Latest / Critically Acclaimed Network / Critically Acclaimed #347 | The Running Man, Now You See Me: Now You Don't, Nouvelle Vague, Arco, Lesbian Space Princess, Keeper, The Carpenter's Son, A Very Jonas Christmas Movie, A Merry Little Ex-Mas

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Critically Acclaimed #347 | The Running Man, Now You See Me: Now You Don't, Nouvelle Vague, Arco, Lesbian Space Princess, Keeper, The Carpenter's Son, A Very Jonas Christmas Movie, A Merry Little Ex-Mas · Critically Acclaimed Network

0:12
[SPEAKER_04]: Hello, everybody, and welcome back to critically claim to Lily Review podcast where we review those movies That we review Explode And we're good.
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[SPEAKER_04]: My name is William to be honny.
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[SPEAKER_04]: I am a film critic.
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[SPEAKER_00]: I write for the rap and everybody calls me bibs My name is Whitney Sybold.
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[SPEAKER_00]: I tune the film critic.
0:32
[SPEAKER_00]: I contribute to slash film and Here we are.
0:36
[SPEAKER_00]: We're going to review Williams overactive film schedule this week
0:43
[SPEAKER_04]: It is an November, as you may have noticed, and there's this unfortunate thing that happens in the film industry, where all of the studios and all the independence, they all want every critic to see every movie, preferably before the beginning of December, so that we have they're all eligible for our best of the year list, send also for the various awards we may
1:12
[SPEAKER_04]: I have like three dozen more movies I have to watch this month.
1:17
[SPEAKER_04]: Now, some of them are catch up, some of them are stuff in Mr.
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[SPEAKER_04]: Earlier in the year, but a lot of them are new releases, releases that don't come in until December, and I am just absolutely slammed and trying to cram it as much as I possibly can, and
1:31
[SPEAKER_04]: I might, I might be, I don't know if I'm doing too good at job, but I do, I do have more movies than you this week.
1:37
[SPEAKER_00]: The, the reason critics like to release their best of the year lists in January is because presumably were prepped.
1:46
[SPEAKER_00]: Critics really in the last couple of months of the year have have to shift into overdrive necessarily to catch up with all of the awards contenders with this hugely prolific release schedule that every single studio has engaged in,
1:59
[SPEAKER_00]: for like the month of December we should presumably have that time off but then we don't because it's still busy uh... there's no real way to catch up we try we try our hardest and for the record although on our podcast we try to do our best and worst of the year lists
2:15
[SPEAKER_04]: at the very end of the year, last week in December, for his weekend January, most publications want to have that stuff out by early December.
2:24
[SPEAKER_04]: Yeah, they want to be able, because the earlier you get it out there, the more of a novelty it is, the more you get to sort of guide the conversation, I understand the impulse.
2:32
[SPEAKER_04]: But it's very, very frustrating, and I can think of many, many, many years.
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[SPEAKER_04]: where I and every other film critic written our top 10 of the year list, we podcasted, we put it out on video, whatever the hell we do.
2:44
[SPEAKER_04]: And then we see one or two more movies and it's like at crap.
2:48
[SPEAKER_00]: That one was really good.
2:49
[SPEAKER_04]: That should have been my number one or something like that.
2:52
[SPEAKER_04]: But you know, we at some point first off, no one can see everything that's just that's just literally impossible there are too many movies.
2:59
[SPEAKER_04]: And so
3:02
[SPEAKER_04]: we're all doing our best.
3:04
[SPEAKER_04]: And I'm trying really, really hard because I vote for multiple awards and I want to make sure that as many films as humanly possible are up for consideration, at least for me.
3:17
[SPEAKER_00]: So, and this is why you watch all those Christmas movies.
3:20
[SPEAKER_00]: You know, here's the thing with those Christmas movies.
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[SPEAKER_00]: Well, William's going to be reviewing two Christmas movies.
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[SPEAKER_00]: And here's which I didn't watch.
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[SPEAKER_00]: No, you didn't because I don't do that.
3:32
[SPEAKER_04]: Well, there's a couple of things.
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[SPEAKER_04]: One, the Christmas movies to me are like dessert.
3:38
[SPEAKER_04]: Okay, you know, like I've just had a big old meal full of freshly chopped vegetables and delicately prepared pasta and then I want to sugar cookie and so that for me is like a Netflix has a round come.
3:53
[SPEAKER_04]: Also, I believe that although we tend to prioritize the awards at this time of year and our consideration for best ones of the year, other stuff is still coming out.
4:02
[SPEAKER_04]: movies that are not necessarily up for awards, things that are just commercial junk food.
4:07
[SPEAKER_04]: Well, commercial junk food and just movies that probably don't have realistic aspirations for awards.
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[SPEAKER_04]: And I don't think we should be ignoring those.
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[SPEAKER_04]: So I try to make as much time for those, too.
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[SPEAKER_04]: Obviously we make time for the big blockbusters whether or not they have any chance.
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[SPEAKER_04]: But yeah, this small stuff, we've always tried, this one thing I love about us on this podcast is that we always try to review as much as possible everything, whether it seems important on the
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[SPEAKER_04]: and because you never know when something you just a trifle that everyone else is ignoring is and I end up actually being one of your favorite movies of the year.
4:39
[SPEAKER_00]: So you don't know until you've seen it, do you?
4:41
[SPEAKER_00]: And I tend to personally, I tend to go toward like smaller genre films, horror movies, especially.
4:47
[SPEAKER_00]: Sure.
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[SPEAKER_00]: Because there's a lot of really interesting work always coming out of that genre.
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[SPEAKER_00]: Yeah, there's new filmmakers kind of finding their voice and new sort of themes to explore.
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[SPEAKER_00]: A lot of
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[SPEAKER_00]: So this is why kind of gravitate towards shutter releases or like little tiny slasher movies that you might not have heard of some of its sucks But often I find some really good movies, so and I love what I like to try to bring attention to those just personally the low budget like romance type movies Whether it make for TV or streaming or whatever
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[SPEAKER_04]: And the low budget horror movies are in many ways the backbone of this industry.
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[SPEAKER_04]: Yeah, they're they're constantly getting produced and they're launching grounds Or a lot of different careers, but I think it's interesting is that even though they're both kind of serving the same function.
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[SPEAKER_04]: They're this basic sort of concrete at the bottom.
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[SPEAKER_04]: Yeah, of
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[SPEAKER_04]: the structure that people don't typically celebrate the concrete, but without that concrete, the Empire State Building would not stand up.
5:42
[SPEAKER_04]: All right, but but I do think it's interesting that the romance movies are typically very, very Sammy, but the horror movies because of the nature of horror that it leans more towards surprise.
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[SPEAKER_04]: Uh, there's a lot of daring stuff being done.
5:58
[SPEAKER_04]: Oh, yeah.
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[SPEAKER_00]: And I think the not that doesn't make it better necessarily it doesn't mean inherently better, but it's an exciting place to explain this just me explaining why I tend to go there before I go to the romance as true when it comes to the Christmas movies.
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[SPEAKER_00]: You're more of an expert than I am.
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[SPEAKER_00]: I don't explore the Christmas movies nearly that close and and I and I am a pimple on Alonza Duro.
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[SPEAKER_00]: Oh, it's about six and Alonza Duro all day by his book have yourself and we'll be a Christmas He's not a sponsor.
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[SPEAKER_04]: We're just a fan of his yeah, we had him on the show a little while ago to do an interview about the latest edition of his Christmas movie book Yeah, and so listen to that listen to everything that's in it if you listen to the podcast the maximum film I believe all season he's got like a Christmas movie
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[SPEAKER_04]: segment where he's keeping you abreast of all the new Christmas movies.
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[SPEAKER_00]: And from what I can understand from Alonso de Raleigh's fascination with Christmas movies, he just likes them, they're cozy and comforting.
6:54
[SPEAKER_00]: Don't we got an expert in something if you hate it, usually?
6:56
[SPEAKER_00]: Yeah, but from what I've heard him talk about these movies, he seems to see them as the tail end of progressivism in the United States.
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[SPEAKER_00]: It's not spearheading anything, but once like something in society shows up in like a hallmark Christmas movie, it is now widely accepted mainstream culture.
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[SPEAKER_00]: You know it's no longer controversial because it's at the very tail end of all of this.
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[SPEAKER_04]: Like, yeah.
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[SPEAKER_00]: So one hallmark started doing progressive idea and your society by the time it gets down to a hallmark Christmas movie, it's just the bedrock now.
7:34
[SPEAKER_04]: So when Hallmark movies started like actually putting not only queer people in their movies, but making movies about queer people, we're just still not the norm, but the fact that they were doing it to almost no ripples whatsoever in the culture of controversy.
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[SPEAKER_04]: Everyone's like, yeah, okay, so we're cool.
7:49
[SPEAKER_04]: Yeah, so it's like now queer characters can just be in media and because it's well, some queer characters are themselves, we're going to call me when Hallmark does a trans romance.
8:00
[SPEAKER_00]: Well, once Colmark distributes something like Lesbian Space Princess, which we'll be reviewing then I'll be much happier.
8:06
[SPEAKER_04]: We should talk about the movies because we have a lot of movies to review.
8:09
[SPEAKER_04]: This time on critically claimed, we're going to be reviewing Edgar Wright's The Running Man.
8:14
[SPEAKER_04]: Based on an novel by Stephen King, previously made as a movie by starring Alex Schwarzenegger.
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[SPEAKER_04]: We'll be reviewing the magical Heist Threakwell.
8:22
[SPEAKER_04]: Now you see me.
8:23
[SPEAKER_04]: Now you don't.
8:24
[SPEAKER_04]: We're going to be reviewing Richard Linklater's newvel vogue, which is about the making of Jean Luc Gadard's Breathless, one of the most influential movies ever made.
8:35
[SPEAKER_04]: We're going to be reviewing the animated sci-fi film, Arco, we're going to be reviewing the animated sci-fi film, Let's Be In Space Princess.
8:44
[SPEAKER_04]: It's all about Let's Be In Space Princess.
8:45
[SPEAKER_04]: We're going to be talking about the latest horror movie from Oz Good Perkins, the director of long legs and the monkey and a lot of other movies that were really good that unfortunately never found an audience.
8:54
[SPEAKER_04]: And so it's kind of doing like, but he has a new film with Tatiana Maslani called Keeper.
8:59
[SPEAKER_04]: We have a new horror film starring Nicholas Cage as Jesus' dad, not God, the other one and the human dad, the one who did actually all the one who changed the diapers.
9:12
[SPEAKER_00]: His name is Joseph.
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[SPEAKER_04]: My point is he's the one who changed the diaper.
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[SPEAKER_04]: So I think you're in the title.
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[SPEAKER_04]: It's a horror movie called The Carpenters Sun.
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[SPEAKER_04]: And yes, two Christmas movies.
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[SPEAKER_04]: A very Jonas Christmas movie, a Christmas movie starring the Jonas Brothers as themselves.
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[SPEAKER_04]: and a marry little ex-miss which is a romantic comedy about a couple who was getting divorced but one of them starts dating right before the holidays and it kind of throws the event into chaos and that stars at least he is still for stone.
9:45
[SPEAKER_04]: Okay, which is the main reason I was excited to see that because she doesn't star in movies enough if you ask me And so that's it and we should really just dive right in The biggest movie that we can was now you see me now you don't but the biggest movie that we both saw Yes, is the running man.
10:03
[SPEAKER_00]: That's right.
10:03
[SPEAKER_00]: We we've had a big
10:06
[SPEAKER_00]: Slicker of remake of a 1980s dystopian anti-corporate adventure film That was the toxic Avenger.
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[SPEAKER_00]: We also have a running man
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[SPEAKER_00]: I like to share.
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[SPEAKER_00]: I like the toxic venture better than I like the running man.
10:20
[SPEAKER_00]: The remake of the original both really The original toxic adventure is crashed and awful.
10:27
[SPEAKER_00]: It's a trauma film from the mid 80s.
10:29
[SPEAKER_00]: It has a budget of $50 and Every genuine it looks it, but yeah, there is very sincere.
10:34
[SPEAKER_00]: They're really committed to being gross and I admire that.
10:37
[SPEAKER_04]: It's Linus's pumpkin patch the movie
10:39
[SPEAKER_04]: It's not actually going to get out of the job done, but it's very interesting.
10:42
[SPEAKER_00]: Not a lot of whiff of hypocrisy with a lot of other things, however, because both movies are quite disgusting.
10:50
[SPEAKER_00]: Running man, the, was based on a book by Stephen King, it was adapted to a feature film was it 87?
10:56
[SPEAKER_00]: Around there, yeah, the movie came out, who, who did the night, who directed the 1987 film?
11:05
[SPEAKER_00]: Uh, that one start all at Arnold Schwarzenegger takes place in the dystopian future where
11:11
[SPEAKER_00]: Uh, there is a game, a blood sport game show.
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[SPEAKER_00]: It's the most popular show on in the country where contestants, uh, who are prisoners, and they're allowed to, uh, fight for Amnesty and like a death arena.
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[SPEAKER_00]: They run around this fake city with people hunting them.
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[SPEAKER_00]: If they can survive, then they get amnesty.
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[SPEAKER_04]: Then they get, uh, yeah, they get, uh, excuse for all of their crimes, uh, and also, uh, because it was the 80s, uh, and pro wrestling was starting to get really, really big.
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[SPEAKER_04]: The hunters, the people hunting them.
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[SPEAKER_04]: Game show were very broad.
11:43
[SPEAKER_04]: We had the nicknames like a chainsaw and dynamo was buzz saw buzz saw he was a chainsaw Sub-zero he would kill you with a hockey stick There was a fireball hit a flame thrower and dynamo who was an opera singer covered in Christmas lights Who converted his opera singing to a electrical blast that and it that one was a little forced
12:06
[SPEAKER_04]: I'm fine.
12:07
[SPEAKER_04]: I was fine, but it wasn't a very clean.
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[SPEAKER_04]: Here's a deal.
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[SPEAKER_04]: It's not a clean pitch.
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[SPEAKER_04]: When a guy goes up to who is the real-life game show host who is in the Oh, so Richard Dawson.
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[SPEAKER_04]: Richard Dawson, real-life game show host, played the game show hosts in the running man, really just blasting his own persona.
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[SPEAKER_04]: He was great in it.
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[SPEAKER_04]: But it's just imagine him walking up to him and saying, listen, I got my idea for my character for when I hunt people down and kill them for sport.
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[SPEAKER_04]: I use a chainsaw on a calm myself buzzsaw.
12:36
[SPEAKER_04]: Perfect.
12:36
[SPEAKER_04]: I love it.
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[SPEAKER_04]: What about you?
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[SPEAKER_04]: I want to use a hockey stick with a blade on it and call myself Sub-Zero.
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[SPEAKER_04]: Perfect.
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[SPEAKER_04]: I love it.
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[SPEAKER_04]: I want a suit covered in Christmas lights and whenever I sing opera, the lights charge up and shoot electricity.
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[SPEAKER_04]: What do we call you?
12:53
[SPEAKER_04]: Dinamo.
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[SPEAKER_04]: How does opera fit into that exact?
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[SPEAKER_04]: It's a tough pitch.
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[SPEAKER_04]: You know, and you got to wonder what what pitch did they reject before they allowed dynamo like how was the end of the good idea the opera thing is weird, but a dynamo is like an electrical like it's a thing that converts yeah machine energy into electricity by itself shooting electricity is fine, but they clearly got a guy like who on his resume had
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[SPEAKER_04]: You know, like I can shoot electricity and else other skills opera and he's like, ha ha I'm going to make sure I get I'm going to make sure I put that in the show like that's that's where that's what I really want my career to go once after a few seasons of the running man I can release my album this new running man.
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[SPEAKER_00]: is directed by Edgar Wright.
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[SPEAKER_00]: It also takes place into dystopia, but an updated one to match the dystopia we have envisioned from the 2020s.
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[SPEAKER_04]: But actually, it looks a lot just in terms of the overall design.
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[SPEAKER_04]: It looks a lot like the dystopia from Total Recall.
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[SPEAKER_04]: I was thinking of Robot Jocks as well.
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[SPEAKER_00]: That's just to like things are just a little run-down.
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[SPEAKER_00]: There are fancy buildings, but most of the cities...
14:00
[SPEAKER_00]: Robot Jocks is more polished.
14:01
[SPEAKER_00]: Or it's more apocalyptic, but yeah, sure.
14:04
[SPEAKER_00]: just there's a lot of poverty and our main characters played by Glenn Powell Glenn Powell who's really the best thing about this movie he just has that movie star charisma he's sold at the beginning of the movie we seem getting fired from a job because he's in subordinate he just has a really bad temper well tell him that he's in subordinate he's really fired because he mentioned the safety violation to the union and so not only was he fired he's been blacklisted and can't get any job
14:31
[SPEAKER_04]: Apparently, people don't like unions in this future.
14:34
[SPEAKER_00]: So he's screwed in the future.
14:36
[SPEAKER_04]: Yeah, he's screwed.
14:37
[SPEAKER_04]: He has an infant daughter who is sick and they can't afford her meds.
14:42
[SPEAKER_04]: His wife works as a waitress in a strip club and he thinks that the only way he can get enough money.
14:49
[SPEAKER_04]: He just wants enough money to get his kids his kid her meds.
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[SPEAKER_04]: So the state run media
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[SPEAKER_00]: has a lot of game shows that exploit poverty by forcing people to do humiliating things in order to get in fact like a hundred dollars like not a lot of money it's not even state run media they refer to the government as the network the the TV network and the government are more or less the same entity now
15:13
[SPEAKER_00]: So it's not like the president is telling the networks what to do.
15:16
[SPEAKER_00]: The network is also the president in this case.
15:18
[SPEAKER_04]: All right, see what that is a meaningful distinction.
15:21
[SPEAKER_04]: So so we applies, but because he's such an angry guy, they think he'd be perfect for the running man and the difference is that and this is much more like the book.
15:32
[SPEAKER_04]: And instead of like throwing him into like a square city block where he's hunted by larger than life characters, he's released into America, into the public.
15:42
[SPEAKER_04]: And he has to last 30 days.
15:45
[SPEAKER_04]: And the idea is people who aren't playing the game, if they spot him, or any of the other contestants, they can call it any make money.
15:54
[SPEAKER_00]: Yeah, if they spot him and it leads to an attack, then yeah, the citizen gets money.
15:59
[SPEAKER_00]: So yeah, everyone is against them.
16:01
[SPEAKER_00]: There are still colorful hunters on his tail.
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[SPEAKER_00]: And they're just called hunters in this version.
16:07
[SPEAKER_00]: But they're less, they're less indivisible.
16:09
[SPEAKER_00]: But they're just, they're just like military guys.
16:11
[SPEAKER_00]: And in fact, one of them wears a mask.
16:12
[SPEAKER_00]: And you can't even see what he looks like until the end of the movie.
16:14
[SPEAKER_04]: But he's played by Lee pace, so because he's incredibly tall.
16:18
[SPEAKER_04]: Yeah, you'll know them because like it's the only Lee Pace is that tall.
16:22
[SPEAKER_00]: You also don't hire an actor as handsome as Lee Pace And you keep his face covered for the whole movie.
16:27
[SPEAKER_00]: You're gonna shit's showed off eventually.
16:28
[SPEAKER_00]: You're gonna take off that mask It's weird if you don't
16:31
[SPEAKER_00]: William H. Macy is in the movie as well.
16:33
[SPEAKER_00]: He plays sort of this underground guy that will end up by giving some weapons and survival devices to the Glen Powell character.
16:40
[SPEAKER_00]: Yeah.
16:40
[SPEAKER_00]: Ben Richards.
16:41
[SPEAKER_00]: Yeah.
16:42
[SPEAKER_00]: The Schwarzenegger's character as well.
16:43
[SPEAKER_04]: But basically, he's on the run.
16:44
[SPEAKER_04]: Will they get him?
16:45
[SPEAKER_04]: Won't they get him?
16:46
[SPEAKER_04]: Will he develop a certain amount of cult celebrity because he lasts longer than anyone has in a really long time?
16:55
[SPEAKER_04]: And
16:57
[SPEAKER_04]: That's basically it.
16:58
[SPEAKER_04]: People want to use him to either push state propaganda.
17:02
[SPEAKER_04]: That's what the network wants to do.
17:03
[SPEAKER_04]: But there are also sort of a rebellious revolutionary movement that want to use him to inspire people to say fuck you to the government and inspire a natural revolution.
17:11
[SPEAKER_00]: I'll say this.
17:12
[SPEAKER_00]: It works better in this version of the running man than it did in those Hunger Games movies.
17:17
[SPEAKER_00]: Okay.
17:17
[SPEAKER_00]: The idea that catness was being used as a tool by either the government or the revolution and how both were manipulated images and she was sort of
17:27
[SPEAKER_00]: This one feels a little bit more like we understand a lot more what the rebellion is all about and in fact there's this my favorite sequence in the movie is when he's sort of fled the main city and this is like about second act and he's gone out to the country of Maine.
17:43
[SPEAKER_00]: And it's actually a bangore and dairy which shop and Stephen King.
17:46
[SPEAKER_00]: Yeah, so thank you cute.
17:48
[SPEAKER_00]: That's fine.
17:49
[SPEAKER_00]: It's fine.
17:49
[SPEAKER_04]: It's you expect it.
17:50
[SPEAKER_04]: It's Stephen King.
17:51
[SPEAKER_00]: It's distracting if you're watching that.
17:53
[SPEAKER_00]: Welcome to dairy TV show because now you're looking for Pennywise.
17:55
[SPEAKER_00]: But yeah, it it shows up at this remote.
17:58
[SPEAKER_00]: Anyway, he shows up in this remote mansion and Michael Sarah is there playing this revolutionary character who is like literally zero oxen zines like back in the 90s.
18:06
[SPEAKER_04]: They talked about how retro tech is actually in very, very popular now because it's like if you watch like an old TV, the government isn't watching you back.
18:15
[SPEAKER_00]: Yeah, cathode ray tube isn't tracking what you're watching.
18:17
[SPEAKER_00]: So there's a lot of these old TVs.
18:20
[SPEAKER_00]: And they're trying to get the truth about the government out there because they control so much of the media.
18:25
[SPEAKER_00]: And Edgar Wright at least does a really good job of establishing that this is sort of this dystopian Hellscape where everything you do is being watched and he has these like ever present floating drone cameras That watching everything
18:40
[SPEAKER_00]: I appreciated the scene where Glenn Powell grabs one of those things and beats a guy with it.
18:47
[SPEAKER_00]: That was kind of a cute minute.
18:50
[SPEAKER_00]: But this feels like it's politics or like really out of date.
18:55
[SPEAKER_00]: Like about 20 years out of date.
18:56
[SPEAKER_00]: This feels the sort of like surveillance state and the lies of the governments.
19:03
[SPEAKER_00]: just in terms of its tone and a lot of its language comes straight out of like the George W. Bush administration.
19:08
[SPEAKER_00]: Okay.
19:08
[SPEAKER_00]: It doesn't feel up to date.
19:10
[SPEAKER_00]: It's not up to the minute.
19:11
[SPEAKER_00]: It's not addressing politics as it is today.
19:14
[SPEAKER_04]: It seems some ways it is.
19:16
[SPEAKER_04]: I feel like there are certain aspects that are pretty universal.
19:18
[SPEAKER_04]: There is still class warfare.
19:20
[SPEAKER_04]: There is still a general, not just a distrust, but a dismissal of the idea that the police are anything but agents of the state.
19:28
[SPEAKER_04]: Yeah.
19:28
[SPEAKER_04]: You were mentioning when we were talking about the Christmas movies, that something allows a draw, though, it's said about how, by the time something that maybe once felt controversial, you didn't say that, that's just the message.
19:39
[SPEAKER_04]: Oh, the message you got, the sort of thing to do on sale, but the idea that if one something ends up in a Christmas movie, how come, it's a virtual kind of big?
19:46
[SPEAKER_04]: I think there's something to be said as well for sort of mainstream action movies, where
19:51
[SPEAKER_04]: You can tell a lot about where the culture is based on what a big studio picture that is trying to make appeal to as many people as possible and make a lot of money by who you're allowed to kill.
20:04
[SPEAKER_04]: Like you can like Nazis always always okay and the end of Jones can throw him out of a blimp knowing gives a crap zombies solos monsters find no cares robots solos machines nobody cares
20:15
[SPEAKER_04]: uh, the Russians for a long time.
20:17
[SPEAKER_00]: But then there's like that one evil bad guy that the hero will throw off a building at the end.
20:23
[SPEAKER_00]: And he's always human.
20:24
[SPEAKER_00]: It's never a robot right thrown at the end.
20:26
[SPEAKER_04]: But my point is this, the running man is a big budget studio production.
20:32
[SPEAKER_04]: They want to be very mainstream in which Glenn Powell and Michael Sarah and other people
20:39
[SPEAKER_04]: a kill a lot of cops.
20:42
[SPEAKER_04]: The cops are just understood to be evil.
20:44
[SPEAKER_04]: Yes.
20:45
[SPEAKER_04]: And there's the agents of this wicked state.
20:47
[SPEAKER_04]: And anyone who defends them is perceived is portrayed as ignorant, brainwashed, part of the elite class that doesn't have anything to fear from them.
20:56
[SPEAKER_04]: And so to see a movie this mainstream have this angry in attitude and this violent and attitude towards
21:06
[SPEAKER_04]: The it's own government currently and with a lot of overlaps and what's currently going on in the government is I think not worthy does it work no and I think it doesn't feel it doesn't feel very dangerous I'm not especially maybe I'm just sort of reaching out for more
21:24
[SPEAKER_00]: something a little bit more directly parallel to the modern world, it's too easy to look at a film like this and dismiss it as a fantasy sci-fi science fiction of course universe.
21:34
[SPEAKER_00]: And I think they are a sort of theoretical and I think it would feel if it felt a little bit more pungle, a little bit more dangerous, I would have liked it more.
21:40
[SPEAKER_04]: I feel this is when we let would have been better if it was cheaper because when you look at first up there's that attitude to it and if you think about something like um
21:48
[SPEAKER_04]: I don't know, uh, Lizzy Borden's sport was it born in flames?
21:52
[SPEAKER_04]: Yeah, born in flames.
21:53
[SPEAKER_04]: Born in flames?
21:53
[SPEAKER_04]: That's a revolutionary movie.
21:54
[SPEAKER_04]: Oh, hell, yeah.
21:55
[SPEAKER_04]: Because it's actually my stubborn.
21:56
[SPEAKER_04]: That's great.
21:57
[SPEAKER_04]: And it's actually about revolutionary people by revolutionary filmmakers working outside the system.
22:02
[SPEAKER_04]: This is a movie about how
22:06
[SPEAKER_04]: the media conglomerates are not just controlling everything, but they're pushing propaganda, they're pushing right wing fascistic propaganda, they are altering the news to meet their ends, and they are firing and pushing out everybody who isn't in their vision of who should be in control, and it's made by paramount.
22:29
[SPEAKER_00]: Yeah, yeah, that's that's a little hypocritical to think the anti I always appreciate a good anti corporate message even fit in a corporate product But it's also hard to take when it comes from a corporate product because it means somebody approved of that or best case scenario somebody didn't know to this
22:46
[SPEAKER_04]: This is one where I feel like it's impossible not to know.
22:48
[SPEAKER_00]: Yeah, it's the theme of the movie.
22:50
[SPEAKER_04]: I wanted to buy a lot of executives at Disney.
22:52
[SPEAKER_04]: Didn't really understand what Tim Burton was doing with Thumbau because it's really hidden under a lot of stuff.
22:57
[SPEAKER_00]: This is explicitly stated.
23:00
[SPEAKER_00]: I really admire Thumbau for that reason.
23:02
[SPEAKER_00]: Yeah, it's a super anti Disney movie.
23:04
[SPEAKER_00]: Yeah, Dumbo destroyed like kills Walt Disney and destroys the Death Star that he controls and he just bought Yeah, Disney uses that Death Star to destroy his own park.
23:15
[SPEAKER_00]: Yeah, just because one of his IP is getting away There's a lot going on There's a lot of good symbols and I'm gonna So yeah, when it comes when something like the running man comes from paramount it does feel a little too sanitized
23:28
[SPEAKER_00]: Yeah, especially when you're hiring a filmmaker like Edgar Wright, who's incredibly polished.
23:33
[SPEAKER_00]: He is such a frenetic slick filmmaker.
23:38
[SPEAKER_00]: He's able to do some really fun things with action.
23:41
[SPEAKER_00]: There's a really great sequence in this movie where it's essentially a car chase where it starts inside the trunk with the main character.
23:49
[SPEAKER_00]: And it's like a single shot and we actually like see and hear a lot before we actually get out of the car and see what's going on in the action That's a really fun scene.
23:56
[SPEAKER_04]: There's a fun action in here.
23:57
[SPEAKER_04]: I feel as though the film, but just speaking purely as an action movie, a thrill ride.
24:02
[SPEAKER_04]: Leave the politics out of it for a second.
24:04
[SPEAKER_04]: Oh.
24:05
[SPEAKER_04]: I think one of the biggest problems with this movie, because I was with it for a while, is it a little wonky, it's a little hypocritical share, but I was having a good time until the third act rolls around and everything slows to a crawl.
24:18
[SPEAKER_04]: We go from escalating action and escalating tension and escalating stakes to shrinking that down a lot, and a part of me is thinking like, okay, this is actually messing with the structure, you're doing something a little interesting, but
24:33
[SPEAKER_04]: they fail to make that also exciting in its own right and the movie kind of just starts peetering out and then the ultimate conclusion that it comes to it's very clearly going in one direction and if you know where the novel ends, which is not where your own Schwarzenegger movie ended,
24:48
[SPEAKER_04]: Um, you probably know that you probably can't end a movie that way nowadays.
24:54
[SPEAKER_04]: I won't tell you what happens, but if you want to look it up, you could read it and you go, oh, I see why we can't put that in the big movie.
25:00
[SPEAKER_04]: That's not going to happen.
25:01
[SPEAKER_04]: That's not going to have the impact that we wanted to have.
25:04
[SPEAKER_04]: But there's a lot of impact, but there's a solution to fixing that.
25:10
[SPEAKER_04]: Is.
25:11
[SPEAKER_04]: vague, confusing, not very well told, feels like we just kind of watched a whole lot of nothing and then when everything kind of comes together kind of tightly at the end, it feels too easy it's too easy not enough has changed like okay now there's these big changes, but we cut to like a few extra scenes in the real world and it seems like the real world is kind of intact.
25:32
[SPEAKER_00]: So that's not very interesting.
25:34
[SPEAKER_00]: This movie is over two hours.
25:36
[SPEAKER_00]: It's like two hours and 13 minutes long.
25:38
[SPEAKER_00]: That's way too long for something like this and it's all because of that stuff at the end.
25:41
[SPEAKER_00]: It's like okay, we're gearing up with big climax.
25:44
[SPEAKER_00]: But then we have to add it's like that modern blockbuster filmmaking.
25:47
[SPEAKER_00]: We have to have like a multi-part climax and we have to sort of slow down and deliver all this new exposition again.
25:54
[SPEAKER_00]: The other changes, and then there's another confrontation with Immigration Jesus again.
25:57
[SPEAKER_00]: It's like, all that's could, like, in the last 15 minutes.
26:00
[SPEAKER_04]: Stephen King gives them a tidy ending.
26:03
[SPEAKER_04]: It's just one that can't use.
26:04
[SPEAKER_04]: But I do feel like there is a way to adapt that and still keep the punchiness and the sort of rebellious attitude of the running man.
26:14
[SPEAKER_04]: And
26:16
[SPEAKER_04]: Without trying to have your cake and eat it to here and make it like sort of I don't know I can't really describe it in detail without ruining it, but I think it does a pretty good job of ruining the movie all by itself.
26:28
[SPEAKER_04]: So I can't really but I won't go into detail.
26:30
[SPEAKER_04]: I do not think the ending works and I don't think they'll third act work.
26:33
[SPEAKER_04]: So even though it's fun.
26:34
[SPEAKER_04]: Even though I was having fun.
26:35
[SPEAKER_04]: Gunpowell's really engaging like he's fun in this movie.
26:39
[SPEAKER_00]: It falls apart so badly, it's overwritten and it's messaging becomes a little muddy to buy the end because it becomes, it dovetails with a lot of the personal stuff and we kind of lose sight of what the message is supposed to be.
26:55
[SPEAKER_00]: There's another element of this movie where it sort of takes a little bit of a card from RoboCop, which is fine.
27:01
[SPEAKER_00]: Take whatever you want from RoboCop because it's a great movie.
27:04
[SPEAKER_04]: Honestly, you're going to steal from, you steal from Wizard of Oz, you steal from RoboCop.
27:08
[SPEAKER_04]: Still from the best.
27:09
[SPEAKER_04]: Yeah.
27:09
[SPEAKER_04]: You know?
27:10
[SPEAKER_00]: And one of the key elements of RoboCop was how crassly commercial the world had become.
27:15
[SPEAKER_02]: Yeah.
27:15
[SPEAKER_00]: that everything was privatized.
27:17
[SPEAKER_00]: The police department had been privatized and wrote a call and to illustrate sort of the commercial nature of the world, pulver who's been putting a lot of fake commercials for these really strange products, a board game where you nuke the world, a really stupid dinosaur, steps on a car that's literally called the 6,000 sucks.
27:42
[SPEAKER_00]: and then we also cut to like really stupid TV show in the background of a lot of scenes.
27:46
[SPEAKER_00]: It's the guy I would buy that for a dollar that guy.
27:49
[SPEAKER_00]: So there's kind of a media landscape lurking in the background of RoboComp.
27:54
[SPEAKER_00]: And Gerrite's trying to do something similar here with the running man who's trying to show that this is all about shows, the media is being manipulated, and there's all these commercials in the background as well.
28:04
[SPEAKER_00]: So all of these corporate sponsors are guilty of associating with all of this.
28:11
[SPEAKER_00]: They're not fake products for the movie.
28:14
[SPEAKER_00]: In fact, sometimes even of this takes place in like the 2070s, the products logos haven't changed.
28:20
[SPEAKER_00]: Now, I understand the nature of modern product placement.
28:23
[SPEAKER_00]: It's always distracting, but I understand that's the way films can make budget.
28:28
[SPEAKER_04]: Yeah, it's it saves you money.
28:30
[SPEAKER_00]: I also know products don't care how their products are used in a movie as long as they get you got to see the product logo There are limits to that like they don't want to hold plot about how Coca-Cola will kill you.
28:41
[SPEAKER_04]: Yeah, you can say there's an upper deck, but like you can get away with a lot
28:44
[SPEAKER_00]: but there's a scene in that last Jurassic World movie where somebody's eating a Snickers bar, you can see the logo and they drop the rapper and the rapper gets sucked into like a vent and causes the entire lab to go, hey, why are you?
28:56
[SPEAKER_04]: And like, how does people die?
28:57
[SPEAKER_00]: Countless people die and the dinosaurs get out because of a Snickers rappers.
29:01
[SPEAKER_00]: Snickers doesn't care.
29:02
[SPEAKER_00]: Apparently not.
29:02
[SPEAKER_00]: They don't mind that association.
29:04
[SPEAKER_00]: They just want to know that you've saw the Snickers logo.
29:06
[SPEAKER_00]: Yeah.
29:07
[SPEAKER_00]: And I'm guessing the products in this movie don't care that they're being associated with this like fascist dystopia, so long as the people are seeing enjoying a Guinness, then they're going to be okay with it.
29:18
[SPEAKER_00]: when you have real products in this movie, it kind of, and it's supposed to be sold to us as like legit product placement, or we're actually being encouraged to celebrate a lot of that, and it's kind of subconsciously.
29:33
[SPEAKER_00]: It rejects some of these messages.
29:35
[SPEAKER_00]: Exactly, the movie's message, which is supposed to be really anti-corporate, and yet the film itself when having these messages is now pro-corporate.
29:43
[SPEAKER_00]: So, what am I taking away from this?
29:44
[SPEAKER_00]: Should I hate Guinness now?
29:46
[SPEAKER_00]: I mean, that's the message,
29:47
[SPEAKER_00]: Also, this movie is clearly celebrating all these products by showing them to me, like a commercial.
29:53
[SPEAKER_00]: So there's a lot that this film is not doing well, and it's not thinking out really well.
29:59
[SPEAKER_00]: Edgar Wright knows a lot of the language of revolutionary talk, but this is not a revolutionary movie in practice.
30:06
[SPEAKER_00]: No, to the college.
30:08
[SPEAKER_04]: I'll just can't say that based on its existence.
30:10
[SPEAKER_04]: It has an expensive corporate film.
30:14
[SPEAKER_04]: It's an anti-expensive corporate film, expensive corporate film.
30:18
[SPEAKER_04]: Hmm.
30:20
[SPEAKER_04]: No.
30:21
[SPEAKER_04]: I mean, it's kind of punk rock if you can like slip that in under the radar.
30:25
[SPEAKER_04]: But even then, let's let's be honest here.
30:27
[SPEAKER_04]: We admire Dumbo for existing.
30:30
[SPEAKER_04]: Right.
30:30
[SPEAKER_04]: But I also admire that, for example, the animated movie, Wish, which was also...
30:35
[SPEAKER_04]: kind of had a message that apparently flew under Disney's radar because the whole point is that the people who run a magic kingdom and do so by stealing people's literal intellectual property are fundamentally evil and the only way to solve everyone's problems is to make everything public domain.
30:53
[SPEAKER_04]: That's literally the plot of the movie.
30:55
[SPEAKER_04]: The movie still sucks.
30:56
[SPEAKER_04]: Yeah, it's a bad movie.
30:57
[SPEAKER_04]: I the message I appreciate.
30:59
[SPEAKER_04]: So I appreciate that Edgar writes anger is mostly directed and a place that I can agree with and I can think it gives me some rooting interest.
31:08
[SPEAKER_04]: Yeah, the hell with those guys.
31:11
[SPEAKER_04]: But it's still not well implemented on variety of levels.
31:14
[SPEAKER_04]: So it's not a complete wash, but it's I mean, it's probably a garage where it's moving.
31:19
[SPEAKER_04]: Oh, no, last night.
31:20
[SPEAKER_04]: So, how I ate it.
31:20
[SPEAKER_04]: Yeah, I was it.
31:22
[SPEAKER_04]: I know some people love that movie.
31:23
[SPEAKER_04]: It's got great cinematography, but it's a terrible story.
31:25
[SPEAKER_00]: My issue with Edgar Wright is a filmmaker.
31:27
[SPEAKER_00]: It's when he was first starting out, he was a young upstart and actually had a lot.
31:31
[SPEAKER_00]: He wanted to explore in terms of style and the very time.
31:34
[SPEAKER_00]: He was a very excited filmmaker.
31:35
[SPEAKER_04]: He was going to wait to do stuff.
31:36
[SPEAKER_00]: He wanted to do it.
31:37
[SPEAKER_00]: He wanted to make zombie pictures.
31:38
[SPEAKER_00]: So he did Sean of the Dead.
31:39
[SPEAKER_00]: That's an exciting movie.
31:41
[SPEAKER_00]: And I feel like he pretty quickly, however,
31:46
[SPEAKER_00]: revealed that he didn't have a lot to say as a filmmaker is more interested in style genre and other movies.
31:52
[SPEAKER_00]: And he began to emulate them and remix them in his own way.
31:56
[SPEAKER_00]: Mostly really heavily barring from Sam Rainy, but also other sources as well.
32:01
[SPEAKER_04]: Oh, no, you then Walter Hill.
32:03
[SPEAKER_00]: Walter Hill, when he did Baby Drone.
32:04
[SPEAKER_04]: I feel like when he looked at his early early stuff, particularly Sean of the dad, hot fuzz, and to a different extent Scott Pilgrim versus the world, I feel like what Edgar Wright was doing
32:16
[SPEAKER_04]: style into substance where he was basically a listen we're going to use everything that we know all of the stylistic and storytelling familiarity of the zombie genre or the cop genre or video games and general pop cultural femora and we're going to use that to tell story about the people who are interested in those things.
32:34
[SPEAKER_04]: We're going to use zombies, a genre which often appeals to, you know, sort of young people's stories.
32:41
[SPEAKER_04]: Yeah, and we're going to tell a story about one of those people growing up.
32:44
[SPEAKER_04]: It's a coming to a story happening very, very quickly because of the zombie apocalypse.
32:49
[SPEAKER_04]: Hot fuzz is a story about male bonding and also about cops learning that the cops are bad.
32:55
[SPEAKER_04]: So that these using cop tropes to tell that.
32:57
[SPEAKER_04]: That's interesting.
32:58
[SPEAKER_04]: Scott Pilgrim is about, you know, the way that young people who have been fed nothing but popular culture, view everything through that lens, whatever their flaws are about something, but I think by the time he got to baby driver last night in Soho and now the running man, he's not finding those connections.
33:17
[SPEAKER_04]: Like baby driver is a pretty good heist slash car chase movie, but it doesn't, the heist, the heist slash car chase stuff.
33:26
[SPEAKER_04]: doesn't actually illuminate any particularly interesting story he wants to tell the story very wrote.
33:31
[SPEAKER_04]: Last night, it's so how I appreciate that he wanted to do a horror movie in Tente get pretty seriously, but especially by the end, that movie really collapses and it's a big, very misogynistic.
33:41
[SPEAKER_04]: Yeah, I don't think he's really fully aware of an anti-sex work and it's it becomes super anti-sex work.
33:46
[SPEAKER_00]: It's supposed to be really sympathetic toward the female characters and the victims and the way they're victimized, but
33:52
[SPEAKER_00]: the way it also implicates them in a lot of like the victims and in a lot of their own uh downfall.
33:57
[SPEAKER_00]: Yeah.
33:57
[SPEAKER_00]: It becomes like a scare foam from the thirties for a little bit.
33:59
[SPEAKER_04]: I feel like if he had leaned into the stylistic elements that the running man is it's inherent to the running man.
34:07
[SPEAKER_04]: The studio product quality of it.
34:10
[SPEAKER_04]: The game shows which even in this movie are what are game shows?
34:14
[SPEAKER_04]: really.
34:15
[SPEAKER_04]: The idea is that people who normally don't get to be on TV get to be on TV and win some money or some notoriety or get to become celebrities as a result.
34:26
[SPEAKER_04]: It's based it's a fundamentally cynical enterprise if you think about it.
34:30
[SPEAKER_04]: It feels hopeful and we've all dreamt about going on jeopardy or family feed or whatever the fuck you like.
34:36
[SPEAKER_04]: I don't have to dream.
34:38
[SPEAKER_00]: I was on jeopardy.
34:39
[SPEAKER_04]: I know he was very good on jeopardy by the way, and by the way, good was with it on pop culture jeopardy.
34:43
[SPEAKER_04]: I was on pop for dad jeopardy.
34:45
[SPEAKER_04]: Um, but.
34:46
[SPEAKER_00]: I don't know.
34:46
[SPEAKER_00]: I don't want to episode, so that's all I need to tell you.
34:48
[SPEAKER_04]: But you were really, really good though.
34:50
[SPEAKER_04]: I mean, I think you got screwed over by a badly worded.
34:53
[SPEAKER_04]: Final jeopardy.
34:54
[SPEAKER_00]: It came down to final jeopardy.
34:55
[SPEAKER_04]: Yeah, it was a tough.
34:56
[SPEAKER_04]: I think the way that was worded was a little confusing, which may have been the point, but that was rough.
35:02
[SPEAKER_04]: But my point is that we dream about it, it seems fun, but if you look at it from any kind of sort of critical perspective.
35:11
[SPEAKER_04]: their exploitative.
35:13
[SPEAKER_04]: And I think he touches upon that early on when we see some of the other fake game shows.
35:17
[SPEAKER_04]: And then I think he drops that very quickly.
35:18
[SPEAKER_04]: And I think that's probably where the sweet spot.
35:21
[SPEAKER_04]: That's something he could comment on underneath the Paramount umbrella and put in some real, a subversive commentary under their nose.
35:30
[SPEAKER_04]: But he ends up falling back on some more familiar territory.
35:33
[SPEAKER_00]: And one last note.
35:34
[SPEAKER_00]: Yeah, it's very fat phobic movie.
35:37
[SPEAKER_00]: Yeah, oh, there there are several fat characters and they're all like greedy villains There's one or the for their fools or buffoons or victims.
35:46
[SPEAKER_00]: Yeah, there's a one of the fake games shows early on as a is a fat guy on a treadmill Isn't it funny to watch him run and he fails cuz he's too fat
35:55
[SPEAKER_00]: Yeah.
35:55
[SPEAKER_00]: There's a scene on a train where a little fat kid catches him and he gets bribed with a snack box, the greedily grabs it like he's got a monster.
36:03
[SPEAKER_00]: And then there's a scene where two civilians trap one of the running man contestants and like get the drop on them.
36:12
[SPEAKER_02]: Yeah.
36:12
[SPEAKER_00]: And they bring them out on stage.
36:13
[SPEAKER_00]: Look, they got the drop on the the running man contestant and there's like these two mean fat kids.
36:18
[SPEAKER_04]: with like like flamethrowers like what are you doing you're making a particular choice there and I might be subconscious and might be accidental but it's in the text and it's not great but we should move on the number movie of the weekend was now you see me now you don't which is the third film in the now you see me series the first they get to three
36:39
[SPEAKER_00]: I know.
36:39
[SPEAKER_00]: Well, it's been a while.
36:41
[SPEAKER_04]: It's been almost 10 years since the last now you see me.
36:44
[SPEAKER_04]: The first now you see me was directed by Louis Laterie and it starred.
36:49
[SPEAKER_04]: Jesse Eisenberg, I love Fisher, Dave Franco and Woody Harrelson and they're all illusionists.
36:54
[SPEAKER_04]: Not magicians and sorcerers.
36:57
[SPEAKER_04]: They do stage magic.
36:58
[SPEAKER_04]: various different kinds, different expertise.
37:01
[SPEAKER_04]: They are enlisted to not just become big magicians, but also to use their various slight of hand and the illusion and mesmerism skills in order to pull off heists that are Robin Hood heists.
37:15
[SPEAKER_04]: They're going to take money from the rich and they're going to give it to people who need it.
37:19
[SPEAKER_04]: Fun.
37:20
[SPEAKER_04]: That's a fun idea.
37:21
[SPEAKER_04]: Is it genius?
37:24
[SPEAKER_04]: No, but it's fun.
37:25
[SPEAKER_04]: I haven't seen it at the time.
37:27
[SPEAKER_04]: They had a fun cast of characters.
37:30
[SPEAKER_04]: There's one particular fight in now you see me, which I love because Mark Ruffalo plays a cop who's trying to track him down and he ends up
37:37
[SPEAKER_04]: cornering day Franco and day Franco he's using like magic moves to fight him like he throws playing cards so hard I hurt and like he like he drum little little homage to Ricky Jay and that's him he like he jumps behind a curtain but then he jumps out of curtain the other side of the room and you don't know how he did it and that bit's fun that's the promise of the premise that's what we want
37:57
[SPEAKER_04]: The second was more of that.
38:00
[SPEAKER_04]: I couldn't tell you the plot of the second movie if you put a gun to my head.
38:03
[SPEAKER_04]: They're bear mine.
38:04
[SPEAKER_04]: I can barely remember the plot of the first one.
38:05
[SPEAKER_04]: I remember the premise and I remember some of some of the sets of some of the set.
38:08
[SPEAKER_04]: Some of the set pieces.
38:09
[SPEAKER_04]: That's it.
38:09
[SPEAKER_04]: They're fun.
38:10
[SPEAKER_04]: These movies are vapor.
38:12
[SPEAKER_04]: They have a reasonably good heart.
38:14
[SPEAKER_04]: You know, they're reason that they're basically like, hey, here's some likable actors.
38:17
[SPEAKER_04]: They're going to do some magic tricks.
38:20
[SPEAKER_04]: We're going to like,
38:21
[SPEAKER_04]: do something that makes absolutely no sense, but then we'll see in flashbacks that it kind of does except that mostly doesn't.
38:27
[SPEAKER_04]: And at the end you're going to go, wow, I will not remember that in a week, but I had a good time.
38:34
[SPEAKER_04]: Now you see me now you don't, which by the way, quick aside, now you see me too, should have been called now you see me now you don't.
38:42
[SPEAKER_04]: Yes, it's just called now you see me too.
38:43
[SPEAKER_04]: We interviewed John M. Chew about this and John M. Chew said,
38:47
[SPEAKER_04]: That was the idea that was the plan, but marketing said no.
38:51
[SPEAKER_04]: Oh, they were they were concerned about the branding.
38:54
[SPEAKER_04]: So but for some reason now it's okay.
38:57
[SPEAKER_04]: Problem is now you can't call now you see me three now you three me.
39:03
[SPEAKER_04]: That's where it was.
39:04
[SPEAKER_04]: It's like we do called Megan, like with a three in it.
39:08
[SPEAKER_04]: Like what are you gonna do when you hit Megan three?
39:11
[SPEAKER_04]: Yeah, the second one's called just Megan 2.0.
39:13
[SPEAKER_04]: That makes sense, but once you hit three, three 2.0, yeah.
39:15
[SPEAKER_04]: Man, you're screwed, you can't do it.
39:18
[SPEAKER_04]: But I digress this takes the fast five slash step up all in slash Avengers mentality where they're going to reunite every magician we've seen from the previous movies.
39:27
[SPEAKER_04]: Oh, all those characters.
39:28
[SPEAKER_00]: I remember all of them.
39:29
[SPEAKER_00]: Yeah.
39:29
[SPEAKER_00]: Yeah, I like there was let's see.
39:32
[SPEAKER_00]: Hang on.
39:32
[SPEAKER_00]: Yeah, there was Bert Wonderstone.
39:34
[SPEAKER_04]: There's a part in the beginning like when all of them are reunited, we're even one of them was like, what's that Lizzy Kaplan in this?
39:41
[SPEAKER_04]: I don't say the actors name, but that's basically just like we are missing one, right?
39:46
[SPEAKER_04]: Like the audience isn't like losing their minds.
39:48
[SPEAKER_04]: Like this is we did forget one, right?
39:51
[SPEAKER_04]: There's also a new team of magicians played by such up-and-coming actors as a dominant
40:04
[SPEAKER_04]: Oh, my god, I forget the actress's name.
40:05
[SPEAKER_04]: Hold on.
40:06
[SPEAKER_04]: That's going to.
40:07
[SPEAKER_04]: James, there's a shout out.
40:08
[SPEAKER_04]: Hold on.
40:09
[SPEAKER_04]: Just this Smith.
40:10
[SPEAKER_04]: Okay.
40:10
[SPEAKER_04]: Who I love.
40:11
[SPEAKER_04]: Just Smith is a really, really great actor.
40:12
[SPEAKER_04]: I do feel like just this Smith has been like the young upstart for about 10 years.
40:17
[SPEAKER_04]: Like he's, he just keeps playing that character.
40:20
[SPEAKER_04]: I think he's about 30 now.
40:21
[SPEAKER_00]: I mean, at least, right?
40:22
[SPEAKER_00]: I wonder if he's going to be a young upstart.
40:24
[SPEAKER_04]: Yeah, I do not know.
40:26
[SPEAKER_04]: Ariana Greenblad.
40:27
[SPEAKER_04]: So, just as Smith is the guy who's behind the scenes and he vents all their illusions, Dominic Sessa is like a...
40:36
[SPEAKER_04]: He's a regular old magician, but he's also a really good at impersonating people, and Aaron and Greenblood is a pick pocket.
40:42
[UNKNOWN]: Okay.
40:43
[SPEAKER_04]: At the beginning of the movie, they pull a heist by pretending to be the forehorsemen, the magicians from the previous movies, this call, this, this gets the attention of Jesse Eisenberg.
40:54
[SPEAKER_04]: It turns out the old team has disbanded, makes sense.
40:57
[SPEAKER_04]: It's been 10 years, but he has a new heist he needs to pull and he needs a new team and he's going to recruit these kids.
41:04
[SPEAKER_04]: The heist is to steal a diamond from a South African, South African diamond magnet played by Rosemann Pike.
41:14
[SPEAKER_04]: Nice.
41:15
[SPEAKER_04]: They also periodically throughout the movie steal her South African accent, which is pretty impressive.
41:20
[SPEAKER_04]: I don't know how they did that.
41:21
[SPEAKER_04]: Like that's like, how do we pull that one up?
41:24
[SPEAKER_04]: And then over the course of the film, they pull various magic themed heist and then one of them gets captured and they have to pull magic themed heists to get them back and then we have to find our way into this castle and the castle is a bunch of magic themed stuff in it but then the cops show up and we magic the house to stop the cops and that's kind of the whole thing that they did then running man too, magic in the house, stop the cops, except in running men as well
41:53
[SPEAKER_04]: It kind of made sense Here, let's see what's in now you see me.
41:58
[SPEAKER_04]: Here's the thing about let me let me think about the magic
42:02
[SPEAKER_04]: magic, stage magic.
42:05
[SPEAKER_04]: First off, mad respects for any person who pursues that and gets even remotely good at it.
42:11
[SPEAKER_04]: I'm not good at it, I tried, I think we all tried and I just, I think I didn't have the discipline or I didn't have the dexterity or both.
42:19
[SPEAKER_04]: So I've absolute phenomenal appreciation for anyone in the magic industry, but it's not just, you know, your card's gone.
42:28
[SPEAKER_04]: It's over here.
42:31
[SPEAKER_04]: that's kind of impressive, but that's not good.
42:33
[SPEAKER_04]: Magicians are storytellers.
42:36
[SPEAKER_04]: They want to engage you.
42:38
[SPEAKER_04]: They want to not just show you that they are good at hiding things.
42:44
[SPEAKER_04]: They want to sweep you up in a narrative so that when the actual trick of the trick part, the trick part of the trick occurs, you're like, whoa, I was so swept up in that.
42:55
[SPEAKER_04]: And now there's like, and there's a satisfying ending.
43:00
[SPEAKER_04]: What are the three stages that they say in the prestige?
43:04
[SPEAKER_04]: Oh, it's like the stage was the third one.
43:05
[SPEAKER_04]: It's basically, but it's basically, we start by telling, we start by introducing a construction and pay off.
43:11
[SPEAKER_04]: Basically, basically, we set up something that is completely normal, and then we do something kind of weird like we make someone vanish.
43:20
[SPEAKER_04]: Okay, anyway, we're going to make something vanish.
43:22
[SPEAKER_04]: The trick is bringing it back, and that's what you call the prestige.
43:29
[SPEAKER_04]: There's very little set up to the storyline.
43:32
[SPEAKER_04]: It's basically you're going to hang out with these actors and they're all very charming.
43:35
[SPEAKER_04]: And I would love to hang out with those actors.
43:38
[SPEAKER_04]: To a one, I'm sure they're all really neat.
43:40
[SPEAKER_04]: I've glad they had a good time.
43:41
[SPEAKER_04]: It looks like they did.
43:43
[SPEAKER_04]: And then the twist is just, okay, we're going to steal your money, your car or something.
43:48
[SPEAKER_04]: And then it's all, the excitement comes from the music kicks in and then there's like an ocean's 11 kind of flashback and then we see how the trick was pulled.
43:56
[SPEAKER_04]: That's the whole movie is just that.
43:59
[SPEAKER_04]: And in the moment, that's fun, but I have no rooting interest whatsoever, anything that happens here.
44:06
[SPEAKER_04]: And also, by the end, when we, all the reveals are revealed, and we find out what was the biggest trick of all was being pulled out of yada yada yada, it doesn't make any fucking sense.
44:18
[SPEAKER_04]: Now granted, a lot of it doesn't, like, I'm still confused is to how, like, at the end of the original, now you've seen me move these, the four horsemen jumped off of building
44:29
[SPEAKER_04]: Like, they never really got into that.
44:31
[SPEAKER_00]: Sometimes I look around, but like, I don't know.
44:33
[SPEAKER_00]: Sometimes they explain how they do the tricks.
44:35
[SPEAKER_00]: So I remember at the end of, no, you see me too.
44:37
[SPEAKER_00]: This is the only scene I would bring the movie.
44:39
[SPEAKER_00]: The round drop.
44:40
[SPEAKER_00]: The round drop.
44:41
[SPEAKER_00]: The round drop.
44:42
[SPEAKER_00]: The Jesse Eisenberg characters in the middle of a crowd of people just completely surrounded.
44:45
[SPEAKER_00]: And he says, oh, no, there's a light rain.
44:48
[SPEAKER_00]: What would happen if we made the rain stop?
44:51
[SPEAKER_00]: And he like holds his end.
44:52
[SPEAKER_00]: The rain literally seems to stop in midair.
44:55
[SPEAKER_00]: Yeah.
44:56
[SPEAKER_00]: Uh, the sound keeps going.
44:57
[SPEAKER_00]: Oh, so that's a little bit of a hint.
44:59
[SPEAKER_00]: And explain though that there's actually those drops are being released at a regular interval and there's a stroke.
45:04
[SPEAKER_00]: So it looks like they're all hanging in the air.
45:06
[SPEAKER_00]: Which is clever.
45:07
[SPEAKER_00]: Clover.
45:07
[SPEAKER_00]: Yeah.
45:07
[SPEAKER_00]: That's clever.
45:08
[SPEAKER_04]: That one kind of makes sense.
45:09
[SPEAKER_04]: I'm willing to go with you on the movie.
45:11
[SPEAKER_04]: They did it with CG.
45:12
[SPEAKER_04]: But yeah.
45:13
[SPEAKER_04]: Yeah.
45:13
[SPEAKER_04]: But whatever.
45:14
[SPEAKER_04]: And I'm not.
45:15
[SPEAKER_04]: It would be so much cooler if they were doing it for real.
45:17
[SPEAKER_04]: I'm going to grant you this.
45:18
[SPEAKER_04]: And maybe some of the slide I had was, I don't know.
45:20
[SPEAKER_04]: But like, General is speaking, you can't trust it because it's a movie.
45:23
[SPEAKER_04]: I recently saw someone, it's not a film on home video, but someone very generously ripped it to like internet archive or archived.org or one of those Ricky Jane is 52 assistants.
45:35
[SPEAKER_04]: Yes, which is one of the greatest television specials in history, David Nammatt directed it.
45:41
[SPEAKER_04]: Ricky J.
45:42
[SPEAKER_04]: If you don't know his name, he was a character as well.
45:45
[SPEAKER_04]: He appeared in bookie nights and tomorrow never dies and a bunch of small roles in movies.
45:51
[SPEAKER_04]: But he was also a mastercard shark.
45:54
[SPEAKER_04]: Yes, and not only that, but he was also a historian of magic and gambling.
46:01
[SPEAKER_04]: And freak shows and like you have everything strange entertainments.
46:05
[SPEAKER_04]: I have all of this books.
46:06
[SPEAKER_04]: He's amazing books and he did this incredible TV special where he was doing real slider hand and you could see it, the camera would linger on and a lot of the, you know, that you could believe it while telling you these incredible stories and telling you how things are done and how he's also not telling you the thing about Matthew Bookinger, the 17th century French aristocrat with no limbs who has a master bowler.
46:26
[SPEAKER_00]: Yeah, I love that.
46:27
[SPEAKER_00]: That's a great.
46:28
[SPEAKER_00]: Yeah, and that can same on talk shows like he brought out a sliced watermelon and could throw a card so it like stabbed into the meat Yeah, he says, okay, that's not impressive.
46:37
[SPEAKER_00]: Turn the watermelon around.
46:39
[SPEAKER_00]: He can any throw it into the hide.
46:40
[SPEAKER_04]: So it's a lot of color much more present.
46:43
[SPEAKER_04]: So and that
46:44
[SPEAKER_04]: special, which you should absolutely see if you have an it's hypnotic.
46:48
[SPEAKER_04]: It's impressive because it's really doing it and because it's really telling great stories.
46:52
[SPEAKER_04]: Now you see me one two and three and they're pretty much interchangeable is basically just like we think it would be cool if we could do magic, which yeah.
47:03
[SPEAKER_04]: I'm not going to fight you on that.
47:04
[SPEAKER_04]: That would be cool and it's briefly entertaining and the cast is like a bull and off and you will have a reasonably good time if you watch it.
47:11
[SPEAKER_04]: And you will forget everything about it very quick.
47:15
[SPEAKER_04]: Yeah.
47:15
[SPEAKER_04]: Which I'm fine with and I think we should move on.
47:18
[SPEAKER_04]: There's another movie that we saw which also begins with.
47:22
[SPEAKER_04]: uh... because it is new about sometimes a set-way circuit sometimes sometimes they are yes that this is true so it's there with that there's a new Richard link later film called new velvog this is the second Richard link later film this year and they're both been about artists the first one of the first one i was called blue moon it start even hawk as a heart from rogers and heart forget the things Lorenz heart Lorenz yet
47:48
[SPEAKER_04]: Yeah.
47:49
[SPEAKER_04]: And before you knew Rogers and Hammerstein and they had the ones that they don't plahoma and the King and I, Rogers worked with hard and they wrote some of the greatest songs ever including the song Blue Moon.
48:02
[SPEAKER_04]: You saw me standing along?
48:03
[SPEAKER_04]: Great song.
48:05
[SPEAKER_04]: Uh, in that movie, I'm going to mention this real real fast because we didn't get to review it in time, but it's basically just one night.
48:11
[SPEAKER_04]: It was three months before he died and it's the premiere of Oklahoma and he's a little pissed because he wasn't involved and he's just like that.
48:20
[SPEAKER_04]: is going to be called the greatest musical of all time and I was not involved.
48:24
[SPEAKER_04]: And it typically, yeah, yeah, yeah, um, Ethan Hawke is fantastic in that movie.
48:29
[SPEAKER_04]: The movie itself is a glorified stage play.
48:31
[SPEAKER_04]: That's not a bad thing.
48:32
[SPEAKER_04]: It's just descriptive, um, but it's seen for Ethan Hawke.
48:35
[SPEAKER_04]: But his follow-up,
48:38
[SPEAKER_04]: is a cinematic version of that, and every respect because it is a film about how Jean Luke Gooddard of the French New Wave of the Kahir du Sineema, a pretentious film critic extraordinaire.
48:56
[SPEAKER_04]: by personal decision.
48:58
[SPEAKER_04]: Oh, yeah, he's choosing that every second ever.
49:00
[SPEAKER_04]: He refuses to take his sunglasses off at night.
49:03
[SPEAKER_04]: He will always, I don't think we never see him at that time.
49:05
[SPEAKER_00]: No, I think he has changed the whole night.
49:08
[SPEAKER_04]: And yeah, so it's about him.
49:09
[SPEAKER_04]: He gets to be his first movie.
49:11
[SPEAKER_04]: And his first movie is Breathless, classic of the French cinema.
49:15
[SPEAKER_04]: spearheaded a lot of noteworthy uh... sort of techniques jump cutting et cetera it was very uh... much uh... sort of met a textual about the influence film has on the way people really behave uh... and to see to see this movie tell it that it worked was a fucking miracle i i love this movie and and here's the thing i
49:38
[SPEAKER_00]: I admire breathless.
49:39
[SPEAKER_00]: I can watch breathless any day.
49:41
[SPEAKER_00]: I've seen breathless numerous times.
49:43
[SPEAKER_00]: You're going to talk about it in film school.
49:44
[SPEAKER_00]: You're going to film school.
49:45
[SPEAKER_00]: You're going to stop.
49:45
[SPEAKER_04]: If you've got a film school and they don't show you breathless or the very least you're not expected to watch it at home.
49:51
[SPEAKER_04]: I question your syllabus.
49:52
[SPEAKER_00]: Yeah, it should be on the list unless you're going to like, you know, specifically, you know, Japanese cinema, they don't know if you're going to get full on degree.
50:00
[SPEAKER_04]: This is like, this is one of the whether you like it or not, I don't even like it that much.
50:04
[SPEAKER_04]: It's an important task.
50:05
[SPEAKER_00]: Yeah, well, and that's what it's going to say it's, it's not really a very accessible movie.
50:10
[SPEAKER_00]: It's really opaque.
50:11
[SPEAKER_00]: Because it's so vaguely structured, a lot of it is just sort of rambling and improvised, and it is kind of a comment on the way film and reality and are overlapping each other in turns.
50:24
[SPEAKER_00]: It's very fascinating to watch, but if you're going to watch, if you're going to go into the French new wave,
50:30
[SPEAKER_00]: Please start with Paris belongs to us.
50:31
[SPEAKER_00]: Please start with 400 votes.
50:33
[SPEAKER_04]: See you all from five to six.
50:34
[SPEAKER_00]: Yeah, watch those or much more accessible.
50:37
[SPEAKER_00]: Go to Veev Savian, other good art film.
50:39
[SPEAKER_00]: That's like a better version of breakfast with a little less masculine posturing in it.
50:46
[SPEAKER_04]: Although for to be fair it is about masculine posturing.
50:49
[SPEAKER_00]: Let's try and it is critical of it to an extent to an extent, but you cast a Stuttmooth and like Jean Paul Belmanda under kind of undermining that message.
50:57
[SPEAKER_04]: I suppose that's true.
50:58
[SPEAKER_00]: Yeah, yeah, but yeah, this is about how Jean look a dart.
51:02
[SPEAKER_00]: Already full bore.
51:06
[SPEAKER_04]: poet student film critic pretentious ass pretentious ass is really the those are two words and and the film never loses sight of the fact that he is a pretentious ass nobody takes him seriously yeah they all find them completely insufferable hard to work with every single person involved is like I don't think this is even gonna cut together yeah I don't think this movie is actually gonna get
51:28
[SPEAKER_00]: And and he says these like high-falut and things like I'm just you know, you know, we're gonna find the scene Do you want to improvise that's more more honest and more true?
51:38
[SPEAKER_00]: Just make it up as you go along like I'm trying to get it truth and all of that just say is that how you're gonna direct You're just gonna kind of make it up as you go or do you really just not know what the fuck you're
51:47
[SPEAKER_04]: And there's a bit like, I know how true all, I know some of these details are true because not enough about it, but I don't know how explicitly researched everything is.
51:57
[SPEAKER_04]: But for example, there's a scene in this movie where it's the first day of shooting, right?
52:01
[SPEAKER_04]: He gets a couple of shots off and then says, and we're done for the day.
52:04
[SPEAKER_04]: It's like, we've got like five shots and he's like, yeah, but I'm out of inspiration.
52:09
[SPEAKER_04]: Yeah, it's like, well, should we do something?
52:11
[SPEAKER_04]: No, we go home and we're just one day shooting schedule.
52:15
[SPEAKER_04]: You know how small that is, right?
52:17
[SPEAKER_00]: But nobody is there like, oh, he's such an artist.
52:19
[SPEAKER_00]: Nobody says, oh, he's such an artist.
52:20
[SPEAKER_00]: No, no, no.
52:21
[SPEAKER_00]: He's convinced he's an artist, but even then, I don't think he's convinced he's an artist.
52:25
[SPEAKER_00]: He just sort of like,
52:26
[SPEAKER_00]: feels like he knows how these things ought to work.
52:29
[SPEAKER_04]: He understands his principles.
52:31
[SPEAKER_04]: He knows like what he believes in terms of sort of ecstatic cinema that like you shouldn't have to do more than one take of anything and continuity is a crutch and you should never have to be beholden to it.
52:43
[SPEAKER_04]: And if you come up with something on the day, that's good enough, that's what you should be doing, that's true, that's genuine.
52:48
[SPEAKER_04]: These are all principles that I think a lot of people might have going into film school.
52:54
[SPEAKER_00]: Especially when you're specialized,
52:55
[SPEAKER_04]: Yeah, and then you go and go and dance on experience or going into production if you skip film school and just try to be a PA somewhere you might have that and then you realize how it actually works and you realize why we don't do that usually because it usually is a mess and like is nothing gets done and nothing gets but thing is is that he is.
53:14
[SPEAKER_04]: almost unfortunately, really talented.
53:18
[SPEAKER_00]: He's really talented and we know he's going to get away with it is the thing.
53:23
[SPEAKER_00]: This is breathless.
53:24
[SPEAKER_00]: This is a very famous moving.
53:26
[SPEAKER_00]: We know what this film did to the rest of cinema and it's hilarious to go back and see how flippantly casual this all was and how non pretentious everyone around good art was.
53:40
[SPEAKER_04]: It reminds me a little bit, there was a great movie came out a few years ago and I got tragically overlooked, called Dolomite as my name, which Eddie Murphy played Rudy Ray more who put together a Blacksploitation classic, but it's a very silly film, it's a very amateurish film, it's mostly running on vibes.
53:58
[SPEAKER_04]: And you watch the movie and it's like we're filming this thing and we're filming it on the fly and we don't know what we're doing and of course he
54:06
[SPEAKER_04]: If that movie ended with Dolomite being one of the most respected movies in history, but otherwise was the same film.
54:13
[SPEAKER_00]: That's the kind of what we're getting at here.
54:16
[SPEAKER_00]: It's like he's almost making this monster be movie.
54:18
[SPEAKER_00]: He's like, I'm gonna just cry and film.
54:20
[SPEAKER_00]: This is like really tragic moment.
54:22
[SPEAKER_00]: what is plot yeah and and I love that when he's even when he's giving interviews and he's trying to sound high-falut and he's being cut down by gencberg in the other room is by Zoe doggie the only um american actress in this movie yeah all all the characters are played by like and an american actor to be clear if you're not the only one she was their big gats he was the movie star who was gonna sell the film yeah
54:44
[SPEAKER_00]: I don't know him.
54:49
[SPEAKER_00]: New actor.
54:49
[SPEAKER_00]: Nobody knows any of these people.
54:51
[SPEAKER_00]: Tell you performance.
54:52
[SPEAKER_00]: Fucking amazing.
54:53
[SPEAKER_00]: He's great.
54:53
[SPEAKER_00]: They hired an actor named Aubrey Dovene.
54:56
[SPEAKER_00]: Dolan may be too play.
54:57
[SPEAKER_00]: John Paul the Mondo.
54:59
[SPEAKER_00]: Where did they find a guy who looks just like John Paul.
55:01
[SPEAKER_00]: He's a man.
55:02
[SPEAKER_04]: Like that's a he's really like.
55:03
[SPEAKER_04]: Don't we know it looks quite a bit like James.
55:05
[SPEAKER_00]: Yeah.
55:06
[SPEAKER_04]: It's all right.
55:07
[SPEAKER_04]: Well, just in general features, but like.
55:09
[SPEAKER_04]: He looks like we resurrected John Paul, like in a lab like I don't know how it's really quite incredible And there's a lot of like small roles really people that if you're if you're a film geek and there's like one scene with like melt.
55:28
[SPEAKER_04]: There's two scenes with Melville Yeah, you know Jump here.
55:31
[SPEAKER_04]: Melville isn't it Agnes Varda shows up in like two scenes two shots.
55:35
[SPEAKER_00]: She doesn't have any lines.
55:36
[SPEAKER_00]: I don't think which
55:36
[SPEAKER_00]: feels like he missed the opportunity to me, but okay, but like seriously, like phone, trouble, or because they were like more closely associated with good art, they have the roles in it.
55:45
[SPEAKER_04]: He films the entire movie in black and white, you know, much like majority of the films of the French new way, but least early on.
55:52
[SPEAKER_04]: And he does that almost West Anderson thing where every time we meet a new character, they get their own card, and there's a little subtitle.
56:00
[SPEAKER_04]: And front of them, except
56:03
[SPEAKER_04]: we know who they are.
56:04
[SPEAKER_04]: Yeah, like you might not, but if you don't know who they are, you know they're important enough to get a title card.
56:10
[SPEAKER_00]: Yeah, if the more you know about the French new wave, I think the more you're going to get out of this, but I think uh, what link later is mastery is is and this is something link later does perfectly well in a lot of his films is captured that kind of hangout vibe.
56:24
[SPEAKER_00]: this idea that these characters are just there to converse.
56:28
[SPEAKER_00]: It has a very casual, very light way.
56:30
[SPEAKER_00]: It's almost a comedy film in terms of its tone and you're playing it a lot of the fun film.
56:36
[SPEAKER_00]: These weird sorts of things.
56:38
[SPEAKER_00]: It's about a very important movie, but it's not trying to sell it as an important movie.
56:43
[SPEAKER_00]: It's about how this important movie grew out of something that was
56:48
[SPEAKER_00]: totally seat of the pants and not everybody was convinced it was going to work.
56:52
[SPEAKER_04]: Well, I think what he's talking about is that this movie, and I'll bet if you made a movie, if someone made a movie about Richard Linklater making slacker, it would probably have a similar vibe.
57:01
[SPEAKER_04]: It's like here's someone who had ideas was able to get a little bit of money.
57:07
[SPEAKER_04]: And was able and had the artistic freedom because he was working on such a small budget and with such a tight crew that he could just do whatever he wanted and you're not going to get breathless if you don't do that.
57:18
[SPEAKER_04]: Yeah, you might not get breathless, but you could never get it if you aren't free from that system and able to follow.
57:26
[SPEAKER_04]: strange idea.
57:27
[SPEAKER_04]: So I think that's a lesson that's worth learning.
57:30
[SPEAKER_04]: I do want to correct myself real fast.
57:31
[SPEAKER_04]: Gio Marbec, this is not his first movie, but it is his first starring role and he hasn't been in much.
57:35
[SPEAKER_04]: Okay.
57:37
[SPEAKER_04]: He was in here a small role and who we called Love the Devah.
57:40
[SPEAKER_04]: He had a small role and who we called relation Libra and he's another movie this year called Kature.
57:46
[SPEAKER_04]: Kature, which is about as you can imagine fashion.
57:49
[SPEAKER_04]: So which stars it was a
57:54
[SPEAKER_04]: That's got something on my right arm, but he is he is new and he is so good and if you've ever been to film school or if you've known a pretentious film type and again good tired what's good Art in this movie like he's in his 20s, right?
58:10
[SPEAKER_04]: He was pretty young.
58:12
[SPEAKER_00]: Yeah, he was pretty young.
58:13
[SPEAKER_00]: I think it was like late 20s at least.
58:14
[SPEAKER_00]: Let's see.
58:15
[SPEAKER_00]: Truffle.
58:16
[SPEAKER_00]: All right.
58:18
[SPEAKER_00]: Truffle.
58:27
[SPEAKER_04]: Yeah, that's them.
58:28
[SPEAKER_04]: Yeah, this is what it's like, and I was, and I was that guy once.
58:31
[SPEAKER_00]: Oh, yeah.
58:32
[SPEAKER_00]: And I thought it was going through there.
58:34
[SPEAKER_00]: Yeah.
58:34
[SPEAKER_04]: Good.
58:34
[SPEAKER_04]: Dard phase.
58:35
[SPEAKER_04]: Well, I didn't ever really like a Dard, but I had my pretentious.
58:37
[SPEAKER_04]: I know everything because I have principles.
58:40
[SPEAKER_00]: Good fit.
58:40
[SPEAKER_00]: Not good.
58:40
[SPEAKER_00]: Dard fan being a Dard.
58:42
[SPEAKER_00]: Good.
58:42
[SPEAKER_00]: Dard.
58:42
[SPEAKER_00]: A relation phase.
58:43
[SPEAKER_00]: The, the, yeah.
58:45
[SPEAKER_00]: And here, here's the first thing I think about good Dard.
58:47
[SPEAKER_00]: He was a critic.
58:49
[SPEAKER_00]: He felt he knew movies.
58:50
[SPEAKER_00]: He felt he could revolutionize film just by kind of feel.
58:53
[SPEAKER_00]: going through you're going by his gut and I understand film a little bit better.
58:57
[SPEAKER_00]: And I don't think he was necessarily convinced that breathless would crack everything open, but he got hooked at wood and it's almost frustrating to realize that it did.
59:08
[SPEAKER_00]: That he's right, that he's eating his goal.
59:10
[SPEAKER_00]: It shouldn't have worked.
59:10
[SPEAKER_04]: No, that's the thing.
59:11
[SPEAKER_04]: If you know this pretentious person, you know that they're mostly talking out of the rest.
59:16
[SPEAKER_00]: Yeah.
59:17
[SPEAKER_00]: And I got really frustrated when
59:22
[SPEAKER_00]: Autobiographies endless poetry and the dance of reality Which are about his own life and how important it was for him to devote his life to poetry Now everybody said it's not gonna work.
59:32
[SPEAKER_00]: You're gonna.
59:33
[SPEAKER_00]: You're gonna starve to death and it's really frustrating because he did it Yeah, he made those movies and he did those poems and he became the best and I gonna be the best and I had that How old is he now 100 and he's still pushing?
59:44
[SPEAKER_04]: Yeah, I know like, but like yeah, seriously, it's it's
59:47
[SPEAKER_04]: If you love the French New Wave or you've no nothing about it, I would highly recommend this move.
59:53
[SPEAKER_04]: I think it's really gives you a sense of the energy of it.
59:55
[SPEAKER_04]: Yeah, and just...
59:58
[SPEAKER_04]: think of way to say this other than this, but this feels too absolutist.
1:00:02
[SPEAKER_04]: This is the way independent cinema should be.
1:00:04
[SPEAKER_04]: Not what Link later is doing because he's although he's invoking independent cinema.
1:00:08
[SPEAKER_04]: It's not an independent movie per se.
1:00:10
[SPEAKER_04]: It's very particularly styled and to predict this move kind of movie now set 65 years ago takes a lot of effort and a lot of money and that's not the same thing.
1:00:21
[SPEAKER_04]: But
1:00:23
[SPEAKER_04]: This is the kind of can do, let's do something because it's the kind of over we want to see, spirit that we should be getting right, Jeanne of Morif, and we'll never have a new revolution in the art if we're not allowed to revolt.
1:00:39
[SPEAKER_04]: So I love it.
1:00:40
[SPEAKER_04]: It's a truly fantastic movie.
1:00:42
[SPEAKER_04]: It's a great double feature we blew them up, but this one's fantastic.
1:00:44
[SPEAKER_04]: It's really, really fantastic.
1:00:45
[SPEAKER_04]: Yes, it's just great.
1:00:47
[SPEAKER_04]: All right.
1:00:47
[SPEAKER_04]: Let's move on to an animated movie.
1:00:50
[SPEAKER_04]: This is a time travel film, it's a French film called Arc-O.
1:00:54
[SPEAKER_04]: ARCO, I said it that way, just for the sake of pronunciation, it's Arc-O.
1:00:59
[SPEAKER_04]: And Arc-O is a young boy, lives about 1,000 years in the future.
1:01:04
[SPEAKER_04]: Humanity lives amongst the clouds in these very utopian serene gardens where they're self-sustaining.
1:01:17
[SPEAKER_04]: But they've also developed time travel and they developed time travel in a very, very colorful way.
1:01:27
[SPEAKER_04]: Yeah, liberal arts college kind of way.
1:01:30
[SPEAKER_00]: You can see this.
1:01:33
[SPEAKER_00]: You can see the same premise being used in one of those films that film students had to shoot in a park and all they had was like a few props.
1:01:41
[SPEAKER_02]: Yeah.
1:01:42
[SPEAKER_00]: And so the magical time travel device is literally Joseph's amazing technical dream.
1:01:47
[SPEAKER_04]: Yeah, we the theater department just finished doing Joseph in the amazing technical or dream code and they were throwing away the costumes and we got the code.
1:01:53
[SPEAKER_04]: That's basically the style here.
1:01:55
[SPEAKER_04]: So they're wearing these fabulous rainbow costume with a diamond on their head and Over like head to toe, Spanx body.
1:02:03
[SPEAKER_00]: Yes, and it's very fantastic planet.
1:02:06
[SPEAKER_04]: It would look very very silly in my direction And what they do is they literally jump off of their platforms into the sky and glide into the past
1:02:19
[SPEAKER_00]: Yeah, and they call it, you know, and it's illegal for people under the age of 12 to time travel.
1:02:24
[SPEAKER_00]: Yeah, they just flight.
1:02:25
[SPEAKER_04]: Yeah, it would be irresponsible.
1:02:27
[SPEAKER_04]: So, but they're going back in time in order to rescue things that are gone, like extinct plants.
1:02:32
[SPEAKER_04]: They've brought back some seeds.
1:02:34
[SPEAKER_04]: Yeah, that kind of thing.
1:02:35
[SPEAKER_04]: And Arco is a little kid.
1:02:37
[SPEAKER_04]: And he wants to go back in time because he really just wants to see a dinosaur.
1:02:40
[SPEAKER_04]: And boy, can I sympathize?
1:02:42
[SPEAKER_04]: Because that would be cool.
1:02:44
[SPEAKER_04]: So he steals his, I think his older sisters suit.
1:02:48
[SPEAKER_04]: And before anyone wakes up in the morning, he travels through time, but he doesn't what he's doing and he ends up in the 2070s.
1:02:56
[SPEAKER_04]: And that's when we meet Iris, the film's other protagonist.
1:03:00
[SPEAKER_00]: He's all, yeah, and I love the way this film envisions the future.
1:03:05
[SPEAKER_00]: It's really interesting.
1:03:06
[SPEAKER_00]: I'm frustrated by a lot of modern animation, especially studio animation, for how unimaginative it is.
1:03:12
[SPEAKER_00]: They're using animation to maybe realize fantasy creatures, talking animals,
1:03:20
[SPEAKER_00]: ideas that are a century old.
1:03:22
[SPEAKER_00]: It's so frustrating walking into a Zootopia film and the selling point is what if animals were like people?
1:03:28
[SPEAKER_00]: Yeah, I've seen that.
1:03:31
[SPEAKER_04]: One of the first things we did in animation, like literally how about this?
1:03:34
[SPEAKER_00]: If you're going to tell a science fiction story, tell it in animation, you can imagine anything, draw anything.
1:03:41
[SPEAKER_00]: So the idea of
1:03:43
[SPEAKER_00]: these characters living in the future.
1:03:45
[SPEAKER_00]: And the future looks a little off.
1:03:47
[SPEAKER_00]: It looks a little alien to us.
1:03:49
[SPEAKER_00]: It's something with, it has items with your record now.
1:03:51
[SPEAKER_04]: Well, it's just suburbs.
1:03:52
[SPEAKER_04]: Like there are people of houses that look like houses.
1:03:54
[SPEAKER_04]: We have now, there's supermarkets like we have now.
1:03:57
[SPEAKER_04]: But everyone's house has its own robot.
1:04:00
[SPEAKER_04]: All the, not all, but a lot of the adults don't work there.
1:04:03
[SPEAKER_04]: They work so far away.
1:04:04
[SPEAKER_04]: They can't ever make it home.
1:04:05
[SPEAKER_04]: And they like read their children bedtime stories.
1:04:07
[SPEAKER_04]: It's holograms.
1:04:08
[SPEAKER_04]: I'm let the actual robots do all the work.
1:04:13
[SPEAKER_04]: is still a disaster, and so every house has like a sci-fi bubble that can go on top of it in order to avoid catastrophic storms or horrible forest fires, and that happens like every other day.
1:04:25
[SPEAKER_04]: But they've been able to preserve this fantasy of normalcy.
1:04:29
[SPEAKER_00]: And there's this weird kind of combination, artistically of,
1:04:35
[SPEAKER_04]: Like it has the the serene slow pace and careful framing of a studio, jibbley film that kind of vibe to the way it films just pastoral areas or forest or babbling brooks and the sound design that they use for them.
1:04:50
[SPEAKER_04]: I mean, like this feels right out of Arietta or yeah, you know, just exactly, but it's clearly an influence.
1:04:56
[SPEAKER_00]: but at the same time it's it's design and especially it's color design is unique.
1:05:02
[SPEAKER_00]: I haven't seen much like this in terms of science fiction where there tends to be an and I actually blame Star Trek for this to have the future be a place of muted colors.
1:05:15
[SPEAKER_00]: The uniforms on Star Trek might be a little brighter but everything else is like kind of great.
1:05:21
[SPEAKER_00]: But also it's
1:05:26
[SPEAKER_00]: it seems like a throwback to the 1960s to see going to the future and see people wearing like bright wild colors, or maybe like an any new film like liquid with sky.
1:05:35
[SPEAKER_00]: There's this this trio of people who are stalking our cow who know a little bit about sort of these visitors from space and trying to find some information.
1:05:44
[SPEAKER_00]: They're like the long gunmen.
1:05:46
[SPEAKER_04]: Yeah, they're their conspiracy theorists.
1:05:48
[SPEAKER_04]: They're living in a van.
1:05:49
[SPEAKER_04]: They bicker.
1:05:49
[SPEAKER_04]: And yeah, they apparently saw a time traveler
1:05:53
[SPEAKER_04]: when they were kids and they've been looking for one ever since and when arco crashes in the 2070s and meets this little girl iris and loses the gem that allows them to return home they uh uh they end up chasing them around.
1:06:08
[SPEAKER_00]: Yeah, but those guys are dressed in these brightly colored suits and they were these 1980s rainbow shades.
1:06:16
[SPEAKER_02]: Oh, they look so cool.
1:06:16
[SPEAKER_00]: Yeah, they're like gigantic cat eye shades.
1:06:18
[SPEAKER_00]: Like and those are just guys.
1:06:20
[SPEAKER_04]: Yeah, like that's just fashion and they're not evil no, they're they're they're they're kind of getting in the way and for a while.
1:06:27
[SPEAKER_00]: They're like they might be the worst, but they're not evil.
1:06:29
[SPEAKER_04]: Yeah, no, they're just guys.
1:06:30
[SPEAKER_04]: They just their guys who saw something strange and no one believed them and they want to prove that they're right.
1:06:35
[SPEAKER_04]: And now that we know time travel is real, we get it, man.
1:06:38
[SPEAKER_04]: But yeah, it's about him trying to get back to the future.
1:06:43
[SPEAKER_04]: It actually structs in terms of the actual story, the actual premise is basically
1:06:50
[SPEAKER_04]: without the incest or accusing Chuck Barry of plagiarism.
1:06:53
[SPEAKER_04]: Like, which is kind of an improvement, but the thing about this movie, which is kind of an improvement.
1:07:00
[SPEAKER_02]: Well, what's with me, no, you're so strong in the head.
1:07:03
[SPEAKER_04]: What are you going to do from a white kid?
1:07:04
[SPEAKER_04]: What are we doing here?
1:07:05
[SPEAKER_04]: I digress, that's always been weird.
1:07:10
[SPEAKER_04]: Arco is incredibly beautifully animated.
1:07:13
[SPEAKER_04]: It's a sweet story.
1:07:14
[SPEAKER_04]: I appreciate that it is a story about a time travel like coming back in time and inspiring people to realize that there are wondrous things to come.
1:07:22
[SPEAKER_04]: We haven't destroyed everything.
1:07:24
[SPEAKER_04]: And I think that's what science fiction should be doing.
1:07:27
[SPEAKER_04]: So I think it's a metaphor for that.
1:07:29
[SPEAKER_04]: The one thing I will say in this movie is,
1:07:33
[SPEAKER_04]: whatever the opposite of defenses.
1:07:35
[SPEAKER_04]: I don't want to attack it, but like it's the criticism I was going to say criticism yeah, the criticism I will love is that it's so laid back a lot of the time that I started feeling a little drowsy.
1:07:51
[SPEAKER_04]: And that's not necessarily what she wants.
1:07:53
[SPEAKER_00]: I suppose not, but I like qualities like that.
1:07:55
[SPEAKER_00]: I like that.
1:07:56
[SPEAKER_00]: This kind of slower, contemplative quality.
1:07:58
[SPEAKER_04]: And I like a lot of movies like that.
1:07:59
[SPEAKER_04]: But this one was just like, I don't know if it was just the tone or the pacing or the music or whatever, I felt myself going like,
1:08:07
[SPEAKER_04]: You know like we need to sort of like you can feel kind of coming and then catch yourself like it did that like once or twice and it's it's like It's like that scene in Amadeus, we're like the emperor like the emperor yonned And it's like it's gonna close and it's gonna close in two weeks if yonned twice it would close that night like so that's too harsh I just want to prepare everybody for because this is not an active movie.
1:08:30
[SPEAKER_04]: There's some intense bits third at involves like a forest fire in a chase
1:08:34
[SPEAKER_04]: But a lot of it is very chill, yeah, and you should be aware of that going in so that you can appreciate me who we for what it is doing.
1:08:41
[SPEAKER_04]: Yeah, they're not expected more than you're getting.
1:08:43
[SPEAKER_00]: But there are some pretty spectacular sequences.
1:08:45
[SPEAKER_00]: Like one of the most visually impressive animated films that in recent memory is Paprika.
1:08:50
[SPEAKER_04]: There's a sequence at the end of the world.
1:08:51
[SPEAKER_04]: That was like 15 years ago.
1:08:52
[SPEAKER_00]: There's like 15 years ago.
1:08:53
[SPEAKER_00]: There's this dream parade sequence where there's just like thousands of characters on screen and they're all hand drawn.
1:09:00
[SPEAKER_00]: It's just really
1:09:01
[SPEAKER_00]: There's a sequence, not quite as ambitious as that, but really impressive where they're going through essentially like a hollow deck museum.
1:09:10
[SPEAKER_00]: Oh, yeah.
1:09:10
[SPEAKER_00]: And they're kind of like opening up walls within these different biomes and just running from world to world during a chase sequence.
1:09:16
[SPEAKER_00]: Remind me a lot of the chase sequence in Valerian, where there's two of those like different biomes on that space station, and such a cool chase scene.
1:09:23
[SPEAKER_00]: It really one of a set of us best.
1:09:25
[SPEAKER_00]: But,
1:09:26
[SPEAKER_00]: I really like that sequence.
1:09:29
[SPEAKER_00]: What I admire about Arco, though, you're saying it's about how it gives you that this idea that there's hope to come.
1:09:35
[SPEAKER_00]: And I'm not sure how well that's going to read, because the future is so strange and alien in this movie.
1:09:42
[SPEAKER_00]: It's not something that we can necessarily look forward to.
1:09:45
[SPEAKER_00]: What I appreciate is that when we get to the 2070 sequences, we see this young girl Iris, who actually I was looking up this movie, I just learned it in the French dub of it.
1:09:56
[SPEAKER_00]: She was voiced by Joterox, she's granddaughter.
1:09:59
[SPEAKER_04]: So that's not just the same name.
1:10:01
[SPEAKER_00]: That's literally, oh, that's all Majoterozki.
1:10:03
[SPEAKER_00]: She is Brontis Joterozki's daughter.
1:10:06
[SPEAKER_00]: Wow, that's... And Brontis was the little boy in El Topo.
1:10:10
[SPEAKER_04]: That's weird.
1:10:10
[SPEAKER_04]: Yeah.
1:10:11
[SPEAKER_04]: But you didn't know that and you were just talking about
1:10:12
[SPEAKER_00]: God, it's just talking of Joder Rose.
1:10:14
[SPEAKER_00]: That's a very good connection there.
1:10:15
[SPEAKER_00]: But um, uh, or excuse me, she didn't play the girl.
1:10:18
[SPEAKER_00]: She played the mom character.
1:10:20
[SPEAKER_04]: Did you see the American dub or the French?
1:10:23
[SPEAKER_00]: I saw the American dub.
1:10:24
[SPEAKER_00]: I saw the American dub.
1:10:24
[SPEAKER_00]: That was the screener that gave me.
1:10:25
[SPEAKER_04]: That was always made available to me too.
1:10:27
[SPEAKER_04]: There's a few name actors in it.
1:10:29
[SPEAKER_04]: The only one who are distracting is that the comic relief trio is voiced by Will Ferrell Andy Sandberg and Flee.
1:10:35
[SPEAKER_04]: which admittedly is a great treat.
1:10:37
[SPEAKER_04]: But it's a little distracting because you know there's voices so well.
1:10:41
[SPEAKER_04]: But to their credit, they don't overplay it.
1:10:45
[SPEAKER_04]: You can imagine people in listing will Ferrell and Andy Sandberg to like, can you strike this up a little?
1:10:52
[SPEAKER_04]: Can you throw in a bunch of more jokes for American audiences?
1:10:55
[SPEAKER_04]: They resist that hurt.
1:10:56
[SPEAKER_00]: It's, that's true, but they get those celebrities as a way to sell it in the United States.
1:10:59
[SPEAKER_00]: It's like it's a celebrity, I think Madly Portman plays the mom of the American version, you know, Mark Ruffalo's in there as well.
1:11:05
[SPEAKER_00]: Yeah.
1:11:06
[SPEAKER_00]: But when we see that those 2070 sequences, we're seeing sort of the effects of
1:11:13
[SPEAKER_00]: high-tech run a little bit of mock and it's actually really extrapolated from what's going on right now how people are disappearing into their phones people are going online they're going how it a lot less there's this sort of plague of isolationism going on
1:11:29
[SPEAKER_00]: with the way we currently interact with our technology.
1:11:32
[SPEAKER_00]: We're not using it to connect with people.
1:11:33
[SPEAKER_00]: And this is a movie where young, this young girl, kids, are being left alone.
1:11:40
[SPEAKER_00]: And yeah, looked after only by automated by robot tech.
1:11:44
[SPEAKER_00]: Their parents are only there via hologram.
1:11:46
[SPEAKER_00]: It's about how ice, and their houses are surrounded by bubbles.
1:11:49
[SPEAKER_00]: This is a film very much about isolation and being alone.
1:11:53
[SPEAKER_00]: And trying to connect with another human being.
1:11:58
[SPEAKER_00]: In terms of its story, yeah, it's pretty simple.
1:12:00
[SPEAKER_00]: It's almost like a feeble in a lot of ways.
1:12:02
[SPEAKER_00]: But I feel, I felt that loneliness, very palpably in this movie.
1:12:08
[SPEAKER_00]: And I think the filmmakers are very wise to focus on it, the relationship that kid has with the robot is a little strange in that
1:12:19
[SPEAKER_04]: The robots are better parent.
1:12:20
[SPEAKER_00]: The robot is a better parent.
1:12:22
[SPEAKER_00]: They play with the robot.
1:12:23
[SPEAKER_00]: They're fond of the robot, but they also understand that's just a robot and a parent.
1:12:27
[SPEAKER_00]: Yeah, and indeed the robot breaks at one point and needs to be taken away by other robots to be repaired.
1:12:33
[SPEAKER_00]: And the kids and the kids are just by themselves now.
1:12:36
[SPEAKER_04]: Yeah, the parents aren't going to come back.
1:12:38
[SPEAKER_00]: And if this is a robot, that's all they have.
1:12:40
[SPEAKER_00]: And this isn't like, you know, E.T.
1:12:41
[SPEAKER_00]: where, you know, being left alone as a chance for adventure, it's actually kind of sad.
1:12:45
[SPEAKER_00]: Well, because they're a little scared to be left alone.
1:12:48
[SPEAKER_04]: Iris, and she's like a baby brother sister I forget, but, um, Iris.
1:12:53
[SPEAKER_04]: doesn't like her life, do you want some parents that feels the isolation from her parents?
1:12:59
[SPEAKER_04]: She understands in an innate way.
1:13:01
[SPEAKER_04]: I don't know if she could articulate it very well, that the nature of society is very precarious.
1:13:07
[SPEAKER_04]: And also, a Latte human connection, when Arco shows up, she actually has someone to talk to and someone with ideas to bounce off of her.
1:13:16
[SPEAKER_04]: That's the excitement.
1:13:19
[SPEAKER_04]: And yeah, I think we get that.
1:13:23
[SPEAKER_04]: There's so many really wonderful things that have come out of this information age, but the irony that is that and we thought it would be the exact opposite, it's really made everyone feel more isolated.
1:13:34
[SPEAKER_04]: There are fewer spaces to go to in person to meet people because we're doing it all on our phones because a lot of those, the actual practical value of a mall.
1:13:49
[SPEAKER_04]: can be done in an app on your phone, but the social value is gone.
1:13:53
[SPEAKER_04]: Yeah.
1:13:53
[SPEAKER_04]: And I think that makes everyone feel isolated to a degree, at least.
1:13:59
[SPEAKER_04]: And I think we yearn for that.
1:14:00
[SPEAKER_04]: And I think our co-suggests that in the future, A, there's a potential solution to the larger problems at large, and we shouldn't give up.
1:14:07
[SPEAKER_04]: And B, we will regain that human connection.
1:14:12
[SPEAKER_04]: that is not going to go away.
1:14:13
[SPEAKER_04]: Yeah, we might lose it for a while, but we're never going to lose it completely.
1:14:16
[SPEAKER_00]: We need it.
1:14:17
[SPEAKER_00]: Somebody to break in from the outside to bring it to us, but yes.
1:14:20
[SPEAKER_04]: I think that's great.
1:14:21
[SPEAKER_04]: As I said, I found it a little slow pace to a fault sometimes, but they really is a wonderful movie and it's gorgeous.
1:14:27
[SPEAKER_04]: The other animated movie we're reviewing this time.
1:14:32
[SPEAKER_04]: uh is a film called Lesbian Space Princess and boy is that an accurate title.
1:14:36
[SPEAKER_04]: It's about a lesbian space princess.
1:14:38
[SPEAKER_00]: Yeah.
1:14:38
[SPEAKER_00]: What a present.
1:14:39
[SPEAKER_00]: It is another animated science fiction picture.
1:14:42
[SPEAKER_00]: Uh huh.
1:14:43
[SPEAKER_00]: It takes place on the distant planet of uh what was it?
1:14:47
[SPEAKER_00]: Clitopolis.
1:14:49
[SPEAKER_00]: These are the jokes.
1:14:51
[SPEAKER_00]: these are the jokes.
1:14:52
[SPEAKER_00]: The main character is Sira.
1:14:55
[SPEAKER_00]: She is the lesbian space princess.
1:14:57
[SPEAKER_00]: Her moms are very doting but very condescending to her.
1:15:03
[SPEAKER_04]: Well, they don't get her and they annoyed that she's an introvert.
1:15:06
[SPEAKER_00]: They don't understand.
1:15:07
[SPEAKER_00]: She's kind of shy.
1:15:08
[SPEAKER_00]: She's really anxious and social situations.
1:15:12
[SPEAKER_00]: And she has to go through this and there are some indeterminate alien species.
1:15:18
[SPEAKER_00]: Yeah.
1:15:18
[SPEAKER_00]: But they all say their, that their lesbians and they're happy to be in queer space, they live, they live in a portion of the galaxy that's called queer space, they live inside gay space.
1:15:30
[SPEAKER_00]: And it's like safe inside the gay bubble.
1:15:32
[SPEAKER_00]: But they don't ever go out of gay space.
1:15:33
[SPEAKER_00]: They have to live in the queer communities.
1:15:36
[SPEAKER_04]: And a lot of people don't know how to find clips of us.
1:15:38
[SPEAKER_00]: But it's easy once you know where it is.
1:15:40
[SPEAKER_00]: It's easy if you know what you're doing.
1:15:41
[SPEAKER_00]: Yeah, that's these are the jokes.
1:15:43
[SPEAKER_00]: And God love how craft this movie is but it's a good-natured craft.
1:15:49
[SPEAKER_04]: Oh, yeah, no, there's no mean there's a little bit of being spirited Bowling towards like jerks, but like mostly it's very sweet.
1:15:55
[SPEAKER_00]: Well, we'll get to the jerks at a second because they're great There's a ship and that the evil aliens are great, but um, and
1:16:01
[SPEAKER_00]: uh... she is about to go through this ritual uh... on her home planet where she has to find her lab rest if you know anything about queer iconography the lab rest was used as a lesbian icon like back in the seventies is sort of one of the first things to go on a pride flag was this big
1:16:17
[SPEAKER_00]: And in this version of things, all lesbians, when they come of age, can sort of psychically manifest a real one to use as a weapon.
1:16:26
[SPEAKER_04]: Yeah.
1:16:26
[SPEAKER_04]: Now, I will look, yes.
1:16:27
[SPEAKER_04]: I will say this.
1:16:28
[SPEAKER_04]: I've only ever, and this might, I don't know if I'm right or wrong.
1:16:31
[SPEAKER_04]: I've only ever heard that.
1:16:32
[SPEAKER_04]: Outside of this movie pronounced laborous and the movie, it's pronounced lebris.
1:16:37
[SPEAKER_04]: It's all strong.
1:16:38
[SPEAKER_04]: Okay, that might be in a dialect, okay, maybe, I don't know, I don't know, but yeah, so she can't do that.
1:16:45
[SPEAKER_04]: There's something holding her back.
1:16:47
[SPEAKER_04]: She also had a girlfriend who just broke up with her and her girlfriend was like a badass bounty hunter and she thought dating a princess would be cool, but it's not what she wanted at the beginning of the movie, they'd break up, which is devastating to Sire on.
1:17:00
[SPEAKER_00]: The bounty hunter girlfriend does not give a shit.
1:17:04
[SPEAKER_00]: I don't care about you like she's just saying it out loud I'm I'm out of here.
1:17:08
[SPEAKER_04]: Goodbye.
1:17:08
[SPEAKER_04]: Yeah, he comes back.
1:17:09
[SPEAKER_04]: Oh, yeah.
1:17:10
[SPEAKER_04]: Yeah, you're wearing my shirt It's terrible, but then she is kidnapped By the alien for yes the straight white aliens
1:17:22
[SPEAKER_00]: who are literally straight and white.
1:17:24
[SPEAKER_00]: They're white rectangles with little things, which is very adult swim.
1:17:31
[SPEAKER_00]: They do, they look like the moon and ice.
1:17:32
[SPEAKER_04]: The kidnapped her and the thing is they can't because in this universe, gay people run everything, like there's queer people are just in charge.
1:17:43
[SPEAKER_04]: They can't get chicks, man.
1:17:45
[SPEAKER_04]: So they've bought a literal chick magnet that will bring the chicks to them.
1:17:49
[SPEAKER_00]: Physically bring women to them.
1:17:51
[SPEAKER_04]: This is great bit where they first won the bot only attracts chickens and they're really, really mad It's like, what are we going to do with that?
1:17:57
[SPEAKER_04]: Well, they're like, well, what are we going to feed the chicks when we get them?
1:17:59
[SPEAKER_00]: All these eggs, okay, good point.
1:18:02
[SPEAKER_00]: Fair enough.
1:18:03
[SPEAKER_00]: Um, the the the the image of the giant magnet covered in chickens, I mean,
1:18:08
[SPEAKER_00]: that's that's straight up like aquatene hungers it's that that's kind of like the level of humor we're operating on but it's way more structured and a lot more well felt yeah that's something like aquatene's we're just just stone or comedy real fast I'll get us through the rest of the plot
1:18:23
[SPEAKER_04]: The Australian millions kidnapped the bounty hunter because they know that she's the princess's girlfriend and they need her librice to power their chick magnet.
1:18:30
[SPEAKER_04]: So not only does she have to figure out how to summon her librice and remove this block, these basically negative talk, like the negative self image that she has.
1:18:40
[SPEAKER_04]: She also has to go on a grand mission.
1:18:42
[SPEAKER_04]: She meets someone who's a new love interest.
1:18:44
[SPEAKER_04]: She ends up with
1:18:45
[SPEAKER_04]: kind of an asshole ship.
1:18:49
[SPEAKER_00]: The ship is called the problematic.
1:18:52
[SPEAKER_00]: And yeah, the problematic ship is sexist and racist.
1:18:57
[SPEAKER_00]: Like he has all the attitudes of some guy who spends too much time on Reddit.
1:19:00
[SPEAKER_00]: As do the straight white millions.
1:19:01
[SPEAKER_00]: Yeah.
1:19:02
[SPEAKER_00]: And so
1:19:04
[SPEAKER_00]: Like he, she says, I have to go get my girlfriend.
1:19:07
[SPEAKER_00]: Oh, like your friend who's a girl.
1:19:09
[SPEAKER_04]: Yeah, by someone who needs it.
1:19:10
[SPEAKER_04]: And I think it's, we get the essentially the ship might be able to change.
1:19:14
[SPEAKER_04]: But like it's going to take a lot of work to take.
1:19:15
[SPEAKER_04]: If not your job, you shouldn't be, I shouldn't be the one to do it.
1:19:18
[SPEAKER_00]: She gets on this on on the ship and it looks like a bachelor pad.
1:19:21
[SPEAKER_00]: Like it's really messy and it's just like really uncomfortable.
1:19:24
[SPEAKER_00]: And I do like the arc of the ship though because the ship finally does start to realize some things Wait a minute.
1:19:30
[SPEAKER_00]: I can I can be a little bit more compassionate.
1:19:32
[SPEAKER_00]: Yeah, I could care about pronouns like boom Yeah, there's a non-binary character and it says oh, and we have another person on it's like oh, yeah And misgenders them.
1:19:41
[SPEAKER_00]: Yeah, and it's like actually pronouns they they them That ship says there's two of you
1:19:50
[SPEAKER_00]: Yeah, it's it's it's all very very knowing it's very up to date.
1:19:56
[SPEAKER_00]: It's super super queer positive.
1:19:58
[SPEAKER_04]: Yeah, it's animated like a lot of modern animated shows for kids, like starring the forces.
1:20:04
[SPEAKER_04]: Yeah, it's like a really faulty, very bright, very blabby, very emotional, very all the characters are extremely expressive.
1:20:12
[SPEAKER_00]: But they've had rubbery landings in big white eyes.
1:20:16
[SPEAKER_04]: And it is using the iconography of sort of animation, TV animation for young people, and combining it with the wit and the sort of subject matter that you would normally define an animation for adults.
1:20:31
[SPEAKER_04]: And using that to tell a coming-of-age story.
1:20:34
[SPEAKER_04]: which is smart.
1:20:36
[SPEAKER_00]: It's smart.
1:20:37
[SPEAKER_00]: It's attractive.
1:20:38
[SPEAKER_00]: It's easy to watch.
1:20:39
[SPEAKER_00]: It's very brief.
1:20:40
[SPEAKER_04]: It's definitely funny.
1:20:41
[SPEAKER_04]: Yeah, that's what it does around us, but they're all funny.
1:20:44
[SPEAKER_00]: But they're designed to be grown.
1:20:46
[SPEAKER_00]: Yeah, that's the whole point.
1:20:47
[SPEAKER_00]: And it's criticizing a lot of like straight male language in regards to the way of
1:20:54
[SPEAKER_00]: They they describe queer people, but at the same time it has this like punk rock appeal and this knowledge of queer spaces.
1:21:02
[SPEAKER_00]: So it's using it in this case literally queer spaces queer space.
1:21:06
[SPEAKER_00]: There's a villainous drag queen character who operates at club S17.
1:21:15
[SPEAKER_00]: That's going to make a lot of Australian people laugh.
1:21:20
[SPEAKER_00]: Look up S club seven.
1:21:21
[SPEAKER_00]: Okay.
1:21:24
[SPEAKER_04]: Because I'll be honest, that one that fly by me.
1:21:26
[SPEAKER_00]: Yeah.
1:21:26
[SPEAKER_00]: OK. Let's see.
1:21:28
[SPEAKER_00]: S Club 7.
1:21:28
[SPEAKER_00]: I think they're probably just close.
1:21:32
[SPEAKER_00]: It's all these and Brits are going to know about us.
1:21:35
[SPEAKER_04]: It is a children's television series.
1:21:37
[SPEAKER_00]: It's not children's television.
1:21:39
[SPEAKER_00]: It's a pretty pop group.
1:21:39
[SPEAKER_00]: It's a pop group.
1:21:40
[SPEAKER_04]: It was formed by the former manager of the Spice Girls.
1:21:43
[SPEAKER_04]: Yes.
1:21:44
[SPEAKER_00]: So that they're a pop group from the 90s.
1:21:47
[SPEAKER_04]: I don't know how to say.
1:21:48
[SPEAKER_00]: That's Club 7.
1:21:48
[SPEAKER_00]: They didn't ever make it a pig here in the United States.
1:21:50
[SPEAKER_00]: But they were very, very big and England and Australia.
1:21:53
[SPEAKER_04]: OK.
1:21:54
[SPEAKER_00]: Well, I learned something today, there's there's like S club's having movies.
1:21:58
[SPEAKER_00]: I've seen the S club's having movie.
1:22:00
[SPEAKER_00]: So S club one seven.
1:22:02
[SPEAKER_00]: That's that's that's that's the multiple movies.
1:22:04
[SPEAKER_04]: It turns out.
1:22:04
[SPEAKER_00]: Okay, good for them.
1:22:06
[SPEAKER_04]: So I learned something today a little something else, but it's mostly very accessible regardless of what culture and if you don't anything about queer culture, I can agrofying the link out.
1:22:16
[SPEAKER_04]: You're gonna laugh a lot.
1:22:17
[SPEAKER_04]: It's
1:22:18
[SPEAKER_00]: So good, yeah, yeah, and I was a little bit worried because the main character, the cyber character as soon as like a bit of a sad sack, she's like full of a lot of self-pinning, she's really anxious a lot and and it is about sort of her emotional journey and I feel like it gives her a lot of agency very organically.
1:22:38
[SPEAKER_00]: There's a contrived way a lot of Hollywood films tend to treat anxiety or anxious characters and that they just need to be brave once.
1:22:45
[SPEAKER_00]: and kind of.
1:22:46
[SPEAKER_04]: Yeah, so it's the same thing with introverts.
1:22:49
[SPEAKER_04]: All you need to do is dress up, go and go to the right party and then you'll never be an introvert again.
1:22:52
[SPEAKER_00]: Sometimes that happens for people.
1:22:54
[SPEAKER_00]: I'm not sure.
1:22:56
[SPEAKER_00]: So many of them are just shy.
1:22:57
[SPEAKER_04]: And they're just not comfortable yet.
1:22:59
[SPEAKER_04]: But what people just don't want to do that.
1:23:01
[SPEAKER_00]: But what I appreciate about the cyber character is that she actually finds that agency in a much more natural way and actually uses a lot of very sensitive
1:23:15
[SPEAKER_00]: It's, but it's, but it's honest, I appreciate it.
1:23:17
[SPEAKER_04]: Yeah, it's, you know, a lot of the beats, the emotional beats that, you know, what's holding your back from someone in your liberation and love herself and that's it.
1:23:25
[SPEAKER_04]: And these, and you could argue that that's, as pop psychology, but pop psychology maybe, and as movies go, it's arguably like a little, a little simplistic, but it's a big silly cartoon.
1:23:38
[SPEAKER_04]: Right, like it understands that like we can't have,
1:23:42
[SPEAKER_04]: too much nuance here, right?
1:23:44
[SPEAKER_04]: So we're doing satire, we're doing parody, we're doing silly jokes, we're doing very creative things, doing music.
1:23:50
[SPEAKER_04]: And I think they couldn't get away with how silly this is if they had made it too emotionally complicated, but they get a lot in there.
1:23:58
[SPEAKER_04]: And it doesn't feel cheap, it doesn't feel unearned.
1:24:01
[SPEAKER_04]: I appreciate that
1:24:04
[SPEAKER_04]: Siren makes mistakes and those mistakes aren't really rectified by the end.
1:24:08
[SPEAKER_04]: You know, it's on one of those things where it's like, oh, yeah, I'm I'm sorry.
1:24:11
[SPEAKER_04]: I did this and now everything's fine.
1:24:12
[SPEAKER_04]: Like, no, you broke some stuff.
1:24:14
[SPEAKER_04]: You know, I'm actually I love that, honestly.
1:24:16
[SPEAKER_04]: It's too often.
1:24:17
[SPEAKER_04]: These kinds of movies, everything is too easily patched.
1:24:20
[SPEAKER_04]: Yeah, and no, it's messy.
1:24:22
[SPEAKER_04]: So yeah, it's really, really good.
1:24:24
[SPEAKER_00]: And I loved the day new month for the the straight white aliens.
1:24:27
[SPEAKER_04]: Yeah.
1:24:27
[SPEAKER_00]: that's quite good.
1:24:28
[SPEAKER_00]: The way there are comes to an end.
1:24:30
[SPEAKER_00]: This is perfect.
1:24:32
[SPEAKER_04]: It is.
1:24:32
[SPEAKER_04]: It's been in theaters for a bit.
1:24:34
[SPEAKER_04]: It's probably gone now.
1:24:34
[SPEAKER_04]: But it will be on VOD in America, at least.
1:24:38
[SPEAKER_04]: I think on November 11th, which is the day after we record this.
1:24:42
[SPEAKER_04]: And just a highly recommend it.
1:24:44
[SPEAKER_04]: It's so good.
1:24:45
[SPEAKER_04]: All right, I have I saw a couple more movies that you did and I'm going to try it for the week.
1:24:50
[SPEAKER_04]: Okay, I'm going to make this pretty quick as most of them don't really demand a lot of conversation.
1:24:56
[SPEAKER_04]: The big one is Osgood Perkins is keeper.
1:25:00
[SPEAKER_04]: Again, Osgood Perkins, Indie horror filmmaker who did really excellent but overlooks horror movies like The Black Coat Stater.
1:25:10
[SPEAKER_04]: I'm the pretty thing that lives in the house and Gretel and Hansel.
1:25:14
[SPEAKER_04]: These are all excellent movies, to varying degrees.
1:25:16
[SPEAKER_04]: There's something like more than others, but he's clearly an artist, he clearly has an eye and he was clearly finding his voice and then when he made long legs, Kudos to Neon for understanding A, what they had, and B, how to market it.
1:25:32
[SPEAKER_04]: because long legs was and a mostly independent horror movie.
1:25:37
[SPEAKER_04]: The only big star in it was Nicholas Cage and he's barely in it and he's caked under unrecognizable makeup.
1:25:43
[SPEAKER_04]: You know, Michael Monroe is a great actor, but she's not a superstar.
1:25:47
[SPEAKER_04]: She's not going to put a lot of button seats.
1:25:50
[SPEAKER_04]: and they gave it an advertising campaign that was terrifying just using very quick cuts and bizarre images and it just made the movie feel like an event you have to see long legs it was a bit of a big deal yeah and it's and I was a little more critical of it when I first saw but it's really grown on me even more it's a great horn movie it's really I haven't I've only watched at the once mm-hmm
1:26:13
[SPEAKER_04]: I think knowing what I, I was disappointed in how it turned out based on my, the expectations the movie was giving me.
1:26:19
[SPEAKER_04]: And I realized that those expectations were a trick.
1:26:23
[SPEAKER_04]: And that once you know what it is, I think it falls together better.
1:26:25
[SPEAKER_04]: Okay.
1:26:26
[SPEAKER_04]: So I recommend seeing it again sometimes.
1:26:27
[SPEAKER_04]: But it's, it's still this problem.
1:26:29
[SPEAKER_04]: It's not, I'm not saying it's perfect.
1:26:32
[SPEAKER_04]: I'm not, but I'm trying to remove that from my lexicon.
1:26:34
[SPEAKER_04]: It's not perfect, but no one is accusing you of saying it's perfect unless you say it's perfect.
1:26:40
[SPEAKER_04]: I'm just saying I'm not saying I don't have criticisms.
1:26:43
[SPEAKER_04]: Yeah.
1:26:43
[SPEAKER_04]: Um, and they followed that up with the monkey, which is an incredibly good horror comedy.
1:26:49
[SPEAKER_00]: It's it's so mean.
1:26:52
[SPEAKER_00]: It's like it's a very mean spirit.
1:26:54
[SPEAKER_00]: It's a very cynical movie and I like that.
1:26:56
[SPEAKER_04]: It's it's like a tale from the crypt episode where every like couple of minutes you reach the end of a tale that tells the crypt episode.
1:27:05
[SPEAKER_00]: multiple people throughout the film.
1:27:07
[SPEAKER_04]: Almost every character gets a horribly ironic violent tale from the crypt ending, often within a minute of meeting them.
1:27:13
[SPEAKER_04]: It's so good.
1:27:15
[SPEAKER_04]: And then he has another movie that just came out, but this one's really flying under the radar.
1:27:20
[SPEAKER_04]: They have him, by the way, it's really coming down outside if you can hear the rain.
1:27:24
[SPEAKER_04]: If you're wondering what that background noise is.
1:27:28
[SPEAKER_04]: But there's also one out of the radar.
1:27:30
[SPEAKER_04]: Apparently he made this when during the strike.
1:27:33
[SPEAKER_04]: And he made a quick movie in Canada and came back with it.
1:27:38
[SPEAKER_00]: And I admire filmmakers who can do that.
1:27:41
[SPEAKER_00]: I'll link later to this year.
1:27:42
[SPEAKER_00]: Just can kind of bang them out.
1:27:44
[SPEAKER_04]: I'm not sure about the whole, let's make a movie while everyone else is on strike kind of thing, but it's interesting to hear about that.
1:27:50
[SPEAKER_04]: I don't know what the rules are about that.
1:27:52
[SPEAKER_04]: I know they did offer some exceptions in the strike for various productions, so it's not my call.
1:28:00
[SPEAKER_04]: but it does feel like a scribble, like he's a great artist and he like dashed this off on a napkin.
1:28:08
[SPEAKER_04]: Okay, and it's an interesting napkin, but it's clearly not his best work.
1:28:12
[SPEAKER_04]: Okay, the plot is Tatiana Maslani, please a woman who has a boyfriend, they've been dating for a year.
1:28:19
[SPEAKER_04]: And he's going to take her to his cabin in the woods.
1:28:28
[SPEAKER_00]: Oh, it's one of these.
1:28:29
[SPEAKER_00]: All right.
1:28:29
[SPEAKER_00]: Yeah.
1:28:30
[SPEAKER_00]: That's okay.
1:28:31
[SPEAKER_04]: Yeah.
1:28:31
[SPEAKER_00]: Stop there.
1:28:32
[SPEAKER_00]: Yeah.
1:28:34
[SPEAKER_00]: Does anything happen to this movie that doesn't happen in the evil den?
1:28:40
[SPEAKER_04]: Well, yes, I mean, evil dead is a very hyperactive cabin in the woods movie.
1:28:44
[SPEAKER_04]: There's a lot of like slow burn cabin in the woods.
1:28:46
[SPEAKER_04]: The idea of a cabin in the woods movie, and there's a whole movie called cabin in the woods because of it, is someone having a cabin in the woods is a really quick cinematic shorthand for getting people, especially urbanites, out in the middle of nowhere, where there's no one around to help, and if you'll isolate it.
1:29:03
[SPEAKER_04]: It's not terribly difficult to rent a cabin.
1:29:07
[SPEAKER_04]: in the middle of nowhere.
1:29:08
[SPEAKER_04]: You can do it for a reasonable amount of money.
1:29:10
[SPEAKER_04]: People do it all the time to have a quick vacation, get away for a while, fish, write a book, whatever.
1:29:17
[SPEAKER_04]: It's very banal, actually, but in movies,
1:29:22
[SPEAKER_04]: I'm trying to think of a movie where someone rented a cabin in the woods and it wasn't a horror movie.
1:29:26
[SPEAKER_04]: I guess the great outdoors, which I'm kidding, but even that's pretty much in town.
1:29:30
[SPEAKER_00]: There are cabin in the woods movies.
1:29:33
[SPEAKER_00]: If the cabin is like a big cabin and it's really posh, you can see like Diane Lane going there.
1:29:40
[SPEAKER_00]: going out to like a remade.
1:29:42
[SPEAKER_00]: Do we see that?
1:29:43
[SPEAKER_00]: I guess I guess that wasn't in the woods.
1:29:45
[SPEAKER_00]: It was just it in Tuscany.
1:29:47
[SPEAKER_00]: But yeah, that was that was happening in the Tuscany.
1:29:50
[SPEAKER_00]: I can see like renting a house and having like a romantic adventure.
1:29:53
[SPEAKER_00]: Wasn't that one of the plot points of the holiday?
1:29:56
[SPEAKER_00]: Somebody's up to like this.
1:29:58
[SPEAKER_04]: Yeah, it wasn't quite as isolated as that, but yeah, that's based.
1:30:01
[SPEAKER_04]: Yeah, you're right.
1:30:02
[SPEAKER_04]: You sometimes we do have the cozy version of that.
1:30:04
[SPEAKER_04]: You could argue that that's part.
1:30:06
[SPEAKER_04]: It's a little, maybe the first half of something's got to give us a little like that.
1:30:11
[SPEAKER_04]: But in any case, it's a trope for a reason.
1:30:14
[SPEAKER_04]: And we sort of giggle at it.
1:30:15
[SPEAKER_04]: And honestly, if you have a boyfriend,
1:30:20
[SPEAKER_04]: who you don't know terribly well, and he says let's go to a cabin on the woods for a weekend.
1:30:24
[SPEAKER_04]: Just don't.
1:30:27
[SPEAKER_04]: Like, it's probably fine, but do you really wanna roll those dice?
1:30:30
[SPEAKER_04]: Like let's imagine it goes bad and you survive.
1:30:33
[SPEAKER_04]: Everyone's gonna roll their eyes like what happened.
1:30:35
[SPEAKER_04]: Well, he took me to his cabin in the woods and everyone's gonna go, oh God.
1:30:38
[SPEAKER_04]: Just follow him, the turnip truck, did ya?
1:30:42
[SPEAKER_00]: I had my I saw a film I said I forgot the title it's about an influencer who did like a adult cam girl stuff And the plot was she was invited by like a really rich client to go like film at his cabin in the woods And she's like well, I need and this is about like financial discussion I really need the money and she says in case I don't come back This is the address of where I'm going.
1:31:04
[SPEAKER_00]: She's tells people where she's going
1:31:05
[SPEAKER_00]: Yeah, and this is the guys address it.
1:31:07
[SPEAKER_00]: Here's a picture of them.
1:31:08
[SPEAKER_00]: So this is, you know, if everything goes, come on.
1:31:10
[SPEAKER_00]: Okay.
1:31:11
[SPEAKER_00]: Good.
1:31:11
[SPEAKER_00]: I'm glad you're being safe.
1:31:12
[SPEAKER_00]: Don't go idiot.
1:31:13
[SPEAKER_04]: Like the older I get, the more financial distress I buy as a motivating factor to do not smart things or dangerous things.
1:31:24
[SPEAKER_04]: Like when I was a kid, I was like, yeah, I know you're going to lose your house dude, but like is it really worth doing a whole bank robbery and risking your life and other people's lives and
1:31:33
[SPEAKER_04]: I'm having to fight all the other people over the money just to get $200,000.
1:31:36
[SPEAKER_04]: And now that I'm in my 40s, I'm like, yeah, it is.
1:31:40
[SPEAKER_04]: Like, I wouldn't do it, but if the offer came by, I would think about it for a minute.
1:31:46
[SPEAKER_04]: I'd be like, oh, that money would sell so many problems.
1:31:50
[SPEAKER_04]: Like, I get it.
1:31:51
[SPEAKER_04]: I do.
1:31:52
[SPEAKER_04]: I wouldn't do it, but I get it.
1:31:54
[SPEAKER_04]: So I'm a little more sympathetic to that, but I digress.
1:31:56
[SPEAKER_04]: Takes her to the cabin in the woods.
1:31:57
[SPEAKER_04]: And then,
1:31:59
[SPEAKER_04]: It's a weird house, got weird angles in it.
1:32:02
[SPEAKER_04]: Everything is very exposed.
1:32:04
[SPEAKER_04]: Every room is a window and no shades.
1:32:07
[SPEAKER_04]: And the housekeeper, who we never see, who keeps the place when he's gone.
1:32:13
[SPEAKER_04]: He's apparently he's got money.
1:32:15
[SPEAKER_04]: Left him as she always does a cake.
1:32:19
[SPEAKER_00]: Interesting.
1:32:20
[SPEAKER_04]: This cake is an apology for not keeping the house in better order.
1:32:24
[SPEAKER_04]: The house is perfect.
1:32:26
[SPEAKER_04]: and curious he he's like oh well you have to eat this cake it's really important and she's like I don't I don't want cake oh it's chocolate I don't like chocolate come on who doesn't like chocolate so he basically forces her to eat some cake there's something in the cake isn't there yeah there's something in the fucking cake I mean what are we even doing here um she starts seeing trippy shit okay
1:32:50
[SPEAKER_04]: There's a bit like early on where she was just like, yeah, it just tells a friend.
1:32:53
[SPEAKER_04]: It's like, yeah, I don't know.
1:32:54
[SPEAKER_04]: I like, I feel like I'm on mushrooms.
1:32:56
[SPEAKER_04]: You think?
1:32:58
[SPEAKER_04]: Like, what are we even doing here?
1:32:59
[SPEAKER_04]: And do Oscar Perkins is credit, he's got a great eye for scary images.
1:33:06
[SPEAKER_04]: Like he's got like this.
1:33:07
[SPEAKER_00]: Oh, yeah.
1:33:08
[SPEAKER_00]: Yeah.
1:33:08
[SPEAKER_00]: Yeah.
1:33:08
[SPEAKER_00]: He knows where to put a camera.
1:33:09
[SPEAKER_00]: Yeah.
1:33:09
[SPEAKER_00]: I was out of pace of scary scene.
1:33:11
[SPEAKER_00]: Yeah.
1:33:12
[SPEAKER_04]: He could move it all great.
1:33:12
[SPEAKER_04]: But, you know, he can come up with a ghost that'll freak out like that kind of thing.
1:33:16
[SPEAKER_04]: So there's bits of that.
1:33:17
[SPEAKER_04]: But then the movie is basically just her wandering.
1:33:19
[SPEAKER_04]: He has to go back into town for a while and it's just her wandering around the house and the nearby woods that looks creepy.
1:33:26
[SPEAKER_04]: Alex, creepy too.
1:33:29
[SPEAKER_04]: that also looks creepy.
1:33:32
[SPEAKER_00]: And then it's just like a series of spooky things.
1:33:34
[SPEAKER_04]: It's like it's not even like and they don't feel for most of the movie very connected to anything thematically.
1:33:42
[SPEAKER_00]: So it doesn't really feel like I can work.
1:33:43
[SPEAKER_00]: I saw a film called Audity last year.
1:33:47
[SPEAKER_00]: Yeah, and a lot of that is just sort of like creeping around and looking back at this like
1:33:51
[SPEAKER_00]: Clay figure of a person with he doesn't at skull and waiting for it to move and maybe it doesn't, but maybe it does But on it he has at its core also plot like someone was murdered the sisters trying to figure out who Somebody outside the door.
1:34:05
[SPEAKER_04]: There's there's some intrigue there to keep you going This is just Tatiana Meslani should probably not be here and she's seeing weird stuff Obviously because she ate some of that cake.
1:34:15
[SPEAKER_04]: Yeah
1:34:16
[SPEAKER_04]: So we're just kind of waiting for the other shoe to drop.
1:34:18
[SPEAKER_04]: It takes forever.
1:34:19
[SPEAKER_04]: And then the final acts, things are revealed.
1:34:25
[SPEAKER_04]: And it becomes clear that Osgood Perkins does have something on his mind.
1:34:28
[SPEAKER_04]: He's just not exploring it very well.
1:34:30
[SPEAKER_04]: I think there's an overall sort of mentality that he's exploring that I can't really explain it without explaining what literally just what's going on.
1:34:39
[SPEAKER_04]: So I'll have to leave that vague.
1:34:42
[SPEAKER_04]: But regardless,
1:34:44
[SPEAKER_04]: And there's a couple of really, really cool bits of imagery towards the end, but no.
1:34:50
[SPEAKER_04]: It's really, really don't talk to Adam as long as a great actor she'd I mean she was in orphan black she knows how to act with not like with only herself Even when she's not around Um, so She's good and she can maintain it, but It's just way too thin It doesn't feel very developed the pacing is is off There are things about it that don't make sense and it the protagonist is someone who makes I mean look we all make mistakes, but like
1:35:19
[SPEAKER_04]: You can, you would have to force me to eat that cake.
1:35:24
[SPEAKER_04]: There's no fucking way, I mean, like, I'm just saying, I'm just planning with what's going on.
1:35:28
[SPEAKER_04]: It's like, you can't come up with a better explanation than the housekeeper left an apology cake.
1:35:35
[SPEAKER_04]: That's what you got.
1:35:38
[SPEAKER_04]: Well, I guess not even like oh, I had this cake delivered because I love this bakery nearby that sounds fine That's not sucks at all literally.
1:35:47
[SPEAKER_04]: It's not sucks.
1:35:48
[SPEAKER_02]: So why do you do that?
1:35:50
[SPEAKER_00]: What are we even doing here?
1:35:53
[SPEAKER_00]: It's not very good.
1:35:54
[SPEAKER_00]: Hey, remember Samurai Cop.
1:35:56
[SPEAKER_00]: Remember the movie Samurai Cop?
1:35:58
[SPEAKER_00]: You better fucking believe it.
1:35:59
[SPEAKER_00]: Remember Samurai Cop's class.
1:36:01
[SPEAKER_04]: Yes it is.
1:36:02
[SPEAKER_00]: And I believe there's a scene where he meets a woman and takes her back to his place to go swimming.
1:36:07
[SPEAKER_00]: And he clearly has like a black bikini for her to wear.
1:36:10
[SPEAKER_00]: Yeah.
1:36:11
[SPEAKER_00]: And then I believe that she comes out of his house wearing the bikini holding a whole cake.
1:36:19
[SPEAKER_00]: Did he have that for the women he brings home?
1:36:22
[SPEAKER_00]: Did he just have a cake around him?
1:36:24
[SPEAKER_00]: Yeah, he might win it.
1:36:25
[SPEAKER_04]: Oh, my God, in heaven.
1:36:26
[SPEAKER_00]: Did you look up the cake of Samurai Cop?
1:36:28
[SPEAKER_04]: No, I looked up something better.
1:36:29
[SPEAKER_04]: So if you watch it, it would be Samurai Cop, which is, which is, did you, did you find the lion?
1:36:33
[SPEAKER_04]: I did.
1:36:34
[SPEAKER_04]: Okay, yeah, the lion's amazing.
1:36:35
[SPEAKER_04]: They sold it.
1:36:36
[SPEAKER_04]: Somebody about the lion they had an auction they sold yarn amount if you if you look at if you ever send them every Sam right cop look up online if you're if you're if you're if you're if you're if you're if you're Sonia look up summer a cop lion There's an incredible bit of production design it was probably I don't know if they made it for the movies and they just went into somebody's house Yeah, they clearly just
1:36:53
[SPEAKER_00]: They don't have the money for production.
1:36:54
[SPEAKER_04]: There's someone had on their wall, like a fake lion head, but the main was made out of yarn, and there's a lot of it.
1:37:02
[SPEAKER_04]: And it is one of the most distracting pieces of production design ever put on something.
1:37:06
[SPEAKER_00]: And the way they fit, like they're supposed to be in the background, but it's clearly so distracting, even to the cinematographer.
1:37:11
[SPEAKER_00]: Yeah.
1:37:11
[SPEAKER_00]: The frame like drifts up to look at the light.
1:37:14
[SPEAKER_04]: Like it's the most interesting thing in the film.
1:37:16
[SPEAKER_04]: Yeah.
1:37:16
[SPEAKER_04]: They sold it in 2023.
1:37:19
[SPEAKER_04]: Okay.
1:37:23
[SPEAKER_00]: I could have bought it for too long.
1:37:25
[SPEAKER_00]: We would have bought, oh my god, you have a lot of wall space.
1:37:28
[SPEAKER_00]: Yeah, I do have a lot of wall space.
1:37:30
[SPEAKER_00]: I didn't have that time.
1:37:31
[SPEAKER_00]: To call up whoever bought it and offer them $400.
1:37:34
[SPEAKER_00]: Yeah.
1:37:38
[SPEAKER_04]: It says screen use too.
1:37:40
[SPEAKER_00]: Wait, God.
1:37:41
[SPEAKER_04]: Maybe it's not sold.
1:37:42
[SPEAKER_04]: I'm going to send to this thing.
1:37:43
[SPEAKER_04]: We're going to figure this out.
1:37:44
[SPEAKER_00]: Okay.
1:37:44
[SPEAKER_00]: Yeah.
1:37:45
[SPEAKER_00]: If this thing is only $200, we're going to buy this.
1:37:47
[SPEAKER_00]: We're going to buy the land.
1:37:47
[SPEAKER_00]: Yeah.
1:37:48
[SPEAKER_04]: We need to.
1:37:49
[SPEAKER_04]: I'm having trouble telling if it's been purchased.
1:37:51
[SPEAKER_00]: Oh, no.
1:37:52
[SPEAKER_04]: It's a sold colon login to view.
1:37:55
[SPEAKER_00]: Oh, so you have to log into the auction website to find other details.
1:37:59
[SPEAKER_00]: Yeah.
1:37:59
[SPEAKER_00]: All right.
1:37:59
[SPEAKER_04]: I'm going to send you this link.
1:38:00
[SPEAKER_04]: We're going to try to get this line head if we still can.
1:38:02
[SPEAKER_04]: If we can't, it's still like, we're going to fly it.
1:38:04
[SPEAKER_04]: This is this is my new mission in life.
1:38:06
[SPEAKER_00]: Well, I'm glad I
1:38:08
[SPEAKER_00]: while I do about the cake in Samurai.
1:38:11
[SPEAKER_04]: Sam, this might have been both of us.
1:38:14
[SPEAKER_04]: It's going to be like the comic book and the Simpsons.
1:38:16
[SPEAKER_04]: We're going to have to like, you get it on weekends.
1:38:19
[SPEAKER_04]: I get it on every other day.
1:38:20
[SPEAKER_04]: But yeah, keeper.
1:38:23
[SPEAKER_04]: The most interesting thing about keeper is that they had a screening for horror filmmakers.
1:38:28
[SPEAKER_04]: I wanted to get them to give quotes.
1:38:30
[SPEAKER_04]: And Eli Roth gave the following quote.
1:38:33
[SPEAKER_04]: It's like a weird David Lynch movie.
1:38:36
[SPEAKER_00]: Oh, as opposed, so it's not like the straight story, but a different one of David Lynch's movies.
1:38:42
[SPEAKER_04]: Yeah, yeah.
1:38:43
[SPEAKER_04]: This is like saying, it's like a funny Mel Brooks film.
1:38:45
[SPEAKER_04]: That's like, wait, but here's the thing.
1:38:47
[SPEAKER_04]: He got a lot of flack for that.
1:38:50
[SPEAKER_04]: It is like a weird David Lynch movie, because in a David Lynch movie, the weirdness would have a point, like a good point.
1:38:57
[SPEAKER_04]: That's actually like really well resolved.
1:39:00
[SPEAKER_04]: And it would be a lot more sensitive to its characters.
1:39:06
[SPEAKER_04]: It's kind of right, I don't know, I hate to give it to them, but there you go.
1:39:08
[SPEAKER_04]: Anyway, moving on, let's see, let's be speaking of horror movies.
1:39:11
[SPEAKER_04]: There's the Carpenters Sun.
1:39:13
[SPEAKER_04]: The Carpenters Sun is a horror movie about Jesus as a kid.
1:39:20
[SPEAKER_04]: Okay, it's based on the apakrafah.
1:39:22
[SPEAKER_04]: I think it's the infancy gospel of Thomas.
1:39:26
[SPEAKER_04]: I want to say Luke, Luke is the Christmas story.
1:39:30
[SPEAKER_04]: No, but like this is like him, infancy is a bit of a misnomer.
1:39:34
[SPEAKER_04]: It's like Jesus when he was like six to ten.
1:39:37
[SPEAKER_04]: Okay.
1:39:38
[SPEAKER_04]: But
1:39:40
[SPEAKER_04]: Yeah, so we open with the birth of Jesus, I believe in the film he is only credited as the boy.
1:39:49
[SPEAKER_04]: Okay.
1:39:52
[SPEAKER_04]: The Virgin Mary is played by F.K.A.
1:39:54
[SPEAKER_04]: Twigs typecasting.
1:39:56
[SPEAKER_02]: Wow.
1:39:56
[SPEAKER_04]: She's credited as the mother.
1:39:58
[SPEAKER_04]: And Nicholas Cage plays, these are, you know,
1:40:03
[SPEAKER_04]: sort of dead is credited as the carpenter.
1:40:07
[SPEAKER_04]: You are fooling no one.
1:40:09
[SPEAKER_04]: You are you are building your movie on a bed of lies.
1:40:14
[SPEAKER_04]: But basically, basically, it's called the emergency gospel Thomas and I'd mention I haven't read that, but it's part of the apocryphal and if you're wondering with the apocryphal, there are actually quite a few books written around the time of most of the
1:40:32
[SPEAKER_04]: are basically people just decided didn't count yeah like we did there's a big treaty of yeah which books to include in them in the by how much and what's direct and which is basically just saying hey listen we've talked it out Hobbs and Shaw's no longer canon
1:40:48
[SPEAKER_04]: like that's basically what they're doing.
1:40:49
[SPEAKER_00]: But they already did that with the curse of Lyurona and the conjuring of it.
1:40:53
[SPEAKER_04]: It's a thing.
1:40:54
[SPEAKER_04]: People do decide that.
1:40:56
[SPEAKER_04]: So I'm just giving you a bit of modern context if you're unfamiliar with it.
1:41:00
[SPEAKER_04]: But they're around a lot of them, and you can read them.
1:41:03
[SPEAKER_04]: This movie is about Jesus and he's, you know, middle school age, you know, becoming a young man starting to get to the point where he's noticing girls and like talking back to his dad.
1:41:16
[SPEAKER_04]: Okay.
1:41:17
[SPEAKER_04]: It opens with his birth and they focus a lot on, let's less on the, oh, it was this magical birth and a major and the three wise men showed up.
1:41:25
[SPEAKER_04]: It's mostly about herid killing a bunch of kids.
1:41:28
[SPEAKER_04]: Because that's because that's in there.
1:41:30
[SPEAKER_04]: That's in that Bible and we cut two years later and the carpenter Joshua has been keeping his family on the run ever since terrified people are going to show Joshua was the kid.
1:41:45
[SPEAKER_00]: Joseph, sorry Joseph.
1:41:47
[SPEAKER_00]: Joshua, Yeshua, Jesus.
1:41:48
[SPEAKER_04]: See, see this this
1:41:54
[SPEAKER_04]: Well, how many of these?
1:41:56
[SPEAKER_04]: A little slack.
1:41:56
[SPEAKER_00]: I can do my best there.
1:41:57
[SPEAKER_00]: Also, it's the Bible.
1:41:59
[SPEAKER_00]: It's like, you know, a big part of culture.
1:42:01
[SPEAKER_00]: No, no.
1:42:01
[SPEAKER_00]: I'd have to be a believer too.
1:42:03
[SPEAKER_00]: No, no.
1:42:03
[SPEAKER_00]: They are too.
1:42:07
[SPEAKER_04]: J. Vowl S names.
1:42:11
[SPEAKER_00]: You're right.
1:42:12
[SPEAKER_00]: I'm just saying there's actually more than that.
1:42:14
[SPEAKER_00]: JVOLS names.
1:42:15
[SPEAKER_04]: Just say quite a few of those.
1:42:17
[SPEAKER_04]: My point is, you can forgive me.
1:42:19
[SPEAKER_00]: Okay.
1:42:19
[SPEAKER_04]: Right now.
1:42:20
[SPEAKER_04]: If you chose.
1:42:21
[SPEAKER_04]: I forgive you son.
1:42:22
[SPEAKER_04]: Thank you.
1:42:25
[SPEAKER_04]: For tenants review this movie.
1:42:27
[SPEAKER_04]: Um, I knew just crossed himself.
1:42:31
[SPEAKER_00]: I can't see that on my head.
1:42:32
[SPEAKER_04]: Yeah.
1:42:34
[SPEAKER_04]: Anyway, it's years later, Jesus is now like a very young teenager or a very old kid.
1:42:39
[SPEAKER_04]: And Joseph has been keeping them on the run and he has afraid of there that they'll be caught that people will know.
1:42:48
[SPEAKER_04]: his son is the son of God or the very least that he escaped the massacre and so he's also been extremely rigid in his religious teaching and he's basically become an overprotective father.
1:43:05
[SPEAKER_04]: And Jesus starts, you know, like like a lot of kids, when you get a little older, starts with bellings, starts talking back, starts hanging out with that cool, non-binary loner in your town.
1:43:17
[SPEAKER_02]: Okay.
1:43:18
[SPEAKER_04]: Yeah.
1:43:19
[SPEAKER_04]: Who, of course, is literally Lucifer?
1:43:23
[SPEAKER_00]: Wait, okay.
1:43:25
[SPEAKER_04]: Yeah, and the Lucifer's is I think that was gonna be God.
1:43:28
[SPEAKER_04]: No, no, no, no, no, no, it's the form of it.
1:43:30
[SPEAKER_04]: Oh, okay.
1:43:31
[SPEAKER_04]: So and Lucifer is basically just like he's he's Touch that leper Come on Look up look up how powerful.
1:43:39
[SPEAKER_04]: Yeah, yeah, basically like he's basically trying to like and the they zest people It's like come on.
1:43:43
[SPEAKER_04]: I dare you to exercise and that kind of shit
1:43:46
[SPEAKER_00]: It's been, that's, that's, that's kind of a cute premise.
1:43:48
[SPEAKER_00]: It's not bad premise, but I think this is that horror movie about young Jesus versus, yeah, powerful say.
1:43:53
[SPEAKER_00]: The truth.
1:43:53
[SPEAKER_04]: This is interesting, actually.
1:43:55
[SPEAKER_04]: The problem is that the emphasis is all wrong, because this is basically kind of a riff on the Omen in terms of the overall structure of it, but with Christ.
1:44:03
[SPEAKER_04]: But with Christ, right?
1:44:04
[SPEAKER_04]: Here's the thing.
1:44:04
[SPEAKER_04]: And Joseph.
1:44:06
[SPEAKER_04]: played by a Nicolas Cage, he's extremely stressed out.
1:44:10
[SPEAKER_04]: He's extremely paranoid.
1:44:12
[SPEAKER_04]: And as we learn later in the movie, he has literally been taking this all on phase.
1:44:18
[SPEAKER_04]: His wife was just said, by the way, I'm pregnant, don't worry, it was God.
1:44:21
[SPEAKER_04]: And he's like, okay, and he's been okay with that, but let's be honest here.
1:44:27
[SPEAKER_00]: sticking that on faith in me and that was fun just turning out like to be a turn out to be a real piss ant you've uh you've seen um gospel according to say Matthew right i don't know the puzzle leaning is bad right i don't know me uh the best crash movie okay uh and it starts with a shot of Mary um and no dialogue just a shot of Mary i'm just kind of like looking like she just said something really important and uh
1:44:54
[SPEAKER_00]: And then it immediately cuts to a reaction shot of Joseph and it's just he's so pissed off.
1:44:59
[SPEAKER_04]: That's like you and McGregor and down with love.
1:45:01
[SPEAKER_00]: We just cut to him after he has over speech.
1:45:06
[SPEAKER_04]: That's a lot, man.
1:45:07
[SPEAKER_04]: That's the best way to start a Jesus.
1:45:10
[SPEAKER_00]: No dialogue.
1:45:10
[SPEAKER_00]: Just cut to the reaction Joseph's reaction.
1:45:12
[SPEAKER_04]: That's really genius.
1:45:14
[SPEAKER_04]: So the idea is Joseph has doubts.
1:45:18
[SPEAKER_04]: What if he's not the son of God?
1:45:20
[SPEAKER_04]: What if he's just some kid?
1:45:21
[SPEAKER_04]: Or what if he's
1:45:24
[SPEAKER_04]: not good.
1:45:26
[SPEAKER_04]: What if he's, what if he's, well, these powers are bad.
1:45:31
[SPEAKER_04]: Um, and if this was told, like exclusively from Joseph's perspective, like, uh, like in the human Gregory Peck, we, it's mostly through his eyes.
1:45:43
[SPEAKER_04]: And it's, it's him questioning whether or not his son could possibly be in the Antichrist.
1:45:47
[SPEAKER_04]: Um, if it was just through Joseph's eyes, because he has
1:45:51
[SPEAKER_04]: That might have worked.
1:45:52
[SPEAKER_04]: Okay, but because it is split 50 50, I'm going to say it's mostly Jesus's story.
1:45:57
[SPEAKER_04]: We see it from his perspective.
1:45:58
[SPEAKER_04]: Okay, um, none of that suspense works because we know how this ends, like if it movie ended with Jesus going, I will be evil forever.
1:46:07
[SPEAKER_04]: I would be like, okay, daring.
1:46:09
[SPEAKER_04]: Bull.
1:46:11
[SPEAKER_04]: Well played.
1:46:11
[SPEAKER_04]: I didn't see that when coming, but we know where this goes.
1:46:16
[SPEAKER_04]: We know it's going to turn out at least mostly fine.
1:46:19
[SPEAKER_04]: And unfortunately, the filmmakers don't do a very good job of expanding out the cast and the plot and the, uh, we'll just everything else besides the main characters, so that there's more fodder.
1:46:36
[SPEAKER_02]: Okay.
1:46:36
[SPEAKER_04]: You know, like, oh, yeah, we know Jesus is gonna be fine, but maybe his neighbor's won't.
1:46:40
[SPEAKER_04]: There's one girl who becomes possessed.
1:46:43
[SPEAKER_04]: We don't get to know her well enough for that to really make a huge impact.
1:46:47
[SPEAKER_04]: But of course, we want the best for her.
1:46:48
[SPEAKER_04]: But like, there's not enough stuff that could happen for this to work.
1:46:53
[SPEAKER_04]: I will say this.
1:46:55
[SPEAKER_04]: And I wanna give credit where credit is due.
1:46:58
[SPEAKER_04]: The Carpenter Sun, co-stars, Eilad Johnston.
1:47:03
[SPEAKER_00]: Okay.
1:47:04
[SPEAKER_04]: She plays Lucifer.
1:47:05
[SPEAKER_00]: Okay.
1:47:06
[SPEAKER_04]: She's a kid, I don't know how old she is, but she reads as a teenager, she might be older than that, but this looks young.
1:47:14
[SPEAKER_04]: Really good Lucifer, actually.
1:47:16
[SPEAKER_04]: I like this take on Lucifer as like, the kid your dad tells you not to hang out with.
1:47:22
[SPEAKER_00]: Well, especially if Jesus is a kid, he makes sense.
1:47:24
[SPEAKER_04]: No, no, no.
1:47:25
[SPEAKER_04]: The one who's just like, hey, listen, I know you a lot of to play with like,
1:47:30
[SPEAKER_04]: toys and stuff but like I've got this cool wooden snake and it's like okay I get it but also it's a cool snake okay but like and as the story progresses it becomes clear that this version of Lucifer
1:47:44
[SPEAKER_04]: I mean, yeah, they're evil, but more than anything else, they're lonely.
1:47:49
[SPEAKER_04]: Okay.
1:47:50
[SPEAKER_04]: Jesus is like the only other person on Jesus like the only other person.
1:47:54
[SPEAKER_04]: Well, he's divine being out here.
1:47:56
[SPEAKER_00]: Yeah.
1:47:56
[SPEAKER_00]: Yeah.
1:47:56
[SPEAKER_04]: He can't get back into heaven.
1:47:57
[SPEAKER_04]: So Jesus is the only other person she can, I guess, or non-binary, you know, they can.
1:48:02
[SPEAKER_04]: Um, I don't know if the actor is, but the character reads non-binary.
1:48:07
[SPEAKER_04]: no one else can possibly understand what Lucifer is going through.
1:48:11
[SPEAKER_04]: And your dad abandoned you on earth.
1:48:14
[SPEAKER_04]: You know, so like he's trying to basically just make a point and make a friend.
1:48:18
[SPEAKER_04]: And like if I can get you to be a little evil, then we can be buddies.
1:48:22
[SPEAKER_04]: And I feel like that and I like that interpretation of Lucifer.
1:48:25
[SPEAKER_04]: I think that's neat.
1:48:26
[SPEAKER_04]: I saw a version of that in
1:48:29
[SPEAKER_04]: Last days in the desert, movie where you and the record played both Jesus and Satan, and that's a really underrated movie, by the way, that's really good flick.
1:48:37
[SPEAKER_04]: So yeah, I really, really like the actor who plays Lucifer, but this, the perspective is all off, and none of the horror that's work.
1:48:45
[SPEAKER_04]: And it ends up feeling very thin.
1:48:47
[SPEAKER_04]: Okay, so it's not great.
1:48:48
[SPEAKER_04]: And then lastly, we have two Christmas movies.
1:48:50
[SPEAKER_04]: I'll make this kind of short.
1:48:52
[SPEAKER_04]: First off, we have a very bonus Christmas movie.
1:48:58
[SPEAKER_04]: It's a partially Jonas Chris.
1:49:00
[SPEAKER_00]: That's the thing.
1:49:00
[SPEAKER_04]: I don't know.
1:49:01
[SPEAKER_04]: I don't know the Jonas Brothers very well.
1:49:03
[SPEAKER_04]: They rose to prominence in the early 2000s or mid 2000s.
1:49:06
[SPEAKER_04]: And I was early 2000s.
1:49:08
[SPEAKER_00]: Yeah, it was song for like, meet the Robinson's.
1:49:10
[SPEAKER_04]: Yeah, yeah.
1:49:11
[SPEAKER_04]: And they were, you know, a team band of actual brothers.
1:49:15
[SPEAKER_04]: I was actual brothers.
1:49:16
[SPEAKER_04]: And they, I've heard some of their songs.
1:49:18
[SPEAKER_04]: They have talent.
1:49:19
[SPEAKER_04]: Um, and they were a huge sensation and now they're looking at their thirties and they're married into them of kids and um, you know, they're still performing good for them and they seem pretty well adjusted.
1:49:31
[SPEAKER_04]: Uh, but I don't know them.
1:49:34
[SPEAKER_04]: I've heard some of their songs, I like some of their songs, but I don't, they became popular for younger generation, right when I stopped being part of a young generation.
1:49:43
[SPEAKER_04]: Like it was like the next generation's thing.
1:49:45
[SPEAKER_04]: I don't, I don't, I don't know anything about their lore.
1:49:48
[SPEAKER_04]: I don't know anything about like the stories that people know about the Jonas Brothers.
1:49:53
[SPEAKER_04]: Remember that time?
1:49:53
[SPEAKER_04]: They did blank.
1:49:54
[SPEAKER_04]: I have no idea.
1:49:55
[SPEAKER_00]: I know their, their Disney kids.
1:49:58
[SPEAKER_00]: Yes.
1:49:58
[SPEAKER_00]: Like they were groomed in the Disney machine, and then, um,
1:50:01
[SPEAKER_00]: They end up here in like Disney TV movies and stuff.
1:50:04
[SPEAKER_00]: So they're also actors.
1:50:06
[SPEAKER_04]: Yeah.
1:50:06
[SPEAKER_04]: And they're perfectly good actors.
1:50:07
[SPEAKER_04]: Um, so I'm going into this without preconceived notions of the Jonas Brothers other than when they rose to prominence, I was like, I thought of myself as too cool to listen to them.
1:50:18
[SPEAKER_04]: But I've heard their songs and some of their songs are good.
1:50:21
[SPEAKER_04]: So that's my perspective going in.
1:50:23
[SPEAKER_04]: If you're a huge Jonas Brothers fan, I guess take one about to say with a great salt.
1:50:27
[SPEAKER_04]: Uh, the movie is cute.
1:50:31
[SPEAKER_04]: Yeah, but it's really going for it.
1:50:34
[SPEAKER_04]: But it gets away with it.
1:50:36
[SPEAKER_04]: The plot is, well, weirdly enough, we start with Will Ferrell playing himself, and I'm pretty sure with his actual wife and kids, and he is super excited to go to a Jonas Brothers concert.
1:50:51
[SPEAKER_04]: Okay, and they like he insists that they get there like four hours early and like he says he loves the Jonas Brothers more than his family and He goes to the comfort concert.
1:51:02
[SPEAKER_04]: We see the Jonas Brothers do a Christmas concert and then the Jones Brothers leave the concert and they're just like Can you believe Will Ferrell was out there again?
1:51:09
[SPEAKER_04]: And then that's it for that He comes back for like one little joke at the end.
1:51:13
[SPEAKER_04]: It's Will Ferrell is not in this movie really.
1:51:15
[SPEAKER_04]: It's weird.
1:51:16
[SPEAKER_00]: We're joke.
1:51:17
[SPEAKER_00]: It's also weird accidental Will Ferrell double feature week
1:51:20
[SPEAKER_04]: Oh, yeah, good point.
1:51:21
[SPEAKER_04]: I had that.
1:51:23
[SPEAKER_04]: The plot is actually really simple.
1:51:24
[SPEAKER_04]: It's the end of their tour.
1:51:25
[SPEAKER_04]: They've been spending six months together and they're a little sick of each other.
1:51:28
[SPEAKER_04]: And they're really excited to go back home to their respective families and not be together.
1:51:33
[SPEAKER_04]: One of the Jonas Brothers, the one who doesn't have a wife and kid, he wants to hang out with his brothers and he ends up at a bar just before they're about to leave London talking to an old guy with a beard.
1:51:47
[SPEAKER_04]: Okay, and he's basically basically makes a Christmas wish that he's he and his brothers could reunite and rekindle what they had and thank Christmas together and the guy and then Santa Claus basically casts a magic spell and the magic spell is the Jonas Brothers.
1:52:03
[SPEAKER_04]: will be unable to get home or separate.
1:52:07
[SPEAKER_04]: Not like in like a we're like physically touching kind of way they're just there they're stuck together.
1:52:12
[SPEAKER_00]: Oh, it should be like in that movie together.
1:52:13
[SPEAKER_04]: Hey, don't right?
1:52:14
[SPEAKER_04]: They just just merge.
1:52:15
[SPEAKER_04]: That have been fun.
1:52:16
[SPEAKER_04]: Or just that defined ones you can't cuff somebody to can't find the case.
1:52:19
[SPEAKER_04]: They can't get back home and they can't separate until they agree to spend Christmas together.
1:52:25
[SPEAKER_04]: But no one knows that that's the rule.
1:52:27
[SPEAKER_00]: And they can't tell anyone.
1:52:29
[SPEAKER_04]: No, no, no, no, they don't know.
1:52:30
[SPEAKER_04]: Like, they, they, they doesn't behind their back.
1:52:32
[SPEAKER_04]: And so they, they're about to go home, but it turns out lightning struck their plane and it exploded on the tarmac.
1:52:38
[SPEAKER_04]: Gee, right.
1:52:38
[SPEAKER_04]: Yeah, it's kind of a lot.
1:52:40
[SPEAKER_04]: So they have to go to Paris because that's where the next flight that they can get in time.
1:52:45
[SPEAKER_04]: And of course, they have to take, they have to take a wacky Uber.
1:52:49
[SPEAKER_04]: And they get it.
1:52:51
[SPEAKER_04]: They get it.
1:52:51
[SPEAKER_04]: Oh, this hotel room isn't very good.
1:52:53
[SPEAKER_04]: And then they run into like the the single guy runs into a girl he knew is a child and I was like a little bit of a low story there.
1:53:00
[SPEAKER_04]: And there's their songs.
1:53:03
[SPEAKER_04]: the songs are mostly cute, yeah.
1:53:06
[SPEAKER_04]: I couldn't hum them to you now, but I enjoyed them while I was watching them.
1:53:10
[SPEAKER_04]: And yeah, it's basically just a plain strings and automobiles kind of thing with the Jonas Brothers, but every time something goes well, something magically goes wrong.
1:53:19
[SPEAKER_04]: Like, there's this whole bit where they have to get to this train so they can get to where they need to go.
1:53:23
[SPEAKER_04]: There's a train that's going to Paris.
1:53:26
[SPEAKER_04]: Uh, and then they get in the, they have a big musical number about how all thank God we finally made it.
1:53:31
[SPEAKER_04]: We were going to go home to see our families, they sit in the train and it says Paris on the side and then a little bit of magical sparkle happens and now it's going to Amsterdam.
1:53:40
[SPEAKER_04]: Well, fuck.
1:53:41
[SPEAKER_04]: So.
1:53:43
[SPEAKER_00]: Hmm.
1:53:43
[SPEAKER_00]: Ha.
1:53:44
[SPEAKER_00]: Which you know, we live in the United States.
1:53:46
[SPEAKER_00]: If we want to go across the country, it takes us several days in a car.
1:53:50
[SPEAKER_04]: Yeah.
1:53:50
[SPEAKER_00]: Like, say five to seven days driving.
1:53:53
[SPEAKER_00]: I mean, you can do it.
1:53:54
[SPEAKER_04]: You can do it for a lot less if you don't sleep and you go and you speed, but like, yeah, it's a long joint Europe everything is much closer to other you can get places like within a day like you can you can fit several European countries in just California.
1:54:10
[SPEAKER_04]: Yes, like, oh, we're going to go to France great.
1:54:12
[SPEAKER_04]: Yeah, I can I could go to Long Beach.
1:54:14
[SPEAKER_04]: You know, it's like basically the same kind of effort that we're talking about, although mentally there's a war gap, but you built a tunnel.
1:54:21
[SPEAKER_04]: So it's fine.
1:54:22
[SPEAKER_04]: My point is that it's a travel movie.
1:54:26
[SPEAKER_04]: Will the Jonas Brothers discover the true meaning of Christmas?
1:54:30
[SPEAKER_04]: Yes.
1:54:31
[SPEAKER_04]: Will they get home to their families?
1:54:34
[SPEAKER_04]: Yes.
1:54:35
[SPEAKER_04]: Will they recindle their bond?
1:54:38
[SPEAKER_04]: Yes.
1:54:39
[SPEAKER_04]: Well, that one guy fall in love with Chloe
1:54:43
[SPEAKER_04]: Yes.
1:54:45
[SPEAKER_04]: Did I have a good time?
1:54:47
[SPEAKER_04]: Yes, it's extremely predictable and that very Christmas movie kind of way, but it's very energetic.
1:54:54
[SPEAKER_04]: They put some real effort into the music and yeah, it's not like particularly hilarious, but it's a genuinely good time and I can say for a fact, or at least from my own experience, that you don't have to be a fan of the Jonas
1:55:12
[SPEAKER_04]: of a reason to watch it.
1:55:14
[SPEAKER_04]: Well, but if you're looking for a brisk, breezy, family-friendly, pretty funny Christmas road trip movie that you haven't seen before, that's pretty good.
1:55:23
[SPEAKER_00]: Well, let me ask you this.
1:55:24
[SPEAKER_00]: What do you think, just judging by this movie, what do you think of the Jonas Brothers?
1:55:29
[SPEAKER_00]: Like as performers or as screen processes, what do you think?
1:55:32
[SPEAKER_04]: Well, again, I don't, this is obviously the fake version of them, but based on how they're presented here, they're cute.
1:55:42
[SPEAKER_04]: You know, family values, good singers, bit of a sense of humor about themselves.
1:55:46
[SPEAKER_04]: They mock themselves a little bit, you know?
1:55:48
[SPEAKER_04]: Like, it's not like a hard day's night or anything.
1:55:51
[SPEAKER_04]: We're like, you really get a sense of their personalities and it's a little bit more like help in that regard, but not nearly as inspired.
1:55:59
[SPEAKER_04]: Yeah.
1:56:00
[SPEAKER_04]: And it's not as manic as spice world.
1:56:02
[SPEAKER_04]: Okay.
1:56:03
[SPEAKER_04]: But no, this is like, hey, you wanna hand with the Jonas Brothers or Chris this a little bit?
1:56:08
[SPEAKER_04]: Sure.
1:56:09
[SPEAKER_04]: Well, here you go.
1:56:11
[SPEAKER_04]: Thanks.
1:56:12
[SPEAKER_04]: There's one funny bit I will say this the highlight I forgot there's one song I really did like because it turns out and turns out this is fictional I had to look it up the eldest Jonas brother uh starred as the dad in a Broadway musical version of home alone
1:56:28
[SPEAKER_00]: No, that's not a real thing.
1:56:29
[SPEAKER_04]: That's not a real thing.
1:56:30
[SPEAKER_04]: It should be a real thing, but it's not a real thing and the guy who played his The cows are character Who's like 23 and already has an e-got and is going for the double e-got Do of each.
1:56:45
[SPEAKER_04]: Yeah, it turns out that he has he's performing nearby his private plane, but they have a lot of animosity together And they end up performing a song from home alone the movie
1:56:55
[SPEAKER_04]: Uh, together, but in like a rivalry, like let's see who can like break each other's voice more.
1:57:00
[SPEAKER_04]: That bit's funny.
1:57:01
[SPEAKER_04]: Okay.
1:57:02
[SPEAKER_04]: That's, it's actually pretty good song.
1:57:03
[SPEAKER_04]: Like you can imagine that actually being in home alone the musical.
1:57:07
[SPEAKER_04]: It's, that part's pretty great.
1:57:09
[SPEAKER_04]: Okay.
1:57:09
[SPEAKER_04]: So yeah, it's, it's a genuinely entertaining albeit fluffy film.
1:57:13
[SPEAKER_04]: Uh, and then the last movie is a merry little ex-miss.
1:57:17
[SPEAKER_04]: which is on Netflix, and it is I mentioned at the beginning of the episode, but takes place in a small town.
1:57:25
[SPEAKER_04]: And it's like, I think we're running out of like small town Christmas movie names.
1:57:31
[SPEAKER_04]: And I think we should just start setting everything in the same fictional town.
1:57:34
[SPEAKER_04]: Sure.
1:57:34
[SPEAKER_04]: Like Gary, or, or, and that field castle around.
1:57:38
[SPEAKER_04]: Yeah, yeah, yeah, yeah.
1:57:39
[SPEAKER_04]: But, but they spun the wheel of Christmas town names and they ended up with
1:57:46
[SPEAKER_00]: That's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not, that's not
1:58:02
[SPEAKER_00]: It's like calling a wizard raven wind.
1:58:04
[SPEAKER_00]: Yeah, right?
1:58:05
[SPEAKER_04]: It's like, okay, it's like a little on the nose.
1:58:08
[SPEAKER_04]: Alicia Silverstone was a, yep, she's really good on this.
1:58:13
[SPEAKER_04]: She, she's an architect, she was in college for architecture, she met a guy who was going to med school, the film of, they got married, and he wanted to start a practice in his small hometown, and she was like, yeah, sure, we can do that for a while.
1:58:30
[SPEAKER_04]: cut to two decades later, she's still there.
1:58:33
[SPEAKER_04]: She never became an architect.
1:58:35
[SPEAKER_04]: She's a great mom.
1:58:37
[SPEAKER_04]: And she is used her architectural know-how to become an indispensable town-handy person.
1:58:43
[SPEAKER_04]: She fixes everything, and every time she goes to someone's house, she encourages them to make practical changes to their house, like you should do your own composting, or if you had your own solar panels, you wouldn't have to worry about this wiring problem, that kind of thing.
1:58:55
[UNKNOWN]: OK.
1:58:55
[SPEAKER_04]: It's been 20 years.
1:58:56
[SPEAKER_04]: They've two kids.
1:58:57
[SPEAKER_04]: Their youngest is about to go to college and the group part.
1:59:02
[SPEAKER_04]: They don't hate each other, but he focused on work and he was never around.
1:59:07
[SPEAKER_04]: And they want to be well.
1:59:08
[SPEAKER_04]: She wants to pursue our architecture career finally.
1:59:11
[SPEAKER_04]: And so they're about to break up.
1:59:12
[SPEAKER_04]: They're going to get divorced.
1:59:14
[SPEAKER_04]: And then they're just going to have one more
1:59:18
[SPEAKER_04]: Conventional Christmas.
1:59:19
[SPEAKER_04]: He's already living by himself, but they're just the kids are still the kids.
1:59:22
[SPEAKER_04]: We're going to have one more year We try to do all the stuff before we completely break up this family unit.
1:59:27
[SPEAKER_04]: Yeah, and it turns out he is already started dating He's dating a a city woman Played by Jamila Jamil.
1:59:34
[SPEAKER_04]: Oh, I like Jamila Jamil.
1:59:35
[SPEAKER_04]: Yeah, he's really really fun and um Of course, at least he's Silverstone is like oh, I don't like that at all
1:59:44
[SPEAKER_04]: I don't know, at the very least, I don't like that he got to it first, so she starts dating a very handsome young man who is super into her and T.P.
1:59:53
[SPEAKER_04]: to see why.
1:59:54
[SPEAKER_04]: And he's really charming and adorable.
1:59:58
[SPEAKER_04]: And yeah, basically there's making each other jealous.
2:00:01
[SPEAKER_04]: And that's the movie.
2:00:04
[SPEAKER_04]: It's just character-based, wacky, jealousy, fun times with the family.
2:00:09
[SPEAKER_04]: And
2:00:11
[SPEAKER_04]: you know, it's conventional, but there's stuff I really like about it.
2:00:15
[SPEAKER_04]: First off, more than anything else, Alicia Silverstone is radiant.
2:00:20
[SPEAKER_04]: She always was, but like, she really knows that movie star quality.
2:00:22
[SPEAKER_04]: She knows how to anchor this.
2:00:24
[SPEAKER_04]: Like, she knows exactly how to do this material, not be better than it, but to make it sing.
2:00:30
[SPEAKER_04]: Like, she's really, really charming and wonderful, and I don't know how you could not fall in love with her over the course of this movie.
2:00:40
[SPEAKER_04]: the movie isn't as dazzling as her, but she's really making it better than it should be.
2:00:46
[SPEAKER_04]: But I also like that this is a romantic comedy in which there's a lot of potential couples could they stay with their respective new bows or we'll think about it together, in which none of the romantic options available are bad people.
2:01:04
[SPEAKER_00]: I appreciate there's not like a clear jerk.
2:01:06
[SPEAKER_04]: Well, you don't want, you don't want that to end up with that one mean lady from the parent trap.
2:01:12
[SPEAKER_04]: You want them to end up with the mom that he came up with this really weird plan to separate their kids so they never know the existence of each other ever.
2:01:21
[SPEAKER_04]: Well, there's some, I don't think the people should be together.
2:01:23
[SPEAKER_04]: They don't live in, they don't have good ideas.
2:01:25
[SPEAKER_00]: That happens sometimes, though.
2:01:26
[SPEAKER_00]: I think of Bill Pullman and Slipers and Seattle.
2:01:29
[SPEAKER_00]: Like, he's not a bad guy.
2:01:30
[SPEAKER_00]: That's just not as good as the one we want.
2:01:32
[SPEAKER_04]: Yeah, and I love that's one of favorite scenes.
2:01:34
[SPEAKER_04]: It's one of the favorite scenes in any romantic comedy is when Meg Ryan says Ellison, I've got a thing for another guy.
2:01:39
[SPEAKER_04]: Yeah.
2:01:39
[SPEAKER_04]: And he's like, oh.
2:01:41
[SPEAKER_04]: Go that.
2:01:42
[SPEAKER_04]: Yeah, that sucks for me.
2:01:43
[SPEAKER_04]: He's like aren't you don't you want to like say anything like I don't want to be someone you settle for I don't want to do something on anyone settles for and he shouldn't he's wonderful He's great.
2:01:52
[SPEAKER_00]: He's a catch Like seriously, he's fine.
2:01:55
[SPEAKER_00]: He's one flaws little like he has allergies or something Yeah, he sees these is a lot.
2:01:59
[SPEAKER_04]: He's a little dorky, but like honestly, I'm sorry, man He looked like Bill Pullman's circa 1991.
2:02:04
[SPEAKER_04]: You're gonna be fine
2:02:06
[SPEAKER_04]: Um, but I like it, I like that there's no, but even that there's like this one lady who's dating Tom Hanks and the kids really don't like her.
2:02:13
[SPEAKER_04]: Like here everyone's wonderful.
2:02:15
[SPEAKER_04]: Jamil Jamil has a cute little speech in this movie where they're all having dinner together and she's being pretty cool about her boyfriend still knowing and being very close with his soon to be ex-wife.
2:02:27
[SPEAKER_04]: And she says that she feels like the protagonist in a romantic comedy, the big city girl who comes to the small town and falls for the hunky silver fog snotder.
2:02:36
[UNKNOWN]: Yeah.
2:02:36
[SPEAKER_04]: and she is.
2:02:40
[SPEAKER_04]: This is like two warring hallmark movies.
2:02:43
[SPEAKER_04]: Is this the one where they get together?
2:02:45
[SPEAKER_04]: Is this the one where the city girl gets the guy?
2:02:46
[SPEAKER_04]: The thing is she's not a bad person.
2:02:49
[SPEAKER_04]: she's, she's also a catch.
2:02:51
[SPEAKER_04]: He's kind of a catch.
2:02:52
[SPEAKER_04]: There's a great bit where he talks about how like listen, you know, I know I wasn't attentive enough as a husband, but I've learned from my mistakes and I want to thank you for, you know, helping me be the person that I am now so that I can be a really good husband.
2:03:05
[SPEAKER_04]: And she's like, oh, now you've learned.
2:03:07
[SPEAKER_04]: And it's like, yeah, that wasn't an evil thing to say, but it was fucking insensitive, wasn't it?
2:03:11
[SPEAKER_04]: Yeah.
2:03:12
[UNKNOWN]: Um,
2:03:13
[SPEAKER_04]: So that's got some, actually, if that's some really cute bits, it's got some good character bits.
2:03:16
[SPEAKER_04]: I like hanging out with all the characters.
2:03:19
[SPEAKER_04]: Ah, sometimes that's enough.
2:03:22
[SPEAKER_04]: Is it great now?
2:03:23
[SPEAKER_00]: But I like it as a film just needs to be affable.
2:03:25
[SPEAKER_00]: And it sounds like that's this.
2:03:26
[SPEAKER_00]: It's genuinely, that's a lot of Christmas movies, isn't it?
2:03:29
[SPEAKER_00]: Yeah, they're pleasant.
2:03:30
[SPEAKER_00]: Which is reassuring.
2:03:30
[SPEAKER_00]: The drama is never so harrowing that you're there.
2:03:33
[SPEAKER_00]: I said it again.
2:03:34
[SPEAKER_00]: Take a drink that you're going to be pushed out and actually worried for a minute.
2:03:40
[SPEAKER_04]: I will say this.
2:03:41
[SPEAKER_04]: There's one annoying thing about the movie.
2:03:44
[SPEAKER_04]: Her daughter is going to school in I think Oxford, but certainly it's an England.
2:03:49
[SPEAKER_04]: And she's brought back her boyfriend.
2:03:50
[SPEAKER_04]: It's a British guy and he's a total dweeb and everyone's a little annoyed by him, but it doesn't seem like a bad guy.
2:03:55
[SPEAKER_04]: Except he's obsessed with Harry Potter and he keeps quoting it throughout the whole movie.
2:03:59
[SPEAKER_04]: And I'm like, can we not?
2:04:01
[SPEAKER_04]: to do the address.
2:04:03
[SPEAKER_00]: No, even.
2:04:04
[SPEAKER_00]: And Harry Potter.
2:04:05
[SPEAKER_04]: There's actually a great bit where the dad, it turns out he has two dads and he mentions that like when he was growing up, that was still very unusual for to have two openly gay man raising a kid in a small town in America and they put up with a lot of crap for that.
2:04:21
[SPEAKER_04]: And that's one of the reasons why he wanted to come back to town to start a practice was to show everyone They were good parents Okay, and that's actually good.
2:04:29
[SPEAKER_04]: That's good.
2:04:29
[SPEAKER_04]: Like why do you want to go back to small town?
2:04:31
[SPEAKER_04]: Not because it's better because he had something to prove.
2:04:33
[SPEAKER_04]: Yeah, that's good But like I feel like these two dads might have something to say about that Might be a little close to this like might be like hey listen, that's
2:04:44
[SPEAKER_04]: That's not okay anymore.
2:04:46
[SPEAKER_04]: It was a time when it was, it is not now and nor will it ever likely be again.
2:04:51
[SPEAKER_04]: And seriously, could we have come up with any other British thing for you to be into as a character?
2:04:58
[SPEAKER_04]: We're Dickens.
2:04:59
[SPEAKER_04]: Dickens would be fine, and Jane Austen, great.
2:05:03
[SPEAKER_04]: But Dickens would be great because it's Christmasy.
2:05:05
[SPEAKER_04]: So both of you got it like I do, I do Dickens tours.
2:05:08
[SPEAKER_04]: Britain and I show people where I mean you just screwed allegedly live them.
2:05:12
[SPEAKER_04]: Yeah, you know, whatever all I can say that would be fine And said we go with the thing that's anti-trans No, you know, I mean that was in the text, but do you support it?
2:05:23
[SPEAKER_04]: You're supporting someone who's throwing all of her money into that So it's like it's it's a web like it Yeah, it's a big old web like it and it's snowing out so it's bad.
2:05:31
[SPEAKER_04]: You don't want to be in a web like it when it's snowing
2:05:33
[SPEAKER_04]: Anyway, that is, that's all 10 movies.
2:05:36
[SPEAKER_04]: All right, that is a lot of movies.
2:05:38
[SPEAKER_04]: So let's review them in our review roundup.
2:05:41
[SPEAKER_04]: We review movies on a scale of C minus to C plus.
2:05:43
[SPEAKER_04]: Where a C minus is the lowest grade in movie can get.
2:05:46
[SPEAKER_04]: These are movies that are below average.
2:05:47
[SPEAKER_04]: We don't recommend them for one reason or another.
2:05:50
[SPEAKER_04]: Yeah, C is an average movie.
2:05:51
[SPEAKER_04]: These are mixed bag movies.
2:05:52
[SPEAKER_04]: Or maybe they're only just okay.
2:05:54
[SPEAKER_04]: And then C plus is in above average movie.
2:05:56
[SPEAKER_04]: These are movies we genuinely recommend on that note.
2:06:01
[SPEAKER_04]: on Mary Little Xmas, the Elise Silverstone Netflix movie, is a C. All right, it's a very pleasant C.
2:06:07
[SPEAKER_04]: Uh, I've already said my piece.
2:06:10
[SPEAKER_04]: Uh, a very Jonas Christmas.
2:06:14
[SPEAKER_04]: Yeah.
2:06:15
[SPEAKER_04]: The titles are too similar.
2:06:16
[SPEAKER_04]: I was like, yeah, I get that.
2:06:17
[SPEAKER_00]: You got that.
2:06:18
[SPEAKER_04]: Yeah.
2:06:19
[SPEAKER_04]: That is, that is a very mild C plus.
2:06:22
[SPEAKER_00]: All right.
2:06:22
[SPEAKER_04]: You know, it's like, it's, I just know a lot of passion to it, but it does exactly what it's doing and it's very, very charming and likable.
2:06:28
[SPEAKER_04]: Yeah.
2:06:29
[SPEAKER_04]: I have no, I have no complaints to speak of.
2:06:31
[SPEAKER_04]: It's cute.
2:06:32
[SPEAKER_04]: Uh, it's just, there's not much to it, really.
2:06:34
[SPEAKER_04]: Yeah.
2:06:34
[SPEAKER_04]: The Carpenter Sun is a C- minus.
2:06:38
[SPEAKER_03]: It's good idea.
2:06:39
[SPEAKER_04]: There's one good performance.
2:06:40
[SPEAKER_04]: They just don't find the right perspective from which to tell the story in a way that actually makes it suspenseful, because it's a foregone conclusion.
2:06:49
[SPEAKER_04]: Keeper is a C- minus, even though there's some creepy stuff in it.
2:06:53
[SPEAKER_04]: It's not really worth getting to.
2:06:55
[SPEAKER_04]: Kind of a lot of nothing, and it feels like a great artist, again, scribbled something.
2:06:59
[SPEAKER_04]: You know, there's a can tell they have talent, but it also tell that this, this wasn't very well thought out so long as he comes back and does something new and different.
2:07:07
[SPEAKER_04]: I'm sure well, I'm sure about that does doesn't make me think he's a bad filmmaker.
2:07:10
[SPEAKER_04]: It's just this is clearly the kind of thing that like.
2:07:13
[SPEAKER_04]: I had the free time, okay, you know, so there you go, let's be in space princess.
2:07:19
[SPEAKER_00]: I'm going to give it a C plus.
2:07:20
[SPEAKER_00]: This is hilarious.
2:07:21
[SPEAKER_00]: It's cross.
2:07:22
[SPEAKER_00]: It's really sweet and emotional, but really it's just hilarious.
2:07:26
[SPEAKER_00]: It's like I'm really, really funny.
2:07:27
[SPEAKER_04]: No, it's genuinely funny as hell.
2:07:29
[SPEAKER_04]: It's very bright, very likable.
2:07:31
[SPEAKER_04]: It's hard as in the right place.
2:07:33
[SPEAKER_04]: I'm giving it a C plus as well.
2:07:35
[SPEAKER_04]: It's a truly delightful film.
2:07:37
[SPEAKER_04]: Speaking of animation, Arco.
2:07:39
[SPEAKER_00]: I'm also going to give it a C+.
2:07:43
[SPEAKER_00]: I think it's very visually rich.
2:07:44
[SPEAKER_00]: You said it's really slow paste, but actually like the slow paste, I like the imagination that went into the future designs.
2:07:50
[SPEAKER_00]: It doesn't look like other science fiction movies, just because in terms of its color and I like the kind of
2:07:56
[SPEAKER_00]: weird downbeat melancholy.
2:07:58
[SPEAKER_00]: Yeah, that's in the movie.
2:07:59
[SPEAKER_00]: Yeah.
2:07:59
[SPEAKER_00]: So yeah, C++.
2:07:59
[SPEAKER_04]: And I agree with you.
2:08:00
[SPEAKER_04]: I don't think movies have to be fast pace, but I do think this one is sometimes slow pace to a slight fault.
2:08:04
[SPEAKER_04]: All right.
2:08:05
[SPEAKER_04]: But it doesn't diminish it.
2:08:05
[SPEAKER_04]: I'm still giving it a C++.
2:08:07
[SPEAKER_02]: Okay.
2:08:07
[SPEAKER_04]: It's incredibly gorgeous.
2:08:08
[SPEAKER_04]: It's got a good, pensive message about where we're going and the type of people we are.
2:08:14
[SPEAKER_04]: And seriously, it's just very pretty to look at.
2:08:16
[SPEAKER_04]: Um, Newvel Vogue.
2:08:19
[SPEAKER_00]: Uh, that's a C+.
2:08:19
[SPEAKER_00]: This is my view on my favorites of the year.
2:08:22
[SPEAKER_00]: It's so wonderfully laid back.
2:08:25
[SPEAKER_00]: It is about a very significant film, but it is not dripping with its own significance.
2:08:28
[SPEAKER_00]: And cuts gooddard off at the knees.
2:08:31
[SPEAKER_00]: Yeah, just perfectly sell.
2:08:32
[SPEAKER_00]: And I like all that.
2:08:33
[SPEAKER_00]: And of course,
2:08:34
[SPEAKER_00]: Because I'm a film nerd.
2:08:35
[SPEAKER_00]: I know a lot who a lot of those people aren't.
2:08:38
[SPEAKER_00]: We're an easy mark for this movie Yeah, this is made for me for critics So yeah, the fact that it got me is like kind of a no-brainer, but I have to admit it got me So there you go.
2:08:47
[SPEAKER_04]: No, I got me to and again, I'm not even a big good-dard fan I find no, I find I find I find I find I'm in sufferably pretentious in his movies and and this movie in real life But I also really enjoyed spending time here
2:08:57
[SPEAKER_04]: uh link later captures a wonderful aesthetic.
2:09:00
[SPEAKER_04]: He gets wonderful performances out of his actors and yeah he manages to tell a story about someone who did something great without putting them on too big a pedestal and in fact actually knocking them down a bit uh but in a way that's still gives him his props uh so yeah it's a really really really great film about filmmaking uh now you see me now you don't uh is a very low sea.
2:09:20
[SPEAKER_04]: Okay, it's it's got stuff I like.
2:09:22
[SPEAKER_04]: I think while you're watching it, it's fine, but it doesn't make any sense and you will forget about it, but it is perfectly affable in the moment.
2:09:32
[SPEAKER_04]: But the moment goes away, doesn't it?
2:09:35
[SPEAKER_00]: And then lastly, the running man, the running man, it's a C-minus.
2:09:39
[SPEAKER_00]: Yeah.
2:09:40
[SPEAKER_00]: I think it's incredibly slick.
2:09:41
[SPEAKER_00]: It's really well put together.
2:09:42
[SPEAKER_00]: And I think Glenn Powell is just brings all of that movie star charisma that he just naturally has.
2:09:47
[SPEAKER_00]: He's a great leading man.
2:09:49
[SPEAKER_00]: Yeah.
2:09:49
[SPEAKER_00]: He's a very confident lead.
2:09:51
[SPEAKER_00]: Some of the action is really fun.
2:09:52
[SPEAKER_00]: Some of the images, the fully realized sort of dystopia is actually well put together.
2:09:58
[SPEAKER_00]: But I think it is.
2:09:59
[SPEAKER_00]: Very badly pays now.
2:10:01
[SPEAKER_00]: I think it has a really muddled message and when we get to the end and they're just sort of piling climax upon climax It's like I just wanted to leave.
2:10:08
[SPEAKER_00]: I got the point already.
2:10:10
[SPEAKER_00]: It's it's not about its conclusion and yet it is it's just that the scripts just It's all over the world here.
2:10:15
[SPEAKER_04]: I think it starts pretty strong and I think if you did just kept going as an action movie Okay to just kept working as an action movie.
2:10:23
[SPEAKER_04]: I might be willing to forgive
2:10:25
[SPEAKER_04]: It's the thematic clumsiness and hypocrisy.
2:10:28
[SPEAKER_04]: I might be willing to forgive a wonky ending, but even with all of that, it really lose a steam in the third act and it just ends really, really, really badly, I think, but
2:10:43
[SPEAKER_04]: I want to say this is a mixed bag.
2:10:44
[SPEAKER_04]: I want to give it a seed, but it's a sea minus because Glenn Powell can't save it.
2:10:48
[SPEAKER_04]: Yeah.
2:10:48
[SPEAKER_04]: And if Glenn Powell has saved it, the power of Glenn Powell.
2:10:51
[SPEAKER_04]: I mean, he's amazing.
2:10:52
[SPEAKER_04]: Like he's this is absolutely.
2:10:53
[SPEAKER_04]: You watch this movie.
2:10:54
[SPEAKER_04]: Like, oh, yeah, he is a movie star.
2:10:57
[SPEAKER_04]: He needs better movies.
2:10:58
[SPEAKER_04]: It's like because you look at like Twister is a nothing burger of a movie.
2:11:01
[SPEAKER_04]: It's very fun to watch.
2:11:03
[SPEAKER_04]: You can enjoy that movie a lot.
2:11:05
[SPEAKER_04]: Mostly because he's Germany.
2:11:07
[SPEAKER_04]: I want to hang out with Glenn Powell.
2:11:09
[SPEAKER_04]: I'll say this to Anne with him with the rain while he's wearing a white t-shirt.
2:11:12
[SPEAKER_00]: I want that He's he's like a really handsome block of wood like he's attractive to look at but I can't imagine what it would be like to like
2:11:24
[SPEAKER_00]: touch him, like he's, like he's a real, like he's.
2:11:28
[SPEAKER_00]: Oh, that.
2:11:29
[SPEAKER_04]: Okay, like the block of what implies he's a bad actor.
2:11:31
[SPEAKER_00]: No, no, he's actually quite a good.
2:11:32
[SPEAKER_00]: I mean, even statuous.
2:11:33
[SPEAKER_00]: Yeah, just the way it looks like I were to touch him and I'd be touching a tree.
2:11:37
[SPEAKER_00]: Yeah, probably that cut as well, but I'm yeah, but I will say that, um,
2:11:44
[SPEAKER_00]: Oh, that's my turn to thought.
2:11:46
[SPEAKER_04]: Uh, you, Powell statue would.
2:11:48
[SPEAKER_00]: Oh, uh, listen, we can take away from this remake of the running man.
2:11:52
[SPEAKER_00]: This is a remake of a 1987 film.
2:11:54
[SPEAKER_00]: Yes, it's also an adaptation of an older Stephen King book, but it's remade because of a popular 1987 movie.
2:12:02
[SPEAKER_00]: Yeah.
2:12:04
[SPEAKER_00]: And it's tanking at the box office.
2:12:06
[SPEAKER_00]: People don't care about this or on.
2:12:09
[SPEAKER_00]: Stop remaking stuff from my generation.
2:12:13
[SPEAKER_00]: The bigger hits are the remakes of films from the 2000s now, the low and stitch.
2:12:17
[SPEAKER_00]: How to turn your drag in.
2:12:19
[SPEAKER_00]: uh... minecraft which is something uh... because it's kids stuff it's a new worth in is not like the eighties are old that the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the
2:12:44
[SPEAKER_04]: Yeah, but I think that's almost fitting, but I would argue that yeah, if speaking just really from a financial perspective, we're old you and me
2:12:55
[SPEAKER_04]: I mean, we're in our 40s, but from media perspective, we might as well be 80.
2:12:59
[SPEAKER_04]: All right, we're, our, the stuff we go up with no longer drives it, and we should listen to what younger people want if you want to make these big blockbusters and make money.
2:13:09
[SPEAKER_04]: Yeah.
2:13:10
[SPEAKER_04]: That doesn't necessarily mean they're going to be good movies or that the movies that are inspired by 80s nostalgia and 90s and nostalgia are going to be bad.
2:13:17
[SPEAKER_04]: But they're not a guaranteed recipe for a success anymore.
2:13:20
[SPEAKER_04]: Yeah.
2:13:20
[SPEAKER_04]: And so we need to move the hell on.
2:13:23
[SPEAKER_04]: Um, but yeah, good point.
2:13:24
[SPEAKER_04]: Anyway, that is it for critically acclaimed.
2:13:25
[SPEAKER_04]: All right.
2:13:26
[SPEAKER_04]: Thank you everybody for listening.
2:13:26
[SPEAKER_04]: Thank you for joining us, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh uh, uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh
2:13:36
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2:13:37
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2:13:39
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2:13:41
[SPEAKER_04]: We just released a commentary track for Star Wars Episode 1, the Phantom Menace for some reason.
2:13:45
[SPEAKER_04]: Sure, Dad.
2:13:46
[SPEAKER_04]: Yeah, Whitney, Whitney, it was Whitney's idea.
2:13:48
[SPEAKER_04]: I think it was my suggestion.
2:13:48
[SPEAKER_04]: I think it was a fun, fun premise.
2:13:51
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2:13:56
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2:13:57
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2:13:59
[SPEAKER_04]: Yes.
2:14:00
[SPEAKER_00]: Whitney, what does Talon, Talon, Talon, Talon, Talon, Talon, you can touch with us.
2:14:03
[SPEAKER_00]: Oh, you can actually send us the letters, letters at criticallyclimmed.net.
2:14:07
[SPEAKER_00]: You can send us a physical package or a mail or a postcard, but if you like to the critically-climmed network, peel box 641565, Los Angeles, California at 9.00, 64-door today.
2:14:17
[SPEAKER_04]: Yes, we're on the social media as I'm well, and Matt will be on me.
2:14:20
[SPEAKER_04]: Matt, I think he's settled in.
2:14:21
[SPEAKER_04]: And a threat, never forget, everyone is a critic.
2:14:26
[SPEAKER_02]: I want to go to the mid-notch show.
2:14:30
[SPEAKER_02]: I'm sorry, what?