Latest / Fumbling Through Film / Fictitious Bands: Eddie and the Cruisers (1983)

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Fictitious Bands: Eddie and the Cruisers (1983) · Fumbling Through Film

• 0:00
  Gathered together from the cosmic reaches of the universe, here in this great screening room with comfortable recliners, are the most powerful forces of good ever assembled. Keith.
• 0:12
  I have, I have like a playlist of like just random weird stuff, like from like over, you know, years of stuff. And like, that's one of the songs that made it on the list.
• 0:21
  Terry.
• 0:22
  Luckily everyone back in the '80s could read lips.
• 0:24
  Derek.
• 0:24
  PF Clutch? That sounds like a cookie.
• 0:26
  And the Power Twins, Zap and Jordan, with their magical lemur snort dedicated Welcome back to Fumbling Their Way Through Movies, one forgotten gem at a time.
• 0:35
  This week we watch the 1983 musical mystery Eddie and the Cruisers.
• 0:39
  This is Fumbling Through Film. Hey kid, come here. Oh, me? Yeah, you, come here. Now you heard what we're talking about. What do
• 0:51
  you think? I think he's right. I think it needs a censura. See? My way with a cesarean. A what? Tell him. What's your name? Frank. Tell him, Frankie. Uh, cesura? That's a timely pause, a kind of a strategic silence. That's exactly right. Um, if you want, I'll
• 1:18
  give you an example. Okay. One evening I took Beauty in my arms, and I thought her bitter, and I insulted her.
• 1:29
  Sounds like shit, right? Okay, wait a minute, wait a minute. Now I'll do it with the césure.
• 1:35
  One evening I took Beauty in my arms, and I thought her bitter, and I insulted her.
• 1:46
  Now that's got class.
• 1:48
  Hello and welcome to another one-of-a-kind, genre-defining, brand new episode of Fumbling through film, the only show that dares, I guarantee dares to bring together three dudes to talk about movies. These aren't just any movies. I guarantee they aren't just any movies. These are the ones we've missed, overlooked, or feel are simply worth revisiting. I try to I try to just blow through it now so Terry can't
• 2:16
  derail me with a
• 2:17
  yeah they are
• 2:17
  really aren't
• 2:19
  little side comments.
• 2:20
  Yeah, I don't know if you noticed those. Oh yeah, I notice them all the time.
• 2:24
  Dang it.
• 2:25
  Anyway, what?
• 2:27
  Nothing.
• 2:28
  Oh, see, there it is, the derail. Uh, they aren't just any movies, even though they are just any movies, because they exist from a pool of ones we've missed, overlooked, or simply worth revisiting. That could be just about any stinking movie. Despite it all, Derek and I'm a Fumbler. Joining me here in the Fumbledome, where we watch just about any movie we can, is the only Prime Minister fumbling at film, Keith.
• 2:52
  Hey, hey, what's up KG, fumbler extraordinaire? And, um, depending on how this goes, I might just disappear for 18 years or so and you guys have to find all the extra recordings.
• 3:02
  Depending on how this goes? That's a lot of pressure for one podcast recording.
• 3:07
  Yeah, yeah.
• 3:08
  Hey, look, it goes well or it goes bad. I don't even know how it's gonna go to make you disappear.
• 3:12
  I'm thinking, I'm thinking about a few of my last picks. Uh, depending on how this goes, I don't know.
• 3:17
  He's got extra recordings on his end. What does that mean?
• 3:21
  Oh yeah, I've predicted a few things I think you guys will watch, and I've just recorded my parts.
• 3:27
  Keith has secretly recorded episodes of this show with 2 other people.
• 3:32
  Yes.
• 3:33
  Just in cases.
• 3:34
  But I've had them act like you 2.
• 3:37
  Okay.
• 3:37
  It's just AI rendering.
• 3:39
  Could you imagine if we were just talking to a prerecorded Keith right now and we had no idea? He had just meticulously planned out everything we were going to say. And so we don't have any idea that he's just not there. He hasn't shown up for the last 4 weeks. He's just been I got
• 3:55
  stuck back in— I got stuck back in time trying to put the Back to the Future 2 disc back in, uh, and get rid of Major Payne. I'm telling you.
• 4:02
  Yep.
• 4:03
  Oh, Keith.
• 4:04
  I'm trying to— I'm trying to right the wrongs so I don't rewatch Back to the Future, uh, 2 later in life. And, um, you know, maybe one day I'll watch Major Payne.
• 4:14
  Oh, we will.
• 4:15
  You will. Well, it's eligible for the list, I think, now.
• 4:19
  Well, only if I write it down. Uh, that other person out there throwing monkey wrenches into the game plan, as always, but with the best of intentions, is Dr. Dre of Kansas, Terry.
• 4:29
  Hey everybody, I've got a monkey wrench in one hand, um, and another monkey wrench in the other hand, and I'm just throwing them at anything I see. But you know, I got a heart of gold, so you gotta love it.
• 4:41
  Dodge a wrench, you can dodge a ball.
• 4:42
  Yep, yep. I see something move, I just throw a wrench as hard as I can at it.
• 4:47
  Yeah.
• 4:47
  Well, nice. You know what I throw wrenches at?
• 4:51
  What's
• 4:52
  that? This write-up that I have that tells us what the show is about. So let, let me— I don't know why I don't change it, but I'm just a creature of habit, I guess.
• 5:02
  Yeah.
• 5:02
  So now what I have to do now is like go back and like reassure people that it's not just any movie.
• 5:07
  Oh, shoot.
• 5:08
  Oh, thank goodness. It's any movie that fits inside of a theme because every month one of us chooses a theme, a genre, some sort of guiding light, our northern star, if you will, uh, whatever you want to call it, for the month. And then we each had to pick a movie that adheres to that theme, right? So it's not just any movie, it's any movie that works for the month.
• 5:33
  Yes, exactly.
• 5:35
  It's the only way that we could really focus, because any movie— I mean, it's just out there, there's just way too many It's like, what, 100 years of cinema?
• 5:45
  At least.
• 5:47
  At least
• 5:47
  we have to have something that can help us focus, and it's like
• 5:51
  the lens to our telescope.
• 5:52
  Yeah.
• 5:54
  Oh,
• 5:55
  no one has chosen train driving into the camera yet as a, as a movie, but
• 6:01
  I'm gonna
• 6:02
  put
• 6:02
  that on the list. It could end up on the wheel.
• 6:04
  It's a good category. Yeah, I would love to pick 4 different— at least 3 different movies about trains running into a camera. You know, they've remade that at least a couple times, I'm sure.
• 6:13
  At least. You'd hope so.
• 6:15
  I just like the fact that it could make it onto the wheel. Um,
• 6:19
  train driving at the camera,
• 6:20
  30-second clip, hour-long episode.
• 6:24
  Oh God, we can do it. Anyway, this month is a brand new month. This is the first week of a brand new month, and it is a Keith month. The rotation has returned to Keith.
• 6:35
  It has.
• 6:36
  Heath, what is the genre you have chosen for us?
• 6:41
  Well, I picked fictitious bands. So any movie where a, uh, a fictional band is kind of the centerpiece of the movie.
• 6:51
  All right, any movie that features a fictional band. I
• 6:56
  couldn't—
• 6:57
  I was debating on fictitious or fictional, and I went with fictional.
• 7:01
  Yeah,
• 7:02
  fictional band. And for the inaugural week of this month, You chose
• 7:09
  Eddie and the Cruisers from 1983.
• 7:11
  Eddie and the Cruisers from 1983. Now, before we talk about Eddie and the Cruisers from 1983, before we deep dive Eddie and the Cruisers from 1983, did any of you have any previous history with Eddie and the Cruisers from 1983?
• 7:30
  No, no, not at all. Never heard of it, but you know what, now I've got a Blu-ray double set, uh, double feature.
• 7:39
  Oh, you got the sequel?
• 7:42
  Yeah,
• 7:42
  at the end of the episode, we'll find out if Terry's going to watch part 2.
• 7:46
  Oh yeah, we'll see, we'll see.
• 7:49
  I had never heard of the movie, but I had heard of the most— I had heard the most popular song, and I did not realize it was from this movie. Oh
• 7:56
  yeah,
• 7:57
  had no idea. Keith?
• 7:59
  No, I was familiar with this movie. Um, I'm familiar with the, the song and the soundtrack and stuff like that. This was on repeat on TV for, uh, quite a bit at times. And so that's probably where I— it's not like I saw this in theaters or anything like this, but I, I, I've seen bits and pieces of it here and there. Still enough that it was pretty much a fresh movie for me though.
• 8:19
  Okay.
• 8:20
  Because I mean, I've— I probably haven't seen this in 35, 40 years probably.
• 8:24
  Oh, almost since it came out?
• 8:26
  Yeah, yeah, probably maybe since I was like maybe 15 or something like that. Maybe, I don't
• 8:30
  know, 15, 40 years would be 1985.
• 8:33
  Yeah, so I— yeah, I've, I've—
• 8:35
  2 years after it was in theaters.
• 8:37
  All right, so let's say, let's say 35.
• 8:39
  Let's say 50 years ago.
• 8:41
  Oh wow. Yeah, I've never seen before it came out. Uh, no, I— but, uh, the same type of, I guess, overall uh, thoughts that I had with, um, the movie we watched a few weeks ago, Back to the Future Part 2, where I thought I had seen it and then I watched it, I'm like, no, none of this is familiar. Honestly, I thought Tom— I thought Tom Berenger played Eddie.
• 9:02
  Oh, or at least he's a cruiser, at least, right?
• 9:06
  He is, he is. But I, I thought he was— I thought he was the main guy.
• 9:10
  He's the titular cruiser. I guess he kind of is.
• 9:12
  Yeah, yeah, he's the Birdman.
• 9:14
  That's true. You can't have a band without the word man.
• 9:18
  No, words and music, they go together like that, like exactly 2 fingers crossed.
• 9:23
  Unless you're like an instrumental jazz band or an instrumental rock band.
• 9:28
  But, uh, this is another— so Derek, I know you bring a lot of, hey, I've never seen this movie before.
• 9:34
  I bring a lot of, hey, you've never seen this movie, energy.
• 9:37
  Yeah, this is energy.
• 9:38
  No, like, I mean, you specifically pick movies that for the most part you've never seen.
• 9:42
  Yeah.
• 9:44
  Terry picks things that could be on Tubi and then— Oh
• 9:47
  wait, that's my thing. Whoa, whoa, whoa. No, I
• 9:51
  feel that Terry is the, the big swinger.
• 9:55
  Yeah.
• 9:56
  Okay.
• 9:57
  Takes a big giant swing at movies. Yeah. And I like that. I appreciate that. And Keith is the nostalgia guy.
• 10:03
  I, yeah, a lot of things that either I haven't seen in a long time that I just need an ex— used to watch, or something I really want to like show you guys, like Big Night that we watched a few cycles back. I really want to— yes, yeah, yes, that also counted as something I hadn't seen in a long time, but I did remember all of that movie. This one I don't remember.
• 10:22
  And a great film. I really like that one.
• 10:24
  Big Night was a good movie. Well, is Eddie and the Cruisers, uh, as, as good as Big Night? We'll never know until the end. But before we do that, Keith Is going to bring us closer to Eddie and the Cruisers than any like flashback ever could with a patent pending Fumbler's deep dive.
• 10:47
  Rebel rocker lover idol vanished. That was the tagline.
• 10:51
  Oh, I thought you just made that up on the spot. I was like Keith
• 10:53
  for no no I honestly it's what you know people say about me a lot of times too minus the vanished part. Uh, it's a lovely one hour and thirty five minutes rated PG. It came out on September twenty third, nineteen eighty three. Forty one. years, 11 months, and 6 days ago. It's a millennial Libra in the year of the pig.
• 11:11
  Okay.
• 11:12
  Yeah. Uh, a television newswoman picks up the story of a 1960s rock band whose long-lost leader Eddie Wilson may still be alive while searching for the missing tapes of the band's never-released album. I want everyone to remember that part because I'm gonna come back around to that in a second here. Uh, this had a budget of $5 million.
• 11:30
  Dang.
• 11:31
  It made $4.685 at the box office. About $16.8 million with inflation. It opened at number 4 behind Mr. Mom, Risky Business, and National Lampoon's Vacation.
• 11:43
  Risky Business, that's a tough—
• 11:44
  that's tough competition. I remember when Risky Business came out. That was all the stuff because, uh, Tom Cruise sliding around in his underwear.
• 11:50
  Yeah, yeah, playing air guitar. What an iconic scene.
• 11:53
  And National Lampoon's Vacation.
• 11:55
  So this kicks off its opening weekend, comes in number 4. Those other movies respectively were in their 10th, 8th, and 9th weeks in release.
• 12:02
  Oh wow.
• 12:04
  Mr. Mom.
• 12:05
  You can't stop it. Wow.
• 12:06
  Mr. Mom was number 1 for the 5th straight week. It took 5— it took 5 weeks for it to get to number 1.
• 12:12
  Mr. Mom.
• 12:13
  Can you believe that the star of Mr. Mom would be cast as Batman?
• 12:18
  No, that's just crazy.
• 12:19
  Oh, that's ridiculous.
• 12:20
  People were so angry about that. I mean, it would never work.
• 12:23
  It'll never work.
• 12:24
  You can't put a comedian in the role of Batman and Bruce Wayne.
• 12:28
  Bruce Wayne is a serious and dark character who needs to be treated with respect. I want to see him gun down criminals with the Batmobile. Actually, I think you do see him do that.
• 12:39
  He does. He's got machine guns that pop out of the top of the Batmobile.
• 12:42
  Oh, well, you know what? Nix all complaints. I agree with this casting.
• 12:46
  Yeah. So this movie didn't— it wasn't in theaters very long, but it did show up on cable right away. And it became a cult classic of the early HBO days and stuff like that. And thus the featured single on The Dark Side was a top 10 hit in 1984.
• 13:03
  That's a good song.
• 13:04
  All
• 13:05
  right, so, uh, this was directed by Martin Davidson.
• 13:08
  Okay,
• 13:09
  didn't recognize a lot of the things that Martin Davidson had done, but I did, uh, a couple here that, uh, stuck out to me. Hero at Large, uh, with John Ritter. A struggling actor buying milk stops robbery while wearing a superhero uniform to promote a movie, and the unknown hero decides to try it again. And can he impress his cute neighbor? Uh, that, that sticks out to me because, uh, our friends over at The '80s Years, they watched that as part of this, this summer's, uh, summer movie series. They just watched it earlier this year.
• 13:36
  Okay, did they like it?
• 13:38
  Yes, they did. Yeah.
• 13:40
  Okay,
• 13:40
  it's got John Ritter in it, it can't be that bad. Except for he was also in, uh, Problem Child, which was a very bad movie.
• 13:48
  Can't be that bad though if it's got John
• 13:50
  Ritter. Yes, it was really— Problem Child.
• 13:54
  Oh.
• 13:55
  That's a bad movie.
• 13:56
  It's John Ritter like Atlas holding a problem child on his shoulders.
• 14:00
  He he is pretty much getting
• 14:01
  crushed by
• 14:02
  it. They did with Three's Company.
• 14:04
  He did, yes.
• 14:05
  Except for the ropers and the furly were really good too.
• 14:10
  Yeah, I love the ropers. Um, so also in 1974, he directed a movie called *The Lords of Flatbush*.
• 14:18
  *The Lords of Flatbush*?
• 14:19
  Yeah.
• 14:20
  Australian movie.
• 14:21
  Uh, no, no. 2 members of a social club in 1950s Brooklyn have more interest in romance than in rumbles. The tagline was, when was the last time someone gave you a hickey? And it stars Sly Stallone and Henry Winkler.
• 14:34
  Wow, Sly, that's a dynamic—
• 14:38
  Stallone's in there?
• 14:38
  Yeah,
• 14:39
  yeah.
• 14:40
  Weird. He said the Lords of— I was thinking Lord of the Flies instantly. Um, I don't know why.
• 14:47
  I thought Lord of Salem— Rob Zombie's Lords of Salem.
• 14:51
  Oh, Rob Zombie, throw
• 14:54
  that on the list.
• 14:55
  It's there.
• 14:56
  Martin also, uh, he wrote the screenplay for Eddie and the Cruisers as well as Lords of Flatbush
• 15:01
  with his wife, I think.
• 15:03
  Uh-huh.
• 15:04
  Nice.
• 15:05
  Yep. Uh, Eddie and the Cruisers is an adaptation of a book by P.F. Cludge.
• 15:09
  P.F.
• 15:10
  Cludge?
• 15:11
  What? It sounds like a cookie.
• 15:12
  It's, it's— yeah, I can't believe this is his real name.
• 15:16
  And I'm glad they like a chef's name. Yeah, P.F. Cludge.
• 15:19
  Yeah. Uh, PFK also wrote the article that Dog Day Afternoon, uh, inspired, um, was adapted from, or the basis of, uh, for that.
• 15:28
  Kludge is spelled with a K?
• 15:30
  Yes, it is.
• 15:31
  That's like 10 times cooler. 10 times cooler.
• 15:34
  Yeah, you're right.
• 15:34
  All right, so Eddie and the Cruisers was not originally conceived as a nostalgic trip for Jersey rock. Uh, Kludge wrote the 1980 novel. It was based more on a thriller with Eddie's former bandmates reflecting on the heyday With the presumed dead Wilson as a killer,
• 15:50
  oh
• 15:50
  tries to find some missing recordings and Singer had made before his apparent death.
• 15:55
  Why would he be a killer? Who did he kill?
• 15:57
  No, I think it's at presumed dead Wilson as a killer tries to find some missing recordings. So Eddie wasn't the killer. I think I just the way it's written there seems like it's oh he's
• 16:09
  dead and
• 16:09
  meanwhile yeah there's a killer trying to find the missing recordings.
• 16:13
  There's a killer trying to find the missing recordings
• 16:16
  in the book. Yes.
• 16:18
  What?
• 16:18
  I could definitely sense that in this movie. I could sense the—
• 16:22
  yeah, there—
• 16:23
  yeah, we'll get the vibe of that.
• 16:25
  So we'll get to that. And this is— I think some of this is, you know, like, if you're going into this and maybe they don't— you know, when this movie originally came out, there wasn't like nice easy places to go and look for like quick synopses and stuff, uh, about these. But the Soul of Television Woman picking up the story of 1960s rock band and looking for this, uh, doing an investigation for Eddie while somebody's searching for the missing tapes. That's a really misleading—
• 16:51
  Yeah.
• 16:51
  Bit of info there. It does make it sound like there's going to be more of a mystery to this movie. Yes, especially once you find out that, okay, there's also supposed to be some killer running around trying, trying to get— try, like, instead of just going and, like, you know, messing up people's, you know, house a little bit
• 17:09
  Mm-hmm.
• 17:09
  You know, he was going around killing people trying to find these missing tapes.
• 17:13
  Did he kill the members of the, of the band?
• 17:15
  I don't know. I've never read the book.
• 17:16
  Okay.
• 17:17
  Because that would be awesome if that was the case.
• 17:18
  Yeah, that'd be great.
• 17:19
  But that, that's kind of what I, I, he must be killing somebody along the way cuz he's searching for the tapes. I don't know.
• 17:25
  Jason Voorhees versus Eddie and the Cruisers.
• 17:28
  But it sound— it sounds like a, uh, a much more interesting book than the movie, you know, leads to. 2016, Rolling Stone ranked the fictional Eddie and the Cruisers number 18 in their list of 25 greatest movie bands.
• 17:41
  Okay,
• 17:41
  I'm not—
• 17:42
  I am not gonna go through all those because— oh well, we can go through them maybe.
• 17:47
  You tease that there's 25 of them and 17 better.
• 17:51
  Well, I want to wait until we get, um, you know, the next 2 weeks. Oh,
• 17:56
  okay. Oh, you don't want to spoil potentials.
• 18:00
  Yeah.
• 18:01
  Gotcha. That's a great idea.
• 18:02
  This movie stars Michael Parry as Eddie Wilson. He has 267 acting credits, 30 of which are up and coming.
• 18:12
  Really?
• 18:13
  Yeah, he has 30 up and coming credits.
• 18:16
  30 things going on right now.
• 18:19
  Yeah.
• 18:19
  Awesome.
• 18:21
  Speaking of— There's no way he's got 30 things going on right now.
• 18:23
  30 things
• 18:24
  coming up.
• 18:24
  There's got to be like 30 things in the can that are just in like limbo, production limbo.
• 18:29
  No, it says upcoming on IMDb.
• 18:31
  He's, he's on 30 separate call sheets right now.
• 18:34
  He's the world's busiest man. Yeah,
• 18:37
  yeah. Speaking of 30, his, uh, first acting job, he played, uh, he was in 30 episodes of The Greatest American Hero. He was—
• 18:45
  believe it or not, I'm walking on air.
• 18:49
  He was one of, uh, the high school, uh, students, uh, in the dude's class.
• 18:53
  Nice.
• 18:54
  Man, I was, I should have just brought up his entire IMDb. We could actually have probably a pretty good theme if we just did Michael Parr movies. Some of the, the things that were listed under his IMDb page are, it just, there's a lot of craziness. Okay. But, uh, he was in a couple good movies. He was in, um, he was in The Virgin Suicides.
• 19:13
  Uh-huh.
• 19:13
  Okay.
• 19:14
  Okay. Uh, he was also in The Lincoln Lawyer.
• 19:16
  Oh yes.
• 19:17
  Yeah. Both good movies there. Uh, the movie that he's listed on IMDb as being best known for, I guess, is Streets of Fire. A mercenary is hired to rescue his ex-girlfriend, a singer who's been kidnapped by a motorcycle gang. This stars, uh, Michael Parr, Diane Lane, Rick Moranis, and a very, very young, uh, Willem Dafoe.
• 19:36
  Willem Dafoe? And but Rick Moranis old.
• 19:41
  Oh, he's sorry.
• 19:41
  Uh, you know what, in the clip I watched, I didn't even see Rick Moranis, uh, but I did see Willem Dafoe, and I was like, whoa, Jesus, he looks young in there.
• 19:48
  Well, this movie had to come out in the early '80s, right?
• 19:51
  Yeah, it's, uh, it's like right after this, like it's like '84, '85.
• 19:54
  Okay, so yeah, they're all young.
• 19:56
  Yeah, I watched The Legend of, uh, Ochi this weekend, the weird A24.
• 20:03
  Willem Dafoe's in that? Yeah.
• 20:04
  Yes, and he's so crazy in that movie. Again, a lot of crazy titles on the list of this guy, but one that stuck out to me was 1995's Lunar Cop.
• 20:14
  Whoa.
• 20:15
  Yeah, a cop from the moon is sent to Earth. Now, now Yeah, uh, he's from the moon. He's sent to Earth, which is now possessed by a motorcycle-riding Mad Max.
• 20:25
  Like, Earth is possessed?
• 20:27
  That's the words that's using here, but I assume it means that it's just— it's— there's a bunch of motorcycle-riding Mad Max-like inhabitants on Earth now.
• 20:35
  Oh,
• 20:35
  uh, and, uh, he's trying to stop a serum from being released that he believes is going to destroy the Earth.
• 20:40
  A serum?
• 20:41
  Yes.
• 20:42
  Wow.
• 20:43
  Yeah,
• 20:44
  the Mad Max-style robot. Or motorcycle riding people have a serum?
• 20:50
  No. Well, yeah, exactly.
• 20:51
  The Earth.
• 20:52
  Yes, I— it's IMDb writes these things, not me.
• 20:57
  That is where you are wrong. IMDb is the Internet Movie Database, and much like Wikipedia, you have got to be a contributor to it. It doesn't just— they don't just write themselves.
• 21:08
  Oh,
• 21:09
  okay. Well, some people may have some, some crazy stuff here.
• 21:11
  That's— that sounds like a great movie. I'm very curious about this. They have cops from the moon.
• 21:18
  Yeah, yeah, I guarantee
• 21:19
  there's lots of twists and turns in that synopsis.
• 21:21
  I guarantee there's a lot of stuff on his, uh, on his IMDb page that, uh, Terry, you, you probably perk up. Well, what are they?
• 21:31
  You can't just—
• 21:32
  oh yeah, no, okay, look, I, I'm pull— I pulled it up here so I could see more stuff here. Space Fury.
• 21:39
  Okay, that sounds good.
• 21:40
  I think there's also Space Rage is another one.
• 21:43
  So he seems like a guy who loves the stars, some sort
• 21:46
  of, uh, there's some, there's some TV show called Star Hunter, and then he comes back in Star Hunter, uh, Redo.
• 21:54
  Star Hunter Redo? That's what the sequel's called?
• 21:57
  R-E-D-O?
• 21:58
  No, R-E-D, uh, U-X.
• 22:02
  Oh, okay.
• 22:03
  Yeah. Uh, he's in BloodRayne, he's in BloodRayne 2: Deliverance, and BloodRayne 3. No, Ninja Cheerleaders.
• 22:10
  Oh, what's that about?
• 22:12
  I think it's pretty straightforward.
• 22:14
  All right.
• 22:15
  Oh, he's in Cool Dog.
• 22:16
  No, I like the title. I don't— that is not, uh, unless it's literally about a, like, cold dog.
• 22:20
  It's the opposite of a hot dog.
• 22:22
  Yeah. Jimmy's father gets a promotion. The family must relocate to an apartment in New York City that has a strict no-pet policy. Unwilling to let his master go without a fight, Uh, Rainey embarks on something to get back home. Yeah, never.
• 22:34
  Oh, so the dog doesn't act like a human?
• 22:36
  I'll know. Yeah, no, I'll fool the landlord. Maximum Conviction, The Big Fat Stone.
• 22:42
  I know that one.
• 22:45
  I have no idea. Uh, oh, he's in The Infiltrator with, um, uh, Bryan Cranston. Uh, where's this other— um, American Violence.
• 22:58
  Mm-hmm.
• 23:02
  Oh, The Beast Comes at Midnight.
• 23:03
  All right, now, now we're, now we're just reading the internet.
• 23:07
  It's a long, it's a long, long list. All right, I understand. Yeah. All right, so let's, uh, let's move on here. Uh, we have Tom Berringer.
• 23:17
  Uh-huh.
• 23:18
  Plays, uh, the word man Frank Ridgeway.
• 23:20
  Yes.
• 23:21
  Yep. He started his career in 1972. Well, no, not 1972, uh, a little bit later than that, with 72 episodes of One Life to Live.
• 23:31
  In 1973?
• 23:34
  No, it's like '74, '75, but 72 episodes of One Life to Live.
• 23:38
  Uh,
• 23:39
  yep. He was also in The Big Chill. Yep, yep. He eventually, uh, was in Platoon where he played Sergeant Barnes, nominated for an Oscar for Best Supporting Actor, and he actually won the Golden Globe for Best Supporting Actor. That year.
• 23:52
  Nice. Good for him. That's great.
• 23:54
  Mm-hmm. Uh, he's played Jake Taylor in Major League and Major League II. He's had some small roles in, uh, both the movie Inception and Training Day. And the same character from Training Day the movie also is in that Training Day TV show that they tried to do.
• 24:08
  Nice. Consistent.
• 24:09
  Mm-hmm. Uh, he won an Emmy Award for the role of Jim Vance in the miniseries Hatfields and McCoys.
• 24:16
  He's an award-winning actor, this guy.
• 24:18
  He is. He is. But in 1993, the movie that I always kind of associate with him, the movie Sniper, a veteran—
• 24:27
  I loved this movie as a young man.
• 24:30
  That's, I think, why it sticks out. This is the movie that I think we watched a lot during high school.
• 24:38
  There is a scene in this movie that is burned in my brain as one of the greatest action sequences ever.
• 24:46
  Wow.
• 24:47
  Yeah. Uh, it's a veteran US Marine sniper's partner with a rookie sniper. Uh, I believe that's Billy Zane as his spotter to take out a politician and a rebel leader in the jungles of Panama. Again, it's got Billy Zane. It's also got J.T. Walsh. That was in 1993. They eventually, I think in like 2002, they came back with Sniper 2.
• 25:09
  Uh, there's been a bunch of Sniper movies.
• 25:10
  He's in Sniper 3. He's in Sniper Legacy. He's in Sniper Ultimate Kill and he's in Sniper Assassin's End.
• 25:17
  Oh my God, there's a lot of these.
• 25:19
  Oh yeah, it doesn't even include the ones he's not in, which is, uh, Sniper Reloaded, Sniper Ghost Shooter, Sniper The Last Stand, which just came out last year, Sniper Rogue Mission, which I'm not even sure if that's out.
• 25:32
  These all in continuity or these like one-offs?
• 25:35
  The, uh, I think Sniper through Legacy are, are like in an order.
• 25:43
  Okay.
• 25:44
  Yeah, Sniper Reloaded has Billy Zane back but no, um, Tom Berenger. And then Berenger comes back for Sniper Legacy. And I think my wife actually watched a few of these, like, other Sniper movies. I'm like, I think she watched everything except for Sniper itself. Now this movie also has, uh, uh, Joe Pantoliano, AKA Joey Pants.
• 26:04
  Yes.
• 26:05
  And as far as I'm concerned, this guy is He's gonna— he's like a Hall of Fame supporting slash character actor. Like, he's great in everything he's in. Um, he's been in The Goonies, uh, he's in Midnight Run, which we watched, uh, The Fugitive, uh, he's in The Matrix, he's in Memento, he's in the whole series of the Bad Boys, uh, movies.
• 26:27
  Oh.
• 26:28
  Uh, I gotta say though, his fucking hair in these movies is just ridiculous. Like, it was crazy in, uh, Midnight Run, and in this one he goes from having like really nice like combed hair for like the, you know, the flashback scenes to I don't even know what's going on when they catch up in real time with him. It's just, it's not covering his head fully, but it's— It's bad choice. Yes. And he does this quite often. Like, I, I think his hair is one of the issues. Um, Like that, or like that's a—
• 27:02
  with what?
• 27:02
  I'm sorry, not an issue, but it's like, it's like one of the things that makes him like very unique in all the stuff he does.
• 27:07
  Oh, okay.
• 27:08
  But I also do like him in the movie, uh, from 1987, Amazon Women on the Moon.
• 27:12
  Oh, of course.
• 27:14
  Oh, of course. Keith can't resist bringing up Amazon Women on the Moon.
• 27:18
  Uh, he plays Cy Swerdlow in a segment, uh, called Hair Looming, and it's, uh, it's a thing about, um, Instead of getting hair plugs, they actually just put carpet on your hair. Oh,
• 27:30
  that sounds kind of nice.
• 27:31
  And it's actually a very funny segment. I was going to bring up a few of the other people. Either they didn't do anything else outside of this, or— so again, this whole concept of this movie is about this television newswoman. Ellen Barkin is in this movie for about 5 minutes. And so if it's supposed to be about her doing this investigative thing, like, she really doesn't do a whole lot of it. And, um, I guess she's not enthused about making this film. Um, she's in a, in an interview back in 2010, uh, she said— I think you're trying—
• 28:13
  I think you like gleaned that from the performance.
• 28:16
  Nope, nope. Uh, in an interview with the AV Club in 2010, she says, that's what we, uh, like to call a pay-the-rent job.
• 28:24
  Wow.
• 28:24
  It wasn't a script I liked, but her agent, uh, more or less talked her into it on the premise she'd only have to work for a couple weeks.
• 28:29
  Let me tell you, if any agents are listening, they got a role like this, I'll take it.
• 28:34
  Yeah. Now, uh, one of the guitarists when, um, Sal has the Cruisers playing at that, uh, at that one club, uh, one of the guitarists is, uh, Louis D'Esposito. You guys know who he is?
• 28:47
  It
• 28:48
  sounds familiar.
• 28:50
  Yeah,
• 28:50
  I don't think
• 28:50
  so. Uh, he's the executive producer on every single Marvel movie.
• 28:54
  Whoa.
• 28:56
  Wow.
• 28:56
  That's not why it sounded familiar to me. I don't know why it sounded familiar, but it's not that.
• 29:00
  He's like Kevin Feige, but not quite.
• 29:02
  Yeah, yeah. I mean, Kevin Feige I think does all the planning, but like this guy puts up money. He's listed as an executive producer on every single one of their things they do.
• 29:10
  Wow.
• 29:11
  All right, so, uh, the other, uh, people I do want to talk about in this though are John Cafferty and the Beaver Brown Band. They are an American rock band from Rhode Island which began their career in 1972, and they achieved mainstream success in the '80s. Uh, they used to— at one time they were just known as Beaver Brown, and I guess, uh, that is, um, like a Sherwin-Williams paint color or something like that.
• 29:35
  Beaver Brown is a Sherwin-Williams color?
• 29:38
  I, I don't know if it's Sherwin-Williams, but some paint company's Okay, okay, it's a paint
• 29:43
  color. Like, was it a paint color before they were—
• 29:47
  No, they got their name— they got their name off of a paint can,
• 29:49
  as most bands should. Just put that out
• 29:52
  there. Yeah, if you need any ideas, just go to, you know, Ace Hardware or something.
• 29:56
  Yep, that's what I do. So they first achieved success with the 1980 self-released single that paired 2 of their songs, Wild Summer Nights and Tender Years, and they, uh, sold over 10,000 copies. They got a lot of East Coast radio play.
• 30:10
  And then thanks to over 10,000 copies.
• 30:13
  That was a lot back then, especially if you— they weren't like nationwide, they were just up and down the coast. All right. Yep. But thanks to frequent airings of the film on HBO and the purchase of the soundtrack album of their, uh, established— by their established fan base, as well as hundreds of thousands of new converts, Eddie and the Cruisers, uh, the original motion picture soundtrack reached top 10 on the Billboard 200, produced the number 7 hit single On the Dark Side, which was also on the Billboard, uh, Hot 100. I'm sorry, it was number 7 single on the Hot 100, but it also reached number 1 on, uh, the, uh, rock tracks as well, and was number 1 for 5 weeks. The album was eventually certified triple platinum.
• 30:52
  Triple platinum, nice. That's, that's great.
• 30:55
  That's a lot more than 10,000.
• 30:57
  10,000 is what they sold of their original single that they did. I know, self-releasing.
• 31:01
  Yes, on editorial, 10,000, not that many copies. Jerome Platinum is 3 million copies.
• 31:08
  Wild Summer Nights and Tender Years both are featured in the film as well.
• 31:12
  Yes.
• 31:12
  Itching to grow out of his scrubs on General Hospital, soap opera actor/singer Rick Springfield was lobbying for the title role of Eddie. Director though, Martin Davidson, who had bought the novel rights, didn't think that he'd be convincing as anyone other than just being Rick Springfield. And then finally, uh, the place that Eddie goes towards the end of the movie The Palace of Depression, as it's called, uh, was a real place in Vineland, New Jersey. A homeless drifter built it out of junk, sand, and clay, uh, and then charged admission from visitors. Vandals eventually destroyed, uh, the palace after the guy died, but the original ticket booth still stands. And apparently, uh, Vineland at one point was trying to rebuild it.
• 31:53
  Nice. I hope they do.
• 31:54
  Uh, that seems awfully close. To Eddie and the Cruisers. So—
• 32:01
  oh yeah, that's very cool.
• 32:01
  I think we got really— Jesus Christ, we were cruising with them.
• 32:05
  I should have brought my earplugs climbing up to that stage next to them. I should have brought my earplugs. It's so loud.
• 32:11
  So loud. So loud. I felt like the, uh, whatever that uppity college was. I was that close to them.
• 32:20
  Yeah,
• 32:20
  I didn't even know I was that close. They just drove right through me.
• 32:24
  Oh God, they ran over you?
• 32:26
  Yeah, I was at— I was at Upity College.
• 32:28
  You were that car? You were literally that car? Oh, I didn't even know
• 32:33
  they were there.
• 32:33
  You're such a giant massive being that— yeah, just— that's how close they were.
• 32:39
  Yeah,
• 32:40
  you just notice a little ringing in your ears for a second. What's that noise? It's like, uh, probably nothing.
• 32:44
  Steady in the cruisers.
• 32:46
  Yeah.
• 32:46
  All right, man, thanks Keith. We got really close to that.
• 32:51
  I try, I try every— I try to get the closest sliverest away from whatever movie we're doing.
• 32:58
  The sliverest away.
• 33:00
  Yeah,
• 33:00
  yeah, that's how I describe it too. All right, we should do it though. We, we should discuss Eddie and the Cruisers.
• 33:10
  I think we should.
• 33:12
  Now Keith is alluding, or like hinted at the fact that I don't know if he liked the movie or not.
• 33:19
  Yes, I was like, I've been getting a little bit of a vibe from Keith. Yeah, maybe he's a little down on this film.
• 33:25
  Well, okay, so, uh, I, I didn't dislike this movie.
• 33:31
  Okay.
• 33:31
  However, there seems to be so much like just potential wasted here.
• 33:36
  Okay, what kind of potential?
• 33:38
  Well, the fact that like the whole thing is supposed to be like this more mystery of like finding out whether Eddie's a liar and All they do is just show you how the band got together and a couple key moments in their history, but not like— within the first— you get Eddie singing and them talking at the whatever, the media magazine thing that they're at, that they want to do this and their hook is going to be, is he still alive? And it's like, okay, so Ellen Barkin's character's going to be out there investigating stuff, which also the one thing they should not have done with this movie was straight on closeups of Michael Park like lip-syncing to these songs because it was very creepy to watch, um, his, his lip movements and stuff like that while he was singing. It just— I— it really, really bothered me.
• 34:23
  I didn't even notice.
• 34:25
  Yeah, that's fine.
• 34:25
  No, there's 2 different parts of the movie where I'm like, no, no, we don't need close-ups right now, man.
• 34:30
  Those are the things— those are the things I kind of notice almost all the time. I did not notice it here.
• 34:34
  There's this whole thing, and especially then like after that, like some— like within like the first like 25 minutes or so We get this thing about how Frank's place had been busted into and somebody knocked around everything looking for stuff. And even Doc's place gets roughed up a bit. They lay this mystery out there.
• 34:52
  Yes.
• 34:53
  But then really all you get from Ellen Barkin is she asks for an interview. The guy says no. She interviews somebody else and we don't actually see that interview. And then at the end, she's giving the big speech because she's finally gotten these tapes and stuff like that. that were given to her. She doesn't really— there's no investigation here. There's no mystery.
• 35:16
  Well, there's a mystery.
• 35:17
  There is.
• 35:18
  It's unfolded in a weird way. That's all.
• 35:20
  Yeah. Again, an hour and 30-some minutes. At least a quarter of this movie takes place when they're watching Sal and the Cruisers go through all the old songs and do flashbacks to almost every song was made. And I'm like, that was way, way too long of a scene.
• 35:39
  Yeah.
• 35:40
  Um, even with the flashbacks like breaking it up, I'm like, okay, let's— we gotta get moving on here. Let's find out what else is going on. Uh, like, let's get to the investigation part. And so that's like— I didn't— I didn't not enjoy— I actually— I actually did enjoy watching the movie, but the whole time I'm like, man, there was like this cool whole like mystery thing that they just left out there just to show us like how this band got made. Even if you don't go with the killer thing that's in the book, you still could have leaned into the investigation and mystery part of it a little more.
• 36:11
  I think the setup was a mistake because they set it up like it's a mystery and then it really doesn't focus on a mystery. And then the— that makes the, like, resolution of the mystery to me very unsatisfying. Yeah. Um,
• 36:26
  it's mostly just Frank Ridgway looking back, uh, at, like, the greatest year of his life.
• 36:31
  Exactly. And that's what the— I feel like the setup should have been, is like What angle should we take? That's why don't we do a retrospective of the, the band or something, you know what I mean? Like, that would have made more sense. And the way the movie's presented is like framing it as like, let's just look back at their history, or even like focus on their new album, like with the missing album or whatever. Like, something like that might have been interesting. But yeah, the weird way they do it, we're like, Eddie might still be alive, and it's like, well, you don't really get any hints to that till the end.
• 37:00
  I mean, I'm even kind of okay with that being like the way that they want to go, but like, they Well, really show you any of that.
• 37:06
  That's the thing is if they're not gonna focus on it, then why even bring it up, right? Like,
• 37:11
  also, and I— my other thing is like, it's some pretty bad acting going on in this movie.
• 37:17
  Oh really?
• 37:18
  Like, I, I didn't, I didn't think any of these guys did like a really good job. Also, the, um, the fact that like, like, I'd really like to see this movie get remade like now.
• 37:28
  Why?
• 37:29
  Because like, well, because you have stuff like, um, like the de-aging or or in some like abilities or like making somebody look older. Because they show, they show Tom Berringer and like 18 years later he's still the same guy. Like there's no change at all.
• 37:43
  Aged that— some people don't age that dramatically. That was our problem with, with Back to the Future 2 where you had, uh, what's-her-face go from being a 30-something to a 60-something and she was like old and decrepit, which felt like too great of a leap, right?
• 38:00
  Yes.
• 38:01
  But I mean, it seems like— it really seems like it was like, oh, maybe it was just like, you know, 6 months prior type thing. Like, it, it's just really weird, like, how much— and it was mostly just him. Like, everyone else, they kind of made look a little bit older, but like, mostly just for him being like the main, like the main guy through the whole thing, like, he really just looked exactly the same except for one part. He goes and he sits there and he's watching Sal do the whole thing. He goes in the back and talks to him in the dressing room area. And then he comes back out to talk to Ellen Barkin. He's got a five o'clock shadow all of a sudden. Actually, conversation. Yeah, I rewound it. I rewound it back because I was like, wait a minute. He was clean shaving a second ago.
• 38:40
  He got. It was really hungry because he didn't pass on that pizza. That's
• 38:43
  why.
• 38:44
  Oh yeah. If you don't eat enough food, your hair starts to like reach out.
• 38:48
  It makes you look old being hungry like that.
• 38:50
  Your years go up.
• 38:52
  Yeah.
• 38:53
  Yep. Yeah. So for the but for the most part, I actually I. enjoyed the movie, and I enjoyed it for the, like, what it was that event, like, they eventually put together. But I also just was really like, man, I, I don't even know why they went with this investigation idea if they weren't gonna actually show, like, some more, like, of the mystery and digging into it from that angle, which I think was a, was a big miss that would have made a much better movie.
• 39:19
  Um, yeah, I, I don't think— I didn't think the acting was bad. I liked their performances for the most part. I didn't really notice the aging thing either. I just went with it, I guess. Um, I don't know how long it's been since the band broke up. Has it been—
• 39:31
  18 years.
• 39:32
  It's been 18 years. Okay. Yeah, maybe they could have done a little something, but that didn't bug me too much. But I, I just think that the— I feel like I like— I felt I could sense the killer angle in this with the person who's like rummaging through everybody's houses trying to steal something. I feel like there was like a— could have been like a slasher movie in this, and it would have been A million times better.
• 39:56
  Just like the last 20 minutes or so kind of really kind of leads into that.
• 39:59
  Yeah, when someone's calling, um, I can't remember her character's name, uh, Joanne. When someone keeps calling Joanne, like, and like leaving, like, playing the songs and like stalking her basically. I was like, okay, now we're like, that's a creepy weird thing that's going on. He's like pretending to be Eddie. I was like, this is kind of interesting. But the, the way it resolves is like, wait, oh Okay, everybody seems just like cool with the results. It's like, oh, huh.
• 40:25
  I'll be real honest, until you brought it up, Keith, I forgot that it opened with that premise statement of like, oh, here's this, and there's like people arguing about what would make a good news story and the mystery. Like, while watching the movie, anything that involves, oh, it's a mystery, I said, ugh, this is dumb. And I didn't watch. But the things that were like flashbacks, I really appre— I enjoyed those. I thought they were good, where it's like, here's the thing, here's the flashback that is why I said that thing and supports my statement. I like those things. I like that. I like the one flashback at the college where Eddie gets all angry at Frank for kissing the girl. I like all that stuff. I'm like, well, this is really kind of interesting. And I'd forgot there was a mystery element associated with it.
• 41:19
  Yeah.
• 41:20
  And then it got to the last 15, 20 minutes. The music changed, the tone changed. It reminded me of Adaptation. I thought there were going to be alligators in the swamp.
• 41:32
  Oh.
• 41:32
  I'm like, all you gotta do is make a good final third and everybody will come. Like, it totally— it was a total mood change.
• 41:40
  Yes.
• 41:41
  Total mood and theme change. And then for it to be like, We found him. We found the MacGuffin.
• 41:47
  We just give it to the guy. We're just gonna give it to Joey Pants. It's not even an argument about it. Like, there's no conflict at the end at all. It's just like, okay dude, you can have it. It's fine. And it's like, that's all he had to do was just come up and ask, I guess. Yeah, it's all as easy as it was.
• 42:03
  My, my bigger thing was the fact that it's like the, uh, Joanne, she catches up with Frank and they you know, they obviously, they got a thing for each other. Yeah. And she couldn't stop thinking about him over the years. He couldn't stop thinking about her. But all of a sudden she gets the special, like, 2-ring call and she's like, that's Eddie, I gotta go. And then, like, she's ready to bail on him. Then once she sees that it's not really Eddie, she's like, you wanna come inside? He's like, sure. I'm like, she's just about ditch you to the curb for some guy who took off.
• 42:37
  That was the relationship though, I think. Like, she was always sitting on Eddie's lap. But she was kissing Frank. It's like, it's like a, it's like a 3-way love triangle sort of thing that was never developed or really fleshed out beyond that. But what's really funny is like Eddie could be alive, and then this whole thing that like leads you to believe that it's Eddie, but it's not Eddie, it's Joey Pants. And then it is— there is Eddie is still alive.
• 43:05
  He's just watching TV.
• 43:06
  Watching TV through a store window.
• 43:08
  Okay, that was another thing that just— the scene, not that he was there, like, as soon as they— I was like, oh, as soon as this goes off, we're gonna see Reflection. Why was everyone standing around the store watching this episode of—
• 43:20
  It's still— it's the '80s, Keith. Everyone was stood around store windows and watched TV through them. If TV and movies have taught me anything, it's that.
• 43:28
  That's true.
• 43:29
  Yes, that and quicksand is really bad.
• 43:31
  Quicksand and store window TV watching.
• 43:35
  Yeah, the 2 pinnacles of the '80s.
• 43:37
  Like, I mean, he's up front, but like, there's like at least 10 people there with him watching this. I don't even know if they can hear it. They're just watching.
• 43:45
  No, and there's no closed captioning at that time either.
• 43:48
  Luckily, everyone back in the '80s could read lips.
• 43:50
  That was a big thing about the '80s.
• 43:52
  Yes, everybody could do it. Yeah,
• 43:55
  there were lots of like, uh, learn how to lip read, like television commercials and stuff
• 44:02
  like that. Oh yeah, you could like go like at $9.99 a month To like learn how to lip read lessons.
• 44:07
  Yeah, and $6.99 shipping and handling.
• 44:09
  But if you order now, you get your first month free.
• 44:12
  Get your first month free of Lip Reading for Dummies or whatever. Time Life Books brings you lip reading.
• 44:17
  I have to use the code Fumble.
• 44:19
  Yes.
• 44:22
  Keep going back in time and—
• 44:25
  Operators are standing by now.
• 44:27
  If you drop the word Fumble on the phone to the operator, they'll give you a discount.
• 44:32
  Oh yeah.
• 44:32
  Tell them Fumble sent you.
• 44:34
  If you drop the word fumble, that's pretty good there, Terry.
• 44:36
  Because fumble literally means to drop.
• 44:39
  Yeah. Thank you.
• 44:41
  That was intentional.
• 44:44
  So, so there, the, there is a sing— there is a sequel, uh, Eddie Lives.
• 44:49
  And there's a sequel or a single? What'd you say?
• 44:52
  Sequel called Eddie Lives.
• 44:53
  Part of my Blu-ray pack.
• 44:55
  Uh, at some point in time, I don't— and Derek, I don't have the date this time, so I'm not just gonna appease you with anything.
• 45:02
  No, but
• 45:03
  I think it's 2017. Uh,
• 45:05
  Michael, I'll never be able to go to sleep tonight.
• 45:08
  I think Michael Pera said he is— he was 75 pages into writing, uh, Indian Cruisers 3.
• 45:14
  There's a third one coming?
• 45:15
  He was writing it himself?
• 45:17
  Yes, he was writing.
• 45:18
  It's a vehicle for him, that's why.
• 45:19
  Yes. Um, I don't know what happens in the sequel, so I don't know how it would tie back to—
• 45:25
  He's actually a serial killer now.
• 45:29
  That would be kind of cool if that's what they did.
• 45:32
  Yeah.
• 45:32
  Um,
• 45:33
  I know Eddie and the Cruisers were just a front for him to go town to town to kill people.
• 45:37
  Oh my God, people were going missing and every time— now that's amusing. Yeah,
• 45:41
  that's a story. That's a movie right there.
• 45:43
  That's a great idea.
• 45:44
  Eddie lives, uh, he starts off, he's living in Canada, uh, under a fake, under a fake name. Just as a mild-mannered guy until he decides to start recording again.
• 45:57
  Oh, like Superman.
• 45:58
  Yeah,
• 45:59
  Superman does that too.
• 46:00
  He's got a mild manner.
• 46:01
  Oh yeah, that's true. But underneath him is a rock and roll punk rock star.
• 46:07
  It's the real punk rock. Yeah.
• 46:11
  Uh, but I, I— that one, I know I've never seen that. I've never seen part 2. I have no idea what happens in that one. Um, like I said, I—
• 46:21
  it's too bad he couldn't finish the third because then last month we could have had one of the movies in there.
• 46:28
  Well, I mean, he's got— he's had 30 upcoming projects. You think maybe that Eddie Cruz's 3— but it's not. It's not even on the list.
• 46:35
  Damn.
• 46:36
  Maybe he should slow down a bit on the work and finish writing, writing that movie.
• 46:40
  He needs to get that script completed.
• 46:42
  Yeah, yeah.
• 46:42
  I don't know why he wouldn't just— that would be his main Well,
• 46:45
  if he's 75 pages in, he's got the third act left. That's it. All he gotta do is crank up the like spooky music and stuff like that. The chase scene—I thought there was gonna be a car chase at one point.
• 46:59
  Yeah, and there was. Someone was following them, but then it seemed like it wasn't important. Yeah,
• 47:03
  yeah. Like who is this person they will not show the face to standing there smoking a cigarette? A lot of smoking in this movie. I forgot how much people smoked in the '80s.
• 47:13
  I also thought maybe there—I also thought maybe it could have been a ghost.
• 47:17
  Oh,
• 47:17
  because they saw like it was the same car as Eddie. He's like, "That's not a ghost." And so what if like it was you know Eddie and he's driving in like a ghost car as well? You know,
• 47:29
  Eddie and the Cruisers three, Ghost of Eddie.
• 47:31
  Yeah. Mm-hmm.
• 47:33
  I love that idea. The car could be a ghost car too, and it just drives through them as they're like
• 47:37
  Christine. It was Eddie's car and the one he crashed in. And now it's back and he's haunting it.
• 47:42
  Yeah, it just keeps going down that same bridge.
• 47:45
  It comes off the road.
• 47:47
  Yeah, either goes down the bridge or goes down the pathway to Joanne's house.
• 47:53
  Yep. And parks in the driveway and flashes
• 47:55
  the lights
• 47:56
  and drives off.
• 47:57
  Flashlights 2 times. That's exactly what he—
• 47:59
  that's what Eddie used to do.
• 48:01
  Yeah, this is— I think there's like— I do like the, like, vignettes. I think the stuff in the past is very interesting. I think the character dynamics are good. I kind of— I really like the love triangle thing, even though I don't feel like it gets resolved in a very good way. It kind of just ends up like Eddie's like, yeah, we still should stick together anyways. You know, it's like, okay. Yeah. I don't feel like there's like— they argue, they have that one scene where he like kind of insults, um, Frank, but I feel like, I don't know, I wish it would just been all in the past. Like just this kid meets up with these rockers, they hang out, they go tour and do their thing. The love triangle happens and then maybe they break up. The album becomes a mess and they just leave it be or something. I don't know. I feel like there's just so many different angles they could have taken. Ghost Eddie, serial killer Eddie, so many different things I think would be interesting, but they like kind of just don't nail it.
• 48:50
  Plus, they've never— none of the people have seen each other in 18 years either. Like, after that happened, like, they all bolted in different directions and never reconnected.
• 48:58
  Nope. It's the '80s.
• 49:00
  Even though like the one dude lives in— still lives there in Jersey, the other guy lives in Atlantic City. The guy is playing at the club. The guy is playing at the club. It's got to be awfully close because, you know, you know, they got around Jersey's
• 49:12
  own—
• 49:13
  Asbury Park is in Jersey, and that's where Doc is playing as a radio DJ.
• 49:18
  Yeah. They're all like minutes away from one another. They haven't seen each other in 18 years. Haven't even run
• 49:24
  into each other
• 49:25
  at the gas station or the grocery store. Nothing.
• 49:28
  Yeah. So that's a, that's a little weird. But also, there's one time at the beginning when the guy's like— the one guy goes, yeah, the song was number one. Or somebody says this song was number one in 1963. He goes, and it's gonna be even bigger now. And I'm
• 49:42
  like, really?
• 49:43
  It's number one, that's kind of as big as you can get.
• 49:45
  Number 0.5.
• 49:47
  Yeah, I— yeah, I don't know exactly what you think it's gonna hit to, but
• 49:50
  the thing about that song is it doesn't scream '60s to me.
• 49:56
  No, it feels modern.
• 49:57
  It's not modern, very '80s.
• 49:59
  It feels '80s.
• 50:00
  So I, for the longest time, thought that might have been a Springsteen song.
• 50:08
  Ah,
• 50:08
  because it's very Springsteen-esque in its ways, right? With the voice, and it sounds like the— from the Born in the USA soundtrack or the album. But it's not.
• 50:20
  I, I believe these guys hung out in kind of the same circles as him
• 50:24
  for And Springsteen was from Jersey, wasn't he?
• 50:27
  Yeah, he's a Jersey guy.
• 50:27
  Yeah, so it kind of had that vibe to it. And when I heard it here, I'm like, I haven't heard this song in decades, but I knew it. And I'm like, it's not a Springsteen song? I guess not. It's Eddie and the Cruisers, apparently.
• 50:41
  I, uh, I actually had it on a Spotify playlist already.
• 50:45
  My Dark Side.
• 50:47
  I have like a playlist of like just random weird stuff, like, from, like, over, you know, years of stuff. And, like, that's one of the songs that made it on the list.
• 50:56
  Nice.
• 50:57
  It's a— it's— it is definitely— it is a song that as soon as I heard it, like, sparked, like, a nostalgia for me. And I was like, oh, I remember this song, I like this song. But I had no idea it was from this movie. No idea at all. And it is not '60s, sorry.
• 51:14
  No, it is not. It's very ahead of its time, which was kind of the point of the
• 51:18
  Yeah,
• 51:18
  you know, musicianship.
• 51:20
  I wanted to hear the lost album.
• 51:22
  Me too. That song was cool.
• 51:24
  This movie, like Keith said, was an hour 35, and they spent 35 of that hour 35 with music perform— it was just music videos, basically. Give me the other songs. I want to hear this other album, the one that is just— it's too avant-garde for the '60s.
• 51:42
  I want to know what it is. Yeah, the one that they played, like, they're listening to in this— I was like, that's not that crazy, guys. I don't know, it's a cool song.
• 51:50
  Yeah, yeah, but it sounded like, uh, it sounded like the, like the album was, um, it kind of reminded me of like, uh, Meat Loaf's Bat Out of Hell, where it's kind of like a, like a full, like, storyline. Like, well, not storyline overall, but like, like, yeah, concept album of some sort that he was going with.
• 52:08
  Yeah, I want to hear it. I want to hear it from front to back. You already gave me the other 35 minutes. Give me a whole album worth of music.
• 52:15
  Show us them writing in part of the scenes, like working on songs or something. Yeah,
• 52:20
  there's a cool movie and a cool concept buried in this movie somewhere.
• 52:25
  Exactly. Yeah, that's what makes it frustrating.
• 52:27
  It was just too many things that didn't— never paid off and were very— and when they did pay off, we're like, oh, you just gave it to Joey Pants? Great.
• 52:36
  Yeah, that's the end. There's no like argument. There's like, yeah, I guess you can have it if you want.
• 52:40
  They're just like You can have it. Great. These things have been hidden for 30 fucking years. You can have them. Nice.
• 52:46
  But at the same time, I, I wasn't, I wasn't like disappointed in watching. I wasn't like, this is terrible. Like, honestly, like when we got done watching, uh, you know, Back to the Future Part 2, I was like, oh God, no.
• 53:00
  Yeah, that you should, you should have apologized to us for that
• 53:03
  one. And, and watching this one, I was like, you know what? It's not, uh, it's not big night, but I didn't mind this one.
• 53:11
  It's not horrible. It's just got some— like, the fact that there's so much potential in it makes me annoyed. That's the— it's easier to complain about because there's, there's enough good stuff to appreciate that I'm like, I want more of this. Yeah.
• 53:22
  Yeah, the goods are very good. The rest is just blah at best.
• 53:27
  Yeah, so that— yeah, overall though, this is, uh, there's a lot of potential that was kind of missed.
• 53:34
  All right.
• 53:35
  I did have a, a nitpick. Yeah, let's hear it. A small nitpick, and it's very niche.
• 53:41
  Is it from the saxophone?
• 53:43
  Oh my God, it's from the saxophone.
• 53:45
  By the way, um, those things— that fingering doesn't match up to what's being played.
• 53:50
  Uh, that guy, he is the actual, uh, saxophone guy in, um, the Beaver Brown Band.
• 53:57
  He is?
• 53:58
  Wow.
• 53:58
  Yes.
• 53:59
  Okay, well, I didn't notice anything about the fingerings. That seemed okay to me. Was it the cheeks? Cheeks, usually I was— when I was taught saxophone, you're not supposed to blow out your cheeks. Just keep them in. But I also, I was like, whatever, maybe it's more cinematic with cheeks blown out. The thing that bugged me was when, you know, they're practicing outside and they're like writing that song, and then he busts out the saxophone, there's like this huge amount of reverb on the saxophone. I'm like, where did that come from? I get it if it's like live, you know, you can go through like a pedal or something. But when he's outside playing the saxophone, comes— it's like this real, like, wet reverby sound. And I'm like, no,
• 54:37
  that's not a microphone there.
• 54:38
  Yeah, yeah, there's no way it should sound
• 54:41
  so— Also, like, you got, you got Frank, who's like, you know, this guy went to like the nice, you know, Ivy League-esque types, uh, college. He's a high school English teacher type thing now. You got everyone else is all kind of dressed, you know, uh, either leather or like, uh, Eddie's always got like just the, the black t-shirt with Cletus t-shirt thing going and stuff like that. And then you got this guy, he's always in a suit. He's always got a tie on.
• 55:09
  This guy does not look like— yes, he's not genetic-wise one of them.
• 55:11
  I mean, he is. Yeah, he— and Eddie's like, you know, after the guy dies at one point, he's like, I just lost my best friend. I'm like, that was your best friend? Like, where'd you guys find this guy?
• 55:22
  He felt like he was like way older than everybody there.
• 55:24
  Yeah, yeah, yeah.
• 55:26
  Like, I mean, you can be in a band with people who are older, but I was just like, this guy's like— his vibe is so different, you know? Like,
• 55:33
  and I think when they're writing the dark side up on like the rooftop type thing is when he does seem like the oldest.
• 55:40
  Yeah,
• 55:40
  with them, because he's like— as he said, listen, they keep going back to him, his head's kind of like, oh yeah, he was the guy, he's ready to go.
• 55:47
  They bought them— he bought them beer.
• 55:50
  Oh, you're right, he's like the guy who hangs out with the young kids.
• 55:55
  Yes. And then he just became part of the band.
• 55:58
  He actually had a talent instead of just buying kids beer and hosting parties.
• 56:02
  Can I say though that he dies from an overdose and they never hint at his drug addiction at any point whatsoever?
• 56:10
  No, which is why it was— which is why it was so weird that like, also after all these years, like nobody ever told Frank that it wasn't a heart attack. Like, I know.
• 56:23
  Like, but like, and it's not just like, oh, he likes to smoke pot or he's into coke. He's into heroin, which to me is like a step above the rest, right? There's a lot of work that goes into it and it's like crazy, right? Yeah. So he's got a heroin addiction that nobody knew about prior to this because he's like, oh, you stupid whatever. And he has all these track marks on his legs, so he's been hiding for a long time and no one knew this. Anyway, he dies from the heroin addiction. What was I gonna say? I don't remember what it was, but it felt like it was such a crazy— yeah, like curveball.
• 57:03
  He's the one character that they don't focus on very much at all. No. And then it's like when he dies, it's like, well, you didn't really establish him. I mean, it's kind of— it's sad the way anyone I would find dead in a bathroom sad, but it's like, I don't— like, if it would have been anyone else, it probably would have hit harder because they actually focused on him.
• 57:22
  It made me think that maybe that's something that was still pulled from the book where there was like, like, maybe, maybe somebody killed the guy somehow. Yeah. Uh, like, and made it look like an overdose and he didn't actually die.
• 57:36
  And he's coming back.
• 57:38
  And that mystery of like, you know, is all there and like you know, there's a murder, you know, type thing that was earlier on as well. So it kind of part is like, maybe because Frank is really like, it was just a heart attack. Phil, if everyone else knew that he overdosed, like, why would Frank still be in the dark after all these years about it?
• 57:56
  Yeah, like, he's like, he was too sensitive to understand the truth. But they had a concert like the day after his funeral, but then they just canceled that show. Come on. Yeah, yeah, you're Eddie.
• 58:09
  It's at the local, uh, Jersey Shore bar.
• 58:12
  Yeah, it's not like a big show. It's something he does every night. Just get somebody else to fill in. You could probably find somebody else.
• 58:18
  Sorry, we gotta call this show. One of our members just died.
• 58:23
  Yeah, instead we're gonna go on stage, we're gonna bring this, this other guy on, and, uh, he's just standing there awkwardly. Everybody's staring at me like—
• 58:31
  Was it also
• 58:32
  hilarious that
• 58:32
  they have the girl sing so we can have like another like A, a tender, uh, almost like remix version of the one song.
• 58:39
  I thought it was hilarious that they had their saxophone player, who is the only Black guy in the group— fine, he dies— and they had to replace him with another Black saxophonist
• 58:51
  who also wears like a suit and stuff
• 58:53
  on stage.
• 58:54
  And it was standing right there, and Eddie goes, not as my best friend, but he's the greatest saxophone
• 59:00
  player ever. Yeah. That's nice of you to say about that guy, but I'm staying right here. Yeah,
• 59:06
  I'm a pretty good saxophonist. I sounded just like the other saxophonist.
• 59:11
  Yeah, he did. A lot of reverb on that saxophone.
• 59:14
  Almost like it was a recording. It was so exact.
• 59:17
  Now I wanna know, I wanna know if that new saxophone player is an actual saxophone guy or if he—
• 59:21
  Yeah.
• 59:22
  Oh,
• 59:24
  now who played, who played, what was that character's, what was the saxophone guy's name? Wendell?
• 59:29
  Oh, the the original saxophonist? Yeah, Wendell sounds right.
• 59:33
  I'm gonna look up who played Wendell's replacement.
• 59:39
  Oh, while Terry's doing that, did we finish it? Did we do it, boys? Do we think so? Eddie and the Cruisers?
• 59:45
  I think we may have.
• 59:46
  All right, it felt like a very mixed conversation. So what was our general thought on Eddie and the Cruisers?
• 59:54
  I enjoyed it.
• 59:56
  I
• 59:56
  probably won't revisit it.
• 59:57
  Okay. I'll be honest, like, I'm very mixed. I did not hate the movie at all. I liked all the flashback elements. I liked that the world building of Eddie and the Cruisers— like, I like those, those, those like early band stories, like how he became part of the band, like how he— like Eddie pushed him to like play rock and roll on the piano. And I really liked all that stuff. I like that. I like the weird love triangle that never panned out to anything. Like, all that was good. That would have been a movie, just any of the Cruisers, like a, like a biopic, right? That'd be fun. The mystery stuff, I forgot about it until the end, and they tried to make me remember about it. I didn't want to. I was like, oh yeah, that's right. And, uh, so it's mixed. It's, it's not the best. I'll never watch it again, but I'm not mad that I watched it. It's like a 4.
• 1:00:56
  Yeah, okay. Yeah, it's, it's kind of a hit or miss, I guess. Like, yeah, like you said, that it should have just been like a fake biopic about this band.
• 1:01:06
  Yeah.
• 1:01:07
  Because that stuff's interesting. The love triangle would have been a lot more interesting to focus on, seeing why the band broke up with the album, and like maybe it's too ahead of its time.
• 1:01:15
  I want to listen to that album.
• 1:01:17
  Yeah, because the song they listened to was cool, and I was like, all right. And I was surprised everybody seemed to hate it. seemed weird. But, um, boy,
• 1:01:25
  that guy was pissed, wasn't
• 1:01:26
  he? He was so mad. And I was like, I get why Eddie's mad because it doesn't make sense. Like, it's a good song. Like, what's the problem? They acted like it's like out of tune, poorly played instrument. I'm like, no, everything sounds great in this. I don't understand. But, um, yeah, it's just kind of, uh, it's such a mixed bag. And it's like easy to pick at it because I see such potential, you know what I mean? Like I, I— it's frustrating to see like all the good that could have come from it, but— and it's just turned out to be okay, which is, yeah, a shame. Um, but it's not that bad. It's okay. It's a decent movie. I think it's just I wanted more, and I wish that saxophone didn't have so much reverb because it doesn't—
• 1:02:08
  As soon as you're like, I have a nitpick, I'm like, it's a saxophone. I know it is.
• 1:02:12
  I
• 1:02:12
  didn't know what part of the saxophone. I just knew it was a saxophone. That's awesome. Well, we know what we thought. What did the internet have to say? Well, on April 6th, 2005, Home-Plate had this to say. Books into flicks. Having read the book first and really liked it, the movie succeeded. Though I've never cared for actors lip-syncing to other vocalists, especially in light of having The Buddy Holly Story break new ground in the same year, 1983 AAW Best Music Adaptation, Michael Pare was quite good. Or is it Pare or Pare or Pare? Don't matter. As this was a hybrid of the Jim Morrison What If myth and the Springsteen story, it did offer some insight into the era. And at the time, a look into the genesis of a band and the internecine struggles. That's a word I've never seen before. I-N-T-E-R-N-E-C-I-N-E. Thanks, Home-Plate. Picking movies like this apart misses the point. Oh God, it's chastising us.
• 1:03:32
  Hey, wait, what?
• 1:03:34
  It's a solid effort with passionate performances. In retrospect, Michael Pare never got past B-movies, and Tom Berenger turned bright before he too succumbed to having SAG card will travel. Ellen Barkin lasted a bit longer, and what can one ever say about Joe Pantoliano? I'll take this flick, Risky Business, Matrix, and The Sopranos on my res Any day. Dot dot dot dot. 4 found it helpful, 2 not so much. 10 out of 10.
• 1:04:14
  Wow. Okay, sure. I don't like that he's critiquing our critique.
• 1:04:19
  I like how you can't nitpick a movie like
• 1:04:22
  this. Uh,
• 1:04:23
  I'll be damned if we can't.
• 1:04:25
  Oh yeah, that's the whole point.
• 1:04:27
  That's the whole point of podcasts like this.
• 1:04:31
  And then, not to be outdone, on August 21st, 2006, Julio E. Colon had this to say.
• 1:04:40
  I thought you're gonna say Julio Iglesias.
• 1:04:42
  And him, A Bruising Cruise.
• 1:04:49
  Okay,
• 1:04:50
  okay, not, not the best, uh, that obviously doesn't have like a copywriter making their titles for them. A Bruising Cruise. Tom Berenger must have been desperate for work when he signed on for this embarrassment of a film. Like, it's in— it's like one of his first in his career, isn't it?
• 1:05:08
  Tom Berenger, he was so desperate.
• 1:05:11
  Desperate for work. It has the feel and tone of the kind of made-for-television movie you might watch out of sheer boredom and exhaustion on a Sunday afternoon when you're too tired to either locate the remote or to fire a bullet at the television screen.
• 1:05:25
  What? You're gonna shoot this? I'm too tired to shoot my television screen.
• 1:05:30
  I'm never too tired to shoot a gun. Yeehaw!
• 1:05:33
  Yeehaw!
• 1:05:34
  I'm waiting for an excuse. And unnatural. And the music, which is supposed to be awesome, sounds curiously like a bad ripoff of Springsteen, even though the flashbacks in the film are set for the most part in 1963 when nothing sounded like Springsteen. Worse yet, the sets do not look at all like anything reminiscent of 1963. Okay, this is very clearly a cheap production doomed from the start by an awful script, terrible acting, and a devil-may-care attitude about capturing the feeling of an era. Here's the premise of the film: years after Eddie the Tempestuous and Dumb— can you spell Ripawd?— lead singer of the Cruisers had disappeared. He died in a car accident, but his body was never discovered. A reporter decides to write a story about the band. She has a theory that Eddie is still alive and believes that the band may be on the verge of a renaissance if the missing final recordings named A Season in Hell can be located. She forces her presence into the lives of the remaining band members. That's true. Who are—
• 1:06:49
  That's not right.
• 1:06:50
  By the way, dull as dirt to piece together the band's history. This reporter is so creepy and annoying that she probably have a restraining order slapped on her nowadays.
• 1:07:03
  She's so creepy, really.
• 1:07:05
  I found her to be missing most of the movie. I don't—
• 1:07:08
  she could have been the killer.
• 1:07:09
  Maybe she was. Ironically enough, A Season in Hell describes the viewing experience quite accurately.
• 1:07:17
  Wow.
• 1:07:18
  13 found it helpful, 20 not so much, 1 out of 10.
• 1:07:24
  Interesting. That's pretty harsh.
• 1:07:27
  It is harsh. Yeah,
• 1:07:29
  that's pretty rough there. That's
• 1:07:31
  somewhat accurate. The Springsteen thing sounding like an '80s Springsteen song from '63 is the thing that really bugged me the most about
• 1:07:39
  it. I agree with some points, but I feel like Uh, you just can't nitpick a movie like that.
• 1:07:45
  Yeah, you make a very good point.
• 1:07:49
  Unless you have a podcast.
• 1:07:51
  Yeah, come on, you gotta have the right platform.
• 1:07:53
  Yeah, yeah, the, the reviews on IMDb are not the platform for that.
• 1:08:00
  No, God no.
• 1:08:01
  20 disagreeing would make you believe that, right?
• 1:08:04
  Yeah, let's see.
• 1:08:05
  Getting ratioed.
• 1:08:07
  Yeah, yeah, get wrecked, dude.
• 1:08:11
  Check yourself, Julio E. Colon.
• 1:08:13
  Yeah, um, I did, I did do my research here, just so everybody knows. So the guy who replaced, uh— oh
• 1:08:20
  nice,
• 1:08:20
  oh, we're going back there. I forgot all about it.
• 1:08:22
  I love it.
• 1:08:24
  So Wendell's replacement in this film was Howard Johnson. I clicked on Howard Johnson.
• 1:08:29
  Yep, yep.
• 1:08:30
  No, well, maybe, uh, I looked up Howard Johnson on IMDb and it mentioned nothing about being a professional musician. But I was like, really? So I Googled him and then a lot of stuff.
• 1:08:42
  You find a bunch of hotels.
• 1:08:42
  I saw a lot of things. So I had to, I had to narrow it down. I was like, Howard Johnson, saxophone, Eddie and the Cruisers. That's what I looked up.
• 1:08:50
  And it wasn't the guy who played for the Mets in the '80s either.
• 1:08:53
  No, the third baseman. Oh,
• 1:08:55
  actually it was him. No, no. Um, turns out he is a jazz musician. He is an actual saxophone player, but he's more known for playing his tuba.
• 1:09:06
  Oh, he's a tubist.
• 1:09:07
  He plays tuba, jazz tuba, and he plays bari sax. Those are his two mains, but he's also played a lot of other things.
• 1:09:13
  So I'm sorry, the term jazz tuba blows me away.
• 1:09:19
  I like—
• 1:09:19
  I only picture tuba as like
• 1:09:23
  a lot of like, uh, um, I feel like the Louisiana jazzy kind of stuff has a lot of like instead of a bass they have a tuba.
• 1:09:30
  Oh, nice.
• 1:09:32
  He's known to have expanded the tuba's known capacities in jazz.
• 1:09:36
  All right, well,
• 1:09:40
  is there anything else awesome we can do?
• 1:09:42
  Well, I know something super awesome we can do. We can turn to Terry to find out what next week's movie is.
• 1:09:53
  Yes, yes, I'm excited to announce this as well.
• 1:09:56
  I am excited to hear it because I'm gonna either have to buy it or I already have it in hand.
• 1:10:01
  And because we know Terry takes big swings at the movies.
• 1:10:04
  He takes big swings. That's his thing.
• 1:10:05
  That's true. I've been known to do that. I don't know how big.
• 1:10:08
  And hopefully I haven't, like, put you into, like, this, this classification as the big swing Terry.
• 1:10:15
  You pigeonholed me. Yeah. Uh, no, this time I don't know how big of a swing it is. I just have not seen this movie, and I was like, you know what, I'm gonna pick it. I hope it's good. I think I've heard it's good. We'll find out. It's called Walk Hard: The Dewey Cox Story.
• 1:10:32
  Oh, okay.
• 1:10:33
  I've seen it. Wow. Okay.
• 1:10:35
  I have seen this movie.
• 1:10:37
  Nice. All right. Walk Hard: The Dewey— isn't it like a, uh, it's like a, it's one of those parody movies about—
• 1:10:46
  Yeah, it's supposed to be kind of, I think, Johnny Cash-esque maybe.
• 1:10:49
  Yeah, Johnny Cash.
• 1:10:51
  Yeah, it's supposed to be, um, Uh, Walk the Line, uh, for the most part, uh, spoof type thing. Yeah. All right, I remember enjoying it, so let's see if it holds up.
• 1:11:02
  Ain't never seen it. I don't know who's in it other than, uh, what's his face?
• 1:11:06
  Uh, John C. Reilly.
• 1:11:07
  That's the guy, that's the face. All right, so we got it. Oh, we got our marching orders, which are— which is Dewey Cox. What's it called again?
• 1:11:17
  It's called, uh, Walk Hard, the Dewey Cox story. No, Walk Hard.
• 1:11:22
  Walk Hard. Walk the Line is Johnny Cash movie.
• 1:11:26
  That's the Johnny Cash movie.
• 1:11:27
  Walk Hard is the Dewey Cox movie.
• 1:11:29
  Yep, the Dewey Cox story.
• 1:11:31
  Dewey Cox story. All right, and we're gonna watch that for next week, right? I'm looking forward to it. All right, well, I guess that leaves us with nothing to do but to end this the way we end everything.
• 1:11:45
  Everything.
• 1:11:46
  Everything.
• 1:11:46
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• 1:12:38
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• 1:12:53
  Thanks for listening to Fumbling Through Film. New episodes drop every Thursday. Got feedback or questions? Email us at fumblingthroughfilm@gmail.com. Follow us on Bluesky at Film Fumblers and on Instagram at film.fumblers. You can also follow Keith on Instagram at kg33lives and dadscardsdaily. Terry's on Letterboxd at Terry2099, and Derek's on social media at Derek the number 9 and the word 9. All original music is produced by the Dr. Dre of Kansas, Terry. Hit him up for the bangers. See you next week as we keep on fumbling.