33
  Is it because you don't like to read?
• 30:35
  Ryan: uh, whoa, whoa, whoa, AWA.
• 30:37
  Thank you very much.
• 30:38
  Kearns: Fair?
• 30:39
  All right.
• 30:39
  I slow my role,
• 30:41
  Ryan: white.
• 30:42
  Kearns: but it's Spanish of Spain, by the way.
• 30:44
  It's not, um, it's not set in the Americas.
• 30:47
  It's set in Spain.
• 30:48
  World War ii.
• 30:49
  Jon: Spanish Revolution.
• 30:52
  Kearns: Re
• 30:53
  Ryan: Latin.
• 30:55
  Kearns: Latin.
• 30:56
  Ryan: Latin
• 30:56
  Jon: Latin?
• 30:57
  Kearns: No, not Rome.
• 30:58
  Not ancient Rome.
• 30:59
  Spanish in World War ii
• 31:02
  Jon: Spain.
• 31:02
  Kearns: Spanish,
• 31:02
  Jon: Revolution, Spanish Revolution during
• 31:04
  Kearns: Latin,
• 31:05
  Ryan: I
• 31:06
  Kearns: uh, uh, in Spain.
• 31:07
  Greek.
• 31:08
  Is it, is it Greek?
• 31:09
  No, it's Spanish.
• 31:11
  Ryan: I Italian.
• 31:13
  Jon: French.
• 31:13
  Kearns: Portuguese.
• 31:14
  In a, in a.
• 31:20
  Ryan Ryan, you deserved all of that for not seeing Pan's Labyrinth.
• 31:22
  Who won?
• 31:23
  John,
• 31:24
  Jon: Who?
• 31:25
  Who won what?
• 31:26
  Um, let's see.
• 31:28
  did.
• 31:29
  Kearns: now you lose everything Ryan.
• 31:31
  I win just because
• 31:33
  Jon: be because Ryan didn't see pans and because you kept Mimic
• 31:40
  and,
• 31:40
  Kearns: knew I was gonna, I knew I was gonna beat you as soon
• 31:42
  as I heard the sound John made.
• 31:44
  Jon: Ryan kept Blade two.
• 31:46
  Ryan: It's not a bad sequel.
• 31:49
  It's not a
• 31:49
  Kearns: You've seen Blade two probably multiple times, I'm guessing.
• 31:53
  And you have not seen Pan's Labyrinth Fair?
• 31:56
  Also fair when the, I'm not proud of what I've seen because of AMC's existence, like
• 32:02
  how many times I've seen them, I guess.
• 32:04
  Alright guys, that was a fun game.
• 32:06
  Jon: I like that one.
• 32:08
  Kearns: Crapping all over.
• 32:09
  Ryan was a lot of fun too.
• 32:10
  Jon: I like the keep cut.
• 32:11
  Maybe, maybe I'll do more that we can just crap on Ryan over.
• 32:16
  Kearns: Yeah, let's do that.
• 32:17
  Ryan: know what it's, I, I would love for you to do a keep cut of Halloween.
• 32:21
  Kearns: You know what's actually kind of nice about this is that if he
• 32:24
  waits and we put Pan's Labyrinth on the schedule, we can really see how
• 32:29
  affected he is by it, because that movie is, it's an experience, Ryan, like,
• 32:34
  that's why we're getting on your case.
• 32:35
  John and I were both very moved and as with millions of other people who
• 32:39
  watched it, you're gonna really, if you loved Frankenstein, you're going
• 32:42
  to shit yourself over Pan's Labyrinth,
• 32:45
  Ryan: well, it's the emotion.
• 32:46
  Like he, he's been very emotional recently.
• 32:49
  I, I feel like recently with his films, like Pinocchio was the last film and,
• 32:53
  Kearns: would argue Pan's Labyrinth is his most emotionally driven film.
• 32:58
  Ryan: oh, no, no.
• 32:58
  I, I, I agree.
• 33:00
  Based on what you guys are saying, but I've seen it.
• 33:02
  It's gone.
• 33:04
  It's grown more, I think recently.
• 33:06
  Again, like the emotion, um, especially like with father and
• 33:09
  son, bonds, Pinocchio, Chapo, and even with Frankenstein and Victor.
• 33:14
  It's an interesting concept and I'm curious if he gets fan of
• 33:17
  the opera, what's his, like, whole theme, what's his motive?
• 33:21
  Because I feel
• 33:21
  Kearns: That one's gonna be more about love, shape of water and what love is,
• 33:25
  what true love is, what it means to love.
• 33:28
  It'll be back to that.
• 33:30
  Jon: I think, I think some of the thing with hearing him talk about his movies
• 33:34
  now versus talking about his movies when it was pans, is he speaks English better.
• 33:41
  He was limited in, in how he could talk about his movies 20 years ago.
• 33:49
  And now he, you know, he speaks
• 33:51
  Kearns: wonder how many people.
• 33:53
  Jon: better English than me.
• 33:54
  Kearns: I don't know about that, but I wonder how many people just didn't
• 33:57
  watch Pan's Labyrinth because it was, Spanish language with subtitles
• 34:00
  because now they made the rule.
• 34:01
  You must watch the movies to vote.
• 34:03
  I bet you a ton of people didn't even watch it.
• 34:05
  Jon: I'm sure they didn't.
• 34:07
  I mean, listen.
• 34:09
  Little insider thing.
• 34:10
  My dad a member of the academy for like the last 25, 30 years of his life.
• 34:16
  It was like $200 a year membership and starting about this time every
• 34:20
  year, the, the mailers of screeners, he would get just ridiculous.
• 34:26
  Like if it came out that year with a big name in it, he got it.
• 34:31
  Like even if, it had no chance of being nominated, he got a copy of it
• 34:36
  because it was appeasing the stars.
• 34:39
  Kearns: Mm-hmm.
• 34:40
  Jon: they, but there's no way you could watch the amount of movies
• 34:44
  that they were sending out it.
• 34:46
  No chance.
• 34:49
  Ryan: Inhale.
• 34:50
  Kearns: get Chevy Chases 'cause our buddy, um, worked for 'em and she would bring
• 34:54
  over the Chevy Chase ones and we watched, uh, ghost World, like Scarlet Johansson's
• 34:58
  breakout film was kind of Ghost World
• 35:01
  Jon: dude,
• 35:02
  Kearns: a few of these other ones, I am Sam, we watched, which was not
• 35:06
  a good thing for a bunch of 17 year olds to watch and try to take serious.
• 35:10
  Jon: no, not at all.
• 35:12
  Kearns: We weren't terrible.
• 35:13
  We were, we were pretty bad.
• 35:14
  Jon: but speaking of Chevy Chase, they sent him spies like us.
• 35:19
  There is no world, in which spies like us is getting nominated for
• 35:25
  anything at the Academy Awards, the golden raspberries, maybe SP's
• 35:30
  Kearns: right.
• 35:31
  Jon: so, so bad.
• 35:34
  Ryan: but
• 35:34
  Jon: See, I, I,
• 35:35
  Ryan: the Invisible Man.
• 35:36
  Jon: can, I can't do bad comedies.
• 35:39
  I can do bad horror movies.
• 35:40
  I can do bad action movies.
• 35:41
  I can't do bad comedies.
• 35:44
  Kearns: That's fair.
• 35:45
  Very fair.
• 35:46
  Ryan: Okay.
• 35:46
  Jon: back into Frankenstein with a couple reviews, shall we guys?
• 35:50
  Ryan: Five star.
• 35:51
  I'm ready.
• 35:52
  Jon: Five star.
• 35:54
  start with a five star.
• 35:56
  This film is quite simply a work of art.
• 36:00
  It's everything you want from a gothic horror and the best in its genre.
• 36:04
  For a long time, a Lorde is mesmerizing as the creature.
• 36:10
  There's no hammy overacting, and his transition from innocent newborn
• 36:15
  to terrified killer is fantastic.
• 36:19
  I would just love to wander through those sets
• 36:23
  Ryan: That's cool.
• 36:24
  Kearns: A lot of green screens.
• 36:25
  But yeah,
• 36:26
  Ryan: I agree with that.
• 36:27
  I feel like a lot of it
• 36:28
  Jon: There's a lot of practical set design in there too.
• 36:32
  Kearns: they do the green screen behind some of it.
• 36:34
  If you watch the post stuff on Netflix, you see how they pulled a lot of that
• 36:37
  off and it's pretty, so basically they green screen like the weather in
• 36:41
  the sky, but the practical John's W right, like the practical sets, the
• 36:44
  castle and stuff, that's all there.
• 36:46
  Jon: Yeah.
• 36:47
  Kearns: It's pretty cool.
• 36:48
  Jon: Yeah.
• 36:48
  I, mean, the only thing I would argue with is I don't think he
• 36:52
  really turns into a terrified killer.
• 36:55
  Kearns: You never once, I never once stopped sympathizing with him.
• 36:58
  Jon: not at all.
• 37:00
  Kearns: even during Isaac's portion, oh, actually Isaac's portion of the story, he
• 37:03
  never really becomes very blood thirsty
• 37:06
  Jon: No.
• 37:06
  Kearns: there at, the boat.
• 37:07
  He was being cool.
• 37:08
  So I was like, yeah, wreck those damn Russian sailors.
• 37:12
  Jon: Yeah.
• 37:12
  I mean, in the moments where he's killing anybody, it's self defense.
• 37:17
  Ryan: Yeah, it, it goes back to, I, I would say like a little
• 37:21
  bit of the original story, but also the Boris Karloff version
• 37:24
  Kearns: Mm-hmm.
• 37:25
  Ryan: just like learning about life.
• 37:26
  Like spoiler, he does, you know, he accidentally kills the girl 'cause he
• 37:31
  thinks she's a beautiful flower, you
• 37:33
  Jon: Mm-hmm.
• 37:34
  Ryan: like,
• 37:36
  Jon: Mm-hmm.
• 37:38
  Ryan: yes, yes he does,
• 37:40
  Jon: I will, I'll hug it and squeeze it and love it and call it George.
• 37:45
  Ryan: but it's like that simpleness of like, there's a simpleness to him.
• 37:49
  And it develops in this film because the blending of the novel
• 37:53
  Jon: Mm-hmm.
• 37:53
  Mm-hmm.
• 37:54
  Ryan: stories of being gentle and just wanting to live and
• 38:00
  Kearns: What's so cool is the Karloff version, Karloff needed to rely on
• 38:05
  that visceral scene to get across the danger the monster poses because of
• 38:10
  what it is, and Del Toro gets to go at it from a different angle based on
• 38:15
  the tools he has and the evolution of storytelling in general since then.
• 38:18
  And it's a kind of neat to put them next to each other and see
• 38:21
  how they pulled off something.
• 38:23
  Well, they pull, it's a little different what they pull off, but it
• 38:26
  the different ways they do it too.
• 38:28
  It's really cool.
• 38:30
  Ryan: No Igor though,
• 38:31
  Jon: Nope.
• 38:32
  I mean, to an extent you do.
• 38:36
  Kearns: Yeah.
• 38:36
  What's his face is Igor.
• 38:37
  He's got like, and at the end he is like, I've got syphilis.
• 38:42
  Ryan: oh, I know,
• 38:44
  Jon: Christophe,
• 38:44
  Ryan: talking
• 38:45
  Jon: I
• 38:45
  Kearns: Yeah, he's,
• 38:46
  Ryan: Yes.
• 38:46
  Kearns: he's, Heinrich Lander is sort of the pseudo Igor,
• 38:50
  Jon: he's, I mean, Igor esque, he's not really a lab assistant
• 38:56
  so much as a financial assistant.
• 38:58
  Ryan: Okay.
• 38:59
  Fair on that.
• 39:00
  Jon: A Syphilitic financial assistant.
• 39:02
  Ryan: It was just his wig.
• 39:04
  That was his hump, his wig.
• 39:06
  Jon: Yeah.
• 39:06
  Kearns: his lovely lady.
• 39:07
  Huh?
• 39:08
  Check it out.
• 39:10
  Jon: So, you know, I had to find some bad ones too.
• 39:13
  Ryan: I'm shocked there
• 39:14
  Kearns: I'm, this is gonna be such rage bait.
• 39:16
  I should probably leave the room
• 39:17
  Jon: number one, one of the big criticisms I've seen is.
• 39:23
  That Del Toro took liberties with the story and changed the way the story goes.
• 39:27
  And I didn't include any of that because I think that's trash.
• 39:31
  Like,
• 39:32
  Kearns: goes without saying by the way.
• 39:33
  Jon: don't, you, you should be able to appreciate a book and a well-made movie
• 39:39
  based on a book that takes some liberties.
• 39:41
  Like The Godfather is based on a book.
• 39:46
  The Godfather movie takes a lot of liberty with that story.
• 39:52
  Ryan: it does.
• 39:52
  Jon: it can be done Well, you don't have to, they're not exclusive.
• 39:58
  And I don't really, I don't really even like entertaining that discussion.
• 40:02
  Like, take, take, he's, he put his name on this, obviously, it's his
• 40:08
  vision of the Frankenstein story.
• 40:12
  Ryan: And yeah, he wrote it.
• 40:13
  I mean, he wrote the screenplay.
• 40:15
  He
• 40:15
  Jon: Yeah.
• 40:16
  I mean, Mary Shell, Mary Shelley has a credit, she has a a, a writing
• 40:20
  credit on this, but it's, he took liberties with the story as he should.
• 40:24
  Like, you want somebody's vision of what a world should be, not parroting
• 40:30
  what the world the author created is.
• 40:33
  Ryan: I agree with
• 40:34
  Kearns: I agree with that.
• 40:35
  Yeah.
• 40:36
  That's why it gets so fishy when you watch a film adaptation and then you're
• 40:40
  just like from a great book and you're kind of pissed because they don't nail it
• 40:43
  Jon: Mm-hmm.
• 40:44
  Kearns: and.
• 40:45
  Maybe they should have gone in a different direction and made it more their own.
• 40:48
  Things like that.
• 40:49
  That's King.
• 40:50
  Jon: I'll say this, the day before I watched Frankenstein,
• 40:53
  I watched The Long Walk,
• 40:55
  Ryan: Okay.
• 40:56
  Jon: I loved, but they took liberties with that story.
• 41:01
  Like definite, definitely like, again, like changing big elements of it.
• 41:06
  But it worked for me.
• 41:09
  otherwise, you know where every, what every beat is.
• 41:12
  If it's a, if it's a story you liked, you know exactly what you're about to see.
• 41:16
  What's the fun
• 41:18
  Ryan: it's, it's true.
• 41:20
  Jon: if, you're, if you're a real reader, you visualize what you're reading.
• 41:26
  So you've seen it by the time you're sitting in a movie theater.
• 41:29
  You've seen it how you want to see it.
• 41:32
  When I sit to watch a movie based on a book, I want to
• 41:35
  see what somebody else saw.
• 41:39
  Ryan: That's cool.
• 41:39
  Yeah, no, I agree with that.
• 41:41
  The perspective, it's, good to have all the different perspectives.
• 41:44
  think about Walking Dead a lot when they, in season nine, when
• 41:48
  they first introduced Negan
• 41:50
  Jon: Mm-hmm.
• 41:50
  Ryan: there watching it and you kind of get an idea, spoiler that, um,
• 41:54
  Glen's gonna get it, but then Abraham gets it first and you're like on the
• 41:58
  edge of your seat, like, oh, that, that wasn't supposed to happen.
• 42:01
  And I mean, that series is long and I feel like
• 42:05
  Jon: Uh,
• 42:05
  Ryan: and all that, but like, they took liberties a lot with it.
• 42:09
  Jon: mean, they, they took liberties from basically episode one or two on,
• 42:15
  Ryan: especially with Shane Herschel's
• 42:18
  Jon: I mean, Shane, yeah, Shane in particular, like that, a character gets
• 42:23
  a lot more play in that show than you ever did in, in the graphic novels.
• 42:28
  Ryan: yeah, two issues, and then dead, and then two
• 42:31
  Jon: Yeah.
• 42:32
  Ryan: Um, but that's John, uh, Beth Behan roll,
• 42:35
  Jon: Behal
• 42:37
  Ryan: Bernthal Bernstein, um,
• 42:40
  Kearns: Ernstein bear.
• 42:43
  Jon: beats Bears, Battlestar Galactic.
• 42:44
  Um, so anyway, back to our bad review, half a star.
• 42:51
  Terrible.
• 42:52
  Kearns: that person gets syphilis.
• 42:54
  Jon: movie.
• 42:55
  Another poorly made movie by Netflix.
• 42:59
  Zero attention to details, poor character connection, and a terrible plot.
• 43:05
  Another film they rushed at the cost of adding garbage to the content library.
• 43:13
  Ryan: That
• 43:13
  Kearns: right.
• 43:13
  Ryan: blasphemy.
• 43:14
  Kearns: be a Russian bot account.
• 43:16
  Ryan: Yeah.
• 43:18
  I didn't like the beginning.
• 43:20
  Kearns: He hated the fact that the Russians on the boats were
• 43:22
  getting murdered by the monster.
• 43:23
  Ryan: they get their get back.
• 43:24
  They shoot 'em through the ice.
• 43:27
  Jon: I mean, I don't know man, like I don't, I don't know how you come to
• 43:33
  like, I can, understand if you didn't like it, sort of, but for those to
• 43:40
  be your criticisms of this, it's like
• 43:43
  Kearns: You didn't like this film.
• 43:44
  There's something wrong with you and you need to fix it.
• 43:47
  You need to go on a vision quest and figure out why you
• 43:49
  wouldn't like a film like this.
• 43:51
  'cause it's moving.
• 43:52
  It's a moving film with a deep, deep resonating message about multiple things.
• 43:58
  Love, companionship, the cycle of trauma, fatherhood, whoever this
• 44:05
  half star is, is a half wit boom,
• 44:08
  Ryan: it could have
• 44:08
  Kearns: burned.
• 44:09
  Ryan: it could have been too much.
• 44:10
  I mean, who, who, who?
• 44:14
  Igor wrote this.
• 44:15
  Um, I feel like some people like it's a lot and some
• 44:20
  people can't really handle it.
• 44:21
  And that, you know, it's, give it a couple watches.
• 44:25
  I mean, it took me seven watches to like anchorman.
• 44:29
  Give it a few watches on this.
• 44:30
  You might like it.
• 44:31
  Jon: You wait a minute.
• 44:33
  gave anchorman more watches after you didn't like it and you don't
• 44:38
  like, and you haven't watched pans.
• 44:43
  Ryan: my
• 44:43
  Jon: I,
• 44:43
  Ryan: kept saying, you
• 44:44
  Jon: I, I,
• 44:45
  Ryan: it.
• 44:45
  Jon: I can't let that one go.
• 44:47
  You watched Anchorman seven times knowing you didn't like it the first six times.
• 44:53
  Ryan: It grew on me.
• 44:55
  It grew on me.
• 44:56
  Scotchy.
• 44:56
  Scotch.
• 44:56
  Scotch.
• 44:57
  I love lamp.
• 44:58
  You know, brick had a
• 45:00
  Kearns: Why are we talking about Anchorman in the same episode as you're
• 45:03
  discussing all these masterpieces?
• 45:06
  Anchorman is a comedic masterpiece.
• 45:08
  I'll give you that,
• 45:08
  Jon: It's
• 45:09
  Kearns: but.
• 45:10
  Jon: It's
• 45:10
  Kearns: fine.
• 45:11
  It's a good hang.
• 45:12
  Um, all right, so I wanted to tee you guys off with the idea
• 45:16
  of, um, how the movie begins
• 45:18
  Jon: Mm-hmm.
• 45:18
  Kearns: and we can juxtapose it a bit with the book if you want to, but I
• 45:22
  just wanna know if it worked for you.
• 45:23
  The Prelude beginning
• 45:25
  Ryan: Yes.
• 45:25
  Kearns: in the north.
• 45:26
  Well, in the Arctic we'll call it, 'cause it weren't at the North Pole.
• 45:29
  They were like where?
• 45:30
  North of Canada or in the Baltics or something.
• 45:34
  Jon: think it's north of Russia.
• 45:35
  I think it's meant to be like the ocean above Russia.
• 45:41
  Ryan: Yeah,
• 45:42
  Kearns: So they're up there and we get Frankenstein.
• 45:45
  Well, we get the perspective of the Russian ship captain and first
• 45:49
  mate and the men who are trying to get the boat freed from the ice.
• 45:52
  And then we see the explosion and they rush over and they find
• 45:56
  Victor Frankenstein on the ground.
• 45:59
  There's a little bit of comedy there when they find his
• 46:01
  prosthetic leg and stuff like that.
• 46:03
  But
• 46:03
  Jon: Yeah,
• 46:03
  Kearns: then the monster howls and roars and a. Begin, like how did
• 46:08
  they beginning work for you guys?
• 46:10
  Jon: I mean, it pulls you in right off.
• 46:13
  At least for me, like I was immediately engaged like this.
• 46:17
  I, it's the right way to start what this movie's gonna be with a
• 46:20
  big action set, you know, you have
• 46:23
  Kearns: Yep.
• 46:23
  Jon: the tension of them being stuck in the ice, which is very,
• 46:27
  very Franklin Expedition trying to find that Northwest passage.
• 46:31
  Very much like the terror.
• 46:34
  I don't know the book and the TV show.
• 46:36
  So it gives you a lot of that feeling and a lot of the dread of knowing or
• 46:40
  thinking you know, what's gonna come.
• 46:42
  Ryan: being a fan since the Karloff days, uh, 1931, it opens
• 46:47
  differently, um, in the original film.
• 46:49
  And then I read the book Young, and reading it.
• 46:52
  And then you see Mary Shelley Frankenstein, you get that idea.
• 46:56
  Guiller del Toro does it perfectly.
• 46:57
  Again, the tension, they're stuck.
• 47:00
  There's no hope.
• 47:01
  And then they see this fireball and they hear the monster, and it's like
• 47:07
  all this action happening at once.
• 47:10
  And it, as an audience member, it really like it captured me.
• 47:15
  And I was like, what's gonna happen?
• 47:16
  What is he doing different that hasn't been done before?
• 47:20
  Jon: Mm-hmm.
• 47:20
  Ryan: it's like, all right, we
• 47:21
  Kearns: There's a monster reveal.
• 47:23
  There's a monster reveal moment in the beginning.
• 47:26
  You don't get to see the monster.
• 47:27
  He's covered in all the fur coat stuff,
• 47:30
  Jon: Yeah.
• 47:30
  Kearns: so you don't get to see his face.
• 47:31
  And I thought that was a great idea
• 47:33
  Jon: Mm-hmm.
• 47:34
  Kearns: add tension and build mystery to something we already know.
• 47:37
  We know what Frankenstein is.
• 47:39
  Jon: Mm-hmm.
• 47:39
  Kearns: I thought that was great, and I thought he absolutely crushed
• 47:42
  the isolation because you needed the isolation up there to work.
• 47:47
  I, I believe you do.
• 47:48
  Because that's a core part of Mary Shelley's Frankenstein,
• 47:51
  Jon: Yeah.
• 47:51
  Kearns: and that's, it's in the DNA of the story from when it was
• 47:54
  written that year without summer.
• 47:56
  So that was so good.
• 47:59
  That was just amazing.
• 48:00
  Then we have act one.
• 48:03
  Jon: Victor's tale.
• 48:05
  Ryan: Yes.
• 48:06
  Which it's interesting that his mother is also played by Mia Goth,
• 48:10
  Jon: Mm-hmm.
• 48:11
  Ryan: which
• 48:11
  Kearns: I'm glad we brought that up.
• 48:12
  Ryan: connection.
• 48:13
  Jon: Yeah.
• 48:14
  Yeah.
• 48:14
  No, their
• 48:15
  Kearns: Well, very Freudian.
• 48:16
  Jon: Mm-hmm.
• 48:16
  Ryan: red.
• 48:18
  Jon: Yep.
• 48:19
  Kearns: Yeah, we can do that in a sec. Don't pile it all on at once.
• 48:24
  Jon: But yeah, you, you definitely get, a lot of the parental issues very quickly.
• 48:30
  that he's got a basically absentee father who's, when he's not is task master.
• 48:40
  want, you know, I don't necessarily want to go with abusive because
• 48:42
  he's, it's, not out of the ordinary for that time period probably, you
• 48:48
  Kearns: He only clouts him once.
• 48:49
  Jon: he drives Victor.
• 48:52
  Kearns: Right.
• 48:52
  Jon: He
• 48:53
  Kearns: And to what end?
• 48:56
  And that's part of this dad story thing.
• 48:58
  'cause that's the first part of the cycle that we're seeing is
• 49:01
  how he was treated by his father.
• 49:04
  Ryan: Yeah.
• 49:04
  Jon: he's drilling him on anatomy and biology and physiology and, you
• 49:09
  know, pushing him in that path from
• 49:13
  Kearns: I want you to be great.
• 49:14
  Now, why does his dad want him to be great?
• 49:16
  To carry on the name?
• 49:17
  Because his, it's his father's name and that's important to the father.
• 49:20
  It's not for Victor's happiness, it's to continue the legacy, and that's
• 49:24
  an important part of this story.
• 49:26
  Ryan: Yes.
• 49:27
  Kearns: really glad you mentioned that.
• 49:29
  Jon: sons living up to the visions of their fathers.
• 49:32
  Like that's hard to do.
• 49:34
  I
• 49:34
  Ryan: And Victor tries, and you can see it like you're talking
• 49:38
  about him, like the strictness.
• 49:40
  It's
• 49:40
  Jon: mm-hmm.
• 49:41
  Ryan: you can see it's been happening for a long time.
• 49:43
  And once, um, his mom passes, um, in the book, and I believe in the
• 49:49
  movie, it's The Scarlet Fever.
• 49:50
  Um, it's, it's a shock and it's harder for him.
• 49:55
  Um,
• 49:56
  Jon: In the movie, it's kind of childbirth, right?
• 49:59
  Kearns: It is childbirth.
• 50:00
  Ryan: Childbirth, I'm sorry.
• 50:01
  In the, the book they mentioned the Scarlet Fever
• 50:03
  Jon: Mm-hmm.
• 50:04
  Ryan: 'cause she gets it from Elizabeth, which is a whole different
• 50:07
  backstory as well on that one.
• 50:09
  Jon: Mm-hmm.
• 50:11
  so he loses mom, is clearly
• 50:14
  Kearns: so that's important too.
• 50:16
  Before we go through losing mom, what does mom represent before we jump into that?
• 50:21
  Jon: mom is,
• 50:22
  Kearns: Mom's?
• 50:23
  Jon: is everything.
• 50:24
  She's safety, she's she's loved more than just maternal love in Victor's
• 50:35
  mind, there's definitely a little bit of that undercurrent there,
• 50:39
  Ryan: I
• 50:40
  Kearns: Yeah.
• 50:40
  Ryan: too.
• 50:41
  Jon: it's partner, I mean, they establish right off that it's really
• 50:45
  the two of them in that big house while dad's off doing what dad does.
• 50:49
  Kearns: Mm-hmm.
• 50:49
  Jon: And then when dad comes back, it's like a whirlwind blowing through
• 50:53
  and that they have each other.
• 50:56
  Kearns: Yeah.
• 50:56
  Ryan: Guess they do.
• 50:57
  Kearns: And the, so now we can do the color.
• 50:59
  So we've established the mother
• 51:01
  Jon: Mm-hmm.
• 51:02
  Kearns: right now.
• 51:02
  Ryan wanted to go through the color.
• 51:03
  What is the color you were talking about?
• 51:05
  Ryan: Uh, the red.
• 51:06
  I feel like for the, for me, in my opinion, whenever the red pops out, it's
• 51:12
  very, it's dread for me especially when it comes to like this style of gothic horror.
• 51:18
  Anything with red, in my opinion, it's, it's not good.
• 51:22
  It like, even though she's love, she's caring, you know, something
• 51:26
  bad's gonna happen and it goes back to the mask of the red death.
• 51:29
  The mask of the red death brings death, no pun intended.
• 51:33
  Jon: Mm-hmm.
• 51:33
  Ryan: seeing that even when he's wearing it, you know,
• 51:36
  something bad's gonna happen.
• 51:37
  In my opinion, something's gonna go, Ori,
• 51:40
  Jon: Mm-hmm.
• 51:41
  Ryan: how I saw it, at least.
• 51:43
  Kearns: That's fair.
• 51:44
  I think you're wrong.
• 51:44
  Um, so.
• 51:45
  Ryan: That's fine.
• 51:48
  You
• 51:48
  Kearns: think you write about the mother being represented with the red, with
• 51:51
  the mother all the time is on purpose.
• 51:53
  Jon: Mm-hmm.
• 51:53
  Kearns: love.
• 51:54
  Red is love.
• 51:55
  It's at a, the color red has always been symbolically love as well.
• 52:00
  So that's why I really think Guillermo's not really doing too much with it.
• 52:03
  The angel also being emblazoned and red all the time, even
• 52:07
  though it's a horror movie.
• 52:08
  And you have the, the scary angel, Archangel Michael, this fiery
• 52:12
  angel that kind of drives him.
• 52:15
  It's also representative of the mother energy.
• 52:19
  Jon: Mm-hmm.
• 52:20
  Yeah.
• 52:21
  Like I, I see where Ryan's going with that.
• 52:23
  And Red is definitely popped up in a lot of movies, is like
• 52:27
  warnings, but it's also warmth.
• 52:29
  And I think that's kind of what he's trying to get across with that color
• 52:34
  Kearns: Yeah, I agree.
• 52:36
  Jon: that that's, and then she's gone and he's got a baby brother and a father
• 52:42
  who is more devoted to the baby brother.
• 52:45
  Kearns: Never really seemed to like love the wife.
• 52:47
  Jon: Yeah.
• 52:49
  Ryan: I was gonna
• 52:49
  Jon: And in, in turn never really seemed to love Victor.
• 52:54
  Victor was his mom's kid.
• 52:57
  Kearns: Yeah.
• 52:57
  Ryan: Yeah, I was gonna ask, do you think he actually killed her he's supposed
• 53:02
  to be the greatest surgeon in the world and Victor's like you, you let her
• 53:06
  Kearns: When you get an internal bleed at that timeframe and that
• 53:09
  time period, you're done, man.
• 53:11
  Ryan: Okay.
• 53:11
  Jon: I know what the purpose of that is.
• 53:14
  I don't, think it's, well, he it on purpose.
• 53:17
  I think it was just limitations of medicine and visceral
• 53:23
  reaction is You killed her.
• 53:25
  Kearns: Yeah.
• 53:26
  But, hopefully people don't read too much into that.
• 53:28
  That's just to, to quietly roll out that Victor is driven by
• 53:31
  rage towards his father now.
• 53:33
  Jon: it's the rage and it's also the, I can do better.
• 53:38
  Ryan: Yeah,
• 53:38
  Jon: I
• 53:38
  Kearns: Right.
• 53:39
  Jon: death.
• 53:41
  couldn't stop death.
• 53:42
  I can.
• 53:44
  Kearns: Super cool by the way.
• 53:46
  Now he's motivated to do that because he has to beat his father.
• 53:50
  Jon: Yep.
• 53:50
  Kearns: So we're seeing like all of that father son cycle stuff is like
• 53:53
  ramped up super early in the movie.
• 53:55
  we get him growing up, leaving home, dad dies, growing up, leaving home,
• 54:00
  going into the medical field, obviously, and we jump right into him reanimating
• 54:04
  a course, which is pretty sick.
• 54:06
  Ryan: that was awesome.
• 54:07
  Jon: That's
• 54:08
  Kearns: then,
• 54:08
  Jon: favorite visual of this whole movie is
• 54:11
  Kearns: yeah, it's pretty good.
• 54:12
  Jon: reanimated half corpse.
• 54:15
  Kearns: Yeah.
• 54:15
  And then he drops the apple.
• 54:16
  He's like, he said, please always helps or whatever.
• 54:19
  Um,
• 54:20
  Ryan: you're
• 54:20
  Kearns: but
• 54:20
  Jon: that scene.
• 54:21
  And like I saw, um, and somehow Bill Hader has a special thanks in this.
• 54:26
  I'm not
• 54:27
  Kearns: uh,
• 54:27
  Jon: he had, Oscar Isaac on talking about that scene, and you know, how he's able to
• 54:33
  throw the ball up in the air and it'd just be like a background bonus to the scene.
• 54:39
  And Bill haters like, and I, I fully understand the idea, like if a,
• 54:44
  average actor is doing that, the scene becomes about the ball because you
• 54:49
  have to focus on the up and the down.
• 54:52
  Oscar Isaac is just, it's the most casual thing.
• 54:56
  Natural thing in the world.
• 54:59
  Kearns: Pretty cool.
• 55:00
  Ryan: bill Hader had some choice words for him.
• 55:02
  It was a
• 55:02
  Jon: Yeah, yeah.
• 55:04
  Ryan: choice words.
• 55:06
  Jon: Yeah.
• 55:07
  Kearns: Um.
• 55:08
  Jon: definitely,
• 55:10
  Kearns: I I don't want to harp too much on these early scenes 'cause we could talk
• 55:13
  about e scene in this movie at length.
• 55:15
  Um, but we're gonna swing into Mia Goths intro because we do the first thing.
• 55:19
  He gets kicked out of the, he gets, he becomes a pariah and then he sits
• 55:23
  down and he gets some table time with Mia Goth character Elizabeth.
• 55:30
  And, uh, we also have already been introduced at this time to Heinrich
• 55:35
  Lander, our Igor, but we're not gonna spend too much time on him.
• 55:39
  He's pretty one dimensional.
• 55:40
  Uh, Mia Golf though, blazen, not emblazoned, but she's
• 55:44
  covered in this beautiful green
• 55:46
  Ryan: Yes.
• 55:47
  Kearns: her entire color palette throughout the whole movie.
• 55:49
  Is this green?
• 55:51
  Jon: Mm-hmm.
• 55:52
  Kearns: what does she represent?
• 55:53
  We have the mother, the heart, the love, the energy there.
• 55:56
  What is Mia?
• 55:57
  Gone?
• 55:57
  We're gonna, we're giving you a, a chance at this one, Ryan.
• 56:00
  Ryan: I would say the nature.
• 56:02
  Kearns: Yeah, you nailed it.
• 56:03
  Jon: Yeah.
• 56:03
  Ryan: Okay.
• 56:04
  I was like nervous.
• 56:04
  I was like, I, I really messed up on the red.
• 56:07
  I'm like, thinking of death.
• 56:08
  You're like, it's love.
• 56:09
  I'm like, uh,
• 56:11
  Jon: No, like I, I see where you were with the red, and I don't
• 56:14
  completely disagree, but I think it.
• 56:16
  You know,
• 56:17
  Ryan: No,
• 56:17
  Kearns: Whereas,
• 56:18
  Ryan: love on
• 56:18
  Kearns: I was disappointed in you, like as a friend from that answer.
• 56:22
  Ryan: Well, when you think of the love right?
• 56:25
  think, oh, she's like covered in it.
• 56:27
  Right?
• 56:28
  And then when he's like working with the monster, I see it now.
• 56:31
  'cause the red is so small, his
• 56:33
  Kearns: we could talk about that.
• 56:33
  Ryan: for the monster
• 56:35
  Kearns: 'cause the monster has color hues.
• 56:36
  If you pay attention when you watch it again.
• 56:38
  Yeah.
• 56:38
  Check the, uh, the creature.
• 56:40
  Right?
• 56:40
  We're not calling him a monster anymore.
• 56:42
  Ryan: a monster.
• 56:42
  Kearns: poor, misunderstood boy.
• 56:44
  But the Mia goth first, the nature aspects.
• 56:47
  Absolutely.
• 56:48
  And that, draws into the realm of what is the realm of man, what is natural and
• 56:53
  what is the realm of the gods, which is where Victor is kind of putting his foot
• 56:58
  briefly when he reanimate the creature.
• 57:01
  Jon: Yeah.
• 57:01
  Ryan: be happy 'cause he didn't put an ab Abby normal brain into his head.
• 57:07
  Kearns: That's a young Frankenstein joke.
• 57:09
  Everybody.
• 57:11
  Abby Normal.
• 57:12
  Now he takes super hot people and pulls 'em all off the battlefield so that
• 57:16
  there can be thirst trap interviews in the future to promote the movie.
• 57:20
  Jon: But not from the, not from the top or the bottom of the pile.
• 57:23
  Because they'll be, they'll have frostbite damage.
• 57:26
  Ryan: yes they will.
• 57:27
  Kearns: He had to get them warm corpses in the middle.
• 57:30
  So Mia Goth and Mia Goth nails, both roles, the mother scenes, um, she
• 57:35
  does a much better job as Elizabeth.
• 57:37
  There's more screen time and more time to develop that character,
• 57:39
  but she's, she's just great.
• 57:41
  another one who, I wonder if she's gonna get the nod for lead,
• 57:44
  actress, actress in a lead role
• 57:47
  Ryan: maybe,
• 57:47
  Jon: I, would imagine that she probably is more supporting it.
• 57:51
  It'll be, I, mean, I guess it also may depend on what else is
• 57:55
  out there to be nominated, but
• 57:57
  Ryan: which,
• 57:58
  Kearns: there.
• 57:59
  Jon: I think she's more supporting it in this one.
• 58:02
  Ryan: she could be supporting for the mother and then the
• 58:05
  main for Elizabeth there.
• 58:07
  Kearns: Uh, that would be funny.
• 58:08
  If she won the first time ever.
• 58:10
  They would.
• 58:10
  She's just, it's a great role, but she doesn't have enough time on screen
• 58:13
  Jon: Yeah.
• 58:14
  Kearns: she's not Brando.
• 58:15
  Jon: I mean, but she's, she's just a phenomenal actress though.
• 58:21
  Like
• 58:21
  Kearns: I agree.
• 58:22
  Jon: if you watch the work she did in the X Trilogy and then you watch this,
• 58:27
  the range that she pulls from Distressed Final Girl and Ex to Pearl, where she's
• 58:37
  just unhinged farm girl to Maxine, where she's tough triple X actress in
• 58:45
  the Hollywood in the eighties, like it just three completely different
• 58:50
  versions of her in those movies.
• 58:53
  And then to see how she's able to play this role is amazing.
• 58:59
  She's really good.
• 59:02
  Ryan: I wish
• 59:02
  Kearns: I love hearing you guys talk about this stuff.
• 59:04
  Jon: Well, yeah,
• 59:05
  Ryan: more because I
• 59:06
  Jon: I.
• 59:07
  Ryan: Maxine and like she kills it
• 59:09
  Jon: Mm-hmm.
• 59:11
  Ryan: there's so much more to the character.
• 59:13
  Jon: Mm-hmm.
• 59:14
  Ryan: I love you, but you should have had more of the bride.
• 59:18
  Jon: But it, but it, but it, but it's also a choice.
• 59:21
  Like where,
• 59:22
  Kearns: Yeah, where does she fit?
• 59:23
  Jon: know, you're talking a movie that's two and a half hours as it's already cut.
• 59:30
  Where do you put, where do you put more if, especially if you don't wanna start
• 59:34
  getting to three, three and a half hours.
• 59:38
  Ryan: I was
• 59:38
  Kearns: And arguably
• 59:39
  Ryan: it.
• 59:40
  Kearns: the way he constructs the story or reconstructs the story, he
• 59:43
  takes out the need to create the bride
• 59:45
  Jon: Mm-hmm.
• 59:46
  Kearns: Elizabeth fulfills both roles in that.
• 59:49
  And Victor never truly outwardly, you can see the signs of it, but he never
• 59:53
  truly outwardly falls in love with her
• 59:55
  Jon: No
• 59:56
  Kearns: in this adaptation.
• 59:57
  Whereas in Frankenstein,
• 59:59
  Ryan: he flirts with it,
• 1:00:00
  Kearns: I.
• 1:00:01
  Ryan: no pun intended.
• 1:00:02
  Kearns: But it's not overt.
• 1:00:03
  Right?
• 1:00:03
  It's the monsters thing.
• 1:00:04
  Or the creatures thing.
• 1:00:06
  Jon: for Victor, she's more of a fascination
• 1:00:10
  Ryan: Yeah.
• 1:00:11
  Kearns: Mm-hmm.
• 1:00:12
  With,
• 1:00:13
  Jon: and
• 1:00:13
  Kearns: it's kind of like the natural aspect too.
• 1:00:15
  Jon: and I think there's also an element of sort of toying with
• 1:00:19
  his brother in it too, where,
• 1:00:21
  Kearns: Mm-hmm.
• 1:00:22
  Jon: her from him?
• 1:00:24
  Maybe
• 1:00:25
  Ryan: that is true.
• 1:00:26
  Kearns: Maybe.
• 1:00:28
  And she seems to be interested in Victor as well,
• 1:00:32
  Jon: receptive until,
• 1:00:35
  Kearns: right.
• 1:00:35
  Until she sees the real victor.
• 1:00:37
  The victor, his father's son, Victor, which we're gonna talk
• 1:00:40
  about right now, is Victor makes the creature and he's basically got
• 1:00:45
  a gimp in a castle all by himself.
• 1:00:48
  And, Heinrich, Hans Handler, Igor, whatever his name is, is dead.
• 1:00:52
  He dies of gravity and syphilis.
• 1:00:54
  Jon: Yeah.
• 1:00:55
  Gravity first, syphilis
• 1:00:58
  Kearns: Victor.
• 1:01:00
  I think Del Toro is very deliberate in how Victor treats the monster once the monster
• 1:01:04
  doesn't live up to his expectations.
• 1:01:06
  Ryan: Yes.
• 1:01:06
  Kearns: And I think it's a direct parallel to how Victor's father was treating him.
• 1:01:13
  And I think that's a huge part of this story.
• 1:01:16
  I think that there are a few different stories he's built on top of each
• 1:01:18
  other, which is a Del Toro favorite.
• 1:01:21
  He's really good at it.
• 1:01:22
  But I mean, that's really glaring the way Victor is going to cast off this
• 1:01:28
  thing that he's created, created life.
• 1:01:30
  And since it's not intelligent enough, he's going to destroy it
• 1:01:34
  Ryan: Yeah.
• 1:01:35
  Kearns: just like his daddy.
• 1:01:37
  Jon: not even really destroy it even so much as just chain it up and leave
• 1:01:42
  it like the destruction comes later.
• 1:01:46
  Kearns: Oh, okay.
• 1:01:47
  Jon: Like
• 1:01:48
  Kearns: I was rolling all that in, but yeah.
• 1:01:49
  Jon: initial responses.
• 1:01:52
  Oh, all you can say is Victor, aren't you?
• 1:01:54
  Can't you say anything else?
• 1:01:55
  And, all right.
• 1:01:56
  You're dangerous.
• 1:01:57
  You're gonna get changed in, changed in this basement.
• 1:02:01
  Ryan: I think
• 1:02:01
  Kearns: And when he says Elizabeth too, he decides, yep, I'm killing this thing.
• 1:02:05
  Jon: absolute disappointment.
• 1:02:07
  Kearns: I don't think that's, it's figurative and literal too,
• 1:02:10
  because the Elizabeth part is, what lit Elizabeth represents
• 1:02:14
  Ryan: Yeah.
• 1:02:14
  Kearns: that you know what, what he's going toward.
• 1:02:16
  Is he going toward that direction or is he going toward Victor's direction?
• 1:02:20
  Jon: Mm-hmm.
• 1:02:21
  Kearns: It's an interesting kind of thing.
• 1:02:22
  Ryan: mean, I feel like watching, watching it and how he says
• 1:02:27
  Victor's name over and over again.
• 1:02:30
  He, it's, that's his father.
• 1:02:32
  That's how he looks
• 1:02:33
  Jon: Mm-hmm.
• 1:02:33
  Ryan: like his protector, and Victor's father did to
• 1:02:36
  him, he treats him like shit.
• 1:02:38
  And it's, it's,
• 1:02:39
  Jon: Mm-hmm.
• 1:02:40
  Ryan: you know?
• 1:02:41
  Jon: I, you know, it.
• 1:02:43
  One of us can speak to having kids who can only say a couple of words at first, like
• 1:02:48
  it's Victor's immediately frustrated that the creature wasn't born fully formed.
• 1:02:55
  Kearns: Right.
• 1:02:57
  Yeah, and it, it, yeah, I mean, we are running so long, so I'm not gonna
• 1:03:02
  get into it, but yeah, absolutely.
• 1:03:04
  It's an adjustment and you carry in What it doesn't take long for
• 1:03:08
  you to realize the way you're doing things and why you're doing them.
• 1:03:12
  Ryan: Yeah,
• 1:03:12
  Kearns: paying attention to yourself and if you're doing things the way
• 1:03:15
  they were done wrong to you, you can make a correction and stop it,
• 1:03:19
  which is hopefully what I've done.
• 1:03:24
  Ryan: Well, you still have a lake.
• 1:03:25
  All right.
• 1:03:26
  Jon: Yeah.
• 1:03:27
  Ryan: Victor
• 1:03:27
  Kearns: do,
• 1:03:28
  Jon: I.
• 1:03:28
  Kearns: I have, I have both legs currently.
• 1:03:31
  Um, so we're, we're done with the monster, but the monster lives.
• 1:03:35
  Haha.
• 1:03:36
  Then we begin part two.
• 1:03:37
  The monster enters the ship, and this is where the movie, this is where you
• 1:03:41
  notice, okay, this has taken a turn.
• 1:03:44
  He's doing something new.
• 1:03:46
  Jon: Mm-hmm.
• 1:03:46
  Kearns: The monster comes in and speaks to them and says, no,
• 1:03:48
  I'm going to tell you my story.
• 1:03:51
  This is also the first time you realize the monster can speak fully.
• 1:03:54
  Jon: Mm-hmm.
• 1:03:55
  Kearns: it does in the story anyway.
• 1:03:56
  But like now we see that, you know, it's a fully sentient being at this point.
• 1:04:00
  Jon: Yeah.
• 1:04:01
  He's, he's developed from being chained in a basement, saying, Victor.
• 1:04:07
  Kearns: And we get this, the flash to the mo, to the creature fleeing the
• 1:04:11
  castle and well fleeing the water.
• 1:04:14
  Jon: Mm-hmm.
• 1:04:15
  Ryan: going down the water slide through the
• 1:04:18
  Kearns: Um, and this is it.
• 1:04:20
  This is it in nature.
• 1:04:21
  And if you pay attention to the color tones and things like that in this,
• 1:04:24
  when he's at peace, so to speak, um, and learning about the world,
• 1:04:28
  it's very like newborn dough, sort of Bambi, beginning of Bambi vibes.
• 1:04:33
  Jon: And then he kinda gets babied.
• 1:04:35
  Kearns: It does kind of get babied.
• 1:04:37
  It gets shot by a bunch of people.
• 1:04:38
  'cause people don't like what they don't understand and Del Toro
• 1:04:41
  doesn't pull any punches with that.
• 1:04:42
  Jon: Nope,
• 1:04:43
  Kearns: So they shoot the shit out of him.
• 1:04:45
  Jon: yeah.
• 1:04:46
  And so I mean, in the existence of the creature, he's experienced, whatever
• 1:04:53
  it is Victor gave him, which is some mix of anger, hate, and disappointment.
• 1:04:58
  the brief moments of compassion that he gets from Elizabeth, and
• 1:05:05
  now just outright fear and violence.
• 1:05:08
  Kearns: Yeah, not a great combo for something with superhuman strength
• 1:05:12
  and regen like Wolverine regen.
• 1:05:14
  Jon: Yeah.
• 1:05:16
  Kearns: he goes inside of the gears of a mill, which is in the farmstead of this
• 1:05:20
  pretty wonderful family and also the gentleman who shot him a bunch, um, is
• 1:05:25
  the dad, the homestead owner and there's wolves 'cause there's gotta be something
• 1:05:30
  Jon: Mm-hmm.
• 1:05:31
  Kearns: ruin everything.
• 1:05:32
  We get this whole scene with the blind man.
• 1:05:34
  Um, and by the way, really big nod to David Bradley.
• 1:05:38
  I wonder if he might get a nomination for supporting as well.
• 1:05:41
  Jon: He could.
• 1:05:42
  Ryan: might.
• 1:05:42
  Jon: He could.
• 1:05:43
  Kearns: It's a great job.
• 1:05:44
  He does a good.
• 1:05:45
  Jon: Yeah.
• 1:05:46
  Kearns: He's the angry, non pedophilic janitor in the Harry Potter series.
• 1:05:50
  If, if you guys are familiar out there in the world, he watches
• 1:05:54
  the children and snitches on them.
• 1:05:56
  Game of Thrones as well.
• 1:05:58
  That's right.
• 1:05:59
  He's the red, uh, is he the dad for the red wedding?
• 1:06:02
  Yeah.
• 1:06:02
  Ryan: He's, uh,
• 1:06:03
  Kearns: What's his name?
• 1:06:04
  Ryan: Um,
• 1:06:05
  Kearns: No, uh,
• 1:06:06
  Ryan: Gray, gray, gray.
• 1:06:07
  Joy.
• 1:06:07
  No, not gray.
• 1:06:08
  Kearns: not gray.
• 1:06:09
  Joy.
• 1:06:09
  Something gray.
• 1:06:11
  Anyway,
• 1:06:11
  Ryan: yeah.
• 1:06:12
  Kearns: Walter,
• 1:06:13
  Ryan: Hold
• 1:06:13
  Kearns: I don't know.
• 1:06:14
  Ryan: whole
• 1:06:14
  Kearns: Hold.
• 1:06:15
  So anyway, he does a fantastic job in this, and that's the monster's,
• 1:06:19
  um, that's the monster's true stepdad moment where he's taught
• 1:06:22
  to read, he's taught to understand the world, and he's, he's grown.
• 1:06:26
  This is his college experience, I suppose.
• 1:06:29
  Jon: He,
• 1:06:29
  Kearns: Um, and it all goes through pretty well.
• 1:06:31
  Jon: yeah, he, he learns first watching that family and then being
• 1:06:38
  around the blind man, it, he learns life and compassion and education,
• 1:06:46
  and he just becomes a fuller being.
• 1:06:50
  Ryan: Well, he's the spirit of the forest.
• 1:06:52
  Jon: Mm-hmm.
• 1:06:53
  Ryan: Come on now.
• 1:06:54
  Kearns: That's true.
• 1:06:55
  They call him the spirit of the four.
• 1:06:56
  And obviously the blind grandfather knows better.
• 1:06:58
  He, um, and Franken or Frankenstein's monster is doing all these things because
• 1:07:04
  he wants, he needs to be welcomed.
• 1:07:06
  He needs to be a part of this thing called Life and Society, which is very
• 1:07:11
  similar to all of us, like people.
• 1:07:13
  I mean, we have to do that too.
• 1:07:15
  It's the way we're made.
• 1:07:17
  Ryan: Yep.
• 1:07:17
  Kearns: So that's, it's very, it's a good watch.
• 1:07:20
  It's, a simple part of the movie that's kind of a nice break
• 1:07:23
  Jon: Mm-hmm.
• 1:07:24
  Kearns: from all the heavy imagery and stuff.
• 1:07:27
  And then the wolves come and kill his friend
• 1:07:29
  Ryan: Yep.
• 1:07:29
  Kearns: and he gets blamed for it.
• 1:07:30
  Jon: yep.
• 1:07:31
  Yep.
• 1:07:32
  Kearns: Then he, my favorite part though is when at the end they
• 1:07:35
  give, they basically give him no choice, but when he kills them
• 1:07:38
  Ryan: yeah,
• 1:07:38
  Kearns: they're trying to continue to shoot him, they track him and,
• 1:07:41
  and he just like rips them to shreds real quick and then wanders off mad
• 1:07:44
  Jon: mm-hmm.
• 1:07:46
  Kearns: that his buddy's gone.
• 1:07:46
  This is the creature I'm speaking about.
• 1:07:48
  and that portion of the movie is now over and we get into the revenge arc.
• 1:07:53
  Jon: Yep.
• 1:07:53
  Ryan: quick.
• 1:07:54
  That was my favorite scene from, um.
• 1:07:57
  From a film goer's point of view, I, I love that scene with the blind man.
• 1:08:01
  It always gets me from the original 'cause it's just so wholesome and it's just
• 1:08:05
  like the patience and willing, wanting to teach and help someone who's in need.
• 1:08:10
  It's like, it's awesome.
• 1:08:12
  I dunno,
• 1:08:14
  Kearns: Shares his bread with him.
• 1:08:15
  Ryan: it's
• 1:08:15
  Jon: Yep.
• 1:08:16
  Ryan: an awesome moment but that leads to something the creature wants and he
• 1:08:21
  Kearns: A lady,
• 1:08:22
  Ryan: Yeah.
• 1:08:23
  Kearns: he wants companionship.
• 1:08:24
  It's not about.
• 1:08:24
  Jon: a companion.
• 1:08:25
  It, mean, the, I think the lady part is important, but I think the
• 1:08:30
  companionship aspect is more important.
• 1:08:34
  Ryan: Yeah.
• 1:08:35
  he's alone.
• 1:08:36
  Kearns: does call him out.
• 1:08:37
  He was like, when, what?
• 1:08:38
  Procreation?
• 1:08:39
  Ryan: Yeah.
• 1:08:40
  Kearns: And he's like, I don't know if that's on the, on the table buddy.
• 1:08:43
  Jon: I, I don't, and I don't even know that, that, I don't, that, that
• 1:08:48
  doesn't really necessarily seem like something the creature was after.
• 1:08:51
  He was more after someone who stuck living for eternity also.
• 1:08:58
  Ryan: Yes.
• 1:08:59
  Kearns: And that was the, that's why people are really gravitating
• 1:09:01
  toward Mia Goths, um, performance with him with, and they're kind of
• 1:09:06
  yucking it all up that Jacob, um, a lordy and she did such a great job
• 1:09:11
  sort of showing that I accept you.
• 1:09:15
  For who you are pretty instantly in this movie.
• 1:09:18
  Jon: Mm-hmm.
• 1:09:18
  Kearns: like it.
• 1:09:18
  It's very gothic too.
• 1:09:21
  So they, they enjoy that very much and that's, that's what she represents to him.
• 1:09:25
  So that's why he's gravitating toward her.
• 1:09:28
  But he doesn't ask for her.
• 1:09:29
  He's like, make me one.
• 1:09:31
  Jon: Yeah.
• 1:09:31
  Yeah,
• 1:09:31
  Ryan: Yeah.
• 1:09:33
  Jon: yeah.
• 1:09:33
  Ryan: He's a gentleman.
• 1:09:36
  Jon: Yep.
• 1:09:36
  Ryan: Somewhat.
• 1:09:37
  Kearns: get there.
• 1:09:38
  We get to the scene, we're gonna breeze through super fast where he's at the
• 1:09:41
  wedding, his brother's wedding, uh, the creature arrives, he explains everything
• 1:09:45
  in a pretty respectful way in the beginning until Victor has to be a jerk.
• 1:09:50
  And then Victor gets bonked around.
• 1:09:51
  A few people die, including Victor's brother and also Elizabeth And.
• 1:09:56
  Jon: Yes.
• 1:09:57
  Ryan: Yeah.
• 1:09:57
  Kearns: And then she's brought into this cave by the creature
• 1:10:00
  who's really like the only one who loved her for what she truly is.
• 1:10:03
  Ryan: Mm-hmm.
• 1:10:04
  Kearns: And he lays her down, which is also a metaphor by the way, everybody.
• 1:10:08
  He lays her down on the rock and he leaves her there.
• 1:10:10
  And this is where the last hope of seeing the bride of
• 1:10:13
  Frankenstein come out was going.
• 1:10:15
  It went away.
• 1:10:16
  There was no female creature to be made, and we were made
• 1:10:19
  privy to that right after this.
• 1:10:21
  Ryan: Yes.
• 1:10:22
  It's very quick too.
• 1:10:23
  'cause it's like gunshot shock of death.
• 1:10:26
  Okay, here comes the bride.
• 1:10:28
  You look at the time on Netflix, 30 minutes.
• 1:10:31
  How's he gonna do this?
• 1:10:32
  Nope.
• 1:10:33
  Laser on the
• 1:10:33
  Jon: He's not.
• 1:10:34
  Yeah.
• 1:10:35
  Ryan: you.
• 1:10:36
  Kearns: And then they jumped right into the chase and they segue
• 1:10:39
  into it being him on a dog sled.
• 1:10:41
  Like he never stopped from that moment where he started
• 1:10:43
  chasing him outta the cave.
• 1:10:44
  And that was pretty cool.
• 1:10:45
  Ryan: That was a cool
• 1:10:46
  Kearns: Yeah.
• 1:10:46
  Ryan: too, um, between Victor and the, the creature, um, under, under the tent and
• 1:10:52
  Kearns: Oh, when he holds the dynamite and he goes, run so good.
• 1:10:56
  So good.
• 1:10:57
  Well, he's rage filled at that point.
• 1:10:59
  He's, he's, he, he understands, he's immortal, not by choice.
• 1:11:03
  He's been given this life against his will, father, son,
• 1:11:06
  duality thing again, once again.
• 1:11:08
  And, uh, yeah.
• 1:11:10
  So we, we then go, we're in the ship and the crew is like, made a
• 1:11:13
  barter with it, with the creature and like, Hey, stop killing us.
• 1:11:17
  Please just come up and take him.
• 1:11:18
  We don't care.
• 1:11:19
  We don't care.
• 1:11:20
  The captain's an idiot.
• 1:11:21
  We're mad.
• 1:11:22
  So
• 1:11:22
  Ryan: wanna go home.
• 1:11:24
  Kearns: he's been in the ship this whole time, and now we get
• 1:11:27
  to see the heartwarming scene that you guys can describe.
• 1:11:31
  Jon: I, for me, it's as much the, the connection that.
• 1:11:36
  hardened tough guy captain makes with the creature even
• 1:11:41
  Kearns: Mm-hmm.
• 1:11:42
  Jon: the, the release of Victor.
• 1:11:45
  It's that.
• 1:11:46
  It's that, this guy who all you've seen do is yell and scream at people and
• 1:11:53
  threaten people is so moved by this story.
• 1:11:59
  Ryan: Yeah, it's it watching it, it got on my heartstrings just 'cause
• 1:12:06
  familiar of like the understanding of what the monster goes through
• 1:12:10
  Jon: Mm-hmm.
• 1:12:11
  Ryan: Victor, the idea of the father figure, kinda like you have to be
• 1:12:14
  better and then having, you know, the idea of having siblings and kind of
• 1:12:19
  being pushed to the side and all that.
• 1:12:22
  Jon: Mm-hmm.
• 1:12:22
  Ryan: finally at the end getting that understanding.
• 1:12:24
  It's like.
• 1:12:26
  Being in a situation, it's like, you're like crap.
• 1:12:28
  Like you can see it.
• 1:12:29
  But then to have that full circle moment at the end, it's, it's beautiful.
• 1:12:34
  It's really done well.
• 1:12:35
  And um, I don't cry a lot with movies.
• 1:12:39
  Like I cried silly stuff.
• 1:12:41
  Like when I thought Bruce Wayne died, I cried.
• 1:12:43
  But with this, it's like you watch Occhio and you shed a tear at the end of it.
• 1:12:47
  And at this, I did shed a tear
• 1:12:51
  Jon: It was close.
• 1:12:52
  Ryan: the ending, you
• 1:12:53
  Jon: It was close.
• 1:12:54
  Kearns: Victor's, um, say my name, the way you did it the first
• 1:12:57
  time is sort of represents him.
• 1:12:59
  Wanting to go back and do it the right way.
• 1:13:01
  Now that he's realized everything he did wrong,
• 1:13:04
  Jon: Yep.
• 1:13:04
  Kearns: forgiving him is new.
• 1:13:07
  That is what changes the whole movie, the whole vibe of the movie.
• 1:13:10
  Um, the ending,
• 1:13:11
  Jon: Mm-hmm.
• 1:13:11
  Kearns: the creature forgiving him for his transgressions, and then
• 1:13:16
  having to continue to persist much like we must do after our fathers
• 1:13:19
  Jon: Yep.
• 1:13:20
  Kearns: go off and we have to continue going on.
• 1:13:23
  It's definitely a, that's an emotional thing and well, the way
• 1:13:27
  tell Toro does it is why it's, this movie deserves all the praise.
• 1:13:32
  Ryan: Well,
• 1:13:32
  Kearns: It lands so well.
• 1:13:35
  Ryan: well we, we did mention in the beginning when Victor's showing the
• 1:13:38
  creature kind of trying to explain life.
• 1:13:41
  He shows him sunlight and he's afraid the light.
• 1:13:43
  He says light is good.
• 1:13:45
  And that's in like, not really the beginning beginning, but like right
• 1:13:48
  in the middle of the beginning and at the end he embraces the sunlight.
• 1:13:52
  it's like the difference, and we've talked about it.
• 1:13:55
  at work, the difference of the novel is there's no hope in the novel.
• 1:13:59
  he, you know, no spoilers.
• 1:14:01
  I don't wanna spoil it for John 'cause it's a different ending.
• 1:14:04
  Um, but in
• 1:14:05
  Kearns: If you've seen the movies, it's the same ending.
• 1:14:07
  Jon: yeah, I, I, I have a,
• 1:14:08
  Ryan: okay,
• 1:14:09
  Jon: I have a, I have a pretty reasonable understanding of where it's gonna wind up.
• 1:14:13
  Like I'm familiar with the story, I just never read it.
• 1:14:16
  Ryan: it's, yeah, I feel like, I mean, in his own way, in my
• 1:14:21
  interpretation, he does forgive him in his own way, but it's brutal.
• 1:14:25
  While this, it's like, I'm gonna have hope and move on in life.
• 1:14:28
  And
• 1:14:28
  Jon: Mm-hmm.
• 1:14:29
  Ryan: And he helps the crew give free and
• 1:14:32
  Kearns: At the end of this, you see him ready to try to find
• 1:14:36
  a place in the world somehow.
• 1:14:37
  Whereas in the originals, it's, it's very clear that the world is not for him
• 1:14:42
  and he will never be living a harmonious existence, but he will be forced to exist.
• 1:14:47
  It's a horror.
• 1:14:48
  The end of the first one is pure horror.
• 1:14:50
  This one, there's hope,
• 1:14:52
  Jon: Mm-hmm.
• 1:14:53
  Kearns: Ew.
• 1:14:54
  There's all this great, beautiful stuff that Del Toro had the audacity
• 1:14:58
  to put into this classic tale of woe.
• 1:15:00
  Jon: Yep.
• 1:15:02
  Kearns: But I think it's for the times.
• 1:15:03
  I think we needed this descending in 2025.
• 1:15:06
  Jon: Yeah,
• 1:15:07
  Ryan: Yeah,
• 1:15:07
  Jon: and I mean it's sort of, Frankenstein is always in my mind,
• 1:15:13
  sort of been the ultimate outcast and.
• 1:15:19
  If you ended this movie with him still being completely
• 1:15:23
  outcasted, it's, it's a bummer.
• 1:15:26
  Like, and it didn't need to be the way you've built the rest of this movie,
• 1:15:30
  you've, he's built in a place where it can finish with some hope, and he nails that.
• 1:15:36
  Kearns: and the colors too, when at the end you have your whites and golds that
• 1:15:40
  he talks about and what he, I mean, he tells us what the whites and golds
• 1:15:43
  represent, but I mean, it's pretty stark at the end that there's hope
• 1:15:49
  Jon: Mm-hmm.
• 1:15:49
  Kearns: that you get the color of hope at the end of the movie too, which is nice.
• 1:15:53
  Jon: Yeah.
• 1:15:54
  Ryan: than
• 1:15:54
  Kearns: There's more to discover in this too.
• 1:15:56
  There's the parallels of earth in heaven.
• 1:15:57
  There's a ton to unpack.
• 1:16:00
  Ryan: Yeah.
• 1:16:02
  Jon: This is one that, that, like, it's not even a one watch.
• 1:16:06
  if you want to fully experience this, you're gonna have to watch it a few times.
• 1:16:10
  Ryan: this
• 1:16:11
  Kearns: to watch it with my wife because I keep, throwing out the thirst
• 1:16:14
  trap creature to her as the lure.
• 1:16:18
  Ryan: just show her a couple
• 1:16:19
  Kearns: She's not, she, she just wants to watch it.
• 1:16:22
  Ryan: Show her a
• 1:16:22
  Kearns: I don't wanna start off some euphoria.
• 1:16:25
  I'm gonna watch those 40 year olds and stranger things season, whatever.
• 1:16:28
  And then we're gonna probably, probably have to find some
• 1:16:31
  new story to enjoy together.
• 1:16:32
  We tried Wednesday.
• 1:16:34
  It didn't work out.
• 1:16:34
  Anyway, we're gonna get to the end.
• 1:16:35
  It's a million hours long.
• 1:16:37
  Ryan: I'm
• 1:16:37
  Kearns: so we obviously love Frankenstein.
• 1:16:40
  Jon: Ah,
• 1:16:40
  Kearns: We loved it.
• 1:16:42
  Jon: Yeah.
• 1:16:42
  This is,
• 1:16:43
  Kearns: Six out of five.
• 1:16:44
  Jon: This is a
• 1:16:45
  Kearns: Um, Ryan will watch Pan's Labyrinth or will hurt
• 1:16:48
  him physically with things.
• 1:16:50
  Ryan: No,
• 1:16:51
  Jon: Yep,
• 1:16:52
  Kearns: Tax probably to start, um,
• 1:16:55
  Ryan: All right.
• 1:16:55
  I am
• 1:16:55
  Kearns: all over,
• 1:16:56
  Ryan: Barbed wire
• 1:16:57
  Kearns: but.
• 1:16:58
  I, I honestly, Ryan, if you enjoyed this as much and you were moved to
• 1:17:02
  tears for this, I bet you you're gonna cry at the end of Pan's Labyrinth.
• 1:17:06
  Ryan: I
• 1:17:06
  Kearns: It's a different message, but
• 1:17:08
  Jon: yeah.
• 1:17:10
  Ryan: it's it from what I've seen.
• 1:17:11
  Um.
• 1:17:12
  I mean, I was in a closet.
• 1:17:14
  I've seen trailers, again, reading articles about it.
• 1:17:17
  Um, seen certain clips, not ruining the film, but understanding what he
• 1:17:21
  was going for with the message and
• 1:17:23
  Jon: Mm-hmm.
• 1:17:24
  Ryan: there's a lot going on and
• 1:17:26
  Kearns: good.
• 1:17:27
  You want to go in blind as you can.
• 1:17:30
  Jon: Yeah.
• 1:17:30
  Ryan: um,
• 1:17:31
  Kearns: Hopefully you forgot all that crap
• 1:17:33
  Jon: For,
• 1:17:33
  Ryan: while kind of, no, come on.
• 1:17:36
  I'm, I'm a master of the craft.
• 1:17:37
  Like, I love this.
• 1:17:38
  Like, you don't, unless it's a horrible movie, you don't forget it.
• 1:17:42
  Well, sometimes you do remember the horrible movies.
• 1:17:45
  I'm not gonna lie.
• 1:17:46
  Kearns: you had seen it.
• 1:17:49
  What do you have to remember?
• 1:17:50
  The stuff you listen to in lecture hall?
• 1:17:52
  Ryan: well, I'll say this.
• 1:17:53
  I have seen all five of these films that I'm covering tonight in our top
• 1:17:57
  Kearns: Oh, we're going into top fives, you said of a bitch.
• 1:18:00
  All right, let's do it.
• 1:18:01
  Yeah, that was good because I was gonna, I was about to start harassing
• 1:18:04
  you again, so that was good.
• 1:18:06
  Ryan: So
• 1:18:06
  Kearns: All, let's do it.
• 1:18:07
  Ryan: my top five.
• 1:18:09
  Benicio del Toro, not Peter Jackson, but Guillermo del
• 1:18:13
  Toro movies and, sorry, pants.
• 1:18:16
  Labyrinths not on here.
• 1:18:17
  It'll be on here probably next time with Nightmare Alley.
• 1:18:20
  Well, um, it,
• 1:18:22
  Jon: Those might be one, two next time,
• 1:18:25
  Ryan: Mm, well, maybe two,
• 1:18:28
  Jon: one, two,
• 1:18:28
  Ryan: 1, 1 is, one is hard to change, but my number
• 1:18:31
  Jon: all.
• 1:18:31
  Ryan: gonna start off.
• 1:18:33
  This is, uh, relates to John's Blind Rankin, my number five
• 1:18:36
  specific rim, uh, as a Gian film.
• 1:18:40
  He brings it to America and it's awesome.
• 1:18:44
  I love it.
• 1:18:44
  Charlie Nans in it.
• 1:18:45
  Ron Pearlman is in a small role.
• 1:18:49
  a fun movie and he americanizes it in the right way and it works.
• 1:18:54
  Jon: Mm-hmm.
• 1:18:55
  Ryan: the Godzilla 2000 film.
• 1:18:57
  The Godzilla movies nowadays are, uh, they're okay.
• 1:19:00
  Not the, not minus one,
• 1:19:02
  Kearns: Yeah, I.
• 1:19:02
  Jon: Minus,
• 1:19:03
  Ryan: one.
• 1:19:04
  Jon: minus one is.
• 1:19:05
  Ryan: yeah.
• 1:19:07
  I can't wait for the next
• 1:19:08
  Kearns: Electric, Boogaloo, Godzilla bad.
• 1:19:10
  Ryan: Yes,
• 1:19:11
  Kearns: All the Kong ones are pretty bad after King of Monsters, but I don't want
• 1:19:15
  to seg, I don't wanna sidetrack you.
• 1:19:17
  Keep going.
• 1:19:18
  Ryan: not, well.
• 1:19:19
  Number four, it's my first film I ever watched.
• 1:19:21
  I still remember clicking it open on the DVD.
• 1:19:24
  It's the Mimic mimic.
• 1:19:26
  I always put the, because it was the same time.
• 1:19:29
  Now, kits, we had two of these, we had Mimic and we had the Relic at the
• 1:19:33
  Jon: Mm-hmm.
• 1:19:35
  Kearns: Yep.
• 1:19:35
  Ryan: I,
• 1:19:36
  Kearns: Relic was great, by the way.
• 1:19:37
  Ryan: oh,
• 1:19:38
  Jon: Yep.
• 1:19:39
  Ryan: the, I mean, similar,
• 1:19:41
  Kearns: Sizemore, not Tom.
• 1:19:42
  Size less, lemme tell you.
• 1:19:45
  All right.
• 1:19:45
  Ryan: Well, that
• 1:19:46
  Kearns: Mimic good choice.
• 1:19:47
  Jon: Yep.
• 1:19:48
  Ryan: Well, that leads number three, which is controversy, but I love Blade two.
• 1:19:52
  I'll say it.
• 1:19:54
  I, I, the vampires are cool.
• 1:19:56
  Um, Norman Reitz does a great, a good job as a supporting character.
• 1:20:00
  With that twist, Ron Perlman, um, Chris Christofferson, come on now.
• 1:20:06
  He doesn't sing, but it's a great performance as Whistler.
• 1:20:10
  Jon: I, I, as someone who's not a country music fan, I will make a very
• 1:20:15
  strong argument that Kris Kristofferson is a better actor than singer.
• 1:20:18
  Anyway,
• 1:20:19
  Ryan: Yes, I agree with that.
• 1:20:21
  I agree with that.
• 1:20:23
  Um, but I,
• 1:20:24
  Kearns: my
• 1:20:24
  Ryan: like the
• 1:20:25
  Kearns: cat.
• 1:20:26
  Jon: I.
• 1:20:28
  Ryan: I do like the sequel though.
• 1:20:29
  Um, I think the first one's a classic, of course, but the sequel, it's like
• 1:20:33
  the idea of like this like the, the, uh, David Escore writes a story about like
• 1:20:38
  the vampire, uh, virus and how they're transforming and it's just awesome.
• 1:20:44
  Peace, peace, peace.
• 1:20:46
  Uh, number two, uh, you know what?
• 1:20:50
  I care.
• 1:20:51
  All right.
• 1:20:52
  There are
• 1:20:52
  Kearns: I know, but you're in the very small minority.
• 1:20:54
  We're not gonna spend five minutes on Blade two at at one hour and 27 minutes.
• 1:20:59
  Then what's your second movie?
• 1:21:01
  Ryan: Second movie.
• 1:21:02
  It's not the Golden Army, but the first Hellboy, del Toro, this head
• 1:21:05
  on when it was in Developmental Hell, it does amazing job.
• 1:21:10
  It's based on the Hellboy Seat of Destruction comic book, with Rasputin.
• 1:21:14
  And it's just, it's awesome.
• 1:21:17
  Highly recommended.
• 1:21:18
  And number one, before Kern starts yelling at me is
• 1:21:21
  Kearns: that was good.
• 1:21:22
  Ryan: water.
• 1:21:24
  I love the
• 1:21:24
  Kearns: He lands it.
• 1:21:25
  He sticks the landing.
• 1:21:26
  Jon: Mm-hmm.
• 1:21:27
  For now, for now there
• 1:21:30
  Kearns: I'm curious.
• 1:21:32
  Ryan: If,
• 1:21:32
  Jon: is room for pens to get past the shape of water.
• 1:21:35
  Kearns: Mm-hmm.
• 1:21:36
  Ryan: once I watch Pants and Nightmare Alley, Pacific Rim will
• 1:21:39
  go away and Blade two will go away.
• 1:21:42
  because I, nightmare again.
• 1:21:43
  Nightmare Alley's been on my list.
• 1:21:45
  familiar with the original one and he nails the remake and Pants Labyrinth.
• 1:21:49
  I, I gotta watch it 'cause it's going to, you guys are gonna keep talking about
• 1:21:53
  it or it's gonna come on the list soon.
• 1:21:55
  it's either way.
• 1:21:55
  Jon: Uh, it's, it's definitely going on the list for next year, like definitely.
• 1:22:00
  Ryan: Oh,
• 1:22:00
  Kearns: Has to
• 1:22:01
  Ryan: we got Thanksgiving coming up.
• 1:22:03
  I was gonna say
• 1:22:03
  Jon: Mm-hmm.
• 1:22:04
  Ryan: like, we're not watching that.
• 1:22:06
  We're
• 1:22:06
  Jon: No, thanks.
• 1:22:08
  is coming up.
• 1:22:09
  Kearns: tape of water.
• 1:22:10
  All right.
• 1:22:10
  Totally redeems himself.
• 1:22:12
  John, what's yours?
• 1:22:13
  Top five left.
• 1:22:14
  Jon: Top five
• 1:22:18
  manmade monsters.
• 1:22:20
  Kearns: Ooh.
• 1:22:22
  Jon: And I am gonna start, start number five with one.
• 1:22:25
  I really didn't think I was gonna like at all, like at all.
• 1:22:31
  it's Megan.
• 1:22:33
  Kearns: Oh, interesting.
• 1:22:34
  Jon: Yeah.
• 1:22:35
  Ryan: you finally watched
• 1:22:36
  Jon: I finally watched at the beginning of October.
• 1:22:39
  I, I really, really liked the first one.
• 1:22:42
  I haven't watched the second one.
• 1:22:43
  I don't know if I'm going to first
• 1:22:45
  Kearns: turned that into an action movie.
• 1:22:47
  Jon: Yeah.
• 1:22:47
  Ryan: And a
• 1:22:48
  Jon: Yeah.
• 1:22:49
  Yeah,
• 1:22:49
  Ryan: of a comedy,
• 1:22:51
  Jon: it, for me, it probably works as a comedy because it's a pretty silly
• 1:22:56
  concept, but, you know, first one works and, you know, an engineer becomes the
• 1:23:01
  guardian of her orphan niece and decides the AI robot she's creating would be the
• 1:23:06
  perfect companion for her orphaned niece.
• 1:23:10
  Um, the AI doesn't behave quite as quite in the ways that she expected, and it
• 1:23:15
  develops a dangerous bond with Katie and becomes a very overzealous protector.
• 1:23:24
  Kearns: Zeal is there everybody?
• 1:23:25
  Jon: Yeah.
• 1:23:26
  Ryan: It's a good film.
• 1:23:27
  Jon: my number four, we're gonna go to a little blacksploitation, with Black Stein,
• 1:23:33
  Ryan: Yep.
• 1:23:34
  I knew
• 1:23:34
  Kearns: Nice.
• 1:23:38
  Ryan: you know, once
• 1:23:38
  Kearns: A manmade.
• 1:23:40
  Jon: yeah.
• 1:23:40
  Yeah.
• 1:23:41
  So, um.
• 1:23:43
  Eddie's a horribly wounded Vietnam veteran who lost all four limbs to a landmine.
• 1:23:49
  he was returned home where a gifted surgeon is able to reattach his limbs,
• 1:23:56
  his jealous assistant and injects Eddie with some DNA that turns him
• 1:24:01
  into a Frankenstein like monster.
• 1:24:05
  Ryan: See, they could have
• 1:24:06
  Kearns: Stein.
• 1:24:06
  Ryan: cow
• 1:24:07
  Jon: Yes.
• 1:24:08
  Ryan: versus Black Stein.
• 1:24:10
  They could have had a cash cow right there.
• 1:24:12
  Jon: Yep.
• 1:24:14
  I'm surprised.
• 1:24:15
  Yeah.
• 1:24:16
  Yeah.
• 1:24:16
  Black, uh, blacken Stein Blacken.
• 1:24:18
  Stein Bula.
• 1:24:19
  They're so fun.
• 1:24:21
  There's a few, there's a few of those.
• 1:24:23
  There's one that's on a, a, Dr. Jekyll and Mr. Hyde Also the name of
• 1:24:29
  which is escaping me at the moment.
• 1:24:30
  J d's Revenge, I think it is.
• 1:24:34
  Ryan: Those, the 70 horror was fun
• 1:24:36
  Jon: Mm-hmm.
• 1:24:37
  Ryan: just to add.
• 1:24:38
  Jon: So my number three is technically not manmade.
• 1:24:43
  It's man altered and it is Godzilla versus Hera or the smog monster.
• 1:24:49
  Ryan: Okay.
• 1:24:50
  Kearns: Cool.
• 1:24:51
  Jon: Yeah.
• 1:24:52
  alien Life Forum arrives on earth inside a comet and soon begins to
• 1:24:56
  feed on the planet's pollution growing into a sulfuric acid spewing monster
• 1:25:03
  scientists and Godzilla separately rush to defeat it before the smog
• 1:25:08
  monster can destroy the earth.
• 1:25:12
  Kearns: I love that you chose that film
• 1:25:13
  Jon: so, so steeped in like early seventies ecological fear.
• 1:25:21
  Ryan: Yeah.
• 1:25:21
  Kearns: which they should have probably taken more seriously in retrospect.
• 1:25:24
  Jon: Yeah.
• 1:25:24
  I mean, listen, we, did take it seriously for a little while
• 1:25:27
  and we fixed some things and you
• 1:25:30
  Kearns: Sure did.
• 1:25:30
  Jon: you don't, you don't hear about the hole in the ozone layer anymore, do you?
• 1:25:34
  Ryan: Nope.
• 1:25:34
  Kearns: That's true.
• 1:25:36
  That is true.
• 1:25:37
  Jon: We changed that we, we are capable of altering this course.
• 1:25:43
  Kearns: Mm-hmm.
• 1:25:44
  Ryan: true.
• 1:25:45
  Kearns: Okay.
• 1:25:45
  Hope
• 1:25:46
  Jon: I'm
• 1:25:46
  Kearns: you must have been hanging out with Guillermo
• 1:25:48
  Jon: I'll put, the soapbox away.
• 1:25:49
  Now can go to number two, which is a movie that's actually come
• 1:25:53
  up already multiple times tonight.
• 1:25:57
  It's a parody.
• 1:25:58
  It's Young Frankenstein.
• 1:26:00
  Kearns: Frankenstein, Frankenstein.
• 1:26:01
  Ryan: Frankenstein.
• 1:26:02
  Jon: Frankenstein.
• 1:26:03
  Yes, yes.
• 1:26:05
  Sorry, sorry.
• 1:26:06
  Um, what do you say?
• 1:26:08
  It's Mel Brooks?
• 1:26:10
  It's as, it's one of, I would put it in my top three Mel Brooks movies.
• 1:26:17
  It's quotable as any movie ever made
• 1:26:21
  Ryan: Mm-hmm.
• 1:26:22
  Kearns: Yeah, the roll.
• 1:26:25
  Jon: Ryan.
• 1:26:26
  Ryan looks at me like it's outrageous that it's only in the top three.
• 1:26:30
  Ryan: Well, no, no.
• 1:26:31
  I'm curious.
• 1:26:32
  I know Blazing Saddles
• 1:26:33
  Jon: Saddles is blazing.
• 1:26:35
  Saddles is my one blazing.
• 1:26:37
  Ryan: three?
• 1:26:37
  Kearns: movie.
• 1:26:38
  Ryan: three is the question.
• 1:26:40
  Jon: two or three are interchangeable with Young Frankenstein
• 1:26:43
  and probably space Balls.
• 1:26:45
  Ryan: Okay.
• 1:26:45
  All right.
• 1:26:46
  Like it's real quick.
• 1:26:48
  It's interesting, depending on how you grew up watching Mel Brooks, like mine
• 1:26:51
  is like Young Frankenstein history of the world, part One and Robin Hood Mennonites.
• 1:26:57
  Jon: Mm-hmm.
• 1:26:58
  Ryan: So it's
• 1:26:59
  Jon: See, Robinhood missed me be mainly because that whole legend misses me.
• 1:27:04
  Generally.
• 1:27:04
  Robinhood doesn't do a lot for me
• 1:27:08
  Ryan: fair, the love of Soro
• 1:27:12
  Jon: and number one and the reason why our is here,
• 1:27:18
  Kearns: Oh, that's right.
• 1:27:19
  Jon: number
• 1:27:20
  Kearns: The brat
• 1:27:21
  Jon: Franken Hooker.
• 1:27:23
  Kearns: Franken Hooker.
• 1:27:24
  Jon: so when his fiance is killed in a tragic lawnmower accident,
• 1:27:29
  Jeffrey decides to use his scientific knowledge and ability to work with
• 1:27:33
  electricity to bring her back loads of super crack and dead sex workers.
• 1:27:39
  Later, he unveils his purple haired creation with
• 1:27:44
  Kearns: Super crack.
• 1:27:45
  Jon: results.
• 1:27:46
  Ryan: might
• 1:27:46
  Kearns: An
• 1:27:47
  Ryan: a
• 1:27:47
  Kearns: underused phrase,
• 1:27:48
  Ryan: sinister Mr. Bookie lawnmower.
• 1:27:51
  Incident, 86 Franken Hooker.
• 1:27:53
  There's a connection.
• 1:27:55
  Jon: Oh, man,
• 1:27:57
  Kearns: connection maybe.
• 1:27:59
  Jon: I, have, Franken Hooker is probably one of my top two or three B movies ever
• 1:28:04
  and it's pretty high up my all time list.
• 1:28:06
  I love Frank and Hooker.
• 1:28:08
  I can just watch it over and over and just be happy.
• 1:28:13
  Ryan: It's fun.
• 1:28:14
  That's what, that's what
• 1:28:15
  Kearns: There you go.
• 1:28:16
  Ryan: it's supposed to be.
• 1:28:17
  Kearns: I have something for you guys tonight.
• 1:28:19
  Jon: Ooh,
• 1:28:20
  Kearns: A surprise top five.
• 1:28:22
  Ryan: Ooh.
• 1:28:24
  Kearns: Ooh.
• 1:28:25
  So seeing is how all the ladies are soiling themselves over this super
• 1:28:31
  tragically hot Jacob, a lordy, the creature variation, and they're getting
• 1:28:37
  such good press for it that it's gonna help them in the Academy Award.
• 1:28:39
  So I won't spoil their fun.
• 1:28:41
  I asked my wife to give me a few romantic characters that she likes,
• 1:28:46
  Jon: Ooh,
• 1:28:46
  Kearns: that she would like to see made into a film adaptation
• 1:28:49
  for the whole, you know, woo.
• 1:28:51
  Ryan: Okay.
• 1:28:52
  Kearns: her the vapors, you know what I mean?
• 1:28:57
  She's watching me.
• 1:28:57
  She doesn't look very amused, but the VA vapors, this will go relatively fast.
• 1:29:03
  So it's, first one is Soul, the Dragon from the Dragon's Bride.
• 1:29:07
  I don't know how that works with dimensions and ratios and such, but
• 1:29:10
  I'm sure there's, there's something that, you know, it can stretch.
• 1:29:15
  I'm not really sure, but.
• 1:29:16
  Ryan: Mr. Fantastic.
• 1:29:18
  Kearns: I, I imagine it's a shapeshifting thing.
• 1:29:21
  Jon: it,
• 1:29:22
  Kearns: Yeah.
• 1:29:22
  She's going like this.
• 1:29:23
  Yeah,
• 1:29:24
  Jon: it, it worked for Donkey and Shrek.
• 1:29:27
  Kearns: it did work for Donkey and Shrek.
• 1:29:28
  You're right.
• 1:29:33
  Oh my God.
• 1:29:34
  She thinks it's like not Shapeshifting.
• 1:29:37
  Speaking of donkey, thinking of like the, you know, the donkey shows.
• 1:29:41
  So
• 1:29:42
  Jon: kinky Kelly.
• 1:29:44
  Kearns: we have one dragon, which already makes me happy.
• 1:29:46
  Vector the Alien from Ice Planet Barbarians, which sounds like
• 1:29:50
  a movie We would've watched
• 1:29:52
  Ryan: the alien
• 1:29:53
  Kearns: Vector.
• 1:29:54
  The Alien must be Vector is coming in rectal.
• 1:29:59
  That's how he does it.
• 1:30:01
  Rourke.
• 1:30:02
  The UR from Morning Glory Milking Farm.
• 1:30:05
  Ryan: of course I had to be a, of course,
• 1:30:08
  Kearns: That's the
• 1:30:13
  God is losing his mind.
• 1:30:16
  Ryan: Jesus.
• 1:30:22
  Jon: Say
• 1:30:22
  Kearns: We're not blind.
• 1:30:23
  He might die.
• 1:30:25
  Jon: Please say that
• 1:30:29
  Kearns: Rourke the UR from Morning Glory Milking Farm.
• 1:30:35
  Jon: Holy crap.
• 1:30:37
  Kearns: It's farm to table guys.
• 1:30:41
  Ryan: I feel like you need
• 1:30:42
  Kearns: He's losing it.
• 1:30:43
  Ryan: Can, can,
• 1:30:44
  Kearns: Oh,
• 1:30:44
  Ryan: me too?
• 1:30:45
  Greg?
• 1:30:46
  Kearns: tell me you're getting clipped out for Instagram without telling me
• 1:30:49
  you're getting clipped out for Instagram.
• 1:30:52
  Okay.
• 1:30:53
  I mean, that's probably the peak for us as, as the idiots who
• 1:30:56
  don't know what any of this is.
• 1:30:58
  Low morlin to the werewolf from bride.
• 1:31:01
  So we got, you gotta have a werewolf
• 1:31:03
  Ryan: little more?
• 1:31:05
  Kearns: and number one.
• 1:31:07
  Is what's referred to as the Bat Boys.
• 1:31:09
  And a lot of people understand this reference 'cause it's from a very popular
• 1:31:13
  series, rice and Cassian and Riel, all of the Faye men from the AAR series.
• 1:31:18
  So these are all the fairies that they all have the hots for.
• 1:31:21
  They all want those SJ mass, hotty fairy men.
• 1:31:25
  So the my wife wants to see these guys lifting up women and holding them as they
• 1:31:30
  die or whatever happens in Frankenstein.
• 1:31:33
  Jon: I,
• 1:31:33
  Ryan: RRO is gonna be up there.
• 1:31:35
  Don't worry.
• 1:31:36
  Jon: I
• 1:31:36
  Kearns: Well, I've seen the cover of that book.
• 1:31:39
  Jon: I,
• 1:31:39
  Kearns: I've seen the cover of that book.
• 1:31:41
  Jon: book.
• 1:31:41
  Ryan: Can we get the
• 1:31:42
  Kearns: I'll send it to you.
• 1:31:44
  I mean, we can add it in.
• 1:31:45
  Yeah, we can add it into this.
• 1:31:47
  This cut.
• 1:31:48
  So yeah, keep your eyes peeled.
• 1:31:50
  You're probably, as the viewers, you were probably looking at the cover
• 1:31:52
  right now, but it's pretty funny.
• 1:31:55
  All right, everybody.
• 1:31:56
  So that was our episode on Guillermo Deltoro Frank.
• 1:32:00
  It's 9 20 25.
• 1:32:03
  We ended with a bang or a whimper.
• 1:32:05
  I'm not really sure.
• 1:32:05
  Ryan: milking?
• 1:32:07
  It's the list for
• 1:32:08
  Kearns: Nice to list
• 1:32:10
  Ryan: of the schedule, but
• 1:32:12
  Kearns: is ahead of the schedule.
• 1:32:13
  Ryan: low Moorland, rice and Israel.
• 1:32:16
  Rourke the mini.
• 1:32:17
  Yes.
• 1:32:18
  Kearns: You wrote these down.
• 1:32:19
  Oh my gosh.
• 1:32:19
  All right.
• 1:32:21
  All right, everybody have a wonderful night.
• 1:32:24
  If I'm glad you enjoyed the movie.
• 1:32:26
  Hope you enjoy the episode.
• 1:32:28
  Ryan: Have a.
• 1:32:30
  Jon: See ya.