Latest / Xenomania / Pearl is a Technicolor Nightmare - Xenomania 94

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Pearl is a Technicolor Nightmare - Xenomania 94 · Xenomania

• 0:01
  Ryan: forced down your throat, it's, you know, doesn't make the movie good.
• 0:06
  But, you know, we don't, we don't have that with a lot of our movies.
• 0:09
  Most of our characters are excellent.
• 0:12
  Excellent characters.
• 0:13
  Um, I mean, couple of them have their faults, but I mean, some are unique
• 0:19
  and, you know, it, we can get into it.
• 0:22
  Obsession getting nominated
• 0:25
  Jon: Hey, hold on.
• 0:26
  Hold on.
• 0:26
  We got an i- we got an intro to record here, here, buddy.
• 0:29
  Ryan: oh, I'm
• 0:29
  Kearns: Yeah.
• 0:30
  Yeah,
• 0:31
  Jon: We got an, we got an,
• 0:32
  Kearns: me.
• 0:33
  Jon: we got an intro to record here, sir
• 0:35
  Ryan: Sorry.
• 0:35
  Kearns: of saying forced down my throat.
• 0:40
  Jon: I really, I really would, wouldn't mind learning how to do a soundboard.
• 0:44
  Ryan: Oh, okay.
• 0:45
  Kearns: we can do that, Mr. John.
• 0:48
  We can do that.
• 0:50
  right.
• 0:50
  First let's, let's, um, I'm… We might just leave this in for the whole intro.
• 0:57
  Let's do it.
• 0:57
  Let's do the intro for the episode, gents
• 1:00
  Jon: All righty
• 1:03
  This week on Xenomania, we return to Ty West's X trilogy.
• 1:08
  A young woman longs to break free from her pastoral life and become a star.
• 1:15
  She is, however, trapped by a family that needs her and feeling
• 1:19
  abandoned by her soldier husband.
• 1:22
  Her father is paralyzed, mute, and requires constant care.
• 1:27
  Her mother i- is overbearing and unwilling to allow her daughter to spread her wings.
• 1:34
  Further complicating her situation, the young woman is also a violent psychopath.
• 1:41
  It all comes to head when a traveling dance troupe holds auditions in her town.
• 1:47
  This is Pearl.
• 1:49
  This is Xenomania, and we are stars
• 2:09
  Kearns: All right.
• 2:11
  Welcome to episode 93, 94?
• 2:15
  94 on
• 2:17
  Jon: 94.
• 2:18
  Kearns: 94.
• 2:19
  Wow, we're getting there, gents.
• 2:20
  Pearl was a great watch.
• 2:22
  Jon: Yeah
• 2:24
  Ryan: I knew, I had a feeling you would like it.
• 2:26
  I, uh, being more psychological and like on the edge of your seat thriller than
• 2:31
  like in your face blood and guts type deal
• 2:35
  Kearns: Yeah, it's, um, I
• 2:36
  Jon: Mm-hmm.
• 2:37
  Kearns: over X, but X was also fantastic.
• 2:39
  it's just th- with the direction they went with it and the artsy fartsy stuff
• 2:43
  that we're gonna get into a little bit later was, it was a cool move,
• 2:46
  and I like when people try new things.
• 2:49
  This one hit, so it was pretty good.
• 2:51
  But before
• 2:51
  Jon: Yeah.
• 2:52
  Kearns: deep into Pearl, something's been shoved down Ryan's throat.
• 2:56
  No, just kidding.
• 2:57
  Just kidding.
• 2:59
  Ryan: Yes.
• 2:59
  Jon: was sh- what was shoved down your throat, Ryan?
• 3:03
  Ryan: Not really shoved, but it was put right in front of my eyes is learning
• 3:06
  that Obsession is getting the nomination for a Golden Globe, which is amazing.
• 3:11
  Kearns: Woo!
• 3:12
  Jon: Well, hold on.
• 3:13
  It's,
• 3:13
  Ryan: it?
• 3:14
  Jon: not nominated, it's not nominated yet.
• 3:16
  The nominations haven't been announced
• 3:18
  Ryan: ballots though, right?
• 3:20
  So that's fair to
• 3:21
  Jon: I mean, ev- everything can be nominated, but I mean, basically what
• 3:27
  the news's obsession this week is that they have decided to classify
• 3:32
  themselves as a musical/comedy for the purpose of the Golden Globes
• 3:38
  Ryan: Which is crazy because, I mean, we were talking about it and
• 3:41
  it's a good, like, strategic move for them because I can believe
• 3:46
  they'll win it in that category.
• 3:48
  But there's nothing comedic about it.
• 3:51
  Jon: I, I mean, it, it, it might win.
• 3:54
  What I think it does is it separates it from serious movies like The Odyssey.
• 4:02
  Like, uh, Obsession's not… E- even if Obsession winds up getting
• 4:07
  nominated for Best Picture, it's not gonna beat The Odyssey.
• 4:10
  I would imagine at this point The Odyssey is the hands-on favorite,
• 4:14
  hands-down favorite rather.
• 4:16
  But what this does is it provides-- The Golden Globes are the first awards, right?
• 4:24
  Like that, that's where the, the… So
• 4:27
  Ryan: Yeah, it does
• 4:28
  Jon: if you classify Obsession as a drama and it doesn't get
• 4:32
  nominated and Indie Navarette doesn't get nominated, forget it.
• 4:38
  Like anything going forward is probably dead.
• 4:41
  Like it's a big step for something to be completely ignored by the Golden
• 4:45
  Globes and then go on to do anything the rest of the awards season.
• 4:49
  And being a musical comedy, it, for the Golden Globes, is nowhere
• 4:54
  near a kiss of death for anything
• 4:57
  Ryan: No.
• 4:58
  No, it's not.
• 4:58
  It's, it's a good, like I said, strategic move on them because they
• 5:02
  Jon: Mm-hmm.
• 5:04
  Ryan: They get more people to be
• 5:05
  Jon: Mm-hmm.
• 5:05
  Ryan: them, to be obsessed with Indy.
• 5:07
  And I
• 5:08
  Jon: Yeah
• 5:09
  Ryan: I, I feel like her star's just gonna keep growing, especially with the
• 5:13
  whole thing being an X-Men as Rogue.
• 5:15
  I- it's just gonna be keep growing and growing at this point
• 5:18
  Kearns: Wise casting choice, in my opinion, by the way
• 5:22
  Ryan: And
• 5:22
  Jon: it should
• 5:23
  Ryan: Where's she, where, Currents, where's Rogue from?
• 5:27
  Kearns: X-Men.
• 5:28
  Ryan: no,
• 5:28
  Kearns: do you mean where's Rogue from?
• 5:31
  Um, that's Gambit.
• 5:33
  Gambit's,
• 5:34
  Ryan: Gambit's Louisiana
• 5:35
  Kearns: but I don't believe Rogue is from Louisiana as well.
• 5:38
  Let's see, Rogue character
• 5:40
  Ryan: Because Indy Hartwell, uh, I'm saying Indy Hartwell the wrestler,
• 5:43
  um, Indy, she's going to, um, that state to learn how to, like, speak
• 5:49
  Kearns: She's from Cold Cot County, Mississippi
• 5:53
  Ryan: So she's going to Mississippi to learn the dialect
• 5:56
  Kearns: That's pretty smart.
• 5:58
  That's gonna suck too because Mississippi is the worst state in the union.
• 6:01
  If we have any listeners from Mississippi, you're a problem.
• 6:04
  Jon: Mm-hmm.
• 6:05
  Kearns: problem
• 6:05
  Jon: You, um, you might not be, but your state certainly is
• 6:08
  Kearns: go, um, out on a limb and say they are too.
• 6:11
  Jon: Okay.
• 6:12
  Kearns: All
• 6:12
  Jon: All right.
• 6:13
  Kearns: them.
• 6:14
  Jon: Fair enough.
• 6:15
  Ryan: I'm in the
• 6:16
  Jon: Fair enough.
• 6:16
  Kearns: gonna get
• 6:17
  Jon: Fair enough.
• 6:18
  Kearns: either.
• 6:19
  Jon: No, I, I think we wouldn't if we had Mississippi listeners
• 6:22
  Kearns: yeah, they'd agree.
• 6:23
  Hard agree
• 6:24
  Jon: But just, just to back up to Obsession and the Golden Globes, do
• 6:29
  you guys remember what won Best Comedy Musical last year at the Golden Globes?
• 6:36
  Ryan: Baconia, right?
• 6:37
  Jon: It was not Begonia.
• 6:38
  Begonia was nominated.
• 6:40
  Begonia was nominated, as was Marty Supreme.
• 6:43
  Ryan: one battle after another.
• 6:45
  Jon: Yes, the best ultimate best picture winner
• 6:48
  Ryan: Yep.
• 6:48
  I want
• 6:49
  Jon: wo- won that.
• 6:51
  I did too.
• 6:51
  But like that's kind of the point.
• 6:53
  Get Out was nominated in comedy musical.
• 6:57
  The Substance, comedy musical.
• 7:00
  L- And then it's so like look at The Substance is probably the closest
• 7:05
  comparison to Obsession because you have the movie and then you have the star
• 7:10
  that you wanna get a nomination for also.
• 7:13
  So if you can kick that off at the Golden Globes, that's why you do it.
• 7:17
  Now, I think it's a big gamble.
• 7:19
  If you get shut out of comedy musical, you're probably getting
• 7:23
  shut out across the board, too.
• 7:26
  Kearns: Yeah
• 7:27
  Jon: And I, I mean, I have to imagine while it-- I don't think Obsession
• 7:32
  really has a chance to win Best Picture, they wanna nominate it.
• 7:37
  Ryan: Yeah
• 7:37
  Jon: Academy would love to nominate it to have, you know, the two
• 7:41
  biggest box office movies in The Odyssey and Obsession nominated.
• 7:46
  They would love that.
• 7:47
  That would be, you know, everything they like.
• 7:49
  You'd have big tentpole movies, big huge box offices to draw eyes, and
• 7:54
  then you can fill out the rest of it with like independent things and just
• 7:59
  draw in as many people as possible
• 8:01
  Kearns: Mm-hmm.
• 8:02
  Ryan: Yeah.
• 8:04
  It's a smart move
• 8:06
  Kearns: S- stacking your categories correctly and things like that
• 8:10
  has always been kind of the way to go with regard to those.
• 8:14
  And like I said, if you don't do, um… Or like you said, with the Golden
• 8:17
  Globes being first, if you don't do well there, it does affect the rest
• 8:22
  of the awards performance stuff.
• 8:25
  Jon: Mm-hmm.
• 8:28
  Kearns: So
• 8:30
  Jon: Yeah, you gotta, you gotta kick it off strong, and that's
• 8:33
  as strong as you can kick it off
• 8:34
  Kearns: Mm-hmm.
• 8:36
  I wonder when, when was the last time that they didn't link?
• 8:39
  I mean, it, I know it happens semi o- or like regularly kind of, but, when like
• 8:44
  Best Pictures didn't line up with Golden Globes, and I know SAG goes rogue a lot,
• 8:50
  Jon: Mm-hmm.
• 8:50
  Kearns: um, Golden Globes and, and the Oscars tend to link up quite a bit
• 8:56
  Jon: Yeah, I can… Let me bring that back up at least, and we'll see.
• 9:01
  Ryan: I'm trying to think if it ever did.
• 9:03
  I don't think they ever did.
• 9:05
  feel like it's always been consecutive.
• 9:06
  Maybe in a coup- like couple years they weren't consecutive.
• 9:10
  Kearns: Shape of Water didn't win the Golden Globe.
• 9:12
  Ryan: No.
• 9:13
  Jon: No,
• 9:14
  Kearns: was a
• 9:14
  Jon: no.
• 9:15
  the year before comedy, um, maybe not the year before.
• 9:19
  Uh, the year Anora won Best Picture, it did not win, uh, the Golden Globe
• 9:24
  Ryan: Okay.
• 9:26
  Jon: Uh, that might be the most recent example.
• 9:29
  Ryan: What one, out of curiosity?
• 9:31
  Jon: Emilia Perez won Comedy/Musical that year, which also is probably
• 9:37
  questionably in that category, but it, that, you know, that's a smaller movie
• 9:41
  that, you know, you get the eyeballs on
• 9:43
  Kearns: Yep.
• 9:46
  Speaking of that, regard to it, we'll, we'll probably jump away from her again,
• 9:50
  but Mia Goth, um, in this, shining in X, shining in a lot of things,
• 9:57
  Jon: Mm-hmm.
• 9:58
  Kearns: She started out with smaller pictures
• 10:02
  Yeah.
• 10:04
  Jon: She did.
• 10:04
  She started out basically with modeling
• 10:07
  Kearns: I
• 10:08
  Jon: and then into acting and then
• 10:11
  Ryan: Writing, 'cause she
• 10:13
  Jon: Mm-hmm.
• 10:13
  Ryan: with Ty West, which
• 10:15
  Jon: yeah, she's…
• 10:15
  Ryan: did, and it's nice to have a woman's touch in this,
• 10:19
  Jon: Mm-hmm
• 10:20
  Kearns: the movie for sure
• 10:22
  Ryan: Oh
• 10:22
  Jon: And, uh, I mean, I mean, you can definitely see that she
• 10:25
  understood the character too.
• 10:28
  Kearns: Yeah, there's a
• 10:29
  Jon: Like, she didn't, she didn't write on X, but she figured that
• 10:33
  character out before they even filmed X, 'cause they wrote, um, Pearl
• 10:38
  during quarantine in New Zealand
• 10:40
  Ryan: Oh, okay.
• 10:42
  Jon: Yeah.
• 10:43
  Ryan: it
• 10:43
  Kearns: by the way
• 10:45
  Jon: Yeah, it was written before they had filmed X.
• 10:48
  Ryan: Okay.
• 10:50
  Jon: So she, I mean
• 10:51
  Kearns: in New Zealand, did they?
• 10:53
  Jon: They f- they definitely filmed X and Pearl in New Zealand, yeah.
• 10:57
  Ryan: Okay.
• 10:59
  Kearns: No
• 10:59
  Jon: Yep.
• 10:59
  Kearns: lush
• 11:00
  Jon: Mm-hmm.
• 11:01
  it's amazing what you can find in New Zealand.
• 11:04
  I've never been there, but, like, you can find Middle Earth
• 11:08
  and the deep American South
• 11:11
  Kearns: Mm-hmm
• 11:11
  Jon: in New Zealand
• 11:14
  Kearns: Yeah, it's pretty neat.
• 11:17
  Pretty neat indeed.
• 11:19
  Jon: Mm-hmm.
• 11:20
  Kearns: I'm excited for Obsession.
• 11:21
  I'm excited for what Obsession represents as far as, where horror can go.
• 11:25
  When
• 11:25
  Jon: Mm-hmm.
• 11:25
  Mm-hmm.
• 11:30
  Kearns: they're low-budget pictures with a big idea that really take
• 11:33
  off, it's great for the genre
• 11:36
  Jon: Definitely.
• 11:37
  Kearns: Uh, what's-his-face, um, Curry Barker's got his new
• 11:40
  movie coming out in May, May 7th.
• 11:42
  Jon: Mm-hmm.
• 11:43
  Kearns: Is it, like,
• 11:44
  Jon: Yes
• 11:44
  Kearns: or something like that is the title?
• 11:47
  Ryan: Yes, something like that.
• 11:49
  Jon: yeah, I think that's what it is.
• 11:51
  I just saw it and it didn't stay in my brain.
• 11:53
  Kearns: just google Curry Barker ghost movie and you'll find it, guys.
• 11:57
  Jon: Yeah
• 11:58
  Ryan: I'm curious to see his take on Texas Chainsaw now.
• 12:02
  I
• 12:02
  Kearns: don't want them to
• 12:03
  Jon: Ai.
• 12:04
  Kearns: want them to
• 12:04
  Jon: Ah.
• 12:05
  Kearns: need more of it.
• 12:06
  I'm
• 12:07
  Jon: Não,
• 12:07
  Kearns: We don't.
• 12:08
  Jon: não
• 12:09
  Ryan: It's just, it's like a guilty pleasure for me at this point 'cause
• 12:12
  he did a great job with Obsession.
• 12:14
  I mean, he's on fire.
• 12:15
  I mean
• 12:17
  Kearns: It's like you go out for Halloween and you just get Kit Kats
• 12:21
  over and over again, just Kit Kats.
• 12:23
  Maybe you want a Crunch bar.
• 12:24
  Maybe you want, uh, the new kind of Kit Kat that's a little
• 12:27
  different than the old Kit Kats.
• 12:29
  Ryan: I'm a,
• 12:29
  Kearns: Like, it's too much.
• 12:30
  Ryan: I'm just
• 12:31
  Kearns: Ooh, bland.
• 12:32
  3 Musketeers over here.
• 12:34
  I used to love them, and then everybody's like, "You're so basic.
• 12:37
  Ryan: on.
• 12:37
  Three
• 12:37
  Kearns: Get a Snickers."
• 12:39
  Ryan: Milky Way is nougat caramel coated in chocolate.
• 12:42
  It's delicious
• 12:43
  Kearns: It
• 12:44
  Jon: And no peanut butter, so therefore it's not a valid chocolate bar
• 12:47
  Ryan: What?
• 12:48
  Kearns: Oh, uh, there you go.
• 12:49
  Ryan: guy?
• 12:50
  Kearns: I like to
• 12:51
  Jon: Sn- Snickers and Reese's.
• 12:53
  Kearns: Yep, I was gonna say, I like to eat them at the same time.
• 12:55
  I take a
• 12:55
  Jon: Mm-hmm.
• 12:56
  Kearns: fun-sized Snickers and half of the peanut butter cup in the same mouthful.
• 13:00
  Jon: yep.
• 13:00
  Kearns: life
• 13:01
  Jon: Yep.
• 13:02
  Ryan: I, like Reese's Pieces more.
• 13:05
  Kearns: I've grown, I've grown, um, a-
• 13:07
  Ryan: saying
• 13:08
  Kearns: drifted away from Reese's Pieces over the years
• 13:11
  Jon: Yeah, I prefer, I prefer the peanut M&M to the Reese's Pieces
• 13:15
  Kearns: I've gone that way.
• 13:16
  Ryan: on that.
• 13:18
  Kearns: I
• 13:18
  Jon: I prefer the…
• 13:19
  Kearns: Pieces at the movies like crazy
• 13:20
  Jon: Mm-hmm.
• 13:21
  Kearns: on those the whole movie
• 13:23
  Jon: They were, they were deeper down.
• 13:26
  My, my movie candies were always, always… No, no, the
• 13:31
  popcorn stays the popcorn.
• 13:32
  Kearns: I
• 13:33
  Jon: The popcorn,
• 13:33
  Kearns: either
• 13:34
  Jon: and the popcorn stays the popcorn,
• 13:37
  Ryan: You
• 13:37
  Jon: and then
• 13:38
  Ryan: cookie dough?
• 13:40
  Kearns: Not
• 13:40
  Jon: No.
• 13:41
  Kearns: but
• 13:41
  Jon: Not in the popcorn though.
• 13:42
  No, no, no.
• 13:46
  Movie theater popcorn when it's fresh is as close to perfect as you can get.
• 13:52
  So you need fre- absolutely.
• 13:56
  Or whatever the, whatever it actually is.
• 13:58
  I don't think it's really butter, but whate- whatever it is that comes out
• 14:01
  of that pump, it's going on my popcorn.
• 14:04
  And then
• 14:05
  Ryan: It's
• 14:05
  Jon: you need the Twizzlers, and you need the Junior Mints
• 14:09
  Kearns: Mm-hmm.
• 14:09
  Ryan: Ooh, well, Junior, yeah, okay.
• 14:12
  All right, but what kind of Twizzlers?
• 14:14
  We talking strawberry, cherry
• 14:16
  Jon: Oh yeah, no, they…
• 14:17
  Kearns: that's, that's what you mean, just
• 14:19
  Jon: Yeah.
• 14:20
  Kearns: If
• 14:20
  Jon: Yeah.
• 14:21
  Kearns: differentiate, you have
• 14:22
  Jon: Yeah.
• 14:23
  Kearns: the hybrid that they've come up with
• 14:25
  Jon: Mm-hmm, and, and that's, that's basically the only one they
• 14:29
  have at the movie theater anyway
• 14:30
  Kearns: if you wanna say licorice and be an old man, and you get
• 14:33
  your peanut brittle out too while you're at it, licorice is, uh,
• 14:37
  Twizzler is technically licorice.
• 14:39
  However, say licorice, you don't necessarily mean Twizzler
• 14:43
  Jon: y- in fact, I w- I would say you never mean Twizzlers
• 14:48
  when you say licorice.
• 14:49
  Kearns: If you
• 14:49
  Jon: Like, it never
• 14:51
  Kearns: you two have tasted real licorice.
• 14:53
  Ryan: it's disgusting.
• 14:54
  Kearns: It's, yeah,
• 14:55
  Jon: I hate that.
• 14:55
  I hate it.
• 14:56
  Kearns: It's like what they gave to the guys in World War II.
• 14:59
  No, probably World War I. World War II they
• 15:01
  Jon: Mm-hmm.
• 15:02
  Kearns: Hershey's bars
• 15:03
  Jon: Yeah.
• 15:04
  Ryan: Oh, yes, they did.
• 15:05
  My st-
• 15:06
  Kearns: a piece of licorice and then s- and then get
• 15:07
  Jon: Mm-hmm.
• 15:08
  Kearns: and go get, go get
• 15:13
  Ryan: I mean, do I eat more of this or do I go fight?
• 15:16
  I guess I'm gonna go fight
• 15:18
  Kearns: Probably run before the licorice at that point, 'cause you know it's
• 15:20
  coming anyway and you don't wanna go out with a bad taste in your mouth.
• 15:24
  Licorice is nasty.
• 15:26
  I'm sure there's
• 15:26
  Jon: Yeah.
• 15:27
  Kearns: like licorice.
• 15:28
  It's one of those acquired tastes that people defend
• 15:30
  Jon: mm-hmm.
• 15:31
  Absolutely.
• 15:32
  Kearns: Mm-hmm.
• 15:33
  Ryan: I
• 15:33
  Jon: Absolutely
• 15:34
  Ryan: so there's an Italian cookie.
• 15:36
  It's very thin, light, with powder, and it has a licorice taste, but
• 15:40
  it's not too heavy on the licorice.
• 15:42
  It's like a butter cookie.
• 15:44
  It's actually not bad, but there are some places that
• 15:48
  Kearns: That's actually my pet name for you,
• 15:50
  Ryan: What
• 15:50
  Kearns: Butter Cookie.
• 15:52
  Ryan: Oh.
• 15:53
  Kearns: Butter Cookie.
• 15:55
  Oh, Butter Cookie
• 15:56
  Ryan: Butter Cookie Sister More
• 15:59
  Kearns: Oh, uh, uh, I mean, we have to talk later about who the nun is.
• 16:02
  There's a new nun in town.
• 16:04
  Ryan: Uh
• 16:05
  Kearns: talk about Pearl.
• 16:06
  Let's get back to Pearl.
• 16:07
  So the first thing we really wanted to go over was the, was The Wizard
• 16:10
  of Oz is, is glaring in this movie
• 16:14
  Ryan: popped the bike, the scarecrow, way Pearl dresses, uh, not only in the
• 16:21
  farm gear, but in her dress as well.
• 16:24
  But I also wanna add a thought to it is, did you feel like it was
• 16:28
  also Mary Poppins with the color?
• 16:31
  Kearns: I thought the color matched The Wizard of Oz Technicolor quite well.
• 16:34
  Jon: Mm-hmm.
• 16:35
  Kearns: Mary Poppins.
• 16:36
  I think maybe that's where you're getting the idea 'cause it's
• 16:38
  the same Technicolor palette.
• 16:40
  Jon: Mm-hmm.
• 16:41
  Kearns: But yeah, they, it, when you think of it, sure, it definitely matches
• 16:46
  Jon: Yeah.
• 16:46
  Ryan: I wanted to throw it out there 'cause some reviews were talking about The
• 16:47
  Wizard of Oz, but then they mentioned it
• 16:50
  Jon: Mm-hmm
• 16:51
  Ryan: with, uh, Mary Poppins, and I just couldn't see it except
• 16:55
  for the color, but I wanted to
• 16:56
  Jon: Yeah.
• 16:57
  I,
• 16:58
  Ryan: are on on top of it
• 17:00
  Jon: I don't necessarily see a whole lot of Mary Poppins, but it's
• 17:03
  definitely Wizard of Oz. I mean, you even get the score elements to it that
• 17:07
  are very, very Wizard of Oz feeling.
• 17:11
  And I, it's absolutely intentional.
• 17:14
  You know, they, they've created, um, I guess you could say
• 17:18
  psychopathic Dorothy in Pearl
• 17:21
  Kearns: Uh, yeah, that's, you nailed it.
• 17:23
  That's exactly what they did.
• 17:25
  And with the… I was wondering too if… So we do get the Scarecrow is obvious and
• 17:31
  Jon: Mm-hmm.
• 17:32
  Kearns: but also could we assign the other characters?
• 17:36
  I'm tr- I struggle a little because the Cowardly Lion seems more
• 17:39
  obvious than possibly the Tin Man
• 17:43
  Ryan: Did you think the projectionist was the Tin Man?
• 17:46
  Kearns: I thought he was the Cowardly Lion.
• 17:48
  Jon: I would agree
• 17:49
  Kearns: I thought he was the Cowardly Lion, but I couldn't identify the Tin Man.
• 17:53
  Old squeaky, squeaky leg dad maybe?
• 17:56
  Jon: It could be Dad.
• 17:58
  Ryan: father?
• 17:58
  Jon: Da-
• 18:00
  Kearns: though
• 18:01
  Jon: See,
• 18:01
  Ryan: okay.
• 18:02
  Jon: I, I was gonna, I was g- Howard is, Howard is, I don't know what Howard is.
• 18:08
  We'll talk about Howard later on.
• 18:10
  Howard is, Howard is something, and we'll, we'll get into him, um,
• 18:15
  with his 10 seconds of screen time.
• 18:18
  Um,
• 18:21
  I th- Dad, Dad sort of feels more like Toto to me
• 18:25
  Kearns: Yeah.
• 18:27
  Well, that's where we, we leave Oz for… That's where we leave,
• 18:31
  Ryan: about that
• 18:33
  Kearns: Oz for a little bit, and we enter the psycho thing, because the
• 18:36
  s- the swap gender psycho, when Ryan mentioned it, I believe, earlier
• 18:41
  on, I definitely was like, "Oh, wow, yeah, that definitely hits hard."
• 18:45
  Jon: Mm-hmm.
• 18:46
  Mm-hmm.
• 18:51
  Kearns: it was like, "Ugh, why?"
• 18:54
  Ryan: uncomfortable and it reminds you of like that Norman Bates
• 18:57
  relationship with mom, you know, whether
• 19:00
  Jon: Mm-hmm.
• 19:01
  Ryan: alive or unalived.
• 19:03
  But it also connects with how Psycho builds up where you see his little
• 19:09
  mental breaks throughout the film, whether you know it's Norman or mother.
• 19:14
  Kearns: Yeah
• 19:14
  Ryan: like that in this movie and thinking about the scarecrow, like
• 19:18
  when has fun with the scarecrow, she has a mental breakdown and she's like,
• 19:24
  Jon: I,
• 19:25
  Ryan: and
• 19:27
  Jon: I th- I think we can say she humped the scarecrow.
• 19:30
  I don't think hump is a bad word.
• 19:32
  Kearns: Now,
• 19:32
  Jon: I think hump is okay
• 19:34
  Kearns: Video Game Nerd video, and he did everything we don't
• 19:37
  do on this show to try not to
• 19:38
  Jon: Mm-hmm.
• 19:42
  Kearns: directly at his camera and, like, did all sorts of stuff,
• 19:46
  said the words, did the things.
• 19:49
  I don't even know what YouTube's doing to us.
• 19:51
  Jon: Yeah
• 19:52
  Kearns: unbridle ourselves at this point
• 19:54
  Ryan: Well,
• 19:54
  Jon: Yeah, she,
• 19:55
  Ryan: definitely humped the scarecrow
• 19:56
  Jon: she humped the scarecrow.
• 19:58
  Ryan: oh God, it was like on the soundbar and I didn't know how loud it was and
• 20:02
  it's just echoing as my mother-in-law is making dinner and I'm like, "I wonder what
• 20:05
  Kearns: Oh yeah, I did the same thing.
• 20:06
  I dropped the volume down to like two
• 20:08
  Ryan: Yeah.
• 20:09
  Kearns: Kim had just gone to bed and I was like, "Nah, can't be having that."
• 20:14
  Ryan: well, I completely forgot about the scene, and then when she turns to
• 20:18
  a psychopath and starts yelling at the scarecrow like, "I'm married," which
• 20:22
  Jon: Mm-hmm.
• 20:22
  Ryan: it's, it's a jumping scene.
• 20:24
  I jumped again 'cause I'm like, you don't expect it.
• 20:27
  You see
• 20:28
  Jon: Mm-hmm.
• 20:29
  Ryan: is.
• 20:30
  But the question is, is it her
• 20:32
  Kearns: Ryan secretly loves when beautiful women scream at him.
• 20:36
  what made him jump.
• 20:39
  It's true.
• 20:41
  It's true.
• 20:42
  Ryan: anything wrong this time.
• 20:44
  Kearns: What did you
• 20:44
  Ryan: time.
• 20:46
  I was just watching
• 20:47
  Kearns: Goth thinks otherwise
• 20:49
  Jon: Yeah
• 20:51
  Ryan: I was not the scarecrow.
• 20:52
  I do not tell a lie.
• 20:54
  Kearns: He did not tell a lie.
• 20:55
  I think the scarecrow thing just, uh, exists solely to, for us to see her,
• 20:59
  like, mental instability building
• 21:02
  Jon: Mm-hmm.
• 21:02
  Kearns: and, you know, the fact that she wants the hot projectionist and she
• 21:08
  shouldn't want the hot projectionist
• 21:10
  Ryan: Which Sup- that is Superman's kryptonite.
• 21:13
  I was saving that line for tonight too.
• 21:15
  I
• 21:15
  Kearns: Why, why do you say that line?
• 21:19
  Ryan: David Cornsweet is Superman.
• 21:22
  did I mess up his name?
• 21:24
  Kearns: I don't know, just c- anybody corn sweat?
• 21:27
  I mean, I thought you had to be joking.
• 21:29
  You
• 21:30
  Jon: I know.
• 21:30
  Kearns: sweat
• 21:31
  Ryan: It's corn sweat, right?
• 21:33
  Is it
• 21:33
  Jon: Yeah, there, yeah, there's an I in between the R and the
• 21:36
  N. So it's Corin Sweat, I guess.
• 21:40
  I've never heard his name said, but yeah, it seems like that's how it should be.
• 21:45
  Ryan: That's
• 21:45
  Jon: Corin Sweat
• 21:46
  Ryan: that is his kryptonite though, Mia Goth's Pearl, and he
• 21:50
  Kearns: I mean, that would be a lot of, lot of good men's
• 21:52
  kryptonite if we're being fair.
• 21:54
  It's
• 21:55
  Jon: He would be mine.
• 21:56
  Kearns: Yeah.
• 21:56
  Ryan: It is corn sweat, all
• 21:57
  Kearns: Corin Sweat.
• 21:58
  Corin Sweat.
• 22:00
  Corin Sweat.
• 22:02
  Thanks, AI.
• 22:03
  I wonder how much water I just burned through for that one.
• 22:06
  Ryan: that a sh- a Wayne's World schwing moment?
• 22:09
  Kearns: Twang.
• 22:11
  I don't know.
• 22:12
  But, but I don't know.
• 22:18
  yeah, the, the psycho… Is that the only psycho parallel, dad?
• 22:22
  Jon: I mean, mom too.
• 22:24
  I think mom and dad are sort of the combination of m- s- yeah
• 22:31
  Kearns: does Mom eat it.
• 22:32
  It's so fun to watch Mom go down
• 22:34
  Ryan: Oh, I, I actually popped for that 'cause I completely, again, forgot 'cause
• 22:39
  it's been a while since I've seen it, and I just was like, "You're getting
• 22:42
  too close to the fire," in my head.
• 22:43
  I was like, "She's
• 22:44
  Jon: Mm-hmm.
• 22:45
  Ryan: And it was nicely done.
• 22:47
  Practical
• 22:48
  Jon: is,
• 22:48
  Kearns: If you're
• 22:49
  Jon: mom is such a good character too.
• 22:51
  Kearns: She
• 22:52
  Jon: She's such a good character
• 22:54
  Kearns: y- we always have to blame the psychopathy on the mother.
• 22:57
  It's,
• 22:57
  Jon: Mm-hmm.
• 22:58
  Kearns: every cop show, Mindhunters, every one of them just
• 23:02
  Jon: Mm-hmm.
• 23:02
  Kearns: bad mom.
• 23:04
  Jon: Mm-hmm.
• 23:05
  Kearns: it's trauma-based, but they always defer to mom,
• 23:08
  Jon: Yeah.
• 23:09
  Yeah
• 23:10
  Kearns: killers are, are men.
• 23:12
  So
• 23:12
  Jon: Mm-hmm.
• 23:13
  Kearns: to be the one that messes up the
• 23:14
  Jon: Mm-hmm.
• 23:15
  And, you know, you've got, you got, you've got that stern German mom, you know,
• 23:21
  with all of her rules because, you know, we're also, uh, you know, mid-Spanish flu
• 23:29
  pandemic, you know, and dad's fragile, so she doesn't want Pearl bringing that home.
• 23:36
  And later on we'll get to it, we-- The scene that leads up to the end of
• 23:41
  mom is just so well done, where y- you know, you reveal maybe mom is being like
• 23:47
  this with Pearl because mom has an idea
• 23:51
  Ryan: Yeah
• 23:52
  Kearns: Interesting.
• 23:53
  I didn't know… I didn't think of that angle yet, but we will get…
• 23:56
  We'll cross that bridge when we
• 23:58
  Jon: Yep.
• 23:58
  Kearns: it, everybody.
• 24:00
  This is, this is Ryan's, like, this is clearly put in here for Ryan.
• 24:05
  Jon: Mm-hmm.
• 24:06
  Kearns: what's coming, so just, let's just get into it, Ryan.
• 24:08
  Kid in a candy store
• 24:10
  Ryan: oh my God.
• 24:11
  I kept thinking of Hitchcock the entire time on my second watch.
• 24:14
  So most of the time I'll watch a film, first time's to enjoy it, but any time
• 24:18
  I watch it more, I analyze it to the bone, and I noticed a lot of Hitchcock.
• 24:23
  And it's not
• 24:24
  Kearns: There's so much innuendo in your speech and mannerisms tonight, by the way.
• 24:27
  Are you about to shove your Hitchcock down our throats?
• 24:33
  Ryan: I
• 24:33
  Jon: that Hitchcock.
• 24:34
  Kearns: To the bone.
• 24:35
  It's
• 24:36
  Jon: Thrust that Hitchcock
• 24:37
  Kearns: Yeah
• 24:38
  Ryan: but it's not only Psycho, it's Vertigo, it's like the
• 24:44
  camera angles, the buildup,
• 24:46
  Kearns: vertigo I definitely see, yeah
• 24:48
  Ryan: Vertigo, um, what was the other one?
• 24:52
  They said Rear Window, but I, I, that's like, I mean, the
• 24:56
  understanding of knowing, I guess.
• 24:58
  But also the use of a small set, which I was like, "Okay," but like
• 25:04
  I felt more Vertigo with the colors, the going into the s- the insanity.
• 25:10
  Um, of course with Norman Bates, but it's just the, how Ty West
• 25:14
  directs, how he writes with Mia Goth, how they build up each character.
• 25:18
  It's a modern-day Hitchcock film
• 25:21
  Kearns: day
• 25:22
  Ryan: a modern day.
• 25:24
  'Cause you see, you see the little breaks in the characters and how it
• 25:27
  builds until the end, and the ending is really what gets you because when
• 25:31
  the credits are rolling, it's so uncomfortable I feel like it would
• 25:37
  only come from the mind of Hitchcock
• 25:42
  Jon: Ja.
• 25:42
  Kearns: example of the, the greats leading into great films down the road.
• 25:47
  Jon: Mm-hmm
• 25:49
  Kearns: uh, Hitchcock DNA in this movie.
• 25:50
  Mia Goth must be a, a master of, or at least a student of his work,
• 25:56
  Jon: Mm-hmm.
• 25:57
  Kearns: And, uh, the other writer as well.
• 25:59
  Jon: Ty West, yeah.
• 26:00
  Kearns: yeah
• 26:01
  Jon: Yeah, he, I mean, he has to be.
• 26:03
  Kearns: They, every writer should be.
• 26:06
  Jon: Mm-hmm
• 26:06
  Kearns: it-- You gotta go through the greats before you
• 26:09
  can start, you know, meddling,
• 26:11
  Ryan: Especially in horror.
• 26:14
  Especially in horror.
• 26:15
  Like you
• 26:15
  Jon: Mm-hmm.
• 26:16
  Well, any- anything suspenseful.
• 26:19
  Like if you're n- if you're writing even a suspense movie or a, a thriller
• 26:24
  and you haven't watched and studied a little bit of Hitchcock, I, I mean,
• 26:30
  you're, you're limiting, I think, what you c- what you're gonna be aware
• 26:35
  of and capable of writing in there
• 26:37
  Kearns: People will make the argument a lot too that you, they don't wanna be
• 26:39
  derivative, so they try not to overexpose.
• 26:42
  But I would make the
• 26:43
  Jon: Mm-hmm.
• 26:43
  Kearns: that you have to be incredibly versed before you
• 26:46
  can do something different.
• 26:48
  Jon: Mm-hmm.
• 26:49
  Kearns: yeah.
• 26:50
  Because you're cr- you're
• 26:51
  Jon: Yeah.
• 26:51
  Kearns: and do your own thing that's completely not inspired by Hitchcock, I
• 26:55
  Jon: Mm-hmm.
• 26:56
  Kearns: to know Hitchcock for that,
• 26:58
  Jon: Mm-hmm.
• 26:58
  Kearns: in the game anyway
• 27:00
  Jon: Mm-hmm.
• 27:01
  And there's nothing wrong with, you know, showing your inspirations in a movie.
• 27:07
  Kearns: Yeah.
• 27:07
  Jon: that works for viewers as much as it works for you
• 27:11
  Kearns: Mm-hmm.
• 27:12
  Ryan: The,
• 27:12
  Kearns: Well said
• 27:13
  Ryan: g… This, just to add, the study of the game, especially when you're
• 27:17
  able to do everything by studying every type of film, makes you, universal.
• 27:22
  And I remember a teacher telling me, in college screenwriting class,
• 27:25
  she showed us two movies, two opposites, Blue Collar and Chinatown.
• 27:31
  And then one of the assignments throughout the semester was to watch
• 27:34
  a movie from every type of genre.
• 27:37
  So you get to know how each beat is, how each writing is different, how
• 27:42
  each genre are similar, but what are their differences, and do that study.
• 27:49
  But it allowed us to be more universal, to be able to do any genre, and to
• 27:53
  understand and write that instead of being focused on just one.
• 27:57
  It, helpful when you get all that information, especially in the film world.
• 28:03
  Jon: Yeah.
• 28:04
  Yeah
• 28:05
  Ryan: and this does show because, like, the film's set in 1918, but he's utilizing
• 28:09
  all this classic Technicolor and, like, buildup from a '30s and '40s film.
• 28:16
  And Ti West, I mean, God, do it so well that it's like, wow, this is
• 28:20
  a horror film, but it doesn't seem like it, and it's just, it's superb
• 28:25
  Jon: Mm-hmm.
• 28:28
  Yeah, I, uh, he, he draws on the inspirations and makes it his own story.
• 28:34
  Kearns: Mm-hmm.
• 28:35
  Jon: And, uh, it helps that he has such a talented collaborator.
• 28:39
  Like, I'm not sure that there are a lot of other actresses who could have
• 28:43
  done this the way Mia Goth does it
• 28:47
  Ryan: No, I don't think so.
• 28:48
  She's a different breed.
• 28:49
  Kearns: Amber Heard comes to mind.
• 28:53
  I feel like we haven't seen her really stretch her wings in a
• 28:55
  Jon: Yeah.
• 28:56
  Yeah.
• 28:57
  Kearns: rage bait, everybody.
• 28:59
  So see you in the comments.
• 29:01
  Ryan: I, I'll, I'll make a serious one.
• 29:04
  I think the only one to match what Miagoth can do is Rooney Mara, and that's
• 29:10
  because of The Girl with the Dragon Tattoo
• 29:12
  Kearns: She's very talented in general.
• 29:14
  Always has been.
• 29:16
  Um, the writing, she's deep and she's a great, um, I wouldn't say
• 29:22
  character actor 'cause she's lead.
• 29:24
  She does lead well.
• 29:25
  But she can, she can get into the character and make it come
• 29:28
  alive, like exceptionally well.
• 29:29
  Much better than her sister.
• 29:30
  Sorry, Kate.
• 29:32
  the, the but I mean, it's glaring.
• 29:36
  Sorry.
• 29:37
  Um, but uh, the Joaquin Phoenix effect and stuff too.
• 29:40
  She's a little weird now in this stage in her career as well, but I don't know if
• 29:44
  she has the creative writing chops to do it from the, the storyboard to the screen.
• 29:49
  That's the,
• 29:50
  Jon: Mm-hmm.
• 29:50
  Ryan: There.
• 29:51
  Kearns: Like Mia Goth has shown that a few times.
• 29:52
  That's a good call-out though because who's thought, who's
• 29:55
  thought of Rooney Mara in a minute?
• 29:57
  What's she been in
• 29:58
  Jon: Mm-hmm.
• 29:59
  Kearns: lately?
• 29:59
  Yeah.
• 30:00
  Well,
• 30:00
  Jon: Yeah.
• 30:01
  Kearns: Joaquin since the Joker have been kind of like off the grid.
• 30:06
  You
• 30:06
  Jon: Mm-hmm.
• 30:07
  Kearns: living their lives.
• 30:09
  Ryan: But I
• 30:10
  Kearns: So
• 30:11
  Ryan: Prometheus still slaps, and the American version of The Girl With the
• 30:14
  Dragon Tattoo, I feel like those were her two pinnacles, 'cause they came
• 30:18
  out back to back, and then that's when it just… But I'll, I'll show my love
• 30:25
  Kearns: Good, good on you.
• 30:26
  Hey, I think it's time to play a game
• 30:30
  Jon: I think it is time to play a game.
• 30:31
  We are back to our classic Slash or Stash this week.
• 30:35
  Ryan: Word
• 30:37
  Jon: Um, I have eight movies.
• 30:39
  You guys are gonna stash three and slash five of them.
• 30:45
  And here's movie number one.
• 30:46
  Movie number one is Night of the Demons.
• 30:50
  It is themed.
• 30:50
  You can guess the theme if you would like.
• 30:54
  You'll be rewarded with an extra stash, which you may want
• 31:00
  So Night of the Demons.
• 31:01
  Kearns: Woo.
• 31:02
  We're starting off with Night of the Demons
• 31:05
  Jon: Yep.
• 31:06
  Ryan: Hold on.
• 31:06
  If we guess wrong, we lose, right?
• 31:08
  We lose the
• 31:09
  Jon: If you guess wrong, I'm taking one away, yeah.
• 31:12
  We gotta have consequences for your actions
• 31:14
  Ryan: All right, I'm gonna have to think on this, but I'm slashing this.
• 31:17
  Sorry, John
• 31:18
  Kearns: I like, I like Night of the Demons though so much.
• 31:23
  This movie did so much to me
• 31:26
  Ryan: I,
• 31:27
  Jon: Mm-hmm.
• 31:27
  Ryan: mean, there's the, the one scene.
• 31:29
  Yes
• 31:30
  Kearns: You know they've seen him t- I'm gonna have to slash it too
• 31:32
  because I feel like this is bait.
• 31:34
  This is bait
• 31:35
  Ryan: were thinking of that one scene, that's why, like, yeah
• 31:41
  Jon: Yeah.
• 31:42
  I would, I mean, I would stash this 100 times out of 100.
• 31:46
  I love Night of the Demons
• 31:48
  Ryan: Would you count,
• 31:49
  Kearns: good, man
• 31:51
  Ryan: you count as t- uh, top 10 for you of all-time greats?
• 31:55
  Jon: No.
• 31:57
  No.
• 31:58
  To- not even top 10 horror, but it's, like, it's, you know, one of those
• 32:03
  really great '80s fun experiences for me.
• 32:09
  Ryan: Airfare
• 32:11
  Jon: Movie number two, The Ring.
• 32:14
  The American Ring
• 32:18
  The
• 32:18
  Kearns: demons and keep the ring, bro.
• 32:20
  It's against the law
• 32:25
  Jon: I'll just put that down for you.
• 32:27
  Kearns: Yeah, I'm gonna have to cut it.
• 32:30
  Ryan: Oh, you're slashing it?
• 32:31
  Kearns: Yeah,
• 32:31
  Jon: Yeah
• 32:32
  Kearns: ring
• 32:33
  Ryan: All right, I'm slashing it too.
• 32:36
  I ne- I've never seen the rank
• 32:40
  Jon: You haven't seen The Ring?
• 32:41
  Have you seen the Japanese one?
• 32:42
  Ryan: no, not yet, but I'd rather see the Japanese one first because,
• 32:47
  well, it's like the grudge situation.
• 32:49
  I bought the grudge.
• 32:50
  I like the Japanese one.
• 32:52
  I never saw the
• 32:53
  Jon: Bro.
• 32:53
  Ryan: I don't have to.
• 32:55
  That's what I want to do with the ring.
• 32:57
  I've seen enough trailers to understand the story and Scary Movie
• 32:59
  3 does a good job explaining it.
• 33:04
  Jon: I mean, I, obviously I think the Japanese one is better, but I think
• 33:09
  the American one is decent enough
• 33:12
  Kearns: It was good
• 33:14
  Ryan: it's like the talk we were, uh, having earlier about, um, Let
• 33:18
  The Right One In and Let Me In.
• 33:20
  It's like
• 33:21
  Jon: Mm-hmm.
• 33:22
  Ryan: that both are… I would say that the original is a little more
• 33:26
  superior than the American one, but they're very close their… Am I
• 33:31
  Jon: The ori… I, I think the original one, they ha- there's a pretty clear gap
• 33:38
  between the original and the, the American remake, but the American remake is good.
• 33:43
  It's not, it's not a terrible movie.
• 33:47
  I think, I think one of the things that hurts the, the remake is I
• 33:52
  believe it's less faithful to the book
• 33:56
  Ryan: Okay
• 33:58
  Jon: I think that a- anger- angered some fans, but anyway, movie number three.
• 34:08
  Audition
• 34:10
  Kearns: I've never seen it
• 34:11
  Jon: Oh, I, I don't know.
• 34:15
  This might mess you up.
• 34:16
  Kearns: Yeah.
• 34:17
  This
• 34:17
  Jon: Audition might mess you up
• 34:19
  Kearns: expecting.
• 34:19
  Oh, like it would mess me up because it's gory?
• 34:22
  Jon: Yeah, I mean, not for long.
• 34:26
  Like, i- it's got quite a reputation.
• 34:30
  Um, for me, it's really the last 25 to 30 minutes that gets difficult.
• 34:37
  But
• 34:37
  Kearns: if it's difficult for you, it's gonna be downright unbearable for me.
• 34:41
  Jon: It's a tough one
• 34:42
  Kearns: Eh, I'm gonna cut it based on that description and
• 34:45
  the fact that I haven't seen it.
• 34:47
  looks like it's got Lucy Liu in it, which would be cool.
• 34:50
  It's not really
• 34:51
  Jon: It doesn't.
• 34:51
  It's not Lucy Liu.
• 34:52
  I forget who, I forget her name.
• 34:54
  Yeah.
• 34:55
  Takashi Miike.
• 34:57
  Have you seen any of his movies?
• 34:59
  You have to have, right?
• 35:01
  Kearns: Takashi Mike.
• 35:03
  Jon: Listen,
• 35:04
  Kearns: name for a Japanese lady,
• 35:06
  Jon: listen, that, that's, that's no worse than me.
• 35:09
  I, I went years calling him Takashi, Takahashi Mike.
• 35:14
  I added, like, syllables all over the place and Takahashi Mike.
• 35:18
  Kearns: Yeah.
• 35:19
  Jon: But
• 35:20
  Kearns: Takahashi
• 35:22
  Jon: I mean, I may have to start putting some of his m- his movies
• 35:25
  on here, but it, it will, it will likely mess you up a little bit.
• 35:30
  Audition for sure will.
• 35:32
  Ryan?
• 35:34
  Ryan: So every Halloween, Bravo used to do like a top 100 and they would do
• 35:39
  it in like 10 parts and show clips of different movies at that time that were
• 35:43
  Jon: Mm-hmm
• 35:44
  Ryan: or like top 100 horror films.
• 35:47
  Audition was on it.
• 35:50
  Bravo did not cut out a lot of the scenes from the clips they showed and they
• 35:53
  show a lot of the ending it's rough.
• 35:57
  And as a teenager seeing that, I was like, I don't think I'm ready.
• 36:02
  I think I'm ready to watch it.
• 36:03
  So yeah, put it on the list.
• 36:04
  This is easy going for it.
• 36:08
  It's better than bring her back.
• 36:09
  I'll say that, but
• 36:10
  Kearns: What, what are you,
• 36:11
  Jon: Oh.
• 36:12
  Kearns: it or slashing it?
• 36:13
  It's
• 36:14
  Ryan: Oh, I'm slashing
• 36:15
  Kearns: long lead up, brother.
• 36:17
  Ryan: I'm slashing it, but
• 36:18
  Kearns: Okay
• 36:18
  Ryan: to put it on for next
• 36:20
  Jon: I, I
• 36:21
  Ryan: 'Cause we
• 36:22
  Jon: know, man.
• 36:22
  I,
• 36:23
  Ryan: We could
• 36:23
  Jon: I don't know.
• 36:24
  Ryan: The
• 36:25
  Kearns: you.
• 36:25
  Jon: I don't know, man
• 36:27
  Kearns: stuff on here that people like.
• 36:29
  Jon: they, this m-
• 36:30
  Ryan: love
• 36:30
  Jon: movie, this movie is pretty beloved.
• 36:33
  Like, this winds up in a lot of top 20 all-time
• 36:37
  Kearns: Wow.
• 36:38
  Well then we might
• 36:38
  Jon: Yeah.
• 36:39
  Kearns: All right,
• 36:40
  Jon: Yeah.
• 36:40
  It's, it's r- it's really good.
• 36:43
  Kearns: Can't
• 36:43
  Jon: I mean, may- maybe… For me, I, you know, maybe I'm desensitized.
• 36:48
  Maybe it was just the level of, the level of hype around it.
• 36:53
  It d- it didn't quite get to that level for me, but yeah,
• 36:58
  it's, it's messed up in the end.
• 36:59
  Number four,
• 37:01
  Ryan: Oh, stash.
• 37:03
  Jon: Friday the 13th
• 37:04
  Ryan: Stash
• 37:06
  Kearns: Finally, I'm on the board
• 37:08
  Ryan: This came up in conversation today as a great B movie.
• 37:13
  Kearns: They were warned they were doomed.
• 37:15
  They are doomed
• 37:17
  Ryan: guys excited for, uh, Camp Crystal Lake?
• 37:19
  Kearns: No.
• 37:20
  Ryan: excited.
• 37:20
  No?
• 37:21
  Jon: Excited?
• 37:22
  Kearns: as, as cha- Texas Chainsaw.
• 37:25
  thank you.
• 37:26
  I, it's already been done.
• 37:28
  do some new stuff.
• 37:29
  I'm tired of the, the,
• 37:30
  Ryan: Okay
• 37:31
  Kearns: been, it's been f- what, eight years now of just people
• 37:33
  recycling movies that were good when we were younger because that's
• 37:37
  when things that came out were good.
• 37:39
  So I'm not, I'm not into anything.
• 37:41
  I, I don't
• 37:42
  Jon: And re…
• 37:42
  Kearns: anything that's, like, the remakes and the
• 37:45
  Jon: Yeah.
• 37:46
  And re- recycling them into TV shows
• 37:49
  Kearns: Yeah, like the Harry Potter one
• 37:51
  Jon: Mm-hmm.
• 37:52
  Kearns: that anybody on this show probably
• 37:53
  Jon: I mean,
• 37:54
  Kearns: stupid
• 37:55
  Jon: in, short order here you're getting, this and Carrie.
• 37:58
  Ryan: Which,
• 37:59
  Jon: you know, you…
• 38:00
  Ryan: good reviews on that
• 38:01
  Jon: Uh, yeah, I did too.
• 38:02
  It looks fine.
• 38:03
  Uh, but I've, I've seen the movie two different ways, so, you know,
• 38:10
  I'm less excited about a, a TV show for a movie at that, that I've seen
• 38:14
  Kearns: Right
• 38:16
  Jon: But yeah, I'll, I'll end up watching both of them, but, you
• 38:20
  know, I'm not excited about it
• 38:24
  Kearns: What's next?
• 38:26
  Jon: Next, movie number five, Scream 2.
• 38:31
  Ryan: Dash
• 38:32
  Kearns: Man
• 38:32
  Jon: I knew that was coming.
• 38:36
  Kearns: Meh.
• 38:37
  Nah, it's got Jada Pinkett Smith in it.
• 38:38
  I'm slashing it.
• 38:41
  Get his mother effing wife's name out of your mother effing mouth, Ryan
• 38:45
  Ryan: That's one of the reasons why I'm stashing it.
• 38:48
  Kearns: It's 'cause she's in it
• 38:49
  Ryan: Yeah, the opening scene
• 38:51
  Kearns: Oh yeah, it's a good point.
• 38:53
  She's no business being on the cover.
• 38:56
  She, she's fodder.
• 38:58
  Jon: Mm-hmm.
• 38:59
  Kearns: Liev Schreiber is the best part of this movie.
• 39:01
  Fight me
• 39:02
  Ryan: Um, okay.
• 39:04
  Timothy Olyphant.
• 39:06
  Kearns: Fair.
• 39:07
  That's a fair point.
• 39:08
  Ryan: Olyphant feuding with Jamie Kennedy about sequels
• 39:13
  Kearns: that's fair.
• 39:14
  Timothy Olyphant, um, not, he's not under beloved in any capacity,
• 39:19
  but he's still understated.
• 39:20
  He doesn't come up in conversation enough.
• 39:23
  He was in Go, which was such a good
• 39:26
  Jon: Mm-hmm.
• 39:27
  Kearns: I think it was his breakout role, if I'm being honest.
• 39:30
  Ryan: Yes
• 39:31
  Kearns: he was very well received in Go as the antagonist who becomes the hero
• 39:38
  Ryan: Um, Girl Next Door.
• 39:41
  I
• 39:41
  Kearns: Yeah, and that came after, um, that, that island, or the one
• 39:47
  with, uh, Milla Jo- Jo- Jovovich, J- J- J- Jovovich, Jovovich.
• 39:53
  Um, the, where they're on, like, Perfect Getaway I think it's called, is another.
• 39:58
  That's a great one with a nice twist.
• 39:59
  I like that movie too
• 40:02
  Yeah.
• 40:04
  Anywho
• 40:05
  Jon: All right, three to go.
• 40:06
  Ryan, you have one stash and two slashes.
• 40:10
  Kearns, you have two sla- stashes and one slash.
• 40:15
  Ryan: Ooh.
• 40:16
  Kearns: Let's see if he stacked it against me this time
• 40:18
  Ryan: see
• 40:19
  Jon: We will see.
• 40:20
  Next movie, Sleepaway Camp.
• 40:23
  Kearns: stash it.
• 40:24
  Thank you guys for making me watch this movie
• 40:27
  Ryan: Oh, just to hear your reaction on the ending, no problem.
• 40:31
  No problem.
• 40:34
  But I'm gonna have to slash this, 'cause I don't know what you got
• 40:37
  up your sleeve for the next two.
• 40:38
  I'm, I had an idea of what the theme was, but
• 40:42
  Jon: What do you think?
• 40:44
  Ryan: Well, I mean, we're past the point, so you, you won't
• 40:47
  Jon: Yeah.
• 40:48
  Ryan: Um, I
• 40:48
  Jon: No, but
• 40:51
  Ryan: like going with like stars and like, 'cause like Scream
• 40:54
  2, Liev Schreiber, the cameras.
• 40:59
  Jon: No
• 40:59
  Kearns: Sleepaway camp stars
• 41:02
  Ryan: the main character, her, basically her whole family dies in
• 41:05
  a boating accident in the beginning.
• 41:08
  she got some like attention probably from the news
• 41:12
  Kearns: That is the biggest reach I've ever heard in my entire life, Ryan.
• 41:17
  hope
• 41:17
  Jon: And I didn't,
• 41:18
  Kearns: right out of your eyeballs on that
• 41:20
  Jon: I, I really, I really didn't dig that deep for the, for this theme.
• 41:26
  Kearns, do you have a guess?
• 41:28
  Kearns: No, I don't wanna do what he just did.
• 41:30
  No.
• 41:31
  I'll wait till the next movie before I start guessing.
• 41:34
  Jon: All right.
• 41:35
  Kearns: was great, Ryan.
• 41:36
  Ryan: I tried.
• 41:37
  Kearns: You tried
• 41:37
  Jon: two left, two left.
• 41:39
  You both have one and one.
• 41:42
  Second to last movie is Carrie
• 41:46
  Kearns: You know
• 41:47
  Ryan: it 'cause I've never seen it except for the ending, so I can't really…
• 41:52
  I don't wanna be a, wanna be honest
• 41:55
  Kearns: I have, this is hard because I don't know what you have next
• 42:01
  Is this like movies that… So wait, first off
• 42:07
  These are movies where, like, people get screwed over and
• 42:09
  then kill everybody because it kind of, kind of seems that way.
• 42:14
  Jon: I mean, ballpark-ish.
• 42:15
  Kearns: Yeah.
• 42:16
  Um, I'm gonna cut Carrie.
• 42:18
  Ryan: Psychotic breaks?
• 42:21
  Kearns: I know
• 42:23
  Jon: It's female killers
• 42:25
  Ryan: Oh, oh, okay.
• 42:27
  Kearns: Oh, Friday
• 42:28
  Jon: Mm-hmm.
• 42:29
  Kearns: was a nice, nice little
• 42:30
  Jon: Mm-hmm.
• 42:32
  Mm-hmm.
• 42:33
  Which means since you both have one stash left, I believe I got you both
• 42:40
  Kearns: Oh, no.
• 42:42
  Ryan: this?
• 42:42
  Kearns: We
• 42:42
  Jon: Oh, yes.
• 42:43
  Kearns: I
• 42:43
  Jon: Movie, movie number eight is
• 42:47
  Kearns: Let's bring her back.
• 42:49
  All right, now
• 42:49
  Jon: from the Crypt: Bordello of Blood.
• 42:51
  Kearns: no, I have no problem with this at all.
• 42:54
  Jon: Really?
• 42:55
  Kearns: day.
• 42:55
  Crib Keeper's been all over Instagram lately
• 42:58
  Ryan: you don't like this movie, John?
• 43:00
  Corey Feldman in the
• 43:02
  Jon: I mean, it's, it's, it's okay.
• 43:04
  I didn't, I figured this would be the, the damn it
• 43:10
  Ryan: No.
• 43:11
  No, this is
• 43:11
  Jon: You got, you got me to keep Bordello of Blood?
• 43:14
  Ryan: This is great on sci-fi at like 8:00 at night on a Friday when you're
• 43:19
  Jon: Yeah
• 43:20
  Ryan: l- even later at night.
• 43:21
  I mean, for me at least.
• 43:22
  I mean, it was like Demon Knight would be like an 8 to 10, and
• 43:26
  then Bordello of Blood would be like 10 to 12 because it was a
• 43:29
  Jon: Mm-hmm.
• 43:30
  Ryan: based on the themes.
• 43:31
  But I mean
• 43:36
  Jon: Yeah
• 43:37
  Ryan: I, it, I, I will say this.
• 43:39
  Is it a movie?
• 43:41
  No.
• 43:41
  But if it, it's a fun movie, yes.
• 43:45
  Say it like that
• 43:47
  Jon: It is fun.
• 43:48
  It, you know, I'm not the biggest Dennis Miller guy, but it's, it's not bad
• 43:52
  Ryan: It, yeah.
• 43:53
  Now, if it was Norm Macdonald…
• 43:57
  Kearns: Yeah, that would be amazing
• 43:58
  Jon: It'd be a whole different vibe with Norm.
• 44:01
  Ryan: Uh, I was thinking about that the other day is what if, what if he
• 44:04
  was in it instead of Dennis Miller?
• 44:08
  "There are hookers in this trunk." What?
• 44:11
  Norm.
• 44:13
  Oh, no Dirty Work reference?
• 44:15
  All right
• 44:16
  Kearns: Oh, I mean, I, I recall, yeah.
• 44:18
  Sorry.
• 44:21
  Jon: Widdy.
• 44:22
  Ryan: I got the names mixed up.
• 44:24
  I was thinking about Numi Rapace, not Rune Mara
• 44:32
  Kearns: Which is, by the way, I think wrong.
• 44:34
  I think he was right with his wrong name.
• 44:36
  Rooney Mara is, is, or s- like a super good actress that would be,
• 44:41
  could be like a Mia Goth-esque force.
• 44:45
  Ryan: Yes.
• 44:46
  Kearns: I don't see that in Rooney R- or whatever, Rapace at all.
• 44:49
  But that's just my personal opinion
• 44:51
  Ryan: She was the original girl with the dragon tattoo
• 44:55
  Kearns: True
• 44:57
  Ryan: But I, I had
• 44:58
  Jon: He was
• 44:59
  Ryan: up that mistake.
• 45:00
  Uh, that was like, I felt dirty.
• 45:02
  But yes, Mia Goth though, she, amazing, not only as an actress,
• 45:09
  but as a writer too, and also
• 45:11
  Jon: Mm-hmm.
• 45:12
  Ryan: character work.
• 45:14
  It just, she's amazing
• 45:16
  Kearns: What's your favorite character she's played so far, guys?
• 45:20
  Jon: This one
• 45:21
  Ryan: Yeah,
• 45:21
  Kearns: one, Pearl?
• 45:22
  Jon: in Pearl
• 45:23
  Kearns: Pearl probably edged out her work in Frankenstein for me,
• 45:26
  but I thought she was brilliant in
• 45:28
  Jon: Oh, yeah, she's brilliant in Frankenstein.
• 45:30
  There's just not enough of her.
• 45:32
  Kearns: Yeah, fair point
• 45:34
  Jon: Like, she- sh- this is her carrying a movie
• 45:38
  Kearns: It would be, you br- John, I believe, brought up the idea that
• 45:42
  sh- they should do a cut with the Bride of Frankenstein stuff in it,
• 45:46
  and that would give us more goth.
• 45:48
  Ryan: Criteria,
• 45:49
  Jon: Mm-hmm.
• 45:49
  Kearns: Yeah.
• 45:49
  Ryan: gonna do it.
• 45:51
  Jon: No one can hope.
• 45:52
  I mean, I, I hope that's what comes out with that Criterion set.
• 45:56
  I would love to see more of her in that role.
• 45:58
  I'd love to see more of her in just about anything.
• 46:00
  She's really developed into a remarkable actress who, you know, if she gets,
• 46:09
  high enough billing in a movie like Frankenstein or The Odyssey, she's going
• 46:14
  to eventually win awards of her own
• 46:17
  Ryan: Oh, yeah.
• 46:18
  I mean, she's gonna be in a Star Wars movie, the Starfighter
• 46:22
  Kearns: It's great that she got the Nolan credit under her
• 46:25
  Jon: Mm-hmm.
• 46:26
  Kearns: She was underutilized in The Odyssey as well, but I
• 46:28
  mean, when you have Anne Hathaway above you and things like that.
• 46:31
  I think that they could have cast her as Helen.
• 46:34
  that was a missed opportunity.
• 46:36
  I mean, now we're gonna get into the-- 'cause that was a
• 46:38
  very controversial casting of
• 46:40
  Jon: Mm-hmm.
• 46:41
  Kearns: American
• 46:42
  Jon: Mm-hmm
• 46:43
  Kearns: I don't know if she's American or not, um, as Helen of Troy and
• 46:46
  her sister and stuff like that.
• 46:48
  But, like, all that stuff aside, 'cause I don't care about any of that crap,
• 46:51
  Helen was played very well in that movie.
• 46:53
  I just think Mia Goth would have probably kicked it up a couple
• 46:56
  notches, not even just one
• 46:59
  Jon: Mm-hmm.
• 46:59
  Ryan: Okay.
• 47:00
  That's fair
• 47:01
  Jon: Yeah, I, I would just like to see her start getting that kind of role.
• 47:07
  You know, she's shown… And I guess maybe this is sort of
• 47:10
  the, horror actress progression.
• 47:13
  You know, she's in a horror movie, then she carries a horror movie,
• 47:19
  then she starts getting the smaller roles in the Oscar bait stuff, and
• 47:24
  then finally she's gonna get the big role that's gonna put her there
• 47:30
  Kearns: Hmm.
• 47:32
  How old is she?
• 47:33
  Jon: I think she's 33.
• 47:36
  Kearns: She's
• 47:36
  Jon: still really young, you know?
• 47:38
  She's
• 47:42
  32? Yeah.
• 47:44
  Kearns: mirrored for us too, so it-- that looked like 23 to me
• 47:48
  Ryan: Oh, sorry.
• 47:49
  So I should have done it
• 47:50
  Jon: 23 and me
• 47:52
  Kearns: you go
• 47:53
  Ryan: during encounters of the… Oh, I messed up my own joke
• 47:56
  Jon: Yeah, she's, she's 33 by the end of the month, so…
• 48:00
  Kearns: So, uh, what else do we appreciate about Mia Goth, guys?
• 48:04
  Jon: I mean, there's certainly a wide spectrum she's shown she can play.
• 48:13
  You know, in X she's kind of, you know, the… I don't, I don't want to use
• 48:20
  that word, but she's a looser woman.
• 48:24
  In Pearl she's a maniac.
• 48:26
  Kearns: looking
• 48:27
  Jon: Yeah, heroine.
• 48:29
  Ryan: There
• 48:30
  Jon: and then when you close this franchise out, Maxine
• 48:33
  is, she's a whole different character by that point, you know.
• 48:37
  And,
• 48:38
  Kearns: looking forward to Maxine at this point
• 48:40
  Ryan: It's good.
• 48:42
  It's
• 48:42
  Jon: Yeah, it may… Listen, uh, uh, Maxine is, is the lesser of the three,
• 48:48
  Ryan: Yes
• 48:48
  Jon: but I, you know, I'm excited to watch it again.
• 48:51
  I've watched it twice, and it's, I've enjoyed it more each time I
• 48:55
  watched it because you start to appreciate other parts to it, but
• 49:00
  that's for an episode in about a month
• 49:02
  Kearns: There you go.
• 49:03
  Yeah, we don't need to do that one right meow.
• 49:05
  All right.
• 49:06
  I just, I appreciate how she does, um, unhinged.
• 49:10
  Jon: Yes.
• 49:11
  Kearns: how she's able to, to reveal a character unraveling
• 49:16
  Jon: Mm-hmm.
• 49:17
  Kearns: in a…
• 49:18
  Jon: Mm-hmm
• 49:18
  Kearns: raveling.
• 49:20
  She does the opposite in X kind of.
• 49:22
  Jon: Yeah.
• 49:23
  Kearns: but the way she shows the Pearl's downward progression
• 49:26
  to insanity, and the way she
• 49:28
  Jon: Mm-hmm
• 49:29
  Kearns: it as well, and everything, is just she can tell a story
• 49:33
  Jon: Mm-hmm.
• 49:34
  Kearns: f- on one side of the camera and she can tell a story on the other side of
• 49:36
  the camera, and that to me is brilliant, and I just think she's fantastic.
• 49:40
  So that's
• 49:40
  Jon: Mm-hmm.
• 49:41
  Mm-hmm
• 49:43
  Ryan: She's an artist.
• 49:44
  And I think of Marlon Brando and, like, that type of actor when I think
• 49:51
  of artist, and, someone who embodies a character and someone who them
• 49:56
  come alive and, like, throws in their touch, and she does that amazingly.
• 50:01
  But again, she's, she's an artist, and you see that grow through this trilogy.
• 50:07
  And I wanna see her, like, I wanna see her, what she did in The Odyssey.
• 50:11
  I wanna see what her take in Star Wars is gonna be.
• 50:15
  I'm curious to see her grow.
• 50:17
  Star Wars is a guilty
• 50:18
  Jon: Mm-hmm.
• 50:18
  Ryan: but I wanna see her do more artistic films.
• 50:21
  And I mention Brando 'cause I think of The Godfather, Apocalypse Now,
• 50:26
  um, even Superman, where he took a chance, an artistic chance in my view,
• 50:34
  he did memorable performances, and I think Mia Goth is up on that level
• 50:39
  Kearns: All right.
• 50:40
  I think
• 50:40
  Jon: Yes.
• 50:42
  Hey, but one of the, I mean, just to add on to the Pearl part of this
• 50:47
  is she does the, the unraveling and raveling so well within it.
• 50:53
  You know, even within scenes, you know, you, you have this scene in the barn
• 50:58
  right, very early where she's, you know, very innocently talking to the cow, and
• 51:04
  the, that goose strolls into the barn.
• 51:08
  And like, you get the, "Hello, Mr. Goose," and you're like, "Oh, this is
• 51:11
  gonna be a nice…" You know, more of her just being innocent and childlike.
• 51:15
  And then, you know, you cut away and the goose is on a pitchfork
• 51:19
  Kearns: Great
• 51:20
  Ryan: Yep
• 51:21
  Jon: You know, and to just like every, you know, she starts her interactions
• 51:27
  with the projectionist, you know, so innocently, and then she, like,
• 51:32
  explodes out of that shell, and then eventually that devolves into the madness
• 51:39
  Kearns: Right.
• 51:41
  Yeah.
• 51:42
  And I mean, I can't it any better than you just did, so let's, let's
• 51:47
  move on to another madness scene.
• 51:49
  Let's talk about the dinner table scene
• 51:53
  Jon: Yeah.
• 51:53
  Kearns: And mom, I mean, her mother, the actress who plays her mother,
• 51:56
  I don't know her name, uh, did a fantastic job playing the type of
• 52:00
  person that would drive me crazy.
• 52:02
  Tandy what?
• 52:03
  Ryan: Uh, Tandy Wright
• 52:05
  Kearns: Wright.
• 52:07
  Jon: Who I believe is from New Zealand doing a German accent,
• 52:10
  Kearns: But that's, that takes talent.
• 52:14
  Jon: Mm-hmm
• 52:15
  Kearns: what do we like about the dinner table scene?
• 52:17
  Ryan: The tension.
• 52:19
  Kearns: It is
• 52:20
  Jon: Oh yeah.
• 52:20
  Ryan: you can
• 52:21
  Jon: It,
• 52:21
  Ryan: a knife
• 52:22
  Jon: mm-hmm, it's like super tense, but it's also like the longer that
• 52:31
  scene goes on, the more you're getting into Mom recognizes what Pearl is.
• 52:39
  And like you start to get to the understanding that Mom has been the
• 52:43
  way she is with Pearl not so much out of a- anything besides fear.
• 52:49
  I think Mom reveals that she's afraid of Pearl
• 52:54
  Kearns: Well, she catches her almost throwing Dad into
• 52:56
  the gator, which is a nice
• 52:58
  Jon: Mm-hmm.
• 52:59
  Kearns: to X and stuff too.
• 53:00
  but yeah, think that's the first portion of the f- movie where
• 53:05
  you realize that Mom isn't as steely as we once thought she was,
• 53:09
  Jon: Mm-hmm
• 53:09
  Kearns: something in Pearl that we didn't necessarily know she saw
• 53:15
  Jon: Mm-hmm.
• 53:15
  Yeah, I like, it starts with her calling Pearl ungrateful for everything
• 53:19
  they've, that is provided for her, to her saying she knows what she is, but
• 53:26
  doesn't know what she's capable of.
• 53:29
  And it's like that's
• 53:31
  Ryan: Strong words
• 53:33
  Jon: Yeah, that, like that's intense and that's, you know, to me that's, that's a
• 53:38
  mom afraid and, you know, using the tools that she knows, which are, you know, I d-
• 53:45
  I think we all kind of recognize are maybe not the best tools to deal with a person
• 53:51
  like Pearl, but that's what she knows
• 53:54
  Ryan: Yeah.
• 53:56
  Tough love.
• 53:57
  Really tough love.
• 53:59
  Jon: Mm-hmm.
• 54:00
  Ryan: Farm love
• 54:02
  Kearns: when we get into the… So that's with her recognizing Pearl's, delusions
• 54:07
  and whatnot, and not knowing what she's capable of doing because of them.
• 54:12
  that into the next talking point we have, which is gonna be the audition.
• 54:18
  So Pearl, for those of you, you all must have watched the movie at this point.
• 54:22
  If you didn't, you're foolish.
• 54:23
  she's had her tryst with the projectionist at this point, and killed him.
• 54:28
  and she's off to the moving pictures.
• 54:31
  She's gonna go try to audition for this show
• 54:36
  Jon: Mm-hmm.
• 54:36
  And you, you know, you have the moments outside with her, you know, sort of
• 54:41
  steely resolve i- in her belief that she's getting this part, and Mitzi panicked
• 54:48
  and anxious and… And then Pearl goes in and, and she puts on this big performance
• 54:55
  routine, and I'm not even sure a lot of what's going on is actually real.
• 55:02
  Like, I think a lot of that at that, by that point is just delusion
• 55:06
  Ryan: Yeah.
• 55:08
  I mean, when she thinks of like the soldiers and stuff, I mean, that's
• 55:12
  Jon: Mm-hmm.
• 55:12
  Ryan: we really get into the fantasy world, you
• 55:15
  Jon: Yeah
• 55:16
  Ryan: see what the reality is.
• 55:18
  I mean, maybe she was a good dancer, maybe she wasn't,
• 55:22
  Kearns: Well, she must have been passable.
• 55:23
  I think she danced as well as they showed at the beginning of the
• 55:26
  audition and stuff, and she did well.
• 55:27
  They, they just dinged her in the movie on the look.
• 55:31
  They said, "Uh, we've got farm girls like you. We need blonde, blue-eyed girls."
• 55:35
  Ryan: All-American
• 55:37
  Jon: Mm-hmm.
• 55:38
  Um, yeah, but, uh, you know, there, there's also a part of me
• 55:43
  that, that felt like is that just them, like, letting her down easy?
• 55:49
  Kearns: Possible
• 55:50
  Jon: like, when she dances with the scarecrow, she's not
• 55:53
  exactly like Ginger Rogers.
• 55:55
  Ryan: Yeah
• 55:57
  Jon: You know, and she's dancing… When the other times you see her dancing,
• 56:00
  she's not an overly talented dancer, and she's not someone you're gonna say,
• 56:06
  "Oh, yeah, she's going on the road.
• 56:07
  She's gonna be famous."
• 56:09
  Kearns: Hmm.
• 56:11
  Yeah, they kinda, they kinda like lay out the whole you're,
• 56:14
  you're mediocre and above.
• 56:16
  You're not bad, but we don't need you sorta thing.
• 56:20
  But the fantasy versus reality thing that, that we wanted to highlight comes in with
• 56:24
  the, with the delusion with the soldiers, her thinking she's at a USO show,
• 56:29
  Jon: Mm-hmm.
• 56:29
  Kearns: and she expected to get it.
• 56:33
  That
• 56:33
  Jon: Yeah.
• 56:34
  Kearns: She was… It was
• 56:35
  Jon: Yeah.
• 56:36
  Kearns: "I'm going to get this," and it didn't
• 56:38
  Jon: Mm-hmm
• 56:40
  Ryan: the overconfidence
• 56:43
  Jon: yeah.
• 56:45
  And I mean, you know, even if, she is truly dancing well, which, you know,
• 56:52
  I, I'm not 100% convinced that that's really happening, she's also got that
• 56:56
  lunatic face on while she's doing it too.
• 57:00
  The eyes wide, the smile, like not blinking, like just… Hey, what
• 57:06
  some people would call intensity and others would call insane
• 57:11
  Kearns: Yeah
• 57:12
  Ryan: But that's her impression though, going to the movies all
• 57:15
  the time, that's what she sees.
• 57:17
  So it impressed on her and she feels that's what she
• 57:21
  Jon: Mm-hmm.
• 57:22
  Ryan: And I feel like really that's really more of her downfall is trying so hard
• 57:27
  when all she had to do is be herself, which minus the psychopathic part, just
• 57:34
  Jon: Mm-hmm.
• 57:34
  Ryan: cool, calm and collective.
• 57:35
  But
• 57:37
  Kearns: Big part to minus though.
• 57:39
  Ryan: yeah.
• 57:40
  Kearns: it's like,
• 57:41
  Jon: And, uh, and, and then that no is like the most devastating thing
• 57:46
  because it's, you know, to- if she realizes she's not getting off that
• 57:51
  farm, that, you know, maybe she just offed both parents for no reason.
• 57:56
  Maybe she also offed the projectionist for no reason, you know, that
• 58:00
  Kearns: knows she offed him for no reason.
• 58:02
  Ryan: Yeah
• 58:02
  Jon: Yeah.
• 58:03
  Kearns: just, he was like, "I'm
• 58:05
  Jon: Well, well, I mean, he's, he's started to put some stuff
• 58:10
  together, so he at that, by that point is kind of a threat to Pearl
• 58:14
  Kearns: Yeah.
• 58:16
  Agreed.
• 58:18
  The,
• 58:18
  Jon: But
• 58:19
  Kearns: no from the, um, panel at the audition too is
• 58:22
  what, that seals Mitzi's fate.
• 58:24
  Jon: yeah.
• 58:26
  Kearns: the end of that for her, for the all-American gal
• 58:29
  Jon: Yeah, well Mitzi, Mitzi also seals her own fate
• 58:33
  Kearns: Explain to the, to the listeners, guys
• 58:36
  Jon: I, I mean, yes, Mitzi's her sister-in-law.
• 58:40
  Mitzi has no real reason to go to the farm after the audition.
• 58:47
  And you got the part, go with the dance troupe and get away.
• 58:52
  Like, you don't owe Pearl an explanation or sympathy or anything.
• 58:57
  Just go
• 58:58
  Kearns: That's what she did.
• 58:59
  I think it came out of that though.
• 59:00
  She felt bad.
• 59:02
  Jon: Yeah.
• 59:02
  Kearns: Yeah
• 59:03
  Ryan: that's her sister-in-law.
• 59:04
  Like, her brother's out at war.
• 59:06
  Like, I feel like she felt maybe a little guilt, which she
• 59:11
  Jon: Mm-hmm.
• 59:11
  Ryan: but she sees what Pearl goes through, and she tried to
• 59:14
  show compassion, and it literally, like, blows up in her face.
• 59:19
  Jon: Mm-hmm.
• 59:20
  Yeah.
• 59:21
  Y- yeah, she, you know, but like, both the projectionist and Mitzi missed
• 59:28
  the warning signs, and it's also the kind of warning signs that maybe,
• 59:33
  that made me sort of question like, are we seeing events out of order?
• 59:39
  Are we seeing events in like an order that Pearl's damaged mind is seeing them in?
• 59:46
  'Cause like, Mom doesn't seem like the kind of person that would
• 59:50
  leave a perfectly good smoked ham on the porch to just rot
• 59:57
  Kearns: Right.
• 59:58
  That would be a
• 59:59
  Jon: But it's there.
• 59:59
  It's just sitting out there rotting when the projectionist gets there,
• 1:00:04
  and then when Mitzi gets there, and Mitzi's e- Mitzi even directly points
• 1:00:09
  it out, you know, "Hey, is that my pig?"
• 1:00:11
  You know, like… So y- you know, that's the kind of thing that, like, m- they
• 1:00:17
  don't create Mom's character that way.
• 1:00:22
  She's very detailed.
• 1:00:24
  She's very on top of things.
• 1:00:26
  That, I can't imagine that would've sat out on the porch
• 1:00:30
  Kearns: That makes, that makes sense.
• 1:00:32
  That is definitely a warning sign.
• 1:00:34
  know what I liked about how Mitzi gets it?
• 1:00:36
  She gets walked down at the beginning of that.
• 1:00:39
  has to,
• 1:00:40
  Jon: Mm-hmm.
• 1:00:41
  Kearns: to get caught, to get got.
• 1:00:42
  But Pearl
• 1:00:43
  Jon: Mm-hmm.
• 1:00:44
  Kearns: with the ax on that, in that
• 1:00:45
  Jon: Yep.
• 1:00:46
  Kearns: it's always like, "Oh man, she's Mike
• 1:00:48
  Jon: Yeah.
• 1:00:49
  Yeah.
• 1:00:50
  Yep
• 1:00:51
  Ryan: It's, it's crazier that she plays a mental game with her, right?
• 1:00:54
  Like, Pearl confesses to Mitzi that resents Howard, she had an affair,
• 1:01:00
  she unalives animals, she unalived her parents, the project- projectionist,
• 1:01:06
  and it's all to coerce, coerce Misty, um, into revealing that she got
• 1:01:13
  the part, and that's really where it starts that drop, I feel, where
• 1:01:18
  she drops that insanity, basically.
• 1:01:22
  As you were saying, 'cause yeah, that was very Michael Myers-ish, walk, the strut
• 1:01:30
  Jon: Mm-hmm.
• 1:01:30
  But it, see, I, I don't even, I, at that point, I don't even know
• 1:01:34
  that it's about getting Mitzi to tell her that she got the part.
• 1:01:38
  I think it's, I think Pearl kind of already knows that, you know,
• 1:01:43
  based on hearing what they wanted.
• 1:01:46
  I, I think it was just anybody who came and sat inside with her at that time was
• 1:01:52
  gonna get all of this dumped on them.
• 1:01:55
  Like, it could've been anybody, and they were gonna hear, you know, "I don't
• 1:02:00
  wanna be here, I wanna go to Europe. I resent Howard. I resent having been
• 1:02:04
  pregnant." Like, just the way she describes, you know, being pregnant is
• 1:02:11
  insane, and I, like, it's just this whole confession to everything she's ever done.
• 1:02:18
  I don't think she even cares at that point that Mi- it's Mitzi
• 1:02:23
  Ryan: Okay.
• 1:02:24
  That's how broken, you're saying that's how broken her mind is at that point
• 1:02:29
  Kearns: Okay
• 1:02:31
  Jon: That confession would have come to anybody at that table, I think,
• 1:02:34
  but Mitzi works because Mitzi's kind of a loose end in the whole story.
• 1:02:39
  Kearns: exactly.
• 1:02:40
  They, they do a good job, speaking of loose end, they do a good
• 1:02:43
  job of tying things together when they bring Howard back.
• 1:02:47
  Jon: Mm-hmm.
• 1:02:47
  Kearns: my favorite part of how they… I didn't expect it.
• 1:02:50
  I know it, it was something you should be able to see coming, but I
• 1:02:53
  didn't expect them to tie into X so perfectly with that one little scene.
• 1:02:59
  How do you guys like that Howard's homecoming part?
• 1:03:01
  Ryan: great.
• 1:03:03
  It just-
• 1:03:04
  Jon: Yeah, I, I, I love seeing Howard come through that door and just,
• 1:03:09
  he walks into full break Pearl.
• 1:03:15
  Like, the eyes wide, the smile, the laugh.
• 1:03:18
  Like, she's just the clearly not the woman he married before he went away to war.
• 1:03:27
  Kearns: And
• 1:03:27
  Jon: And then-
• 1:03:28
  Kearns: all also arranged around the table with all the food
• 1:03:31
  Jon: Mm-hmm.
• 1:03:32
  Yeah.
• 1:03:34
  Yes
• 1:03:36
  Ryan: I was gonna say it's also the buildup.
• 1:03:38
  Like when he jumps off the truck, he's smiling, he's happy, he
• 1:03:42
  Jon: Mm-hmm.
• 1:03:42
  Ryan: the path, and when his face drops, that initial face drop,
• 1:03:47
  that's where that beat drops, the, you know, we're at the end.
• 1:03:51
  And it just wraps it up so nicely.
• 1:03:55
  Kearns: Yeah
• 1:03:56
  Ryan: is he a good husband for not running away, away?
• 1:04:02
  Jon: mean he's committed to her.
• 1:04:05
  You know, like…
• 1:04:07
  Kearns: A good husband, yes.
• 1:04:08
  A good person, no.
• 1:04:10
  Ryan: Which you commit?
• 1:04:14
  Jon: No, I don't think I would
• 1:04:17
  Kearns: Um, because you don't know what night she's gonna…
• 1:04:19
  I mean, the fact that she
• 1:04:20
  Jon: Yeah.
• 1:04:20
  Kearns: him, unalive him,
• 1:04:22
  Jon: Yeah.
• 1:04:23
  Kearns: um,
• 1:04:23
  Jon: They, y-
• 1:04:24
  Kearns: is a miracle in and of itself.
• 1:04:26
  One
• 1:04:26
  Jon: yeah.
• 1:04:27
  Yeah.
• 1:04:28
  You, you would, you would live your entire life waiting for your turn
• 1:04:34
  Ryan: Maybe that's why he doesn't leave me scared.
• 1:04:38
  Kearns: Nah.
• 1:04:40
  Jon: No, I th- I think he kinda likes it.
• 1:04:42
  Kearns: Yeah
• 1:04:42
  Jon: I, I mean, you know, he's over, he just spent like a year over in Europe
• 1:04:49
  in the trenches of World War I, you know, with gas attacks and, you know,
• 1:04:55
  the, the tr- way trench warfare was.
• 1:04:57
  He's seen the worst of the world.
• 1:04:59
  He m- he may have come back just as damaged as Pearl
• 1:05:04
  Ryan: True.
• 1:05:05
  Very true
• 1:05:07
  Jon: And, you know, may- it may, it may just be in that moment he's
• 1:05:10
  recognizing, "Yeah, I'm kinda messed up and she's messed up, and now
• 1:05:14
  we can have this perfect messed up life together," and, you know
• 1:05:20
  Ryan: Be a happy family
• 1:05:22
  Jon: To take out our darkest instincts on passing travelers and people
• 1:05:28
  looking to make X-rated movies
• 1:05:31
  Kearns: Here we are.
• 1:05:33
  And it all ties together until we get to Maxine, which I haven't
• 1:05:36
  gotten to yet, so soon though.
• 1:05:39
  But all right, let's get some reviews in.
• 1:05:40
  Let's see what other people thought of Pearl
• 1:05:42
  Jon: Oh, we have a wide range of reviews for this one.
• 1:05:46
  So, Rotten Tomatoes, 93% critic score, 83% audience score.
• 1:05:53
  So pretty good, pretty good
• 1:05:56
  Yeah.
• 1:05:57
  Ryan: I mean,
• 1:05:58
  Jon: Still pretty good.
• 1:05:58
  Ryan: it's shocking.
• 1:06:00
  I would think it'd be in the 90s at least
• 1:06:04
  Jon: Yeah, well, I…
• 1:06:05
  Kearns: 83 was good for critics for a horror
• 1:06:08
  Jon: Hey,
• 1:06:08
  Ryan: Oh, for
• 1:06:09
  Jon: no, critics is, oh, critics is 93, audience is 83.
• 1:06:14
  Yeah
• 1:06:14
  Kearns: they're too hip for the room for 17%.
• 1:06:17
  Jon: Yeah, and well,
• 1:06:19
  Kearns: nonsense
• 1:06:21
  Jon: we'll, get into that.
• 1:06:22
  But let, let's start with the five stars.
• 1:06:26
  Five stars.
• 1:06:29
  This movie was a surprisingly excellent work of art.
• 1:06:32
  I saw Pearl before watching X or its direct sequel, MaXXXine, and
• 1:06:38
  boy, did Pearl set my expectations too high for those movies.
• 1:06:42
  That's fair.
• 1:06:43
  they were good and fun to watch, but Pearl was exceptional.
• 1:06:47
  The story, the performances, the sets, costumes, cinematography, scene wipes
• 1:06:53
  and transitions, and credit fonts.
• 1:06:56
  Everything about Pearl was an artistic achievement, and Mia Goth, who not
• 1:07:02
  only stars in the lead role but co-wrote the script and developed
• 1:07:06
  the story, is shockingly good.
• 1:07:09
  This movie is next level
• 1:07:12
  Ryan: I,
• 1:07:13
  Kearns: Good review
• 1:07:14
  Ryan: Yeah, that was good.
• 1:07:15
  And they nail it with, um, watching Pearl first and then X and Maxine.
• 1:07:21
  It does- they're not on the same level.
• 1:07:23
  They're all on different
• 1:07:25
  Jon: Mm-mm.
• 1:07:25
  I mean, that, that's the way they flow, but I think he, he,
• 1:07:30
  watch X first so you like…
• 1:07:32
  Ryan: Yeah,
• 1:07:32
  Kearns: them in order.
• 1:07:33
  Ryan: yeah, you
• 1:07:34
  Jon: Yeah.
• 1:07:35
  Ryan: with
• 1:07:35
  Jon: Yeah.
• 1:07:35
  And-
• 1:07:36
  Ryan: it goes high with Pearl, and then you're comfortable with the end, you know?
• 1:07:40
  It's just
• 1:07:41
  Jon: And yeah, I mean, at least the first time you sit and watch them,
• 1:07:44
  watch them in order, and then, you know, watch them however you want to.
• 1:07:49
  so let's get into how this winds up in an 83% audience score.
• 1:07:55
  One star.
• 1:07:56
  Now, this reviewer also gave one star to There Will Be Blood, but four
• 1:08:02
  and a half stars to Smashing Machine
• 1:08:07
  I can say his review is concise.
• 1:08:09
  Ryan: There's…
• 1:08:11
  Jon: Terrible.
• 1:08:12
  Ryan: Jesus
• 1:08:13
  Jon: Terrible.
• 1:08:14
  I don't understand how this movie has so many good reviews.
• 1:08:17
  It was so boring
• 1:08:21
  Kearns: And Smashing Machine wasn't?
• 1:08:24
  Ryan: Just
• 1:08:24
  Kearns: I digress
• 1:08:25
  Ryan: a steroided up Rock with hair being like, "I, I need my,
• 1:08:29
  I need my medicine to win this
• 1:08:31
  Jon: I mean, you could, you could probably leave the first part of that
• 1:08:34
  out and just say The Rock with hair, but
• 1:08:36
  Kearns: Yeah
• 1:08:37
  Ryan: Oh, the, the Rock with his… Well, in the movie, the fighter is
• 1:08:42
  Jon: The character is okay, fine.
• 1:08:44
  Yeah.
• 1:08:45
  Yeah.
• 1:08:46
  Ryan: cleaned it up.
• 1:08:47
  The character, ladies and gentlemen
• 1:08:48
  Jon: But I, I think you've seen The Rock in all of that in previous incarnations
• 1:08:54
  Ryan: I mean, if
• 1:08:55
  Kearns: True
• 1:08:55
  Ryan: what he's cooking.
• 1:08:57
  Jon: I would prefer not to.
• 1:08:59
  Ryan: That
• 1:08:59
  Jon: Um, so now I, I have, I have two half-star reviews for you guys
• 1:09:03
  Kearns: So sincere.
• 1:09:05
  Oh.
• 1:09:07
  All right, two half stars.
• 1:09:08
  Let's hear them
• 1:09:09
  Jon: Two half stars.
• 1:09:10
  Half a star.
• 1:09:11
  Terrible.
• 1:09:12
  Really pointless.
• 1:09:13
  You don't learn anything of importance about Pearl or anyone for that matter
• 1:09:21
  It feels like, feels like you didn't pay attention to this movie, buddy.
• 1:09:25
  Like, you…
• 1:09:27
  Kearns: Two screen viewer
• 1:09:29
  Jon: Yeah, you definitely learned a lot about Pearl in this movie
• 1:09:36
  And one last half star.
• 1:09:39
  Half star.
• 1:09:40
  Honestly, such a boring film.
• 1:09:42
  I don't care how artsy people pretend it is.
• 1:09:46
  This is a snooze fest.
• 1:09:47
  Near the end, the MC goes on his mo- on this monologue, and holy bleep, it
• 1:09:54
  lasted, like, four minutes before I started skipping it in 30-second chunks,
• 1:10:00
  and I must have pressed that button six times before it was finally something
• 1:10:05
  other than her bitching about her life.
• 1:10:08
  It's not horror.
• 1:10:10
  It's not artistic.
• 1:10:11
  It's boring as hell.
• 1:10:13
  Don't watch this unless you're a prude
• 1:10:17
  Kearns: Oh, I guess they were looking for more, more X action.
• 1:10:21
  Jon: Mm-hmm.
• 1:10:22
  Kearns: a little bit more of the goth.
• 1:10:23
  There's sh- there's plenty of her out there, buddy.
• 1:10:25
  You can find her on the internet.
• 1:10:26
  It's okay,
• 1:10:27
  Jon: But like if, if you're skipping chunks of that end scene with Mitzi,
• 1:10:35
  like you're missing how good Mia Goth is.
• 1:10:38
  Like that just detailing this whole breakdown that she's had
• 1:10:43
  Kearns: One of the things people can't sit through something
• 1:10:45
  they don't think is gonna
• 1:10:46
  Jon: No.
• 1:10:46
  Kearns: morsel ever just to get to the good part.
• 1:10:50
  Ryan: This
• 1:10:51
  Jon: Mm-hmm
• 1:10:51
  Kearns: is part of it.
• 1:10:52
  Yeah, it's annoying
• 1:10:53
  Ryan: This person should be banned from writing reviews because they've admitted
• 1:10:56
  that they really didn't watch the film.
• 1:10:58
  They skipped the film.
• 1:11:00
  Like, all right, Strangers: Chapter 1, at least I was in the room with
• 1:11:05
  the movie on, but I knew where every beat was 'cause it was just a, a
• 1:11:11
  Jon: Yeah
• 1:11:11
  Ryan: But you're actually skipping the film?
• 1:11:14
  That's … Sir, y- Madam, whatever.
• 1:11:17
  Like, no, banned.
• 1:11:21
  Banned.
• 1:11:22
  Kearns: it's terrible.
• 1:11:23
  Ryan: And
• 1:11:24
  Kearns: What do you
• 1:11:25
  Ryan: I'm giving it a four and a half stars.
• 1:11:27
  It was originally 4.25, but I'm upping it to four and a half.
• 1:11:31
  This movie kicks ass, all right?
• 1:11:34
  It's a great psychological slasher.
• 1:11:37
  It's got homages from, Alfred Hitchcock throughout it.
• 1:11:41
  It makes you … Like, it made me wanna watch Alfred Hitchcock after watching it.
• 1:11:45
  It's got that good vibe.
• 1:11:47
  It's a good feel.
• 1:11:48
  And then you go down to the psychotic path, these little mental breakdowns which
• 1:11:53
  show who Pearl is, what this character is.
• 1:11:56
  And it's not a simple throwaway character.
• 1:11:58
  Mia Goth wrote the script with Ti West.
• 1:12:01
  She understands the character.
• 1:12:03
  She understands the beats.
• 1:12:04
  She knows how to do a horror film to make it thrilling, to make it
• 1:12:08
  suspenseful, and she kicks ass.
• 1:12:12
  And this movie,
• 1:12:13
  Jon: Mm-hmm.
• 1:12:14
  Ryan: Is it … Like, if you watch X, Pearl, and Maxine in that order,
• 1:12:19
  you can have fine expectations.
• 1:12:21
  But if you watch Pearl first, your expectations are You know, don't have
• 1:12:27
  high expectations for X and Maxine because Pearl knocks it out the river.
• 1:12:32
  Or
• 1:12:34
  Kearns: Park,
• 1:12:34
  Ryan: the park.
• 1:12:35
  There we go.
• 1:12:35
  Kearns: the bayou, whatever
• 1:12:37
  Ryan: the bayou.
• 1:12:37
  I'm on a roll here, all right?
• 1:12:39
  And it's … Real quick, it's rare when a sequel or even,
• 1:12:43
  like, a prequel is successful.
• 1:12:46
  I mean, I can only think of Temple of Doom.
• 1:12:49
  I can think of The Good, the Bad, and
• 1:12:51
  Kearns: You can only… Okay, I was gonna say you can only think of couple of two?
• 1:12:55
  Ryan: No, no.
• 1:12:56
  But, like, when it comes to, like, prequels, like, it's
• 1:12:58
  a sequel, prequel type deal.
• 1:13:00
  But then if you talk about sequels, Empire Strikes Back, Godfather Part II,
• 1:13:07
  Aliens
• 1:13:07
  Jon: Well,
• 1:13:08
  Ryan: take
• 1:13:08
  Jon: you could argue that The Godfather II is half prequel.
• 1:13:13
  Ryan: Yes, but are we going with the whole edition?
• 1:13:16
  Jon: it is half prequel
• 1:13:17
  Ryan: Yes.
• 1:13:19
  Unless you've combined both versions and
• 1:13:22
  Jon: I'm not.
• 1:13:23
  I'm not.
• 1:13:23
  I will never do that.
• 1:13:25
  Ryan: It-
• 1:13:25
  Jon: I will never do that.
• 1:13:26
  Ryan: I've seen that version.
• 1:13:28
  Jon: And they,
• 1:13:29
  Ryan: It works
• 1:13:30
  Jon: the, the, the movies were made to be viewed in a certain way.
• 1:13:33
  That's the way I wanna view them.
• 1:13:34
  I don't, I don't want somebody, like, cutting it up and reordering it.
• 1:13:39
  But anyway, Kearns, what did you think of it, Pearl?
• 1:13:42
  Kearns: Um, like,
• 1:13:43
  Ryan: Oh, okay
• 1:13:46
  Kearns: overall feels just about right for this.
• 1:13:50
  It's great.
• 1:13:51
  It's not the greatest movie I've ever seen.
• 1:13:53
  I'm tempted to give it a 4.5 too, Ryan, but it's, it's, um,
• 1:13:57
  Ryan: Do
• 1:13:57
  Kearns: it's fantastic.
• 1:13:59
  Pearl- and it's like Pearl's journey.
• 1:14:01
  There's, there's some beats to it that are interesting.
• 1:14:06
  Artistic license and things like that are taken that don't necessarily hit.
• 1:14:10
  I'm not gonna touch upon them.
• 1:14:11
  I want people to view it and just see for themselves.
• 1:14:14
  I just, I liked it.
• 1:14:15
  I liked the way they went with the Wizard of Oz parallel.
• 1:14:17
  I like the way they utilized that to show her kind of like Alice through the,
• 1:14:21
  looking glass moment of going crazy.
• 1:14:23
  They…
• 1:14:24
  Jon: Mm-hmm.
• 1:14:24
  Kearns: just a great movie.
• 1:14:25
  It just is.
• 1:14:26
  You gotta watch it.
• 1:14:26
  You gotta enjoy it.
• 1:14:27
  Don't listen to the knuckleheads.
• 1:14:28
  It is good.
• 1:14:29
  John, what do you got for us?
• 1:14:31
  Jon: Yeah, I'm gonna join Ryan on the 4.5 train.
• 1:14:35
  Um, Pearl is as good as this type of movie can probably be.
• 1:14:41
  You know, y- you get the homages, you get the, a really well-portrayed
• 1:14:46
  descent into madness, and you fill in the blanks from X that you would need
• 1:14:52
  to have filled in for a prequel to work.
• 1:14:55
  Now you understand where this crazy old lady in X is coming from.
• 1:15:02
  And, you know, it j- just does such a good job, and there's so many deeper things
• 1:15:08
  that we didn't even touch on, whether it be World War I and the horrors there,
• 1:15:12
  whether it's, you know, making a movie set during a pandemic during the pandemic.
• 1:15:19
  You know, it like, all these things, you know, seeing, seeing a movie set
• 1:15:24
  in 1918 with people wearing masks.
• 1:15:27
  But it j- it just works on pretty much every level that I needed it to work on.
• 1:15:33
  So it's a 4.5
• 1:15:35
  Ryan: Word
• 1:15:37
  Kearns: Very well explained, gentlemen.
• 1:15:40
  All right, I b- do believe it is time for some top fives
• 1:15:44
  Ryan: Top
• 1:15:45
  Jon: Yes, sir
• 1:15:46
  Kearns: Top five, top
• 1:15:47
  Ryan: I've
• 1:15:48
  Kearns: five
• 1:15:48
  Ryan: him in part one, and yes, it is top five Alfred Hitchcock films.
• 1:15:54
  Kearns: Oh,
• 1:15:54
  Jon: I was hoping it was gonna be, I was hoping it was
• 1:15:57
  gonna be top five Rooney Mara
• 1:15:59
  Ryan: Oh,
• 1:15:59
  Kearns: N- Numimaras
• 1:16:01
  Ryan: Noomi Rapace, Noomi, Noomi Ramar, what, whatever name we're going with.
• 1:16:06
  No, I went with top five, Alfred Hitchcock films because there's a lot
• 1:16:10
  in, Pearl with Alfred Hitchcock, and we're gonna start with number five.
• 1:16:14
  It was, nice little tidbit.
• 1:16:16
  In 2021, the film was selected for in the United States National Film
• 1:16:20
  Registry by the Library of Congress as being culturally, historically, or
• 1:16:24
  aesthetically significant, and it came out in 1951, right in the mid where Hitchcock
• 1:16:30
  was becoming more prominent, right?
• 1:16:33
  He starts in the late '30s, early '40s, and starts having a name
• 1:16:37
  for himself in the '50s, and it starts off Strangers on a Train.
• 1:16:43
  remember watching this film in college, and it does a lot
• 1:16:46
  with the suspense, the thrill.
• 1:16:49
  I'm not gonna spoil anything, so if you have seen the films,
• 1:16:52
  hopefully you enjoy my opinion.
• 1:16:54
  But also, if you haven't seen them, give these a watch because
• 1:16:57
  you're on the edge of your seat.
• 1:16:59
  And this story concerns two strangers who meet on a train, one of whom
• 1:17:03
  is a psychopath who suggests that they exchange murders so
• 1:17:06
  that they neither will be caught.
• 1:17:08
  And you're on the edge of your seat of a cat-and-mouse game,
• 1:17:12
  getting framed, certain situations happening, and it's a great build-up,
• 1:17:17
  and it's a great, introduction to Alfred Hitchcock, my opinion.
• 1:17:22
  To which we go with number four.
• 1:17:24
  It's, it's up there.
• 1:17:26
  It took time for me to love this film, came out in, 1958.
• 1:17:32
  It stars Jimmy Stewart, Kim Novak, and it's Vertigo.
• 1:17:38
  James Stewart is a former San Francisco police detective who has retired
• 1:17:41
  after an incident in the line of duty caused him to develop an extreme fear
• 1:17:45
  of heights accompanied by vertigo.
• 1:17:47
  He is hired as a private investigator to report on the strange behavior
• 1:17:50
  of an acquaintance's wife.
• 1:17:52
  And it was hard for me to watch it because the scenes where the
• 1:17:55
  camera's really, like, spinning and stuff, I never did well with that.
• 1:18:00
  But as I got older, Walmart had a beautiful Universal hundredth
• 1:18:05
  anniversary collectors where it opened up, so of course I picked
• 1:18:09
  it up, and I fell in love with the film, and I got over the whole camera
• 1:18:13
  angles, and it's such a great story.
• 1:18:16
  There's twists, um, there's suspense, and Jimmy Stewart is phenomenal,
• 1:18:21
  and this might not be the last time we hear that name tonight.
• 1:18:25
  But that leads me to 1959, and this is what happens when
• 1:18:31
  Alfred Hitchcock proposes a James Bond film and gets denied.
• 1:18:35
  Very similar to when Sam Raimi wanted to do a superhero film and
• 1:18:38
  did Darkman, Alfred Hitchcock years earlier did North by Northwest.
• 1:18:43
  starring Cary Grant, Eva Marie Saint, and James Mason, it follows
• 1:18:47
  the tale of a mistaken identity.
• 1:18:49
  An innocent man, played by Cary Grant, is pursued across the United States by
• 1:18:52
  agents of a mysterious organization that aim- to prevent him from blocking their
• 1:18:56
  plan to smuggle microfilm containing government secrets out of the country.
• 1:19:01
  It's so thrilling.
• 1:19:02
  It's basically the American version of Bond before Bond.
• 1:19:07
  I mean, everyone can think of the airplane scene in the fields, just Cary Grant going
• 1:19:12
  through this whole adventure of mistaken identity, and you feel for the character.
• 1:19:17
  And Grant is just excellent, and highly recommend.
• 1:19:22
  my number two.
• 1:19:23
  This is what really, like, Pearl's really based on.
• 1:19:26
  in 1960, Alfred Hitchcock brings us starring Anthony Perkins,
• 1:19:32
  Vera Miles, Janet Leigh, John McIntire, Martin Balsam, John Gavin.
• 1:19:38
  It follows, an encounter between on-the-run embezzler Marion Crane,
• 1:19:42
  played by Leigh, who meets shy motel proprietor Norman Bates, played by
• 1:19:46
  Perkins, and his disturbed mother.
• 1:19:49
  A private investigator, played by Balsam, Marion's lover, Sam Loomis,
• 1:19:54
  Gavin, which we all know that's where Dr. Loomis' name comes from, is Psycho,
• 1:20:00
  her sister Lila, played by Miles.
• 1:20:03
  50/50, I think I would say.
• 1:20:05
  Yeah, 50/50 on it.
• 1:20:07
  I, I would love it if it was.
• 1:20:08
  Uh, inves- investigate Marion's disappearance.
• 1:20:12
  This is really, like, his horror, horror film.
• 1:20:15
  But again, the suspense is there, the thrill, black and white.
• 1:20:20
  There's so many iconic scenes that, like, even if you've seen it a million times,
• 1:20:26
  you jump, and even if you haven't seen it, you're gonna get scared, and it's
• 1:20:31
  a fun ride, and it's some- something that all horror fans should watch.
• 1:20:35
  hyped for a reason, it's a good reason because it hits.
• 1:20:40
  And that leads to my number one.
• 1:20:42
  Psycho originally used to be my number one, and this is until I saw 1954's,
• 1:20:47
  Rear Window, Jimmy Stewart, Grace Kelly, Raymond Burr Jada got me this
• 1:20:56
  for Christmas and she was like, I was shocked you'd never seen this film
• 1:21:00
  before and she'd never seen it either.
• 1:21:02
  And we actually had a nice night as the snow was falling to watch Rear Window.
• 1:21:06
  And it's such a great movie.
• 1:21:08
  It's about a photographer who breaks his leg and he's kind of like, I
• 1:21:15
  don't know how to, he's spying.
• 1:21:17
  That's a better term.
• 1:21:18
  He's spying on his neighbors and one of them, well, I don't want to say,
• 1:21:22
  it's not voyeurism, I don't think.
• 1:21:25
  Maybe.
• 1:21:26
  Jon: voyeurism.
• 1:21:26
  It's voyeurism.
• 1:21:27
  Yeah
• 1:21:28
  Ryan: Like, all right, I did.
• 1:21:29
  So, okay.
• 1:21:30
  So he's a voyeur and, you know, he sees Raymond Burr unalive his wife.
• 1:21:34
  And that's where this thrill and suspense start.
• 1:21:37
  And it's a cat and mouse between James Stewart's character being stuck
• 1:21:42
  in his apartment with a broken leg while Raymond Burr tries to figure
• 1:21:46
  out how to get into the apartment.
• 1:21:48
  And it's just a great film.
• 1:21:50
  And long is it?
• 1:21:53
  112 minutes.
• 1:21:55
  Like spend the hour and 52 minutes and watch it.
• 1:21:58
  And
• 1:21:59
  Jon: Yeah, it, it doesn't feel that
• 1:22:00
  Ryan: No, it doesn't.
• 1:22:01
  And I love how they changed the stage they changed locations and stuff.
• 1:22:06
  You talk about, we talked about how undertone and iron lung was one location.
• 1:22:12
  Rear window was basically a stage because you saw all the
• 1:22:15
  Jon: Hmm.
• 1:22:15
  Ryan: change and it's just amazing how they do it.
• 1:22:18
  And I got a lot of love for it.
• 1:22:21
  Jon: Yep.
• 1:22:21
  Ryan: Go watch
• 1:22:22
  Jon: Yep.
• 1:22:22
  Ryan: from the rear window.
• 1:22:23
  But John,
• 1:22:24
  Jon: Mm-hmm.
• 1:22:25
  Ryan: is your top five?
• 1:22:26
  Jon: Well, even before we go to my top five, I'll throw out two honorable
• 1:22:30
  mentions for you that I absolutely love.
• 1:22:33
  Obviously, there's The Birds.
• 1:22:34
  The Birds is like, that was my introduction to Hitchcock really.
• 1:22:40
  I think I'd seen, like, North by Northwest and Vertigo, but the first one
• 1:22:43
  I really paid attention to was The Birds.
• 1:22:46
  I love The Birds.
• 1:22:47
  It maybe isn't a top five, but it's, it's so good.
• 1:22:50
  Uh, one that I think is a top five is Rope
• 1:22:53
  Ryan: Oh, yeah.
• 1:22:54
  So I've never seen it.
• 1:22:56
  I've always seen clips of it.
• 1:22:58
  It's, it's one of those things where it was a Alfred Hitchcock collector's
• 1:23:01
  edition, right, when they re-released
• 1:23:03
  Jon: Mm-hmm.
• 1:23:03
  Ryan: and now it's one of those films where you gotta try to find.
• 1:23:08
  But it's definitely
• 1:23:09
  Jon: It's on one, it's on one of the w- it's on at least one of the collections
• 1:23:13
  of his work, 'cause I have it.
• 1:23:16
  Ryan: Geez, I
• 1:23:17
  Jon: oh, it's so, so good
• 1:23:20
  Ryan: shocks me because I thought you would've said frenzy
• 1:23:24
  Jon: Yeah, I mean that can be up there too, but The Birds and Rope
• 1:23:28
  were the first two that came to mind.
• 1:23:30
  Uh, um, Rope I discovered pretty recently.
• 1:23:33
  I, uh, Allison and I put that on one night and we're, we
• 1:23:36
  were both just, just blown away
• 1:23:39
  Ryan: He does, his earlier work is so well done.
• 1:23:42
  Like, the
• 1:23:43
  Jon: Mm-hmm.
• 1:23:44
  Ryan: Man Who Knew Too Much compared to the Jimmy Stewart one, which he
• 1:23:48
  Jon: Mm-hmm.
• 1:23:49
  Ryan: um, two different films.
• 1:23:51
  Jon: Mm-hmm.
• 1:23:52
  Ryan: plot, but two different how he directs it.
• 1:23:54
  But,
• 1:23:55
  Jon: Yeah
• 1:23:55
  Ryan: now Jada, real quick, um, gave me crap for it, kinda.
• 1:23:59
  She was like, she loves The Birds.
• 1:24:01
  She was like, "Why is she not putting it at a top five?"
• 1:24:03
  And I'm like, never seen Strangers On a Train, Vertigo, North by Northwest." Like,
• 1:24:09
  Jon: Mm-hmm.
• 1:24:10
  Ryan: is amazing.
• 1:24:11
  I do love it.
• 1:24:12
  Jon: And now
• 1:24:13
  Ryan: but like, for me, these films, like, made me love Hitchcock so much
• 1:24:18
  more, and I love it that he, he makes you feel the thrill and the suspense, and
• 1:24:22
  Rope is definitely on my list to watch.
• 1:24:26
  been
• 1:24:27
  Jon: Yeah, they usually, you should definitely get to it.
• 1:24:30
  Um, and one more thing to throw out w- in regards to your list is there's
• 1:24:34
  a new Kim Novak documentary out
• 1:24:36
  Ryan: Ooh.
• 1:24:37
  Jon: that sounds really fascinating 'cause it goes into, like, not
• 1:24:42
  just the movies, but her, you know, disappearance from public life.
• 1:24:48
  You know, she was kind of at what could've been a career peak
• 1:24:51
  and just, like, went away, so
• 1:24:53
  Ryan: never knew that.
• 1:24:54
  Like, she
• 1:24:55
  Jon: yeah
• 1:24:56
  Ryan: just disappeared.
• 1:24:58
  Jon: She just stopped working?
• 1:25:01
  Ryan: I'm
• 1:25:01
  Jon: So it goes into that a lot.
• 1:25:03
  well, I, I'm curious about that.
• 1:25:05
  I don't know a lot of the story, but anyway, onto my top five.
• 1:25:09
  And I went top five actors who went from horror movies to superheroes
• 1:25:16
  in honor of our friend Superman.
• 1:25:19
  Ryan: okay
• 1:25:20
  Jon: I just had to change this list on the fly because I
• 1:25:23
  realized I did one backwards.
• 1:25:25
  Kearns: Ooh
• 1:25:25
  Jon: did someone who went from superhero to horror
• 1:25:28
  Ryan: This is, this is
• 1:25:29
  Jon: g- 'cause my
• 1:25:30
  Ryan: 'cause you don't like superheroes and stuff, so I'm curious to know how you
• 1:25:33
  Jon: I don't, but I li- I like the horror movies they're in.
• 1:25:37
  Uh, number five, it's gonna be our friend Thor,
• 1:25:43
  Ryan: Yes.
• 1:25:44
  Kearns: The cabin in the
• 1:25:45
  Jon: Cabin in the Woods to the Marvel Cinematic Universe.
• 1:25:50
  Cabin in the Woods, I think we know the story.
• 1:25:52
  Group of c- group of kid friends go to a cabin in the woods.
• 1:25:56
  It turns out they're not really even getting the standard slasher
• 1:26:00
  Cabin in the Woods experience.
• 1:26:03
  They're getting something way, way different.
• 1:26:07
  Uh, Cabin in the Woods horror comedy does a lot of things
• 1:26:11
  really, really, really well.
• 1:26:13
  Chris Hemsworth is one of them.
• 1:26:15
  Definitely number five
• 1:26:17
  Ryan: you see that in theaters?
• 1:26:20
  Jon: It did not
• 1:26:20
  Ryan: Can I… Seeing it in theaters was pretty cool.
• 1:26:23
  Just to see the merman?
• 1:26:25
  Jon: I'm sure.
• 1:26:25
  Ryan: The merman
• 1:26:26
  Jon: Mm-hmm.
• 1:26:27
  Ryan: It's just
• 1:26:28
  Jon: Yeah, I'm sure.
• 1:26:29
  You, you… I mean, you have to have gone into that expecting it to be
• 1:26:32
  s- one thing, and then it turned into something else entirely, and
• 1:26:36
  it, like, I like that twist on it.
• 1:26:39
  Um, my number four is, uh, the first of, of actors who are in the same horror
• 1:26:46
  movie together early on in their careers.
• 1:26:49
  Um, but number four is gonna be Jeremy Renner, 28 Weeks Later, to Hawkeye.
• 1:26:58
  Yeah.
• 1:27:00
  Forgot about him.
• 1:27:01
  He's, but he, I mean, he's so important in 28 Weeks Later as Sergeant Doyle.
• 1:27:05
  He's, uh, you know, the sniper who's the first to notice Tammy and
• 1:27:10
  Andy break the con- the quarantine containment, and then when the virus
• 1:27:14
  starts to get out of control, he's ordered to eliminate all citizens.
• 1:27:20
  And then he goes from that to, you know, giving himself to try to help
• 1:27:25
  these two kids escape England as the quarantine is completely broken, and
• 1:27:32
  the rage virus has broken out again
• 1:27:37
  my number three winds up being one of the biggest villains in the MCU.
• 1:27:43
  And my number three is Josh Brolin
• 1:27:48
  Yeah.
• 1:27:49
  Kearns: What's the
• 1:27:49
  Jon: Josh Brolin, Mimic.
• 1:27:52
  Kearns: Oh, I was gonna say.
• 1:27:54
  Jon: No, he, he's in, he's in… He goes from Guillermo del Toro to, to Marvel.
• 1:28:00
  Um, in Mimic, he plays Josh.
• 1:28:02
  Uh, so Mimic, I think I've put on lists before.
• 1:28:05
  I probably can't put it on enough lists.
• 1:28:08
  Uh, genetically engineered bug has evolved beyond its design
• 1:28:13
  and is now preying on humans.
• 1:28:16
  Uh, so it falls on the scientists who created the bug to find a way to stop
• 1:28:20
  it before it eats all of New York City
• 1:28:23
  Ryan: The DVD cover when they originally did the slip covers, I remember that
• 1:28:29
  and The Relic both at Suncoast Video, which is the local video store for me.
• 1:28:33
  And
• 1:28:34
  Jon: Mm-hmm.
• 1:28:35
  Ryan: it's just grafted in my mind the like, uh, like the,
• 1:28:38
  the wording and just the design.
• 1:28:40
  It, like, brought you to it.
• 1:28:42
  mention The Relic 'cause they both came out the same time,
• 1:28:45
  and just both good movies
• 1:28:50
  Jon: Mm-hmm.
• 1:28:51
  Yep, yep.
• 1:28:52
  So my number two, we're gonna go back to 28 Weeks Later.
• 1:28:58
  and we're gonna tie it back in with our friend Thor because it's one of
• 1:29:01
  Thor's closest allies, the guardian of the Bifrost Bridge, Heimdall.
• 1:29:07
  It's Idris Elba, who is, General Stone in 28 Weeks Later, the leader of the
• 1:29:14
  NATO forces in charge of securing the safe zone in post-infection England.
• 1:29:20
  and he becomes the guy who has to order a code red to eliminate all the
• 1:29:25
  civilians, and then the firebombing to try to regain control of the rage virus.
• 1:29:32
  it's a great role for Idris Elba.
• 1:29:34
  It's probably not the very beginning of his career, but is a, it is a
• 1:29:38
  horror movie to a superhero, and like, he's phenomenal in 28 Weeks Later
• 1:29:46
  But my number one, we're gonna tie in with the hugest franchises in superheroes with
• 1:29:55
  Marvel, and we're gonna tie in with one of the greatest franchises in horror history.
• 1:30:01
  We're gonna go to Paul Rudd
• 1:30:05
  Kearns: All right
• 1:30:06
  Jon: Yep.
• 1:30:08
  So y- you know him now as Ant-Man.
• 1:30:11
  Um, but I'll ask you guys a question.
• 1:30:13
  How does an actor go from one of the lower-rated Halloween sequels to some
• 1:30:19
  of the most successful movies ever?
• 1:30:22
  Ryan: Clueless
• 1:30:23
  Jon: I think it probably helps by being agelessly handsome and
• 1:30:28
  have a charming screen presence.
• 1:30:31
  Paul Rudd accomplished that going from, you know, Tommy Doyle in
• 1:30:36
  Halloween: The Curse of Michael Myers to Ant-Man in the MCU, and just be-
• 1:30:42
  You know, just being a generally beloved actor at this point, I think.
• 1:30:46
  I, I don't know of many people who don't like him.
• 1:30:49
  But, in Halloween, he's a grown-up and scarred Tommy Doyle who's now determined
• 1:30:54
  to stop the cult that is, resurrecting Michael Myers for his annual spree
• 1:31:02
  Ryan: Polaroid was the
• 1:31:03
  Jon: That's…
• 1:31:05
  Ryan: of that whole film.
• 1:31:06
  Jon: Oh, absolutely.
• 1:31:07
  Absolutely.
• 1:31:08
  I, I mean
• 1:31:11
  I mean, but even Donald Pleasance is kind of dragging in that movie.
• 1:31:14
  He's not Donald Pleasance by that point.
• 1:31:17
  Ryan: it's just nice to see him on screen
• 1:31:20
  Jon: Yeah.
• 1:31:22
  Ryan: You know, that's, that's,
• 1:31:23
  Jon: It is, it is
• 1:31:24
  Ryan: Like I know, but still, but you know, Paul Rudd, I mean, he's, he's
• 1:31:29
  a national j- uh, treasure I feel.
• 1:31:32
  I mean, he owns a candy store up in Rhinebeck from my understanding
• 1:31:36
  Kearns: That's a town in New York where none of us live.
• 1:31:39
  We don't live
• 1:31:39
  Jon: None of us.
• 1:31:40
  Kearns: from Mississippi
• 1:31:43
  Jon: Yeah.
• 1:31:43
  Ryan: M-I-S-S-I-S-S-I-P-P-I
• 1:31:47
  Kearns: Now they know we're not from Mississippi because you spelled it.
• 1:31:50
  Jon: Yeah
• 1:31:52
  Kearns: And that's it for me ragging on Mississippi for this one.
• 1:31:55
  We're actually gonna get out of here, guys.
• 1:31:56
  That was our episode on Pearl.
• 1:31:57
  Good top fives, gentlemen
• 1:32:03
  Jon: Hey, yeah