Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Staff Picks - Night Killer (1990)

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Staff Picks - Night Killer (1990) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 1:16
  Speaker 2: Welcome back to a brand new episode of Beyond the
• 1:19
  Speaker 2: Blood staff picks. This is the show where we pretty
• 1:21
  Speaker 2: much ditched the audio commentary and dive into sleeves like
• 1:25
  Speaker 2: a nineteen nineties night Killer. And this was Steve. I
• 1:29
  Speaker 2: think this is like your most look forward to ever
• 1:32
  Speaker 2: on the show's history.
• 1:33
  Speaker 3: Then the most anticipated. I've been waiting all week, maybe
• 1:38
  Speaker 3: longer than that, to finally talk about Claudio Fragasso's masterpiece,
• 1:43
  Speaker 3: his magnum Opus.
• 1:45
  Speaker 2: We've been getting messages for years asking when we were
• 1:48
  Speaker 2: finally going to cover this movie, and we decided, yeah,
• 1:51
  Speaker 2: it's about time.
• 1:53
  Speaker 3: You know, Texas Chainsaw three yea in some parts.
• 1:58
  Speaker 2: Maybe this because there's no audio commentary for this release
• 2:02
  Speaker 2: from seven, Maybe this is like our calling. Maybe our
• 2:05
  Speaker 2: first physical media bonus feature could be a commentary track
• 2:09
  Speaker 2: for night Killer. What do you think about that?
• 2:11
  Speaker 3: Dude? Sign me up. We were talking about we were
• 2:14
  Speaker 3: talking about this earlier, right, and we were talking about
• 2:16
  Speaker 3: just how insane of a plot this is for a film.
• 2:22
  Speaker 2: The commentary is just you and I for ninety minutes,
• 2:26
  Speaker 2: trying to link how this film inspired Paul Verehoven with
• 2:30
  Speaker 2: basic instinct.
• 2:32
  Speaker 3: Listen, I'm not gonna roll it out. It set the
• 2:35
  Speaker 3: stage for all the erotic thrillers that came out after this.
• 2:39
  Speaker 2: Oh my god, this is this is the This is
• 2:43
  Speaker 2: the starting point for the nineties erotic thriller train.
• 2:49
  Speaker 3: I love how this film has so many names attached
• 2:54
  Speaker 3: to It also has don't open the Door three.
• 2:57
  Speaker 2: Yeah, don't, which I've never even heard of, Don't Open
• 2:59
  Speaker 2: the Door one or two?
• 3:01
  Speaker 3: I don't either.
• 3:04
  Speaker 2: Well, before we get too into it, my name is Chris.
• 3:07
  Speaker 2: I'm the bearded film guy. I'm one of your co
• 3:09
  Speaker 2: hosts today and there's always I'm joined by Steve from
• 3:11
  Speaker 2: After Hours Video.
• 3:13
  Speaker 3: The sleaziest guy you know, this leasiest guy, I could
• 3:16
  Speaker 3: be the night killer.
• 3:17
  Speaker 2: You don't know, top top three man, the top three
• 3:20
  Speaker 2: sleaziest guys. I know. I would have to put together
• 3:22
  Speaker 2: an official ranking to figure out. But you're definitely somewhere
• 3:26
  Speaker 2: in there. I think you know who else is up
• 3:27
  Speaker 2: there video interiors.
• 3:30
  Speaker 3: Okay, I mean he's a solid dude too.
• 3:32
  Speaker 2: Yeah yeah, yeah, no, he's great, one of my favorite
• 3:34
  Speaker 2: accounts to follow on social media. But he's definitely I've
• 3:38
  Speaker 2: seen the screenshots he grabs from random episodes of Miami Vice.
• 3:42
  Speaker 2: The guy is definitely he might have me. I'll bet
• 3:47
  Speaker 2: I would say it's probably, it's probably, uh, it's probably Okay,
• 3:53
  Speaker 2: you were number You're number three, right, and then he's
• 3:59
  Speaker 2: number two. And then number one is that guy Reginald
• 4:02
  Speaker 2: who has all of the porn ripoffs of horror movies.
• 4:04
  Speaker 2: We love to post them every day.
• 4:08
  Speaker 3: I'm just living in his shadow.
• 4:10
  Speaker 2: Where does he get those from? Man, that's pretty incredible
• 4:13
  Speaker 2: that he does that.
• 4:15
  Speaker 3: Man, I'm over here thinking, like my sleeves level is
• 4:19
  Speaker 3: a little bit higher. I've got a one sheet of
• 4:20
  Speaker 3: Sliver in my room, yeah, amongst others.
• 4:24
  Speaker 2: But you have sent me photos of you watching movies
• 4:27
  Speaker 2: and like the lighting from your TV is like softly
• 4:32
  Speaker 2: glowing over the Sliver poster. It's man, you know, and
• 4:38
  Speaker 2: then it's it's funny. Actually, I'll wait, hold on, I
• 4:40
  Speaker 2: gotta throw a caveat in here. Number one might be
• 4:43
  Speaker 2: Brian from last movie standing sleazier than me. I don't know, man.
• 4:49
  Speaker 2: He I did watch a haul video from him earlier
• 4:52
  Speaker 2: today and he went on for about five minutes about
• 4:54
  Speaker 2: blue is the warmest color have you ever seen? That?
• 4:57
  Speaker 3: Does that sound so familiar. I don't know.
• 4:59
  Speaker 2: If I have a friend film in the Criterion collection.
• 5:01
  Speaker 2: It runs about three hours long.
• 5:05
  Speaker 3: I don't think so.
• 5:06
  Speaker 2: Then it's pretty sleazy, man, pretty slazy. But listen, man,
• 5:12
  Speaker 2: this is not what we're here to talk about today.
• 5:15
  Speaker 2: We're here to talk about a night killer. This does
• 5:16
  Speaker 2: not have a commentary track. Uh. This has been put
• 5:19
  Speaker 2: out on Blu ray by seven, one of my favorite companies.
• 5:23
  Speaker 2: This is notoriously titled the Texas Chainsaw Masacret three, as
• 5:29
  Speaker 2: producers did over in Italy along with Jalls five and
• 5:33
  Speaker 2: what else did they do? Evil Dead three and Maniac two?
• 5:38
  Speaker 3: Well?
• 5:39
  Speaker 2: What else am I missing any in that list? I
• 5:43
  Speaker 2: think four same directors here? Act.
• 5:45
  Speaker 3: Wasn't there a Terminator one too?
• 5:47
  Speaker 2: There was a Terminator one? That was uh?
• 5:51
  Speaker 3: Because seven did that whole line of like the alternative slipcovers.
• 5:56
  Speaker 2: Yeah yeah they did. Yeah, yeah, there was a term
• 6:00
  Speaker 2: nearer one. I'm just blanking on it.
• 6:02
  Speaker 3: The only one I have was Jaws five for curl Jaws.
• 6:05
  Speaker 2: Curl Jaws, Yeah, curl Jaws. This This movie sat on
• 6:10
  Speaker 2: my shelf for a little while before I initially watched it.
• 6:13
  Speaker 2: I think I think I got this, like during one
• 6:15
  Speaker 2: of the I don't know, one of the one quarter
• 6:19
  Speaker 2: to Black Friday, you know, like one of those weird
• 6:22
  Speaker 2: maybe it was like their summer sale. I think at
• 6:24
  Speaker 2: one point this was like seven dollars and forty nine cents.
• 6:28
  Speaker 3: I'm yeah, it was pretty cheap when I got it.
• 6:32
  Speaker 2: Yeah, and this is this is quite an interesting one.
• 6:35
  Speaker 2: So this was directed by Claudio Fergasso. For people who
• 6:40
  Speaker 2: don't know, he is most known for a couple of things.
• 6:45
  Speaker 2: One of them is a ten year stretch where he
• 6:48
  Speaker 2: wrote for Bruno Bette, who's another huge Italian director, mostly
• 6:53
  Speaker 2: known for not really great work. Are you a Bruno
• 7:00
  Speaker 2: Matte fan?
• 7:04
  Speaker 3: I feel like the quality between him and Claudia Forgotso
• 7:06
  Speaker 3: is roughly about the same. He can't go in having
• 7:10
  Speaker 3: high expectations. I appreciate it for what it is, but no,
• 7:15
  Speaker 3: get hope's up too high.
• 7:17
  Speaker 2: Yeah, this is the guy Bruno matte directed, Hell of
• 7:21
  Speaker 2: Living Dead, Rats, Night of Terror Strike, Commandos on B three, Oh, Shocking, Dark, Determined.
• 7:30
  Speaker 3: Jaws, Crull Jaws.
• 7:33
  Speaker 2: Yeah, very uh yeah. There's a lot going on here
• 7:38
  Speaker 2: on his Wikipedia at the moment, including Emmanuel's Revenge. Very good,
• 7:46
  Speaker 2: very very good. Yeah, this you know, Claudia Fragasso wrote
• 7:51
  Speaker 2: for him for about a ten year stretch. What's interesting
• 7:54
  Speaker 2: about all of this pretending to Night Killer is that
• 8:00
  Speaker 2: Claudia directed this under us with a pseudo name of
• 8:03
  Speaker 2: Clyde Anderson, which makes it even weirder. And then the
• 8:08
  Speaker 2: producers went ahead and hired Bruna Matata come in and
• 8:12
  Speaker 2: actually shoot additional gore scenes at dampler movie. This is,
• 8:17
  Speaker 2: if I'm being frank, this movie is a fucking mess, dude.
• 8:20
  Speaker 2: This is.
• 8:23
  Speaker 3: When you when you sort through the mess. There's something
• 8:26
  Speaker 3: beautiful about this film.
• 8:28
  Speaker 2: There is there is there. Yeah, I mean, I don't know,
• 8:32
  Speaker 2: should we just what was your first experience with this movie?
• 8:35
  Speaker 2: Like before so goes off the rails?
• 8:40
  Speaker 3: I remember getting into this movie. I was doing a
• 8:43
  Speaker 3: deep dive into some lesser known Italian horror films I
• 8:47
  Speaker 3: had at the time I hadn't seen before, so I
• 8:51
  Speaker 3: think we were talking about this earlier. I was getting
• 8:53
  Speaker 3: into Joe Diamato films and Claudia Fergasso and Bruno Mattee
• 8:59
  Speaker 3: like a lot of their films and this was one
• 9:02
  Speaker 3: of them. Picked this up through several you know, uh,
• 9:07
  Speaker 3: I grabbed a number of other movies that I caught
• 9:09
  Speaker 3: on that sale. But uh, there was something about this movie.
• 9:13
  Speaker 3: I think it's The Slaves for sure that definitely caught
• 9:18
  Speaker 3: my eye. And I know that this movie is it
• 9:25
  Speaker 3: Is it a masterpiece? I mean that depends who you ask, right,
• 9:29
  Speaker 3: But yeah, this film, if you appreciate it for what
• 9:33
  Speaker 3: it is, it's it's just like batshit crazy and for
• 9:39
  Speaker 3: that I appreciate this film.
• 9:42
  Speaker 2: Yeah, I don't. I don't hate this movie. I know.
• 9:44
  Speaker 2: Me kind of talking about the mess this movie is
• 9:46
  Speaker 2: sounds negative. It's really not like this is a no,
• 9:50
  Speaker 2: and no means a good movie, like as far as
• 9:55
  Speaker 2: co like as far as like a general movie watching experience.
• 10:00
  Speaker 2: You're not gonna come out of this thinking anything highly
• 10:04
  Speaker 2: of this outside of just the incredible amount of salies
• 10:09
  Speaker 2: and what the fuck's you're gonna ask yourself in ninety minutes,
• 10:13
  Speaker 2: which is a lot you're gonna do. You're gonna do
• 10:14
  Speaker 2: that a whole lot to kind of paint the best
• 10:17
  Speaker 2: picture I can. Uh. Claudio Forergasso also direct Control To
• 10:24
  Speaker 2: which is widely considered one of the worst movies ever made,
• 10:29
  Speaker 2: but now has a four K deluxe edition from Vinegar Syndrome, So.
• 10:34
  Speaker 3: It it's kind of weld to see some of these
• 10:37
  Speaker 3: like four K transwers we've gotten for some of these films.
• 10:40
  Speaker 3: Another film that when we're talking about Berna Mate Rats, Yeah,
• 10:45
  Speaker 3: and that got a four K.
• 10:48
  Speaker 2: I'm pretty sure Hell the Living Dead did too. From
• 10:51
  Speaker 2: sever and Yeah, yeah, so he has a couple. Uh,
• 10:55
  Speaker 2: I thought there was one other. It's funny because I
• 10:57
  Speaker 2: can see I've never seen Hell of the Living Dead,
• 10:58
  Speaker 2: but I can see the cover in my head right now.
• 11:01
  Speaker 2: I remember that being one of the bundles that came out.
• 11:04
  Speaker 3: You said, Severn.
• 11:06
  Speaker 2: Yeah, the great folks over at seven. Seriously my favorite
• 11:12
  Speaker 2: label in the game, the label that started this podcast.
• 11:17
  Speaker 2: We started this podcast with Spider Labyrinth from seven. Well
• 11:20
  Speaker 2: long long term seven relationship here.
• 11:23
  Speaker 3: I feel like eighty eight films they do a lot
• 11:25
  Speaker 3: of like very similar titles that Severn puts out. They do.
• 11:29
  Speaker 2: Yeah, they usually have like the can't the rights to
• 11:32
  Speaker 2: one another's work. It's like absurd and Anthropophagus came out
• 11:39
  Speaker 2: first from eighty eight in the UK, and then it
• 11:41
  Speaker 2: took seven a couple of years to do theirs. But
• 11:44
  Speaker 2: it's a totally new scan. So I feel like they
• 11:46
  Speaker 2: kind of bounce off each other in certain ways. This
• 11:51
  Speaker 2: is one that I'm sure down the line is going
• 11:54
  Speaker 2: to end up with a four K, depending on how
• 11:56
  Speaker 2: the rights are. It's still available Happy currently available through Severn.
• 12:04
  Speaker 2: Don't really see this one getting getting talked about a
• 12:07
  Speaker 2: whole lot. But there's some really interesting things happening in
• 12:16
  Speaker 2: this movie.
• 12:17
  Speaker 3: Where do you begin?
• 12:19
  Speaker 2: I'm going to try to give a little bit of
• 12:21
  Speaker 2: a plot. Uh, some up, I'm gonna I'm gonna do
• 12:25
  Speaker 2: my best. Ye. We follow a character named Melanie Beck
• 12:32
  Speaker 2: who is split up from her husband, and she gets
• 12:37
  Speaker 2: attacked by a killer who has been on the loose
• 12:42
  Speaker 2: for in this movie, they say the last six months,
• 12:45
  Speaker 2: who wears a mask and has like razor fingernail gloves,
• 12:51
  Speaker 2: very reminiscent of Freddy Krueger at a night right now
• 12:55
  Speaker 2: on the street, and he he's been punching through these
• 13:00
  Speaker 2: abdomens and raping them all over town.
• 13:03
  Speaker 3: He that rest strength has to be incredible, like he
• 13:07
  Speaker 3: within like the first fifteen minutes he impales two women.
• 13:11
  Speaker 2: Yeah, it's crazy man, absolutely like guys, the strongest I've
• 13:14
  Speaker 2: ever seen him.
• 13:17
  Speaker 3: He doesn't need dream powers.
• 13:19
  Speaker 2: No, no, no. So we follow Melanie back, who is attacked
• 13:24
  Speaker 2: by this night killer, and who goes into a state
• 13:29
  Speaker 2: of shock, and upon being released from the hospital and
• 13:34
  Speaker 2: attempting suicide on a beach, gets taken in by a
• 13:40
  Speaker 2: strange man who I don't know wants to help her
• 13:45
  Speaker 2: or wants to help her kill herself.
• 13:48
  Speaker 3: And it's kind of strange.
• 13:49
  Speaker 2: It's very strange. All the while, this killer is still loose,
• 13:54
  Speaker 2: and it all comes together at the end in a
• 13:56
  Speaker 2: way that I don't want to spoil right off the bat,
• 13:58
  Speaker 2: and you know, it wraps up in a in a
• 14:01
  Speaker 2: way that that makes no fucking sense whatsoever. Oh, she says,
• 14:05
  Speaker 2: no memory.
• 14:08
  Speaker 3: Yeah, I feel like anything. The underlying theme to this
• 14:11
  Speaker 3: entire film is trauma.
• 14:15
  Speaker 2: Easily this is this is like, uh, the hereditary level
• 14:20
  Speaker 2: trauma dissection.
• 14:24
  Speaker 3: Do you think this is?
• 14:27
  Speaker 2: I do think so. She also has a daughter who
• 14:31
  Speaker 2: goes to live with the family best friend who stopped
• 14:34
  Speaker 2: the attack.
• 14:36
  Speaker 3: Yeah, he's the only one that's seen the killer. He
• 14:41
  Speaker 3: repeats that multiple times.
• 14:43
  Speaker 2: He is the only one who has seen the killer.
• 14:45
  Speaker 2: He also repeats multiple times that that is not their daughter,
• 14:49
  Speaker 2: multiple times. So that's that.
• 14:52
  Speaker 3: I think that.
• 14:53
  Speaker 2: Wraps up an night Killer in a way that that
• 14:56
  Speaker 2: makes sense. How do you want to how do we
• 15:01
  Speaker 2: start this conversation.
• 15:03
  Speaker 3: Well, the film opens up where we see if they're
• 15:11
  Speaker 3: at I believe a dance studio. Right, she's the worst
• 15:14
  Speaker 3: fucking dance like I've ever seen in mild It's not good.
• 15:17
  Speaker 3: And the instructor there's like one point where she's like,
• 15:22
  Speaker 3: I don't even know, maybe collecting her thoughts or something,
• 15:25
  Speaker 3: but she like stumbles over whatever it is that she's
• 15:30
  Speaker 3: trying to explain to them multiple times, and at this point,
• 15:33
  Speaker 3: like by the third fourth attempt of her trying to
• 15:36
  Speaker 3: say whatever she's gonna say, at that point, I'm like,
• 15:39
  Speaker 3: just give it up, just give it up.
• 15:41
  Speaker 2: Yeah, She's pissed off because what of her dancers has
• 15:45
  Speaker 2: arrived late and it seems to be a repeat offense
• 15:48
  Speaker 2: of this particular dancer. So she has a group of
• 15:53
  Speaker 2: people on stage not dancing very well. Whatsoever. A dancer
• 15:57
  Speaker 2: arrives late, she sends her to the dressing room to
• 16:01
  Speaker 2: go get changed, and she gets punched through the abdomen
• 16:07
  Speaker 2: by this killer who shows up.
• 16:10
  Speaker 3: Now, not only is this just as saying the fact
• 16:14
  Speaker 3: that he's capable of doing this, but what I did
• 16:17
  Speaker 3: appreciate about it is that it feels like almost like
• 16:22
  Speaker 3: the Michael Myers point of view of the killer kind
• 16:24
  Speaker 3: of vibe that you're getting in the opening, but it's
• 16:27
  Speaker 3: just there's an extra layer of sleeves to it because she's,
• 16:31
  Speaker 3: you know, getting undressed, and I feel like we're seeing
• 16:34
  Speaker 3: something that we're not really supposed to. Yeah, it's pretty wild.
• 16:42
  Speaker 2: I do appreciate. There are some particularly in this opening sequence,
• 16:47
  Speaker 2: there are some really long takes, like watching these shots
• 16:52
  Speaker 2: with the cameras moving all over from the POV, and
• 16:54
  Speaker 2: they go pretty long. There's one that goes on after
• 16:58
  Speaker 2: he kills this dancer who was late. He then attacks
• 17:02
  Speaker 2: the head instructor and when she goes and first of all,
• 17:07
  Speaker 2: she tells her to go to the dressing room and
• 17:10
  Speaker 2: get dressed, which this is like a five minute walk.
• 17:13
  Speaker 2: It seems like she this woman goes to like a
• 17:15
  Speaker 2: whole nother building and then she walks into the dressing
• 17:19
  Speaker 2: room and the dance instructors already pissed off that she's
• 17:22
  Speaker 2: not back yet, which clearly there is not enough time
• 17:25
  Speaker 2: for her. Not enough time has passed. It's only been
• 17:27
  Speaker 2: a couple seconds. So then she's gonna go after her
• 17:31
  Speaker 2: to yell her and get her back to the stage.
• 17:33
  Speaker 2: This woman is completely impatient. Honestly, she's probably the worst
• 17:36
  Speaker 2: character in the whole.
• 17:40
  Speaker 3: I will say though, the night Killer is he wastes
• 17:45
  Speaker 3: no time. Right she tries to escape, He's way too fast,
• 17:50
  Speaker 3: tracks her down to the balcony and again impales her
• 17:53
  Speaker 3: through the chest where she I mean, at this point,
• 17:59
  Speaker 3: likelihood of it and out from underneath this praise slim.
• 18:01
  Speaker 3: Oh she had her throat slash too.
• 18:04
  Speaker 2: Yeah. Yeah, he did partially slice her throat enough that
• 18:07
  Speaker 2: she was able to run away. And then I just
• 18:10
  Speaker 2: need people to listen. Hopefully you've seen this movie. But
• 18:13
  Speaker 2: if you haven't, and we say we keep saying punched
• 18:15
  Speaker 2: through the abdomen, we mean like full on fist through sternum,
• 18:21
  Speaker 2: out of the back of the body, full punch through
• 18:25
  Speaker 2: the body.
• 18:26
  Speaker 3: It's like how a Mortal combat it is.
• 18:28
  Speaker 2: Yeah, honestly, I like this. I like this better than
• 18:32
  Speaker 2: Mortal Kombat too, like the twenty twenty six Mortal kmbat too.
• 18:35
  Speaker 3: I'll take this over there, okay, okay, yeah, Well that's
• 18:41
  Speaker 3: you know, that's high praise.
• 18:43
  Speaker 2: It is, yeah, very high praise. And the greatest part
• 18:46
  Speaker 2: about the scene is that the instructor of flipping off
• 18:49
  Speaker 2: the balcony to her death gets everybody to stop dancing,
• 18:53
  Speaker 2: which I think is to clear.
• 18:54
  Speaker 3: You know, Yeah, they didn't really react the way I
• 18:57
  Speaker 3: thought they were going to, if I'm being honest. Cuts
• 18:59
  Speaker 3: to wait that badass logo for night Killer.
• 19:03
  Speaker 2: It does, it does, But more importantly, we cut away
• 19:06
  Speaker 2: to Melanie Beck played by Tara Buckman of Sarah Silent Knight,
• 19:10
  Speaker 2: Deadly Knight fame. I didn't even know this. You told
• 19:12
  Speaker 2: me off air that this is the mom in the
• 19:14
  Speaker 2: flashback scene.
• 19:16
  Speaker 3: For I recognized her from somewhere.
• 19:20
  Speaker 2: Well, people are like me, who needs a visual This
• 19:24
  Speaker 2: is the mom who for some reason has her shirt
• 19:28
  Speaker 2: open while on the ground. Dead and Silent Night, Deadly Night.
• 19:32
  Speaker 2: I always she got to get it in there. Somehow.
• 19:35
  Speaker 3: She's back.
• 19:38
  Speaker 2: Not only is she back, but she's having conversations with
• 19:42
  Speaker 2: her ex husband and she's fondling herself in the mirror.
• 19:49
  Speaker 2: Very interesting. She also has multiple phone lines.
• 19:53
  Speaker 3: She has two phone lines, and she's getting some obscene calls.
• 19:58
  Speaker 2: Wait, can we talk about the mirror moment real quick.
• 20:01
  Speaker 2: This woman is walking around her house smoking a place
• 20:05
  Speaker 2: of she's ripping darts, she's stressing. We do learn later
• 20:10
  Speaker 2: that she is sort of to the neighborhood, a little
• 20:14
  Speaker 2: bit of a friendly individual, meaning she has slept with
• 20:19
  Speaker 2: everybody at a five hundred square bottle radius apparently. But she,
• 20:27
  Speaker 2: in a very strange moment, goes to a mirror and
• 20:33
  Speaker 2: drops her dress to let her breast out and then
• 20:36
  Speaker 2: just kind of fondles herself for a minute. And I
• 20:38
  Speaker 2: think it's supposed to be a little bit of like
• 20:42
  Speaker 2: a maybe an aging crisis, maybe a little bit of
• 20:47
  Speaker 2: like an identity crisis. It seems as if she's going
• 20:51
  Speaker 2: through and I can only suspect that maybe the town
• 20:54
  Speaker 2: radius is not as interested in her as once was.
• 20:57
  Speaker 2: I'm not too sure.
• 20:58
  Speaker 3: Well, and she even says she has, uh what does
• 21:02
  Speaker 3: she consider it like a rocky marriage to begin with.
• 21:05
  Speaker 2: So yeah, so it's an interesting moment.
• 21:11
  Speaker 3: But the phone calls she gets they're so strange. She
• 21:14
  Speaker 3: she gets a call from a very mysterious man at
• 21:16
  Speaker 3: the bar with like a very gravelly voice, and he
• 21:22
  Speaker 3: has black gloves on, and and these phone calls are
• 21:26
  Speaker 3: so raunchy. They are like they're not asking how she's
• 21:30
  Speaker 3: doing or what's you know, what's been new lately? I
• 21:33
  Speaker 3: mean the things that they're saying. It's insane.
• 21:37
  Speaker 2: Yeah. Yeah, then here here's my favorite thing she's getting.
• 21:43
  Speaker 2: She then begins getting these phone calls that she's gonna
• 21:45
  Speaker 2: get raped.
• 21:47
  Speaker 3: Mmm.
• 21:49
  Speaker 2: And she then calls the police, which she looked outside
• 21:53
  Speaker 2: because there's a phone booth directly across the street from
• 21:56
  Speaker 2: her house and there's a guy there. But the guy
• 21:59
  Speaker 2: leaves no worries, doesn't look like a killer. She then
• 22:03
  Speaker 2: calls the police, and then when the police ask what
• 22:06
  Speaker 2: her phone number is to call her back, she goes, well,
• 22:09
  Speaker 2: which one do you want? I have two phone lines,
• 22:12
  Speaker 2: and the cop goes, I'll give me both of them.
• 22:17
  Speaker 3: It's like, why wouldn't you just cover both your bases.
• 22:21
  Speaker 2: It's very very strange.
• 22:23
  Speaker 3: I just have a note that I think she needs
• 22:25
  Speaker 3: to change her numbers.
• 22:29
  Speaker 2: Change changed numbers is a crazy thing. Yeah, I think
• 22:34
  Speaker 2: she does.
• 22:34
  Speaker 3: How do you how do you stop those phone calls?
• 22:37
  Speaker 3: They want her? Somebody wants her. Apparently.
• 22:40
  Speaker 2: I found myself paying more attention to which line phone
• 22:44
  Speaker 2: calls were coming through, because there were multiple moments when
• 22:47
  Speaker 2: line one was occupied, but line two was getting a
• 22:49
  Speaker 2: call and she wasn't on the phone.
• 22:53
  Speaker 3: Who knows, man, I don't know. She's not all there.
• 22:57
  Speaker 2: She's not. She's actually so not there that when she's
• 23:00
  Speaker 2: on the phone with this voice and he comes around
• 23:04
  Speaker 2: the corner, she doesn't do anything except continue talking on
• 23:07
  Speaker 2: the phone with him as he is literally in the house.
• 23:12
  Speaker 2: I love that he goes. He comes, and it's a
• 23:14
  Speaker 2: very good shot. We see her and then he comes
• 23:19
  Speaker 2: in the frame behind her and he's also on the phone.
• 23:23
  Speaker 2: And then she turns around and sees him and he says,
• 23:26
  Speaker 2: this is the killer from the beginning. He says, oh,
• 23:29
  Speaker 2: you found me.
• 23:35
  Speaker 3: I just I have to make mention that one point.
• 23:38
  Speaker 3: She says, well, this is you, Melanie Beck, this is you.
• 23:42
  Speaker 3: While she's touching herself. You have a daughter, a marriage
• 23:45
  Speaker 3: on the rocks, nothing but Grace's skies ahead, what Grace.
• 23:50
  Speaker 2: Guy's expedition exposition? Yeah, Grace, Yeah, it's all Grace guys.
• 23:56
  Speaker 2: Ain't that bad?
• 23:57
  Speaker 3: You know? Like it's not good?
• 24:00
  Speaker 2: Yeah, yeah, but like it's not it's not.
• 24:02
  Speaker 3: That sounds turbulent, Yeah it could be.
• 24:06
  Speaker 2: Could Grace got how do you? I don't know. I mean,
• 24:09
  Speaker 2: like if somebody was like, hey man, you got some
• 24:11
  Speaker 2: Grace guys that I feel like I'm just a little down.
• 24:15
  Speaker 2: I don't know.
• 24:15
  Speaker 3: I think that I think that's putting it mildly for Melanie.
• 24:18
  Speaker 2: Back Listen, she's a stunner in this. She looks bad.
• 24:26
  Speaker 2: I don't know.
• 24:28
  Speaker 3: She's definitely inviting unwanted attention that much I can say, Yeah.
• 24:33
  Speaker 2: Yeah, I think Do you think maybe now, let's speculate here,
• 24:37
  Speaker 2: do you think maybe she because like I said, it
• 24:40
  Speaker 2: is later insinuated that she sleeps with a lot of
• 24:43
  Speaker 2: people from town. Do you think maybe that's why her
• 24:46
  Speaker 2: husband her her marriage was rocky.
• 24:52
  Speaker 3: I mean, I'm sure, I'm sure it's not helping. It's
• 24:55
  Speaker 3: not smoothing out the marriage.
• 24:56
  Speaker 2: That's true. Yeah, I think that's.
• 24:58
  Speaker 3: And that's not to mention she has a daughter.
• 25:01
  Speaker 2: She does she does have a daughter. Yeah, she does
• 25:05
  Speaker 2: have a daughter. Well. The killer showing up and then
• 25:13
  Speaker 2: attempting the attack leads to numerous strange things with a gun.
• 25:19
  Speaker 2: She tries to shoot him with a gun, and if
• 25:23
  Speaker 2: I remember correctly, please what do you call it? My memory?
• 25:28
  Speaker 2: The family friend, who is Richard Foster as a sherman,
• 25:33
  Speaker 2: Floyd I believe, is picking up the daughter from school,
• 25:40
  Speaker 2: right and bringing her home during this is that right?
• 25:50
  Speaker 2: And then they walk in as this assault is occurring
• 25:55
  Speaker 2: on her and that's what Sherman gets attacked and cuts
• 25:59
  Speaker 2: his face. He is the only one who's able to
• 26:02
  Speaker 2: see the killer.
• 26:03
  Speaker 3: The only one who saw the killer.
• 26:05
  Speaker 2: Don't forget that. That's a very essential platform in this
• 26:10
  Speaker 2: in this film.
• 26:11
  Speaker 3: Can I also make mention one aspect about the night Killer,
• 26:15
  Speaker 3: Yeah please, is that the killer has has the one
• 26:20
  Speaker 3: glove with the long nails. But there's at one point
• 26:26
  Speaker 3: where the night Killer goes to steal the keys and
• 26:29
  Speaker 3: puts the keys on one of the nails. The precision
• 26:35
  Speaker 3: for something like that is is astounding.
• 26:43
  Speaker 2: He does, yeah, very swiftly, picks them up and they
• 26:47
  Speaker 2: slide onto the nail. It's it's pretty impressive. I mean,
• 26:51
  Speaker 2: considering how rubbery these things are.
• 26:55
  Speaker 3: Why would he not use his other hand? Isn't his
• 26:57
  Speaker 3: other hand a black love?
• 27:00
  Speaker 2: You can't do things easy, Not when you're in the.
• 27:02
  Speaker 3: Rehicular, No, I guess not.
• 27:04
  Speaker 2: Not when you're in the nculer so fends off the attack.
• 27:10
  Speaker 2: The film cuts to we don't know how how long
• 27:16
  Speaker 2: it is in the future. We just cut to the
• 27:19
  Speaker 2: future and Melanie is now in a hospital, some sort
• 27:24
  Speaker 2: of psych hospital, and we're introduced to mel Davis, who
• 27:28
  Speaker 2: plays detective Clark. We're also introduced to Leave Lively, who
• 27:32
  Speaker 2: plays doctor Willow. Doctor Willow is almost a little bit
• 27:35
  Speaker 2: of a sort of like a Loomis character in a way,
• 27:43
  Speaker 2: and mel Davis as Detective Clark is just a smooth
• 27:47
  Speaker 2: it's a smooth guy, like.
• 27:50
  Speaker 3: The funniest guy in the whole movie.
• 27:53
  Speaker 2: He might be outside of the plot and the dialogue
• 27:55
  Speaker 2: for this movie. Yeah, he might be the funniest part
• 27:57
  Speaker 2: of this movie. But she listen, Melanie has terrible amnesia.
• 28:06
  Speaker 2: She has forgotten everything like think SpongeBob forget everything, you
• 28:11
  Speaker 2: know level of forgetting everything. She gets out of the
• 28:17
  Speaker 2: hospital and she quickly begins being Now, if this is
• 28:22
  Speaker 2: making no sense, this movie makes no sense, So please
• 28:26
  Speaker 2: just go with me. And if there's anything I'm missing
• 28:29
  Speaker 2: in his recap, Steve, please feel free to She begins
• 28:35
  Speaker 2: getting followed. She's driving in her car and a man
• 28:40
  Speaker 2: in a jeep begins following her. She instantly goes into
• 28:44
  Speaker 2: defense mode and drives to a hotel or a some
• 28:51
  Speaker 2: sort of high rise motel hotel, where he follows her.
• 28:56
  Speaker 2: She proceeds to go into the bathroom, and then he
• 28:58
  Speaker 2: follows her into the bathroom to be met by her
• 29:03
  Speaker 2: gun pointing at him, and she makes him take off
• 29:07
  Speaker 2: his clothes and flush him down. Hiss it.
• 29:10
  Speaker 3: It's so strange. It's at that point it's just like
• 29:16
  Speaker 3: it's not like you're really getting back at him. It's
• 29:18
  Speaker 3: like a minor inconvenience.
• 29:20
  Speaker 2: Well, he had a full change of clothes in the car.
• 29:22
  Speaker 2: Apparently I.
• 29:25
  Speaker 3: Saw that. I was like, where did you get those clothes?
• 29:28
  Speaker 2: What does he say? When he runs out? She leaves
• 29:31
  Speaker 2: he's still in the bathroom. He runs out in what
• 29:34
  Speaker 2: looks like a speedo and says to the front clerk, like,
• 29:38
  Speaker 2: I've been molested in the little boys room. It's like
• 29:43
  Speaker 2: a pretty stress from what he says before running out
• 29:46
  Speaker 2: to his jeep. So he runs out to his jeep,
• 29:52
  Speaker 2: fetches a full change of clothes that he just has
• 29:54
  Speaker 2: stashed in the jeep, begins driving around and just conveniently
• 29:58
  Speaker 2: comes across Melanie's car, which is at a beach, and
• 30:03
  Speaker 2: he finds her chugging down a whole bunch of pills,
• 30:09
  Speaker 2: just a whole bag of medicine.
• 30:11
  Speaker 3: I've never seen someone go in on a bag of
• 30:15
  Speaker 3: medicine like that commitment, Like she didn't care anymore.
• 30:21
  Speaker 2: She So he runs out asked her what she's doing.
• 30:26
  Speaker 2: He says, you need to throw up. You need to
• 30:28
  Speaker 2: drink ocean water. So he begins to drown her essentially
• 30:33
  Speaker 2: in the water before pushing her head into this end.
• 30:36
  Speaker 2: Mind you, after she throws up the pills. It's so
• 30:40
  Speaker 2: fucking weird, dude, It's so weird.
• 30:44
  Speaker 3: There's okay, there's one thing that I forgot to mention
• 30:48
  Speaker 3: earlier is when the when the detective is talking about Melanie,
• 30:55
  Speaker 3: he's talking about her situation with the doctor. He explains
• 31:00
  Speaker 3: that woman is our key witness. She's the only one
• 31:03
  Speaker 3: who's ever seen this guy's face. You know, she's the
• 31:05
  Speaker 3: only one who can identify him. And then he proceeds
• 31:09
  Speaker 3: to say, that's where you're wrong. Yes, she did see
• 31:12
  Speaker 3: his face. The trauma has completely erased it from her memory.
• 31:15
  Speaker 3: She doesn't remember anything. She's even forgotten her own name.
• 31:19
  Speaker 3: And he says, well, let's show her. Let's show her
• 31:22
  Speaker 3: the mask. She'll remember this thing, won't she and the
• 31:25
  Speaker 3: doctors says it won't mean anything to her. She can't
• 31:28
  Speaker 3: recognize people, she certainly won't recognize the mask, and he says,
• 31:33
  Speaker 3: is it true she's even forgotten She's got a daughter, what.
• 31:42
  Speaker 2: Forget everything.
• 31:43
  Speaker 3: You know, if you thought Inception was hard to follow,
• 31:47
  Speaker 3: Night Killer takes it to like ten. At this point.
• 31:53
  Speaker 2: I was telling you this off before we started recording.
• 31:58
  Speaker 2: How there is a there's an interview on this disc
• 32:02
  Speaker 2: that runs like twenty four minutes, and it's an interview
• 32:04
  Speaker 2: with the director who says that essentially this was him
• 32:10
  Speaker 2: trying to make like a psychoanalytic Bergman film, which is
• 32:16
  Speaker 2: not what this is. But you know, these exposition dumps
• 32:26
  Speaker 2: of just here's the summary of what happened. We get
• 32:30
  Speaker 2: this like three four times throughout the movie. The movie
• 32:32
  Speaker 2: even ends on like an exposition dump at a way,
• 32:35
  Speaker 2: or like a reveal of information.
• 32:38
  Speaker 3: And we could have gotten a sequel.
• 32:40
  Speaker 2: We could have gotten a sequel Night Killers.
• 32:46
  Speaker 3: It's not too late.
• 32:48
  Speaker 2: It's it's really just really interesting writing, and there's weird
• 32:52
  Speaker 2: jumps of time. And there's also really strange this relationship
• 33:00
  Speaker 2: that begins to form between her and this this guy
• 33:08
  Speaker 2: who was relative it's relatively unnamed until we learn his
• 33:11
  Speaker 2: true identity at the end. Is very strange because he
• 33:17
  Speaker 2: takes her back to his place, which I can't figure
• 33:20
  Speaker 2: out if it's a room in an apartment or if
• 33:22
  Speaker 2: it's just a room he's renting. I don't know. I
• 33:27
  Speaker 2: don't know if it's a hotel, motel, holiday inn. I
• 33:29
  Speaker 2: have no idea.
• 33:31
  Speaker 3: They have a weird relationship.
• 33:34
  Speaker 2: Yeah, he essentially says like she wants to if she
• 33:41
  Speaker 2: wants to die, then he will kill her. But she
• 33:46
  Speaker 2: needs to he is her master, and then he will
• 33:52
  Speaker 2: kill her quickly like she wants in time. But if
• 33:56
  Speaker 2: she doesn't do what he says, he will kill her slowly.
• 34:04
  Speaker 3: I think you can't question them. And he said what
• 34:08
  Speaker 3: he said.
• 34:11
  Speaker 2: What proceeds is just very like incredibly strange dynamic between
• 34:22
  Speaker 2: these two that at one point she does all of
• 34:26
  Speaker 2: her makeup for him and then he ties her to
• 34:33
  Speaker 2: the bed and we don't really like see it, but
• 34:35
  Speaker 2: like I think they have sex. I don't. I don't
• 34:39
  Speaker 2: know what this relationship is supposed to be.
• 34:42
  Speaker 3: Does he bring her KFC at one point.
• 34:44
  Speaker 2: At the very beginning, Yeah, at the when when he
• 34:47
  Speaker 2: there's a point where the first time that we see
• 34:49
  Speaker 2: her in the room, he does he does bring her KFC,
• 34:52
  Speaker 2: a single box of KFC. And then what I was
• 34:57
  Speaker 2: stuck thinking was in nineteen ninety because he opens the
• 35:01
  Speaker 2: box of KFC and pulls out like a traditional French fry,
• 35:04
  Speaker 2: like a McDonald's French fry, and I thought at that
• 35:07
  Speaker 2: period KFC was doing the potato wedgets.
• 35:14
  Speaker 3: Do you think Claudia Fergosso forgot to fact check that
• 35:18
  Speaker 3: it was a production mishandling.
• 35:21
  Speaker 2: Yeah, yeah, simple misunderstanding. It's okay, we get it all
• 35:25
  Speaker 2: mixed up sometimes.
• 35:26
  Speaker 3: Well, the point where he has her put in the
• 35:32
  Speaker 3: gun in her mouth and you're like, like, what is
• 35:38
  Speaker 3: about to happen? At least on first watch, and nothing happens.
• 35:48
  Speaker 2: I will say it is. It is tense.
• 35:53
  Speaker 3: It's very uncomfortable.
• 35:55
  Speaker 2: It's very uncomfortable, and it shot. All these sequences are
• 35:58
  Speaker 2: shot in like not extreme but pretty intense close up
• 36:05
  Speaker 2: I think just due to the small nature of the
• 36:07
  Speaker 2: setting that they're in, and it is really it's really
• 36:11
  Speaker 2: tense on that first watch because you're not really understanding
• 36:16
  Speaker 2: the dynamic and we don't really know, like she's kind
• 36:19
  Speaker 2: of back and forth on what she wants because she
• 36:21
  Speaker 2: wants to die, but she doesn't want to die. And
• 36:23
  Speaker 2: I also feel like she is dealing with like this
• 36:27
  Speaker 2: extreme magnetism towards him. It's like psychosexual it is, and
• 36:33
  Speaker 2: he's also dealing with it as well, because when he
• 36:36
  Speaker 2: leaves and tells her she has to stay there, that
• 36:38
  Speaker 2: he's going to lock her in, first she panics, and
• 36:41
  Speaker 2: then it cuts back to him being there and looking
• 36:44
  Speaker 2: at her legs while she sleeps.
• 36:47
  Speaker 3: Yeah, she freaks out at first. She's like banging on
• 36:49
  Speaker 3: the door. She's not handling it.
• 36:51
  Speaker 2: Well, yeah she does. It's a really kind of it's
• 36:58
  Speaker 2: an interesting dynamic from a point of just like an
• 37:01
  Speaker 2: analyzing the film, but it doesn't. The problem is it
• 37:05
  Speaker 2: doesn't make sense enough for me to be able to
• 37:09
  Speaker 2: put the pieces together in a way that I feel confident,
• 37:15
  Speaker 2: Like I think the writing here is trying to suggest
• 37:21
  Speaker 2: that it is sort of like this psycho sexual thing
• 37:28
  Speaker 2: happening between them, but it doesn't really come together that way.
• 37:35
  Speaker 3: Well, she's I mean, in general, she's just an unreliable narrator,
• 37:38
  Speaker 3: So I don't some of this. I'm like, I'm not
• 37:40
  Speaker 3: really even you know, like is this just through her
• 37:44
  Speaker 3: point of view or is this what's actually going on?
• 37:47
  Speaker 3: Or is this relationship even real? Because the thought did
• 37:52
  Speaker 3: crossed my mind the first time we're watching it.
• 37:55
  Speaker 2: Yeah, like is any of this real? Well to jump
• 37:58
  Speaker 2: ahead and kind of everything we do learn later that
• 38:04
  Speaker 2: this is actually her husband, this is Axel, and that
• 38:10
  Speaker 2: he is actually undercover and this is everything that he's
• 38:13
  Speaker 2: doing is actually employed to try to lure the killer
• 38:16
  Speaker 2: back in to her so they can catch the killer,
• 38:20
  Speaker 2: which also makes no sense.
• 38:21
  Speaker 3: But she doesn't recognize them at all.
• 38:25
  Speaker 2: Yes, she completely forgot who her ex husband is, which
• 38:32
  Speaker 2: is strange. It's it's the only way. The only reason
• 38:37
  Speaker 2: you know is because during this information, during the information
• 38:42
  Speaker 2: done at the end of the movie, they say, Sergeant Beck,
• 38:47
  Speaker 2: That's what put it together for me. I was like, oh,
• 38:49
  Speaker 2: this is her ex husband, because when he calls in
• 38:51
  Speaker 2: the beginning of the movie, we only see his back
• 38:53
  Speaker 2: from the bar.
• 38:56
  Speaker 3: Yeah, well, and I know it. At one point they
• 39:01
  Speaker 3: mentioned that she is living in a state of disassociative schizophrenia,
• 39:10
  Speaker 3: triggered by the trauma of the experience she was forced
• 39:14
  Speaker 3: to undergo. So that's why, Like the first time watching this,
• 39:20
  Speaker 3: I wasn't sure how much of this was even real.
• 39:24
  Speaker 3: I mean, is this all on a credit.
• 39:25
  Speaker 2: I'm not sure. I'm still not sure.
• 39:27
  Speaker 3: Nobody knows. Nobody knows.
• 39:31
  Speaker 2: Because the daughter goes off to live with Sherman Floyd
• 39:35
  Speaker 2: and his family and him and his wife because she's
• 39:40
  Speaker 2: unfit or not suited to take care of her daughter
• 39:44
  Speaker 2: in this state that she's in.
• 39:47
  Speaker 3: Okay to Claudia. Forgassa's credit, there are some themes here
• 39:51
  Speaker 3: that I all jokes aside, I think are very fascinating.
• 39:55
  Speaker 3: The psychosexual side of the relationship that she has with
• 40:00
  Speaker 3: any of these men, you know, kind of like the
• 40:04
  Speaker 3: mental disorder that that or that dynamic that that we
• 40:08
  Speaker 3: see how it is playing out throughout the film, kind
• 40:13
  Speaker 3: of the power struggle with with like, you know, certain
• 40:17
  Speaker 3: roles for each one of these characters. So I think
• 40:19
  Speaker 3: I think that there's something definitely there. You you strip
• 40:21
  Speaker 3: away a lot of like the sleeves and violence and
• 40:24
  Speaker 3: all this other stuff, and it's it's kind of like
• 40:26
  Speaker 3: there's fragments of I could see what he was trying
• 40:30
  Speaker 3: to do here, but none of it's cohesive at all.
• 40:33
  Speaker 3: It's almost like you're you're like in a dream state
• 40:36
  Speaker 3: or a nightmare.
• 40:38
  Speaker 2: Yeah, And I interpreted a lot of this as there's
• 40:41
  Speaker 2: a couple. I think that deep down she sort of
• 40:44
  Speaker 2: understands that she has a deeper established relationship with this man.
• 40:50
  Speaker 2: I do think it's somewhere deep down she does feel that,
• 40:54
  Speaker 2: and that's what kind of helps propel this strange dynamic
• 40:59
  Speaker 2: that they have. But also so she not remembering anything,
• 41:04
  Speaker 2: has had a bit of a loss of control and
• 41:05
  Speaker 2: a loss of self. And he coming in and kind
• 41:08
  Speaker 2: of saying like I am your master. You're gonna do
• 41:10
  Speaker 2: everything I say. I think allows her to feel a
• 41:16
  Speaker 2: little bit more comfort because there's some control. In fact,
• 41:20
  Speaker 2: maybe she's not in control, but she's being controlled, and
• 41:23
  Speaker 2: that brings like a strange stability. But we're still dealing
• 41:27
  Speaker 2: with somebody who is in an incredibly bad mental state.
• 41:31
  Speaker 2: And I had read a letterbox review of the movie
• 41:34
  Speaker 2: that talked about how they were too rapists in this movie,
• 41:37
  Speaker 2: and it was the guy it was the initial attack
• 41:40
  Speaker 2: or the night killer, and then the guy who turns
• 41:45
  Speaker 2: out to be her ex husband. But I did not
• 41:50
  Speaker 2: pick up in any of the scenes between them that
• 41:52
  Speaker 2: there was any sort of non consensual thing between that.
• 42:02
  Speaker 3: Did you not really? I mean, like if you go
• 42:06
  Speaker 3: back and you kind of like read the description of
• 42:10
  Speaker 3: like what's going on throughout the film, it's applied. I
• 42:14
  Speaker 3: didn't really Maybe I.
• 42:15
  Speaker 2: Miss that, but yeah I didn't, So I thought maybe
• 42:19
  Speaker 2: I thought maybe that person just warranted another you know,
• 42:22
  Speaker 2: they just need another closure rewatch, because I didn't get
• 42:25
  Speaker 2: that feeling from him whatsoever. But there's also like he
• 42:28
  Speaker 2: clearly still harbor's feelings for her, which we see, and
• 42:33
  Speaker 2: these are like the little detailed things that I do
• 42:35
  Speaker 2: like that Claudio does, where like when he's sitting on
• 42:37
  Speaker 2: the bed and she's sleeping and he's staring at her
• 42:40
  Speaker 2: legs and we kind of see him kind of really
• 42:43
  Speaker 2: admiring her. There is that history, and there is that obviously,
• 42:48
  Speaker 2: there is a connection and a lust for his his
• 42:52
  Speaker 2: wife essentially, and he knows that he's he's not able
• 42:59
  Speaker 2: to reveal that information to her, and that everything he
• 43:03
  Speaker 2: does is incredibly important because it's leading to you know,
• 43:07
  Speaker 2: it's supposed to be leading to this constructed moment where
• 43:11
  Speaker 2: the killer comes back and it's a setup and all
• 43:13
  Speaker 2: this stuff, but it is a really it is a
• 43:18
  Speaker 2: compelling part of the movie. And I actually think that
• 43:22
  Speaker 2: these sequences between them are the strongest scenes in the
• 43:24
  Speaker 2: film totally aside from the slasher stuff, you know what
• 43:29
  Speaker 2: I mean.
• 43:31
  Speaker 3: Yeah, I think that, Yeah, I think the relationship aspect,
• 43:36
  Speaker 3: I think is probably like the most interesting component of
• 43:40
  Speaker 3: the writing. It's just a trying and it almost feels
• 43:43
  Speaker 3: like in a way, I mean, we're kind of led
• 43:45
  Speaker 3: to believe it's almost like a Red Herring who the
• 43:47
  Speaker 3: actual night Killer is. So it's like you get a
• 43:50
  Speaker 3: little bit of like that fringe Giallow element to the movie.
• 43:55
  Speaker 3: But for the most part, I mean it functions as
• 43:57
  Speaker 3: almost like a psychological slasher.
• 44:00
  Speaker 2: Well, because he keeps leaving, he's not there with her
• 44:03
  Speaker 2: in the room the whole time, so he keeps stepping out.
• 44:05
  Speaker 2: We don't know what he's doing. And then and this
• 44:09
  Speaker 2: is really one of the things that drives me nuts
• 44:11
  Speaker 2: about this movie, is it There's there's a lot of
• 44:13
  Speaker 2: great ideas that kind of go unfinished or like on
• 44:18
  Speaker 2: followed through. There's a great moment where we we cut
• 44:22
  Speaker 2: to a setting of an art studio and we see
• 44:28
  Speaker 2: a guy come in with a girl that he picked
• 44:30
  Speaker 2: up from somewhere, and it turns out that this is
• 44:34
  Speaker 2: our killer, and he puts on the mask and the
• 44:37
  Speaker 2: gloves and begins kind of getting active with this woman
• 44:45
  Speaker 2: before killing her. And then it cuts to her on
• 44:50
  Speaker 2: a table covered in wax with one with the same
• 44:54
  Speaker 2: mask on that he was wearing, and then he begins
• 44:59
  Speaker 2: to make out with her, and it's a very interesting
• 45:01
  Speaker 2: moment because it's every other lady he's just punching through abdomens.
• 45:08
  Speaker 3: This is like.
• 45:10
  Speaker 2: Very interesting.
• 45:13
  Speaker 3: Was okay, was this a scene where he like reenacts
• 45:19
  Speaker 3: the the Little Red Riding Hood? Sorry? Yeah, so bizarre.
• 45:27
  Speaker 2: It's strange because we never see him do anything like
• 45:30
  Speaker 2: this again, Like, clearly this guy is in a another's
• 45:36
  Speaker 2: somebody who's in a bad mental state, if you're just
• 45:38
  Speaker 2: looking at the paintings that are surrounding him in this
• 45:41
  Speaker 2: art studio. But to kill her and then cover her
• 45:46
  Speaker 2: in wax, and then he says, now we can make love.
• 45:48
  Speaker 2: And when he bends down, we see her on the table,
• 45:52
  Speaker 2: the dead girl on the table, and she's wearing the mask,
• 45:54
  Speaker 2: the same mask that he's wearing. But when he bends down,
• 45:56
  Speaker 2: we see that he is also wearing that mask, and
• 46:00
  Speaker 2: he begins to make out with her corpse, wearing that mask.
• 46:05
  Speaker 3: Step for a choice.
• 46:07
  Speaker 2: It's very strange, and I feel like there is an
• 46:09
  Speaker 2: idea there, there's something there. There's just no time to
• 46:13
  Speaker 2: ever really make much sense of it or to do
• 46:18
  Speaker 2: anything with it. It's just sort of a very strange
• 46:22
  Speaker 2: moment in a movie full of very strange moments, so weird,
• 46:32
  Speaker 2: and we do this cutting back and forth between Melanie
• 46:37
  Speaker 2: and the killer. We see even as well, a killing
• 46:43
  Speaker 2: that occurs at a national what is it called in
• 46:48
  Speaker 2: the movie the aquarium, the National Marine BioMA.
• 46:53
  Speaker 3: Oh, yeah, I know what you're talking about.
• 46:55
  Speaker 2: We cut randomly to a woman working at what looks
• 46:59
  Speaker 2: like a clue losing shift at like a biomarine museum
• 47:03
  Speaker 2: that gets killed by the night Killer in the same sense. Part, Yeah,
• 47:08
  Speaker 2: it is because you have security. Who's there in security?
• 47:12
  Speaker 2: You know it's gonna hang around to help her lock up.
• 47:15
  Speaker 2: She says, now, go ahead, you're good, and then he's there,
• 47:17
  Speaker 2: he's in the room. She is absolutely worthless, I must say.
• 47:23
  Speaker 2: She does nothing to try to get away from him
• 47:26
  Speaker 2: with any sort of hurried movement whatsoever. It's all very
• 47:34
  Speaker 2: it's all very strange. Man, did what did you did
• 47:36
  Speaker 2: you did you take anything from the scene?
• 47:39
  Speaker 3: Not much? Yeah, like not much. I mean it's it's
• 47:43
  Speaker 3: I think it's there to keep the plot moving along,
• 47:46
  Speaker 3: and you know, unfortunately she meets a very similar fate
• 47:49
  Speaker 3: as all the well yeah, all the other victims in
• 47:52
  Speaker 3: the film. But yeah, I mean it's you know, you're
• 47:57
  Speaker 3: starting to slowly. You know, it's starting to build momentum.
• 48:02
  Speaker 3: You know, obviously things are going from bad to worse,
• 48:05
  Speaker 3: you know with the Night Killer, you know, taking another victim,
• 48:09
  Speaker 3: which you know, we get a lot of the back
• 48:12
  Speaker 3: and forth where you know, at this point we're starting
• 48:15
  Speaker 3: to see you know Axel and you know Melanie and
• 48:21
  Speaker 3: and you know she's I think at this point, isn't
• 48:23
  Speaker 3: she tied up to the bed?
• 48:26
  Speaker 2: Yes, yep. Yeah. What I don't what I don't understand
• 48:36
  Speaker 2: is all of the events that lead up to kind
• 48:41
  Speaker 2: of getting towards the closing of the movie, which is
• 48:44
  Speaker 2: like her sitting in front of the mirror, getting the
• 48:49
  Speaker 2: gun and then shooting the mirror, which prompts the property
• 48:57
  Speaker 2: manager or the landlord to come and warned them. But
• 49:01
  Speaker 2: then that's what makes him recognize her from the news, right, Yeah,
• 49:13
  Speaker 2: And then they leave together and Sherman goes to find them,
• 49:23
  Speaker 2: and it leads to like a chase scene. Am I
• 49:25
  Speaker 2: missing something in all of this?
• 49:28
  Speaker 3: Is this when he's he's leaving the house and he's
• 49:33
  Speaker 3: like going on about how he's the only one he's
• 49:36
  Speaker 3: got to do something about it. He's the only one
• 49:37
  Speaker 3: who knows who the killer is.
• 49:41
  Speaker 2: It is, but I'm trying to remember what comes from
• 49:45
  Speaker 2: what prompts the chase sequence out on the road because
• 49:51
  Speaker 2: her and actual leave the apartment, Oh, because the cops
• 49:54
  Speaker 2: were coming.
• 49:58
  Speaker 3: Well, she had seen she sees the newspaper with her
• 50:01
  Speaker 3: photo on the front page.
• 50:03
  Speaker 2: Yes, that's right that she I felt like.
• 50:06
  Speaker 3: She just reacts to that and then takes off. She's
• 50:09
  Speaker 3: like sprinting down the street, and then she wears that
• 50:13
  Speaker 3: ridiculous hat for her head. She does like, what is
• 50:18
  Speaker 3: going what is going on?
• 50:23
  Speaker 2: So she makes it back home, like back where we
• 50:28
  Speaker 2: were in the beginning of the film with her in
• 50:30
  Speaker 2: her home and my god, this is like Sherman is
• 50:42
  Speaker 2: there or so Sherman picks her up as she's running.
• 50:48
  Speaker 2: He takes her home. He then leaves, but he gives
• 50:53
  Speaker 2: her the keys that were stolen earlier in the movie
• 50:57
  Speaker 2: on the key ring, which automatically we conclude like how
• 51:03
  Speaker 2: does he have them? He leaves the house, She gets up,
• 51:12
  Speaker 2: goes to the window and looks over at the phone booth,
• 51:14
  Speaker 2: and we see Sherman get out of the car in
• 51:18
  Speaker 2: a new change of clothes, which all these people have
• 51:21
  Speaker 2: changes of clothes in their in their cars.
• 51:25
  Speaker 3: I never have closed my truck.
• 51:27
  Speaker 2: I don't know, I never have. I have like a hoodie.
• 51:29
  Speaker 2: I got three hoodies that might be a couple of
• 51:31
  Speaker 2: years old.
• 51:31
  Speaker 3: In my trunk, I swim trunks and a towel. I
• 51:34
  Speaker 3: don't know if that counts.
• 51:38
  Speaker 2: She sees Sherman go into the phone booth and make
• 51:43
  Speaker 2: a phone call, and then her phone rings line two,
• 51:47
  Speaker 2: rings line one was occupied by some stranger somebody else,
• 51:52
  Speaker 2: and then she answers and it's the same voice from
• 51:55
  Speaker 2: the beginning of the movie before her attack. And then
• 52:05
  Speaker 2: she answers, it's that same voice, I think. Then he
• 52:10
  Speaker 2: comes into the house, right, I'm trying to remember the
• 52:15
  Speaker 2: order of events that happened at the end of this movie.
• 52:17
  Speaker 3: When when Sherman comes into the house. Yeah, well you
• 52:21
  Speaker 3: get the killer appears with the mask on. Yeah, and
• 52:25
  Speaker 3: then he immediately spoiler removes it to reveal the killer
• 52:31
  Speaker 3: is as we find out Sherman.
• 52:33
  Speaker 2: Yes, yeah, yeah, that's right. I was trying to remember
• 52:37
  Speaker 2: from the phone with how he got in the house.
• 52:44
  Speaker 3: So he explains his motivation. He believes Melanie is a whore, yeah,
• 52:52
  Speaker 3: and is not fit to take care of their daughter.
• 52:58
  Speaker 2: Yeah, so he's gonna kill her. So that way him
• 53:01
  Speaker 2: and his wife can have full custody of the daughter.
• 53:05
  Speaker 2: I guess, I guess that's a motivation.
• 53:11
  Speaker 3: So I know that there's some flashbacks. Basically, it goes
• 53:18
  Speaker 3: back to showing that Sherman is like essentially trying to
• 53:20
  Speaker 3: force Melanie to commit suicide. It doesn't work out, and
• 53:26
  Speaker 3: that's when she stabs him across the face, so kind
• 53:29
  Speaker 3: of connects what had previously happened. And then he also
• 53:44
  Speaker 3: says that Melanie and Axel had tried to set him up,
• 53:48
  Speaker 3: goes to point a gun at her. He's no longer
• 53:52
  Speaker 3: using the his his his claw hands.
• 53:56
  Speaker 2: He dropped the Freddy gloves.
• 53:57
  Speaker 3: Yeah, he dropped the Freddy glove. And she then seduces
• 54:04
  Speaker 3: Sherman mm hmm. It proceeds to stab him.
• 54:10
  Speaker 2: It is junk, yeah, yep, right, which by the way,
• 54:14
  Speaker 2: my wife called My wife was oh, was in the room,
• 54:18
  Speaker 2: and she was like, she's gonna stab him in the
• 54:22
  Speaker 2: right in his crotch, and then she does. And then
• 54:26
  Speaker 2: the Axel does a front front flip through the front door.
• 54:36
  Speaker 3: So then Axel shoots Sherman mm hmm. Then he makes
• 54:41
  Speaker 3: out with Melanie, and I mean that's basically night killer.
• 54:51
  Speaker 2: Well, this is when this is my favorite scene of
• 54:53
  Speaker 2: the whole movie.
• 54:54
  Speaker 3: This is.
• 54:57
  Speaker 2: Uh the there's a whole bunch of her porters and
• 55:00
  Speaker 2: police at the house mm hmm, and Detective Clerk and
• 55:06
  Speaker 2: doctor Willow or walk up the stairs and they stopped
• 55:08
  Speaker 2: to speak to the reporters and doctor Willow is like, ah,
• 55:13
  Speaker 2: just as my plan went, I suspected that, you know,
• 55:17
  Speaker 2: goes on this whole thing about how he suspected that
• 55:22
  Speaker 2: that her trauma, that she would come back here and
• 55:25
  Speaker 2: the killer would come back again. And the killer came back,
• 55:28
  Speaker 2: and they had planted axel Sergeant beck in uh to
• 55:34
  Speaker 2: make sure to keep her safe when the killer does
• 55:37
  Speaker 2: come back. And this was all a big setup, and
• 55:38
  Speaker 2: he's getting promoted and it's really like really odd, and
• 55:47
  Speaker 2: you're like, what none of this makes any.
• 55:51
  Speaker 3: Well he doctor Willow considers both of them as guinea pigs.
• 55:56
  Speaker 2: Yeah yeah, Mike, yeah, what, which doesn't make any sense
• 56:01
  Speaker 2: because it's not like I don't know, it doesn't make
• 56:07
  Speaker 2: any sense.
• 56:09
  Speaker 3: The understanding is is that she couldn't deal with her trauma,
• 56:15
  Speaker 3: so she had to relive the experience in order to
• 56:18
  Speaker 3: overcome it. And then the reporter says it wasn't that
• 56:21
  Speaker 3: a dangerous approach? And then the doctor says, I must
• 56:27
  Speaker 3: say there were some differences of opinion between us and
• 56:31
  Speaker 3: Detective Clark. However you see it, it was just a
• 56:34
  Speaker 3: theory of mine. The important thing is that it worked.
• 56:37
  Speaker 3: What you put lives at stake here, and she was
• 56:43
  Speaker 3: like subjected to like be.
• 56:46
  Speaker 2: You know, I don't know what berg he said. This
• 56:51
  Speaker 2: is supposed to be like a Bergmann film. This is
• 56:55
  Speaker 2: not like any Bergman films I've ever.
• 56:57
  Speaker 3: Seen, don't I don't see well Melanie, sure, I don't
• 57:00
  Speaker 3: see her coming out of this unscathed in the slightest.
• 57:03
  Speaker 3: She came into this movie being like just damage in,
• 57:09
  Speaker 3: psychologically fragile, and you put her through all this just
• 57:14
  Speaker 3: to be able to get the killer.
• 57:17
  Speaker 2: Soar Rising town for six months raping and killing women.
• 57:24
  Speaker 3: Okay, So leading up to this, did you think that
• 57:29
  Speaker 3: this is the direction of the movie was going or
• 57:31
  Speaker 3: did you even guess who the killer was? By the
• 57:35
  Speaker 3: time we get here.
• 57:37
  Speaker 2: I couldn't tell you minute by minute what was going
• 57:38
  Speaker 2: to happen next. And here's the thing, right, Sherman. What's
• 57:45
  Speaker 2: interesting is that Sherman is clearly sick, right, He's been
• 57:48
  Speaker 2: killing women all over the town. We see this numerous
• 57:51
  Speaker 2: times in the movie. What's interesting is in the beginning
• 57:54
  Speaker 2: when he goes and attacks Melanie, that he doesn't kill
• 58:01
  Speaker 2: her in the way that he's been killing everybody else.
• 58:04
  Speaker 2: He instead tries to scare her and convince her to
• 58:11
  Speaker 2: kill herself that way, I guess they can claim her. Well,
• 58:17
  Speaker 2: obviously she would be dead if she did that, but
• 58:19
  Speaker 2: you know she was not mentally well. She took her
• 58:21
  Speaker 2: own life and best case scenarios, yeah, best case scenarios
• 58:27
  Speaker 2: for the daughter to go with Sherman and Clarissa. It's
• 58:34
  Speaker 2: really like strange because it's it's not like broken down
• 58:43
  Speaker 2: clearly enough, like why is he still killing all these
• 58:47
  Speaker 2: other women? But he's like is he killing the other
• 58:51
  Speaker 2: women just because it's what he has to do? Or
• 58:55
  Speaker 2: was it to set up like that there was an
• 58:58
  Speaker 2: attack on Melanie by this kill who has been killing
• 59:03
  Speaker 2: women around town. Like the two don't connect in a
• 59:06
  Speaker 2: way that makes any sense.
• 59:09
  Speaker 3: No, And and I mean this all culminates where we
• 59:14
  Speaker 3: get that final scene with Axel and Melanie and they're
• 59:18
  Speaker 3: in bed. Uh it's happy, Yeah, it's it's it's well,
• 59:23
  Speaker 3: it's supposed to be a very happy ending and the
• 59:26
  Speaker 3: daughters in between, you know, the two of them, and
• 59:29
  Speaker 3: then the daughter's asking if she can open up a
• 59:33
  Speaker 3: Christmas present early, and what happens when she opens the box.
• 59:39
  Speaker 2: The mask is in the box, The night.
• 59:41
  Speaker 3: Killer mask is in the box, and she says, do
• 59:48
  Speaker 3: you recognize me, missus Beck, I'm back just for you,
• 59:53
  Speaker 3: just for you, And then the film ends with the
• 59:59
  Speaker 3: daughter with a very creepy laugh. Credits insanity and the
• 1:00:09
  Speaker 3: fact that we never got a sequel is a worse
• 1:00:13
  Speaker 3: offense than anything in this movie.
• 1:00:17
  Speaker 2: For people listening that have seen this movie and are like, really,
• 1:00:21
  Speaker 2: just or maybe you haven't seen this movie, or maybe
• 1:00:24
  Speaker 2: it's been a long time since you've seen it, this
• 1:00:27
  Speaker 2: podcast episode makes more sense than the actual movie does.
• 1:00:33
  Speaker 2: Like and what really makes me, what made me excited
• 1:00:38
  Speaker 2: to want to talk about Night Killer, is that there
• 1:00:39
  Speaker 2: are great ideas here and this is a really interesting
• 1:00:43
  Speaker 2: period for Italian horror in general. This is the nineties
• 1:00:47
  Speaker 2: where this was dead and gone, like shallows were dead
• 1:00:51
  Speaker 2: and gone for two decades.
• 1:00:55
  Speaker 3: You're getting down to, like the very the very end
• 1:00:58
  Speaker 3: of it. I mean, trying to think of like some
• 1:01:00
  Speaker 3: other talking.
• 1:01:01
  Speaker 2: I'm talking about, like the you know, the when you
• 1:01:05
  Speaker 2: say the very end, you're talking about the like the
• 1:01:08
  Speaker 2: little tiny, like microscopic whimpers on the end of a
• 1:01:12
  Speaker 2: rope that gets cut. Like that's how far at the
• 1:01:14
  Speaker 2: end of we are at this point, you know, And
• 1:01:16
  Speaker 2: at this point, slashers in general are dead by nineteen
• 1:01:21
  Speaker 2: ninety for the most part. I mean, you still have
• 1:01:23
  Speaker 2: some coming, but most of your franchises have petered off.
• 1:01:26
  Speaker 2: You're only going to get one or two entries left. Like,
• 1:01:29
  Speaker 2: this is such an interesting time for this to come out.
• 1:01:34
  Speaker 3: I think the only one that I can well, I
• 1:01:36
  Speaker 3: know we were talking about Cruel Jaws earlier, but uh,
• 1:01:41
  Speaker 3: cemetery Man came out, yeah around this time. De la
• 1:01:45
  Speaker 3: Morte Delamore that.
• 1:01:47
  Speaker 2: Was ninety one, that's come out one four, that's right. Yeah, Well,
• 1:01:57
  Speaker 2: because he's in a different conversation than Claudio for us.
• 1:02:03
  Speaker 3: Yeah, you're getting down to like, you know, right around
• 1:02:05
  Speaker 3: that point. I mean, that's really I wouldn't even consider this,
• 1:02:10
  Speaker 3: you know. It's like the back end of what I
• 1:02:15
  Speaker 3: consider the more iconic Italian horror films. Yeah, yeah, and
• 1:02:20
  Speaker 3: that's one of them.
• 1:02:22
  Speaker 2: I think some people, a lot of people consider Cemetery
• 1:02:24
  Speaker 2: Man to be the last great Italian horror film that
• 1:02:28
  Speaker 2: was sort of like a bookend of like, but like
• 1:02:33
  Speaker 2: the books leading up to it were not very it's
• 1:02:37
  Speaker 2: not very good.
• 1:02:39
  Speaker 3: No, I mean around this time, you know, you had
• 1:02:42
  Speaker 3: a cat in the brain, you had the Sect trauma,
• 1:02:47
  Speaker 3: you know, none of which I think, you know, hit
• 1:02:49
  Speaker 3: quite those same highs as what we were getting during
• 1:02:52
  Speaker 3: the seventies and eighties.
• 1:02:54
  Speaker 2: I mean, the Sect is, The Sect is great, that's
• 1:02:56
  Speaker 2: Michael Suavi again, that's you know, the Sect is fantastic,
• 1:03:00
  Speaker 2: but not a not a slasher film, not a jallow
• 1:03:05
  Speaker 2: more of a sci fi like not fi, more of
• 1:03:09
  Speaker 2: like an Italian just straight horror movie. Swabi was in
• 1:03:14
  Speaker 2: a whole different ballpark of his own in the eighties
• 1:03:18
  Speaker 2: and nineties. He was really the only one still doing
• 1:03:22
  Speaker 2: interesting work.
• 1:03:24
  Speaker 3: Yeah, I would argue that he's he's the last out
• 1:03:26
  Speaker 3: of the top tier Italian horror directors that you get,
• 1:03:31
  Speaker 3: and he had such a short run for his own films.
• 1:03:35
  Speaker 3: I mean it's kind of unfortunately. I wish we would
• 1:03:39
  Speaker 3: have gotten more from him, to be honest.
• 1:03:41
  Speaker 2: Yeah, yeah, I wish. And Night Killer Is is not
• 1:03:47
  Speaker 2: a movie designed for analytical breakdown or critical dissection. It's
• 1:03:53
  Speaker 2: a movie that you ideally should have a couple of
• 1:03:57
  Speaker 2: beers with your friends and kickback. And I do think
• 1:04:01
  Speaker 2: there is a world where where you could do some
• 1:04:04
  Speaker 2: deeper studies on kind of the dynamic between her and Axle,
• 1:04:08
  Speaker 2: particularly before the reveal that that is her husband, when
• 1:04:11
  Speaker 2: she's still dealing with the amnesia from the incident happening.
• 1:04:17
  Speaker 2: And you could also probably deeper discuss the sherman committing
• 1:04:25
  Speaker 2: these murders while like him treating her differently instead of
• 1:04:31
  Speaker 2: just killing her, because he could have just killed her
• 1:04:35
  Speaker 2: and she was just a victim of this night killer,
• 1:04:37
  Speaker 2: and then they still could have done custody of the
• 1:04:39
  Speaker 2: daughter through that means, but no, he wants to I
• 1:04:43
  Speaker 2: guess for personal guilt reasons, you know, to not have
• 1:04:45
  Speaker 2: the guilt kills herself. Then then he can you know,
• 1:04:50
  Speaker 2: raise the daughter on you know, hey, your mom killed
• 1:04:53
  Speaker 2: herself and not take any of that responsibility directly, you.
• 1:04:55
  Speaker 3: Know, go like a by too much.
• 1:05:01
  Speaker 2: Also also, uh, just as some of there there's way
• 1:05:08
  Speaker 2: too many moments of just strange nudity in this movie.
• 1:05:12
  Speaker 2: Like there's a moment after she fires a gun that
• 1:05:17
  Speaker 2: the landlord shows up, and the landlord tells her like
• 1:05:21
  Speaker 2: or tells him, you know, hey, any more disturbances and
• 1:05:24
  Speaker 2: like I'm gonna have to get you out of here.
• 1:05:27
  Speaker 2: And he then and your girlfriend too, he says, and
• 1:05:30
  Speaker 2: then the camera cuts to like a medium shot of
• 1:05:33
  Speaker 2: Melanie and for some reason, just one of her breasts
• 1:05:35
  Speaker 2: are out.
• 1:05:38
  Speaker 3: I'm not here to argue it. I mean, oh my god,
• 1:05:47
  Speaker 3: these are creative liberties.
• 1:05:50
  Speaker 2: He I have to sit again to this interview. The
• 1:05:56
  Speaker 2: There's a moment in the movie when towards the beginning
• 1:05:59
  Speaker 2: when doctor Will and Detective Clark come out of the
• 1:06:04
  Speaker 2: police station and they are kind of like walking towards
• 1:06:08
  Speaker 2: their car and are getting storm by reporters, and the
• 1:06:11
  Speaker 2: camera does this like very subtle dolly movement from like
• 1:06:16
  Speaker 2: one side of a police car out into the road
• 1:06:19
  Speaker 2: to then follow them and clutting himself about how he
• 1:06:22
  Speaker 2: had all the money to do this, and he felt
• 1:06:23
  Speaker 2: like Spielberg because he was dollying the camera, which he
• 1:06:29
  Speaker 2: says it in such a way that's like I can't
• 1:06:31
  Speaker 2: be upset with him for saying it, but just interesting
• 1:06:34
  Speaker 2: to hear, like the how exciting the use of a
• 1:06:40
  Speaker 2: dolly was on the set of Nycular.
• 1:06:47
  Speaker 3: Yeah, this one I was. I was very excited to
• 1:06:50
  Speaker 3: talk about this film. I feel like that this movie
• 1:06:53
  Speaker 3: is definitely at least worth watching once. You know, just
• 1:07:01
  Speaker 3: pick up the Seven Blu ray, do yourself a favor.
• 1:07:05
  Speaker 3: Perfect for a Friday night, sit back, relax, enjoy the sleeves,
• 1:07:09
  Speaker 3: Enjoy the gore, Enjoy the insanity that is the Night Killer.
• 1:07:16
  Speaker 2: Yeah, this is this is a lot of fun. Man.
• 1:07:18
  Speaker 2: I'm happy. I'm happy we ended up picking and talking
• 1:07:20
  Speaker 2: about this one because there's great ideas here. I think
• 1:07:25
  Speaker 2: there's really good ideas that are not fully explored. I
• 1:07:29
  Speaker 2: think it's leazy enough that you can just kind of have,
• 1:07:33
  Speaker 2: you know, a fair share of fun with it. The
• 1:07:36
  Speaker 2: Severn disc looks pretty good. There's two really great interviews
• 1:07:39
  Speaker 2: on the bonus features, and it's a movie that I
• 1:07:43
  Speaker 2: would encourage anybody to if you've gotten as far like
• 1:07:46
  Speaker 2: watch it numerous times. I do think there is enjoyment
• 1:07:49
  Speaker 2: and repeat viewings of this movie because it's so outrageous,
• 1:07:55
  Speaker 2: and maybe it's more of your attempt to try to
• 1:07:58
  Speaker 2: understand everything but watching it numerous times, but it's really
• 1:08:04
  Speaker 2: kind of indescribable as a whole. To try to convince
• 1:08:12
  Speaker 2: a stranger on the street that this is worth watching.
• 1:08:17
  Speaker 3: It's definitely like if you're compiling from you know, every
• 1:08:24
  Speaker 3: Italian horror film out there. Obviously there are some that
• 1:08:27
  Speaker 3: hit way higher highs than this, but I have to
• 1:08:31
  Speaker 3: say you have to at least throw this into the
• 1:08:34
  Speaker 3: mix the same way that you might you know, Rats
• 1:08:38
  Speaker 3: or you know Zombie three. You know. Just it's if
• 1:08:41
  Speaker 3: you're not looking for something that's like, you know, you know,
• 1:08:47
  Speaker 3: high end art, then you got the night Killer.
• 1:08:52
  Speaker 2: You're trying to say this isn't high end art.
• 1:08:58
  Speaker 3: Maybe the claudio Forgaso. I mean, there's definitely listen, I
• 1:09:01
  Speaker 3: can appreciate like the strange dream sequences and you know,
• 1:09:05
  Speaker 3: just like the odd stylistic choices. But I think that
• 1:09:11
  Speaker 3: there's other other Italian horror that you know, eclipses this.
• 1:09:15
  Speaker 2: Yeah, I agree. We'll make sure that we have a
• 1:09:19
  Speaker 2: link down below in the bio so you can pick
• 1:09:21
  Speaker 2: up this Blu ray. It's available directly through seven and
• 1:09:24
  Speaker 2: I'm sure you can get it on Amazon and all
• 1:09:25
  Speaker 2: that stuff. Like I said, it's a great disc. There's
• 1:09:28
  Speaker 2: two really good interviews on here if you really feel
• 1:09:30
  Speaker 2: like diving deeper into the world of Night Killer. Before
• 1:09:33
  Speaker 2: we head out see have any last thoughts on night
• 1:09:36
  Speaker 2: Killer or breast Fondling.
• 1:09:43
  Speaker 3: Listen. I'm I'm at a loss for words, to be honest.
• 1:09:48
  Speaker 3: You know, I got everything that I was hoping for
• 1:09:50
  Speaker 3: with night Killer, and I hope that every one of
• 1:09:52
  Speaker 3: our listeners gets out there. Go pick up that seven
• 1:09:55
  Speaker 3: blu ray and if you happen to check it out,
• 1:09:59
  Speaker 3: feel free tag us in't it? Yes?
• 1:10:02
  Speaker 2: Please?
• 1:10:02
  Speaker 3: Do I want to spread night Killer awareness?
• 1:10:05
  Speaker 2: I think we I think we need to spread get
• 1:10:07
  Speaker 2: us on the night Killer four K awareness. I think
• 1:10:10
  Speaker 2: beyond the Please, let's everin know that we want to
• 1:10:15
  Speaker 2: be on the night Killer four K disc and we
• 1:10:17
  Speaker 2: will do anything to get there.
• 1:10:18
  Speaker 3: Chris, do you feel like that this is Beyond the
• 1:10:21
  Speaker 3: Blood's equivalent of Spider Labyrinth of last year?
• 1:10:25
  Speaker 2: Spider Labyrinth is a much better movie than this.
• 1:10:30
  Speaker 3: I'm just saying as far as awareness for a film
• 1:10:33
  Speaker 3: that needs.
• 1:10:33
  Speaker 2: More love, probably and a film yeah probably, I mean
• 1:10:39
  Speaker 2: Spider Labyrinth was. You know, if you're listening to this
• 1:10:43
  Speaker 2: and you're like, oh, they covered another interesting severan title,
• 1:10:46
  Speaker 2: please don't go back and listen to the episode that
• 1:10:48
  Speaker 2: was the first episode Beyond the Blood ever did, and
• 1:10:50
  Speaker 2: it's not very good. We were We had no idea
• 1:10:53
  Speaker 2: what the fuck we were doing, but people really liked
• 1:10:58
  Speaker 2: that episode, and I'm pretty sure that we increased sales
• 1:11:05
  Speaker 2: of Spider Labyrinth pretty heavily after that because we spent
• 1:11:10
  Speaker 2: the whole time talking about how do people not know
• 1:11:13
  Speaker 2: about this movie? This movie is fucking incredible? And night
• 1:11:17
  Speaker 2: Killer is like night Killer is more like how do
• 1:11:20
  Speaker 2: people not know about this? This movie's batshit crazy and
• 1:11:23
  Speaker 2: makes no goddamn sense. But I think though titles like
• 1:11:29
  Speaker 2: this are why I've had, over the last couple of
• 1:11:31
  Speaker 2: years such an attachment to sever Because I don't require
• 1:11:34
  Speaker 2: my film to have my films to have a certain
• 1:11:39
  Speaker 2: pedigree to them. I can just sit down and enjoy
• 1:11:41
  Speaker 2: a movie like this and not try to take it
• 1:11:45
  Speaker 2: for anything more.
• 1:11:45
  Speaker 3: Than just what it is.
• 1:11:49
  Speaker 2: And totally there's effort here. I mean I can point
• 1:11:53
  Speaker 2: you to a million movies that don't put in even
• 1:11:56
  Speaker 2: a quarter of the effort this movie does. It just
• 1:11:58
  Speaker 2: comes out messive. That's really about it.
• 1:12:01
  Speaker 3: Well, I have to say, I mean, Severn definitely highlights
• 1:12:08
  Speaker 3: some excellent Italian horror films. I mean, didn't they put
• 1:12:11
  Speaker 3: out They put out Burial Ground Beyond the Darkness, Absurd.
• 1:12:18
  Speaker 2: Oh, Severn's catalog is is insane. It's so good. Where's
• 1:12:27
  Speaker 2: your Severn section at? Uh?
• 1:12:30
  Speaker 3: They did? They did a release of Anthropophagists, didn't they?
• 1:12:34
  Speaker 3: Or they they have one that's coming out for that
• 1:12:37
  Speaker 3: double pack with Absurd.
• 1:12:38
  Speaker 2: Well, I have Anthropopogus and Absurd on blu ray from
• 1:12:41
  Speaker 2: them already older releases. Yes, I do. I have way
• 1:12:47
  Speaker 2: too many Severn titles. Steve is scavenging his wall.
• 1:12:56
  Speaker 3: The long pause.
• 1:12:59
  Speaker 2: As he looks for severing titles among the beauty although
• 1:13:02
  Speaker 2: they are physical media.
• 1:13:03
  Speaker 3: Collection, don't forget about the Devil's Honey.
• 1:13:09
  Speaker 2: Oh saxophone. Yeah, if you know, you know, probably a
• 1:13:18
  Speaker 2: future beyond the blood title.
• 1:13:21
  Speaker 3: I would not be opposed to that. Give me a
• 1:13:22
  Speaker 3: reason to rewatch it.
• 1:13:25
  Speaker 2: Wait, you need a reason and rewatching it?
• 1:13:30
  Speaker 3: I don't. But for the sake of all the listeners out.
• 1:13:32
  Speaker 2: There, well, before we get out of here, as always,
• 1:13:38
  Speaker 2: please do us favorite go check out our the podcast
• 1:13:42
  Speaker 2: network that we're incredibly proud to be a part of.
• 1:13:44
  Speaker 2: That is Someone's who Were Productions. We're partnered up with
• 1:13:47
  Speaker 2: a ton of incredible shows over there. Please be sure
• 1:13:49
  Speaker 2: to go check out some of our partner shows. Head
• 1:13:53
  Speaker 2: to the links down in the bio. Those will bring
• 1:13:56
  Speaker 2: you to other shows that are that are part of
• 1:14:00
  Speaker 2: our network. And I feel so flustered after talking about Nikuler.
• 1:14:07
  Speaker 3: Chris, are you the lights over there?
• 1:14:08
  Speaker 2: Or what? Yeah, they're they're going down on their own.
• 1:14:13
  Speaker 3: Vibes or just do I hear you whisper Melanie under
• 1:14:16
  Speaker 3: your broth?
• 1:14:16
  Speaker 2: I did, Melanie? I did?
• 1:14:17
  Speaker 1: I did?
• 1:14:19
  Speaker 2: I gotta go man. Line two is off the hook.
• 1:14:22
  Speaker 2: I don't know what happened. Oh no, the line too
• 1:14:24
  Speaker 2: is ringing, man is ringing? You know what that makes
• 1:14:28
  Speaker 2: me think of? It makes me think of It makes
• 1:14:30
  Speaker 2: me think of the Sopranos in the first season with
• 1:14:32
  Speaker 2: the bartender at Botta bing that doesn't know how to
• 1:14:35
  Speaker 2: operate the phone and Tony beats his ship out of
• 1:14:37
  Speaker 2: him with the headset.
• 1:14:40
  Speaker 3: I love the Sopranos reference. So that's like the perfect
• 1:14:43
  Speaker 3: closer for the episode.
• 1:14:45
  Speaker 2: Perfect Steve.
• 1:14:46
  Speaker 3: Let let her. Let our listeners know where you're at, man,
• 1:14:49
  Speaker 3: oh man, you guys can find me after hours video.
• 1:14:52
  Speaker 3: I'm on Instagram, TikTok, YouTube, you name it.
• 1:14:56
  Speaker 2: What about you, Chris, I'm always on Instagram at Bearded
• 1:14:59
  Speaker 2: Film Guy, are always here on Beyond the Blood Podcast.
• 1:15:03
  Speaker 2: As always, Oh yeah, we got some cool stuff coming.
• 1:15:07
  Speaker 2: Can't wait to show you all what's going on. And
• 1:15:10
  Speaker 2: as always, just keep watching audio commentaries, keep watching interviews,
• 1:15:15
  Speaker 2: bonus features, whatever you can, keep supporting physical media. Yeah,
• 1:15:20
  Speaker 2: I think that's everything. And uh, listen when you when
• 1:15:23
  Speaker 2: you when you close off this episode tonight, dear listener,
• 1:15:28
  Speaker 2: please please watch out. Please make sure that that all
• 1:15:32
  Speaker 2: your doors are locked, and that line too stays stays
• 1:15:38
  Speaker 2: free of all creepy calls from the phone to across
• 1:15:40
  Speaker 2: the street.
• 1:15:42
  Speaker 3: Watch out for the Night Killer.
• 1:15:44
  Speaker 2: I tried so hard to put that to go that
• 1:15:46
  Speaker 2: that that was probably just as hard to follow as
• 1:15:49
  Speaker 2: the movie was.
• 1:15:50
  Speaker 3: And make sure you go pick up that blue rick.
• 1:15:52
  Speaker 2: Yes, please do link in the description down below. We'll
• 1:15:56
  Speaker 2: see you guys on the next one.
• 1:16:05
  Speaker 1: Thank you for listening to hear more shows from the
• 1:16:08
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 1:16:12
  Speaker 1: the description.