Latest / What's Your (Least) Favorite Scary Movie? / #315: Dead End (2003)

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#315: Dead End (2003) · What's Your (Least) Favorite Scary Movie?

• 0:06
  Hello, what's your least favorite scary movie?
• 0:10
  What's up, little critter? I'm your uncle Dick.
• 0:12
  Welcome. What's your least favorite scary
• 0:14
  movie? The podcast where we talk about
• 0:15
  the good, the bad, the ugly, Andy, I'm sorry, and all of our
• 0:18
  favorite. Family's favorite?
• 0:19
  Scary movies. Because we believe every horror
• 0:21
  movie rightfully has its fan base.
• 0:23
  Even if we don't always get it. My name's Travis.
• 0:25
  My name's Jesse and welcome back to our winter Wonderland.
• 0:29
  Yeah, we are covering Christmas, me and horror movies this month
• 0:32
  and Dead End has just been popping up a lot for us lately
• 0:35
  because we've been doing a lot of 2003 movies.
• 0:38
  Yeah, it's the movie that we keep bringing up in comparisons
• 0:41
  and we're like, we think we watched this movie and.
• 0:44
  You know, I knew for sure we had watched it.
• 0:46
  I just couldn't remember. I'm just, I'm going to say now,
• 0:49
  spoilers are unavoidable from here on out.
• 0:52
  Yeah, yeah, if you if you listen to this, just be prepared to
• 0:56
  have the movie plot lines ruined for you if you haven't watched.
• 1:00
  It as of right now. If you're going to watch it,
• 1:02
  stop right now. Yeah, because this is a movie.
• 1:04
  And then come back a. Movie that like if you start
• 1:07
  talking about certain aspects of it, it kind of you need to watch
• 1:10
  it fresh, yes. Yeah, yeah, yeah.
• 1:12
  All that to say is I kept saying that I thought if the movie
• 1:15
  happened the way I remembered it, it was really funny that you
• 1:17
  weren't remembering it. I thought it was more of a time
• 1:19
  loop movie. OK, so yeah, yeah, I that's what
• 1:22
  I told you yesterday. I was like, I remember they're
• 1:24
  driving down the road and they come across this woman and
• 1:27
  that's that. And that's, I mean kind of what
• 1:30
  happens. Kind of, yeah.
• 1:32
  So the only announcement I have is that we did.
• 1:35
  To be or not to be? Over the weekend we covered
• 1:37
  Santa Sleigh starring Goldberg. Yeah, yeah.
• 1:39
  It was a fun one, I think. Yeah, we had a it was, it was a
• 1:43
  loopy one. Yeah, yeah, very loopy.
• 1:46
  Recording day here today might carry over to this episode.
• 1:48
  We may have worked it out of our system.
• 1:49
  But probably not. It's hard to say.
• 1:51
  It's really hard to say at this point.
• 1:52
  Yeah, but it was fun, so go check that out.
• 1:54
  It's out now. So yeah, it is good.
• 1:56
  More Christmas horror fun right there.
• 1:58
  Yay. All right, I'm gonna jump right
• 2:00
  into it. All right, let's do it.
• 2:01
  So Dead End premiered on January 30th, 2003 at the Garrett
• 2:08
  Garadmer Film Festival. It had its USDVD release on
• 2:13
  November 9th, 2004. There wasn't ever, like I didn't
• 2:16
  have a good wide release date, so I just went with like what
• 2:21
  days we would normally expect to see it in the US.
• 2:23
  IMDb or whatever always says 2006, but 2003?
• 2:27
  It said 2004. I saw it in prime.
• 2:29
  The the credits had 2003 so it must have finished everything in
• 2:33
  2003 but. Probably that's when its
• 2:34
  premiere was was 2003. OK.
• 2:36
  Yeah, Yeah, OK. Yeah, it didn't come to the US
• 2:38
  until 2004, which is probably what you were thinking when you
• 2:41
  saw it on prime, because on prime it said 2004.
• 2:44
  OK, I got I wrote 2006 I think I was.
• 2:46
  Just yeah, you were just wrong. I'm going to be 100% on it.
• 2:49
  So I was like, I got this you. Should not have had that much
• 2:53
  confidence because you're absolutely incorrect.
• 2:55
  Yeah, it's usually like that for.
• 2:57
  Me so like I said, we watch it on prime, but you can also
• 3:00
  stream it on To be Pluto, The CW, Plex, YouTube, YouTube TV,
• 3:05
  or you can rent it from Google TV, Apple TV or Fandango at
• 3:08
  home. Written and directed by Jean
• 3:10
  Baptiste Andrea and Fabrice canepa.
• 3:12
  Music by Greg de Bells Special effects makeup by Thea Luisi
• 3:18
  Starring Ray Wise as Frank Harrington Lynn Shea as Laura
• 3:22
  Harrington Mick Kane as Richard Harrington Alexandra Holden as
• 3:28
  Marian Harrington. Did she look familiar to you?
• 3:31
  She. Absolutely did.
• 3:32
  I could not put my finger on who that was.
• 3:34
  She was the female lead in witchcraft.
• 3:38
  Another tube You're not to be legend.
• 3:40
  Yes, yes. William Rosenfield under the
• 3:44
  name Billy Asher as Brad Miller and Amber Smith as the Lady in
• 3:48
  White, OK. Cool.
• 3:50
  Travis, it's time for my favorite game.
• 3:52
  Budget or bug? Ted.
• 3:54
  I say bug Ted. Yes, Yeah, this is a very big
• 3:57
  bug, Tiger. Look to it looks not bad, but
• 4:00
  you can tell that it's a cheaper movie. $900,000 estimated budget
• 4:04
  OK, we don't have an opening box office because?
• 4:08
  Straight to DVD sounds like. Yeah, I do have a figure for the
• 4:11
  USDVD sales though. Oh, cool.
• 4:12
  It is between 75 and $77 million.
• 4:15
  Whoa, yeah, yeah, I saw those on two different places.
• 4:20
  So. Wow, good job.
• 4:22
  Congrats. That's a huge return on
• 4:24
  investment. Yes, IMDb score is 6.4 out of
• 4:27
  10. Damn this little movie is
• 4:30
  surprising me. We had a common fear in 2003,
• 4:35
  yeah, it seems. Which is shit going wrong in
• 4:38
  cars OK. Yeah.
• 4:41
  So the first one, wrong turn. Oh yeah, yeah, it all starts
• 4:46
  with the car crash. Yep.
• 4:47
  And you can listen to us talk about that a while back.
• 4:52
  You'll find it earlier. Yeah, we've covered up through
• 4:55
  five. Yeah, So Wrong Turn released May
• 4:58
  30th, 2003. A budget of 12.6 million, a
• 5:01
  worldwide gross of 28.6 million, and an IMDb score of 6.1 out of
• 5:06
  10. Nice. 2nd movie we haven't
• 5:09
  covered yet but we will be covering next week.
• 5:11
  Final Destination too. That was the major disaster in
• 5:15
  this movie was The Highway. Yeah a major crash that released
• 5:20
  January 31st, 2003. Budget of 26,000,000.
• 5:24
  Worldwide gross of 90.9 million. IMDb score 6.2 out of 10.
• 5:28
  OK. And then finally, this is the
• 5:31
  one I kind of gave you a little hint about when we were talking
• 5:35
  on TV or not to be starring Jake Busey.
• 5:37
  Yeah, yeah, yeah. The Hitcher 2.
• 5:40
  The Hitcher 2. Yeah, Yep.
• 5:43
  Huh, I'd watch that. I'm sure you would.
• 5:46
  We may, We may just. So that released July 15th,
• 5:51
  2003. I don't have a bunch of gross
• 5:53
  for it. No, that's probably really low.
• 5:55
  Yeah, if. I had to guess.
• 5:56
  It has an IMDb score 4.3 out of 10.
• 5:59
  It's not terrible. I have one tag line.
• 6:02
  OK, read the signs. Oh, not bad, that's not.
• 6:08
  Bad. It works.
• 6:09
  It works. It works on multiple levels.
• 6:10
  Yeah, yeah. Like, like, read the signs of
• 6:12
  what's happening to you right now, guys.
• 6:14
  And also, hey, what's the fucking sign that they keep
• 6:18
  reading? Marcotte.
• 6:19
  Marcotte yeah, read that sign too.
• 6:22
  OK, there wasn't a ton to find about this.
• 6:27
  I I didn't think there would be. But I've got a few a few things
• 6:30
  to share. OK, so it was shot in LA County
• 6:33
  in 2002. Wow, I thought this was a
• 6:36
  Canadian movie. This does not look like anything
• 6:38
  like LA. Well, you'll actually find this
• 6:40
  really interesting. So this was the director's
• 6:44
  debut. OK, Both of them as their
• 6:47
  directorial debut. I found an interview with Arrow
• 6:51
  with Ray Wise. Arrow the Blu-ray, people.
• 6:55
  I think so. Cool, honestly I just saw Arrow
• 6:58
  and I didn't think too much about it so I should have
• 7:00
  confirmed. Was that a big a logo?
• 7:02
  I don't really, I'm just gonna this will make me happy to
• 7:07
  imagine that this it feels. It feels like it would be a.
• 7:09
  Narrow interview. I've never seen them do an
• 7:12
  interview, but I'm gonna just say yeah.
• 7:14
  Maybe. I don't know.
• 7:15
  Yeah. Anyway, it was with Ray Wise, so
• 7:17
  he liked the script. I guess.
• 7:19
  We're not Ten Peaks people, but. I guess.
• 7:22
  Thank you, I was about to look him up on IMDb.
• 7:24
  I have actually watched a decent amount of twin.
• 7:25
  Peaks I was. Like, that's the dad from Twin
• 7:27
  Peaks. I know it.
• 7:28
  Yeah. Yeah.
• 7:29
  OK. And I guess there was like, they
• 7:30
  did some like little winks and nods with some of the music in
• 7:34
  it. OK.
• 7:34
  So I didn't dig too much into that because I I don't know
• 7:39
  enough about 10 weeks really. He's another stress.
• 7:41
  Out, Dad in. That show.
• 7:44
  So he liked the script because he said it was like an extended
• 7:46
  Twilight Zone episode, except he clarified the older Twilight
• 7:49
  Zone, not the newer Twilight Zone.
• 7:51
  OK, I I don't know the difference between the two.
• 7:54
  He said it was shot in roughly 20 days, and he said roughly
• 7:58
  $1,000,000 budget. So OK, pretty close.
• 8:01
  Yeah. And he said that they actually
• 8:03
  had to do some gorilla filmmaking because they were
• 8:06
  shooting basically in this mile of Hwy. that was like by a
• 8:12
  Canyon in next to Hollywood Hills.
• 8:15
  Oh wow. So it was like the same one mile
• 8:17
  stretch and it was like leads to a public park.
• 8:20
  So they were shooting those at night and just.
• 8:22
  See I thought that they just went and found this like this
• 8:25
  area in like the middle of nowhere where they could like
• 8:28
  safely shoot. That surprises me that they shot
• 8:31
  this in just a stretch of Rd. in LA.
• 8:33
  It doesn't even look like what I would imagine that would look
• 8:35
  like over there. Yeah.
• 8:36
  So I thought that was, I thought that was pretty interesting.
• 8:39
  That's incredibly interesting. Yeah.
• 8:41
  So there was basically almost all night shoots except for the
• 8:47
  the, yeah, the ending and the car interiors.
• 8:49
  The car interiors were done on a closed set.
• 8:52
  Oh, that makes sense. To you, Yeah.
• 8:53
  Or sound stage. Yeah.
• 8:55
  So I've got all that. And then I also found this
• 8:57
  Reddit post. So somebody emailed Jean
• 9:00
  Baptiste Andrea asking for an explanation about the end of the
• 9:04
  movie. Oh cool.
• 9:05
  Yeah, Dead End is one of. I'm just going to read this
• 9:08
  whole thing in full. It is on the horror subreddit.
• 9:14
  Keith's only known as Reddit. I love.
• 9:15
  That this person I always responded to the fan reaching
• 9:19
  out about it. This is cool.
• 9:20
  So if I use your power run five. I finally got an e-mail about
• 9:24
  dead end 2000. Did I read the title?
• 9:27
  No OK, I finally got an e-mail about Dead Ends 2003 ending from
• 9:31
  Jean Baptise Andrea. Dead End is one of my favorite
• 9:34
  horror films ever and I just can't figure out why.
• 9:37
  There was some debate on the ending and it's meaning.
• 9:39
  So as explained, the whole event was the family trapped in limbo
• 9:42
  and when they finally admitted their demons they were taken.
• 9:45
  Andrea's vision of limbo is sort of half in the physical world
• 9:49
  and half in the after light. There's no alluded reason as to
• 9:52
  why Mary Marianne wasn't killed other than the fact that she
• 9:55
  simply survived the car wreck. I think many of us knew this but
• 9:58
  just didn't understand how the workers had the note.
• 10:00
  OK, the events did happen in Limbo and because it's half
• 10:05
  real, half afterlife, some artifacts were left behind.
• 10:08
  I would postpone an e-mail, but I haven't received permission
• 10:11
  yet. It basically just confirmed what
• 10:12
  many of us thought and brought up the artifacts point.
• 10:15
  Getting a hold of him is a bitch.
• 10:16
  I can publish his e-mail here if you guys have any other
• 10:18
  questions. But yeah, so it it was Limbo.
• 10:23
  This is all what happened in Limbo and it's like half and
• 10:26
  half out of reality. Yeah.
• 10:28
  So that's why we see the note and cuz it kind of kind of like
• 10:32
  veers into the wait, what territory?
• 10:35
  See my idea? I didn't necessarily go to limbo
• 10:39
  for my thing, I just thought this was all going on in her
• 10:42
  head. Coma.
• 10:43
  Yeah. Coma, yeah.
• 10:45
  Yeah, that's that's how I kind of interpreted it too.
• 10:48
  The note did make it seem a little bit weird, but after
• 10:50
  reading that explanation that that makes.
• 10:52
  Sense. Yeah, for sure.
• 10:53
  OK, That's really cool, though. I'm glad that we have some
• 10:56
  explanation as to what really happened here.
• 10:58
  Yeah, that's cool. Alright, alright, I guess we're
• 11:02
  ready for the good, bad, ugly and absurd.
• 11:04
  Yes, we are so the goods for me. I this is a movie that has like
• 11:11
  some surprising humor to it. Like I I actually find it funny
• 11:15
  at times. Some of it is a little bit crude
• 11:17
  for its time. It is a of its time with
• 11:20
  Richard. Namely 2003, yeah.
• 11:22
  Yeah, but like some of the other stuff, like I think Lin Shay,
• 11:25
  whenever she is delirious and she's just like eating pie and
• 11:30
  just like eating, she's like, I got some chips, didn't know we
• 11:32
  had chips back here. She just like opens up a bag of
• 11:34
  chips just like mom slowed down. If you keep eating, you're going
• 11:37
  to throw up. She's no won't.
• 11:38
  And then because of her vomiting.
• 11:41
  I want her and the mom from Blood Rage to just stress eat
• 11:46
  their holiday leftovers together.
• 11:47
  Yeah, I just, I thought that that was really funny.
• 11:50
  So they had some good humor to it that I was not expecting.
• 11:54
  I thought that the her end especially was unsettling.
• 11:59
  I feel like the horror, like the unsettling this kind of like
• 12:02
  ramps up throughout the movie. So it starts off kind of like
• 12:06
  like it is a little bit more silly at first, but then like as
• 12:09
  we keep going, like once we get to win chase character, yeah,
• 12:13
  moment starts to get a little bit more like upsetting.
• 12:17
  Like the whole part where she just throws herself out of the
• 12:19
  car is fucking. Crazy.
• 12:21
  Yeah, yeah. I just, I just liked how
• 12:22
  everything just progressed throughout the whole movie like
• 12:25
  this. It, it had a very unsettling
• 12:29
  feeling to it the more that you watched it.
• 12:31
  And I I got more and more sucked into what was happening and
• 12:34
  which is kind of impressive considering it's such a limited
• 12:37
  movie that's happening here. But they kept it engaging and
• 12:41
  they kept me like invested in the story that was happening
• 12:45
  throughout the entire thing. So I thought that they did a
• 12:48
  really good job with that. OK.
• 12:50
  Yeah, I think that this was pretty interestingly done,
• 12:56
  especially when you start kind of putting together it doesn't
• 13:00
  suffer on rewatch ability as long as you don't rewatch it a
• 13:03
  ton. Yeah, like a good Christmas,
• 13:05
  like every other year or every year type of movie.
• 13:09
  Yeah, cuz then you can start kind of like looking for the
• 13:11
  little things that maybe give you a hint as to what's going
• 13:14
  on. Because if you think about the
• 13:16
  crash and like some of the things that were happening
• 13:18
  during that, like Lynn Shea hits her head and that's what ends up
• 13:21
  being her injury there. Was one thing I did pick up and
• 13:23
  I had forgotten the ending, but like one of the what's in the
• 13:26
  car, you can hear the like the machinery in the hospital, like
• 13:30
  the beeping like beep beep I. Was noticing that.
• 13:33
  Beeping and it. Was kind of driving me a little
• 13:35
  bit Batty because I was like, why is that happening?
• 13:37
  Where is that like? Is that the car beeping like?
• 13:39
  What's happening? Whenever I heard that, that's
• 13:41
  when it went to my hospital. Like this is all going on in her
• 13:43
  head or something right here. Yeah.
• 13:45
  And for some reason I thought they were in a different kind of
• 13:47
  like time loop purgatory type thing.
• 13:50
  And I thought we were just going to see them repeating and not
• 13:52
  understanding what was happening.
• 13:54
  That's where I thought I was going to for a bit.
• 13:56
  Yeah, yeah, I, I liked following the story and trying to, like,
• 14:01
  follow along with the mystery of it.
• 14:03
  Yeah. And like I said, it's been a
• 14:05
  while since we've watched it, but I don't think it's suffered
• 14:07
  on a rewatch, even though I knew it was a twist, something like
• 14:10
  that. Yeah, yeah, same.
• 14:12
  So that's still, that's always a good thing because sometimes
• 14:15
  movies like that, when that's the big twist, it just doesn't
• 14:17
  hit the same way after. I know you and I argue about
• 14:19
  this with high tension. Yeah, I like it in High Tension.
• 14:22
  It doesn't bother me. Maybe I it ruins the movie for a
• 14:25
  lot of people although. Yeah.
• 14:27
  Yeah, it definitely doesn't ruin the movie.
• 14:29
  The ending year for sure, for me at least.
• 14:32
  What is your bad? Bad it does so it does keep your
• 14:39
  interest, but it also does kind of suffer from saminess
• 14:42
  throughout too, because like a lot of the deaths are off
• 14:45
  screen. So we'll just like find the body
• 14:48
  and we just like they they must not have had the budget to show
• 14:50
  what was happening here. So like when Brad first dies,
• 14:53
  it's like, here's his ear stuck to the phone, which, you know,
• 14:56
  it's kind of cool. Like I get letting your
• 14:58
  imagination kind of build the scene for you, but I with movies
• 15:01
  like this, I kind of want to see the the gore, you know?
• 15:05
  Yeah. And I think that's definitely
• 15:07
  due to their budget. Yeah, it definitely was.
• 15:10
  I think the person doing the special effects makeup, that was
• 15:13
  like, she was also the head makeup artist.
• 15:16
  So very stretched then. Yeah, there were three total
• 15:20
  makeup artist listed. So it's just that's, that's a
• 15:23
  lot to try and do. And like, I could notice little
• 15:25
  things like the, the lady in white, like I could see the edge
• 15:27
  of her scar wax on her forehead. But I I think they did really
• 15:32
  good with what they had. Yeah, I mean, considering what
• 15:35
  they were working with, it still works.
• 15:37
  But if like I were to punch this movie up, I would definitely
• 15:42
  like include that stuff. Like not have everything be off
• 15:45
  screen. OK, It can add to the unsettling
• 15:48
  vibes and the creepiness of it. But like, at least have this,
• 15:51
  like, give us like, put all your points into one cool death.
• 15:56
  Yeah, some of them we can have off screen, but I wanted to at
• 15:58
  least see one really cool. And I guess the closest we get
• 16:01
  to that's Glen Chase, but even hers is it's a, you know.
• 16:04
  We get to see. Aftermath.
• 16:06
  Richard's lift torn off. That was cool.
• 16:09
  That was a really cool moment. Yeah.
• 16:12
  OK. What was your bad?
• 16:14
  I think the dialogue in some places is a little rough.
• 16:17
  Yeah, yeah. Like not even just in like a
• 16:19
  like humor of its time kind of situation, but just didn't like
• 16:25
  this is a really stilted kind of conversation and that could
• 16:30
  potentially just be like French to English like translation type
• 16:36
  of thing. It could be I also like I I
• 16:41
  didn't get the like actual family vibes from this family.
• 16:43
  I don't think they had like good family chemistry.
• 16:46
  Richard seemed like he was written.
• 16:48
  They weren't sure what age. Yeah, yeah, yeah.
• 16:51
  Like offering a kid or is he like an adult?
• 16:53
  Like what is he? Offering boogers, but then he
• 16:56
  goes out and has a Playboy and he smokes weed.
• 16:59
  Like it was just I couldn't really tell what issue was meant
• 17:02
  to be. Yeah, yeah.
• 17:04
  Ugly. I had Richard or you know,
• 17:08
  instead of Richard, we could start calling him by his hyphen
• 17:10
  named Dick Dick. He's a fucking Dick in this
• 17:12
  movie. He is.
• 17:13
  So I mean, he has like the fucking like slurs, like
• 17:16
  homophobic slurs and stuff like that to Brad the entire time and
• 17:20
  like unfortunately, a product of its time.
• 17:22
  That was true to dialogue at that time, but it was still
• 17:25
  ugly, especially in this movie. It's just like he was just an
• 17:28
  asshole. I am choosing a different
• 17:32
  asshole, which is Frank Yeah, cuz I like at one point I was
• 17:36
  like man, Marian really got stuck with like the worst one to
• 17:39
  be stuck with till the end you. Said that as he slapped her and
• 17:42
  knocked. Her out, Yeah.
• 17:44
  Yeah, yeah, he kind of sucks. Yeah, he does not handle his
• 17:47
  emotions well. Yeah, the whole family was just
• 17:49
  really dysfunctional also. And it's just like one of those
• 17:52
  that's really rough and they've been doing this family tradition
• 17:57
  for 20 years and just probably constantly at each other's
• 18:00
  throats. It's just it's, it's rough to
• 18:03
  watch. Yeah, for sure.
• 18:05
  OK, absurd stuff. Absurd.
• 18:08
  I just thought it was crazy that everybody was like, yeah, sure,
• 18:12
  you can get out of the car and walk down this road with like.
• 18:17
  Scoot. Over.
• 18:18
  Yeah, like sit in like. Sit on Brad's lap.
• 18:21
  Yeah, exactly. Like the the beginning of the
• 18:23
  movie, this is a thing. Like as the movie goes on, they
• 18:26
  kind of get more like afraid of getting out of the car.
• 18:28
  But at first, like when they find the woman in white, they're
• 18:31
  like Marian's just like, it's OK, I'll walk down there.
• 18:34
  You guys can get give her my C and drive her back down to the
• 18:38
  cabin down there. So they just let her walk this
• 18:40
  stretch of Dark Rd. where they found a woman distress could be
• 18:46
  leaving her out there with whatever danger caused this
• 18:48
  distress to this woman. But they don't seem to care.
• 18:51
  And then when they arrive at the cabin, Richard's like, fuck
• 18:54
  this, I'm going into the woods and they're like, OK, see you.
• 18:56
  And he's just like, there's just so wax about it.
• 19:00
  And again, I just got to bring up 1 Chase Pie coping.
• 19:04
  Yeah, just like when she starts, like when she lost it, she was
• 19:07
  just, she was so fucking like, I don't think we'll ever see one
• 19:11
  Shane, that type of performance ever again.
• 19:13
  That right there. It was so ridiculous.
• 19:15
  Yeah, for me it was when she shot him in the leg.
• 19:18
  Yeah, yeah, she went way off the rails there, but that was cool.
• 19:22
  I I like seeing her have a moment like that.
• 19:24
  Yeah. All right, then let's rate it.
• 19:29
  This is a good movie. I like it.
• 19:31
  I think I would give it 725. 725 I'm going to give it a 6.75.
• 19:39
  OK, so starting average is 7. All right, cool.
• 19:42
  Well then, let's get on into it then.
• 19:45
  We start off, we're in a car full of people.
• 19:49
  We've got Frank, Laura, Miriam, Brad and Richard.
• 19:53
  They are headed to Laura's parents house.
• 19:55
  They do this every year for Christmas.
• 19:57
  They're running late. Frank blames the kids cuz like.
• 20:03
  Richard needed to go get his CDs and they're just all running
• 20:05
  late and he's grumpy about it and he's also sleepy and he's
• 20:09
  refusing to let anybody else drive and he starts to nod off.
• 20:15
  Marian wakes him up, grabs the wheel.
• 20:18
  They kind of like spin out, but they're mostly OK.
• 20:22
  They get out to check and make sure that the car is fine.
• 20:24
  The other car has just gone completely, just drove past.
• 20:28
  Yeah, yeah. This is where maybe this should
• 20:31
  have been my absurd because this is where Laura goes.
• 20:33
  We're not on the Interstate, babe.
• 20:35
  No, you're so far away from the Interstate.
• 20:37
  How did you not notice? Yeah, right.
• 20:39
  Like in well, OK, yes. So it's not.
• 20:42
  Even like in Vacancy where she wakes up and they've been
• 20:45
  driving, she's like wait, where are we on the side Rd.
• 20:47
  Yeah, apparently what's going on here is they were driving there
• 20:49
  and Richard decided not Richard Frank decided to take a detour
• 20:53
  for whatever reason this year. Yeah, he said.
• 20:56
  He was tired, tired and he thought that not driving on the
• 20:59
  Interstate would make him more interested in the drive and not
• 21:03
  have him fall asleep. Yeah, so he gets out to check
• 21:07
  the car and everybody's continuing their bickering
• 21:10
  inside the car. Marian is carsick and her
• 21:14
  boyfriend Brad is trying to like help her and Richard is just
• 21:18
  obnoxious. Yeah, he's doing the thing where
• 21:21
  he's like, here you have this booger that maybe, you know,
• 21:23
  he's a very childish show like that.
• 21:24
  He starts talking about Dick cheese.
• 21:26
  Yeah, it's just gross. It's.
• 21:28
  Yeah, it's too much. This character is a little bit
• 21:30
  too much. And you can tell Frank is like
• 21:34
  past the edge of his rope because he's snapping at Laura
• 21:36
  for how loud she's drinking her water and.
• 21:39
  This is how I drink. Yeah, Laura suggests that they
• 21:43
  all do a sing along. I didn't even write down what
• 21:46
  their first suggestion was, but I just remember it being really
• 21:48
  weird. Yellow Submarine.
• 21:51
  Yellow Submarine, that's what it was, Yeah.
• 21:53
  We do it every time. Family sing along.
• 21:55
  That's like an actual like, easy song to do together though.
• 21:59
  But then they do Jingle Bells instead, which is more
• 22:02
  thematically appropriate, I suppose.
• 22:04
  So the dad stops because he sees a woman in white with a baby on
• 22:09
  the side of the road. Nobody else has seen it.
• 22:11
  But then she like pops up and they're like.
• 22:13
  Yeah. So they are like, well, let's
• 22:15
  give you a ride to this shack we passed not that far back.
• 22:19
  Surely they'll have a phone and we can call for help for you.
• 22:22
  And they're arguing about who needs to get out so she can get
• 22:24
  in. And Marian's like, it's fine.
• 22:25
  I'll just walk there. I'll meet you guys there.
• 22:27
  And nobody argues. Everybody's like, yeah, that's a
• 22:29
  great idea. Marian, please walk the rest of
• 22:31
  the miles until we get back to the.
• 22:33
  Cabin. Yeah.
• 22:34
  So that's, that's what happens. So they get to the cabin,
• 22:40
  Lauren, Frank go inside to look for a phone, Richard goes to.
• 22:45
  The woods, he's just like, I'm going to go to the woods.
• 22:48
  And it's he's going to go masterbate.
• 22:50
  Yeah, he he takes this centerfold of Miss July and he
• 22:57
  glues it or like tapes it to a tree so he can just jerk off to
• 23:02
  the tree. Tapes, Tapes.
• 23:04
  Tapes. Tapes.
• 23:06
  Tapes. Is that what you're going with?
• 23:09
  I don't know, he is just some kind of adhesive like it's.
• 23:12
  He literally takes gum out of his mouth.
• 23:14
  Does he? Yeah.
• 23:15
  Do you think he just brought like a roll of tape with?
• 23:17
  Him, he choose tape. This is why this is this is
• 23:20
  Richard OK? This is who Richard is he?
• 23:24
  Don't judge me, yeah. That's not what we're judging
• 23:27
  him here for, you know. And this is at the end where
• 23:32
  he's like, you're jerking it like a Pilgrim.
• 23:34
  Yeah, that's what I thought this was like.
• 23:35
  It's like you. Got iPads going to every fucking
• 23:37
  wall You're but you're jerking like a God damn Pilgrim.
• 23:40
  That's what we, yeah. It was a little Zippo up and
• 23:44
  this is just it's. A little.
• 23:45
  So much, yeah. And Brad is in the back seat
• 23:48
  trying to talk to this woman and she's like, not answering
• 23:52
  anything, but she decides to Amy and he's like, what?
• 23:58
  Because that's the baby's name. She's cold.
• 24:02
  That's not good. Yeah.
• 24:04
  Yeah. So, oh, I'm not a baby guy.
• 24:06
  The baby's name is Amy. Whatever, that's a her.
• 24:09
  Whatever. And so she he's like, I'm not a
• 24:12
  baby guy. But oh, he also reveals that he
• 24:15
  wants to propose to Marion. Marion at which?
• 24:19
  At her grandma's. House because to Marion, who's
• 24:21
  taking the time on her trip to Yeah, work up the courage to
• 24:25
  break up with him. Yeah, like.
• 24:29
  What? This gets way harsher here in a
• 24:31
  little bit by the way, like. Yeah, which version of this
• 24:34
  Christmas is worse? Them all dying in the car
• 24:37
  accident or Marian turning down his proposal, breaking up with
• 24:41
  them and also revealing that she's pregnant.
• 24:43
  Yeah, that right there. Like, man, it's heavy stuff
• 24:47
  here. Yeah.
• 24:49
  So he's holding the baby and he's like, oh, it's cold.
• 24:52
  And like, and he says, can she breathe with all these blankets
• 24:56
  covering her face? And the lady goes, oh, we don't
• 24:59
  have to worry about that. She's dead.
• 25:02
  Yeah. And so he, like, pulls back the
• 25:03
  blanket. And we don't see much other than
• 25:06
  like some blood. Yeah, just a lot of guts and
• 25:09
  blood stuff, just in a big pile there.
• 25:12
  So he screams, Frank and Laura come running out and Richard
• 25:17
  comes running back and hits a branch.
• 25:21
  Yeah, man, he does a thing too, where like he hears the scream
• 25:24
  and he's like oh, and he like turns around and then as he's
• 25:27
  like turning around and hearing screaming that causes him to
• 25:30
  orgasm. Really unfortunate timing.
• 25:32
  Yeah, so. They give back to the car and
• 25:35
  it's empty. Yeah, the woman's gone.
• 25:38
  Brad is gone. As Marion's walking, a black car
• 25:41
  drives past her and she looks in the rear view and Brad is in the
• 25:45
  rear window and he's like banging on it, like asking for
• 25:48
  help. That's creepy imagery right
• 25:49
  there. That was really creepy,
• 25:51
  unsettling stuff. It's like one of those old cars
• 25:53
  right here. Too.
• 25:53
  Yeah, it's like I thought it was a hearse tournament.
• 25:56
  That's. What I thought it was too, yeah.
• 25:58
  So she gets back to the car and she's like, hey, this car has
• 26:02
  Brad, we've got to go catch up, then we've got to find them.
• 26:05
  And so they start driving after the direction that the car went
• 26:09
  and they hit something and they get out to check what's in the
• 26:13
  road. And Frank gets out first and
• 26:14
  he's like, oh God, everybody else stay in the car.
• 26:17
  But of course they all come out and Marianna immediately, like
• 26:22
  she just. Yeah, she goes in the shock.
• 26:24
  Here, Yeah. And she goes back to the car.
• 26:26
  Yeah, Richard takes her back to the car and it's it's Brad, many
• 26:31
  pieces of Brad. And they're trying to get his
• 26:35
  phone because this was 2003, so not everybody had cell phones at
• 26:39
  this time. They're trying to get the cell
• 26:40
  phone to see if they can call and get some assistance out here
• 26:44
  and like Frank, is using a stick.
• 26:48
  Like. Coconut and Richard's like, I'll
• 26:51
  just, I'll grab it. It's he just like reaches in
• 26:53
  there and this is all like one of those shots where like the
• 26:56
  camera, you're Brad's body and you're looking up at the family,
• 26:58
  looking down at. Him, yeah.
• 27:00
  And like, they reach at him and like just like the hand comes
• 27:02
  back on screen and it's his ear that has like his earring that
• 27:06
  the phone is stuck on. Yeah, that's honestly that makes
• 27:10
  me happy that this movie was made in 2003 because it was one
• 27:13
  of those phones. It was like the pull out
• 27:14
  antenna. So that way it does loop the.
• 27:16
  Yeah, so they get that. And Frank isn't going to make a
• 27:22
  call or No, no, it's Lynn Shea's character, Warren and.
• 27:25
  It's Laura. I was writing Lauren for the
• 27:28
  first half and then I pulled up IMDb and I was like, oh shit,
• 27:31
  it's Laura. She tries to make a call on the
• 27:33
  phone, but whenever she dials 911 it's just like voices of
• 27:37
  like, dead people pretty much. Yeah, it's a woman crying,
• 27:40
  saying that she can't feel her legs and her babies bleeding.
• 27:43
  Yeah. And what's really dark about
• 27:45
  this is this. This is probably what she was
• 27:47
  actually saying after the car crash.
• 27:49
  Oh my God, yeah. Oh my God, you're right, man.
• 27:52
  That's the thing. I didn't even make like
• 27:53
  connections on the. I didn't make that.
• 27:55
  I didn't make that connection until just now.
• 27:59
  Damn, That's Marsh. So Frank gets everybody like
• 28:04
  back into the back into the car after he makes Brad pull or
• 28:09
  after he makes Richard pull Brad to the side of the road.
• 28:12
  I kind of agree with Richard here.
• 28:13
  Like why do I have to be the one to pull the body to the side of
• 28:17
  the? Road Well, Richard, he's such an
• 28:20
  asshole. If you're gonna be the asshole
• 28:22
  of the family, you have to do the asshole job duties.
• 28:25
  So that means if you come across a dead body, you have to be the
• 28:28
  one to put it on the side of the road.
• 28:29
  You are the Junior Harrington, you have intern duties.
• 28:32
  Yeah, exactly. So yeah, they're on the car now.
• 28:35
  And Frank's like, OK, we're going to drive to the sheriff's
• 28:37
  station. So we'll we'll just go straight
• 28:39
  there. We're not that far away from
• 28:41
  town. We've got to be there soon.
• 28:42
  So they start driving in that direction.
• 28:44
  Richard says that Brad had to have been hacked up by like an
• 28:48
  axe or a chainsaw. And then he said, well, what
• 28:50
  about the woman? Because she was missing also.
• 28:55
  And they're just kind of like we, we don't know where she
• 28:58
  went. So we don't know.
• 29:00
  And their plan wasn't to drive back to town to the sheriff, is
• 29:03
  actually to continue on to Laura's mom's house because she
• 29:05
  lives by the sheriff. Yeah, but then they come across
• 29:08
  a sign for Marcotte. OK.
• 29:10
  Like this is not the normal Rd. that we go on and we've never
• 29:13
  heard of this town. So he Frank he that he asked
• 29:18
  Laura to pull out the local map and see if they can find
• 29:20
  Marcotte because it's not on the state map.
• 29:23
  And she's like, why didn't bring the local map?
• 29:25
  Because I told you to pack it. She goes, in 20 years, we have
• 29:27
  never needed it. I'm sorry that you chose this
• 29:30
  year to take a different route. I don't have the map.
• 29:32
  I was busy worrying about things like getting everybody loaded in
• 29:34
  the car, getting all the gifts, all of that.
• 29:38
  Yeah. And they're just, they're
• 29:39
  fighting in a very unproductive way.
• 29:43
  So this is where Richard is like by the way, they checked the
• 29:46
  time and they had checked the time earlier when they were like
• 29:49
  at the cabin and they said it was 730 then and check it now
• 29:52
  and it's still 7:30 for everybody right there.
• 29:54
  Yes. It's their watches.
• 29:56
  It's the car clock. All of them.
• 29:57
  They're all stuck. And Richard's like, listen, I
• 30:00
  hate to say this, but all our clocks are stuck on 730.
• 30:04
  We have this mystery woman, Brad was chopped up into tiny pieces.
• 30:08
  This is obviously aliens. It's not that far of a stretch.
• 30:13
  Like really, this could have been an Alien movie at this
• 30:15
  point. If this revealed itself, that it
• 30:18
  was dead end Colon Cloverfield, yeah, I wouldn't be shocked.
• 30:24
  Yeah, exactly. So Marian, she's still out of
• 30:28
  it. She's in shock, but this is
• 30:29
  where she just starts singing Jingle Bells.
• 30:32
  Yeah, in like a very deadpan. That's really upsetting and I
• 30:37
  don't like the way Frank is handling it, but I get the
• 30:41
  discomfort he has from it. Make her shut up.
• 30:44
  This is this is bothering isn't annoying.
• 30:47
  And it's not so much as annoying as it is.
• 30:49
  Like, it's scary, yeah. It is kind of upsetting.
• 30:53
  So Laura is whatever. This might help her process so
• 30:57
  they help her out when she gets stuck on a weird.
• 31:00
  And here's the thing, this whole family is full of psychos,
• 31:02
  because who knows anything but the first verse of Jingle Bells?
• 31:05
  I surely didn't. Yeah, whenever they go.
• 31:08
  What? She said a day or two ago.
• 31:10
  Never heard that one before A. Day or two ago I was like, go
• 31:16
  on, Marian, tell us, tell us what the rest?
• 31:18
  Is, Yeah. Like, I thought whenever she got
• 31:20
  to that part, I thought she was going off script, and this is
• 31:22
  getting unsettling. But apparently she just got
• 31:24
  stuck on the lyrics. They haven't come across
• 31:28
  Marcotte, and they now instead come across a baby carriage
• 31:32
  that's in the middle of the road.
• 31:33
  Listen, I know that this is a bruticism but I called it a pram
• 31:37
  because it felt so fancy. It was like, I feel like it
• 31:40
  needs to be called a pram and not a baby carriage.
• 31:42
  It is like a high and high type of fucking carriage right there.
• 31:46
  Yeah, it deserves to be called more than a baby carriage for.
• 31:49
  Sure. Yeah, Richard gets out to check
• 31:51
  on it and he pretends he's being attacked and it's actually
• 31:53
  empty. They nobody's in the mood for
• 31:55
  this. Yeah.
• 31:57
  Laura starts crying for Brad's mom, which I thought was just
• 32:03
  really heartbreaking. Yeah, she was like, we were
• 32:05
  responsible for him. How are we going to tell his
• 32:08
  parents what happened here tonight?
• 32:10
  And Frank's like, fuck Frank or fuck, fuck Frank.
• 32:13
  Fuck me. Fuck you, fuck you, fuck her,
• 32:18
  fuck me. Fuck Brad.
• 32:20
  Most of all. So he is like fuck it, he takes
• 32:25
  the baby carriage and just pushes it off the road.
• 32:27
  Yeah, Richard tries to talk to Marianne, but she's like,
• 32:30
  catatonic. He's like, he doesn't want to be
• 32:33
  alone with his parents in this moment, basically.
• 32:35
  They keep coming to her and she's like, you're you're the
• 32:36
  psychologist. You're the one that should be
• 32:38
  able to deal with this. God, I'm going to speak on.
• 32:42
  Yeah. Jesse and I were both psych
• 32:44
  majors in college. And anytime that you tell
• 32:47
  anybody that, like, we're not even trained for this type of
• 32:50
  shit that people like. Oh so you can like help with
• 32:53
  our? Problems.
• 32:54
  What would you diagnose me as? Nothing legally I can't do.
• 32:58
  That I don't fucking know. But like if you had your
• 33:00
  license, would what would you? That's not my specialty.
• 33:03
  Yeah, like why? Just because I like majors in
• 33:07
  psychology does not make me trained to be able to do that
• 33:10
  shit. And I'm sorry, every person who
• 33:12
  has ever looked at somebody as a psych major and be like, well,
• 33:15
  you'd love my family. They're all crazy.
• 33:18
  Everybody's made that joke. Everybody has made that joke.
• 33:20
  You're not making an original joke.
• 33:22
  And you know what? Everybody's got stuff going on.
• 33:25
  I. Just like, yeah, stop.
• 33:27
  Asking somebody who has taken for psychology classes what
• 33:31
  medication they need. Yeah, it's, it's a little bit
• 33:33
  ridiculous. So I I feel it for Marian here.
• 33:36
  In this room here, yeah. So he gets out of the car and
• 33:41
  realizes that the pram is back in front of it in the road.
• 33:45
  And they're like, Brad Stop or Richard Stop playing Franks.
• 33:49
  Yeah, we're not. No, he's like, I didn't do this.
• 33:53
  They check it, it's still empty. Yeah, they get back in the car
• 33:57
  and the radio starts playing and it's just baby crying and like
• 34:01
  wailing sounds. I understand Franks whole idea,
• 34:04
  like Wara is like, what is that? He's like, I don't know, it's
• 34:09
  the radio, it's public radio, whatever.
• 34:11
  He just turns it off and like she turns it back on and again
• 34:13
  she's like, well if it's public radio we can listen to it,
• 34:16
  right? He's like, no, fuck that.
• 34:17
  I don't know what it is. It's like, just like I know it's
• 34:21
  fucked up to make. Myself feel better.
• 34:22
  Exactly. Like I know it's fucked up, just
• 34:24
  like let's cope please. Let me be in La La Land for a
• 34:28
  minute, as the kids say. Let me be a delulu.
• 34:31
  Yeah, so they start arguing over the family and this is like
• 34:35
  another funny bit. Where this is this is like that
• 34:37
  episode of Friends where they're all revealing the secrets.
• 34:40
  Yeah, except Mary goes, I'm pregnant.
• 34:42
  And before anybody can react to Richard Goes, I smoke pot.
• 34:48
  Great time to drop a bombshell. That was that.
• 34:50
  It's the last best. Best Richard moment in the
• 34:54
  entire movie, hands down. That I mean, but truly, like
• 34:57
  somebody reveals something like, OK, dead boyfriend, now I'm
• 35:01
  pregnant. That's a lot of heavy shit.
• 35:03
  Oh, I smoke pot. Nobody gives a fuck about that.
• 35:05
  But it's out there now, and you don't have to worry about that
• 35:07
  anymore. So they they have a blowout and
• 35:11
  Frank gives us change the tire. Richard goes into the woods to
• 35:16
  smoke and dance. And also practice how he's going
• 35:20
  to talk to his new little nephew, because now that he
• 35:23
  found out that he's going to be an uncle, he's like, all right,
• 35:25
  listen to Uncle Dick. Here, Yeah.
• 35:27
  He's like, I hope this kid is cool.
• 35:29
  Like he's getting excited to be an uncle and I think.
• 35:31
  But he's also being, he's like, yeah, like you better listen to
• 35:34
  me or I'll fuck you up. Like, that's not cool, uncle.
• 35:37
  That's kind of being a Dick. When she's Richard, he's a Dick.
• 35:41
  Yeah, well, as he's out there, he's listened to his Marilyn
• 35:45
  Manson. Marilyn Bronson.
• 35:46
  Marilyn Bronson, as Frank calls it, the woman in white shows up.
• 35:50
  Yep, and she licks his face. They start to make out, she eats
• 35:54
  his lip and. She drops a robe.
• 35:57
  Yeah. And then we don't know entirely
• 35:59
  what happens, but the black car drives past Frank, Laura and
• 36:03
  Marion, and they see Richard in the back.
• 36:06
  They chase after it and they end up running over something on the
• 36:09
  road and it's Richard. Yeah.
• 36:13
  And all we see is like one very barbecued arm.
• 36:16
  Yeah, apparently he got burned, like, torched.
• 36:19
  So as this is happening, Laura refuses to believe that he's
• 36:24
  dead. And the entire time like.
• 36:26
  She starts calling him Michael. Like that's not his name.
• 36:29
  He's like, no, that is his name. It's his actual name.
• 36:31
  That's part of the reason why I thought we were a time loop,
• 36:33
  because they had measured Uncle Mike, because one of the gifts
• 36:36
  that they end up getting rid of from the trunk was Uncle Mikey.
• 36:40
  Yeah, his rifle. But no, that is what Alan
• 36:45
  Rickson wanted to name their baby it.
• 36:47
  Was the true Father. It was the true Father.
• 36:50
  Slash Michael. And Frank just keeps saying,
• 36:54
  like, I don't know what you're talking about.
• 36:55
  You're delirious. Like, let's just get back in the
• 36:58
  Yeah. And.
• 36:58
  He's like, who's Alan? Richard Richardson.
• 37:01
  Richardson. OK, I am fucking up all the
• 37:03
  names today. I am just not doing a great job.
• 37:07
  Yeah. So he he's like, I have no idea
• 37:10
  who that is. She's just speaking like
• 37:12
  nonsense right now. She's in shock, obviously.
• 37:15
  So Marion then goes to the back where the presents are, and she
• 37:21
  takes the present for Uncle Mikey, which happens to be a
• 37:24
  gun. Yeah.
• 37:25
  And then gets it out. This family must be well off.
• 37:28
  They gotta be yeah, who gets like a fucking shotgun for
• 37:31
  their, you know, accident family?
• 37:34
  Well, I mean, that could just very well be Laura's brother,
• 37:41
  because it was Marion that called him Uncle Mike.
• 37:43
  Uncle Mike. Yeah, OK.
• 37:45
  Sure. Yeah, OK.
• 37:48
  But yeah, so they get back in the car.
• 37:51
  Laura eats the whole pie in the back seat with her hands.
• 37:54
  Yeah, I have lunch. I got to have like an actual
• 37:57
  really nice caramel pie. I hope so, too.
• 37:59
  I hope that for her. Yeah, she was having fun in this
• 38:02
  moment, I can tell. And then she finds a.
• 38:05
  Package of chips. I'm just going to say it.
• 38:08
  Did she smoke some of Richard's weed?
• 38:11
  Yeah. She got the munchies.
• 38:14
  It's her delivery of this whole thing was like, I found chips in
• 38:18
  the back. Didn't we have chips?
• 38:20
  It's just so perfect. And Marian is in a place where
• 38:23
  she has to kind of go into professional mode.
• 38:26
  And she's like, all right, mom, but let's slow down.
• 38:28
  But you don't want to get sick. Like, at one point, her mom
• 38:31
  asked for a pen so she can do a drawing.
• 38:33
  And it's a drawing of Brad. That's his dismembered body.
• 38:37
  And figures. This is for you.
• 38:39
  Yeah. And Marian goes, thanks.
• 38:42
  It's so fucking this is funny. It's dark humor.
• 38:45
  But it's funny. I like it.
• 38:47
  So this is where Frank's like, you know what I remember now?
• 38:50
  I've heard this story about the woman in white before.
• 38:52
  There was a hitchhiker car had picked her up.
• 38:56
  She was like a school school aged.
• 38:58
  Yeah, she had a book, a school book with her.
• 39:01
  Yeah. And so they pick her up and
• 39:04
  basically it was a similar kind of situation where they stopped
• 39:07
  they. She won't talk.
• 39:08
  They as they're driving, they hear her scream.
• 39:10
  They stop, they turn around. The girl had vanished, but her
• 39:13
  book was still in there. And they saw on the book the
• 39:17
  name that was written on there. It was for Barbara Rose, which
• 39:20
  they had just remembered five years earlier.
• 39:22
  The Rose family had all died at that exact spot on the road
• 39:26
  before. And that's what I thought this
• 39:28
  was going to be, was them not realizing they were ghosts.
• 39:31
  Yeah, OK. So that's what I thought the
• 39:33
  situation was about. They stopped to let Laura vomit
• 39:37
  and Marian asked Frank about Alan Rickson again.
• 39:39
  He's like, I, I really don't know what she's talking about,
• 39:42
  honestly. And then Laura Graham's Uncle
• 39:44
  Mike's gun and it's just, she's like, I'm tired of this now.
• 39:49
  Dang Dang. It's OK, it's a toy.
• 39:52
  Store, come on, we're just a bunch of friends having a
• 39:54
  sleepover. And then she shoots Frank in the
• 39:57
  leg. Yeah.
• 39:58
  And then cuz. Marianne, I'm guessing, is going
• 40:04
  into psychiatry, not psychology. There's a difference.
• 40:09
  She would have some medical training, but she's still in
• 40:12
  school. And she emphasizes that over and
• 40:13
  over again. But she's doing her best to
• 40:15
  clean Frank's leg. And he, once again, broadly
• 40:19
  generalizes what she's studying. And he's like, have you done
• 40:22
  this before? And she's like cleaned a bullet
• 40:24
  wound now. Yeah, like, is that a real
• 40:26
  question? Frank?
• 40:27
  Are you for real? That's so stupid.
• 40:31
  And you can tell because they never bothered to fucking
• 40:33
  tourniquet it. No, they don't.
• 40:35
  Yeah. That's just very loosely applied
• 40:37
  gauze. Yeah, and she pours just a whole
• 40:40
  bottle of alcohol all over it, too.
• 40:42
  And he is drinking somebody else's gift, which is a nice
• 40:45
  bottle of whiskey. And he's drinking that as, like,
• 40:48
  a medication. Yeah.
• 40:51
  But he's still refusing to let Marian drive.
• 40:53
  And she's like, your legs messed up and you're drinking, so don't
• 40:57
  really love this. And he goes, no, listen, I've
• 40:59
  been thinking about this. This road must be a military Rd.
• 41:02
  And Marcotte is the base. So that's why we're having a
• 41:06
  hard time getting there. But we'll get there eventually.
• 41:09
  Yeah. Marian falls asleep.
• 41:10
  And when she wakes up, the car stopped and Frankie's not in,
• 41:14
  and she's freaking out, but he's just right outside.
• 41:16
  He thought he was gonna check the map, and he checked the
• 41:18
  stars. And he's like, I've been paying
• 41:20
  attention to where the North Star is.
• 41:22
  We've been driving W We've probably gone about 150 miles.
• 41:25
  We've got to be close to the coast.
• 41:27
  It can't be much more than about 40 or 50 miles.
• 41:30
  Yeah, and they're like, OK, Marcotte must be a naval base,
• 41:33
  so we'll go there and everything will get sorted out there.
• 41:36
  Yeah, Laura wakes up and joins them and she seems a little bit
• 41:39
  more clear headed, but she's she's this newbie's chaos
• 41:43
  gremlin. Yeah, she is, because.
• 41:45
  She's like, listen, I know you might be a little bit upset
• 41:49
  about Alan Rickson, but it's OK because I know about Sally
• 41:51
  Schmidt. Yeah, there's.
• 41:52
  What the fuck you saying? I was like, oh, it's OK, I got
• 41:54
  to know you guys would go to the hotel and hump your fucking
• 41:56
  brains out. Yeah, it's.
• 41:57
  Like, but when we get done with this, like, I'll let you do
• 41:59
  anything you want to me. Like we'll make this work.
• 42:00
  So do you think that that was real?
• 42:02
  Do you think that actually happened too?
• 42:03
  I think so. It makes sense, I guess, yeah.
• 42:06
  They seem like the type of people that would be resentfully
• 42:09
  married instead of just getting divorced and being with the
• 42:11
  people actually I want to be with.
• 42:12
  Yeah, you're right. There she keeps saying that
• 42:16
  she's seeing people in the woods, and one of them is a
• 42:18
  friend of hers who's been dead for 20 years.
• 42:20
  And Frank is like, that's not what you're saying.
• 42:23
  Like Marian is trying to defuse the situation and Frank is all
• 42:27
  fused so he ends up snapping and Laura just jumps out of the car.
• 42:33
  Yeah. He's like, you can't go see her.
• 42:35
  And she's like guitar. She's like, can yeah, I can.
• 42:38
  And she's like, OK, I'm going to go now.
• 42:40
  Yeah, that's so uncertain. She's like, I'm going now and
• 42:42
  just out the car. So they get out and they find
• 42:46
  her stuff in the road, like pictures of shoe stuff from her
• 42:50
  purse, but they don't find her. Then the black car starts to
• 42:54
  approach, so Frank grabs the gun and he shoots at it.
• 42:57
  The car backs up and stops for a second, and a very bedraggled
• 43:01
  Laura gets out. And they're like, Oh my God,
• 43:04
  we're so happy you're here. Can't believe that that's
• 43:06
  happened and she's got a massive head wound.
• 43:09
  Yeah, like the whole back of her head is open.
• 43:12
  Just pokes at her brain until she dies.
• 43:14
  Yeah, and then just falls back on her back and just bleeds out.
• 43:18
  And then Frank makes to go shoot himself, and Marian's like,
• 43:22
  could you not like? I know, what an asshole.
• 43:26
  My boyfriend, My brother, and my mom have all just died.
• 43:31
  I'm about to have a baby. Please don't you leave me too.
• 43:34
  Yeah, what a fucking asshole just to like shoot himself in
• 43:37
  front of his daughter after all of that.
• 43:39
  Like the immense grief and the guilt he's feeling.
• 43:43
  I get that it wasn't a rational decision, which generally
• 43:47
  suicide isn't. Yeah, I understand.
• 43:49
  So it's a complex. Issue.
• 43:50
  Yeah, and it's not like he was doing it to like, fuck Marian
• 43:55
  over, but he just legitimately wasn't thinking about her in
• 43:57
  that moment. Yeah.
• 43:59
  So. Let's see, Marion's driving now.
• 44:02
  Yeah. And Frank says that Alan Rickson
• 44:05
  was a friend of his when he was in Detroit.
• 44:07
  And he came to him and he said, hey, I'm in love with a married
• 44:12
  woman, and she loves me, too. And Frank is like listen Yolo.
• 44:19
  Yolo, he coined the term. And and he was like, if she
• 44:24
  really loves you, she'll leave her husband to be with you.
• 44:27
  And then he said he only spoke to him one other time after
• 44:29
  that. And he said that Alan said that,
• 44:34
  you know, he told the woman and she said that she doesn't want
• 44:39
  to leave her husband because she has a daughter with him and she
• 44:42
  doesn't want to who's. The daughter?
• 44:44
  Who's the daughter? Yeah.
• 44:49
  Then they realized that they must have driven at least 60
• 44:51
  miles by now. And he's like, maybe we should
• 44:55
  walk through the woods. And Marion says that that seems
• 44:58
  like a really bad idea because every time we stop, somebody
• 45:00
  dies. And he's like, but we'll be
• 45:01
  together in the woods. Foolproof plan.
• 45:04
  Yeah, also it's just like getting lost in the woods isn't
• 45:07
  much better than getting lost in the road.
• 45:08
  On the road at least you have a Rd.
• 45:09
  Yeah. So they keep walking.
• 45:13
  He runs face first into a thing of barbed wire.
• 45:16
  People in this family just can't not run into things.
• 45:19
  Yeah, they're pretty bad about it, but this is kind of good
• 45:22
  news because it's a fence, which means that there must be people
• 45:24
  around. That's the thing, the rest of
• 45:25
  the fence is chain link. I know.
• 45:27
  It's only this. Little part, this barbed wire,
• 45:30
  that's the part that he greeted. That's why Limbo was just
• 45:32
  fucking with friends. Like, yeah, on this normal fence
• 45:34
  where you were walking right now.
• 45:35
  Barbed wire. Fuck you.
• 45:37
  And so they they slide under there and they keep logging.
• 45:40
  They see a light. They're like, Oh my God, we must
• 45:42
  be on a farm. Like something is up ahead.
• 45:45
  That light is the headlights from their car.
• 45:47
  Which they didn't leave the headlights on when they left.
• 45:50
  And they're also approaching from a different side of the
• 45:52
  woods than they left on. Yeah, so it's not like they even
• 45:55
  got doubled back. Yeah, yeah.
• 45:56
  Like something is happening. Here, Yeah, and they.
• 45:59
  Opened up the car and also wore his bodies in the backseat too.
• 46:02
  Yeah, well, they had put Laura and Richard's body in the car.
• 46:06
  They didn't. Like sitting up with the.
• 46:07
  Was it the same? Yeah.
• 46:08
  OK, then why they check? Why they act like it was such a
• 46:10
  big reveal whenever they. Like, pull the car.
• 46:13
  The car had been locked when they left.
• 46:16
  Yeah. And it was still locked when
• 46:17
  they got there. They just didn't know who turned
• 46:19
  on the headlights. OK.
• 46:20
  So they're like, I thought she was dead the first time.
• 46:23
  This. Is funny that they're like OK
• 46:25
  here's what's happening we are not getting back in that fucking
• 46:28
  car and I agreed and then. Immediately back in the.
• 46:30
  Car. Yeah.
• 46:32
  So they start, this is where Frank is like, OK, you know
• 46:36
  what? I'm going to do a thing.
• 46:37
  I'm going to make a list of things to do when it's all over.
• 46:40
  She's like, OK, what all have you read so far?
• 46:41
  And he holds up the papers like list of things to do when it's
• 46:43
  all over. Like he was being very literal
• 46:46
  about what he's writing on the paper.
• 46:48
  And then he's like, OK, I'm going to be a kick ass grand
• 46:51
  dad. He doesn't say that part out
• 46:53
  loud. He writes down, I forget what
• 46:54
  the He says he's going to buy an Atari.
• 46:56
  Yeah. And then he says he wants to,
• 47:00
  like, do cool stuff. Like, he wants to, like, listen
• 47:03
  to some Marilyn Bronson, get some of those albums.
• 47:06
  And then he writes something down.
• 47:08
  And Marianne, you know, is just trying to have a conversation
• 47:11
  with him. She's like, what did you put
• 47:12
  down? He goes.
• 47:12
  That's not your business. Dude, come on, just have a
• 47:15
  moment with your daughter. It's just you 2 now.
• 47:17
  Yeah, you're you're a Dick. Just like Dick.
• 47:20
  Yeah, so he passed this shack. The same one that they suspect
• 47:26
  it's the same one from the beginning cuz like.
• 47:28
  And Frankie's like, Frankie's like, I can prove that it's the
• 47:30
  same one. And he starts to go in and tells
• 47:32
  Marian to get the flashlight. And she's like, do we really
• 47:35
  need to go in here? He goes, yes.
• 47:36
  And we know this is coming because he's lighting matches.
• 47:38
  And we know eventually there's going to be somebody popping up.
• 47:40
  And that's what happens. He's in there on his like, third
• 47:42
  or fourth match. We see the lady in white behind
• 47:44
  him. She boys it out with her.
• 47:46
  Yeah, and he gets scared to scream, starts waving, and Axe
• 47:50
  almost hits Marian when she runs in.
• 47:53
  Doesn't. And it doesn't really matter
• 47:56
  because he's so upset and he's so frustrated.
• 48:00
  As they're walking in the car he starts getting aggressive with
• 48:02
  her and ends up like shaking her and hitting her and knocking her
• 48:05
  out. I think just because of the
• 48:06
  presence of the woman, though, he started having similar
• 48:09
  things, like Aura, where she was seeing stuff in the woods was
• 48:11
  like, it's really foggy. And she's like, what are you
• 48:13
  talking about? You don't see the fog.
• 48:14
  What's wrong with you? Yeah, Yeah.
• 48:16
  And then like, they just get into that whole altercation.
• 48:19
  He knocks her out. He is driving a little bit.
• 48:23
  Yeah. He wants to drive because he's
• 48:24
  starting to put Marian in the car.
• 48:25
  And then he sees the woman walk into the woods, so he follows
• 48:27
  her with the gun. Marian comes to you in the car.
• 48:30
  The radio is on, and it's saying he's dead.
• 48:35
  He's dead. And again, this is probably
• 48:37
  something that's being said at the scene of the accident that
• 48:40
  she's hearing. So she.
• 48:44
  The car doesn't start at. First, yeah, she's in the car.
• 48:46
  There's like figures moving around.
• 48:48
  Yeah, like outside, there's like a silhouette outside the car
• 48:50
  move around and the car's struggling in the startup, but
• 48:53
  she eventually gets it to go. Yes.
• 48:55
  And she starts driving for a little bit, but then she
• 48:57
  immediately runs out of gas. Yes.
• 48:59
  And so she gets out to walk, and she finds Frank's pen in the
• 49:03
  road and then presumably his body in the tree.
• 49:08
  Which is blood dripping on her from above.
• 49:10
  Yeah, which we know from the end that she was ejected from the
• 49:13
  car. I have to assume he was ejected
• 49:15
  as well. Probably up there.
• 49:16
  Yeah. That's why.
• 49:17
  Yeah. Yeah.
• 49:18
  So she's covered in her dad's blood, and she's just kind of
• 49:22
  walking. And then she finds body bags on
• 49:24
  the road and she ends up one of them and sees it's her dad.
• 49:28
  And then the black car approaches and she's like, fine,
• 49:31
  let's just finish this. The woman appears and she's
• 49:34
  like, he's not here for you. Yeah.
• 49:37
  And then she just gets in the car and rides off with it.
• 49:40
  So then. We've flashed back to the
• 49:41
  beginning of the movie. Yeah, when the crash happens and
• 49:45
  Marianne then sits up in a hospital bed.
• 49:49
  She's been in a coma. She was in an accident.
• 49:53
  Wasn't that long? It's only a few.
• 49:54
  Hours, yeah, and. Her baby's OK.
• 49:57
  Her baby's OK. She's the only one that
• 49:59
  survived. The doctor, Doctor Marcotte goes
• 50:04
  out in the hall, and there's a man there who's asking how she's
• 50:06
  doing. And she's like, are you family?
• 50:08
  And he goes, no, I was just. I, I found the accident.
• 50:11
  Yeah, I'm the one who called it in.
• 50:14
  And she's like, yeah, The. It seems that the driver fell
• 50:18
  asleep and crashed into a car with a woman and her baby who
• 50:21
  both died. And Marion was ejected from the
• 50:24
  vehicle and ended up surviving. Dr. Marcotte goes out into the
• 50:28
  parking lot and her car won't start.
• 50:30
  And the passerby, Good Samaritan, whatever you want to
• 50:33
  call him, he is a vintage car enthusiast.
• 50:37
  And so it's been his car that Marion's been seeing in limbo.
• 50:40
  Yeah. And so he offers to give her a
• 50:42
  ride. Yeah.
• 50:43
  And then we get a mid credits scene of workers cleaning up the
• 50:49
  scene of the accident and they find the note.
• 50:51
  Yeah. With Frank was working Frank's
• 50:54
  bucket list and his it was by an Atari and this would be the
• 50:58
  coolest grandfather ever. That was sweet.
• 51:01
  Yeah. Which one?
• 51:01
  Why wouldn't? You just say that to Marian.
• 51:04
  Yeah, right. Like that's what she probably
• 51:05
  would have wanted to hear in that moment.
• 51:07
  And she's never because the people cleaning up the scene
• 51:10
  don't. They wad it up and throw it in
• 51:11
  the trash. Well, they don't know who the
• 51:13
  note belongs to. Why would they like?
• 51:15
  I know, but still, it's just, it's disappointing.
• 51:17
  Yeah. Yeah.
• 51:19
  So that's how the movie ends. Yeah.
• 51:22
  There's also, like, at the very end of the credit is like a
• 51:24
  family portrait of all of them together, and they all look
• 51:27
  happy. And it's also kind of unsettling
• 51:28
  to see that after everything that happened.
• 51:30
  Yeah. Yep.
• 51:32
  OK. Well, after discussing it, what
• 51:35
  did you rate this? I think I'll bump it to A7.
• 51:38
  OK. It's pretty good.
• 51:39
  Yeah, I'll keep mine AT725I. I enjoy this.
• 51:44
  It is a Christmas movie, but it's also a very loosely
• 51:46
  Christmas. Yeah, it's.
• 51:48
  Just like a, it's just like a, like a part device.
• 51:51
  Yeah, it could be them driving anywhere at any time.
• 51:54
  But I mean, it does also give them, you know, the gifts that
• 51:57
  they can work with in the backseat of the car.
• 51:59
  Yeah, like it adds to the movie, but it's also not necessarily
• 52:06
  like this is definitely a Christmas.
• 52:09
  It's not gonna give you a Christmas vibes if you watch it.
• 52:11
  So what would you want to change to bump your score more?
• 52:15
  I think maybe just make the dialogue better and give Frank
• 52:20
  some better moments. Frank and Richard.
• 52:23
  And Richard, tone down Richard's obnoxious and it's like you make
• 52:25
  him obnoxious, but like he's like one of those people that's
• 52:28
  on all the time. Yeah.
• 52:30
  You just need to chill it out a little bit for the character.
• 52:33
  Like let the character breathe like small doses.
• 52:37
  The family can be annoyed, but don't make the audience watching
• 52:40
  annoyed with them too because that's just going to ruin.
• 52:43
  It shouldn't be a thing where I'm sitting there saying, oh
• 52:45
  man, she's stuck with this ass a lot of.
• 52:48
  Everybody else. Died like that's not what you
• 52:50
  want. You need to have like she's.
• 52:52
  Stuck with it. And we're stuck with it too, you
• 52:54
  know, like, yeah, OK. Well, Talia thought this was
• 52:59
  amazing. She did.
• 53:00
  She loves car rides and she loves frequent stops on car
• 53:04
  rides. She's like infinite car ride
• 53:06
  awesome. Yeah, she's like, this is
• 53:08
  amazing. I sleep in the car also.
• 53:10
  Yeah, it's great. Yeah, she's also an expert
• 53:13
  navigator. So she would never get lost.
• 53:14
  She would never get lost. This wouldn't happen to Talia
• 53:16
  because. I would have found Marcotte.
• 53:18
  It would have been. Cool.
• 53:19
  She's she's like I've got, I've got this like, oh, we need to
• 53:22
  put a woman and her baby in the back seat.
• 53:24
  I will make room and I will lick that baby.
• 53:26
  Yeah, exactly. She she, it would have handled
• 53:28
  this way better. Yeah.
• 53:29
  So I think Talia would give this.
• 53:30
  I think she'd give it 10, yeah. This is a good Talia movie.
• 53:34
  It's a good Talia movie. It's always ultimate worry.
• 53:43
  Lynshay with the eating. She's also a chaos gremlin too.
• 53:47
  She's a. Chaos Gremlin she absolutely is.
• 53:50
  So I think that very much fits Lynshay and Zoe here today.
• 53:54
  Yeah, I agree. OK, who'd you relate to?
• 54:00
  Marion because I also get carsick and I also get asked
• 54:04
  things that are not relative to my degree.
• 54:07
  OK, well, I relate to Frank and that like as we have seen today,
• 54:13
  I am terrible with remembering names.
• 54:15
  That's Marilyn Bronson. That is the metal artist to me,
• 54:19
  yes. Yes, I can see that.
• 54:23
  All right, tagline. New tagline?
• 54:27
  Yeah, let's see. Dead end.
• 54:36
  We all get a little loopy in the end I.
• 54:42
  Kinda like that. OK, we can also tighten it a
• 54:46
  little bit of too I think, but we all get a little loopy in the
• 54:50
  end. Could just be it.
• 54:51
  I'm OK with it, we all get a little loopy at the end.
• 54:56
  There's a part of me that wants to do it back to the future of
• 54:59
  like where we're going. We don't need roads.
• 55:03
  Yeah, OK. I'm OK with we all get a little
• 55:06
  loopy. OK, let's do that then.
• 55:08
  We all get a little loopy on long car rides.
• 55:10
  That's it. There we go.
• 55:13
  There we go, all. Right.
• 55:15
  OK, What would Dominic Toretto do?
• 55:20
  He would have somehow found a way to drive to Marcotte.
• 55:24
  Like, even though he's in limbo, he makes it to wherever he wants
• 55:28
  to go in his car because he's got Nos.
• 55:31
  Yeah, like limbo doesn't. It's not prepared for Nos.
• 55:35
  Like I didn't know that Nos existed.
• 55:37
  There are no bad navigations, only bad drivers.
• 55:41
  Yeah, he would also have Roman there, and Roman be like, all
• 55:43
  right, we're going to parachute. No, Roman would immediately
• 55:47
  call. He'd be like, no, we're for sure
• 55:48
  like in limbo or something, you know, immediately, like.
• 55:52
  This is like we're supposed to die.
• 55:54
  It's what he says in that one movie.
• 55:55
  Like Roman would be the guy if calling the shit out here.
• 55:59
  I like this right here. OK, All right, Dream.
• 56:02
  Sequel. Shoe boy, how do you do when do
• 56:06
  this? That's a really, really tough
• 56:09
  one. I think it would just have to be
• 56:12
  like. Oh, OK.
• 56:14
  Like ghosts like she like is like it's next Christmas and
• 56:18
  she's. She's going to go see her family
• 56:21
  with her new Yeah, like she's gonna go see some form of
• 56:25
  family. Yeah, on Christmas with her
• 56:28
  baby. Yeah, and like on the drive
• 56:30
  there, she keeps getting like this is from ghosts of each of.
• 56:33
  Them. Yeah or no, like she's just
• 56:35
  encountering another ghost family.
• 56:37
  Like they're going through the same thing she went through and
• 56:39
  maybe she's like trying to help them.
• 56:41
  What? If she stumbles upon a crash.
• 56:44
  She's this time, she's the woman with the baby that crashes.
• 56:49
  Oh, that's. Dark.
• 56:51
  And it's another. Yes, I'm so sorry we're doing
• 56:55
  this to you. Marry again.
• 56:56
  Sorry you had a really rough, rough couple years.
• 56:59
  I. Mean it's too perfect.
• 57:01
  I'm sorry. Sorry, is.
• 57:03
  This what God feels like when he like, writes out people's life.
• 57:06
  He's like, oh, that's so good. I I feel like I'm.
• 57:09
  Sorry, like I know God's not supposed to be a Dick but I'm
• 57:11
  sorry dude, I gotta do. This but no, it's on my life to
• 57:14
  what God has written. Like oh dude this sucks but this
• 57:18
  is too good not to goody. That's what they mean by like,
• 57:22
  God gives this stuff as soldiers.
• 57:24
  Yeah, hardest battle. He's like, man, I love you,
• 57:27
  you're my favorite character, but you went through some shit,
• 57:28
  dude. But you're so much better
• 57:30
  because of this. Think about the character
• 57:31
  development with the medic elements.
• 57:37
  But when you when you die and you're going to have it, like,
• 57:39
  sorry about that man. But you get it right?
• 57:41
  You get it. It's pretty cool.
• 57:44
  I know you hate me in the moment, but you know you liked
• 57:46
  it. People were still talking about
• 57:49
  that. Moment, people were saying.
• 57:50
  That was cool. OK, there we go.
• 57:55
  There's the loop in this right there.
• 57:58
  We were trying so hard to stay on track with that movie The
• 58:01
  whole time. I think we put all of our
• 58:02
  concentration into making sure we were making sense.
• 58:05
  Yeah, yeah, OK. That's all out the door now.
• 58:08
  Yeah, great. This is a good time to get into
• 58:11
  reviews and. OK, I wasn't sure how you were
• 58:14
  gonna feel about it. I remembered liking it when we
• 58:16
  watched it the first times and I, you know, I liked it this
• 58:19
  time again. So all right, we'll go ahead and
• 58:23
  pull up. This is a one out of 10, and
• 58:25
  this review came from June 2021. OK, I'll say this much.
• 58:30
  Dead End is one of the most appropriately named movies I've
• 58:32
  watched. The characters are extremely
• 58:35
  unlikable, teenage son Richard especially.
• 58:38
  The dialogue is dubious at best, and film making teen Jean
• 58:41
  Baptiste Andrea and Fabrice Knapa have elicited such
• 58:44
  performances out of the cast that I can't tell if they're bad
• 58:46
  actors or if they've just been instructed to lean heavily into
• 58:49
  the exaggerated characterizations.
• 58:51
  The soundtrack compiled here serves the same outrageous
• 58:54
  slant, at all times being entirely too much.
• 58:57
  The picture as a whole feels over produced, as though almost
• 58:59
  every shot were created on a computer, not captured on film.
• 59:03
  Dead End is so over the top that it feels like it's supposed to
• 59:05
  be a parody, but if so, we have a problem, because at no point
• 59:09
  is it funny. And if it's intended as a
• 59:11
  straight horror feature, it's not scary or thrilling, it's
• 59:13
  just a boring mess. The twist in the very last few
• 59:16
  minutes isn't one of the sort to fundamentally alter the
• 59:18
  narrative being fed to us. Instead it only wraps up the
• 59:21
  story with a neat little bow. I take no issue with the ending,
• 59:24
  but again, we're faced with an instance where the entirety of
• 59:26
  the movie is unable to stand on its own merit, so the twist is
• 59:28
  nothing to help. There are some good ideas in
• 59:30
  this movie. None of them are done well.
• 59:32
  This is 1 Rd. You won't want to drive on for a
• 59:34
  happier, more fulfilling life. Void dead end.
• 59:37
  Jesus. OK.
• 59:38
  Well, I mean, I can kind of understand what they're saying
• 59:41
  there because like, if you aren't really driving with the
• 59:44
  beats that are being done in this movie, it's going to be
• 59:47
  very boring. Because yeah.
• 59:49
  I even enter like I, I like this movie and I had I was
• 59:52
  entertained and invested in the story, but there were still
• 59:55
  stretches where I'm like, OK, like, let's let's get something.
• 59:58
  Yeah, We need to do something. We need to like, we're on the
• 1:00:01
  same stretch of Rd., We need to make it different, Yeah.
• 1:00:05
  Yeah, yeah. So I can definitely get that.
• 1:00:07
  But I don't know, I still overall liked the overall
• 1:00:11
  product here. Yeah, I it's a movie that I
• 1:00:14
  think like sits with you for a while.
• 1:00:17
  I do think it would be better if we had more likeable characters.
• 1:00:20
  But overall, I think it's it leans more on the side of the
• 1:00:24
  positive for me. Yeah, I agree for sure.
• 1:00:27
  OK, Well then hey, we got what's the reviews this week.
• 1:00:30
  Yeah, OK. So Surviving horror podcast,
• 1:00:34
  just as really decent horror. OK, yeah, I think it's pretty
• 1:00:37
  decent horror. I guess there's something like,
• 1:00:38
  too horrifying about it. But I think that this movie does
• 1:00:41
  a pretty good job. Like, there are some moments
• 1:00:43
  that they get me. Yeah.
• 1:00:45
  Cubesafe says. Oh, oh fuck, this is a yearly
• 1:00:49
  watch for me. It's so bad shit that I love it.
• 1:00:51
  No, no's OK. It is bad shit.
• 1:00:54
  Yeah. Fucking off the rails in a way
• 1:00:55
  that you do not expect this movie to.
• 1:00:58
  This is one that I really think was an updated script and
• 1:01:00
  updated budget could really benefit from.
• 1:01:04
  A remake, yeah, yeah, I think it could, yeah.
• 1:01:06
  Or just like the director taking another go at.
• 1:01:08
  It like since. This is like directorial debut
• 1:01:11
  here. Maybe like.
• 1:01:12
  Another crack at it could be like more tight for sure.
• 1:01:14
  Hey if y'all wanna work on our SQL idea.
• 1:01:16
  Yeah, do it. So yeah.
• 1:01:17
  We're here. You can even, like, use the bit
• 1:01:19
  with God if you wanted to. Yeah, yeah, Michael Howard says
• 1:01:24
  Dead End is one of those movies I watch every year and consider
• 1:01:27
  this a single location that has some grip.
• 1:01:29
  I was wondering about their single location in my mind the
• 1:01:31
  entire time. Where's our list?
• 1:01:33
  Where is our list? Where is it we're adding it?
• 1:01:36
  I was actually thinking myself, this has got to be a single
• 1:01:38
  location. Right.
• 1:01:38
  What's our rules purpose of the location?
• 1:01:41
  We do have a purpose here because there is the stretch of
• 1:01:44
  the road where they died, OK, They're not able to leave of
• 1:01:47
  their free will. It can work as a maze and they
• 1:01:51
  can make escapes attempts. So we've got all of those.
• 1:01:56
  The characters are essentially immobile because they're just
• 1:02:00
  like stuck on the same loop. A majority of the runtime is in
• 1:02:04
  this location. The protagonists are the ones
• 1:02:07
  trapped. Lack of differentiation between
• 1:02:10
  set pieces. Yeah, and the environment itself
• 1:02:13
  is a character. Wow, this checks all the boxes.
• 1:02:18
  Michael Lee Howard, thank you for doing your homework.
• 1:02:20
  Yes. Thank you for making that note
• 1:02:21
  right there, cuz I was actually. Thinking about that myself.
• 1:02:23
  So I'm glad that we got this discussion.
• 1:02:25
  I'm just now remembering that we said we were going to like,
• 1:02:28
  frame that up nicely and hang it up for reference, and we never
• 1:02:30
  did. That we never we need to.
• 1:02:31
  Yeah, OK. Sorry to continue the review.
• 1:02:34
  I consider this a single location that has some great
• 1:02:36
  performance though Lynn Shay made this movie in my opinion.
• 1:02:40
  The ending always gets me 8 out of 10.
• 1:02:43
  OK, cool. Yeah, if they redo this, I want
• 1:02:45
  them to bring back Lynn Shay and Ray Wise.
• 1:02:48
  Yeah, and Ray Wise. Yeah, yeah, I yeah.
• 1:02:52
  Lynn Shay was definitely the the one that stole the show for me
• 1:02:54
  in this movie, too. Oh, yeah.
• 1:02:57
  Sorry, we got some more reviews. We got really excited, and that
• 1:03:01
  list we're referencing is one of our Patreon bonus episodes where
• 1:03:06
  we talked about what our set definition is for a single
• 1:03:10
  location horror movie. Yeah.
• 1:03:11
  We review everything. Yeah, if you want to enjoy those
• 1:03:14
  bonus episodes, you can follow the leaked to our Patreon at the
• 1:03:17
  very bottom of our show notes. That's right, Robert its own
• 1:03:20
  says fucking love this movie. Wildly underrated.
• 1:03:23
  Yeah, you know what? This feels like a Robert maybe?
• 1:03:25
  It does, yeah. Also, I do like, I'm kind of
• 1:03:28
  surprisingly seeing that this movie is like, well loved.
• 1:03:32
  And maybe it is a bit underrated because you don't see a lot of
• 1:03:35
  people talk about all the time, but maybe it's just kind of been
• 1:03:37
  there. Everybody's been talking about
• 1:03:39
  this, but not. Everybody's, everybody's been
• 1:03:42
  holding it to themselves. They're like, I like this movie,
• 1:03:44
  but I don't know if anybody else has seen it, but I think it's
• 1:03:46
  really good. And then everybody's like, Oh my
• 1:03:48
  God, thank God we can talk about it.
• 1:03:52
  OK, I don't want, maybe I have the whole name here, I don't
• 1:03:54
  know. I cut off.
• 1:03:55
  They're on Blue sky MAGA Ding Dong says it's fabulous and
• 1:03:59
  Lynchet is God again. I agree with that.
• 1:04:03
  I agree that Lynchet was Lynchet, the one that
• 1:04:06
  orchestrated. It's like, I'm sorry, we have to
• 1:04:07
  do this too, guys. I've got a great idea for it to
• 1:04:09
  go. You know what?
• 1:04:10
  Yeah. Yeah.
• 1:04:12
  She's like. At the end that's the chaos
• 1:04:13
  demon I think. She's like, this is really
• 1:04:15
  fucked up, but it's going to be awkward.
• 1:04:18
  Tight. This is going to be cool.
• 1:04:22
  OK. And that's it for our reviews.
• 1:04:23
  Yeah. Thanks everybody for doing that.
• 1:04:25
  I was really surprised to see the love that this movie got
• 1:04:27
  from you all. But.
• 1:04:27
  That's really cool, really happy for it, this is.
• 1:04:29
  One of those movies I didn't expect anybody to have watched,
• 1:04:32
  but a lot of people seem to have seen it, so that's awesome.
• 1:04:36
  All right, I guess that does it for this week's episode.
• 1:04:38
  Yeah, next week we have Final Destination 2.
• 1:04:42
  Yeah, we're gonna stray off the Christmas theme for just a week.
• 1:04:45
  Yes, but it's very important because that is our current
• 1:04:47
  franchise movie. So that's the one we're on is
• 1:04:50
  the second installment. You can watch it on HBO Max.
• 1:04:54
  I hope, I hope we get to keep HBO Max.
• 1:04:58
  Yeah, yeah, cuz I own Netflix thing.
• 1:05:01
  I think that they said that they may be keeping that.
• 1:05:04
  I don't know. Whoa, no.
• 1:05:06
  They sent an e-mail saying that nothing is changing for now, and
• 1:05:09
  I absolutely think that means that Netflix is going to just
• 1:05:12
  write HBO Max. Yes, YouTube, Hulu, Sling TV,
• 1:05:19
  Prime, YouTube TV. Those are all like with the
• 1:05:22
  add-ons for HBO Max. So basically you just need HBO.
• 1:05:26
  Yeah, OK, Google. You can rent it from Google TV,
• 1:05:29
  Apple TV or Fandango at home. OK.
• 1:05:31
  And like, I mean, I know, I know you people know that movie.
• 1:05:35
  That's probably the one that everybody.
• 1:05:36
  Knows in their franchise, that's the one.
• 1:05:38
  When people think of Final Destination, they think of the
• 1:05:41
  log truck. So I'm excited to talk about
• 1:05:43
  that one. That's going to be a fun
• 1:05:44
  episode. I think it'll be, it'll be
• 1:05:47
  really good. So we're looking forward to it
• 1:05:49
  and that's what we'll do next week.
• 1:05:51
  Yep. So in the meantime, we're gonna
• 1:05:54
  thank our bubbies on the Patreon.
• 1:05:56
  We have Joe. Fricatron.
• 1:05:57
  As is his name, Amber, Michael, Tyler, Chad, Johnny, Jason and
• 1:06:01
  Lord Zombie. Thank you guys so much for being
• 1:06:04
  supporters. We appreciate all that you guys
• 1:06:06
  do for us. You guys have been awesome
• 1:06:08
  throughout this year and we're lucky to have you guys.
• 1:06:11
  You guys are amazing people. If you are unable to be a
• 1:06:14
  patron, we get it. You can help us in all kinds of
• 1:06:17
  other amazing ways that do not cost you a dime or a penny,
• 1:06:20
  since you don't even get those anymore, apparently.
• 1:06:22
  Oh. Man.
• 1:06:24
  You can like us or subscribe to us slash follow on whatever
• 1:06:29
  platform you listen to us on. You can just send episodes to
• 1:06:34
  people, you know, just like share us with people with stuff
• 1:06:37
  like that and just kind of be around and, you know, send us
• 1:06:41
  reviews and stuff like that for the movies that we are going to
• 1:06:43
  cover because we like to hear you're all thoughts and share
• 1:06:44
  them on the show. We like everybody to be a part
• 1:06:46
  of the conversation if possible. You can find us on our Instagram
• 1:06:51
  where you can share all of this stuff with us, Our Instagram and
• 1:06:54
  threads, at least favorite scary movie podcast, our blue skies,
• 1:06:57
  at least fav pod. We have a an e-mail.
• 1:07:00
  It's our least favorite scarymovie@gmail.com address,
• 1:07:04
  and if you want to find us anywhere else, you can find us
• 1:07:07
  on our website. What's your least favorite Scary
• 1:07:08
  movie.com. All right.
• 1:07:11
  All right, so we'll see you guys next week with Final Destination
• 1:07:13
  2. Until then, bye.
• 1:07:28
  Bless you. Thank you.