Latest / Frightmares / Ep. 367 - Re-Animator (1985)

Transcript

Ep. 367 - Re-Animator (1985) · 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 enjoy the show.
• 0:56
  Speaker 3: Welcome back to Frightmar's podcast. I'm your host Austin Rocter,
• 0:59
  Speaker 3: and joining me today for episode three sixty seven is
• 1:02
  Speaker 3: my good friend Jason Hill.
• 1:04
  Speaker 1: How are we doing?
• 1:05
  Speaker 2: I'm doing good. I'm doing good. I feel like the
• 1:07
  Speaker 2: only movies I do in your podcast or either alien
• 1:09
  Speaker 2: movies or Brian Yosna movies.
• 1:12
  Speaker 3: That is, I mean, those are two excellent choices, so
• 1:15
  Speaker 3: I am absolutely here for both of those. Today, on
• 1:20
  Speaker 3: the first installment of March Labnus, we're discussing our essential
• 1:24
  Speaker 3: pick Reanimator from nineteen eighty five, a movie that proves
• 1:28
  Speaker 3: two things. One death is temporary and two decapitation is
• 1:32
  Speaker 3: merely an inconvenience. Let's see where this lands on the
• 1:36
  Speaker 3: nightmare index. All right, let's talk about some things we've watched.
• 1:46
  Speaker 3: I don't know how busy you have been, Jason, or
• 1:49
  Speaker 3: what you have seen recently, but what do you got?
• 1:54
  Speaker 2: I watched Freaky Tales last weekend. Have you seen this,
• 1:56
  Speaker 2: you know what I'm talking about.
• 1:57
  Speaker 1: I have the movie and I have not watched it.
• 2:03
  Speaker 2: I feel like that's every time I ask, have you
• 2:05
  Speaker 2: seen this movie? You? I've got it. I own the
• 2:07
  Speaker 2: Blu ray four K. It's a thing that I have.
• 2:11
  Speaker 2: I haven't watched it, but it's something. It's something that
• 2:15
  Speaker 2: I bought it six months ago when it came out,
• 2:17
  Speaker 2: and I haven't even thought about it since.
• 2:22
  Speaker 1: How was it?
• 2:23
  Speaker 2: It's good. It's a good movie. Uh. It's an anthology
• 2:25
  Speaker 2: kind of thing, but it's sort of like pulp fictions
• 2:28
  Speaker 2: it where they all sort of like, can I tie
• 2:30
  Speaker 2: in to a little bit?
• 2:31
  Speaker 1: Oh okay, I like that. I like that.
• 2:34
  Speaker 2: But it's about a couple of tales that take place
• 2:36
  Speaker 2: in Oakland in the eighties. There's a two really good
• 2:39
  Speaker 2: cameos in it. One it's funny how Marshawn Lynch has
• 2:42
  Speaker 2: basically become the mascot of Oakland. Like if anybody's anything
• 2:48
  Speaker 2: Oakland or even Bay Area related, like marsh On Lynch
• 2:51
  Speaker 2: is going to.
• 2:51
  Speaker 3: Be there, okay, right yeah.
• 2:55
  Speaker 2: And there's another from somebody that's from Oakland that's I
• 2:58
  Speaker 2: was like, oh, good for you.
• 3:00
  Speaker 1: You for you, you did it well.
• 3:02
  Speaker 2: Uh.
• 3:03
  Speaker 3: Pedro Passed scowls in that right too, isn't he?
• 3:06
  Speaker 2: Yes, uh, Pedro Pascal is in it. And then at
• 3:08
  Speaker 2: the other question, some of like a sort of known
• 3:10
  Speaker 2: folks that aren't really like massive like Pedro Pascali is okay,
• 3:15
  Speaker 2: and just from the people that directed the the Miss
• 3:17
  Speaker 2: Marvel movie or Captain Marvel movie.
• 3:19
  Speaker 3: Captain Marvel Okay, Oh interesting, Okay, that's a yeah.
• 3:23
  Speaker 2: But no, they've been doing indy like half Nielsen. They've
• 3:26
  Speaker 2: been Uh it's kind of a funny story that they're
• 3:28
  Speaker 2: pretty much indy folks really, but every once in a while,
• 3:31
  Speaker 2: you know, you've gotta you gotta suck it up and
• 3:33
  Speaker 2: work for the mouse. Every once in a while they
• 3:37
  Speaker 2: have more used to make, you know, people got to
• 3:39
  Speaker 2: pay their gloms off.
• 3:40
  Speaker 3: Yeah, okay, yeah, so I need to check that one out. Still,
• 3:45
  Speaker 3: what else have you seen?
• 3:46
  Speaker 2: Is that?
• 3:46
  Speaker 1: Is that about it for for you?
• 3:48
  Speaker 2: I watched The Dairy Girls on Netflix which came out
• 3:51
  Speaker 2: It's over now. It's a UK show, racist from Ireland.
• 3:55
  Speaker 2: It takes place in the nineties. This is about these
• 3:57
  Speaker 2: girls growing up and it's essentially a sitcom about these
• 4:01
  Speaker 2: girls growing up in Ireland. These teenage girls okay, and
• 4:03
  Speaker 2: they're just chaos, these three, these these girls, it's just
• 4:07
  Speaker 2: non stop why well, why are you doing this? And
• 4:12
  Speaker 2: then occasionally you get a little bit of the old
• 4:13
  Speaker 2: the whole ra trouble stuff between Ireland and the UK okay,
• 4:18
  Speaker 2: which is kind of interesting if you probably need just
• 4:20
  Speaker 2: at least a tertiary knowledge of the troubles going on
• 4:24
  Speaker 2: in the nineties. Okay, but it's not essential.
• 4:27
  Speaker 1: All right, I gotcha. Oh that's me.
• 4:31
  Speaker 2: But I'm forgetting about I still haven't seen bad Lands,
• 4:34
  Speaker 2: and I'm very upset.
• 4:35
  Speaker 3: About the Predator bad Lands.
• 4:37
  Speaker 2: Yeah, I feel like a bad Alien Predator fan.
• 4:41
  Speaker 3: No, no, it's it's it's it is streaming though now
• 4:44
  Speaker 3: it is, it is available. They did put out a
• 4:46
  Speaker 3: four K and a blu ray as well, so uh,
• 4:49
  Speaker 3: it's it's I really liked it. I think Dan Trachtenberg
• 4:54
  Speaker 3: just just let him cook because he is single handedly
• 4:57
  Speaker 3: saving this Predator franchise, not like it was. I mean,
• 5:01
  Speaker 3: you know AVP, Well those are like the last installments,
• 5:03
  Speaker 3: right or.
• 5:04
  Speaker 2: Was the Predator the Predator that came out, which was god.
• 5:08
  Speaker 1: All yeah, yeah, it's it's.
• 5:11
  Speaker 2: So weird because Shane Black wrote and directed it. You
• 5:13
  Speaker 2: would think if anybody would have a handle on Predator, Yeah,
• 5:16
  Speaker 2: it would be Shane Black.
• 5:18
  Speaker 1: Yeah.
• 5:18
  Speaker 2: So he was in the original one and he did
• 5:20
  Speaker 2: some uncredited rewriting on the original one. Wow.
• 5:23
  Speaker 3: Yeah, just led Dan Trackton Berg cook because between Prey, Predator,
• 5:28
  Speaker 3: Killer of Killers, and then bad Lands, I think I
• 5:32
  Speaker 3: gave all of those a four or higher. Like he
• 5:34
  Speaker 3: is absolutely cooking. So let the man do that. Uh,
• 5:38
  Speaker 3: let's see here.
• 5:40
  Speaker 1: I oh.
• 5:41
  Speaker 3: On the two episodes ago, Corey had mentioned a movie
• 5:46
  Speaker 3: that he has been adamantly asking me to watch. It's
• 5:51
  Speaker 3: called The Man from Earth. And have you heard of
• 5:54
  Speaker 3: this one?
• 5:55
  Speaker 2: No?
• 5:56
  Speaker 3: I think you would like this one. I don't know
• 5:59
  Speaker 3: the direction. No, I don't know the director, but his
• 6:01
  Speaker 3: career is wild. He did I Spit on your Grave.
• 6:04
  Speaker 3: Three Abraham Lincoln, fucking not Vampire Hunter. Come on Letterbox,
• 6:10
  Speaker 3: let's go sometime today. Abraham Lincoln versus Zombies Michi Yeah,
• 6:16
  Speaker 3: mischief night. But then he does The Man from Earth,
• 6:19
  Speaker 3: which has a three point eight I want to say,
• 6:22
  Speaker 3: out of five on Letterbox. And it's a bottle film,
• 6:25
  Speaker 3: takes place all in one location and it is essentially uh,
• 6:30
  Speaker 3: it's a conversation. It's an eighty seven minute conversation, and
• 6:33
  Speaker 3: I have never been more glued to that type of
• 6:38
  Speaker 3: movie before in my life. It was a fascinating conversation.
• 6:41
  Speaker 3: Tony Todd is in it, or David Lee Smith is
• 6:44
  Speaker 3: in it. John Billingsley is in it. William Cat from
• 6:48
  Speaker 3: the House Franchise is in it. Solid fucking movie. I
• 6:52
  Speaker 3: gave it a four and a half. It is on
• 6:53
  Speaker 3: Prime to be plex highly. I highly recommend that one.
• 6:56
  Speaker 3: It is not a horror movie. I don't even know
• 6:58
  Speaker 3: what you would classify this movie. Let's see what Letterbox
• 7:01
  Speaker 3: has as the genre. Okay, talk drama, sci fi. So
• 7:07
  Speaker 3: but yeah, it's real quick, you're in and you're out.
• 7:09
  Speaker 3: And uh, Corey did mention kind of the ambiguous ending.
• 7:12
  Speaker 3: I think it has a definite answer. I won't I
• 7:15
  Speaker 3: won't say what it is, but that was really good.
• 7:18
  Speaker 3: I did go to the theater and see the brand
• 7:21
  Speaker 3: new Psycho killer movie. I'm not sure, dude. I don't
• 7:27
  Speaker 3: know if I watched a different cut than everybody else
• 7:30
  Speaker 3: because it has a two point zero out of five.
• 7:31
  Speaker 3: Everyone is shredding this movie to pieces. I fucking loved it.
• 7:36
  Speaker 3: Is it flawed? Absolutely?
• 7:38
  Speaker 2: Uh?
• 7:38
  Speaker 3: There are plenty of things I was like, eh, but
• 7:40
  Speaker 3: I mean for ninety two minutes, a lot of blood
• 7:44
  Speaker 3: and guts, satanic culty, shit.
• 7:47
  Speaker 1: I don't know. I gave it a four and a five.
• 7:49
  Speaker 2: I that's that's actually looton to Rotten Tomatoes a while
• 7:52
  Speaker 2: ago to see what that was. It's currently like ten
• 7:54
  Speaker 2: percent on the critics review it got it got up
• 7:56
  Speaker 2: to ten for a while, it got up some improvement
• 8:00
  Speaker 2: and also but even though even worse than the audience scores,
• 8:03
  Speaker 2: thirty percent, was like, that's real bad for the audience
• 8:06
  Speaker 2: score to be that bad.
• 8:07
  Speaker 1: And I don't understand.
• 8:08
  Speaker 3: I've read reviews and stuff and everyone's just like, oh,
• 8:11
  Speaker 3: this was just a complete mess. And I watched it
• 8:13
  Speaker 3: with Spencer. We both went and saw it together. I
• 8:16
  Speaker 3: think he gave it a three point five and I
• 8:17
  Speaker 3: gave it a four. We both sat there while the
• 8:20
  Speaker 3: credits were rolling, looking at each other, like I really
• 8:23
  Speaker 3: enjoyed that.
• 8:24
  Speaker 1: I don't. I don't. I don't get the hate. I
• 8:26
  Speaker 1: don't know.
• 8:27
  Speaker 3: I'm also a very lenient critic. Everyone knows this, but
• 8:30
  Speaker 3: I I don't know. I really enjoyed it four out
• 8:33
  Speaker 3: of five. For me, I'm not going to recommend to
• 8:35
  Speaker 3: go see it because apparently everyone hates it, but that
• 8:38
  Speaker 3: was just me.
• 8:38
  Speaker 2: I want to go see it, and I'm gonna just
• 8:40
  Speaker 2: like call you up and just just just give you
• 8:42
  Speaker 2: a tongue lash and for how much I hate this movie,
• 8:44
  Speaker 2: leave me just the movie.
• 8:47
  Speaker 3: No, no, no, I want to go on record and
• 8:49
  Speaker 3: say that I didn't recommend this. I just liked it,
• 8:53
  Speaker 3: so I did go see as well. Good Luck, have Fun,
• 8:56
  Speaker 3: don't Die, the latest Gore Verbinski vehicle here. He hasn't
• 9:01
  Speaker 3: done a movie since twenty sixteen. It's a cure for
• 9:04
  Speaker 3: wellness and this movie was a goddamn masterpiece. It stars
• 9:10
  Speaker 3: a Sam rock Well and Michael Penya is also in it.
• 9:15
  Speaker 3: A couple other people that looks familiar, but I don't
• 9:17
  Speaker 3: really know who They are currently rocking a three point
• 9:22
  Speaker 3: seven out of five on Letterbox, which is quite impressive,
• 9:25
  Speaker 3: and it's a or three point five now, sorry, but
• 9:28
  Speaker 3: it's a really good commentary on the social political climate
• 9:34
  Speaker 3: AI and all of that stuff. It's a he basically
• 9:38
  Speaker 3: what was my review because my review encompasses what the
• 9:42
  Speaker 3: movie is. Oh so yeah, Gor Verbinski coming back after
• 9:44
  Speaker 3: a ten year hiatus from directing to shit all over
• 9:47
  Speaker 3: everything wrong with the US is so based. I love
• 9:50
  Speaker 3: this man. So it's really good. It's really funny. It's
• 9:55
  Speaker 3: a sci fi i'd say, with some horror elements, but
• 9:59
  Speaker 3: it's like an action, common sci fi. Sam Rockwell is
• 10:02
  Speaker 3: amazing in everything, but he was particularly slaying in this movie.
• 10:06
  Speaker 3: Definitely recommend that one, especially if you're a fan of
• 10:09
  Speaker 3: gor Verbinski.
• 10:11
  Speaker 2: He's got quite the career, quite therapy.
• 10:14
  Speaker 1: He can literally do everything.
• 10:17
  Speaker 2: Movie first movie.
• 10:19
  Speaker 3: It was one of his first. He did The Ring,
• 10:21
  Speaker 3: and then the Pirates trilogy, he did Rango. He can
• 10:26
  Speaker 3: literally do any genre. It's insane. He can do the
• 10:28
  Speaker 3: action adventure, he can do the sci fi. He can
• 10:31
  Speaker 3: do an animated movie, uh, and then horror movie. He's
• 10:34
  Speaker 3: a cure for wellness. In The Ring, I mean, the
• 10:37
  Speaker 3: man doesn't miss in my opinion, he is an incredible
• 10:41
  Speaker 3: No God, no, he did not do that or The
• 10:44
  Speaker 3: Ring Too. He is he was not involved in either
• 10:46
  Speaker 3: one of those.
• 10:48
  Speaker 1: The Ring Too.
• 10:49
  Speaker 3: It's like, I have nostalgia for it, but it's not
• 10:51
  Speaker 3: really a good movie. But then Rings is just an atrocity.
• 10:57
  Speaker 3: It is a sin. I don't know what they were
• 11:00
  Speaker 3: trying to do with that. I mean, I guess they
• 11:02
  Speaker 3: were trying to modernize it, you know, it was like
• 11:04
  Speaker 3: flash drives and shit. But man, I remember I remember
• 11:07
  Speaker 3: rewatching that, like it can't be that bad. No, it
• 11:10
  Speaker 3: is that bad. It is so bad. Like so, for example,
• 11:14
  Speaker 3: the first ring four and a half out of five
• 11:16
  Speaker 3: from me, Ring two gets a very generous three point
• 11:20
  Speaker 3: or sorry, a three. But then Rings aka Rings a
• 11:24
  Speaker 3: one and a half. It might even be a one
• 11:27
  Speaker 3: if letterbox would go, oh two and a half. Wow, Okay,
• 11:30
  Speaker 3: that's way more generous. So maybe I need to rewatch that.
• 11:33
  Speaker 3: But it's directed by Javier Gutierres, who apparently is someone
• 11:38
  Speaker 3: I'm confusing someone else with disregard never mind.
• 11:42
  Speaker 2: Remember I was never the biggest fan of The Ring.
• 11:44
  Speaker 2: I always thought it was fine, right, but love it.
• 11:47
  Speaker 2: But I remember I saw The Ring two in theaters
• 11:49
  Speaker 2: and I hated it. Yeah, And I remember I went
• 11:52
  Speaker 2: to cause I was in high school at the time.
• 11:54
  Speaker 2: And I remember like the next day or whenever I
• 11:57
  Speaker 2: think we had in class we were ahead to write
• 11:59
  Speaker 2: some sort of like review for something, and I remember
• 12:02
  Speaker 2: I wrote a quick review for The Ring too, and
• 12:04
  Speaker 2: my teacher brought sent it back to me and was like,
• 12:07
  Speaker 2: is that like he gave it like he gave me
• 12:08
  Speaker 2: like A said, yes, I saw it, and I also
• 12:10
  Speaker 2: hated it teachers, like I hated the ending made no sense.
• 12:17
  Speaker 3: Yeah, that that ending is is a bit silly. Oh
• 12:21
  Speaker 3: did you uh? Did you do the Cult movie challenge
• 12:23
  Speaker 3: this week?
• 12:24
  Speaker 1: Yeah?
• 12:24
  Speaker 3: The Blood Theater week? Did you do that one?
• 12:27
  Speaker 2: I haven't gotten around to it. See, I was about
• 12:29
  Speaker 2: to start watching I'm trying to watch movies that I
• 12:31
  Speaker 2: haven't seen.
• 12:32
  Speaker 1: Gotcha, Gotcham And.
• 12:33
  Speaker 2: Then I was about to watch Piranha and I had
• 12:35
  Speaker 2: to watch something for this movie for this show of
• 12:37
  Speaker 2: course too. And then I was like, oh no, I
• 12:39
  Speaker 2: watched Piranha like a back in December or something. So
• 12:42
  Speaker 2: I was like, oh, so now I'm looking through other
• 12:43
  Speaker 2: stuff I did watch Last week? I watched The Tales
• 12:46
  Speaker 2: from the Crypt three, not the Crypt Tales from the
• 12:49
  Speaker 2: Hood three with twenty Todd.
• 12:51
  Speaker 1: Okay, because that.
• 12:52
  Speaker 2: Was Tony Todd week. Have you watched Blood Theater this week?
• 12:55
  Speaker 2: Have you picked one?
• 12:56
  Speaker 1: Yeah?
• 12:56
  Speaker 3: So I was originally gonna do She Devil from like
• 12:59
  Speaker 3: nineteen fifty, I think because i'd seen the remake and
• 13:02
  Speaker 3: wasn't huge on it, or at least I assume it's
• 13:05
  Speaker 3: the remake because there's another she Devil with like fucking
• 13:08
  Speaker 3: what's her face? From the John Goodman Show in the nineties.
• 13:12
  Speaker 3: Oh my god, not full House Roseanne. Yeah, her name Roseanne.
• 13:17
  Speaker 3: Uh fucking idiot. It's been a day. But that one
• 13:22
  Speaker 3: wasn't streaming anywhere, so I went back and looked. It
• 13:25
  Speaker 3: also was released on my birthday. I just had because
• 13:27
  Speaker 3: I was going through Chiller Theater on IMDb, and I
• 13:29
  Speaker 3: was like, oh, that one released on my birthday. Let's
• 13:31
  Speaker 3: do that one, and you know, on March twenty second.
• 13:33
  Speaker 3: But I ended up going with eyes without a face
• 13:36
  Speaker 3: because I've seen that poster and I know the name,
• 13:40
  Speaker 3: but I don't know anything about it. I assume there is.
• 13:42
  Speaker 2: That's a good one.
• 13:43
  Speaker 1: I yea, it is. It is.
• 13:47
  Speaker 2: So.
• 13:47
  Speaker 3: I mean I figured, at you know, the very base level,
• 13:50
  Speaker 3: that there would be someone with a face or with
• 13:53
  Speaker 3: no face and eyes and that's exactly what it is.
• 13:56
  Speaker 3: But uh, I also I didn't know it was French.
• 13:58
  Speaker 3: I had no idea it is an actual spoken, yeah,
• 14:01
  Speaker 3: spoken French film, which it is the earliest French film
• 14:05
  Speaker 3: I've ever seen, because I was looking through letterbox and
• 14:08
  Speaker 3: the earliest French film I'd seen prior was Delicatessen from
• 14:11
  Speaker 3: nineteen ninety one. But this movie was absolutely incredible for
• 14:17
  Speaker 3: the sixties and some of the things they were able
• 14:19
  Speaker 3: to do, you know, practical effects wise, and even yeah,
• 14:23
  Speaker 3: and even when she does because she does take off
• 14:25
  Speaker 3: the masket about halfway through and you're like, oh, that's
• 14:28
  Speaker 3: that's horrifying for nineteen sixty, Like, oh my god. Yeah,
• 14:31
  Speaker 3: but it's a it's a brilliant film. I still have
• 14:34
  Speaker 3: like five or ten minutes left because I didn't get
• 14:37
  Speaker 3: to finish it, but I mean I can tell it's
• 14:39
  Speaker 3: I'm not gonna just be like no, this sucks. And
• 14:41
  Speaker 3: it was like a three point eight out of five
• 14:43
  Speaker 3: on letterbox.
• 14:44
  Speaker 2: So that was a really good movie.
• 14:46
  Speaker 1: It's really good. Yeah.
• 14:48
  Speaker 2: Yeah, the daughter saying is it like the daughter scene
• 14:50
  Speaker 2: where they're like cutting up the face to I was like,
• 14:52
  Speaker 2: holy cats, movie is like they're showing that and this
• 14:55
  Speaker 2: is crazy.
• 14:55
  Speaker 3: Yeah, he like cuts off an entire face off, you know,
• 15:00
  Speaker 3: with a scalpel and blood's going down. I was like, wow,
• 15:02
  Speaker 3: that's impressive for nineteen sixty. It's also in black and
• 15:06
  Speaker 3: white too, when you know this around this time they
• 15:08
  Speaker 3: had color movies, but I like the aesthetic choice for
• 15:11
  Speaker 3: this it did give it a completely different tone. And
• 15:14
  Speaker 3: even one of the actresses, one of the girls that
• 15:17
  Speaker 3: ends up getting kidnapped in the beginning or halfway through
• 15:20
  Speaker 3: the film, her eyes, even on black and white, were
• 15:23
  Speaker 3: so striking. She just had such pretty eyes. I was like,
• 15:26
  Speaker 3: how do you have such pretty eyes on black and white?
• 15:28
  Speaker 1: Film?
• 15:29
  Speaker 3: Like, it doesn't make sense, but aesthetically, it aesthetically is beautiful,
• 15:32
  Speaker 3: very well shot, great score. That's a one I'm gonna recommend.
• 15:37
  Speaker 3: So Chiller theater week was a lot of fun. I
• 15:40
  Speaker 3: think That's all I've got for recently watched, other than
• 15:43
  Speaker 3: Singing in the Rain, which was fucking fantastic. God, that
• 15:47
  Speaker 3: movie was amazing, even though Geen Kelly is kind of
• 15:50
  Speaker 3: in not Geene Kelly, such Jean Kelly, right, the main guy.
• 15:55
  Speaker 3: Am I thinking of a letterboxes just fucking off today? Yeah,
• 15:58
  Speaker 3: Geen Kelly is an asshole, but he very talented, So
• 16:02
  Speaker 3: M all right.
• 16:02
  Speaker 1: Well, with all.
• 16:03
  Speaker 3: Of that being said, I think we should roll on
• 16:05
  Speaker 3: to the body count. Woo screaming right in my ear?
• 16:13
  Speaker 3: That was alloud this time? All right, so, oh my
• 16:16
  Speaker 3: my mouse is on my iPad. I don't want that.
• 16:18
  Speaker 3: There we go, all right, so Reanimator from nineteen eighty five.
• 16:22
  Speaker 3: This was released on October eighteenth of that year. In
• 16:25
  Speaker 3: the USA. It is rated R for moderate sex and nudity,
• 16:28
  Speaker 3: severe violence and gore, mild profanity, mild alcohol, drugs and smoking,
• 16:33
  Speaker 3: and severe frightening and intense scenes coming in at a
• 16:36
  Speaker 3: brisk hour and twenty four minutes. Listed as a comedy
• 16:39
  Speaker 3: horror sci fi directed by Stuart Gordon. He did things
• 16:43
  Speaker 3: like From Beyond Dolls and Dagan. We have reviewed the
• 16:46
  Speaker 3: latter two on this show written by three people. First
• 16:50
  Speaker 3: up we have Dennis Pauli, he also wrote From Beyond
• 16:54
  Speaker 3: Goolies two and The Dentist one in two fucking Brian.
• 16:58
  Speaker 3: And then here's here's the Brian. He know of it
• 17:00
  Speaker 3: all too. He's coming back in because he also produced Reanimator.
• 17:05
  Speaker 3: Then we have William Norris, who only has one other
• 17:08
  Speaker 3: credit for Reanimator the musical in twenty twelve. And then
• 17:13
  Speaker 3: of course written by Stuart Gordon, who this is the wildest.
• 17:17
  Speaker 3: I didn't know this until I was writing this down.
• 17:20
  Speaker 3: He also wrote, honey, I shrunk the kids in between him.
• 17:23
  Speaker 2: And I think he got a story about credit, but yeah,
• 17:27
  Speaker 2: he wrote I was like, what Okay, I'm pretty sure
• 17:30
  Speaker 2: he was mad because even though he wrote the screenplay,
• 17:33
  Speaker 2: Disney wouldn't let him dirt it, even though he had
• 17:35
  Speaker 2: dirated several movies before. Probably the movies that he had
• 17:38
  Speaker 2: dirated are very on Disney friendly.
• 17:40
  Speaker 3: That's probably yeah, that's probably why, honestly. But then he
• 17:44
  Speaker 3: would go on to do uh, he would write body snatches,
• 17:47
  Speaker 3: and then he would write the first dentist composed by
• 17:50
  Speaker 3: Richard Band, who has literally composed fucking everything for Full Moon.
• 17:55
  Speaker 3: He has like one hundred and fifty credits. It would
• 17:57
  Speaker 3: be a sin to just name a couple. He's Charles
• 18:00
  Speaker 3: Band's brother, and Charles's band owns Full Moon. I assume
• 18:04
  Speaker 3: they kind of own it together. But he scores almost
• 18:07
  Speaker 3: every Full Moon feature, and his scores fucking slap. Every
• 18:10
  Speaker 3: time I see Richard Band's name come up, I'm like,
• 18:12
  Speaker 3: this is gonna be a good score. Cinematography by It
• 18:17
  Speaker 3: go ahead.
• 18:17
  Speaker 2: It is the Empower movie, which was a Charles vand
• 18:19
  Speaker 2: studio before Full Month.
• 18:21
  Speaker 3: Oh there you go, okay, so even better. I did
• 18:24
  Speaker 3: notice that on this watch, I was like, oh, Empire,
• 18:26
  Speaker 3: I totally forgot about that.
• 18:28
  Speaker 1: Uh.
• 18:29
  Speaker 3: Cinematography by Mac Aliberg who also did the cinematography for
• 18:32
  Speaker 3: Ghoolies from Beyond and House one through three, edited by
• 18:37
  Speaker 3: Lee Percy, who also edited troll from Beyond. In Dolls, starring,
• 18:43
  Speaker 3: of course not Trolls two, starring of one of my
• 18:47
  Speaker 3: favorite people. I literally have him tattooed on my leg
• 18:50
  Speaker 3: as Herbert West. We have Jeffrey Combs, he was also
• 18:52
  Speaker 3: in The Frighteners, another brilliant performance as Milton Dammers. We
• 18:58
  Speaker 3: have Bruce Abbott his day I hate this named Dan Kine.
• 19:01
  Speaker 3: I just want to say, Dame Kane. He returns in
• 19:05
  Speaker 3: Bride of Reanimator. Barbara Crampton is in this too as
• 19:08
  Speaker 3: Megan Halsey. She was actually just on an episode we
• 19:11
  Speaker 3: did last month or two months ago. We are still
• 19:15
  Speaker 3: here as Anne Sachetti, but she was all over the eighties.
• 19:17
  Speaker 3: She was also in Chopping Mall, which we reviewed as well.
• 19:20
  Speaker 3: Everyone should know Barbara David Gala's doctor Carl Hill, who
• 19:24
  Speaker 3: also returns and Bride of Reanimator, which is very strange
• 19:28
  Speaker 3: given his current situation at the end of this movie.
• 19:31
  Speaker 3: And then we have Robert Samson as Dean Halsey, who
• 19:35
  Speaker 3: is a very prolific TV actor from like the fifties
• 19:38
  Speaker 3: through the eighties. But he was also in Robot Jocks
• 19:40
  Speaker 3: as Commissioner Jameson That's another Juzna Stuart movie. I believe
• 19:47
  Speaker 3: they were both involved. Shockingly low budget of only nine
• 19:51
  Speaker 3: hundred thousand grossing about two million, filmed in La and Pasadena, California.
• 19:56
  Speaker 3: You can watch us on Prime Roku and two be
• 19:58
  Speaker 3: movies that came out around the time same time. I
• 20:00
  Speaker 3: feel like I say this almost every week at this point,
• 20:03
  Speaker 3: but Jesus Christ, what a year or what a time
• 20:06
  Speaker 3: of nineteen eighty five to be alive? Fright Night, Weird Science,
• 20:09
  Speaker 3: Real Genius, The Return of the Living Dead, Teen Wolf,
• 20:13
  Speaker 3: Hard Rock, Zombies, Commando, Silver Bullets, A Nightmare, and elm
• 20:17
  Speaker 3: Street Part two, Freddie's Revenge, Once Bitten, and Rocky Ford.
• 20:21
  Speaker 3: That has a lot of there's a lot of solid
• 20:23
  Speaker 3: movies right there, if you ask me.
• 20:26
  Speaker 2: Commando is like the ultimate like eighties just dumb action movie.
• 20:30
  Speaker 3: Oh yeah, I saw that and I was like, you know,
• 20:32
  Speaker 3: I need to rewatch that.
• 20:35
  Speaker 2: So arld mowing now folks with just a shot with
• 20:39
  Speaker 2: a shot going in AK forty seven and it's just
• 20:41
  Speaker 2: like I ought to find his daughter. It's a. It's
• 20:44
  Speaker 2: a blast of a movie, it is. Is it a
• 20:45
  Speaker 2: good movie? No? Is it a blast?
• 20:49
  Speaker 3: Absolutely? Absolutely so? IMDb summary. Here After an odd new
• 20:53
  Speaker 3: medical student arrives on campus, a dedicated local UH and
• 20:57
  Speaker 3: his girlfriend become involved in bizarre experiments centering around the
• 21:00
  Speaker 3: reanimation of dead tissue. Let's roll into the autopsy, all right, Jason.
• 21:07
  Speaker 3: Overall thoughts on Reanimator? What do you got for me?
• 21:10
  Speaker 2: I really enjoy this movie. It's a blast of a movie.
• 21:12
  Speaker 2: It's sort of been that whole Evil did Two of
• 21:15
  Speaker 2: a Not quite as Slapsticks as Evil did Too Is,
• 21:18
  Speaker 2: but it's up there with it. The performances are great.
• 21:20
  Speaker 2: Jeffery Combs makes me laugh NonStop, and it's hilarious. Knowing
• 21:23
  Speaker 2: that originally the script had no comedy in it. I'm
• 21:27
  Speaker 2: just like, how did it get from no comedy to this?
• 21:30
  Speaker 2: This is ridiculous.
• 21:33
  Speaker 1: Yeah, all the gore.
• 21:34
  Speaker 2: Effects, all the sets, it's just a whole It's just
• 21:37
  Speaker 2: a lot of fun to watch. It's a highlight of
• 21:40
  Speaker 2: the eighties horror oubra Ooh.
• 21:44
  Speaker 1: I like that. Yeah.
• 21:46
  Speaker 3: I didn't write down overall thoughts just because it's just
• 21:50
  Speaker 3: one of my favorite movies.
• 21:51
  Speaker 1: It is.
• 21:52
  Speaker 3: It is near perfect to me, and we'll get to
• 21:54
  Speaker 3: why it's not later. I mean, like I said before,
• 21:56
  Speaker 3: I have Herbert West tattooed on my leg. I love
• 21:59
  Speaker 3: this movie from the first time I saw it. It
• 22:02
  Speaker 3: was an instant hit too. Now it still hits just
• 22:06
  Speaker 3: as good for me. And I actually have this fancy
• 22:09
  Speaker 3: copy here that they released recently, the big, big ass
• 22:13
  Speaker 3: but oh there's nothing on the back. Well then, fuck,
• 22:14
  Speaker 3: I don't know why I'm showing that, but uh yeah,
• 22:17
  Speaker 3: came with a whole bunch of stuff. You've got this
• 22:19
  Speaker 3: like booklet and shit, forty years of Reanimator, and they
• 22:23
  Speaker 3: just announced recently this same company, Ignite Films, is doing
• 22:28
  Speaker 3: Bride of Reanimator with another big box. This movie is
• 22:31
  Speaker 3: just so much goddamn fun. I love this movie. I
• 22:33
  Speaker 3: can literally throw it on at any time if I
• 22:35
  Speaker 3: just want a good, you know, good laugh or some
• 22:37
  Speaker 3: good practical effects. Definitely just a yeah, like you said,
• 22:41
  Speaker 3: highlight of the eighties. So going into you know, instead
• 22:46
  Speaker 3: of derailing immediately like the movie does, let let's talk
• 22:50
  Speaker 3: about a little bit of setup here first. So when
• 22:52
  Speaker 3: did you actually first come across Reanimator and your horror watching?
• 22:56
  Speaker 2: So even when I was a kid. I always remember
• 22:58
  Speaker 2: seeing that big box of the tape at the video store.
• 23:02
  Speaker 2: Oh yeah, I never watched it when I was a kid.
• 23:04
  Speaker 2: I think about high school was when I first sat
• 23:06
  Speaker 2: down and watched the movie. I don't remember if I
• 23:08
  Speaker 2: like rented it or if it was just on television
• 23:10
  Speaker 2: late at night, but I remember watching like, huh, that's
• 23:13
  Speaker 2: kind of fun. But I didn't think about it much.
• 23:15
  Speaker 2: And then later in life I saw it. I remember
• 23:18
  Speaker 2: it was one of the movies that Joe Bob showed
• 23:19
  Speaker 2: on the first marathon that's twenty four hour marathon he did. Yeah,
• 23:23
  Speaker 2: and I watched it after that. I watched it during that, uh,
• 23:27
  Speaker 2: And I've seen it a couple of times before that.
• 23:28
  Speaker 2: It's just a fun movie. It's a movie that I
• 23:30
  Speaker 2: always really like. It's a movie that would recommend the
• 23:32
  Speaker 2: folks that have like seen all the big stuff but
• 23:35
  Speaker 2: haven't really seen something like like it's not a beatier movie,
• 23:38
  Speaker 2: but it's not. It gets lumped in with like if
• 23:40
  Speaker 2: you haven't seen if you've seen Evil did too, You'll
• 23:42
  Speaker 2: probably like Reanimator. You know, if you like Return of
• 23:44
  Speaker 2: the Living did, You'll like Reanimator. You know, you'll see
• 23:48
  Speaker 2: those two movies, probably more than Reanimator sadly, but it's
• 23:53
  Speaker 2: a good it's but it's a movie not everybody, as
• 23:55
  Speaker 2: it needs to be seen more than just cult fans,
• 23:57
  Speaker 2: because this is a legitimately good movie.
• 23:59
  Speaker 3: Yeah, and we when we go on to not even
• 24:02
  Speaker 3: just our ratings, but the ratings on you know, the
• 24:04
  Speaker 3: all the places you can rate movies, they're all fantastic. So,
• 24:08
  Speaker 3: I mean, my history is obviously a lot more boring
• 24:10
  Speaker 3: since I got into horror extremely late in life and
• 24:13
  Speaker 3: didn't really dive into the eighties even until you know, god,
• 24:17
  Speaker 3: my late twenties. Probably, So if we actually go to
• 24:20
  Speaker 3: letter Box two.
• 24:20
  Speaker 2: Years ago, two years ago movie two years.
• 24:25
  Speaker 3: I was thirty thirty three. No, so the first time
• 24:28
  Speaker 3: at least that I.
• 24:29
  Speaker 2: Don't really know what a horror movie was until the
• 24:31
  Speaker 2: pandemic started and then I was.
• 24:33
  Speaker 3: Like, oh okay, oh yeah, yeah, okay, I understand that
• 24:36
  Speaker 3: we're we're living in a horror movie. I'm gonna say
• 24:39
  Speaker 3: this is probably the first time I saw it was
• 24:41
  Speaker 3: February twenty four, twenty nineteen. I'm assuming that is because
• 24:45
  Speaker 3: that was the first year we started the podcast, so
• 24:48
  Speaker 3: that's probably when I watched it, and then I've watched
• 24:50
  Speaker 3: it one, two, three, four, five, six seven times since then,
• 24:54
  Speaker 3: so basically about one time a year I am watching
• 24:57
  Speaker 3: this movie. And like I said right away, it was
• 25:00
  Speaker 3: an instant hit with me. I loved it and I
• 25:03
  Speaker 3: still continue to love it now and I do it
• 25:05
  Speaker 3: is interesting because I would classify this as a B movie,
• 25:10
  Speaker 3: but it doesn't feel like a B I don't know what,
• 25:14
  Speaker 3: where where does it sit for you, because like by
• 25:16
  Speaker 3: all accounts, it's a low budget horror movie, but it
• 25:19
  Speaker 3: doesn't feel necessarily like a like a very campy eighties,
• 25:25
  Speaker 3: you know, B movie.
• 25:26
  Speaker 2: Yeah, so this kind of feels in that that weird,
• 25:29
  Speaker 2: like it's not quite a direct to video because it didn't,
• 25:32
  Speaker 2: to say actual release it was intended to be. Remember
• 25:34
  Speaker 2: the first art, it was supposed to be a TV show.
• 25:36
  Speaker 2: They were gonna make it a thirty minute TV show. Now,
• 25:38
  Speaker 2: I don't know who would be buying this. In the eighties,
• 25:40
  Speaker 2: HBO wasn't really a thing, right, and then when it
• 25:44
  Speaker 2: did start, it was only an evening thing. ABC was
• 25:47
  Speaker 2: not gonna be having the ABC Persians, the re Animator
• 25:49
  Speaker 2: TV show with Herbert Wist.
• 25:52
  Speaker 1: Yeah that's not happening.
• 25:53
  Speaker 2: Oh, no, that's not happening. I mean, Twin Peaks is
• 25:57
  Speaker 2: way down the road at this point.
• 25:59
  Speaker 1: Yeah, seven years later.
• 26:01
  Speaker 2: It lives in that weird sort of like it is
• 26:04
  Speaker 2: a B movie because back when the eighties and before
• 26:07
  Speaker 2: B movies could get a theatrical release, movies like Ghoulies
• 26:10
  Speaker 2: got a theatrical release, right, that doesn't happen now. But
• 26:13
  Speaker 2: it is a I guess it is kind of a
• 26:15
  Speaker 2: B movie that but it lives in a time where
• 26:18
  Speaker 2: those could get released theatrical. Maybe not wide, but you
• 26:20
  Speaker 2: could see them in like bigger cities or even smaller
• 26:23
  Speaker 2: cities had a big theater. And definitely on late night
• 26:25
  Speaker 2: because that was another big thing. It was like a
• 26:28
  Speaker 2: show it on late night television. People just needed programming
• 26:31
  Speaker 2: and they would just like program anything. Yeah, So I guess,
• 26:35
  Speaker 2: especially cause of blod budget, you gotta think, like, I mean,
• 26:37
  Speaker 2: it costs more to make than Halloween did, costs more
• 26:39
  Speaker 2: to make than the first Friday of the Thirteenth Movie did.
• 26:41
  Speaker 1: That's true.
• 26:42
  Speaker 2: Those are massive. Yeah.
• 26:44
  Speaker 3: And what's interesting too about Reanimator is the fact that
• 26:48
  Speaker 3: Stuart Gordon before this, uh really hadn't done too much right.
• 26:55
  Speaker 3: So he had done let's go back in his filmography. Actually, no,
• 26:59
  Speaker 3: this was this was Yeah, that's right, he was a
• 27:01
  Speaker 3: theater again. This was his actual okay, second movie. It
• 27:05
  Speaker 3: appears he did something in nineteen seventy nine called bleacher Bums.
• 27:09
  Speaker 3: So Reanimator was his first real movie with a budget,
• 27:12
  Speaker 3: which is wildly impressive to that's an incredible start. And
• 27:17
  Speaker 3: then he would go on to do From Beyond and
• 27:19
  Speaker 3: then Dolls and then a lot of other good movies
• 27:22
  Speaker 3: as well. So I think it's crazy that first time.
• 27:25
  Speaker 3: I mean, and it happens, you know, Zach Craiger is
• 27:27
  Speaker 3: in a good example with Barbaria, and he just came
• 27:29
  Speaker 3: out of the gates swinging. So I'm not saying it
• 27:31
  Speaker 3: doesn't happen, but I think it's very impressive that for
• 27:34
  Speaker 3: someone who had never directed a horror movie before this
• 27:37
  Speaker 3: being his first one. Really, I guess, you know, he
• 27:40
  Speaker 3: came onto the scene hot and sure.
• 27:42
  Speaker 2: I mean, even like somebody like Craigor, who it was
• 27:45
  Speaker 2: his first movie, but he'd been The Wise Kids, you know,
• 27:47
  Speaker 2: for you know, one years before that, you know, so
• 27:50
  Speaker 2: he had some little bit of Hollywood crib. This is
• 27:52
  Speaker 2: a guy who was doing theater in Chicago, right.
• 27:55
  Speaker 3: So and you're totally right. Like Zach had that knowledge
• 27:58
  Speaker 3: of film production, and even though he did a TV
• 28:01
  Speaker 3: show and stuff like that, he was still in the
• 28:03
  Speaker 3: industry before he did Barbarian So that is a very
• 28:07
  Speaker 3: good point. But yeah, this is so it's it's like
• 28:11
  Speaker 3: a B movie, but it's not a B movie. And
• 28:13
  Speaker 3: for me, I know it is a comedy. You know,
• 28:16
  Speaker 3: it is a comedy horror. But what's interesting to me
• 28:19
  Speaker 3: is that everybody plays it so fucking straight. They're not
• 28:23
  Speaker 3: playing for laughs. But things that are happening on screen
• 28:27
  Speaker 3: are it's hard to not say that they're funny because
• 28:30
  Speaker 3: it's fucking hilarious.
• 28:31
  Speaker 2: Uh.
• 28:31
  Speaker 3: The scene I the scene I wanted to mention specifically
• 28:34
  Speaker 3: is that scene where uh, doctor Hill. You know, he's
• 28:38
  Speaker 3: headless at this point, he's got his head in a
• 28:39
  Speaker 3: fucking bag and he puts that fake head on his
• 28:42
  Speaker 3: with the doctor's mask and.
• 28:44
  Speaker 1: He's just like creepy.
• 28:45
  Speaker 3: It's like, that's fucking hilarious, but like, they're not playing
• 28:48
  Speaker 3: it for laughs. He's just trying to get into the lab.
• 28:51
  Speaker 3: So I find it's light.
• 28:53
  Speaker 2: The security gors is like looking at him, He's like,
• 28:55
  Speaker 2: a is that you duck? All right? And he's like,
• 28:58
  Speaker 2: all right, time for my brain's like, did you're reading
• 28:59
  Speaker 2: it orna magazine will be getting you need a break now? Yeah?
• 29:02
  Speaker 3: And I love how he's in the bag, so he's like, yeah,
• 29:05
  Speaker 3: of course it's it's me or for a parper whole.
• 29:07
  Speaker 3: You're like, you can barely barely hear him, So I
• 29:12
  Speaker 3: just I love it by fair.
• 29:14
  Speaker 2: Like the comedian moments is usually when Herbert and Dan
• 29:17
  Speaker 2: are having like something bad has happened because Herbert sucks,
• 29:20
  Speaker 2: and he was like and like and like Dan's having
• 29:22
  Speaker 2: a panic attack and just in shock and like her
• 29:25
  Speaker 2: and Herbert was walking like put his jacket. I was like, hey, hey,
• 29:28
  Speaker 2: it's okay. We just reading made a life. It's okay.
• 29:31
  Speaker 2: I know. We just killed everybody you love, which will
• 29:34
  Speaker 2: be totally fine. Yeah, he's going to be a huger
• 29:37
  Speaker 2: girlfriend's cat buoy. Is can be totally fine. Yeah, huger
• 29:40
  Speaker 2: girlfriend's a hugure girlfriend's dad. It's going to be totally fine.
• 29:44
  Speaker 1: Uh yeah he didn't.
• 29:45
  Speaker 3: He didn't specifically kill the girlfriend either, but basically everyone
• 29:49
  Speaker 3: in Dan's life just just died because of Herbert.
• 29:53
  Speaker 2: Because this guy wanted a room to stay in ahead
• 29:55
  Speaker 2: of basement.
• 29:57
  Speaker 3: That was the qualification. Oh he's like, oh, this will
• 29:59
  Speaker 3: work very well.
• 30:00
  Speaker 1: I like this.
• 30:02
  Speaker 3: Uh but yeah, it's this deadly serious movie but played
• 30:06
  Speaker 3: at such an absurd with like an absurd chaotic energy.
• 30:10
  Speaker 3: And I think that's why it doesn't collapse on itself tonally,
• 30:14
  Speaker 3: because it's just a perfect mix of all, you know,
• 30:18
  Speaker 3: everything we've been talking about. It just works uh some
• 30:22
  Speaker 3: you know, and there's like this might not be a
• 30:24
  Speaker 3: people sally go oh, go ahead.
• 30:26
  Speaker 2: When he accuses his dad, his girlfriend's dad, and he
• 30:29
  Speaker 2: was like in your light trying to process. Is like, hey, Dan,
• 30:32
  Speaker 2: come on, grab him. Whenever he get a fresher body
• 30:34
  Speaker 2: than this we doing, come on.
• 30:36
  Speaker 3: And that is the madness behind doctor Herbert West, because yeah,
• 30:40
  Speaker 3: before before we go into the flying the heads that
• 30:44
  Speaker 3: are coming off and radioactive highlighters, let's let's talk about
• 30:47
  Speaker 3: the real monster here, which is ego not only from
• 30:51
  Speaker 3: not only from Herbert West, but we will get to
• 30:54
  Speaker 3: doctor Hill here at a second. I mean, is Herbert
• 30:58
  Speaker 3: West like the pettiest man in horror history, because you know,
• 31:02
  Speaker 3: he get he gets called out by Doctor Hill, and
• 31:04
  Speaker 3: I think he's so taken. I mean, he was already
• 31:07
  Speaker 3: studying in Germany on the on the reagent and stuff
• 31:10
  Speaker 3: like that. But then he gets called out by doctor
• 31:11
  Speaker 3: Hill in front of the entire class, like it's gonna
• 31:13
  Speaker 3: be a pleasure to fail you. And I think that's
• 31:15
  Speaker 3: what drives him to prove him wrong, like I'm gonna
• 31:19
  Speaker 3: prove your six to twelve minute theory is fucking bullshit
• 31:22
  Speaker 3: of brain death. So it's like, I don't know.
• 31:25
  Speaker 2: He watches the Michael Jordan Last Dance documentary and Oli
• 31:28
  Speaker 2: pain It's like, oh, yeah, no, I totally get that,
• 31:30
  Speaker 2: totally get that into.
• 31:34
  Speaker 1: Yeah exactly.
• 31:36
  Speaker 3: Uh.
• 31:36
  Speaker 1: And it's like is he evil? Is he a genius?
• 31:40
  Speaker 3: Is he just the most aggressive fucking student of the
• 31:45
  Speaker 3: of Miskatonic University that is committed to being right?
• 31:48
  Speaker 1: Like what is he?
• 31:48
  Speaker 3: Because morals go out the window with Herbert West and
• 31:53
  Speaker 3: I don't.
• 31:53
  Speaker 1: I don't.
• 31:53
  Speaker 3: And it's weird because like he is not a good person,
• 31:57
  Speaker 3: I don't think, But I love his I love his
• 31:59
  Speaker 3: care and I'm rooting for him still, which is a
• 32:04
  Speaker 3: really hard care. I don't know how they wrote him
• 32:06
  Speaker 3: so well, because by all accounts, you are not supposed
• 32:09
  Speaker 3: to like Herbert. But I love just his madness and
• 32:12
  Speaker 3: his just his energy is fucking electric at least to me.
• 32:15
  Speaker 2: Oh yeah, for sure, and it is the madness in
• 32:18
  Speaker 2: the ego, but he's not specifically going out And I
• 32:21
  Speaker 2: mean he kills the cat. You don't see it, but
• 32:24
  Speaker 2: he killed that cat. He didn't just happen upon a
• 32:27
  Speaker 2: dead cat, like no, no, no, no.
• 32:30
  Speaker 3: That cat did not knock over the trash can and
• 32:33
  Speaker 3: get a jar stuck on its head. Because in like
• 32:35
  Speaker 3: the next scene we find his diary where he's reanimated
• 32:38
  Speaker 3: all sorts of animals, and you're like, you you fucking
• 32:40
  Speaker 3: killed that cat. Also, it looked like he had its
• 32:43
  Speaker 3: next snapped.
• 32:45
  Speaker 2: He's the kind of guy's like, I'm not going to
• 32:46
  Speaker 2: kill anybody, but if something happens, like uh, you.
• 32:49
  Speaker 3: Know, yeah, well yeah, and he doesn't. He doesn't kill
• 32:52
  Speaker 3: anybody initially either, but as this the movie goes on,
• 32:54
  Speaker 3: he does end up killing you know, doctor Hill. But
• 32:58
  Speaker 3: one of the things I loved about his you know,
• 33:01
  Speaker 3: his completely unbalanced moral compass is after like he threatens
• 33:07
  Speaker 3: Dan after the whole cat incident happens, uh, because he
• 33:12
  Speaker 3: knows Dan is sleeping with the Dean's daughter, and he's
• 33:14
  Speaker 3: like it would be a shame if you got, you know,
• 33:17
  Speaker 3: kicked out of school for something immoral, And I'm like,
• 33:19
  Speaker 3: who are you talking to him about morality.
• 33:21
  Speaker 1: Right now, buddy? What do you mean like pot kettle
• 33:27
  Speaker 1: with me?
• 33:27
  Speaker 3: And that's and that's another thing which perfectly transitions into
• 33:31
  Speaker 3: doctor Hill, because doctor Hill does the same thing. And like,
• 33:34
  Speaker 3: as unhinged as Herbert is, I think doctor Hill is
• 33:39
  Speaker 3: is even worse than Herbert West. What do you think
• 33:43
  Speaker 3: about that? Do we think that Doctor I mean, he
• 33:45
  Speaker 3: is kind of the villain, I know, but I honestly
• 33:48
  Speaker 3: think that he is worse than Herbert with his intentions.
• 33:53
  Speaker 2: Yeah, and he's slightly more calculated reserved in his correct
• 33:58
  Speaker 2: Herbert this is just like so hyper focused on this
• 34:02
  Speaker 2: the reanimating thing, where he's just kind of like now, now, now, now,
• 34:05
  Speaker 2: let's do it, you know, or the the he's the
• 34:09
  Speaker 2: daughter's kind of like, well if this were to happen,
• 34:12
  Speaker 2: and he's he's thinking a little bit more steps ahead,
• 34:14
  Speaker 2: where Herbert's kind of like, all right, cool, let's do
• 34:17
  Speaker 2: this now.
• 34:18
  Speaker 1: Yeah. Herbert is like, uh, let's see.
• 34:20
  Speaker 3: It's almost like Herbert is the embodiment of ADHD in hyperactivity,
• 34:25
  Speaker 3: where doctor Hill is more of the OCD, you know,
• 34:28
  Speaker 3: methodical person like I have to have all of this stuff.
• 34:31
  Speaker 3: But I mean doctor Hill is fueled purely by academic
• 34:35
  Speaker 3: jealousy and straight up vibes. Because I love his character
• 34:38
  Speaker 3: as well, but he is just so much worse because
• 34:42
  Speaker 3: he's like, if I can't have ten, you're like nobody will.
• 34:45
  Speaker 3: And I just don't think he could handle the fact
• 34:47
  Speaker 3: that Herbert was actually smarter than him because he was
• 34:52
  Speaker 3: in the sense of reanimating the dead. You know, how
• 34:56
  Speaker 3: Herbert went about his life, he was not very smart
• 34:59
  Speaker 3: about you know, he's he's he's all over the place
• 35:01
  Speaker 3: and hectic. But I think he could not handle the
• 35:04
  Speaker 3: fact that he was able to do this before he
• 35:07
  Speaker 3: was because then he blackmails him. He's like, I know
• 35:09
  Speaker 3: what you've been doing here, and I could take you down,
• 35:11
  Speaker 3: or I could just take your reagent, and he's like, yeah, sure,
• 35:15
  Speaker 3: take my reagent, and then I'm gonna grab this shovel
• 35:18
  Speaker 3: and fucking decapitate you.
• 35:21
  Speaker 2: There's a little bit more cat corpse, It's a little
• 35:24
  Speaker 2: bit more and.
• 35:25
  Speaker 3: Yeah, and you're dead. Like this entire movie could have
• 35:28
  Speaker 3: been avoided if they both just did, you know, went
• 35:30
  Speaker 3: to therapy like that is an option they both could
• 35:32
  Speaker 3: have done. But you know, anyways, uh so they they
• 35:35
  Speaker 3: commit fully to their roles, and I think there are
• 35:38
  Speaker 3: perfect balance, like a yin and yang, because like I said,
• 35:41
  Speaker 3: you have doctor you know, Herbert West, who is frantic
• 35:44
  Speaker 3: and hectic, and yes he is very brilliant, but he's
• 35:47
  Speaker 3: also very you know, dumb in other senses, and then
• 35:50
  Speaker 3: doctor Hill and uh you know, so speaking of you know,
• 35:53
  Speaker 3: speaking of that commitment, the movie doesn't commit just with
• 35:55
  Speaker 3: the characters and the story, the practical effects.
• 35:59
  Speaker 1: I mean, there were there.
• 36:01
  Speaker 3: Were a lot of fluids in this movie, not just
• 36:03
  Speaker 3: the green reagent, but there was goopy madness that was
• 36:06
  Speaker 3: just dripping all over this movie. But that green reagent
• 36:10
  Speaker 3: is pretty fucking iconic. I think even if you don't
• 36:12
  Speaker 3: know the movie, like I feel like people have seen,
• 36:16
  Speaker 3: that's still because there's a there's one shot that is
• 36:19
  Speaker 3: just like the most at least the most seen photo
• 36:21
  Speaker 3: for me. It's when he is first giving doctor Hill
• 36:26
  Speaker 3: that the reagent, when he has his head and thing
• 36:28
  Speaker 3: and he's just got the jar up like this. I'm like,
• 36:30
  Speaker 3: that's an iconic photo. It is also the most esthetically
• 36:33
  Speaker 3: pleasing resurrection fluid in horror history.
• 36:36
  Speaker 1: In my opinion, it.
• 36:37
  Speaker 2: Is yeah, yeah, understands it is right.
• 36:41
  Speaker 3: Yeah yeah, like who was who was like, oh, we
• 36:43
  Speaker 3: need to just make this fucking nuclear highlighter green because
• 36:47
  Speaker 3: they were brilliant and they were absolutely correct. I call
• 36:51
  Speaker 3: it the Mountain Dew Necromancer edition. If they ever come
• 36:54
  Speaker 3: out with that, we we should uh, we should make
• 36:57
  Speaker 3: that happen. But yeah, I love the Green ree Agent.
• 37:02
  Speaker 3: I love all the practical effects. There's a great not
• 37:04
  Speaker 3: only head crush, but a head throw Towards the end
• 37:08
  Speaker 3: of the movie, when I believe it's oh my god.
• 37:13
  Speaker 2: When the security break gets off his break, that's when
• 37:15
  Speaker 2: that's what happens.
• 37:16
  Speaker 3: Yeah, he just he that head just gets yeaded right
• 37:19
  Speaker 3: past him, smashes the wall, blood and guts go everywhere.
• 37:24
  Speaker 3: I mean, good god, it is. I think it's amazing.
• 37:27
  Speaker 3: I love practical effects. Especially today with how CG is going,
• 37:31
  Speaker 3: it just doesn't look that great. But for people who
• 37:35
  Speaker 3: might not be into that, I wonder, because do you
• 37:38
  Speaker 3: think it's over the top or do you think it's
• 37:40
  Speaker 3: just the right amount.
• 37:42
  Speaker 2: I think it's a bit purposely over the top, and
• 37:44
  Speaker 2: a lot of stuff. Now I know they did a
• 37:46
  Speaker 2: lot of the zombies that come up later, he can
• 37:49
  Speaker 2: call them. They're just reanimated corpses. I guess, yeah, I
• 37:52
  Speaker 2: guess technically this is a zombie movie, but it's like
• 37:55
  Speaker 2: a Frankenstein kind of thing. Yeah, it's like calling Frankenstein
• 37:58
  Speaker 2: a zombie movie, like, yeah, I guess, not really.
• 38:01
  Speaker 1: Right, yeah, yeah.
• 38:03
  Speaker 2: And of course all the effects was like all of
• 38:05
  Speaker 2: this courses like get the burnt, like the burnt and
• 38:07
  Speaker 2: zombie towards the end, or when they're putting the blood
• 38:11
  Speaker 2: bolls in the doctor's head in the in the tray.
• 38:14
  Speaker 2: That was so great.
• 38:20
  Speaker 3: I love this, and I mean that that part, that
• 38:22
  Speaker 3: whole bit in particular is one of the most over
• 38:25
  Speaker 3: the top moments in the entire movie, when you know,
• 38:28
  Speaker 3: of course clearly clearly it's not something that would be realistic.
• 38:32
  Speaker 3: You know, he has no way to breathe or talk
• 38:34
  Speaker 3: or anything. But the when he you know, reanimates the
• 38:37
  Speaker 3: head and then reanimates the body and he's sitting there
• 38:40
  Speaker 3: talking to doctor Hill. He's like you, bustard, and then
• 38:43
  Speaker 3: the you know, the body comes up behind him and
• 38:45
  Speaker 3: knocks him out. Two questions I have about that scene specifically, One,
• 38:50
  Speaker 3: why do we think doctor Hill was a little bit
• 38:54
  Speaker 3: more cognitive and able to talk, whereas the Dean, he
• 38:59
  Speaker 3: just went mad. They don't really explain that, and they
• 39:02
  Speaker 3: don't really say what different dosages they're giving them. I
• 39:05
  Speaker 3: just always find that interesting how one of them is
• 39:08
  Speaker 3: pretty cognitive. I mean, he is a decapitated head working
• 39:11
  Speaker 3: with his body to move around and do things. But
• 39:14
  Speaker 3: you know, Dean just goes nuts. I mean, of course
• 39:17
  Speaker 3: Dean does. Also he does get lobotomized as well.
• 39:20
  Speaker 2: But yeah, yeah, that's that's always gonna think, why is
• 39:24
  Speaker 2: why is he? I've always kind of asked that question,
• 39:26
  Speaker 2: and I just assumed maybe it was because it was
• 39:28
  Speaker 2: the most fresh, and maybe they he did. He just
• 39:32
  Speaker 2: guessed a bitter dosage. That's that's the only thing I can.
• 39:36
  Speaker 2: That's the only thing I can that doesn't make That's
• 39:38
  Speaker 2: just nice to be like, okay, because it does a
• 39:40
  Speaker 2: little bit like handwavy a bit. It's just kind of like, well,
• 39:43
  Speaker 2: he can whatever it works. It's a horror movie. It's
• 39:46
  Speaker 2: it's a horror movie. Where a dead cat was flying
• 39:48
  Speaker 2: around the basement, you know, to get over it, all right.
• 39:51
  Speaker 3: Great scene as well, love that scene, but yeah, like
• 39:54
  Speaker 3: it doesn't really make sense. But although it does, it
• 39:57
  Speaker 3: does technically because the first body that they reanimate been
• 40:00
  Speaker 3: there for a couple hours, it took a lot of reagent,
• 40:02
  Speaker 3: and he came back immediately violent. And then when they
• 40:06
  Speaker 3: do Dean Halsey, he is much fresher and comes back
• 40:10
  Speaker 3: pretty volatile, but then does kind of go cower in
• 40:13
  Speaker 3: the corner. And then the freshest one that he does
• 40:15
  Speaker 3: is you know, doctor Hill. So I guess we can
• 40:18
  Speaker 3: just kind of make an assumption that maybe that's why
• 40:21
  Speaker 3: they just don't fully explain it, and it doesn't need
• 40:23
  Speaker 3: an explanation, like it doesn't affect my rating. But that
• 40:27
  Speaker 3: was one of my questions. But my second question specifically
• 40:29
  Speaker 3: about that scene is I wonder why doctor Hill didn't
• 40:33
  Speaker 3: just kill Herbert he knocked him out and took all
• 40:35
  Speaker 3: his work. I mean, yeah, I guess he just doesn't.
• 40:38
  Speaker 3: I guess he just doesn't care about killing him. He
• 40:41
  Speaker 3: just wanted to take his work and become successful because
• 40:43
  Speaker 3: he knew he could drag Herbert's name through the mud.
• 40:46
  Speaker 3: Maybe it was more about the revenge aspect of completely
• 40:50
  Speaker 3: canceling Herbert as a person rather than killing him, because
• 40:53
  Speaker 3: then he might have to, you know, who's going to
• 40:55
  Speaker 3: answer for Herbert's dead body.
• 40:56
  Speaker 2: So yeah, that's yeah, always more like why did he
• 41:00
  Speaker 2: just kill him? It's you know, he could have just
• 41:03
  Speaker 2: done that.
• 41:03
  Speaker 3: He was having a hard time, you know, moving the
• 41:06
  Speaker 3: body around with you know, not having a head attached,
• 41:09
  Speaker 3: so he probably just I think he was so much
• 41:11
  Speaker 3: more focused on just taking that because when Herbert and
• 41:15
  Speaker 3: you know, he agrees, he's like, oh yeah, I just
• 41:17
  Speaker 3: have my reagent. He's like, oh yes, I'm going to
• 41:19
  Speaker 3: be so famous. I think he was so much more
• 41:21
  Speaker 3: focused on fame and fortune than the because he he
• 41:25
  Speaker 3: clearly feels way above Herbert West. He knows like he
• 41:29
  Speaker 3: knows he or at least he thinks he is. But
• 41:31
  Speaker 3: I also think he's still fearful that, you know, Herbert
• 41:34
  Speaker 3: West is a little bit smarter than him.
• 41:35
  Speaker 2: Yeah, and Herbert West isn't really in it for like
• 41:38
  Speaker 2: the fame and force so much. It's like he just
• 41:39
  Speaker 2: wants the size to be right. He just wants to
• 41:41
  Speaker 2: be proven right, not necessarily that he'll be rich and
• 41:44
  Speaker 2: famous for it, just that he's done something that nobody's doing.
• 41:47
  Speaker 1: Right.
• 41:48
  Speaker 2: Is pure ego. It's pure ego for Herbert. It's pure egod.
• 41:51
  Speaker 3: Right, right, it's exactly what it is. That's why I
• 41:53
  Speaker 3: wanted to start with, you know, the ego part of it,
• 41:56
  Speaker 3: because yeah, doctor Hill wants to be you know, recognize
• 42:00
  Speaker 3: and be famous and have this. But Herbert's just like, no,
• 42:03
  Speaker 3: I just I just want to fucking do this. I
• 42:05
  Speaker 3: just want to get this right. I've gone through so
• 42:07
  Speaker 3: many tests and it's just never right.
• 42:10
  Speaker 2: So he's like those scientists in Steinland or in Scannon
• 42:13
  Speaker 2: as you figure out the GOP one that was just
• 42:16
  Speaker 2: wanting to give it away, like they don't care about
• 42:18
  Speaker 2: the money. They just like, I just want to give
• 42:20
  Speaker 2: this away.
• 42:20
  Speaker 3: Take this, this is free. Reanimate your cat?
• 42:23
  Speaker 1: Why not?
• 42:24
  Speaker 2: Uh?
• 42:26
  Speaker 3: But yeah, I love the kind of the trials they
• 42:28
  Speaker 3: go through too, because you know, they don't exactly know,
• 42:31
  Speaker 3: or at least Herbert doesn't know exactly what to do
• 42:34
  Speaker 3: and how much to give because he's only tested on
• 42:37
  Speaker 3: on animals. I think the first one he fully gave
• 42:41
  Speaker 3: the serium to was that doctor, uh, doctor Kruber in Germany,
• 42:45
  Speaker 3: and of course that didn't go well. And that is
• 42:47
  Speaker 3: an incredible cold open as well. I mean it just
• 42:49
  Speaker 3: this movie just it gives you whiplash with how jarring
• 42:53
  Speaker 3: that opening is. I mean, his eyes are bulging out
• 42:55
  Speaker 3: of his head, blood is just going everywhere. It's a
• 42:58
  Speaker 3: great cold open, and I think they do go. I
• 43:01
  Speaker 3: can't It's been a minute since I've seen Bride, but
• 43:03
  Speaker 3: I think they go a little bit more into the
• 43:05
  Speaker 3: backstory of what happened in Germany and stuff like that.
• 43:09
  Speaker 1: But I can't remember.
• 43:11
  Speaker 3: Uh, but yeah, the practical effects in this are our
• 43:13
  Speaker 3: top tier. Everything looks still good today. I mean forty
• 43:17
  Speaker 3: forty one year later and I'm still like, you know
• 43:19
  Speaker 3: what these are. This is why I love practical effects.
• 43:21
  Speaker 3: They're still holding up exactly.
• 43:24
  Speaker 2: CGI is now some practical basically pad years later. Yeah,
• 43:27
  Speaker 2: but typically you know, but CG I always looks bad
• 43:31
  Speaker 2: five years later. Like even like Marvel movies sometimes that
• 43:34
  Speaker 2: came out in like twenty thirteen or something. He's like,
• 43:36
  Speaker 2: they can sing up a little bit better now.
• 43:38
  Speaker 3: Well, what's interesting is I don't know what. I was
• 43:41
  Speaker 3: listening to something and they were talking about the progression
• 43:43
  Speaker 3: of CG. Oh, it was my my friend's show, The
• 43:45
  Speaker 3: Shameless Picture Show, and they were talking about how when
• 43:48
  Speaker 3: CG first came around, it looks so good because people
• 43:52
  Speaker 3: were taking their time with it. It was an art
• 43:54
  Speaker 3: form it really was, and now they're just trying to
• 43:56
  Speaker 3: pump out shits so quick they don't care, and it's
• 43:59
  Speaker 3: just such a bizar are part of cinema that were
• 44:03
  Speaker 3: we're getting worse CG because they just want to crank
• 44:06
  Speaker 3: out as many movies as possible rather than like I'm
• 44:08
  Speaker 3: watching the Transformers movies. I've mentioned this on the last
• 44:11
  Speaker 3: few shows. Those movies look fucking incredible still to this day,
• 44:15
  Speaker 3: and they were you know, you know, mid two thousands movies.
• 44:17
  Speaker 3: So it's just it's interesting how CGI is just getting
• 44:21
  Speaker 3: infinitely worse as time goes on. Something that makes sense
• 44:25
  Speaker 3: back in.
• 44:25
  Speaker 2: Those days too, So they had to be good because
• 44:27
  Speaker 2: it calls the city. There's a lot more money.
• 44:29
  Speaker 1: Yeah, my uh.
• 44:31
  Speaker 2: Nobody alist to spend all that money for a crap product.
• 44:33
  Speaker 2: Now it's just kind of like, all right, we sprinkle
• 44:35
  Speaker 2: little Dorito's dust on there.
• 44:37
  Speaker 3: We'll throw it back to Gore ver Benski, who we
• 44:39
  Speaker 3: were talking about earlier, I mean, Davy Jones still to
• 44:42
  Speaker 3: this day is one of the greatest moments of CG
• 44:46
  Speaker 3: the history in my opinion, Like I watched those recently
• 44:48
  Speaker 3: and I'm like, it still looks so goddamn good. I
• 44:51
  Speaker 3: I can't believe how good it looks. But I will
• 44:53
  Speaker 3: always love practical effects over over CG. Unless it's done well,
• 44:57
  Speaker 3: then you know, and it's and it's needed. Obviously, Davy
• 45:00
  Speaker 3: Jones is like, yeah, we can't building a practical mask
• 45:04
  Speaker 3: like that with all the tentacles that are that's that
• 45:06
  Speaker 3: would be very hard. So I understand that they had
• 45:08
  Speaker 3: to do CG there. And while we're on the practical
• 45:12
  Speaker 3: effects scene or scene practical effects topic here, I think
• 45:17
  Speaker 3: the head and the tray is probably my favorite bit
• 45:19
  Speaker 3: because it goes on for the back end of the movie.
• 45:22
  Speaker 3: There is still a lot of other good gore, but
• 45:24
  Speaker 3: I just think that that whole we talked about it briefly,
• 45:26
  Speaker 3: but that whole bit of him carrying his own head
• 45:28
  Speaker 3: around and feeding his head blood, it's just it's just tie.
• 45:31
  Speaker 3: It's p Kight's for me.
• 45:33
  Speaker 2: Yeah, yeah, it.
• 45:35
  Speaker 3: Is p Kight's. But on that same note, we have
• 45:39
  Speaker 3: to talk about that scene. Everyone knows the scene. It's
• 45:43
  Speaker 3: the head and the tray. The audacity that this guy has,
• 45:47
  Speaker 3: My god, it's it's it's the one part of the movie.
• 45:49
  Speaker 3: This is the part of the movie. I mentioned that
• 45:51
  Speaker 3: takes me out of it. It's completely unnecessary. It does
• 45:54
  Speaker 3: nothing for the story other than that Herbert, you know,
• 45:58
  Speaker 3: doctor Hill is just acted doing this. So doctor Hill
• 46:02
  Speaker 3: or doctor West finds him. But it's just yeah, it's
• 46:05
  Speaker 3: just so it doesn't fit into the movie. And it's
• 46:10
  Speaker 3: also very crazy because doctor Hill is significantly older than
• 46:13
  Speaker 3: Barbara Crampton and he's like I've always thought seen yeah,
• 46:17
  Speaker 3: it's like now, no, no, no. That's my only one part.
• 46:21
  Speaker 3: It's my only issue with this movie is that it
• 46:23
  Speaker 3: just feel so out of place. And it's like that,
• 46:27
  Speaker 3: and that's where I think this movie, the one time
• 46:29
  Speaker 3: that it crosses the line is this moment for me,
• 46:32
  Speaker 3: it's just like, we didn't we didn't need this.
• 46:36
  Speaker 2: But it's it's Devil's Advocate. I'm with you on there.
• 46:38
  Speaker 2: It's not in the but it is. It's I remember
• 46:41
  Speaker 2: it was on one of Bravo's one scariest movie moments,
• 46:43
  Speaker 2: was that moment. Interesting, it's it's the thing that everybody
• 46:47
  Speaker 2: really remember. It's the thing that really stays with you
• 46:49
  Speaker 2: in this movie.
• 46:49
  Speaker 1: That's true now and.
• 46:51
  Speaker 2: Of course in the eighties it certainly has an age
• 46:53
  Speaker 2: as well. It was you know, you can hand wave
• 46:56
  Speaker 2: it again being the eighties, and this wasn't as much
• 46:58
  Speaker 2: of the topic as it is now, right, you know,
• 47:01
  Speaker 2: I mean same thing with like the Evil Dead when
• 47:03
  Speaker 2: she gets you know, when the tree goes up, it's
• 47:05
  Speaker 2: you know that hasn't aged as well. But at the
• 47:07
  Speaker 2: time it was kind of like, oh, how how can
• 47:08
  Speaker 2: we just be messed up? Yeah? How messed up? Can
• 47:13
  Speaker 2: we make this? Which is or in how shocking and memorable?
• 47:17
  Speaker 2: Can we make this? Well? How about a head giving head? Well?
• 47:21
  Speaker 2: And of course and you get that he's enthralled by
• 47:24
  Speaker 2: Barbara Cranm's character. The whole movie. You know, this is
• 47:28
  Speaker 2: originally a two and a half hour the original the
• 47:30
  Speaker 2: original coat was two and a half hours long.
• 47:32
  Speaker 1: Whoa that is uh yeah.
• 47:34
  Speaker 2: They got so you know the whole like, uh, doctor
• 47:37
  Speaker 2: Hewel was hypnotizing everybody like you got that right?
• 47:41
  Speaker 1: Oh yeah.
• 47:42
  Speaker 3: That's what I loved about the ending of the movie.
• 47:44
  Speaker 3: It's it's it's such a like an aha moment when
• 47:48
  Speaker 3: doctor Hill takes Herbert's reagent and realizes that lobotomizing anybody
• 47:54
  Speaker 3: he reanimates is now under his control. That was really
• 47:57
  Speaker 3: fucking cool. So yeah, they are kind of those are
• 48:00
  Speaker 3: kind of like, it's almost like zombie lore and vampire
• 48:03
  Speaker 3: lore mixed into mixed into one because you have that
• 48:06
  Speaker 3: hive mind. But these are dead things and not you know,
• 48:10
  Speaker 3: blood sucking freaks. So so was there more exploration of
• 48:15
  Speaker 3: that side of things?
• 48:17
  Speaker 2: Yeah, because it's never, it's never. It's not made clear
• 48:20
  Speaker 2: at all in the theatrical or even the unrated cut
• 48:23
  Speaker 2: that he's just he's just like gleering at people and
• 48:26
  Speaker 2: they're agreeing with them, and that's really all you get.
• 48:29
  Speaker 2: So in the original cut it explained that he was
• 48:31
  Speaker 2: hypnotizing or mesmerizing people, and apparently they got rid of
• 48:35
  Speaker 2: that because they thought that two supernatural things were too much,
• 48:38
  Speaker 2: that you don't need an A and a B supernatural thing.
• 48:41
  Speaker 2: But there's also a school of thought that's like, well,
• 48:44
  Speaker 2: if you have a secondary supernatural thing, that can really
• 48:47
  Speaker 2: bolster the original supernatural thing, whichhows like, oh, there's all
• 48:51
  Speaker 2: these nut you know, supernatural sort of magical things going
• 48:55
  Speaker 2: on now that this is you know, one science and
• 48:57
  Speaker 2: the other one is I guess magic if you want
• 48:59
  Speaker 2: to call that, yeah, hypnotizing you know, kind of like blay, Yeah,
• 49:05
  Speaker 2: it's hokey Vegas strip magic.
• 49:07
  Speaker 1: Yeah, you know that's perfect. That's perfect.
• 49:11
  Speaker 3: So yeah, it's like I understand the scene and I
• 49:15
  Speaker 3: get it. It's just yeah, it's just one of those
• 49:16
  Speaker 3: because I mean it is, uh, you know during this
• 49:19
  Speaker 3: era of the eighties, you know, there was I mean
• 49:22
  Speaker 3: exploitation films were primarily in the seventies, but you know,
• 49:24
  Speaker 3: it is it is a pretty good mix of practical
• 49:27
  Speaker 3: effects and exploitation mixed into one scene. And it also
• 49:31
  Speaker 3: I think I also think they added that in and
• 49:34
  Speaker 3: this is pure speculation to show just how worse Doctor
• 49:38
  Speaker 3: Hill is than Herbert West because even sure he might
• 49:41
  Speaker 3: not like Barbara Crampton's character, but that's just because you know,
• 49:45
  Speaker 3: she's kind of getting in his way really, but he
• 49:48
  Speaker 3: doesn't lay hands on her. Ever, he doesn't ever have
• 49:50
  Speaker 3: any ill intent towards women. So it's entirely possible that
• 49:54
  Speaker 3: this was just too up the villain factor with Doctor Hill. Also,
• 49:59
  Speaker 3: any relation Jason Hill to Doctor Hill. I forgot to
• 50:02
  Speaker 3: ask you this, thankfully, who I had to check that
• 50:07
  Speaker 3: family tree. Yeah yeah, so yeah, I mean really that's
• 50:11
  Speaker 3: the only scene. But then you know, you are rewarded
• 50:14
  Speaker 3: after that scene with a great, great where everyone is
• 50:18
  Speaker 3: reanimated because Herbert's like, I have a plan, and Doctor
• 50:21
  Speaker 3: Hill's like, oh, I have a plan too, and all
• 50:23
  Speaker 3: all the fucking corpses sit up and start attacking, and
• 50:26
  Speaker 3: it's just a brilliant scene. But I do want to
• 50:30
  Speaker 3: talk about Stuart Gordon here, mainly because I think he
• 50:33
  Speaker 3: walks this he walks this razor thin line tonally. But
• 50:38
  Speaker 3: it makes sense because like it's weirdly theatrical because he
• 50:42
  Speaker 3: has a theater background. It's funny, and it's grotesque, like
• 50:44
  Speaker 3: how do you mix all of those three things together?
• 50:47
  Speaker 1: And you get that.
• 50:48
  Speaker 3: It's just weird how many different elements and moving pieces
• 50:51
  Speaker 3: are in this movie. It seems like on paper this
• 50:54
  Speaker 3: had to have seemed like a lot. At least that's
• 50:56
  Speaker 3: how I would feel reading this, uh. Reading yeah, reading
• 51:00
  Speaker 3: the script, I'd be like, I don't know, this sounds
• 51:02
  Speaker 3: this is a little far fetched. Uh, And that says
• 51:05
  Speaker 3: really have much relation to the short story HP Lovecraft did.
• 51:09
  Speaker 3: A lot of the names and places are the same,
• 51:12
  Speaker 3: and there's there's some specific moments, but they really kind
• 51:14
  Speaker 3: of do their own thing. But isn't that yeah, which
• 51:19
  Speaker 3: is a yeah, that's a very yeah, very popular Lovecraft
• 51:24
  Speaker 3: he it's you know, it's like Stephen King and Maine.
• 51:27
  Speaker 3: It's it's that's that's HP Lovecraft in Maine. But yeah,
• 51:32
  Speaker 3: I mean I I it's it's just one of those movies.
• 51:35
  Speaker 3: No one's winking at the camera, even though they totally
• 51:37
  Speaker 3: could be. It's played straight but completely for the audience
• 51:41
  Speaker 3: that is watching it is hilarious and those are my
• 51:43
  Speaker 3: favorite kind of movies. And I think that's why it
• 51:45
  Speaker 3: works so well, is when they're not in on the joke.
• 51:49
  Speaker 3: Everybody in the movie. The situation that's happening is a
• 51:51
  Speaker 3: real terrifying situation. But us as the viewers, were like,
• 51:54
  Speaker 3: this is crazy, though, Like this is just this is
• 51:57
  Speaker 3: just wacky.
• 51:58
  Speaker 2: This is just madness. It's just massive like Washington World
• 52:01
  Speaker 2: Storm video in twenty fifteen.
• 52:05
  Speaker 1: Yes, it's exactly what it's like.
• 52:08
  Speaker 3: But I just love the drive behind everyone in this
• 52:12
  Speaker 3: film because you can see like it combines a lot
• 52:17
  Speaker 3: of things, but it's still well crafted. At the same time,
• 52:20
  Speaker 3: it's a little you know, it's it's minorly rough around
• 52:23
  Speaker 3: the edges, but not by much. I think even with
• 52:27
  Speaker 3: this four K scan, it's that four K scan looks incredible.
• 52:30
  Speaker 3: Everything is shot and framed very well, like I said,
• 52:33
  Speaker 3: the score by Richard Band. I love that main intro,
• 52:37
  Speaker 3: like the overarching theme of the movie incredible, and you
• 52:41
  Speaker 3: just get this fantastic movie. I mean, I can't speak
• 52:44
  Speaker 3: highly enough about this movie. And like I said, it's
• 52:48
  Speaker 3: a loose relation to the short story. I think the
• 52:51
  Speaker 3: short story is like maybe like five or six pages apparently,
• 52:55
  Speaker 3: though there are there are a lot of short stories
• 52:58
  Speaker 3: on Herbert West that I that I have trivia about
• 53:02
  Speaker 3: with HB. Lovecraft, But funny enough, I've never actually read
• 53:05
  Speaker 3: any of his work. I started to read the short story,
• 53:09
  Speaker 3: but then I ran out of time today and there
• 53:10
  Speaker 3: were a lot of the beats, like Dean Halsey is mentioned,
• 53:13
  Speaker 3: you know Herbert West, of course, and I think I
• 53:15
  Speaker 3: didn't get far enough. But I think it is told
• 53:17
  Speaker 3: from the perspective of Dan after everything has happened, because
• 53:21
  Speaker 3: he is explaining Herbert as his close colleague and friend.
• 53:25
  Speaker 3: So it seems like, yeah, it seems like it's written
• 53:28
  Speaker 3: from Dan's perspective after all of the events have happened,
• 53:30
  Speaker 3: which is really kind of an interesting way to tell
• 53:33
  Speaker 3: that story.
• 53:34
  Speaker 2: So it's Skytte Pitten explaining why Michael George sucks.
• 53:37
  Speaker 1: Well, like this was my friend.
• 53:40
  Speaker 3: Like you're probably wondering why why I ended up here, Like, yep,
• 53:44
  Speaker 3: that's me record scratch.
• 53:46
  Speaker 2: So I would love Herbert Blanket over.
• 53:52
  Speaker 3: The exactly I would I would have, like I know,
• 53:56
  Speaker 3: I don't know when Lovecraft I think he was early
• 53:59
  Speaker 3: nineteen hundred, but I would love to see is I
• 54:01
  Speaker 3: would love to see his reaction to this movie, just
• 54:04
  Speaker 3: to see, you know, because he didn't like writing the
• 54:07
  Speaker 3: reanimator stuff, but he got paid well to do it,
• 54:09
  Speaker 3: so he kept doing it. So it would just be
• 54:11
  Speaker 3: that it's just something I wish, I wish wish happened.
• 54:14
  Speaker 3: But I'm pretty sure he passed away long before this
• 54:16
  Speaker 3: movie would come out. Oh yeah, but maybe people are
• 54:18
  Speaker 3: still you know, it's crazy how many adaptations of his
• 54:21
  Speaker 3: his work are out there. I mean, From Beyond is
• 54:24
  Speaker 3: another one that we mentioned earlier, directed by Stuart Gordon,
• 54:26
  Speaker 3: also involving Jeffrey Combs and Barbara Crampton as well, And
• 54:30
  Speaker 3: it's either Ken Foray or David Keith.
• 54:33
  Speaker 1: I don't know why I always seen Okay.
• 54:35
  Speaker 3: They're just there're two big, brawlic black guys and they
• 54:38
  Speaker 3: have commanding presences and I can I always get them confused,
• 54:41
  Speaker 3: but it's ken Foray. That is another just oh my god.
• 54:44
  Speaker 3: I don't know if we've covered from Beyond, but we
• 54:46
  Speaker 3: might have to from Beyond this. Yeah, I love From
• 54:50
  Speaker 3: Beyond and they I think it was eighty five and
• 54:52
  Speaker 3: then eighty six, so back to back with with those movies.
• 54:56
  Speaker 1: So I don't know.
• 54:57
  Speaker 3: You got anything else on Reanimator any else you'd like
• 55:00
  Speaker 3: to hit any other moment.
• 55:02
  Speaker 2: I did see a clip of Barbara Crantman talking about
• 55:04
  Speaker 2: filming this movie.
• 55:05
  Speaker 1: Oh no, ship.
• 55:07
  Speaker 2: It was like it was so like cause they were
• 55:09
  Speaker 2: doing like eighteen hour days and she's like the only
• 55:11
  Speaker 2: way most people get through that was like we were
• 55:12
  Speaker 2: all in cocaine. At least I was doing cocaine.
• 55:17
  Speaker 3: Wow, for being on cocaine, she definitely, Uh, I would
• 55:20
  Speaker 3: be all over the place if I was. You know,
• 55:23
  Speaker 3: I could see I could see Herbert. You know, Jeffrey
• 55:26
  Speaker 3: COM's doing cocaine because of his manic energy for sure.
• 55:29
  Speaker 3: Maybe maybe that's what hyped him up cocaine.
• 55:34
  Speaker 2: Yeah, there's a there's an old movie where some it's
• 55:38
  Speaker 2: called hobgob It's Mystery Science Theater did that episode once?
• 55:41
  Speaker 1: I love it.
• 55:41
  Speaker 2: There's like some randoms. Yeah, and there's then the Randoms thing.
• 55:44
  Speaker 2: There's like in the room just dancing for no reason. Yeah,
• 55:48
  Speaker 2: I would ever forget when of them is like they're
• 55:50
  Speaker 2: doing the dog. There's like it's see eighties this two
• 55:53
  Speaker 2: cocaine and but for Reagan, it's see eighties that do
• 55:55
  Speaker 2: cocaineing but for Reagan.
• 55:59
  Speaker 1: Yeah.
• 55:59
  Speaker 3: Yeah, if you haven't seen Hobgoblins, that is one of
• 56:02
  Speaker 3: the greatest bad movies you'll ever see. And the what
• 56:06
  Speaker 3: do they fight with? Is it rakes they fight with?
• 56:08
  Speaker 3: Is it the rake fight? I don't know, there's two guys. Yeah, yeah,
• 56:11
  Speaker 3: it's the greatest fight of all time. God, Hobgoblins is
• 56:14
  Speaker 3: so fucking bad, but I do love it. So I
• 56:18
  Speaker 3: don't really know how an answer to this question, but
• 56:20
  Speaker 3: I would.
• 56:20
  Speaker 1: I would.
• 56:21
  Speaker 3: I want to find someone who hasn't seen Reanimator and
• 56:24
  Speaker 3: see if it would still work for, you know, for
• 56:26
  Speaker 3: like a modern audience today someone. I mean, it worked
• 56:28
  Speaker 3: for me in twenty nineteen, and I still think I
• 56:31
  Speaker 3: still think it it would work for people just because
• 56:34
  Speaker 3: it's it's not timeless, obviously, but I mean, really, there's
• 56:37
  Speaker 3: not a lot of now that I'm thinking about it,
• 56:39
  Speaker 3: there's not a lot of Dead giveaways. It's the eighties,
• 56:43
  Speaker 3: but I mean you can tell just from the esthetic
• 56:46
  Speaker 3: and stuff like that. But it's one of those movies
• 56:48
  Speaker 3: that I feel is clearly standing the test of time.
• 56:51
  Speaker 3: It's been forty one years old, and I think it
• 56:53
  Speaker 3: will continue to do that just because of the sheer
• 56:56
  Speaker 3: craft everyone throw like poured into this movie. And I
• 57:00
  Speaker 3: just I still love the fact that it's Stuart Gordon's
• 57:03
  Speaker 3: first horror movie. Uh what what a way to come
• 57:05
  Speaker 3: onto the scene, adapting H. P. Lovecraft and making this
• 57:08
  Speaker 3: movie Like, uh yeah, that's a pretty good first start
• 57:11
  Speaker 3: and that's probably why he got a lot of other
• 57:14
  Speaker 3: other directing jobs. So would you would you say this
• 57:17
  Speaker 3: is essential eighties viewing?
• 57:18
  Speaker 1: Jason?
• 57:19
  Speaker 2: Oh oh yeah for sure. Okay, especially when you get
• 57:22
  Speaker 2: sick of the slasher stuff, that's true. Yeah, yes, get
• 57:27
  Speaker 2: you move on to like Reanimator. It's it's it's a
• 57:31
  Speaker 2: it's a good because really not that many movies like
• 57:33
  Speaker 2: this from the eighties. Like I said, the close thing
• 57:36
  Speaker 2: I think of is Evil Dead too, I mean, because
• 57:38
  Speaker 2: that's kind of a zombie movie but not really right
• 57:42
  Speaker 2: and uh this as some of the sort of manic comedy. Yeah,
• 57:45
  Speaker 2: and also like I always see like a Jeffery Colemes
• 57:48
  Speaker 2: is sort of a even lesser Bruce Campbell, who, like
• 57:51
  Speaker 2: somebody you think would be bigger than they actually are, right,
• 57:54
  Speaker 2: you know, but get stuck doing a lot of B movies.
• 57:57
  Speaker 2: Like their careers kind of never really took off the
• 57:59
  Speaker 2: way you would think it should have, you know. Now,
• 58:01
  Speaker 2: for like Colt fans and him, I mean, he will
• 58:03
  Speaker 2: go to comic conventions for the rest of his life
• 58:04
  Speaker 2: and be okay, oh yeah, but you would have think
• 58:07
  Speaker 2: you would have gotten more. Like his highest profile project
• 58:10
  Speaker 2: was probably The Frighteners, which a lot of people haven't
• 58:12
  Speaker 2: haven't seen or forgotten.
• 58:13
  Speaker 3: About, which is a shame because The Frighteners is an
• 58:15
  Speaker 3: excell movie and he plays like the like he's one
• 58:18
  Speaker 3: of my favorite villains he is in the slipped over
• 58:21
  Speaker 3: hair and just his demeanor. He is such an incredibly
• 58:24
  Speaker 3: talented person that I agree, I wish he got bigger.
• 58:28
  Speaker 3: I mean, he does have like over two hundred credits,
• 58:30
  Speaker 3: but it's all for I mean, he.
• 58:32
  Speaker 2: Works, he works, but it's always like smaller scale, B
• 58:35
  Speaker 2: budget movies or something you'll see that came straight to
• 58:37
  Speaker 2: tub and it's just like it's like, why did you
• 58:40
  Speaker 2: not get bigger than you are. It's it's it's a shame.
• 58:43
  Speaker 2: And same thing with Bruce Campbell. Bruce Campbell's he's done
• 58:46
  Speaker 2: some more mainstream stuff and he is even I people
• 58:48
  Speaker 2: haven't seen Evil did too. They know who Bruce Campbell is, right,
• 58:52
  Speaker 2: Jeffery Comb's not quite as to that level, but you
• 58:55
  Speaker 2: know he is known. I mean, people know what Reanimator
• 58:58
  Speaker 2: he is. I can have never seen it.
• 59:00
  Speaker 3: Right, No, I totally agree. Yeah, I mean even because
• 59:03
  Speaker 3: even before Reanimator he didn't do much. Then he would
• 59:06
  Speaker 3: do it like from Beyond. Oh yeah, he did Sellar Dweller.
• 59:09
  Speaker 3: I forgot about that. He was also, of course in
• 59:11
  Speaker 3: Bride and Beyond Reanimator. I still haven't seen Beyond. Oh
• 59:15
  Speaker 3: he was in Transfers too well. Now I have to
• 59:17
  Speaker 3: watch Transfers too, because I fucking love the first Transfers.
• 59:21
  Speaker 3: That's such a great movie. But yeah, he's just kind
• 59:24
  Speaker 3: of in all these little, you know, side movies. He's
• 59:26
  Speaker 3: also in Castle, Freak, The Frightener, stuff like that. Most
• 59:29
  Speaker 3: recently though, oh god, what did I just see him in?
• 59:32
  Speaker 3: Like the movie wasn't that great, but his performance, I
• 59:35
  Speaker 3: mean it's fucking Jeffrey Colmes. Oh yeah, a stream. It
• 59:41
  Speaker 3: was a movie called Stream, which wasn't great, but he
• 59:45
  Speaker 3: played It's actually the second time he's played a hotel owner,
• 59:48
  Speaker 3: because he also played a hotel owner in or the
• 59:51
  Speaker 3: Front Desk person at I Still Know What You Did
• 59:55
  Speaker 3: last Summer, which is funny. So there's a couple movies
• 59:57
  Speaker 3: he's played Oh yeah, yeah, a small role, and then
• 1:00:01
  Speaker 3: he was also in recently ONYX, The Fortuitous and The
• 1:00:03
  Speaker 3: Talisman of Souls, which love him in that, but it's
• 1:00:06
  Speaker 3: I can't The whole bit that guy does is just
• 1:00:08
  Speaker 3: a bit much. But you're right, it's like he really
• 1:00:11
  Speaker 3: should be in bigger production things because he's talented. So
• 1:00:15
  Speaker 3: it just it always makes me wonder what happened. Like
• 1:00:18
  Speaker 3: it's not like it's a problem, but you know, like
• 1:00:20
  Speaker 3: where I don't know, like how do people not see
• 1:00:22
  Speaker 3: the talent this man clearly has.
• 1:00:24
  Speaker 1: I don't know.
• 1:00:25
  Speaker 3: It's it's something I'll never understand. So I think I've
• 1:00:30
  Speaker 3: hit all of my notes here. I'm kind of going through. Yeah,
• 1:00:35
  Speaker 3: I think I've hit everything. Unless you have any other moment.
• 1:00:38
  Speaker 3: I'm trying to think, was there one more moment I
• 1:00:40
  Speaker 3: wanted to talk about?
• 1:00:41
  Speaker 2: Oh?
• 1:00:41
  Speaker 3: Yes, there was one more moment because this is the
• 1:00:43
  Speaker 3: second time I've noticed this because Barbara Crampton and Chopping Mall.
• 1:00:47
  Speaker 3: There's a scene and me and John talked about this
• 1:00:49
  Speaker 3: scene where Barbara Crampton is topless and she walks up
• 1:00:53
  Speaker 3: to the camera puts her hands like this, and it's
• 1:00:56
  Speaker 3: just for no reason other than she looks great, you
• 1:00:58
  Speaker 3: know what I mean. Like, and she did that in
• 1:01:00
  Speaker 3: this movie too. I realized after she's having sex with Dan,
• 1:01:04
  Speaker 3: she walks up to the camera, just straight to the camera,
• 1:01:06
  Speaker 3: stands there for like five or ten seconds, and then
• 1:01:09
  Speaker 3: puts the bron And I'm like, this is just a
• 1:01:10
  Speaker 3: strange thing that we're doing here.
• 1:01:12
  Speaker 2: Well, yeah that was straight Yeah, that was just just
• 1:01:14
  Speaker 2: straight eighties gratuitousness. Yeah, that's really all that.
• 1:01:17
  Speaker 1: Was right, And just thought it was funny.
• 1:01:18
  Speaker 3: I was like, oh, this is the second time you
• 1:01:20
  Speaker 3: have stopped what you were doing, walked to the camera
• 1:01:23
  Speaker 3: in full view, just like here my moobs. I mean,
• 1:01:26
  Speaker 3: I would I would want to capture myself if I
• 1:01:28
  Speaker 3: look that great, I want to capture that moment in
• 1:01:31
  Speaker 3: time as well. But I just I thought that was
• 1:01:33
  Speaker 3: kind of a weird parallel between between this and shopping mall.
• 1:01:35
  Speaker 2: No, yeah, that's just all and they you know, they
• 1:01:37
  Speaker 2: clearly they blocked that shot for that to happen, and
• 1:01:39
  Speaker 2: it was all like, yeah, same thing with I mean,
• 1:01:42
  Speaker 2: it was the eighties. This was a lower level you
• 1:01:44
  Speaker 2: gotta get you know, that's what it was.
• 1:01:46
  Speaker 3: You gotta yeah, you gotta, you gotta get it a
• 1:01:48
  Speaker 3: couple of times. Uh so, yeah, that is Reanimator here
• 1:01:52
  Speaker 3: from nineteen eighty five. Let's move on to the final cuts.
• 1:01:57
  Speaker 3: Oh what do we got?
• 1:01:58
  Speaker 1: What do we got?
• 1:01:59
  Speaker 3: What do we got on trivia here? Oh no, sorry,
• 1:02:02
  Speaker 3: taglines two good ones and one is very long. Death
• 1:02:06
  Speaker 3: is just the beginning. It will scare you to pieces.
• 1:02:10
  Speaker 3: And Herbert West is a very good head on his
• 1:02:11
  Speaker 3: shoulders and another one in a dish on his desk,
• 1:02:14
  Speaker 3: which is kind of funny. Yeah, some good trivia here.
• 1:02:19
  Speaker 3: The special effects department went through twenty four gallons of
• 1:02:22
  Speaker 3: fake blood during the shoot. Makeups. Affect artist John Nollin
• 1:02:26
  Speaker 3: said that Reanimator was the bloodiest film he had ever
• 1:02:28
  Speaker 3: worked on. In the past, he had never used more
• 1:02:30
  Speaker 3: than two gallons of blood on a film, and in
• 1:02:34
  Speaker 3: the grand scheme of things, twenty four gallons. I mean
• 1:02:37
  Speaker 3: nowadays really isn't a lot, but that's still for that movie.
• 1:02:42
  Speaker 3: This is I kind of mentioned this alluded to this earlier,
• 1:02:44
  Speaker 3: but HB. Lovecraft never liked his reanimator stories. He only
• 1:02:47
  Speaker 3: wrote them because he got five dollars per installment and
• 1:02:51
  Speaker 3: he lived in the early like, you know, nineteen hundred,
• 1:02:54
  Speaker 3: so that was that was a pretty good chunk.
• 1:02:56
  Speaker 2: Of change THEREA that's like one hundred dollars. That's like, yeah,
• 1:02:58
  Speaker 2: like tdred dollars.
• 1:03:00
  Speaker 3: Not bad.
• 1:03:01
  Speaker 2: Uh.
• 1:03:02
  Speaker 3: Stuart Gordon and Dennis Palley originally intended to be faithful
• 1:03:05
  Speaker 3: to HP Lovecraft's story, but the film ultimately had a
• 1:03:07
  Speaker 3: little in common with the story, which is, you know,
• 1:03:10
  Speaker 3: it was intended to be a parody of Frankenstein and that's.
• 1:03:13
  Speaker 1: Basically what it is.
• 1:03:15
  Speaker 3: Yeah, this is something I found interesting because I haven't
• 1:03:18
  Speaker 3: seen the original Psycho in a while. But apparently the
• 1:03:21
  Speaker 3: opening theme borrows heavily from Alfred Hitchcock's Psycho opening theme
• 1:03:26
  Speaker 3: by Bernard Hermann, and in his review, Leonard Malton gave
• 1:03:29
  Speaker 3: the movie three stars and then stated that the movie
• 1:03:32
  Speaker 3: was penalized a half star for its blatant ripoff of
• 1:03:35
  Speaker 3: the Psycho theme.
• 1:03:37
  Speaker 2: Uh, yeah, it is It is very very psycho if
• 1:03:41
  Speaker 2: you like. I'm sure there's a mash ups on YouTube
• 1:03:43
  Speaker 2: where you can watch this, but it sounds very at
• 1:03:46
  Speaker 2: a lawsuit.
• 1:03:49
  Speaker 3: It's like vanilla ice and under pressure. Of those two songs,
• 1:03:53
  Speaker 3: one one different, it's the same. It's dun dun dunda,
• 1:03:59
  Speaker 3: dun dun dunn, That's what it is. And the opening
• 1:04:05
  Speaker 3: credit sequence pay visual homage to Sall Bassett's work in
• 1:04:08
  Speaker 3: Alfred Hitchcock's Vertigo. So clearly fan of fan of Alfred Hitchcock.
• 1:04:14
  Speaker 3: These are some of the pettiest goofs I have ever
• 1:04:17
  Speaker 3: seen in my like and I love petty goofs, and
• 1:04:21
  Speaker 3: I've said, I've said previously that these are the pettiest,
• 1:04:23
  Speaker 3: but I think these these might take the cake for
• 1:04:26
  Speaker 3: pettiest goofs. So as you clearly know, well, this one's
• 1:04:32
  Speaker 3: kind of like whatever bone saws like cast cutters don't rotate,
• 1:04:35
  Speaker 3: they vibrate, and he uses one to like cut a
• 1:04:37
  Speaker 3: guy's you know, chest open a severed head, truly, a
• 1:04:42
  Speaker 3: truly exactly it's like, well, a severed head wouldn't be
• 1:04:47
  Speaker 3: able to speak or breathe without lungs, thanks fucking nerd
• 1:04:51
  Speaker 3: uh No, explanation is given to how the revives ever
• 1:04:55
  Speaker 3: head of doctor Hill can take the rest of his
• 1:04:57
  Speaker 3: separated body and walk through open door both parts of
• 1:05:00
  Speaker 3: him merely being revived wouldn't explain that. Okay, thanks nerd.
• 1:05:04
  Speaker 3: And then these two, these last two, Oh my god,
• 1:05:08
  Speaker 3: some fucking medical student had to have written these, because
• 1:05:10
  Speaker 3: this is the nerdiest goddamn shit. When Herbert is experimenting
• 1:05:14
  Speaker 3: on Dean Halsey, he's in he says he's injecting twelve
• 1:05:17
  Speaker 3: cc of the reagent, but it's clearly a lot more.
• 1:05:20
  Speaker 3: And when her when Herbert says he's upping the dosage
• 1:05:23
  Speaker 3: on his first human test pagient by twenty CC, he's
• 1:05:26
  Speaker 3: clearly injecting a lot more than that.
• 1:05:29
  Speaker 1: Oh my god.
• 1:05:30
  Speaker 3: Guys talking about picking apart in the movie in the
• 1:05:33
  Speaker 3: weirdest way possible.
• 1:05:35
  Speaker 1: Chris.
• 1:05:38
  Speaker 2: Always gear I shoot him myself. That's nowhere near, nowhere
• 1:05:41
  Speaker 2: near what do you mean?
• 1:05:44
  Speaker 3: Rated seven point one out of ten on IMDb. Uh
• 1:05:49
  Speaker 3: for our purposes of the Nightmare index, that is a
• 1:05:51
  Speaker 3: three point five five out of five. We have a
• 1:05:55
  Speaker 3: three point eight out of five on Letterboxed and eighty
• 1:05:59
  Speaker 3: eight percent on the Tomato Meter. An eighty two percent
• 1:06:02
  Speaker 3: audience score. Everyone seems to love this movie. What did
• 1:06:05
  Speaker 3: you give this, Jason?
• 1:06:06
  Speaker 2: Yeah, I gave you a three point five, like a
• 1:06:08
  Speaker 2: strong It's not quite a four, but it's this strong,
• 1:06:11
  Speaker 2: as strong as three point five as you can make it.
• 1:06:14
  Speaker 2: There's something like the qualms about the handwaving we've talked about, correct,
• 1:06:19
  Speaker 2: you know, I just kind of wish they would explain
• 1:06:21
  Speaker 2: a couple of things more, but overall it's just a
• 1:06:23
  Speaker 2: blast of the movie. Three point five is a good
• 1:06:25
  Speaker 2: score from Jason.
• 1:06:27
  Speaker 3: From Jason, it is a good score, as you should know.
• 1:06:30
  Speaker 3: From Jason. What it makes. What did Jason make me
• 1:06:32
  Speaker 3: watch all of last year? You should know he's usually
• 1:06:36
  Speaker 3: around to two to or three, So three and a
• 1:06:38
  Speaker 3: half is good. Like I said, for me, I think
• 1:06:40
  Speaker 3: this is basically a perfect movie outside of that one
• 1:06:42
  Speaker 3: scene four and a half from me that gives us
• 1:06:45
  Speaker 3: a nightmare index of three point eight four, So that
• 1:06:49
  Speaker 3: means Reanimator is sitting comfortably right in between. We are
• 1:06:54
  Speaker 3: still here at a three point six nine and Dead
• 1:06:57
  Speaker 3: and Buried at a three point nine to one. Funny
• 1:07:00
  Speaker 3: Barbara Crampton's movies are right next to each other on
• 1:07:02
  Speaker 3: the nightmare, and I love that, not a frightmare certified slap,
• 1:07:06
  Speaker 3: which I am surprised, But that's okay because we've had
• 1:07:09
  Speaker 3: such a long run of certified slabs. It's it's it's
• 1:07:12
  Speaker 3: okay that we don't have one. I can't have every
• 1:07:14
  Speaker 3: single fucking movie be a slap. That's just silly.
• 1:07:17
  Speaker 2: It's you can blame You can blame me because I
• 1:07:19
  Speaker 2: drag things down. You can blame me for that.
• 1:07:21
  Speaker 3: Typically an honorary slap. We'll give it an honorary golf clap.
• 1:07:27
  Speaker 3: Two fingers. Okay, here we go. I forgot to ask
• 1:07:32
  Speaker 3: you to do funny reviews because I always forget. But
• 1:07:35
  Speaker 3: did you happen to grab any funny reviews?
• 1:07:38
  Speaker 2: I wish I did completely forgot.
• 1:07:40
  Speaker 3: That's fine. I've got I've got plenty here. I I
• 1:07:43
  Speaker 3: do this to myself every time. The only person I
• 1:07:45
  Speaker 3: remind is my wife because she lives in the same
• 1:07:47
  Speaker 3: house as me. And every other time I'm like, did
• 1:07:49
  Speaker 3: you get reviews that I didn't remind you of?
• 1:07:51
  Speaker 2: No?
• 1:07:52
  Speaker 1: Yeah, that's my fault.
• 1:07:53
  Speaker 3: So we've got four stars from Russman best use of
• 1:07:59
  Speaker 3: a talking head poster ever, I agree with that.
• 1:08:02
  Speaker 2: Yeah, it's above that great.
• 1:08:04
  Speaker 3: Yeah, the three and a half stars from Kia, I'd
• 1:08:07
  Speaker 3: expect nothing less from a motherfucker named Herbert. Five stars
• 1:08:14
  Speaker 3: from Amaya. Bitches be like, this is my comfort character
• 1:08:17
  Speaker 3: and it's an insane scientist who murdered someone with a shoffle.
• 1:08:22
  Speaker 3: He's on my leg. And then five stars from Zara.
• 1:08:26
  Speaker 3: I think Dan and Herbert should have kissed.
• 1:08:31
  Speaker 2: H oh.
• 1:08:32
  Speaker 3: And then the one right below that is also funny,
• 1:08:35
  Speaker 3: five stars as well. Do you think Herbert and Dan
• 1:08:37
  Speaker 3: ever explored each other's bodies?
• 1:08:41
  Speaker 2: Good for the world to do? It's the stead of hockey.
• 1:08:45
  Speaker 2: It's a partners.
• 1:08:48
  Speaker 1: Oh my goodness. All right.
• 1:08:49
  Speaker 3: If you enjoy the show, please rate and review on
• 1:08:51
  Speaker 3: your favorite podcast app of choice. Follow us on Facebook, Instagram, TikTok,
• 1:08:55
  Speaker 3: Slasher threads, and YouTube at Frightmer's podcast, or email is
• 1:09:00
  Speaker 3: stay Spooky at outlooks dot com. You can also follow
• 1:09:03
  Speaker 3: me personally on letterbox at doctor Proctor. Oh my god,
• 1:09:08
  Speaker 3: I was just like a mom right there, I went,
• 1:09:09
  Speaker 3: Corey Spencer, Jason, what is your name on letterbox?
• 1:09:13
  Speaker 2: My name is Jason. Oh yes, meo Pacina letterbox.
• 1:09:18
  Speaker 3: That yeah, that's the only one that beats Slackerman is
• 1:09:21
  Speaker 3: mal Pacino. That is such a fucking killer name. If
• 1:09:24
  Speaker 3: you'd like to expand your movie podcast listening, check out
• 1:09:28
  Speaker 3: the Shameless Pictures Show, The Dead Eyed Millennial Film Club,
• 1:09:31
  Speaker 3: and One Week Rental as well. Something that I probably
• 1:09:34
  Speaker 3: should have mentioned at the top of this episode, but
• 1:09:36
  Speaker 3: I have ADHD and that's fun. This is actually our
• 1:09:40
  Speaker 3: first episode on a podcast network, Someone's Favorite Productions.
• 1:09:45
  Speaker 1: This is a law.
• 1:09:46
  Speaker 3: This is exciting. I've been wanting to be on a
• 1:09:48
  Speaker 3: network for quite some time. It was actually goal for
• 1:09:50
  Speaker 3: this year to get on a network, So now we
• 1:09:52
  Speaker 3: are there is about They have about twenty five or
• 1:09:54
  Speaker 3: thirty shows, very diverse, all involving physical media, reviews, commentary tracks,
• 1:10:01
  Speaker 3: just everything everything about film. So we are part of that.
• 1:10:05
  Speaker 3: Go so go follow them. Someone's Favorite Production. It's run
• 1:10:08
  Speaker 3: by a guy named Ryan Verel, who I will have
• 1:10:10
  Speaker 3: on the podcast sometime this month. He runs a page
• 1:10:13
  Speaker 3: called The disc Connected about physical media releases. So we
• 1:10:16
  Speaker 3: are very excited to be under their umbrella. And that's
• 1:10:19
  Speaker 3: probably why you're wondering, Oh, there's ads. Now, I'm not
• 1:10:22
  Speaker 3: a huge fan of the ads, I know, but you know,
• 1:10:25
  Speaker 3: you gotta pay the bills and uh, Basically the ads
• 1:10:29
  Speaker 3: pay for the the hosting site, so there will be
• 1:10:32
  Speaker 3: some at the beginning, some at the end, and I
• 1:10:33
  Speaker 3: might throw like one in the middle there. So I'm
• 1:10:36
  Speaker 3: I don't being Oh that's right too. Yeah, I have to.
• 1:10:41
  Speaker 3: I have to make sure I keep track of that
• 1:10:42
  Speaker 3: so we can all get paid. But you know, so
• 1:10:46
  Speaker 3: it's very exciting. I want to thank Ryan Verral personally
• 1:10:49
  Speaker 3: for having me on the on the podcast network. So
• 1:10:53
  Speaker 3: here's to more, I mean hopefully more and more discovery.
• 1:10:56
  Speaker 3: We we might have some more guest plan down the road,
• 1:10:58
  Speaker 3: but yeah, I'm I'm very excited to be on this network.
• 1:11:03
  Speaker 3: Next week, Gabby and I will be doing the Resurrected
• 1:11:06
  Speaker 3: from nineteen ninety one as our deep cut pick, and
• 1:11:09
  Speaker 3: it's not streaming anywhere, so I'm really glad I picked
• 1:11:12
  Speaker 3: this movie. You can't even rent it, so hopefully you
• 1:11:15
  Speaker 3: own it even.
• 1:11:16
  Speaker 2: Like a YouTube grip, like a VHS YouTube grip on YouTube.
• 1:11:19
  Speaker 3: No check check that too, because you have based You've
• 1:11:22
  Speaker 3: conditioned me at this point to check and I've actually
• 1:11:24
  Speaker 3: it's come in clutch a few times, like for the
• 1:11:28
  Speaker 3: last episode that we did. But yeah, so I might
• 1:11:32
  Speaker 3: change this because I didn't realize this wasn't available.
• 1:11:34
  Speaker 2: I mean sometimes you can get look on the Internet archive,
• 1:11:37
  Speaker 2: just type in the movie then see Jason.
• 1:11:40
  Speaker 3: Sometimes you get with that all right, So it might change,
• 1:11:43
  Speaker 3: but as it stands now, it's The Resurrected. It's a
• 1:11:45
  Speaker 3: Dan O'Bannon film, the director of the Return of the
• 1:11:47
  Speaker 3: Living Dead. So until then, stay tuned and stay spooky.
• 1:12:28
  Speaker 2: Thank you for listening. To hear more shows from the
• 1:12:31
  Speaker 2: Someone's Favorite Productions podcast network. Please select the link in
• 1:12:35
  Speaker 2: the description.