Latest / Frightmares / Ep. 370 - Frankenstein's Army (2013)

Transcript

Ep. 370 - Frankenstein's Army (2013) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:08
  Speaker 2: The following podcast will contain spoilers, tangents, hot takes, and
• 0:12
  Speaker 2: excessive foul language. Viewer discretion is advised.
• 0:16
  Speaker 3: Enjoy the show. Welcome back to Frightmar's podcast. I'm your
• 0:58
  Speaker 3: host Austin Proctor and joining me today for episode three
• 1:01
  Speaker 3: seventy is my good friend Corey Johnson.
• 1:04
  Speaker 2: Hey O, everybody, DA's Vedonia and Glory to the Proletariat.
• 1:11
  Speaker 3: Perfect love It Today and another installment of March Labness.
• 1:14
  Speaker 3: We're discussing our international pick, Frankenstein's Army from twenty thirteen,
• 1:19
  Speaker 3: a movie that mashes up Frankenstein with Call of Duty zombies.
• 1:22
  Speaker 3: Where the prop department was giving was given unlimited scrap
• 1:26
  Speaker 3: metal and a whole bunch of cocaine. So let's see
• 1:29
  Speaker 3: where this lands on the nightmare index. So from the
• 1:39
  Speaker 3: corrections department last episode, I said Child's Play was from
• 1:43
  Speaker 3: nineteen ninety eight, but of course I am at nineteen
• 1:45
  Speaker 3: eighty eight. I'm just dumb and say things very quickly.
• 1:49
  Speaker 3: That's all I have for that. Let's talk about some
• 1:51
  Speaker 3: stuff we recently watched. I've watched a whole bunch of crap,
• 1:55
  Speaker 3: but always kick it over to the co host to start.
• 1:58
  Speaker 3: What do you got, Corey?
• 2:00
  Speaker 2: Uh, first and biggest thing that I've watched recently was Undertone.
• 2:05
  Speaker 3: Yeah, which, as.
• 2:07
  Speaker 2: I haven't been keeping up with the episodes, but I'm
• 2:09
  Speaker 2: sure you've talked about it ad nauseum at this point,
• 2:13
  Speaker 2: only without without actually talking about it.
• 2:16
  Speaker 3: Yeah.
• 2:16
  Speaker 2: Of course, I have still yet to rate it on
• 2:20
  Speaker 2: letterbox because it I have been doing so much thinking
• 2:25
  Speaker 2: about this movie. I'm so torn with it because fifty
• 2:32
  Speaker 2: percent of me is like, this could be one of
• 2:36
  Speaker 2: the greatest movies I've ever seen, and then the other
• 2:39
  Speaker 2: fifty percent of me is like, oh, but there was
• 2:43
  Speaker 2: so much bullshit you had to wade through to get there.
• 2:47
  Speaker 3: Yeah.
• 2:47
  Speaker 2: Is it worth calling it that? I still don't know fair.
• 2:52
  Speaker 3: I think that uh definitely deserves a rewatch then to
• 2:56
  Speaker 3: get a full opinion.
• 2:57
  Speaker 2: But oh, for sure, if nothing else, it is the
• 3:02
  Speaker 2: single most holy unique execution of a premise I've ever seen,
• 3:10
  Speaker 2: because it's not necessarily the most unique. Because I was
• 3:14
  Speaker 2: talking with Kyle about this before he and I went
• 3:17
  Speaker 2: to go see it separately. I was like, you know
• 3:19
  Speaker 2: what this kind of ViBe's like, and he was like,
• 3:22
  Speaker 2: what and I was like that Dennis Quaid joint white noise?
• 3:28
  Speaker 3: Wait, is that Dennis Quaid?
• 3:31
  Speaker 2: I think it's Dennis Quaid. If I'm remembering correctly, I.
• 3:35
  Speaker 3: Think you're right. But I know it's like a famous actor.
• 3:42
  Speaker 3: Michael Keaton.
• 3:42
  Speaker 2: Michael Keaton, Michael Keaton, Okay.
• 3:45
  Speaker 3: I was still I'd say they're like equal leaf. Now
• 3:48
  Speaker 3: Michael Keaton's probably more famous. Yeah, that kind of did.
• 3:54
  Speaker 3: It's And it's not like I don't know people have
• 3:57
  Speaker 3: heard what I thought about it. I love it. I
• 4:00
  Speaker 3: think it's great. I also saw it in theaters three times,
• 4:03
  Speaker 3: which is probably way more than anyone seen it in theaters.
• 4:06
  Speaker 3: I am a little upset, though, because it started out
• 4:08
  Speaker 3: so strong headed three point four out of five on letterbox,
• 4:11
  Speaker 3: and now it's down to a three.
• 4:14
  Speaker 2: So I think it's truly like a vast majority of
• 4:18
  Speaker 2: people just don't understand this movie. That's because I'm focusing hard,
• 4:25
  Speaker 2: fucking core on it, and like every ten to fifteen
• 4:29
  Speaker 2: minutes in this movie, I'm thinking to myself, am I
• 4:31
  Speaker 2: actually understanding what's going on? Like I feel like I'm
• 4:35
  Speaker 2: understanding what's going on, and then something else happens and
• 4:38
  Speaker 2: I'm like maybe I don't know what's going.
• 4:43
  Speaker 3: Yeah, that's fair. The three four came primarily from sneak
• 4:47
  Speaker 3: peaks and festival runs, so a lot of the times
• 4:50
  Speaker 3: with festival runs, people I don't know. I get the
• 4:54
  Speaker 3: vibe that people rate things higher when they're out of
• 4:57
  Speaker 3: I don't know. It's entirely possible. That happens a lot
• 5:00
  Speaker 3: the times. When a movie has a score on IMDb
• 5:03
  Speaker 3: before its theatrical release, it typically goes down and it
• 5:06
  Speaker 3: always makes me sad. But I don't know. I haven't
• 5:09
  Speaker 3: really heard any negative, like negative reviews on it. Everyone
• 5:14
  Speaker 3: that has seen it is like, that was really good.
• 5:16
  Speaker 3: So it's weird that it shifted so aggressively from like
• 5:20
  Speaker 3: a three four to a three, but you know, and
• 5:22
  Speaker 3: see it.
• 5:22
  Speaker 2: I haven't. I haven't seen negative reviews. Either it's either
• 5:26
  Speaker 2: been oh, yeah, that was fucking amazing or it was alright. No,
• 5:30
  Speaker 2: I haven't heard anybody to go that was a bad movie.
• 5:34
  Speaker 2: But I've seen a vast majority, and it's starting to
• 5:38
  Speaker 2: outweigh the oh this was really really good, just that
• 5:43
  Speaker 2: it was all right.
• 5:45
  Speaker 3: Yeah, And since last week now I saw the numbers
• 5:48
  Speaker 3: for what it made and it is at fifteen million
• 5:51
  Speaker 3: on a five hundred thousand dollars budget, which again is
• 5:54
  Speaker 3: a home run for a budget versus profit. So that's great.
• 5:59
  Speaker 3: I'm sure get a physical release as well. And I
• 6:04
  Speaker 3: don't know, this will probably open the door for kind
• 6:06
  Speaker 3: of a new subgenre here. There's already another horror movie
• 6:09
  Speaker 3: coming out Center centered around a podcast that involves zombies.
• 6:14
  Speaker 3: So I'm like, I think we're gonna see a whole
• 6:16
  Speaker 3: new subgenre about podcasts.
• 6:18
  Speaker 2: Yeah, but I mean, I mean horror. Horror always mirror society.
• 6:24
  Speaker 2: That's true and what people are afraid of. And I
• 6:30
  Speaker 2: think including podcasts with the you know, potential for such
• 6:35
  Speaker 2: a mass market plus the horror of you never know
• 6:40
  Speaker 2: what information you're getting, is correct. I think it's I
• 6:44
  Speaker 2: think it's a it's a real nice mirror on society,
• 6:48
  Speaker 2: which funny enough now that I say mirror. That's actually
• 6:50
  Speaker 2: the reason Jessica didn't like the movie is she hates
• 6:57
  Speaker 2: a horror movie that will hold a mirror up to
• 7:00
  Speaker 2: you and make you reflect on the things that you
• 7:04
  Speaker 2: might be feeling. And she was like, I don't come
• 7:07
  Speaker 2: to the movies to have a mirror held up in
• 7:10
  Speaker 2: front of me. God damn it. And I'm like, no,
• 7:12
  Speaker 2: that's fair. That is one fair.
• 7:15
  Speaker 3: Yeah, I know I can see that. Uh yeah, that
• 7:17
  Speaker 3: that one. I don't know that one just hit for
• 7:19
  Speaker 3: me anything else.
• 7:22
  Speaker 2: So not totally horror, but like murder mystery thrillers.
• 7:29
  Speaker 3: Oh yeah.
• 7:30
  Speaker 2: Hulu Disney Plus has a show that aired last year
• 7:35
  Speaker 2: and I think they're in the second season now. It's
• 7:37
  Speaker 2: called Paradise.
• 7:39
  Speaker 3: Oh.
• 7:40
  Speaker 2: It's a political murder mystery with some like mega sci
• 7:48
  Speaker 2: fi elements thrown in. Okay, really fucking good. The first
• 7:53
  Speaker 2: episode had me fucking gripped so much that I watched
• 7:57
  Speaker 2: it when I came home from work one night. So
• 7:59
  Speaker 2: Jessica is already asleep. After that first episode, ran I
• 8:03
  Speaker 2: turned it off and said, I can't watch this without
• 8:05
  Speaker 2: Jessica because she will be mad at me for watching
• 8:08
  Speaker 2: something so interesting without her.
• 8:10
  Speaker 3: Yeah, my wife and I do that all the time.
• 8:13
  Speaker 2: And then there's a new show that just came out
• 8:18
  Speaker 2: on HBO. It's only three episodes in right now. It's
• 8:22
  Speaker 2: called DTF Saint Louis and it's David Harbor, Oh, Jason Bateman, Oh,
• 8:32
  Speaker 2: Linda Cardellini and I can't remember I can't remember the
• 8:37
  Speaker 2: other old white dude's name. Give me one second. But
• 8:41
  Speaker 2: he's he's massive. He's been in the industry for goddamn forever.
• 8:46
  Speaker 1: Uh.
• 8:47
  Speaker 2: Oh Richard Jenkins, Oh.
• 8:49
  Speaker 3: Yeah yeah yeah yeah. If you don't know the name,
• 8:52
  Speaker 3: I would say he's probably most known for his role
• 8:55
  Speaker 3: as Doctor Doeback from Step Brothers. Yeah yeah, yeah, yeah
• 9:00
  Speaker 3: yeah yeah.
• 9:00
  Speaker 2: And it's uh it is also a thriller mystery type thing. Okay,
• 9:08
  Speaker 2: but it's also it's also super irreverent. And it feels
• 9:12
  Speaker 2: even though I can't find him in any of like
• 9:15
  Speaker 2: the production or like producer credits, it feels like very
• 9:22
  Speaker 2: Tim Robinson coded.
• 9:24
  Speaker 3: Ooh okay, I still need to watch his new show.
• 9:26
  Speaker 3: He has a brand new show, Oh The Chair Company. Yeah,
• 9:29
  Speaker 3: I still got to watch that.
• 9:29
  Speaker 2: Yeah. I haven't said I'm not. I'm not a Tim
• 9:33
  Speaker 2: Robinson fan myself. His comedy just isn't for me.
• 9:38
  Speaker 3: That's how it is, though, that it's exactly how it
• 9:40
  Speaker 3: is he It is either exactly your type of comedy
• 9:44
  Speaker 3: or it is not, And for me it is just
• 9:47
  Speaker 3: so ridiculous. I can't help but laugh.
• 9:49
  Speaker 2: But I that's that's why I had to That's why
• 9:51
  Speaker 2: I had to bail out on friendship, because I got
• 9:54
  Speaker 2: like thirty minutes in I can't do.
• 9:57
  Speaker 3: Have you seen? God, what is this show on Netflix?
• 10:01
  Speaker 3: Fucking I think you should leave? Yeah? Have you seen so?
• 10:04
  Speaker 3: Have you seen that?
• 10:06
  Speaker 2: I've seen the internet clip bits like fifty five Hamburgers,
• 10:10
  Speaker 2: fifty five fries like.
• 10:12
  Speaker 3: I didn't do fucking shit.
• 10:14
  Speaker 2: Yeah, okay, the Internet bits are funny. Yeah, but it's
• 10:19
  Speaker 2: not like I can sit and watch an entire thirty
• 10:23
  Speaker 2: forty five minute episode of those bits, cause they're they're
• 10:28
  Speaker 2: they're good in like a microcosm, like they're great on
• 10:32
  Speaker 2: a TikTok scroll.
• 10:33
  Speaker 3: True, Yeah, but I.
• 10:34
  Speaker 2: Don't want I don't want a whole show of that.
• 10:36
  Speaker 3: They're only like twenty minutes. But yeah, I get it.
• 10:40
  Speaker 3: That's totally fair. Like I said, he is either going
• 10:42
  Speaker 3: to be right up here Lane for comedy or he's not.
• 10:46
  Speaker 3: I don't remember the last things I talked about on
• 10:51
  Speaker 3: the last episode, so I'll just rattle a couple off quickly.
• 10:54
  Speaker 3: Saw Slanted in Theaters, four stars, body cam on Shutter
• 10:57
  Speaker 3: four stars. I'm pretty sure I already talked about those.
• 11:00
  Speaker 3: Saw a movie called Scared to Death with Lynn Shay,
• 11:03
  Speaker 3: Bill Moseley, and I think those are the only two
• 11:06
  Speaker 3: famous people in there. It's a goofy movie, but if
• 11:09
  Speaker 3: you meet it where it's at, it's a fun time.
• 11:11
  Speaker 3: It's shut your brain off and enjoy the three stars.
• 11:16
  Speaker 3: Rewatched Ex Machina the other day. Fucking masterpiece. Loved that movie.
• 11:21
  Speaker 3: Another movie in the Transformers universe, Age of Extinction, and
• 11:25
  Speaker 3: this is where they get bad. Oh my god, two.
• 11:30
  Speaker 2: Hours really, cause I mean I really didn't like Dark
• 11:35
  Speaker 2: of the Moon.
• 11:36
  Speaker 3: The first three. I really, I think this is four
• 11:38
  Speaker 3: the first three. I really enjoyed this one. I was like, wow,
• 11:42
  Speaker 3: this is two hours and forty five minutes. I couldn't
• 11:45
  Speaker 3: tell you a single fucking plot point, nothing. It turned
• 11:49
  Speaker 3: my brain into mush. And my review for this one
• 11:53
  Speaker 3: at one and a half stars was I'm gonna repeatedly
• 11:55
  Speaker 3: bang my head against the wall in hopes of getting
• 11:58
  Speaker 3: amnesia so I don't have to remember this movie. It
• 12:00
  Speaker 3: was so god awful. Do not recommend. And then Sunday,
• 12:07
  Speaker 3: no Saturday. On March twenty first, the day before my birthday,
• 12:11
  Speaker 3: I compiled a movie marathon in preparation for Ready or
• 12:16
  Speaker 3: Not two, which we saw on Sunday. We did Your Next,
• 12:21
  Speaker 3: Then we did Severance, which I had never seen. Then
• 12:24
  Speaker 3: we did the hunt, and then we did Ready or Not.
• 12:26
  Speaker 3: Of course, basically every movie involves people being targeted and
• 12:31
  Speaker 3: you know, trying to kill a people trying to kill
• 12:34
  Speaker 3: them but them surviving, and then we saw Ready or
• 12:37
  Speaker 3: Not Too Here, Here I Come or whatever. It is long, tidle,
• 12:41
  Speaker 3: and quite impressed with the sequel because it's essentially what
• 12:46
  Speaker 3: Home Alone one and two did, where Home Alone two
• 12:48
  Speaker 3: is an exact carbon It's a carbon copy of the
• 12:52
  Speaker 3: first plot just said in New York. And while Ready
• 12:56
  Speaker 3: or Not Too kind of does the same things in
• 12:58
  Speaker 3: terms of Samarrow getting hunted again, they added so much
• 13:03
  Speaker 3: depth to the story and provided so much more lore
• 13:07
  Speaker 3: on everything that was going on that I actually rated
• 13:09
  Speaker 3: a half star higher than the first one, because I
• 13:12
  Speaker 3: find it wildly impressive to be able to do a
• 13:15
  Speaker 3: sequel that is basically the same premise and somehow do
• 13:19
  Speaker 3: it better well, and I very impressed.
• 13:22
  Speaker 2: I have not seen the second one yet, so I'm
• 13:27
  Speaker 2: going to speak purely from an observational standpoint. I think
• 13:31
  Speaker 2: it's because they made enough money on the first one
• 13:35
  Speaker 2: to where they went, all right, let's do the same thing,
• 13:39
  Speaker 2: but let's do it with the cast that we actually wanted.
• 13:42
  Speaker 2: The first time.
• 13:44
  Speaker 3: That's true because this cast is fucking stack. It's a
• 13:48
  Speaker 3: stacked cast of Elijah Wood, who I love just being
• 13:53
  Speaker 3: in all these horror movies lately. David Cronenberg actually pops
• 13:57
  Speaker 3: up for a few minutes, which is always just so
• 13:59
  Speaker 3: rare but always a treat to see him on screen.
• 14:03
  Speaker 3: But ready or Not too was insane. They actually have
• 14:06
  Speaker 3: the same three point five out of five for both movies,
• 14:09
  Speaker 3: which is incredibly consistent for a movie and its sequel.
• 14:13
  Speaker 3: But I mean the team behind them Radio Silence, They're
• 14:17
  Speaker 3: fucking incredible. They have not in my opinion, Hey, they
• 14:21
  Speaker 3: have not made a bad movie. I wasn't huge on
• 14:24
  Speaker 3: Screen six, but I still enjoyed it. I didn't think
• 14:26
  Speaker 3: it was bad by any means. But Radio Silence is
• 14:28
  Speaker 3: killing it. I need them to keep cranking out more movies.
• 14:32
  Speaker 3: I did forget to do my Colt movie challenge from
• 14:34
  Speaker 3: last week. It was Beyond re Animator for screaming George,
• 14:40
  Speaker 3: screaming mad George something like that. I confused him with
• 14:43
  Speaker 3: screaming Jay Hawkins who sings the iput a spell on you.
• 14:46
  Speaker 3: Beyond Reanimator was definitely a special time. It's a very
• 14:50
  Speaker 3: weird sequel. But it still has the elements of the
• 14:54
  Speaker 3: first two. It's just from two thousand and three in
• 14:57
  Speaker 3: a very weird time of horror. I still gave it
• 14:59
  Speaker 3: a three out of or three point five out of
• 15:01
  Speaker 3: five out of respect for Brian Yozna Jeffrey Colmes. But
• 15:05
  Speaker 3: it was a very very bizarre story. And then this
• 15:07
  Speaker 3: week for the Cult Movie Challenge was Tangerine Dream Week,
• 15:12
  Speaker 3: and I did The Keep, which is a Michael Mann
• 15:16
  Speaker 3: movie from nineteen eighty three, and it is a boo
• 15:21
  Speaker 3: oh boy, it's a wild plot description. If you've never
• 15:24
  Speaker 3: seen it and don't know anything about it, let me
• 15:26
  Speaker 3: just read you this description because it's it's it's a lot,
• 15:31
  Speaker 3: and I appreciate the vision and what it was going for,
• 15:34
  Speaker 3: though so said. During World War Two, a German army
• 15:37
  Speaker 3: garrison the center guard a mountain pass in a village
• 15:40
  Speaker 3: in Romania's Carpathian Mountains and sets up barracks and an
• 15:43
  Speaker 3: ancient stone fortress. Two of the soldiers unwittingly release a
• 15:47
  Speaker 3: mysterious entity that kills or corrupts those within its influence,
• 15:52
  Speaker 3: drawing the attention of a Gestapo commander, a Jewish scholar,
• 15:55
  Speaker 3: and a mysterious Traveler. It's a wild fucking movie and
• 15:57
  Speaker 3: has some of the most visually pleasing aesthetics I've seen
• 16:02
  Speaker 3: from a movie from that time period. Not gonna be
• 16:05
  Speaker 3: for everyone.
• 16:05
  Speaker 2: Like I've seen this it is. As you were going
• 16:10
  Speaker 2: over the description, I was like, this sounds wildly familiar.
• 16:14
  Speaker 3: Well, it's funny because I double featured that with Frankenstein's
• 16:17
  Speaker 3: Army because they're both set during World War Two and
• 16:19
  Speaker 3: involved Nazis. And I was like, this just feels like
• 16:22
  Speaker 3: a great double feature. I gave it a four. Ian
• 16:24
  Speaker 3: McKellen is in it at the youngest I've ever seen him,
• 16:27
  Speaker 3: forty four, and he is just killing it in this movie.
• 16:31
  Speaker 3: If you want to stream it, I don't think it's
• 16:33
  Speaker 3: actually streaming anywhere, which I had the vinegar syndrome four K,
• 16:37
  Speaker 3: so I don't see it streaming anywhere. But it is
• 16:40
  Speaker 3: a lot of fun. Yeah, it's just on Amazon for
• 16:44
  Speaker 3: a rental. But yeah, that's all I've watched. I think
• 16:46
  Speaker 3: we've talked about enough movies. We should get onto the
• 16:49
  Speaker 3: main one of this episode, so let's move to the
• 16:53
  Speaker 3: body count. There we go. I literally have these order
• 17:00
  Speaker 3: and still managed to fuck it up sometime. So this
• 17:03
  Speaker 3: is Frankenstein's Army from twenty thirteen, released on July twenty
• 17:07
  Speaker 3: sixth of that year in the US as a limited
• 17:09
  Speaker 3: run rated R for bloody, violent and grizzly images and language.
• 17:14
  Speaker 3: There's no sex and nudity, severe violence and gore, moderate profanity,
• 17:18
  Speaker 3: mild alcohol, drugs and smoking, and severe frightening and intense
• 17:21
  Speaker 3: scenes coming in at an hour and twenty four minutes.
• 17:24
  Speaker 3: Listed as an action adventure, horror, sci fi thriller War
• 17:29
  Speaker 3: directed by Richard Raphorst rap Hoorst. This is his only
• 17:34
  Speaker 3: feature length film. It was also written by him. He
• 17:37
  Speaker 3: wrote five other short films. Then we have his where
• 17:40
  Speaker 3: It Gets Weird Miguel Tahita Flores, who also wrote Revenge
• 17:44
  Speaker 3: of the Nerds, Fright Night Part two and Weirdly Enough
• 17:48
  Speaker 3: Beyond Reanimator. Then we have Chris W. Mitchell, who also
• 17:51
  Speaker 3: wrote The Pool from twenty fourteen and The Windmill twenty
• 17:55
  Speaker 3: sixteen composed by Rain Allen Han who composed nineteen Things
• 18:00
  Speaker 3: I Haven't Heard Of, cinematography by Bart Beekman, which is
• 18:04
  Speaker 3: a fucking killer name. He also did the cinematography for
• 18:07
  Speaker 3: the Windmill and then edited by Aaron Krozer and if
• 18:10
  Speaker 3: he sounds familiar. That's because he edited late phases We
• 18:13
  Speaker 3: Are Still Here, which we covered in January, and Jacob's Wife,
• 18:18
  Speaker 3: also edited by Jasper Verhovevot. Sorry, these are German names
• 18:23
  Speaker 3: and they are tough. Who only edited one other thing
• 18:26
  Speaker 3: called The Total Princess from twenty fifteen, starring Robert gwilliam
• 18:32
  Speaker 3: as Novakov. He was in one hundred and seven episodes
• 18:35
  Speaker 3: of something called Casualty Han Ping Tang as Ivan. He
• 18:40
  Speaker 3: was in the Fifth Element as Monroe's Captain, Alexander Mercury
• 18:44
  Speaker 3: as Dimitri. He was in The hit Man's Bodyguard as
• 18:47
  Speaker 3: Hacker merk Luke Newberry Asasha. He was in Harry Potter
• 18:51
  Speaker 3: and the Deathly Hallows Part two as Teddy Lupin and
• 18:54
  Speaker 3: then Carl Rodin as Victor. He was in Hell Boy
• 18:58
  Speaker 3: as Gregorio greg Sorry, resputant. Couldn't find an estimated budget,
• 19:03
  Speaker 3: couldn't find a worldwide box office gross. This movie was
• 19:06
  Speaker 3: filmed in Prague and Venna, Rice or Ventnerese, Czech Republic.
• 19:10
  Speaker 3: You can watch this on Prime, Fandango, Plex, scream Box,
• 19:14
  Speaker 3: and tob movies that came out around the same time. Again,
• 19:17
  Speaker 3: the website I use is still down and they need
• 19:20
  Speaker 3: to get their shit together, calling you out the numbers
• 19:23
  Speaker 3: dot Com. But I actually have a bit in this
• 19:25
  Speaker 3: episode where we're gonna talk about some of the movies
• 19:27
  Speaker 3: that released in twenty thirteen. IMDb summary. In the Dying
• 19:31
  Speaker 3: Days of World War Two, a battalion of Russian soldiers
• 19:34
  Speaker 3: is lured into the secret lab of a deranged scientist
• 19:37
  Speaker 3: and forced to face off against an army of horrific
• 19:40
  Speaker 3: flesh and metal war machines. So yeah, let's go to
• 19:44
  Speaker 3: the autopsy, all right, Corey. Overall thoughts, I'm excited because
• 19:50
  Speaker 3: it's found footage, but I'm also very worried at the
• 19:52
  Speaker 3: same time because I don't know how I feel about
• 19:54
  Speaker 3: this movie. So what do you have for overall thoughts? Oh?
• 19:58
  Speaker 2: God, I thought this movie. I thought this movie was
• 20:03
  Speaker 2: a hunk of butts. Oh, I did not enjoy this movie.
• 20:09
  Speaker 2: Now that being said, some of the coolest fucking movie
• 20:14
  Speaker 2: monsters ever. And I gave it like a point and
• 20:19
  Speaker 2: a half because of the Nazi war machines. Those things
• 20:24
  Speaker 2: were so fucking cool. And now that we're on that,
• 20:27
  Speaker 2: since I brought it up, I wanted to ask you
• 20:31
  Speaker 2: about which of your favorite Nazi war Machine of this movie,
• 20:36
  Speaker 2: which one was your favorite? Because mine is split between
• 20:39
  Speaker 2: two of them.
• 20:41
  Speaker 3: I am gonna be a basic bitch and go with
• 20:45
  Speaker 3: the propeller Head because that was fucking nuts. But I
• 20:48
  Speaker 3: also really loved the thing that was clearly on stilts.
• 20:53
  Speaker 2: Okay, yeah, yeah, yeah, that because it was drill No's
• 20:56
  Speaker 2: I'm calling him drill Nos. Yeah.
• 20:58
  Speaker 3: He was just so horror fine because he would come
• 21:01
  Speaker 3: around the corner and you're just like, ah, I don't
• 21:03
  Speaker 3: like that. Yeah.
• 21:04
  Speaker 2: So so minus split between drill No's and the other
• 21:09
  Speaker 2: one that I am calling the blob because it was
• 21:13
  Speaker 2: just a big sphere with a gun attached to wild
• 21:20
  Speaker 2: ship and it and it shows up for like six seconds,
• 21:23
  Speaker 2: blasts off some rounds and you never see it again.
• 21:26
  Speaker 2: And I'm like, that's fucking hilarious. All all of the
• 21:31
  Speaker 2: Zombie Machine things were fucking amazing with that, and some
• 21:39
  Speaker 2: of the soundtracking was good, like some of the chase scenes.
• 21:43
  Speaker 2: I was like, okay, all right, but this was a
• 21:47
  Speaker 2: on rails budget haunt attraction that somebody filmed.
• 21:53
  Speaker 3: Yeah, that's kind of the vibe. I god, and That's
• 21:56
  Speaker 3: where I'm at. I I think my overall thoughts are
• 21:59
  Speaker 3: I think It is incredible in some aspects, but I
• 22:03
  Speaker 3: think it's kind of underwhelming in other aspects. I feel
• 22:06
  Speaker 3: like there is a lot going on for a movie
• 22:10
  Speaker 3: that should be a lot simpler, and I'm very split
• 22:15
  Speaker 3: on it. So I'm hoping to get to my rating
• 22:17
  Speaker 3: by the end of this movie. So you know, let's
• 22:23
  Speaker 3: start with some basic stuff here. Let's start with a
• 22:25
  Speaker 3: director first and foremost, because you know, I mentioned he's
• 22:28
  Speaker 3: only done He's done five short films, but this was
• 22:32
  Speaker 3: his only feature, and I don't know if maybe it's
• 22:35
  Speaker 3: because this movie didn't do I don't know why, because
• 22:39
  Speaker 3: I would have loved to see more things from him.
• 22:42
  Speaker 3: But the funny thing is is he actually has more
• 22:45
  Speaker 3: credits in the art department than he does for directing.
• 22:48
  Speaker 3: He was actually the conceptual artist for Dagan Beyond re Animator.
• 22:53
  Speaker 3: It's weird that that's coming up again, Frankenstein's Army, Late Phases,
• 22:57
  Speaker 3: Infinity Pool, and Brooklyn four five. I didn't know what
• 23:00
  Speaker 3: the fuck a conceptual artist was. I had an idea
• 23:03
  Speaker 3: of what it was, but in case anybody out there
• 23:06
  Speaker 3: is like me and didn't really fully know what it was,
• 23:09
  Speaker 3: they create preliminary visual designs illustrations and sketches to establish
• 23:13
  Speaker 3: the aesthetic style, characters, environments, and props. Before production begins,
• 23:19
  Speaker 3: they turned scripts into visual reality, working closely with the
• 23:22
  Speaker 3: directors to define the movie's look, lighting, and mood, acting
• 23:27
  Speaker 3: as a bridge between imagination and production. So that's what
• 23:30
  Speaker 3: he does primarily, and he's still working today. I mean
• 23:34
  Speaker 3: his last credit was from twenty twenty five and it's
• 23:37
  Speaker 3: barely twenty twenty six, so he's still doing stuff, which
• 23:40
  Speaker 3: is cool. And all the movies I've mentioned, like Dagan,
• 23:43
  Speaker 3: Infinity Pool, Brooklyn four five, those are all great movies
• 23:46
  Speaker 3: and have a lot of great visuals, So he clearly
• 23:50
  Speaker 3: knows what he's doing in that department. Maybe, and it's
• 23:53
  Speaker 3: entirely possible, maybe he directed this movie and just was like,
• 23:55
  Speaker 3: you know what, directings not for me. I'd rather be
• 23:58
  Speaker 3: on the back end of things. I was.
• 24:01
  Speaker 2: I was about to say, so, you've made now one short,
• 24:06
  Speaker 2: which and it's from from my understanding, it's not even
• 24:11
  Speaker 2: that short.
• 24:12
  Speaker 3: I mean it's still short, but ten twelve minutes.
• 24:14
  Speaker 2: Yeah, but it's not like a like a five to
• 24:16
  Speaker 2: eight minute short, like you've you've got some beef on
• 24:19
  Speaker 2: your project, and you know how hard. Just doing a
• 24:24
  Speaker 2: short was Yeah. I think maybe in the shorts that
• 24:29
  Speaker 2: he made, he probably didn't have as difficult a time
• 24:34
  Speaker 2: because maybe he was working on an even more shoe
• 24:37
  Speaker 2: string budget and at that point you don't really care
• 24:40
  Speaker 2: how hard it is. You're just you just care about
• 24:42
  Speaker 2: getting it done and out so the project is done.
• 24:46
  Speaker 2: I think he got, you know, five days into this
• 24:49
  Speaker 2: shoot and went, fuck, this is really hard and I
• 24:53
  Speaker 2: don't like it.
• 24:54
  Speaker 3: Yeah, I mean, that's that's what I'm spendulating.
• 24:56
  Speaker 2: And you can you can almost tell in certain what
• 25:02
  Speaker 2: I'm going to say, were directorial decisions of his this
• 25:06
  Speaker 2: movie that either he was like, this is too hard,
• 25:11
  Speaker 2: I don't care, just do it, or there was some
• 25:14
  Speaker 2: level of apathy that was like I don't care how
• 25:17
  Speaker 2: this gets done, just get it done.
• 25:20
  Speaker 3: Yeah, okay, and it's entirely possible that's what happened. It
• 25:24
  Speaker 3: feels like the most reasonable explanation when you've done five
• 25:28
  Speaker 3: shorts a movie and then you don't do any He
• 25:31
  Speaker 3: didn't even do shorts after this. This was his last
• 25:34
  Speaker 3: thing he ever directed, So that's what I'm going with.
• 25:38
  Speaker 3: And this was released in twenty thirteen, which was a
• 25:41
  Speaker 3: pretty good year, not just for regular movies, but also
• 25:45
  Speaker 3: found footage. Not the first one I'm about to mention,
• 25:48
  Speaker 3: but you have a Haunted House, You've got VHS two,
• 25:51
  Speaker 3: You've got Afflicted, which was one of the most criminally
• 25:55
  Speaker 3: underrated found footage movies of all time. No one finds.
• 25:57
  Speaker 2: People still are not talking that movie.
• 26:00
  Speaker 3: Yeah, yeah, that's that's like it show.
• 26:03
  Speaker 2: It shows up maybe once every four to six months
• 26:07
  Speaker 2: on a single post in our Facebook horror right, and
• 26:10
  Speaker 2: then and then it's and then it's gone.
• 26:12
  Speaker 3: You know what. I'm gonna shoehorn this into some point
• 26:14
  Speaker 3: in this year because I I think we need to
• 26:16
  Speaker 3: highlight it. But we also have it.
• 26:18
  Speaker 2: Didn't we We did that in like the like the
• 26:22
  Speaker 2: early days, Yeah, the pre episode fifty.
• 26:25
  Speaker 3: Yeah, we definitely covered it. When we did like eight move, Yeah,
• 26:28
  Speaker 3: we definitely did. And I think we need to give
• 26:30
  Speaker 3: it a full episodic treatment with me and you obviously
• 26:33
  Speaker 3: because it's found footage. Uh, but then you also have
• 26:36
  Speaker 3: the sacrament, you have the den Willow Creek. Another criminally
• 26:39
  Speaker 3: underrated horror movie, Borderlands slash Final Prayer. That movie is
• 26:44
  Speaker 3: so good. W U NF Halloween Special and again another
• 26:48
  Speaker 3: criminally underrated found footage. Descent into Darkness. Uh, this the
• 26:52
  Speaker 3: story of Sergoy Prakov or whatever.
• 26:56
  Speaker 2: Yeah, my Descent into Darkness, my European Nightmare.
• 26:59
  Speaker 3: Yeah yeah, my europe night Yeah.
• 27:01
  Speaker 2: I funny enough that has that has circled somehow back
• 27:06
  Speaker 2: around into my algorithm. I was just watching a video
• 27:09
  Speaker 2: last night of a guy talking about it, and I
• 27:11
  Speaker 2: was like, I've been known about this movie. Yeah, I've
• 27:14
  Speaker 2: been traumatizing motherfuckers with this.
• 27:17
  Speaker 3: Yeah, that one's that one's fucked up. But then for
• 27:20
  Speaker 3: like regular movies, and maybe this is why Frankenstein's Army
• 27:24
  Speaker 3: kind of fell under the radar, especially with a limited run.
• 27:27
  Speaker 3: You've got World war Z, which was gangbusters at the
• 27:31
  Speaker 3: box office, The Conjuring again, Gangbusters, the og Conjuring Yeah,
• 27:36
  Speaker 3: twenty thirteen.
• 27:37
  Speaker 2: God damn, yeah, no fucking wonder.
• 27:40
  Speaker 3: Yeah. And then you have The Herde, you have the
• 27:43
  Speaker 3: Evil Dead remake, you have Insidious Chapter two, uh, Texas, Chainsaw,
• 27:48
  Speaker 3: Dark Skies, Curse of Chucky. And these are just horror
• 27:52
  Speaker 3: releases like these aren't even like regular genre.
• 27:56
  Speaker 2: I'm just now realizing how much time I spent in
• 28:01
  Speaker 2: the theater in twenty thirty, because I definitely saw the
• 28:05
  Speaker 2: Conjuring and the Purge in theaters.
• 28:08
  Speaker 3: Yep.
• 28:09
  Speaker 2: I'm not sure if I saw Insidious two in the theaters,
• 28:13
  Speaker 2: but it seems like something.
• 28:14
  Speaker 3: I would I definitely did for sure.
• 28:16
  Speaker 2: Yeah, that's yeah, back when movie tickets were reasonable.
• 28:21
  Speaker 3: Yeah, So that's It's a pretty decent year for horror,
• 28:24
  Speaker 3: especially with those found footage entries. Maybe just got lost
• 28:27
  Speaker 3: in the shuffle, like I mentioned, specifically because of the
• 28:31
  Speaker 3: limited theatrical release, but also another thing that might have
• 28:35
  Speaker 3: not interested people if they researched it. I mean, what
• 28:38
  Speaker 3: we have here is the genre blending of three different things.
• 28:41
  Speaker 3: You've got found footage, you've got a war movie, and
• 28:44
  Speaker 3: it's also, in some elements a creature feature that is
• 28:47
  Speaker 3: a very I mean creature future, found footage sure, creature feature,
• 28:51
  Speaker 3: war sure. But adding all three of those together does
• 28:54
  Speaker 3: seem like a lot for one movie. It might have
• 28:58
  Speaker 3: been too many elements for PEP at this point in time.
• 29:01
  Speaker 3: Like I personally love the narrative, but it is not
• 29:05
  Speaker 3: very cohesive and you know what I mean, like see, well.
• 29:10
  Speaker 2: See, And I think the thing about it is it's
• 29:14
  Speaker 2: not so much the themes of it, because you fast
• 29:19
  Speaker 2: forward five years and JJ Abrams Overlord comes out, and yeah,
• 29:24
  Speaker 2: it kind of goes under the radar for a little bit,
• 29:26
  Speaker 2: but it's now kind of considered like a like a
• 29:29
  Speaker 2: modern monster war classic, like people have come around to it.
• 29:34
  Speaker 3: It's so good.
• 29:35
  Speaker 2: It's the same fucking movie. It is the exact same
• 29:39
  Speaker 2: fucking movie, except they parachute in instead of just like
• 29:44
  Speaker 2: walking through a field to get there. Otherwise it's the
• 29:47
  Speaker 2: exact same fucking movie down to I think it's five guys.
• 29:51
  Speaker 3: Uh, but it's not found footage though, right.
• 29:54
  Speaker 2: It's not, but it's shot with such close angles it's.
• 29:59
  Speaker 3: Jj abrams that it.
• 30:01
  Speaker 2: Might as well be found footage.
• 30:03
  Speaker 3: But yeah, you're right. Overloaded or overload is very, very
• 30:06
  Speaker 3: in the same vein as Frankenstein's Army, And.
• 30:10
  Speaker 2: I think, I think what it is is, Okay, we're
• 30:15
  Speaker 2: going into a monster movie. We know there aren't robot
• 30:19
  Speaker 2: zombie Nazi creatures. Suspend the disbelief for a minute. Literally
• 30:26
  Speaker 2: everything in this movie is unbelievable, and not in the
• 30:30
  Speaker 2: Oh my god, that's unbelievable, Like, I do not believe
• 30:33
  Speaker 2: what you guys are doing. The camera work is choppy
• 30:38
  Speaker 2: and lazy, the camera sound that that plays as you're
• 30:46
  Speaker 2: watching the movie. You are now expecting me, as a
• 30:50
  Speaker 2: viewer watching it on a TV, to put myself in
• 30:53
  Speaker 2: a spot where there's a projector behind me, because that
• 30:56
  Speaker 2: sound doesn't happen on the movie. That's that's the projector noise. Well,
• 31:01
  Speaker 2: so you're you're adding it.
• 31:02
  Speaker 3: It's eight it's on sixteen millimeters, so that's the sound
• 31:05
  Speaker 3: of the camera. But you shouldn't be hearing that because
• 31:10
  Speaker 3: you would need an external audio source because.
• 31:14
  Speaker 2: That's yeah, that's what I'm saying.
• 31:15
  Speaker 3: The sixteen millimeter camera is not gonna have a microphone
• 31:18
  Speaker 3: attached to it. That's not how those work. The audio
• 31:20
  Speaker 3: would be separate, so you wouldn't be hearing the sound
• 31:23
  Speaker 3: of the actual camera. It doesn't really make any sense.
• 31:26
  Speaker 2: Right, So you're you're adding that in there. All the
• 31:31
  Speaker 2: uniforms look like separate area. Like two guys have Soviet
• 31:37
  Speaker 2: like surplus uniforms on right. The rest of it is
• 31:40
  Speaker 2: like post collapse, like post Soviet Union collapse. Only two
• 31:49
  Speaker 2: of the weapons they use look to be quote unquote
• 31:53
  Speaker 2: period accurate, and they all look like plastic airsoft guns.
• 31:57
  Speaker 3: Oh yeah, they definitely had some MP forties in there,
• 32:00
  Speaker 3: and I know that because the MP forties have that
• 32:03
  Speaker 3: same muzzle and they have the magazine to the side,
• 32:06
  Speaker 3: So those two were definitely period accurate for World War Two,
• 32:11
  Speaker 3: Like those were those were the only ones I noticed
• 32:13
  Speaker 3: that were yeah, from the time period.
• 32:16
  Speaker 2: And unfortunately I can't go to my normal gun website
• 32:20
  Speaker 2: for movies that I would because this is such a
• 32:22
  Speaker 2: small potatoes movie. It wasn't on the website, and just everything,
• 32:29
  Speaker 2: nothing about it seems correct, and like, I get it.
• 32:36
  Speaker 2: World War two they conscripted most of the population, so
• 32:41
  Speaker 2: it wasn't like, oh, they're all gonna be Russians, but
• 32:45
  Speaker 2: none of these people were fucking Russians. One of them
• 32:50
  Speaker 2: was Asian, one of them was Spanish, one of them
• 32:52
  Speaker 2: looked like a British dude. Like two of them may
• 32:55
  Speaker 2: have been like, all right, you kind of look Russian.
• 32:58
  Speaker 2: But this isn't the fucking French Foreign Legion. You're not
• 33:01
  Speaker 2: having a battalion of random people from all over the Earth.
• 33:07
  Speaker 2: You're gonna have Soviet people in this Soviet mission.
• 33:13
  Speaker 3: Yeah, because you have Carl Roden, who I think is
• 33:17
  Speaker 3: actually from at least from he graduated from in Prague,
• 33:24
  Speaker 3: so he's actually you know, he's I think that's Czechs.
• 33:27
  Speaker 3: Czech Republic. But then you have you know, Mark Stevenson,
• 33:31
  Speaker 3: that is a very very white name. You've got Luke
• 33:35
  Speaker 3: Newsome or Luke Newberry clearly white. Alexander Mercury might be
• 33:41
  Speaker 3: he's he's Russian. So you've got one Russian, uh, and
• 33:45
  Speaker 3: then yes, one Asian man. And then Robert Gwilliam he
• 33:49
  Speaker 3: is from Wales the UK. So yeah, really one of
• 33:52
  Speaker 3: the main guys is actually Russian. And the fact that
• 33:55
  Speaker 3: they were speaking English made no fucking sense. I that
• 34:00
  Speaker 3: doesn't make any sense.
• 34:01
  Speaker 2: They're Russian speaking English in Germany and two of them
• 34:07
  Speaker 2: have British accents. Yeah, I didn't even cover up the accent.
• 34:11
  Speaker 3: It was. It was very bizarre because I've been picking
• 34:16
  Speaker 3: international pick you know, I've been picking international titles that
• 34:20
  Speaker 3: are in you know, the native language, and I saw
• 34:23
  Speaker 3: that this was a German movie, or at least a
• 34:25
  Speaker 3: German director, so it's like cool, yeah, okay, World War Two,
• 34:29
  Speaker 3: they'll be speaking German or something. And then they started
• 34:31
  Speaker 3: speaking in like clear English, and I said, oh, well,
• 34:34
  Speaker 3: that was unexpected, but I mean, it was easier to
• 34:37
  Speaker 3: take notes, but it's it was very strange that they
• 34:39
  Speaker 3: were speaking English, especially given the time period of World
• 34:43
  Speaker 3: War Two, I don't think that many Russians or Germans
• 34:47
  Speaker 3: or anything like that. I don't think they would have
• 34:48
  Speaker 3: all known English, like I mean, I don't, I don't.
• 34:51
  Speaker 2: They definitely would not. So it just and when you
• 34:56
  Speaker 2: add that to the what I am going to call
• 35:00
  Speaker 2: a Tarantino opening, only because he is the most contemporary
• 35:05
  Speaker 2: person that I have seen do this, and I'm referencing
• 35:09
  Speaker 2: in Glorious Bastards, so it's not even that contemporary anymore.
• 35:12
  Speaker 2: When you open a when you open a movie and
• 35:15
  Speaker 2: you introduce the characters by like showing them individually, like Alla,
• 35:20
  Speaker 2: the A team. Yeah, and you're getting the introduction to
• 35:24
  Speaker 2: all these characters, but you're not getting their names. And
• 35:26
  Speaker 2: they are clearly not even adding the special effects to
• 35:31
  Speaker 2: make the guns fire. One of the guys is like
• 35:35
  Speaker 2: in a pit of people, like shaking his arms like
• 35:39
  Speaker 2: he's shooting the bodies on the ground, and there's no
• 35:42
  Speaker 2: special effects for the gun shooting. He's just shaking his
• 35:47
  Speaker 2: gun at people.
• 35:48
  Speaker 3: I didn't notice that. That's hilarious.
• 35:51
  Speaker 2: Oh the like thirty seconds in I am on this movie. Shit,
• 35:57
  Speaker 2: I'm like no, because this felt so way back in
• 36:04
  Speaker 2: the day. I might have told this story before, way
• 36:08
  Speaker 2: back in the day when I was a young lad.
• 36:11
  Speaker 2: I'm talking like six seven, eight nine, okay, like like
• 36:17
  Speaker 2: pre ten years old. Myself and a family friends child
• 36:22
  Speaker 2: of mine got a hold of that family's mini DV
• 36:26
  Speaker 2: tape recorder and we decided to film ourselves just doing
• 36:32
  Speaker 2: shit and make up a loose storyline for what we
• 36:36
  Speaker 2: were shooting. Neither of us had seen the movie Gone
• 36:39
  Speaker 2: in sixty Seconds.
• 36:40
  Speaker 3: Oh yeah, I remember.
• 36:41
  Speaker 2: We heard the title, so we thought the movie back
• 36:44
  Speaker 2: in sixty Seconds was fucking amazing.
• 36:47
  Speaker 3: Yeah.
• 36:49
  Speaker 2: The opening of this movie felt like what I shot
• 36:53
  Speaker 2: as a child, Like the quality was not there. There
• 36:59
  Speaker 2: was no oh homem ingenuity like it was. It felt
• 37:04
  Speaker 2: like a bunch of ten year olds walking through a
• 37:07
  Speaker 2: field and going, you know what, let's play Nazi zombies
• 37:10
  Speaker 2: right and feel it.
• 37:12
  Speaker 3: And that's exactly what this movie it is essentially. You know,
• 37:16
  Speaker 3: they follow we're following a Soviet patrol documenting the war
• 37:20
  Speaker 3: when they discovered this strange village, and then of course
• 37:22
  Speaker 3: they realized Nazis have been experimenting with reanimating the dead
• 37:26
  Speaker 3: and turning them into weaponized monstrosities. Some of the creations
• 37:30
  Speaker 3: conclude a zombie with propeller arms, as we've mentioned, a
• 37:33
  Speaker 3: creature with a giant hammerhead which was really cool, a
• 37:36
  Speaker 3: guy whose face is literally just a mask, gas mask
• 37:40
  Speaker 3: used to his skull, and there are many more. But
• 37:43
  Speaker 3: it's like it's it's basically like Frankenstein got bored with
• 37:48
  Speaker 3: just creating life and started getting real weird with it.
• 37:54
  Speaker 2: This is uh, this is Victor Frankenstein's grandson.
• 37:59
  Speaker 3: Correct, Yeah, they're there's a direct connection to the real Frankenstein,
• 38:04
  Speaker 3: doctor Frankenstein in this movie. So he's a descendant of him.
• 38:07
  Speaker 3: So it's like, yeah, he just got super bored, Like
• 38:09
  Speaker 3: I've created life over and over again, let's get crazy
• 38:12
  Speaker 3: with it. But I mean, honestly, what really makes this
• 38:16
  Speaker 3: movie memorable is not the plot. It is the monster designs.
• 38:20
  Speaker 3: And I think the biggest strength of this movie is
• 38:23
  Speaker 3: those practical creature effects.
• 38:26
  Speaker 2: It's the only strength.
• 38:27
  Speaker 3: It's really the only strength. The director originally worked as
• 38:30
  Speaker 3: the concept artist, as you can absolutely tell every monster
• 38:34
  Speaker 3: feels like this walking nightmare, built from surgical tools, rusted machinery,
• 38:39
  Speaker 3: prosthetic limbs. Like it's wild.
• 38:42
  Speaker 2: And to give this movie the only flowers it deserves,
• 38:47
  Speaker 2: I think I counted eleven separate and unique monster entities
• 38:55
  Speaker 2: that are shown on screen, not counting the ones that
• 38:59
  Speaker 2: are us doing work, right, not even just the worker ones,
• 39:03
  Speaker 2: like the ones that are like chasing and trying to
• 39:05
  Speaker 2: kill you. I think I counted like eleven of them,
• 39:07
  Speaker 2: and every single one of them is different, not a
• 39:10
  Speaker 2: single one. They don't even It's not like, ooh, this
• 39:13
  Speaker 2: one's bigg and got claws, and that one's tiny and
• 39:17
  Speaker 2: got claws. No, it's like, yo, this one's giant and
• 39:20
  Speaker 2: has hooks for hands. That one is clearly a man
• 39:23
  Speaker 2: on stilts, but they made it fucking unique.
• 39:26
  Speaker 3: Right.
• 39:27
  Speaker 2: That's a fish tank over there. That's fucking propeller head.
• 39:30
  Speaker 2: What's going on?
• 39:31
  Speaker 3: Yeah, there's even guy with like giant lobster claws or something.
• 39:35
  Speaker 3: I like they were giant scissorhand. I don't know, man,
• 39:39
  Speaker 3: this movie was insane. It feels like Frankenstein took a
• 39:45
  Speaker 3: job at a junk yard and you know, like he
• 39:47
  Speaker 3: just started pulling chids from everything. So, I mean, the
• 39:52
  Speaker 3: designs work though, because they blend body horror with almost
• 39:55
  Speaker 3: this industrial horror. It feels like BioShock, but on land.
• 40:00
  Speaker 3: You know, obviously BioShock is an underwater game. But it
• 40:03
  Speaker 3: really feels like BioShock, you know again, like on Land,
• 40:07
  Speaker 3: because it has that same kind of industrial almost like
• 40:10
  Speaker 3: Guillermo del Toro esque nature to it, where everything just
• 40:15
  Speaker 3: looks rustic and beat up. I don't know, there.
• 40:19
  Speaker 2: See, And I've been playing a lot of uh, Cyberpunk
• 40:24
  Speaker 2: twenty seventy seven again.
• 40:25
  Speaker 3: Okay, this is something, let me revisit it.
• 40:27
  Speaker 2: And there is a street gang in Cyberpunk twenty seventy
• 40:32
  Speaker 2: seven called Mailstrom ooh cool, And these Nazi zombies remind
• 40:38
  Speaker 2: me a lot of the Mailstrom Gang cause like a
• 40:42
  Speaker 2: lot of them have like parts of their head removed,
• 40:45
  Speaker 2: and you just have these big glowing lenses and like
• 40:48
  Speaker 2: almost all of them don't have full limbs, and they
• 40:51
  Speaker 2: have like weapons attached and shit.
• 40:54
  Speaker 3: Well yeah, cause then and at the end of the day,
• 40:55
  Speaker 3: they're not They're not just your plain old kind of
• 40:58
  Speaker 3: reanimated zombie as if you will. It's like it's a
• 41:01
  Speaker 3: fusion of human bodies with war machinery, Like it is
• 41:05
  Speaker 3: really cool, and even.
• 41:08
  Speaker 2: More so, like it's it's barely war machines. Like a
• 41:12
  Speaker 2: lot of it looks like it came from like war
• 41:16
  Speaker 2: clean up construction. Equipment because as you as you see
• 41:22
  Speaker 2: them walking into town, there's a giant fucking Nazi howitzer
• 41:27
  Speaker 2: just sitting there in relative I mean, yeah, it's broken
• 41:31
  Speaker 2: down and it's rusted and shit, and like, okay, well,
• 41:34
  Speaker 2: if this is actually during World War two, that would
• 41:36
  Speaker 2: be nice and shiny, even if it was broken, not
• 41:38
  Speaker 2: all rusted out whatever, more unbelievability. But none of the
• 41:44
  Speaker 2: except for guns, none of the machines of war are
• 41:50
  Speaker 2: attached to these monsters. It's all hooks and blades. So yeah,
• 41:57
  Speaker 2: it's a machine of war, but it's a machine of
• 42:00
  Speaker 2: war in the most civilian sense possible, like which which
• 42:05
  Speaker 2: I think is almost giving this movie too much credit.
• 42:08
  Speaker 2: Like they definitely didn't think that through.
• 42:10
  Speaker 1: Now.
• 42:10
  Speaker 3: They were just trying to create some nightmare fuel stuff,
• 42:13
  Speaker 3: I mean for real.
• 42:14
  Speaker 2: And they did. They they did a really good job
• 42:16
  Speaker 2: on that.
• 42:16
  Speaker 3: Yeah, I agree. But the you know, I think I
• 42:20
  Speaker 3: think the idea actually ties into kind of the because
• 42:23
  Speaker 3: there are some there are some themes here. I mean,
• 42:25
  Speaker 3: despite the insanity, there is some quote unquote thematic material here.
• 42:32
  Speaker 3: Some you know, something I noticed is, you know, war
• 42:34
  Speaker 3: is the humanization. The Nazi scientist isn't just making monsters.
• 42:38
  Speaker 3: He's turning soldiers into literal I mean, at least my
• 42:41
  Speaker 3: my interpretation was he's trying to turn these things into
• 42:45
  Speaker 3: war machines, which kind of mirrors how war historically has
• 42:48
  Speaker 3: treated people as expendable tools instead of humanity serving technology.
• 42:53
  Speaker 3: Technology is consuming humanity. So there, And I don't know
• 42:57
  Speaker 3: if this was intentional. I don't. I don't really think
• 42:59
  Speaker 3: they got this deep. This is just shit that I
• 43:01
  Speaker 3: kind of noticed. Like, there's not much going on here,
• 43:07
  Speaker 3: excuse me, but that's about the only real theme I
• 43:09
  Speaker 3: can see regarding the you know, because especially because it's
• 43:12
  Speaker 3: said during World War two. But there's other than that,
• 43:16
  Speaker 3: there's not really any subtext or other themes. I know.
• 43:22
  Speaker 2: No, it's it's really hard to have any kind of
• 43:27
  Speaker 2: like cerebral theming when you could have no characters, yeah,
• 43:34
  Speaker 2: and still have this movie work, right if you just
• 43:38
  Speaker 2: put a camera on a stick with some wheels and
• 43:42
  Speaker 2: wheeled it through the scenery and had everything happen exactly
• 43:47
  Speaker 2: as it did, same exact movie.
• 43:49
  Speaker 3: Yeah. So well, because and also a lot of the
• 43:51
  Speaker 3: characters are just kind of unlikable. There's one guy I
• 43:54
  Speaker 3: can't even remember his name. There's just one guy who's
• 43:56
  Speaker 3: yelling half the time. They don't really have a great
• 44:00
  Speaker 3: group dynamic. I wasn't a fan of most of the
• 44:03
  Speaker 3: people and really didn't care about their survival, which is
• 44:06
  Speaker 3: kind of integral for a found footage movie. You want
• 44:11
  Speaker 3: to like the people in the found footage movie because
• 44:14
  Speaker 3: typically they are going through some sort of bullshit or
• 44:17
  Speaker 3: you want to live.
• 44:19
  Speaker 2: At least like the cameraman. There's a reason why hud
• 44:25
  Speaker 2: dies halfway through Cloverfield, right, and it's picked up by
• 44:30
  Speaker 2: Nick or whatever his fucking name is. It's because TJ.
• 44:33
  Speaker 2: Miller is fucking insufferable, and they're like, nah, we can't
• 44:35
  Speaker 2: do this the whole movie, right, Yeah, so we have
• 44:38
  Speaker 2: to give the camera to somebody that the audience actually likes. Correct,
• 44:43
  Speaker 2: And when the cameraman is the whole reason why we're
• 44:47
  Speaker 2: in this fucking Nazi lab in the first place, kind
• 44:52
  Speaker 2: of throws out the value you have found footage.
• 44:55
  Speaker 3: Yeah. And also they were kind of switching between two
• 44:58
  Speaker 3: people shooting at times, like the camera was being handed off,
• 45:02
  Speaker 3: which isn't uncommon. But we'll get to the ending because
• 45:06
  Speaker 3: I'm very confused on the ending. You know, the cameraman
• 45:10
  Speaker 3: does die and is taken out by Sasha. But nonetheless,
• 45:14
  Speaker 3: since we're on the found footage topic, it does you know,
• 45:17
  Speaker 3: it's an interesting stylistic choice. People are gonna love it
• 45:20
  Speaker 3: or hate it. Found footage is already already very divisive.
• 45:23
  Speaker 3: It is Corey and I one of Corey and I's
• 45:25
  Speaker 3: favorite subgenres. I mean, it is my personal favorite subgenre.
• 45:30
  Speaker 3: And it is filmed, obviously, as we've mentioned as footage
• 45:33
  Speaker 3: from a Soviet war cameraman documenting this mission, so pros Obviously,
• 45:38
  Speaker 3: it adds immediacy, makes the monsters feel chaotic and unpredictable,
• 45:43
  Speaker 3: and it makes things scarier when you're experiencing the things
• 45:47
  Speaker 3: with them. But it also creates a sense of discovery
• 45:51
  Speaker 3: as we are discovering things with them as well. But
• 45:55
  Speaker 3: cons for this is the shaky camera during the action,
• 45:59
  Speaker 3: which kind of some of the creature design. It didn't
• 46:03
  Speaker 3: really make sense why they were I mean, like he
• 46:06
  Speaker 3: wanted someone wanted this footage back Dema. They kept mentioning
• 46:09
  Speaker 3: Dema on how they were shooting this footage for Dema.
• 46:12
  Speaker 3: I think this movie would have served, It would have
• 46:15
  Speaker 3: done a lot better traditionally filmed, because you can still
• 46:21
  Speaker 3: create that sense of discovery and unpredictability without it being
• 46:24
  Speaker 3: found footage.
• 46:26
  Speaker 2: And you want to know why they should have done
• 46:29
  Speaker 2: this traditional and this this is the most petty fucking
• 46:33
  Speaker 2: nitpick ever.
• 46:34
  Speaker 3: Oh I'm so ready, let me hear it.
• 46:36
  Speaker 2: Film cameras like that don't have those camera glitches. That
• 46:41
  Speaker 2: is a digital camera thing. So there's there's definitely some
• 46:47
  Speaker 2: points and maybe I'm mistaking it for just like random cuts.
• 46:54
  Speaker 2: But like every now and again, you would hear the
• 46:57
  Speaker 2: sound of like the video stopping and starting again, and
• 47:01
  Speaker 2: you would get that like red splash screen of like
• 47:04
  Speaker 2: how they would transition shots, but it would it would
• 47:08
  Speaker 2: be like in the middle of a chase scene where
• 47:11
  Speaker 2: you would normally get the wh and the like the
• 47:15
  Speaker 2: pixel lady stuff when the spooky stuff is happening. Instead,
• 47:19
  Speaker 2: they would like turn real quick. You would see the
• 47:22
  Speaker 2: thing and then you would get that like quick little
• 47:26
  Speaker 2: transition and then he would turn to run to run away.
• 47:29
  Speaker 2: It was like, ooh, the camera glitch trope, but it's
• 47:32
  Speaker 2: a film camera happening.
• 47:34
  Speaker 3: There would just be direct cuts. If you stop filming,
• 47:37
  Speaker 3: it would be black, and then the it wouldn't even
• 47:40
  Speaker 3: be black, it would just cut to the next frame.
• 47:44
  Speaker 2: If this is if this is fucking film, where are
• 47:47
  Speaker 2: the cut marks in the film, Like I should see
• 47:51
  Speaker 2: cut marks between you know, the little the little circle
• 47:55
  Speaker 2: that they show like it's a whole ballot in so.
• 48:00
  Speaker 3: Well, fun fact, that is for film projection in movie theaters,
• 48:04
  Speaker 3: so that way they know when to put in the
• 48:06
  Speaker 3: next reel. That would that wouldn't be on the camera,
• 48:10
  Speaker 3: but there should still be.
• 48:13
  Speaker 2: Well, it's we're we're assumed to be watching the film. Yeah,
• 48:18
  Speaker 2: that's true, like we are being shown this film, so
• 48:21
  Speaker 2: it had to have been that's what I'm saying, it
• 48:24
  Speaker 2: together to be shown to the proletariat.
• 48:28
  Speaker 3: That's true. That's true. That's true. And also yeah that's true. Okay,
• 48:32
  Speaker 3: so yeah there's an issue there. Now it's just it's
• 48:36
  Speaker 3: just fucking nitpiky as shit. But yeah, I mean it's
• 48:39
  Speaker 3: it's it's it's it's not unreasonable. But I will say
• 48:43
  Speaker 3: the one thing that I did actually enjoy with the
• 48:46
  Speaker 3: found footage element is that they had a camera with
• 48:49
  Speaker 3: multiple lenses on it that they would flip and it
• 48:52
  Speaker 3: would be a zoomed lens. I really liked that because
• 48:56
  Speaker 3: that felt realistic because when you see the camera in
• 48:59
  Speaker 3: the me or at the end of the movie, which is,
• 49:01
  Speaker 3: by the way, it's not the real camera they're using.
• 49:03
  Speaker 3: They were using a digital camera. I've seen behind the
• 49:05
  Speaker 3: scenes pictures, but you can see that there are like
• 49:08
  Speaker 3: two or three different lenses that you can flip down.
• 49:11
  Speaker 3: And I was like, yeah, because I was like, this
• 49:14
  Speaker 3: is cool. Is it real? I don't now, But for
• 49:18
  Speaker 3: this movie, let's just say that's a real thing that
• 49:20
  Speaker 3: we actually had during that time period because it was able.
• 49:23
  Speaker 3: It made them able to zoom in a sense to
• 49:26
  Speaker 3: get a more close shot. So that is about the
• 49:28
  Speaker 3: only thing I liked from a found footage perspective of
• 49:31
  Speaker 3: this movie.
• 49:32
  Speaker 2: And yet, no, that's that's totally technology we had. But
• 49:36
  Speaker 2: there's a reason why when you're watching old school war
• 49:41
  Speaker 2: footage it's from one spot. You can't you can't handhold
• 49:48
  Speaker 2: that type of film and that type of camera and
• 49:51
  Speaker 2: just run the fuck around, Like the film will move
• 49:55
  Speaker 2: and things will not get exposed properly. Like you have
• 49:59
  Speaker 2: to have a tribe for that, or a dolly or
• 50:02
  Speaker 2: something to keep that camera stable.
• 50:04
  Speaker 3: Yeah, because film is running through it. And also also if.
• 50:07
  Speaker 2: You're marching through fucking field land nowhere, all that film
• 50:12
  Speaker 2: is gonna be scuffed up dirt crazy, it's gonna be unusable.
• 50:17
  Speaker 3: Yeah, they don't show. They don't show, because I did
• 50:20
  Speaker 3: like the towards the end of the movie, the cameraman's like,
• 50:23
  Speaker 3: this is my last reel of film, and I was like, Okay,
• 50:25
  Speaker 3: that's fun. But where are we keeping this film? Because
• 50:27
  Speaker 3: it has to be not exposed to any light and
• 50:30
  Speaker 3: completely in a sealed container so that no dirt and
• 50:33
  Speaker 3: dust are getting on the film. So where are we
• 50:36
  Speaker 3: keeping this?
• 50:37
  Speaker 2: So my only thought about that, and again probably giving
• 50:42
  Speaker 2: this movie too much credit, but at the beginning of
• 50:44
  Speaker 2: the movie, when uh Sasha trips.
• 50:48
  Speaker 3: With the big ass bag yeah on his back and then.
• 50:51
  Speaker 2: He starts digging in there while everybody's walking away, and
• 50:54
  Speaker 2: then they cut and they're onto the next thing, I
• 50:58
  Speaker 2: think that might have been an implication that that's where
• 51:02
  Speaker 2: they're keeping the film. Because it's Sasha and Dema, they're
• 51:05
  Speaker 2: the two cameramen. Sasha is the real young guy and
• 51:08
  Speaker 2: then Dima is the tall guy with the glasses whose
• 51:11
  Speaker 2: entire fault it is because he's like, uh KGB agent
• 51:18
  Speaker 2: that's infiltrated the Russian Army question mark.
• 51:23
  Speaker 3: Well, no, the footage was for Demo the footage itself.
• 51:27
  Speaker 3: They were saying, I need to get this footage to demo.
• 51:30
  Speaker 3: Who uh see, I'm can I can't keep track of
• 51:32
  Speaker 3: all these fucking names there. Yeah, but there was two
• 51:34
  Speaker 3: there's there's two cameramen, and one of them was, yeah, infiltrated.
• 51:38
  Speaker 3: That's okay, since we're here, Since we're here, what the
• 51:42
  Speaker 3: since we're well, it just it just makes sense. What
• 51:45
  Speaker 3: was that ending? Because Sasha or whoever is on the table,
• 51:49
  Speaker 3: I don't even fucking know his name. I think that
• 51:52
  Speaker 3: was oh no, that was Sasha. There was a guy
• 51:57
  Speaker 3: on the table and then he's like, Sasha helped me.
• 52:00
  Speaker 3: And Sasha comes back that you think he's gonna help
• 52:02
  Speaker 3: the guy on the table, but he doesn't. He just
• 52:04
  Speaker 3: takes the camera and fucking leaves, which is kind of weird.
• 52:06
  Speaker 3: But then you see a picture of young Sasha with
• 52:11
  Speaker 3: fucking who was that Stalin? So he was so he
• 52:16
  Speaker 3: was infiltrating their little group for what No, okay, like
• 52:21
  Speaker 3: what was the ending to this movie? So okay, I here,
• 52:27
  Speaker 3: here's what I think. And this is just speculation at
• 52:30
  Speaker 3: this point.
• 52:31
  Speaker 2: I don't know if it's full speculation, because they do
• 52:34
  Speaker 2: give you some of this information. Okay, okay, So there
• 52:38
  Speaker 2: are five guys in this troop. One of these guys
• 52:44
  Speaker 2: is not actually a military man, but he's an agent
• 52:48
  Speaker 2: in the Russian government. He is sent in with this
• 52:56
  Speaker 2: group under the guys of but we're just recording ourselves
• 53:02
  Speaker 2: winning the war. The guy that infiltrated is actually leading
• 53:06
  Speaker 2: them to this village to capture oh, Victor Frankenstein, because
• 53:12
  Speaker 2: the Russians want him to help turn the tide of
• 53:14
  Speaker 2: war even more and then do their own military takeover.
• 53:18
  Speaker 3: That's right. I forgot about that point.
• 53:21
  Speaker 2: Once the cameraman gets strapped down, the guy that shoots
• 53:25
  Speaker 2: him is shooting him to save the guy on the table,
• 53:30
  Speaker 2: but the mission was not to kill him, but to
• 53:33
  Speaker 2: bring him back. That's why I was like, why'd you
• 53:35
  Speaker 2: fucking do that? Why'd you fucking do that? And then
• 53:38
  Speaker 2: as they're getting bombed because they never radioed back, the
• 53:42
  Speaker 2: other guy takes the camera and the proof so it
• 53:47
  Speaker 2: can then be buried and hidden. Because fun fact, Joseph
• 53:52
  Speaker 2: Stalin essentially invented the doctored photo. He had so many
• 54:00
  Speaker 2: images of his dictatorship doctored so that the world could
• 54:06
  Speaker 2: not see the bodies in the fields or this. He
• 54:12
  Speaker 2: He would even go so far as to have photos
• 54:16
  Speaker 2: of his officials that he had killed edited out of
• 54:20
  Speaker 2: the photos and then reframed as like this is what
• 54:25
  Speaker 2: it's always been, that I don't know you're dying. He
• 54:27
  Speaker 2: never existed. So the reason the the reason the soldier
• 54:32
  Speaker 2: is next to Stalin is it's kind of a snide aside,
• 54:36
  Speaker 2: like ha ha, we buried this. They'll never know about
• 54:39
  Speaker 2: it because this was the proof that theirs shit out
• 54:43
  Speaker 2: there that is more powerful than Stalin, and Stalin couldn't.
• 54:46
  Speaker 3: Have that well. And also he does take Frankenstein's head.
• 54:52
  Speaker 3: He cut it off, and he takes it in, places
• 54:54
  Speaker 3: it somewhere and then grabs the camera and leaves. So
• 54:57
  Speaker 3: I guess I don't know why he would take the head,
• 55:00
  Speaker 3: but he does cut Frankenstein's head off, and.
• 55:02
  Speaker 2: I get I guess it's like proof of Hey, here's
• 55:05
  Speaker 2: the mission. Yeah, he's going, he's going under the guys
• 55:11
  Speaker 2: of I know what the truth is. But I'm gonna
• 55:13
  Speaker 2: show up to Stalin and be like, hey, we were
• 55:15
  Speaker 2: on this mission and we fucking had to kill this guy.
• 55:18
  Speaker 2: Here's the video of us killing him. Think wink, Like
• 55:22
  Speaker 2: I'm not gonna say shit, here you go. All right,
• 55:25
  Speaker 2: that makes a lot more sense. Yeah, I completely forgot
• 55:28
  Speaker 2: about the plot line when it was revealed that the
• 55:30
  Speaker 2: guy at that, you know, the infiltrator, was leading them
• 55:33
  Speaker 2: to this specific place, because everyone was like, why the
• 55:36
  Speaker 2: like what they got all mad?
• 55:38
  Speaker 3: Totally totally forgot about that.
• 55:39
  Speaker 2: It's like three minutes out of an hour and twenty
• 55:43
  Speaker 2: four minute movie, and it's the only thing that seems
• 55:47
  Speaker 2: to have any sort of relevance. But then they glossed
• 55:49
  Speaker 2: by it so much that you're like, oh, well that
• 55:51
  Speaker 2: I guess that doesn't matter.
• 55:52
  Speaker 3: Yeah, so why the fuck am I?
• 55:53
  Speaker 2: Why do I retain that information?
• 55:55
  Speaker 3: All right? See? And then the image at the end
• 55:57
  Speaker 3: makes more sense. But it's like you have to kind
• 55:59
  Speaker 3: of know that about Stalin because I was like, it's
• 56:01
  Speaker 3: Sasha and someone, and then my wife came in and
• 56:05
  Speaker 3: it's like, oh, it was Stalin. I just forgot the name.
• 56:08
  Speaker 3: So that adds some a layer to it. But you
• 56:11
  Speaker 3: have to know who that is and that he was
• 56:14
  Speaker 3: doing that in real life.
• 56:15
  Speaker 2: For that to come, you have to like have some
• 56:20
  Speaker 2: good working knowledge of like what was happening behind the
• 56:23
  Speaker 2: Iron Curtain during World War Two? For certain things of
• 56:27
  Speaker 2: this movie to make sense, and of course me being
• 56:30
  Speaker 2: the fucking weirdo that I yeah, I know that Stalin
• 56:33
  Speaker 2: photoshopped before photoshop, of course I do.
• 56:36
  Speaker 3: And this is the biggest strength you bring to the
• 56:38
  Speaker 3: podcast is the vast just random knowledge you have about
• 56:43
  Speaker 3: so many things. Because if this were me and anybody else,
• 56:47
  Speaker 3: that wouldn't have come out, because I don't think many
• 56:49
  Speaker 3: people know that. So it's incredible. So okay, let's get
• 56:53
  Speaker 3: to is this actually a good movie?
• 56:58
  Speaker 2: What works?
• 56:59
  Speaker 3: We've talked about this incredible creature, design, unique concept, strong
• 57:03
  Speaker 3: visual imagination, and I'd say pretty memorable third acts. But
• 57:08
  Speaker 3: what doesn't work? Very thin characters, the limitations of found footage,
• 57:13
  Speaker 3: uneven pacing. I don't know where I'm sitting with this movie.
• 57:18
  Speaker 3: I was gonna take away a lot of points for
• 57:20
  Speaker 3: that ending, but you've contextualized it for me, so I
• 57:23
  Speaker 3: do appreciate the ending, although I think he still should
• 57:26
  Speaker 3: have saved that guy, but I get it really wasn't
• 57:28
  Speaker 3: in the mission. So but why didn't you just take
• 57:31
  Speaker 3: franken Steinmaider. There's still a lot of questions. So do
• 57:34
  Speaker 3: you think this movie works fully? I feel like you're
• 57:39
  Speaker 3: not gonna say no, it's.
• 57:41
  Speaker 2: It's it's hard because in the however many years we've
• 57:47
  Speaker 2: been doing this show together now, we've seen some really,
• 57:53
  Speaker 2: really fucking bad movie, Like some movies that I'm like,
• 57:59
  Speaker 2: this was a offensive to put on screen, not because
• 58:03
  Speaker 2: of the content, because the quality is so bad that
• 58:07
  Speaker 2: I could literal fecal matter that I produce is better
• 58:12
  Speaker 2: quality than this ish tab hooker with a hacksaw. Those
• 58:16
  Speaker 2: are just two of them. It's like a bad so bad.
• 58:23
  Speaker 2: So if we're comparing it to things like that, yeah,
• 58:27
  Speaker 2: it works. But if we are going case by case,
• 58:32
  Speaker 2: every movie is its own separate universe that should not
• 58:38
  Speaker 2: be compared to anything else, no, it does not work
• 58:42
  Speaker 2: at all. With that being said, if you're one of
• 58:45
  Speaker 2: those people that just likes looking at shit and you
• 58:49
  Speaker 2: don't care actually what's going on on screen, great monsters,
• 58:55
  Speaker 2: solid practical effects, even some of the theming of the
• 59:01
  Speaker 2: sets are really cool. Yeah, like, yeah, did the bodies
• 59:05
  Speaker 2: hanging from the ceiling look super fucking cheap? Of course,
• 59:08
  Speaker 2: But when you have two hundred and fifty of them, well,
• 59:13
  Speaker 2: I mean two hundred and fifty times cheap doesn't make
• 59:16
  Speaker 2: it cheap anymore. Kind of expensive, like they spent money
• 59:20
  Speaker 2: on it. Yeah. They if you do one thing cheaply
• 59:25
  Speaker 2: a million times, you at least have quantity.
• 59:29
  Speaker 3: Yeah, And honestly, when he when they walked into that room,
• 59:32
  Speaker 3: I literally went, oh my. I was like, what is
• 59:36
  Speaker 3: happening in this room?
• 59:37
  Speaker 2: And then you see him out close and you're like,
• 59:39
  Speaker 2: oh ah, But like, yeah, the visuals are cool, Like
• 59:43
  Speaker 2: it's it's real fun to be like, nah, that's that's
• 59:46
  Speaker 2: not a Soviet Ara uniformer. Oh that's an airsoft gun.
• 59:51
  Speaker 2: But it's it's if you can, if you're not watching it,
• 59:55
  Speaker 2: to watch it critically and then talk about it like
• 59:57
  Speaker 2: we do.
• 59:58
  Speaker 3: Yeah.
• 59:58
  Speaker 2: Sure, it's a it's a halfway decent, turn your brain
• 1:00:03
  Speaker 2: off fun time. But like this movie, you cannot watch
• 1:00:09
  Speaker 2: this movie with any type of critical lens right like
• 1:00:12
  Speaker 2: the minute you go but what Nope, don't movie's bad now.
• 1:00:17
  Speaker 3: So I'm just in the middle with this movie honestly
• 1:00:22
  Speaker 3: because I think like half of it works, half of
• 1:00:25
  Speaker 3: it doesn't. So that's that's where I'm at. I think
• 1:00:28
  Speaker 3: that's all I've got. Honestly, I will figure out my
• 1:00:32
  Speaker 3: rating here by the time we finished this episode, because
• 1:00:35
  Speaker 3: I'm still I like, I haven't even rated it on letterbox.
• 1:00:38
  Speaker 3: I'm still so unsure I did.
• 1:00:40
  Speaker 2: I guess, I guess my whole takeaway, not even take away,
• 1:00:42
  Speaker 2: I guess. My final statement with this movie is it
• 1:00:45
  Speaker 2: has no consequence. And what I mean by that is
• 1:00:51
  Speaker 2: it doesn't posit a universe where anything that didn't happen
• 1:00:57
  Speaker 2: at the end of World War Two didn't have happened.
• 1:01:00
  Speaker 2: Like it's not posturing like there's some alternate universe like
• 1:01:03
  Speaker 2: Man in the High Castle where the Nazis won or whatever.
• 1:01:07
  Speaker 2: So like we learned in fifth grade how World War
• 1:01:12
  Speaker 2: two came out, And when you have a movie set
• 1:01:16
  Speaker 2: in World War Two, no matter what happens, unless you
• 1:01:18
  Speaker 2: are going to say that the end of the war
• 1:01:22
  Speaker 2: happened differently, nothing that happens in this movie is of
• 1:01:25
  Speaker 2: any consequence. And and when you go into something knowing
• 1:01:32
  Speaker 2: that nothing in this movie matters because it's not going
• 1:01:36
  Speaker 2: to change the historical accuracy of what the area of
• 1:01:43
  Speaker 2: what this movie is in, it made it. It diminishes
• 1:01:47
  Speaker 2: a little bit, saying all right, why am I watching this?
• 1:01:50
  Speaker 2: What's the point of this story? Like it or if
• 1:01:55
  Speaker 2: you're gonna do that, don't bring out the zombies in
• 1:01:58
  Speaker 2: the last forty five minutes the movie, Like, we need
• 1:02:02
  Speaker 2: five minutes of setup. Give us the rest of everything else.
• 1:02:06
  Speaker 2: Don't fucking show us them raiding some farm and then
• 1:02:12
  Speaker 2: chasing women away and some dude fucking chasing fake chickens. Uh, Like,
• 1:02:18
  Speaker 2: why did I need that? Why did I need that?
• 1:02:21
  Speaker 3: Yeah, there's there's so.
• 1:02:22
  Speaker 2: Much unnecessary fluff in this movie to get to nowhere.
• 1:02:26
  Speaker 3: Yeah, and in an hour and twenty four minutes, it's
• 1:02:29
  Speaker 3: like it's already very short. And plus for a movie
• 1:02:32
  Speaker 3: called Frankenstein's Army, we see more of the Army than
• 1:02:34
  Speaker 3: we do a Frankenstein. We get like maybe twenty minutes
• 1:02:37
  Speaker 3: with Frankenstein at the end of the movie.
• 1:02:39
  Speaker 2: With that's fine, he can fuck off.
• 1:02:41
  Speaker 3: Oh oh, like.
• 1:02:43
  Speaker 2: No, honestly, honestly, I would have thought it cooler if
• 1:02:49
  Speaker 2: they would have taken Frankenstein out of this. And oh,
• 1:02:55
  Speaker 2: the monsters killed Frankenstein and it's the monsters that are
• 1:02:58
  Speaker 2: recreating themselves and taking over this village. Oh, there's some
• 1:03:02
  Speaker 2: fucking consequence. One character gone. Movie's great.
• 1:03:06
  Speaker 3: Oh interesting, that's a good idea. That's a great idea,
• 1:03:14
  Speaker 3: and it's it's not hard. Yeah, Like I I came
• 1:03:17
  Speaker 3: up with that sitting here through this podcast, because yeah,
• 1:03:23
  Speaker 3: I did. I did kind of like the hive mind
• 1:03:25
  Speaker 3: thing that they had where once Frankenstein dies they kind
• 1:03:28
  Speaker 3: of go crazy. But you know, you can also remove
• 1:03:30
  Speaker 3: that as well. You get them at the end of
• 1:03:33
  Speaker 3: the movie, see like finding him like decapitated or something.
• 1:03:36
  Speaker 3: And yeah, all of the robots are sentient at this point,
• 1:03:39
  Speaker 3: and they're just recreating more and they're doing their own thing.
• 1:03:43
  Speaker 2: You've already you've already got the worker things that are doing, yeah,
• 1:03:49
  Speaker 2: that are doing the work. All all Frankenstein is doing
• 1:03:52
  Speaker 2: is hooking him up and flipping a switch. That's all
• 1:03:55
  Speaker 2: he's doing. From the movie standpoint. Anyway, all the monsters
• 1:03:59
  Speaker 2: are doing all the rest of the work by piecing
• 1:04:01
  Speaker 2: them together.
• 1:04:02
  Speaker 3: Now, I'm just now I'm just like, I'm just I'm
• 1:04:06
  Speaker 3: day dreaming right now of just how how much better
• 1:04:09
  Speaker 3: this movie would have been if we had that ending and.
• 1:04:12
  Speaker 2: You could have kept the exact same movie. Yeah, and
• 1:04:16
  Speaker 2: just change that storyline and it works. Yeah, it works,
• 1:04:20
  Speaker 2: like you don't. You don't have to change anything else.
• 1:04:22
  Speaker 2: Except we heard that there was this doctor, not that
• 1:04:27
  Speaker 2: there is this doctor.
• 1:04:29
  Speaker 3: Yeah, we heard that there.
• 1:04:30
  Speaker 2: Was this doctor. We got sent to check it out.
• 1:04:32
  Speaker 3: Oh shit, monsters and he's dead. I love it. I
• 1:04:35
  Speaker 3: fucking love it all right. I think that's a perfect
• 1:04:38
  Speaker 3: spot to end because that was that was killer. So
• 1:04:42
  Speaker 3: let's go to the final cut here taglines there's one
• 1:04:47
  Speaker 3: what is dead, may never die? Trivia got two things here.
• 1:04:51
  Speaker 3: A lot of the robotic monsters featured in this movie
• 1:04:53
  Speaker 3: would later inspire the design of Enemies and Resident Evil Village,
• 1:04:57
  Speaker 3: most notably propeller Head. The female Teddy Bear robot monster
• 1:05:02
  Speaker 3: that is seen is credited in the end as Teddy
• 1:05:04
  Speaker 3: Bear Robot slash Frankenstein's mother, meaning doctor Frankenstein created this
• 1:05:09
  Speaker 3: monster out of his own mother. Goof this is just
• 1:05:12
  Speaker 3: fun because clearly a German person wrote this. The signs
• 1:05:16
  Speaker 3: reading niche on tostin do not touch seemed to be
• 1:05:21
  Speaker 3: in seemed to be German language, but no German would
• 1:05:24
  Speaker 3: use that terminology. The correct translation would have been niechst brucheran.
• 1:05:28
  Speaker 3: So there you go. Rated five point four out of
• 1:05:33
  Speaker 3: ten on IMDb. For our purposes of the Nightmare index,
• 1:05:38
  Speaker 3: that is going to be a two point seven out
• 1:05:40
  Speaker 3: of five. Then we have a two point nine on
• 1:05:43
  Speaker 3: the aut of five on the letterbox fifty six percent
• 1:05:45
  Speaker 3: of the Tomato meter forty one percent audience score. What
• 1:05:48
  Speaker 3: did you give this, Corey?
• 1:05:50
  Speaker 2: I gave it a two point five and a heart.
• 1:05:53
  Speaker 3: Okay, so you're at a two point five. I feel
• 1:05:57
  Speaker 3: like I'm at a two point five as well, but
• 1:06:00
  Speaker 3: I have to give it at least a half star
• 1:06:04
  Speaker 3: more for just the insanity of the monsters. I don't
• 1:06:08
  Speaker 3: know if I want to go a full star for
• 1:06:10
  Speaker 3: the monsters, although I feel like, you.
• 1:06:11
  Speaker 2: See, the monsters took it from a one to a
• 1:06:15
  Speaker 2: two point five.
• 1:06:16
  Speaker 3: For me, yeah, a three point five seems high. I'm
• 1:06:20
  Speaker 3: gonna give it. I'm just gonna settle on a three.
• 1:06:22
  Speaker 3: That's where I'm gonna settle. So with that we get
• 1:06:26
  Speaker 3: this is definitely gonna be the lowest on the Oh wow,
• 1:06:29
  Speaker 3: still beating out the Nesting somehow. The Nesting at a
• 1:06:33
  Speaker 3: two six seven. This at a two seven six. So
• 1:06:37
  Speaker 3: this is second to last, I believe on the Nightmare Index,
• 1:06:40
  Speaker 3: unless I'm misremembering something that was just above the Nesting.
• 1:06:44
  Speaker 3: Similar movies. According to IMDb, we have Outpost, Frogman, The
• 1:06:48
  Speaker 3: Devil's Doorway, Digging Up Themorrow, and Afflicted all found footage
• 1:06:52
  Speaker 3: except for outposts. But I don't know. Uh. Similar movies,
• 1:06:55
  Speaker 3: according to the letterbox, we have Overlord, Outpost, Trench eleven,
• 1:06:59
  Speaker 3: The Bunk Anker, and Dog Soldiers. Do you get any
• 1:07:04
  Speaker 3: funny reviews today?
• 1:07:06
  Speaker 1: I did.
• 1:07:06
  Speaker 3: I got a few, all right, I've got four, so
• 1:07:09
  Speaker 3: I've got five, all right. I'll let you go first.
• 1:07:12
  Speaker 2: Then a half star review from Thomas Castler. Pity log
• 1:07:19
  Speaker 2: that's it. Yeah, he he logged this movie out of pity.
• 1:07:24
  Speaker 3: I almost didn't want to log this. This one is
• 1:07:27
  Speaker 3: from Nicholas ws but no rating and no heart. But
• 1:07:35
  Speaker 3: he says, somebody lets Slipknot direct World War two.
• 1:07:40
  Speaker 2: You know it's funny that you say that, because my
• 1:07:44
  Speaker 2: next review also a metal band A half star from
• 1:07:52
  Speaker 2: Bob r who is a patron, almost exactly like a
• 1:07:56
  Speaker 2: Guar concert, only with a little more screaming and worse music.
• 1:08:02
  Speaker 3: I got some very goar Slipknot vibes, especially from that
• 1:08:06
  Speaker 3: one monster with the spiky head. I was like, that's
• 1:08:09
  Speaker 3: that's sid from Slipknot. One star from Tyree Hoffman. I
• 1:08:16
  Speaker 3: really wanted to like this one, but I really want
• 1:08:19
  Speaker 3: a sixty nine Dodge Charger too, And we don't always
• 1:08:22
  Speaker 3: get what we want.
• 1:08:24
  Speaker 2: Fair a one star from Lucas. This is a little
• 1:08:31
  Speaker 2: bit of a long one. I find it a little
• 1:08:33
  Speaker 2: arrogant when filmmakers, often men, presume that just having an
• 1:08:37
  Speaker 2: idea in and of itself means that that idea warrants
• 1:08:40
  Speaker 2: slash deserves a full movie adaptation. Why did this need
• 1:08:44
  Speaker 2: to be a movie? This is a scare maze slash
• 1:08:47
  Speaker 2: haunt attraction theme at best, in my opinion.
• 1:08:51
  Speaker 3: Three stars, no heart from Brene. I need more of
• 1:08:55
  Speaker 3: that cunty bride of frankst.
• 1:09:01
  Speaker 2: A five star and a heart from cat Hell. Yeah,
• 1:09:06
  Speaker 2: Nazi zombie robots go burn. See.
• 1:09:11
  Speaker 3: Sometimes it's not even the review that's funny, it's it's
• 1:09:14
  Speaker 3: the delivery that we do.
• 1:09:16
  Speaker 2: You know, you gotta yeah, because I have to read
• 1:09:18
  Speaker 2: these in the way that they make me.
• 1:09:20
  Speaker 3: Laugh writing exactly.
• 1:09:22
  Speaker 2: Uh.
• 1:09:22
  Speaker 3: The last one I have is three stars from dk
• 1:09:26
  Speaker 3: x E L Dixel.
• 1:09:28
  Speaker 2: Uh.
• 1:09:28
  Speaker 3: I wish I had an army of loyal electronic robots
• 1:09:31
  Speaker 3: to do my housework.
• 1:09:32
  Speaker 2: And I agree. And then our last review, who this
• 1:09:40
  Speaker 2: gentleman has gotten? Hell a play on our past few episodes,
• 1:09:45
  Speaker 2: Eric Cloud, Eric Cloud, I don't know how we keep
• 1:09:48
  Speaker 2: getting movies that he watched, but he is a. He
• 1:09:50
  Speaker 2: is a very well movie traveled man.
• 1:09:53
  Speaker 3: He's also very into found footage like we are from.
• 1:09:56
  Speaker 2: Yeah.
• 1:09:57
  Speaker 3: From what I've noticed, so.
• 1:09:59
  Speaker 2: A four star and a heart pure fun, great monster designs.
• 1:10:04
  Speaker 2: Found footage slash pov is used very well and is
• 1:10:08
  Speaker 2: very effective. Maybe a little repetitive, but it's repeating fun stuff.
• 1:10:12
  Speaker 2: So is it too much fun?
• 1:10:15
  Speaker 3: All right? All right? So I think on the last
• 1:10:17
  Speaker 3: one we did, he didn't like a movie that we liked,
• 1:10:20
  Speaker 3: and he now he liked a movie that we didn't like.
• 1:10:22
  Speaker 3: I like the contrast there.
• 1:10:23
  Speaker 1: I like it.
• 1:10:25
  Speaker 3: Let's see here. If you enjoy the show, please rate
• 1:10:27
  Speaker 3: and review on your favorite podcast app of choice. Follow
• 1:10:30
  Speaker 3: us on Facebook, Instagram, Tictec's Tiktac TikTok, Slasher threads and YouTube,
• 1:10:35
  Speaker 3: and Frightener's podcast. Our email is stay Spooky at outlook
• 1:10:39
  Speaker 3: dot com. Do you want to follow me on letterbox?
• 1:10:41
  Speaker 3: You can check me out at doctor Proctor.
• 1:10:44
  Speaker 2: You are for right Mare's Corey Boo.
• 1:10:47
  Speaker 3: Yeah. If you want to expand your movie podcast listening,
• 1:10:50
  Speaker 3: be sure to check out these Shameless Picture Show, The
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  Speaker 3: Dead Eyed Millennial Film Club, and one Week Rental as well,
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  Speaker 3: and go through someone's favorite productions vast library of podcasts,
• 1:11:00
  Speaker 3: as there are a lot to choose from. Next week,
• 1:11:04
  Speaker 3: Michael and I will be doing from nineteen seventy three
• 1:11:08
  Speaker 3: is our wild card pick. It is a movie that
• 1:11:10
  Speaker 3: is literally seven s's. It is on Prime, Apple TV,
• 1:11:15
  Speaker 3: Google Play and YouTube for a three ninety nine rental.
• 1:11:18
  Speaker 3: Dude gets turned into a snake. All right. If that
• 1:11:21
  Speaker 3: doesn't interest you, I don't know what will at this point,
• 1:11:24
  Speaker 3: but I'm very excited for this because very much a
• 1:11:28
  Speaker 3: wildcard pick. Until then, guys, stay tuned and skeshook.
• 1:12:12
  Speaker 1: Thank you for listening to hear more shows from the
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  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
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