Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1992's Sneakers

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1992's Sneakers · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave, Movie
• 0:06
  talk show where each week one of us takes a movie off our shelf,
• 0:08
  presents it to the other, and discusses it at length.
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  This week, we've got Coming Off of My Shelf, 1992's Sneakers
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  written, directed by Phil Alden Robinson, starring a cast of
• 0:27
  hundreds or at least six or seven.
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  We've got Robert Redford, Sydney Poitier, Dan Aykroyd, Timothy
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  Busfield. Yes, absolutely.
• 0:37
  West Wing fame. Yeah.
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  He's been around River Phoenix. David St.
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  Theron, of course. Yeah.
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  Mary McDonnell. Just a great, great, good.
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  Greg, You got Greg in there, too.
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  Yeah. So hell of a cast, hell of a
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  director, hell of a writer, hell of a movie.
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  David, welcome back to the COUCH.
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  How are you this week and what your initial thoughts on the
• 1:00
  movie here? Well, how I'm doing, Phil, I'm
• 1:02
  going to be honest with you, I'm feeling a little nitpicky.
• 1:05
  Oh shit. And it's nobody's fault.
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  It's nobody's fault. It's your fault.
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  It's just, it's too bad. It's falling on your week.
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  It's a it's a shame. I wish I could have avoided.
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  I know, like, I can't control how I feel.
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  And also I was a little disappointed because I thought
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  we were going to get our first basketball movie.
• 1:25
  Oh, yeah, Yeah, I see. Yeah.
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  And I was happy that I wasn't because, you know, only
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  basketball. Well, I think we agree.
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  The only sport movie that translates onto the big screen
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  is baseball. It sort of translates the best I
• 1:38
  would say. The best, and Speaking of which,
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  the Jays, as of time of recordation, two games to 1,
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  they're down Seattle. Think you misspelled that
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  recordation. No, it's being added into the
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  dictionary as we speak. I have not seen sneakers.
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  That's a lie. I've seen it twice now, but I
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  hadn't seen it prior. Prior.
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  Fantastic. Those are fun.
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  And there is an appreciation for movies of this era.
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  I think that we talked about it most likely early 90s, early
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  90s, late 80s. It's a real sweet spot.
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  There's a lot of those Harrison Ford movies that I've talked
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  about, of course. Yeah, I love those jeans.
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  The way out that late 80s early. Yeah.
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  It's a good time to be watching movies.
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  So I was, you know, relatively excited to finally give it a
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  watch. It is probably the most
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  overrated, underrated movie. Please explain.
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  I thought you might ask because it doesn't make sense, does it?
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  A lot of people think this movie is underrated.
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  OK. I think it's a decent film.
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  That's my initial thoughts. It's a it's a solid movie.
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  There's things I like, there's things I don't like, but there's
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  this big following of like it's much better than people think it
• 2:57
  is. And I don't think that's true.
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  I think it's right where it should be on how people
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  generally receive this movie. I would assume it would be more
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  in the. In my experience it's less about
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  people loving it or not loving it or hating it or not hating it
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  and more of a have I not heard of this movie before?
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  I think it's more of an under the radar movie than it is a
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  overrated or underrated movie. Well, is it a problem with the
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  title? Because.
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  Yeah, I think it's a problem with everything about the
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  marketing of the movie is terrible.
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  Yeah, I heard the poster wasn't that great.
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  No, it's terrible. It's a white sheet of paper
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  that's not good with six heads popping out.
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  It's yeah, it's stupid. There it is with.
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  Big sneakers, red letters along the top.
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  It just doesn't make any sense and.
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  You are arguably a connoisseur of posters.
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  Yeah, I love posters. I know you too, Drew Strusen
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  unfortunately just recently passed away as you.
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  Yes, I so. Probably leading leading to
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  there. It's a sad state of affairs, but
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  you know, there's a beautiful thing about artists is that the
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  art continues. But no new stuff.
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  That's it. That's it.
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  That is it. You know, I have a beautiful
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  coffee table book on the art of Drew Strusen.
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  It's sort of alternate cuts and alternate takes of different
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  movies, and some of the conceptual arts for particularly
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  Back to the Future is just genius.
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  So yeah, it's a sad state of affairs.
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  Speaking of sad state of affairs, I need to ask you why
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  this movie and why now? And I say sad because I have an
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  inkling of why this one's coming off the shelf.
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  So please expand on that if you could.
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  Well, it's certainly reasonable to guess that, I suppose, given
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  the circumstances. It is.
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  Of course, Robert Redford died this week, and I prefer the term
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  passed away. But you know, some people do
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  like there's a euphemism and there's a dysphemism, and I try
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  and go right in the middle. So euphemism has passed away,
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  dysphemism is croaked. But he's a great actor.
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  We've talked about him a couple times before, and we'll continue
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  to, I suppose. But I thought I would take
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  probably his most underrated movie.
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  I thought you might see that, actually.
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  That's why I try to get ahead of it, dissipate.
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  I try to get ahead of it. No, this is a movie that I just
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  adore, and while it is an incredible Robert Redford movie,
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  I think it's great for reasons beyond him.
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  But he's so great in it that I was happy to take it off the
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  shelf. It would have been on a short
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  list anyway, so it's a perfect opportunity.
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  I'm not going to argue either your decision, your choice of
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  this because it's not the place for.
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  It no, I get my choice. It's your choice.
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  Every other week and. Yes, I can say how I feel about
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  the movie, but I'm not going to question why the.
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  Decision to begin with, yeah, that's fantastic.
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  I appreciate it. No problem.
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  But dearest Philip, I do want to know what IMDb had to say about
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  the synopsis of said film. Well, thanks for asking, David.
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  We have here a security pro finds his past returning to
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  haunt him when he and his unique team are tasked with retrieving
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  a particularly important item that is not at all interesting,
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  that is not at all compelling. No, but it's accurate.
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  I suppose, frankly, when we're thinking about the marketing
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  material, when we're talking about the marketing materials
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  for this movie, this feels like the appropriate summation of
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  what the movie is about because clearly they're not interested
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  in anybody seeing this movie. And I think that helps.
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  You think it was the Republicans?
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  That, or Guy Barcelona or the FBI, or the CIA, or the NSA or
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  the. Well, they do have a great
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  tagline. I do like that.
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  We would tell you what this movie is about, but we'd have to
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  kill you. Terrible.
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  That makes me laugh. It's terrible.
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  It's been so. That's been done.
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  Not before 1992, it wasn't. Maybe not, but I'm done with it
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  now. Name me one other movie.
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  It's just a line. I it this, that line's been
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  around for decades and you know. It.
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  Well, that's the fun. That's why.
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  It's not. It's too obvious.
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  It's too no, it's bad. All right, we're going to
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  disagree to agree. Think we can both agree,
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  however, that it's a great score.
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  Well, it's a Horner. It's a Horner, I mean, and it's
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  a bit of a different type of Horner is a Horner.
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  Yeah, Horner is a It's not above reusing some some score.
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  I know, but yeah, I'm always horny for Horner.
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  Absolutely. You're clear on that.
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  Yeah. We've done it to multiple times.
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  And yeah, I would agree. This, it's a very 90s soundtrack
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  in all the good ways. Sure, it's got some variety to
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  it in some sense with what he's using in the orchestra.
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  Yeah, composed and overall, I think I'm not concerned with it.
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  Once I see that name comes up, OK, we're going to have a pretty
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  good soundtrack. Yeah, the score is great.
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  I wouldn't have placed it in the Horner category because all I
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  ever really think about when I think of this score is Branford
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  Marcellus doing the sax work. You love the sax?
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  I think it's great. I think it's perfectly
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  appropriate as it Peppers throughout the movie and it has
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  this accent piece sometimes, this little air of mystique and
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  whatever else to it, and then when the percussive, more
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  elaborate scoring takes place, it feels totally appropriate.
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  But it's the saxophone that pops.
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  Absolutely don't disagree. There we go.
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  We just we came full circle, we disagreed, and now you can't
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  disagree. I pick my battles.
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  All right, one battle after another these days.
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  Go see that movie, folks. Too busy playing Battlefield?
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  Oh yes, there we go. Yes, yes #6.
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  Get on it. Big 6, Big Six.
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  You know what Battlefield's an anagram for?
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  No. Neither do I but the title
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  sequence. Oh, is that what that was?
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  I was confused. I thought I was having a moment.
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  Well, you definitely were, I'm sure.
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  But yeah, unrelated I suppose. I also thought there was
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  something wrong with my TV or do I have this on 4/3?
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  Oh yeah, yeah. But luckily one of the credits
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  came outside of the four three. I'm like, OK, I'm fine.
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  You're OK? Yeah.
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  Yeah, I really like the credit sequence.
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  I think it's appropriate to the use of the movie.
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  I think it's pretty clever. But let's talk a little bit
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  about that 43 ratio as we're talking about it here.
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  Black and White, 43 December 1969.
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  You know another movie that opens similarly?
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  Superman the Movie. Superman the movie, the original
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  from 79. Yeah, on Krypton.
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  No, I think it's just like newsreel footage or whatever.
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  I think it blows up after that. Oh, OK.
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  Spoiler haven't seen it. Yeah, Shelf next year.
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  What I will say though is that's a lot of snow thick.
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  Northeast snow, Northeast, that's what happens.
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  From a filming perspective, did they bring that in there?
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  Did they haul that snow in from somewhere like?
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  We don't do research on this podcast.
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  I don't know if it was, if it was a fax like you probably.
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  OK, Well done. Yeah, Yeah, that's good snow
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  work. Yeah, I think that that's what
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  they're going for. They won the Snowy's that year.
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  Yeah. The Bluster Award.
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  Yeah, absolutely. The Blizzard Couple of flurries
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  to take home on the Mantel. Also my favorite McDonald's menu
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  item. Developed in Canada.
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  Really. Yeah.
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  OK. Where Martin Bishop would have
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  ended up. Yeah, absolutely, because he
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  always. Wins.
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  Yeah, that's strange things. We'll get to that a little
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  later. In this instance, let's talk
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  just about tone setting. We talked about the wrap around
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  in No Way Out where you serve open at the end and then kind of
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  come all the way back. Now this obviously doesn't do
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  that clearly, but does still do this preamble, you know,
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  prologue, if you will, to the story.
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  What are your thoughts on that as a as a narrative device?
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  Just to give us that a little piece of information that's
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  going to come back later. That's right.
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  And you don't want to just general exposition and chatter
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  throughout the movie, so you can nip it in the bud by giving us a
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  six or seven minute sequence here.
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  I like it. Yeah, OK.
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  I, I typically enjoy a movie in which at the beginning starts 30
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  years prior, 20 years. I mean, it doesn't matter how
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  many years it is. I mean, if it's just three
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  months, doesn't have as much. Sure, sure.
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  So yeah, I'm into that. And I think this movie, you
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  think it's effective. I think it's.
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  Effective into the movie, like where this is going, who are
• 11:00
  these people, that kind of stuff.
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  Yes. Now, like I said, my overall
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  feelings of this movie are mixed, Yes, but the the
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  beginning is there's no mix there.
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  I'm on board with it. I felt that the choice of actors
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  to play younger versions of Kingsley and Redford, right.
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  You know, I've especially thought the Kingsley.
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  Oh, yeah, yeah, I really connected to, hey, that was
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  actually Kingsley in 1969. Obviously doesn't look like him,
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  but the mannerisms, the vibe, the vibe, yeah, I think would be
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  the vibe. As for Redford, I think he could
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  have got any young, good looking blonde kid and it would have
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  worked fine. Yeah, I don't.
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  I don't think it doesn't. Work.
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  I thought it worked. Really.
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  Well, oh, it worked perfectly fine, but I thought it was an
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  easier one to work where Kingsley character he's a little
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  more well, he's well, crazy. We find out later.
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  Spoiler, if you haven't watched the movie, please do.
• 11:53
  Don't listen to this until you obviously.
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  Yeah, I finally have these conversations.
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  We should have a disclaimer. Maybe after five years, we'll
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  have a disclaimer at the beginning of every episode.
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  I love the groundwork. I love how they lay this one
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  out. Yeah, I thought, I thought
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  casting was great and I I did think that one kid gave me David
• 12:12
  Pamer vibes, a young Cosmo. But yeah, I thought it does a
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  good job. And I thought that because it
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  was shot differently, they added an extra layer of distance, if
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  you will, to the rest of the movie.
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  And we know why Martin Bishop now Bryce is on the run, so
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  Cosmo gets arrested and Marty disappears.
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  You mentioned the name Bryce. Yeah, yeah.
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  Wow, what are the odds? I would have never guessed.
• 12:38
  Did you remember his name? Character's name No.
• 12:40
  I remember Miss Bishop. Because I got the impression
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  what you're doing here, and it worked out well for you that
• 12:45
  Robert died. But you made some calls.
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  You're you're trying to one up me.
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  There's something in it. There's a million red fur Movies
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  Now, I said. I wasn't going to criticize your
• 12:57
  choice of this specific one, but it's bottling up a little.
• 13:00
  Bit OK, you're just. Trying to one up by no way out.
• 13:02
  Yeah, was either this or Out of Africa Great Gatsby the way we
• 13:05
  were? I mean, these are not movies you
• 13:06
  want to watch. You don't know that.
• 13:08
  I know you. It's true.
• 13:10
  You're probably right. And while I enjoy often taking
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  the movies off that you don't want to watch this one, I
• 13:14
  thought I'd give you a break. I would just watch Spy game
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  again and again and over and over, this and again.
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  This is my one. This is my one Redford.
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  We have all the presents men in the archives as.
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  Well, I got a couple of Redfords on my shelf.
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  It's let's be clear about that. I gave this one to you because
• 13:27
  of your affinity for film more than me.
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  I said. This really impacted you, even
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  though I think I'm the bigger Redford fan.
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  Probably. I mean, I have no basis for that
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  whatsoever. He was never in Seinfeld as far
• 13:39
  as I know. No, a little bit of red in his
• 13:40
  hair there's. A bond there.
• 13:42
  There's a bond, not James, but there's a bond.
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  Fair. But nonetheless, it was a fun
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  coincidence to have a back-to-back.
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  As soon as I heard it, I was like, Oh my gosh.
• 13:51
  It's a good movie name, yeah. It works.
• 13:52
  Yep, not unlike Bishop, which is great for aliens.
• 13:56
  There's a Bishop in that one. OK, also chess.
• 14:01
  Yes, that's a great piece. Yeah, great.
• 14:04
  I also noticed early on in the movie, the dot printer.
• 14:07
  Oh yes, again, riding my coattails.
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  Right. Well, you know, no way out.
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  Walked so that sneakers could run nice.
• 14:14
  Yeah, that's good. I got, you know, I'm going to
• 14:16
  edit that out. That's so good, I'm not.
• 14:18
  Going to give it to you not going to give it to you.
• 14:21
  What's also funny before we go to present day.
• 14:23
  We've talked about it recently because we have been taking a
• 14:26
  trip back to the 80s and 90s as we enjoy in the hits of today.
• 14:29
  Sometimes is the fact, if this was today, like not 1969, he's
• 14:34
  not going out for pizza. The pizza's coming to him.
• 14:37
  Yeah, they're Uber eating that. I've thought about this in that
• 14:40
  weather. I've thought about this, and I
• 14:42
  think, of course he did. Even back then, you could
• 14:44
  probably still have delivery. Yeah, even without a a shameless
• 14:49
  plug for Uber. I'm trying to get some.
• 14:52
  I'm trying here. Sponsorship trying here, but
• 14:55
  yeah, even in those days I think a delivery would have probably
• 14:57
  been a better situation. Not for Bishop, yeah, but
• 15:01
  certainly for Cosmo. Absolutely, but they chose
• 15:03
  delicio instead. Delicio for that pizza at home.
• 15:08
  It's delicious, so that's why it's called Delicio and a little
• 15:12
  bit healthier. No, no, probably not.
• 15:14
  No, not even a little bit. But that's what gets Bryce out
• 15:18
  of the building. Cosmo gets arrested very quickly
• 15:21
  as soon as Bryce is gone. Yeah.
• 15:23
  He gets in the car basically and they're already rating the
• 15:26
  thing. This movie I will give credit.
• 15:27
  I'm trying to be better at this, noticing the small things.
• 15:30
  You're not being so. I hate it.
• 15:32
  Everything about it sucks. A lot of growth here, but some
• 15:36
  filmatic elements, yeah. That you would pick up on.
• 15:39
  I try to beat you to the punch. I love it.
• 15:40
  And just seeing the flashing lights in the rearview mirror,
• 15:43
  it's very subtle. Yeah.
• 15:44
  But it's just the right amount. Totally.
• 15:46
  And I swear to God that was Nitty driving that cop car.
• 15:50
  But that's a very small role for him considering he had such a
• 15:52
  big role prior to that in The Untouchables.
• 15:56
  What a tough one of tough racket.
• 15:58
  Best bad guys in all the movies that we've seen.
• 15:59
  Probably it was not him. I double checked on Unless.
• 16:02
  Yeah, Speaking of the filmic style, having that snowy scape
• 16:08
  dissolve and sort of evolve into the static on the television, on
• 16:12
  the monitor and as the camera pulls back to reveal now we're
• 16:15
  in present day. And 16 by 9.
• 16:18
  Improper 16 by 9 in the in the van.
• 16:23
  Yeah, which I love the static. It reminds me of waking up at
• 16:26
  3:00 AM. Yes, and there's nothing on TV
• 16:28
  and it either you get the bars. No.
• 16:30
  Or you just get those days, man. They don't.
• 16:33
  They'll never happen. Again, they won't.
• 16:34
  I thought the same. I used to love kind of hearing
• 16:37
  the and national anthem at the end of your broadcast day.
• 16:40
  Yeah. Or on a.
• 16:41
  Picture of Parliament, I think, sometimes even.
• 16:43
  On city TV they had a thing called Night Night Moves and it
• 16:46
  would just be a jazz can't like a jazz score to a camera.
• 16:50
  Walking around Toronto and in and out of the Eaton Center and
• 16:53
  around it was very soothing, very calming.
• 16:56
  I often would fall asleep to that at like 2:30 or.
• 16:58
  Whatever. Well, I usually fell asleep to
• 17:00
  French channels. Blue.
• 17:02
  Nui. Blue nui so and I was thinking.
• 17:05
  About that the other day when I was walking to work.
• 17:08
  Emmanuel #5 what a great series. We can bring that.
• 17:12
  Off the shelf, right? Nothing compared to today's
• 17:14
  standards. No, no, no, no.
• 17:15
  Pretty light, you know. Yeah, but I remember it's an
• 17:19
  enjoyable situation. Oh, it's a.
• 17:20
  Great, great time of my life. But this is a great time for
• 17:24
  Bishop's life, too. He's got a job.
• 17:26
  Yeah. Where you can nap.
• 17:28
  Yeah, you can nap on the job. But yeah, good transition from
• 17:31
  static. And then?
• 17:32
  Almost like a red, Yeah, we're just in a proper situation and
• 17:35
  we kind of orientate ourself now in the van, the sort of main
• 17:40
  operation. Yeah, I guess.
• 17:41
  And I also like how it leads us to think that they're doing a,
• 17:45
  what do you call that? A heist, a heist, something
• 17:47
  along those lines. I like that.
• 17:49
  Misdirection. Yeah.
• 17:50
  I mean, this whole opening sequence of events right from
• 17:53
  the break in, we've got Poache's introduction as crease.
• 17:58
  We got Carl River, Phoenix mother Dan Aykroyd and then
• 18:03
  Whistler Davis, Ruth, Aaron that.
• 18:05
  Is the ensemble. Your cast of characters, and
• 18:08
  they're about to break into a bank in the sort of elaborate
• 18:11
  setup that that is now. We've talked about in Ocean's
• 18:14
  11, these big elaborate setups. Do you find this to be credible?
• 18:20
  Did you find this to be engaging?
• 18:21
  And as you're saying, you didn't know that it was a misdirect.
• 18:24
  Very good question, Philip. I do have some questions in
• 18:27
  general about the film with plausibility.
• 18:30
  I would say this opening sequence, it was minimum,
• 18:33
  minimal. I always get minimum and minimal
• 18:36
  mixed up and which one I'm supposed to use?
• 18:37
  Minimal in the sense. Like like a prison, like a
• 18:40
  minimum security or is. It minimum, yeah.
• 18:43
  Nonetheless, I'll try to keep this short to a minimum.
• 18:45
  Too late. I did notice the security guard
• 18:49
  was from Mercury Rising, an enemy of the state fame.
• 18:53
  Wow. Because this is what I do and
• 18:54
  this is what I do very well. It's a.
• 18:56
  It's a. It's a problem.
• 18:57
  Yeah. But generally, no, I felt it was
• 19:00
  fine in that sense if we're talking about the scene as a
• 19:03
  whole. Well, let's talk.
• 19:04
  I mean, let's break it down if we want to, but yeah.
• 19:06
  So I would like to break it down if we could.
• 19:09
  I can see the movies going for a little bit of comedy.
• 19:12
  Yes. I think the first one is the
• 19:14
  blackface. Pretty subtle, but it's very.
• 19:16
  Subtle, and I think that's what makes it funny.
• 19:18
  Totally. The funny in this movie is very
• 19:20
  subtle. Yeah, I would agree.
• 19:21
  So that was that was cute, followed up pretty quickly by a
• 19:25
  leap over a counter. Leap.
• 19:27
  Maybe an over? Yeah, Carl being young, which I
• 19:32
  will argue, I don't like the name Carl for his character.
• 19:35
  This doesn't look like a Carl. Carl's an older person to me, so
• 19:38
  I'm going to call him Jake. Jacob.
• 19:42
  Jake. Just Jake, he was.
• 19:43
  Born Jake. I'm sure it's on his birth
• 19:44
  certificate by all means, by all intents and purposes, but
• 19:49
  everyone calls him Jake. OK, so I am too, all righty, but
• 19:52
  Robert Redford doesn't make it. And, and I love the fact that he
• 19:58
  says, and you hear this a lot similar to your, you know, if I
• 20:02
  told you I have to kill you, but we're getting too old for this.
• 20:05
  Yeah, yeah. This guy has always looked over
• 20:09
  50 in his movies, right? This is this is the red for I
• 20:12
  know. Oh yeah, sure, he's got some
• 20:14
  wrinkles. When you don't watch movies
• 20:15
  previous to 1989. Well, yeah, he was in like a
• 20:17
  Western from way back. He was in a lot of stuff in his
• 20:19
  younger days, a very handsome man.
• 20:21
  He did some stuff. But for him in 1992 to say
• 20:25
  getting too old for this and like, wow, I love guys who have
• 20:28
  gone on to have careers after they've had a career, and that's
• 20:32
  I think Robert. He never lost it, right?
• 20:34
  Like he was making movies up until 2022 maybe?
• 20:38
  I actually knew that number. I saw it.
• 20:39
  I forget the name of the movie, but even 2018 or 2020.
• 20:42
  But yeah, like they're on that. Anyway, yeah, yeah, exactly.
• 20:45
  Yeah, He's a great actor and a great presence on the screen, as
• 20:49
  is Sidney Poitier. And as you know, people talk a
• 20:53
  lot about River Phoenix. I didn't see him in a lot.
• 20:55
  I saw obviously in This and Stand By Me were the two, Yeah,
• 20:58
  that were to me pretty totemic in my youth.
• 21:01
  But he is only a part of two ensembles in those movies.
• 21:05
  I never really connected or saw much of him.
• 21:08
  Oh, and Dogfight. Oh my gosh, that's the movie.
• 21:11
  I think it's actually the same year around this time.
• 21:14
  I just picked that up at the Criterion Closet, actually.
• 21:16
  OK in Toronto at the at the Film Festival.
• 21:19
  That was one of the movies. I love that movie Dogfight and
• 21:22
  he's fantastic in it. OK, he.
• 21:24
  Had some, he had some abilities. Yeah, so obviously didn't get to
• 21:28
  make a lot of movies, but what I've seen him and I've really
• 21:30
  liked. I think you're missing an
• 21:32
  obvious. Young Indiana Jones Nope as
• 21:34
  well. Well, say that again.
• 21:36
  Young Indiana Jones. In what sense?
• 21:39
  Well, he plays young Indiana Jones.
• 21:41
  Well, I thought there I think there was a show there is.
• 21:43
  But we don't talk about TV on this.
• 21:44
  Podcast we don't, as you recall. So what you should have said is
• 21:46
  he he was in the last Crusade. Yeah, but he played young.
• 21:49
  He did, but someone could get that mixed up with the show
• 21:52
  because I think there's ATV. Yeah, moving along.
• 21:55
  We've solved that, Yeah. But yeah, he was.
• 21:58
  And he was just cast perfectly for that.
• 21:59
  Yeah, exactly. He's just like the he's great.
• 22:02
  So everything I've seen him and I've liked.
• 22:03
  Yeah, I think he had fun with this role.
• 22:05
  I think he plays that young guy who just gets to pretty silly
• 22:08
  tag along. If I was an actor and they said,
• 22:10
  hey, come make a movie with Sydney Pudge.
• 22:13
  Yeah. Dan Aykroyd, Davis Rathairn.
• 22:16
  Yeah, Yeah. What do you want me to do?
• 22:17
  You want me to sit in the corner and play chess?
• 22:20
  Great. Whatever, you know?
• 22:21
  So I would do that job happily 100%.
• 22:33
  You said you were misdirected. Did you feel cheated by that?
• 22:35
  No, I feel great about that. Happy to be taken on the ride.
• 22:38
  Yeah, yeah, 100,000 bucks. I love the comment and it makes
• 22:42
  much more sense a moment later. Yeah, where I said I feel that I
• 22:46
  just can't trust my money in this bank or something that's.
• 22:49
  Right. Why are you closing your
• 22:50
  account? Yeah, and then there's a weird
• 22:51
  interaction with a security guard, almost like they're in on
• 22:55
  it together. But I think it was.
• 22:57
  Maybe And then he goes upstairs. Yes.
• 22:59
  I thought that was a weird place to have the exit and then
• 23:03
  walking in the room him basically saying you'll get the
• 23:06
  full report in about 3 days but. You need this.
• 23:09
  This is missing. You need better than whatever
• 23:11
  and dropping the money on the table.
• 23:12
  This is fantastic. Yeah, what I like about Redford
• 23:15
  in particular in this movie is he gets to play a bunch of
• 23:18
  different variations on his thing.
• 23:22
  So here he gets to be to me, like indecent proposal level.
• 23:27
  Looks great in a suit. He's got a lot of money in this
• 23:30
  moment he's carrying it out so he looks like a like a well to
• 23:33
  do. And then later in the rest of
• 23:35
  the movie, he's also been playing a little frumpy with his
• 23:37
  leather coat and generic clothing, whatever.
• 23:40
  But he also gets to play dashing with Liz.
• 23:44
  And so he gets to play all these different and he gets to kind of
• 23:46
  play a little goofy like you're saying, with spilling over the
• 23:48
  counter there with watching. Good comedic moments.
• 23:51
  Yeah, it's nice to see him kind of play with different angles.
• 23:54
  He's got a charisma and a charm. Yeah, without a doubt.
• 23:56
  I mean, he's playing every little bit of Redford in this
• 23:59
  movie, a little bit of this, which I like.
• 24:01
  And to indicate how we, you know, he's doing well.
• 24:04
  Or is he not doing well? Is he asks for his check?
• 24:08
  Yeah. For the job and this woman, yes.
• 24:12
  A sass on this bitch. Who is she to say like obviously
• 24:17
  we don't know the amount of the check Granted she does.
• 24:19
  She has information we don't have.
• 24:21
  Yes. And he says what's a living?
• 24:23
  And she's like, well, not a very good one.
• 24:25
  I did not appreciate that. Just save them potentially
• 24:27
  millions and millions of dollars.
• 24:29
  This chick is out of a job. For sure.
• 24:31
  Strongly worded letter at least. For sure at least.
• 24:34
  But I wrote that down, buddy. Yeah, it's frustrating.
• 24:37
  I mean, it's a funny joke. It's a funny line I enjoy, but I
• 24:40
  don't think it's appropriate. Not at all.
• 24:42
  What I also found funny a moment later when they're at their
• 24:45
  clubhouse. Yeah.
• 24:47
  And if you're not doing well and you're not making a lot of
• 24:49
  money, I don't think you afford that place.
• 24:51
  No, they're doing fine. They're exactly they're doing
• 24:53
  hell with her A. Liar and a mean spirited.
• 24:56
  Person, possibly a thief, put attention, we don't know, She
• 24:58
  might be skimming in on it. But River, Phoenix, Carl, Jake,
• 25:03
  he's walking across the room and he's walking almost like a
• 25:05
  Penguin, like he's got like a speed walk to him.
• 25:08
  He'll look like you, actually. And I just thought it was just.
• 25:11
  It stood out to me for sure for no reason.
• 25:14
  No particular reason enough to write it down in a note and
• 25:17
  broadcast it. Yeah.
• 25:18
  I just. I just thought it was an
• 25:19
  interesting choice to show that camera angle.
• 25:21
  But you could have just had him coming towards the camera
• 25:24
  instead of the rear shot. Yeah.
• 25:26
  Of a waddling young river Phoenix in your movie.
• 25:28
  You want the rear shot, buddy. Yeah, but.
• 25:31
  Yours is not that. Walk.
• 25:32
  No, it's not that walk, but nonetheless.
• 25:33
  Made me think of George Clooney and out of sight.
• 25:35
  OK, walking out of prison a little bit.
• 25:37
  Well, that makes more sense. That makes more sense, my
• 25:39
  friend. I don't know a lot about prison,
• 25:42
  but I do know a couple of. Things you did do that tour and
• 25:44
  I did Kingston and this movie set in San Francisco with the
• 25:48
  beautiful Alcatraz. I think we see that.
• 25:50
  We do that. That makes sense.
• 25:51
  I like a movie shot in San Fran. Oh, it's.
• 25:53
  One of my favorite cities. Spent nine days there.
• 25:56
  I loved. It you got Ackroyd with the
• 25:58
  49ers hat. Oh yeah, fantastic.
• 26:00
  Not to give too much away, but. Telegraph Hill, Lombard St.
• 26:04
  Pier 39. I loved it there.
• 26:05
  Can't wait to go back well. Good.
• 26:08
  I'm happy to hear it. Maybe you'll meet Busfield out
• 26:11
  there. He loves the Bay Area.
• 26:13
  Yeah, he's a lovely man too. He is Field of Dreams.
• 26:16
  Field of Dreams. So he's at Anderson, not
• 26:18
  Anderson. Sorry.
• 26:19
  Phil Alden Robinson. Robinson.
• 26:21
  Yeah. You see what I did?
• 26:22
  Absolutely. Yeah, he was in Revenge of the
• 26:24
  Nerds. 30 Something 30. Something for sure, and I mean
• 26:28
  really, he's Danny Kincannon for.
• 26:29
  West Wing, Absolutely. Yeah.
• 26:32
  I knew you'd do that. Always.
• 26:34
  Every chance. Yeah.
• 26:36
  Always. West Wing, but he's he's fun to
• 26:40
  see on the screen. I think the other guy might be
• 26:42
  named Gregory Jones. If not, the is now perfect.
• 26:47
  Yeah, there you go. It's.
• 26:48
  More than I have to offer, so just make up a name.
• 26:50
  Yeah, and it's a face that you would know.
• 26:53
  It's a face I recognize for. Sure, but they playoff each
• 26:56
  other quite well, so they are, for all intense purposes, NSA.
• 26:59
  They're with the government, with the government, they say
• 27:01
  they're NSA. Yeah, yeah.
• 27:03
  And they have a job for the. Betting for these guys to do a
• 27:07
  job and they you seem to know a little bit more than Bishop
• 27:12
  would like him to know. Yes, it's a very good way to
• 27:16
  give us a little bit of history of each of the characters.
• 27:19
  What do you call that exposition?
• 27:21
  Yes, I think that's clever. It's.
• 27:23
  Presenting it in a way that is that it's a chance for us to get
• 27:25
  the exposition to get the background on who these guys
• 27:27
  are. You're a vetter, you vetted.
• 27:29
  I vet you've got Chris who's got a decorated history and he's got
• 27:32
  an and Redford's got an excuse for him and he's got an excuse.
• 27:35
  For everybody, you know, for the one that caught him, That's
• 27:38
  right, Carl. They caught Carl.
• 27:39
  That's right. Changing his grades.
• 27:40
  Yeah. Changing his name, too, to Jake.
• 27:44
  Yeah. But yeah, so they kind of he has
• 27:47
  an excuse for everybody, and then they get to him and then I
• 27:49
  think that's a great pinpoint. Just empty.
• 27:52
  Yeah. Nothing.
• 27:53
  This guy doesn't exist, so there's obviously something
• 27:55
  there. Yeah, yeah.
• 27:57
  And then he receives an envelope saying if you change your mind
• 28:00
  because it's clearly not into the gig.
• 28:01
  Yeah, he feels threatened, right?
• 28:02
  It's like, oh, wait a minute, we don't do this.
• 28:04
  We don't work for the government.
• 28:05
  We're out. Yeah, there's a moment where he
• 28:07
  is sitting at the table and you have Busfield on one side, Greg
• 28:12
  Jones kind of above him. And he's basically just got the
• 28:15
  arms and shoulders of each of these guys in front of him,
• 28:19
  almost as if they're blocking him in the shot.
• 28:21
  Yeah, it's almost like an an emotional no way out.
• 28:23
  That's right. You know what I mean?
• 28:24
  Yes, absolutely. There it.
• 28:25
  Is. But I love it.
• 28:26
  And then yeah, Bishop, it just was nothing to do with it.
• 28:28
  Kicks them out and basically, yeah, But they know.
• 28:31
  But they know. They know.
• 28:32
  They know the one thing that Bishop doesn't want them to
• 28:34
  know. Exactly.
• 28:35
  He, well, he lived in Canada for a while.
• 28:38
  They had his past. And how do you feel about a
• 28:40
  scene like that? And the very next scene is
• 28:43
  basically almost like a continuation of that.
• 28:47
  Do you think they could have just taken care of that all in
• 28:49
  that one scene? Or is it better that he mulls
• 28:52
  with it? He sits with it for a little bit
• 28:54
  because it's like right afterwards he's going to see
• 28:55
  them. Okay, I don't have a choice, do
• 28:57
  I? Yeah, I think I would probably
• 28:59
  have preferred a little bit of mulling time.
• 29:01
  I like that it's not the same scene.
• 29:03
  Just just to keep it moving. Change the scenery, change the
• 29:06
  things, yeah. For sure I can get.
• 29:07
  Behind that in the office. It was a conference room,
• 29:09
  actually. Sure, yeah.
• 29:11
  What I would hate more is something like where the
• 29:14
  conversation is continuing but the locations change, you know?
• 29:18
  And that's the thing in movies that drives me absolutely
• 29:20
  bonkers. You want to feel like they
• 29:21
  slept. For 8 hours?
• 29:22
  Well, yeah, at the very least. Is that a coffee?
• 29:24
  For sure, it's a new day. It's like you're talking in a
• 29:27
  van on the way and then you cut to your shopping, you got a cart
• 29:32
  half full and it's like your conversation is, it's the same
• 29:36
  conversation. So that to me is like, oh,
• 29:38
  you're just, you're writing it just to change it up.
• 29:40
  I don't watch those kind of movies, no.
• 29:43
  I have high standards, buddy. And they have what's fun about
• 29:47
  it, Phillip, Because we hear a lot about the FBI, the CIA, the
• 29:53
  NSA, especially TV. Sure, there's a lot of shows
• 29:58
  about it. Do we know what they're
• 30:00
  responsible for or what they do? Yeah, that's a great moment in
• 30:05
  that same interchange. Yeah, you know, Oh yeah, You
• 30:08
  guys are the ones breathing on the other side of my phone.
• 30:10
  No, that's the FBI. Oh yeah, that's right, you're
• 30:13
  the ones that just overthrow governments.
• 30:14
  And that's the CIA, which we saw an American made, of course.
• 30:18
  So like, yeah, OK, that checks out totally.
• 30:20
  And then NSA, national security, you're looking out at other
• 30:23
  people's. People, other people, yeah, but
• 30:26
  you're they don't have jurisdiction to listen into
• 30:28
  your. So the whole thing, yeah, we're
• 30:30
  kind of going to the radar. We get these guys to work for us
• 30:32
  and that way we get what we need without going to Congress and
• 30:35
  having to do it all that so. Creations and all the other.
• 30:38
  Stuff, and I think it's important to explain it because
• 30:40
  you have to trick Bishop to believing their NSA totally.
• 30:45
  And I assumed they were, so I I fell for it.
• 30:48
  Yeah, totally. I mean, you look well and you've
• 30:50
  got a little badge showing your things and.
• 30:52
  They're talking the talk, right? Absolutely.
• 30:54
  Timothy Busfield. I mean, come on.
• 30:57
  But now. Bishop has to convince his team
• 31:00
  that's right because of this. Could be a little dangerous
• 31:02
  because the word Russians comes up.
• 31:05
  This is a post Cold War you need to just had fallen just a.
• 31:10
  Couple years prior. You got to convince them all for
• 31:12
  175,000 which I have to question.
• 31:16
  Maybe it's because it's 2025? Doesn't seem like a lot of
• 31:19
  money. Let's take out the old.
• 31:21
  You know, convert it to today funds, convert it because not
• 31:25
  only is it not a lot of money, I mean, for me that would be
• 31:28
  great. But you're dividing it five
• 31:31
  ways. So it's only like 30 thousand
• 31:34
  35,000 each, which is, you know, a year's salary.
• 31:39
  Would you risk your life for a year's salary?
• 31:42
  I guess is my question. Yeah, I think I probably would.
• 31:45
  I risk my life for anything, man.
• 31:47
  I like to. Live, I don't see that.
• 31:48
  I don't see you doing that. See it, you know, I'm always on
• 31:51
  the edge of my seats. I'm I'm on the edge of the
• 31:53
  couch. I thought you had a back problem
• 31:55
  or something. I'm living on the edge, buddy,
• 31:57
  being Aerosmith going home. Yeah, I I don't think so.
• 32:01
  But to answer the question in 2025 175,000 and is worth about
• 32:08
  $400,000. That helps, so I will that that
• 32:12
  does help. Either way, Whistler's in it for
• 32:15
  the money. He doesn't.
• 32:16
  He doesn't care, doesn't care. Great line.
• 32:18
  Whistler's the best character. He's fantastic.
• 32:20
  We'll definitely have a few moments to with him for sure
• 32:22
  because he has some really great scenes.
• 32:25
  Carl also is feeling the same way.
• 32:27
  Yep. Crease.
• 32:28
  Not so much. Crease doesn't want anything to
• 32:30
  do with. This no Ackroyd needs like one
• 32:32
  line to convince him. Yeah, he doesn't.
• 32:34
  And he's in, Yeah, Bishop gives him some reinsurance like this.
• 32:37
  There's risk, but I wouldn't bring it to you if I actually
• 32:40
  thought there was like risk. Risk, minimal risk.
• 32:43
  It's sort of a low end, you know, theoretical.
• 32:45
  Nothing. Feels they don't know what this
• 32:46
  stuff is doing yet right so it's just it's a little action it's
• 32:49
  not a job you. Know it's a piece of work.
• 32:51
  It's a piece of work. But when there's Russians
• 32:53
  involved, there's always that, especially in 92.
• 32:56
  Well, not anymore. Around Russians can be involved
• 32:58
  in 1992, no problem and no threat.
• 33:00
  They lost. Either way, this operation is
• 33:02
  not going to work without crease.
• 33:03
  So he thinks, yes, I want to spend a moment with Sydney,
• 33:07
  please. I like him.
• 33:09
  Yeah, he was absolutely amazing in The Jackal, if you recall,
• 33:13
  really carried the film. Well, someone had to.
• 33:16
  He had. He's had two careers before.
• 33:18
  I've watched his career. OK.
• 33:20
  He's been around. Oh, yeah.
• 33:22
  I don't know if you knew what I meant by that.
• 33:24
  Clearly not a couple of careers before his career.
• 33:26
  I'm just trying to be clever. Yeah, just trying to be clever.
• 33:28
  And right over your heads you don't get.
• 33:30
  It I'm on the edge. What?
• 33:33
  I felt his character was a little out of place with the
• 33:37
  team. OK, And I figured it out.
• 33:39
  I figured it out. Phillip, he should not have been
• 33:41
  wearing a suit. This is not a suit situation.
• 33:45
  He's in charge of security. If you go to work in the office,
• 33:50
  the IT guys, they don't need to wear suits.
• 33:53
  You're behind the scene. Redford's character is the one
• 33:56
  you're meeting the guy. Front, forward, facing.
• 33:58
  Exactly. He's on the back end of things,
• 34:01
  so that's why I feel it's a little out of place.
• 34:04
  It's not his character, it's his wardrobe.
• 34:07
  Maybe his wardrobe is his character though.
• 34:09
  He's a guy that wakes up every day and wears a.
• 34:11
  Suit. But I don't want that.
• 34:12
  I want that in the Jackal that he wore the same, literally the
• 34:15
  same suit. That's the only suit he owns and
• 34:17
  he brings it to work and I respect the hell out of that.
• 34:20
  Sure, he's economical respect. He's like, I'm not doing this
• 34:22
  without wearing the suit, but I think it's an opportunity for
• 34:25
  him to dress down a little bit and I think that opportunity was
• 34:27
  missed. OK, interesting.
• 34:29
  I was coming up with these takes that I could never have
• 34:31
  predicted. Yeah.
• 34:32
  And they're, and sometimes they're hot, sometimes they're
• 34:33
  lukewarm, sometimes they've been inside me for a while.
• 34:38
  And this one. Looked like it's been festering.
• 34:40
  Just the car ride. Over just the car ride over I
• 34:42
  finally figured it out. But nonetheless, they are all
• 34:45
  in. Yeah, absolutely.
• 34:47
  And I kind of like it that there there was at least the scene of
• 34:50
  convincing, even if it didn't take much.
• 34:52
  That's the right amount. Absolutely.
• 34:54
  And then they're trying to figure out Bishop is going to a
• 34:57
  concert to try and figure out who the mark is, basically who
• 35:01
  the. Janet is some information.
• 35:03
  He's into cryptography, thank you, cryptography, but she does
• 35:07
  not understand and he needs somebody to go with them that
• 35:10
  might help explain it, Crease offers.
• 35:12
  He's like, no. He's got other plans.
• 35:15
  His ex-girlfriend. ex-girlfriend adds an extra layer.
• 35:18
  Adding a relationship to a movie that's obviously dominated by
• 35:21
  men, adding a female element I think is good.
• 35:24
  And also their interplay. You have a little will they
• 35:27
  won't they kind of vibe to it that I find.
• 35:29
  It's not like it works. Yeah, the movie's not hinging on
• 35:33
  it, but that's another touch route.
• 35:35
  There's an obvious affinity for each other.
• 35:36
  It's easy to do, but it's completely.
• 35:40
  Plausible. And it gives a shorthand to that
• 35:41
  character and gives a shorthand to that relationship.
• 35:44
  So when Bryce Bishop is in trouble, you can anticipate Liz
• 35:49
  having a feeling about that or when he is, when she feels like
• 35:53
  she's being dragged around by him.
• 35:56
  There's that. I know this game and I'm not
• 35:58
  playing it, so I like. Drag me back into your world and
• 36:01
  also you get the sense definitely.
• 36:03
  And a couple scenes from now that they all know her.
• 36:05
  Yes, she's been around. So she's been a part of that
• 36:07
  like. He doesn't have to explain who
• 36:09
  Liz is is. What we do know is she plays the
• 36:14
  piano. Very well, very fast.
• 36:16
  Very. And she can play it as if she
• 36:19
  like, all right, again, another moment, which is so small, but I
• 36:23
  thought was really good. So he walks in in the room and
• 36:25
  it looks like she's playing the piano.
• 36:27
  And then her direction alters to him.
• 36:30
  He's like, well, how are you still playing the piano?
• 36:32
  Like you're looking at me. And then it's a prodigy child.
• 36:35
  That's right. I imagine sitting beside her
• 36:37
  playing. And I just thought that was
• 36:39
  practice. Little moments like that are
• 36:40
  fun. Yeah.
• 36:41
  Just keep it light. Yeah.
• 36:43
  And. I appreciated that.
• 36:44
  When I think back on, I haven't thought back on this movie at
• 36:47
  all in a long time. But some of all fears.
• 36:50
  I didn't like that movie. You didn't love it, but I did
• 36:53
  until you talked about it and I got threw.
• 36:56
  It out, but this director and writer, you know, Field of
• 37:00
  Dreams has got so much fun in it.
• 37:02
  And so I don't know what happened between this one and
• 37:05
  some of All Fears 10 years later.
• 37:07
  Whatever it is, I don't remember it being fun at all.
• 37:10
  No, it certainly wasn't fun to watch, if anything.
• 37:12
  So it just is interesting to me that he's got these elements in
• 37:15
  this movie and in the previous, and it doesn't necessarily carry
• 37:18
  throughout because he's obviously got a touch for it.
• 37:20
  Yeah, well, he also has a touch for Lee Arlington.
• 37:27
  Yeah. OK.
• 37:28
  Is it Lee Arlington? I believe it's.
• 37:30
  Yeah. OK.
• 37:31
  I don't know. Sounds right.
• 37:32
  You said it. I said, well, I'm not gonna look
• 37:34
  it up now because I'm comfortable.
• 37:35
  OK. And you know who I'm talking
• 37:37
  about? Sure.
• 37:38
  And I think everybody else will, too.
• 37:39
  Because he. She doesn't help there.
• 37:42
  It doesn't help. And Lee is can be a man's name,
• 37:44
  but she's in a lot of his movies.
• 37:47
  She was in some of All Fears. OK, She was in.
• 37:51
  Field of Dreams. Field of Dreams, yeah.
• 37:53
  Yeah, at the town hall burned the books.
• 37:55
  I think she was in unrelated. She's in Independence Day.
• 37:58
  Not a Phil Alden. Robinson no, but she does more
• 38:01
  than just Robinson films. But she's a face, very
• 38:05
  recognizable, plays that role. I didn't love her as a
• 38:10
  Czechoslovakian woman, like doing accent work, maybe because
• 38:14
  I've just seen her play that similar role.
• 38:16
  You are that person. You're that aid in the political
• 38:19
  office, you know. Sure.
• 38:21
  And you do it really well. In the office, you're doing the
• 38:23
  work. You're not.
• 38:24
  Yeah, this person. That's that spot.
• 38:25
  But I'm not. I'm trying to, yeah, I'm trying
• 38:29
  not to hold that against her. And we at the same time we get
• 38:31
  the. You know who?
• 38:31
  Is trying to hold it against her.
• 38:33
  Yeah. Gunther.
• 38:34
  Janik. Janik Jan.
• 38:36
  Oh, his first name is Gunther. Yeah.
• 38:37
  I go by Janik. Sure.
• 38:39
  Or the guy from Max Payne. Yes.
• 38:41
  Played the partner, if you recall.
• 38:43
  Yeah. Well, you remember.
• 38:44
  Do you remember? I do.
• 38:45
  Donald Logue. You remember him, but you don't
• 38:47
  remember the. David.
• 38:49
  David Pamer. Yeah, No, this guy had a real.
• 38:52
  Plot. Yeah, he was in a little bit
• 38:54
  longer. Yeah, he's in a great movie that
• 38:56
  will take off next year, I think.
• 38:57
  Please the Dow of Steve. I'm excited, Logue.
• 39:00
  Is his real name. Donald Logue, Donald Logue,
• 39:02
  Donald Logue, Donald. I was gonna.
• 39:04
  OK, all right. I was gonna say, Daniel, I would
• 39:05
  have been wrong either way. Yeah.
• 39:06
  And we also got the introduction of a Russian guy named Greg.
• 39:09
  That's right. Yes, Greg Orr.
• 39:12
  All of those sort of characters those.
• 39:14
  He's a cultural attache. He is, and he talks a.
• 39:17
  Very good, complicated, which is really, I think his only role in
• 39:19
  this moment is his discussion of the murkiness now since the
• 39:24
  Soviet Union had fallen. There's a reshuffling of his
• 39:29
  line of work, as he says, you know, my particular skill set is
• 39:32
  no longer what it was. It's murky times like.
• 39:35
  And I love that it doesn't do it well enough because it's not,
• 39:39
  it's not the point of that of this movie.
• 39:40
  But I think there's a movie to be made in that late 80, early
• 39:45
  90s fall of the Russian Empire, the Soviet Union kind of movie,
• 39:52
  a spy movie in that context. Because obviously with no way
• 39:54
  out, that's before Russia has fallen.
• 39:58
  This movie, five years later is after the Soviet Union has
• 40:01
  fallen. So I think there's a movie that
• 40:03
  could be made in that five year span.
• 40:05
  How? About some of our fears.
• 40:08
  Is that what it's about? I don't know.
• 40:09
  Yeah, it's spy. It's fallen.
• 40:11
  It's it's they call it Russia, I believe.
• 40:12
  I don't know when that takes place in the timeline.
• 40:14
  He has got to be set in that 89 to 92.
• 40:17
  Because Clancy's all over the place when it comes to the
• 40:19
  timelines. Because you're obviously of
• 40:20
  Harrison playing an older version of Jack Ryan.
• 40:23
  Jack Ryan, thank you. And then you have Hunt for Red,
• 40:25
  you know, so I always get mixed up of too many.
• 40:27
  Actors have played the role. Yeah, yeah.
• 40:29
  And he doesn't keep a timeline that's specific.
• 40:32
  James Earl Jones, obviously a Robinson guy, is sort of like
• 40:36
  the mainstay totally in that series until, unfortunately, he
• 40:39
  dies. Clear press in danger.
• 40:40
  We haven't seen it. Also in the archives.
• 40:42
  One of my best picks, I must say.
• 40:44
  But we get to spend the night spying on Janet's office.
• 40:50
  Yes, indeed. This is a showcase, not really
• 40:53
  showcase. I do have some questions around
• 40:57
  it, but I want to hear from you first.
• 40:59
  You are a fan of surveillance? Yeah, absolutely.
• 41:03
  Yeah. You have mother.
• 41:05
  He seems to be the sound guy in a lot of these situations.
• 41:08
  He's got the mic out so he can get audio.
• 41:11
  OK. Yeah, yeah.
• 41:12
  You've seen it, right? Yeah.
• 41:13
  And then you have three other people who all want eyes on it.
• 41:16
  Now, what's interesting to me is you have Lee Garlington walk in.
• 41:19
  Janet's trying to do some work, apparently.
• 41:21
  Yes, he's got his work. Yeah, they're trying to figure
• 41:23
  out where's the black box? Maybe we can get his password on
• 41:26
  the computer. All sorts of cool things happen.
• 41:28
  They got a telescope, they can see what's happening.
• 41:30
  Great lens. Absolutely great lens.
• 41:32
  The the blinds are up, luckily, Yeah.
• 41:35
  And then you get Lee Garlington again, Lover making a lot of
• 41:39
  noises. Yeah.
• 41:41
  And we just hear, much like Whistler, just the audio cues.
• 41:44
  Yeah, but no visual. Now the blinds are down at this
• 41:46
  point. And then we do get a visual cue.
• 41:50
  And let me tell you what I just heard and what I'm seeing.
• 41:52
  Don't match up. You're thinking it's a little
• 41:55
  exaggerated, Yes, that's how they do it in Czechoslovakia, I
• 41:58
  apparently. Because she's like, at that
• 42:00
  point fully clothed, but it sounds like they've just had sex
• 42:03
  twice. There was a.
• 42:06
  Blouse there was buttons. Again, we did see a bra after
• 42:10
  all that, actually, but Carl wants to sneak a peek, and as he
• 42:15
  should should, absolutely. I imagine you enjoyed Sydney in
• 42:19
  this poem 100%. I think a lot of people do.
• 42:21
  It's genius. Yeah.
• 42:22
  His name, his reaction's pretty. Spot on.
• 42:24
  It's the second one of this movie where his reaction to Carl
• 42:29
  is just like. Grow up, man.
• 42:31
  Just get over yourself, grow up. Exactly.
• 42:32
  And then he's immediately like a child.
• 42:34
  Can I see it's? Just, well, this is before, like
• 42:37
  Internet pornography. I don't know if I'm supposed to
• 42:39
  say that, but it's a word. So when you can get these
• 42:43
  glimpses into these? Totally.
• 42:45
  And some people have a thing, even voyeurism, the Internet
• 42:48
  people want to see. Voyeurism is a.
• 42:50
  Huge thing, 100% huge thing. Some people like to be watched
• 42:54
  and be watching. So I mean, it's just a.
• 42:56
  It's a whole. Genre, Absolutely.
• 42:57
  It's totally natural. Completely natural.
• 43:00
  And it gives us an opportunity to have a moment where they can
• 43:03
  use the computer and focus in try to get the password.
• 43:06
  So there's elements of this movie where we're going to get
• 43:08
  into some of the tech soon. Yeah, this.
• 43:09
  Is them laying out the plan and they're frustrated because they
• 43:12
  can't get what they need. She's in the way, Lee Darlington
• 43:15
  is always in the way. Meanwhile, we do have to give
• 43:19
  Ackroyd because he wanted to be caused in this movie.
• 43:24
  Yeah, little research I did he he went to play that role, but
• 43:27
  it was already given to Sir Don Kingsley Don like a Don King.
• 43:35
  So he got this role and there wasn't a whole lot of meat on
• 43:37
  the bone. So from what I understand, the
• 43:40
  whole conspiracy stuff because he's going on about JFK, sure,
• 43:43
  fake moon, he was shot, but he wasn't killed.
• 43:45
  And the whole moonlight moonlighting, moon landing, the
• 43:48
  earthquake moonlighting is a great show.
• 43:50
  But the whole conspiracy stuff and him annoying crease was
• 43:53
  added into the script during sort of the reading of it.
• 43:57
  About ad libbing. Ad libbing.
• 44:00
  I don't know if it was or they. Well, I don't.
• 44:01
  OK, may not have been ad libbed, but the idea of it came to
• 44:04
  fruition after the script already been finalized.
• 44:07
  Got you? Are you with me here?
• 44:09
  Well, I don't know. You did the research.
• 44:10
  I did well, one of us has to do it.
• 44:13
  I wanted to hear the whole story.
• 44:14
  Tired of doing all the research for your movies?
• 44:17
  All right? I expect the same from you next
• 44:20
  week, all right. Yeah, I'll check the garbage bin
• 44:22
  to. You.
• 44:23
  I don't know what that means, do you?
• 44:27
  Well, do you? Do you know this?
• 44:28
  Do you know the difference between an answering service and
• 44:30
  an answering machine? Yes, OK.
• 44:32
  Because it's an integral difference right now.
• 44:34
  It's. A deal breaker.
• 44:35
  It's what Whistler. It's a convenience.
• 44:37
  I think it's brilliant. OK, I I love it.
• 44:40
  I think it's, I think it's such a great thing.
• 44:41
  Now granted, in this day and age an answering service isn't
• 44:44
  really very common, but it's the the business thing of that era.
• 44:50
  Yeah, I guess that checks out. You you have a service and and
• 44:53
  so. The she reveals that he does.
• 44:55
  Yeah. And I called your service and
• 44:56
  you still you don't call so. Why is that there?
• 44:58
  You know what? You're right.
• 44:59
  And Whistler, don't look, listen, yeah, is a genius line.
• 45:03
  We'll talk about Trith Aaron later.
• 45:05
  But he's so good in those kind of moments.
• 45:07
  And the writing, I think is so tight that you have that.
• 45:11
  Yeah, it makes complete sense. And that's good writing to me,
• 45:13
  particularly for these types of movies.
• 45:15
  These people are supposed to be smarter than we are.
• 45:17
  Like they're the ones doing the job, they're doing the job
• 45:19
  they're. Definitely should be smarter
• 45:20
  than us. Yeah, so I love it.
• 45:22
  I think it's great. And his casual nature of the
• 45:25
  black box is on the desk. Between this and that, you're
• 45:29
  like, oh shit, that's right. Because Carl explained.
• 45:32
  What are we looking at? Oh, we're looking at this on the
• 45:34
  desk. They're literally looking.
• 45:35
  For a black box, Come on. Think outside of the Yeah box.
• 45:38
  Exactly. By the way, Lee Garlington was
• 45:40
  in Seinfeld. Of course she was.
• 45:42
  Very first episode. First episode.
• 45:43
  She got fired. I never came back.
• 45:44
  That's. True.
• 45:45
  I don't know. She got fired.
• 45:46
  She got fired. You're hired for the pilot, then
• 45:47
  you're. You're a waitress in, a in.
• 45:50
  A She was a regular, a regular and she got fired.
• 45:53
  Jerry didn't like her, maybe. Probably man.
• 45:55
  Probably he's Palestinian or something.
• 45:57
  Yeah, maybe. Yeah.
• 45:58
  Yeah, that's a real problem. Yeah, yeah, yeah.
• 46:01
  I separate the man from the comedy.
• 46:05
  Now that they've identified the box, where it is and how they're
• 46:08
  going to retrieve it, effectively they come up with a
• 46:11
  plan. Now, we mentioned earlier, I
• 46:13
  mentioned earlier about Ocean's 11.
• 46:15
  This scene reminds me a lot of Ocean's 11.
• 46:17
  Now, if you recall the scene where Casey Affleck and Scott
• 46:21
  Con are, they've got the balloons.
• 46:23
  Balloons in the casino. Right.
• 46:25
  They're causing this ruckus. They're trying to cause a
• 46:27
  distraction so that they can sneak in and get the tag and so
• 46:30
  forth of. Course.
• 46:31
  This scene plays out very similarly.
• 46:33
  I love this scene because it feels both chaotic and yet
• 46:38
  completely perfectly planned. Yeah, it's believable.
• 46:41
  It feels totally natural. It's not a plot contrivance.
• 46:44
  We need him to press the button. If I were in that position as
• 46:47
  like customer service guy. What I think is great is he
• 46:49
  doesn't walk in with the cake because that feels, oh, he eats
• 46:53
  too easy. Yeah, yeah, he's got the little
• 46:55
  Chris. My wife been here.
• 46:57
  She dropped off a cake. Have you seen it?
• 46:58
  It's. Not his first rodeo, buddy.
• 47:00
  All of that planting. Yeah, planting seeds into the
• 47:03
  heads of people and then get them why they're distracted.
• 47:06
  Yeah, I'm with it. Anyway, I think it's the perfect
• 47:08
  little 2 minute encapsulation of what makes this team good at
• 47:12
  what they do, and the writing to be just really great for setting
• 47:17
  those kind of things up. Generally for them, generally,
• 47:20
  yeah. You noticed earlier they're
• 47:31
  doing a little bit research on door knobs, Yes, And they were
• 47:34
  picking a lock. Well, it's a number key one.
• 47:38
  Yeah, bad news. Bad news, but Akroyd knew a guy
• 47:43
  in. The Iraq War.
• 47:45
  Yeah, Desert Storm, but somebody on the other side.
• 47:48
  Yeah, again, it's still interesting comments.
• 47:50
  So they don't have a lot of experience Now.
• 47:53
  I'm not here to nitpick, but I did say I was in a bit of a
• 47:56
  mood. You prefaced.
• 47:57
  I've done pretty good, Phillip. Certainly, I would say, well.
• 48:00
  The scenes are coming up, the balloon stuff all makes sense.
• 48:03
  I buy it. Plausibility level.
• 48:05
  We're doing fine. Yeah, OK.
• 48:07
  He's talking on the mic while Crease is explaining to him how
• 48:10
  to get into the door, and I'm looking at Redford.
• 48:14
  I hear him say, uh huh. Yeah.
• 48:16
  And we're still, we're supposed to believe that someone else is
• 48:20
  on the other end talking to him. But it's similar to the empty
• 48:24
  coffee cup. Or I can clearly tell that he's
• 48:28
  not talking to anybody. He's just doing it because he's
• 48:31
  needs to pretend to be talking to somebody.
• 48:34
  It stood out for me. I don't know why.
• 48:36
  Again, it's not a big deal. I just, you know, I don't know
• 48:38
  what he's saying, but ultimately it just kicked the door and I
• 48:41
  didn't appreciate that. Yes, that was funny.
• 48:43
  That's what the whole payoff is. Yeah, it's worth it.
• 48:46
  I think. Yeah, so we're.
• 48:46
  Still fine. The first part is irrelevant.
• 48:49
  I agree with you that obviously if he was actually having a
• 48:51
  conversation that it wouldn't be funny because like the only joke
• 48:56
  is the joke is that it takes 35 seconds of uh huh.
• 49:00
  Yeah. OK, Yeah.
• 49:02
  Oh yeah, OK, yes, to lead into nothing, Nothing.
• 49:05
  Just kick it. Yeah, so.
• 49:07
  That's the joke and I think it works really great for it, Yeah,
• 49:10
  But I can appreciate, yes, it doesn't make sense
• 49:13
  realistically. We'll call it the coffee cup.
• 49:15
  We're too lazy to actually fill it up with anything.
• 49:18
  I think it's lazy. I think it's continuity, OK.
• 49:20
  I think it's a weird continuity thing.
• 49:22
  Whatever you say buddy. I love continuity though.
• 49:25
  Apparently I don't know what it is but but what I do know is
• 49:29
  this is a pretty sharp scene in between.
• 49:32
  Oh yes, yes, yeah, your gal. Yeah, Lee Garlington comes
• 49:38
  inside, catches. Yeah.
• 49:41
  And this scene only exists to give us some humor.
• 49:44
  Yeah, that's it. It doesn't need to be there.
• 49:46
  It just stops the movie for 5 minutes.
• 49:49
  Yeah, this is where I can tell he's talking to somebody on the
• 49:52
  other end and the way he gets things confused because when you
• 49:56
  say I, it means you because you're talking to a third
• 49:59
  person. And I'm as confused as him when
• 50:02
  he's saying it. And I think it's all played
• 50:04
  well. Masterful.
• 50:05
  Masterful from Redford's side of things and from crease.
• 50:09
  I don't love Garlington in it, and how she's responding to it,
• 50:12
  I don't know. I guess again, it's the accent.
• 50:14
  I'm struggling with it, but ultimately.
• 50:16
  Do you wish you were in Mexico City with her?
• 50:18
  Yeah, well, lucky that they had that little tidbit of
• 50:20
  information, but it it all played well.
• 50:22
  Masterful. I do have a problem with
• 50:24
  Whistler, though, because this is high stakes.
• 50:27
  Yeah, big steaks, a lot of steak, full cattle.
• 50:31
  Sure. Yeah.
• 50:32
  Like a head of beef, Yeah. And, yeah, he tries to sneak in
• 50:36
  that line to, you know, give him lots of head.
• 50:38
  Yeah, you can't afford to blow this.
• 50:41
  We're dealing with Russians here.
• 50:44
  But how Redford delivers it and almost says it, it's very
• 50:48
  organic. It plays well.
• 50:50
  Yeah, that's fair. I hope so.
• 50:52
  Yeah, I don't know that they are Russian.
• 50:55
  I don't know that the bad bad. Guy.
• 50:56
  Well, we don't know. It doesn't.
• 50:57
  Really matter, really causes working for the mafia.
• 51:00
  Russians are like the red herrings I think in this.
• 51:02
  Movie. Oh yeah, they are.
• 51:03
  Absolutely. So maybe because of that,
• 51:04
  Whistler can make the joke like that because he's like, yeah.
• 51:07
  Either way, they're stakes, OK? Doesn't matter who it is.
• 51:10
  Yeah, it's just there for that laugh moment.
• 51:12
  Those 5 minutes are, I think, hilarious.
• 51:15
  But. Yeah, when I laughed.
• 51:16
  So mission accomplished. Absolutely.
• 51:19
  Well, after that masterful scene, really it's time to
• 51:21
  celebrate if you if you got David to laugh.
• 51:24
  I guess that's cause for celebration.
• 51:27
  If you want me to laugh, just put in almost Heroes giggle out
• 51:31
  of me. Yeah, we have what I thought
• 51:35
  must have been Christmas. Like I just lit like Christmas
• 51:37
  in that. Apartment.
• 51:38
  Well, I was confused. First time I'm watching it.
• 51:41
  I didn't think much of it. Right.
• 51:42
  It's a scene. There's a lot of things
• 51:43
  happening, a lot of all that. Everybody's there.
• 51:45
  Yeah. Yeah.
• 51:46
  Celebratory. Celebratory.
• 51:47
  So I'm thinking maybe it just happened to be Christmas.
• 51:50
  I'm like, well, Phil will know this for sure, being a Christmas
• 51:53
  guy. Yeah.
• 51:54
  And All might as well just call you Lloyd.
• 51:57
  And then I thought about something I saw recently.
• 52:00
  OK on my feed, my Facebook feed. Dangerous place to be.
• 52:04
  I watched the Blue Jays celebrate making the playoffs.
• 52:07
  OK. And it seemed like a little
• 52:08
  much, OK. It's like they just won the it's
• 52:12
  like they won the World Series and they just clinched a playoff
• 52:16
  spot. Sure.
• 52:17
  Then they proceeded to beat the Yankees.
• 52:19
  Yeah. Rather easily, actually, which
• 52:22
  is great. And then you could just imagine
• 52:24
  that celebration. Sure.
• 52:27
  So if you celebrate like you've won the World Series, you will
• 52:31
  never win the World Series because you've just celebrated
• 52:34
  like you did. You think there's nowhere else
• 52:35
  to go? It is.
• 52:37
  It's similar to the World Cup where Canada was in I know
• 52:41
  You're. Not a women's soccer guy.
• 52:42
  Women's soccer. They're better, but this was
• 52:44
  men's soccer. It might have been the Olympics.
• 52:46
  Either way, they're putting together a pretty good team,
• 52:48
  sure, and they're all excited to play.
• 52:50
  Here we are, finally. Canada is a force now.
• 52:53
  Women are always have been good for a while.
• 52:54
  The men are finally catching up. Finally, finally.
• 52:58
  And they scored their first goal and just a game and they
• 53:01
  celebrate it like they'd won gold medal for the World Cup was
• 53:05
  like, well, you just sealed your fate.
• 53:07
  They lost the game because stay home.
• 53:09
  The humbler I am the humbler I am the humbler and it irritates
• 53:13
  me when you over celebrate. Gotcha.
• 53:16
  Because you've left yourself nowhere to go and you will
• 53:18
  ultimately not get to that next level.
• 53:20
  You think dancing to chain of fools is celebrating too much?
• 53:24
  I think it's for what they just did.
• 53:27
  I don't think it warranted this type of celebration.
• 53:30
  Mission accomplished. They did the job I.
• 53:31
  Guess but there's a lot of food there feels like.
• 53:34
  Catered, they just made $175,000.
• 53:36
  They could've just went out for dinner.
• 53:38
  I'm just saying it seemed. Like they saw what happened the
• 53:40
  last time they went out for dinner.
• 53:42
  I was going to rest it that well, Yeah.
• 53:44
  So this time they ordered stay in.
• 53:46
  They stay in. But I mean, it's a lengthy scene
• 53:50
  and there's important things about it, but that just kind of
• 53:52
  clicked in my head. It felt like an over
• 53:54
  celebration. OK, but clearly you're OK with.
• 53:57
  That I was totally fine. I didn't feel like an over
• 53:58
  because they just celebrated the job.
• 54:00
  Yeah, And I didn't feel like too much to sort of play some music
• 54:02
  and dance with some hors d'oeuvres.
• 54:04
  Speaking of dancing, did you find it odd at all that Liz
• 54:08
  danced with everybody? No, we just happened earlier
• 54:10
  that they're all friendly. OK, very friendly.
• 54:12
  Just put a pin in that one, OK, Because there's there's three
• 54:16
  things in this movie that just made her character a little odd
• 54:19
  to me. But that's number one.
• 54:20
  That's number one. So mark that down.
• 54:22
  She danced with everybody and everybody danced differently,
• 54:25
  which is probably the purpose of the scene, to give us a little
• 54:27
  bit of a giggle there. Now, after the celebration,
• 54:29
  things die down a little bit, as they should have, as they should
• 54:33
  have even started. These people should be sitting
• 54:35
  in silence in the dark. Awkwardly.
• 54:37
  Waiting for their next move the bat phone to ring but we get
• 54:42
  Redford opens up a little bit reveals that his relationship
• 54:46
  with Cosmo and what happened that night he yeah Cosmo got
• 54:50
  arrested 12 years in prison 12 years and didn't take didn't
• 54:53
  take and died there presumably he didn't make it and he went to
• 54:58
  Canada yeah we welcomed him as we.
• 55:01
  Did open arms Open arms, buddy? And this is actually where we
• 55:04
  get classic Redford vintage. I'm trying to kind of
• 55:09
  encapsulate his character in a lot of movies.
• 55:13
  But there's a point where he's saying this and he's looking
• 55:16
  sort of down. He's not looking at anybody
• 55:18
  specifically. Sure.
• 55:19
  And then he says something. Yeah.
• 55:21
  And then he reveals that Cause died and now everybody's looking
• 55:24
  at him. Got you.
• 55:26
  Then he looks up and sees that everybody's looking at him.
• 55:30
  That is a moment he has in a lot of his movies.
• 55:33
  OK, where he and he's like curious to why people are
• 55:36
  looking at him. I don't know.
• 55:37
  It's just I can't quite articulate watch.
• 55:41
  That scene, you'll see, Yeah, Redford doing a thing.
• 55:43
  Yeah, Redford do. Like we have a lot of actors
• 55:45
  that we've covered over the years that have a thing.
• 55:47
  Redford has a thing. I don't know, he plays off other
• 55:50
  people really well with his eye acting.
• 55:52
  You can tell when he's thinking. I think that's a big thing with
• 55:55
  him, yeah. We're about to see that.
• 55:56
  Ultimately, yeah, exactly. So this whole scene sort of
• 55:59
  really shows us. The Redfords of it all in a
• 56:01
  movie again, that kind of gives us all shades of it, which I
• 56:03
  think is really. Very shady.
• 56:05
  A lot of fun. What also is fun.
• 56:07
  We have everybody kind of going around the room and they're
• 56:11
  basically trying to assess how they want to spend.
• 56:14
  Yeah, their their winning their new.
• 56:15
  Found wealth. That's right.
• 56:16
  Yeah. Beyond the spread and the
• 56:17
  celebration, they just spent well.
• 56:19
  I mean that that probably cost a few bucks, few bucks at least.
• 56:21
  So we got about 30,000 left each.
• 56:23
  We'll say that's right, the mother wants to Winnebago.
• 56:26
  Yeah, fair enough. Chris wants to go to Tahiti.
• 56:28
  Yeah, and his wife wants to go to right, Of course.
• 56:31
  It was her idea, actually, you know.
• 56:32
  Carl wants a date with Liz. Can't, which I find very funny.
• 56:37
  Yeah, which I could also add that into my weird things with
• 56:41
  Liz, by the way. Yeah, I mean, he basically said
• 56:43
  I want something, a good relationship or something.
• 56:45
  You can't afford it. I want one with Liz, and that's
• 56:47
  you can't afford that for sure. And Whistler wants peace on
• 56:50
  earth and goodwill towards men and women.
• 56:52
  Whistler, at this point basically just kind of goes off
• 56:55
  to the side. You've had your food and now
• 56:57
  you're just going to chill. Chill what?
• 56:59
  Do you do when you chill, Phil? I wish I played more Scrabble.
• 57:03
  Really. I love Scrabble.
• 57:05
  I. Don't I hate it?
• 57:08
  Wow, it's because you mispronounced the misspell and.
• 57:11
  It's not that it's the adding up of the score.
• 57:14
  I don't have time for it. I thought it was.
• 57:15
  No, it was the math, the letter thing.
• 57:17
  It's an act. No, I.
• 57:18
  No, I love Word With Friends. I played with bots for years,
• 57:21
  and I played against my sister. Played against a few people I
• 57:23
  knew, Sure. Yeah, Words with Friends.
• 57:25
  Like Scrabble in the electronic version.
• 57:28
  Goes fear, sure. But playing the actual board
• 57:30
  game, and I did as a younger person, but score, yeah, it's
• 57:35
  slow. Like you have to wait for people
• 57:36
  to come up with their word and they take so long.
• 57:39
  Yeah, you have patience. You do.
• 57:41
  And 92 people have more patience.
• 57:43
  That is true. That is true.
• 57:44
  And I consider myself a patient man, but I draw the line of
• 57:46
  Scrabble. That's it.
• 57:47
  Line of sand, Yeah. I'd rather be over with the
• 57:49
  black box hanging out with. Whistler, that's right in this
• 57:52
  scenario. So that's what's happening.
• 57:53
  We've got Whistler and he calls over to Mother and Carl to give
• 57:57
  him a hand with the box, and we've got Liz and Redford Bishop
• 58:02
  doing the Scrabble. Increase.
• 58:03
  Increase. Yeah.
• 58:04
  And this is by far my favorite scene in the whole movie.
• 58:08
  Figured it would be your top three.
• 58:10
  I didn't anticipate to be your favorite.
• 58:12
  Though I love it. So I'm going to have to maybe
• 58:14
  have you elaborate. I think it's a perfect
• 58:16
  encapsulation of what this movie is trying to do.
• 58:18
  I love the way it's shot. I think the visual of Whistler.
• 58:22
  Oh, Oh, yeah, Yeah. Well, yeah, that's fine.
• 58:25
  That's actually the best part of this.
• 58:27
  OK. So you're challenging my
• 58:29
  favorite scene and you just said the best part of it is?
• 58:32
  This the best part of your favorite.
• 58:34
  Scene OK, it's not the best part of the.
• 58:35
  Movie Oh heavens, got to Betsy. No, but it's a good.
• 58:37
  Moment I love how calming and peaceful Whistler is in just his
• 58:40
  descriptions of it. Try another quadrant try this
• 58:42
  try this and watching it erupt on his glasses is a perfect
• 58:46
  shot. It's.
• 58:47
  A money shot. Convey that there's something
• 58:50
  big happening and it just blows by and then they go.
• 58:52
  Back to it. You know why you need that
• 58:53
  visual cue? Because we don't know what the
• 58:55
  hell they're doing. Yeah, that's it.
• 58:57
  No way out. We knew exactly what was
• 59:00
  happening with the credit card receipts, the face recognition,
• 59:03
  the picture print out. We're able to follow that.
• 59:07
  We live that. We could relate our lives to
• 59:09
  that. Yeah, this movie, there's
• 59:12
  instances of this that they're doing stuff for, like, OK, I
• 59:14
  have to trust what you're doing because it makes no sense to me.
• 59:17
  Yeah, this is again, I want them to be smarter than me.
• 59:19
  And Whistler just said, holy cow, right?
• 59:21
  Like his delivery of that line. That's why I don't hate it.
• 59:23
  Is incredible and what's happening on the other side of
• 59:26
  the room is C tech astronomy and watching the puzzle over it and
• 59:32
  wonder about it and then go to the Scrabble board to work out
• 59:37
  the anagram. I think it's.
• 59:38
  Fantastic. Ruins the game.
• 59:39
  By the way, who gives a shit? I love it.
• 59:42
  I think it's so good and watching Redford in that moment,
• 59:45
  his eyes, his face, everything that's going on, you just feel
• 59:48
  the wheels turning, that's Redford.
• 59:50
  It's incredible. I could watch this 6 or 7
• 59:52
  minutes on repeat. I just think it's so well shot,
• 59:55
  well crafted, performances are great.
• 59:57
  Everything about it I love. Too many secrets and a great
• 1:00:00
  reveal. The under the table glass shot,
• 1:00:02
  I think it's just. It's perfect.
• 1:00:04
  Is my note. It's perfect.
• 1:00:05
  Yeah, it's definitely not talk. To me.
• 1:00:08
  I'm OK that he ruins the game of Scrabble because I don't like
• 1:00:10
  Scrabble. Exactly.
• 1:00:11
  I wouldn't want to play. I'm glad he did.
• 1:00:13
  What? He did.
• 1:00:14
  You probably would have done the same, yeah.
• 1:00:15
  But to just assume that rearranging the letters would
• 1:00:19
  give us some sort of secret term or word is just dumb to me.
• 1:00:24
  Like you just came up with a name Like whoever created C
• 1:00:26
  tech, they're not going to make, oh I'm just going to rearrange
• 1:00:29
  the letters. It actually means too many
• 1:00:31
  secrets. Like, there's no reason to do
• 1:00:33
  that. You don't think so?
• 1:00:34
  No, you just make a bogus name. End of story.
• 1:00:38
  You think it's too clever? Well.
• 1:00:39
  There's no motivation for you to do that.
• 1:00:41
  OK so that's really kind of a dumb idea to me.
• 1:00:45
  OK, The only reason I don't mind the scene is cuz I get the
• 1:00:47
  Redford that I love. Sure.
• 1:00:49
  With the wheels turning, Yes. The words they've come up with
• 1:00:51
  that aren't right are stupid. Monterey's coast.
• 1:00:54
  That makes perfect sense. What does that mean?
• 1:00:56
  The coast of Monterey's city of California.
• 1:00:58
  OK, So what, what does that mean?
• 1:01:01
  What does rat semen mean? Like like, well, we know what
• 1:01:04
  that like. That's the one thing to try to
• 1:01:05
  be funny. I'm like, that's not even funny.
• 1:01:07
  It's my least favorite. Moment, it reminded me of
• 1:01:09
  Varsity Blues where he's coming up with all the nicknames like
• 1:01:12
  Pedro. That's the Pedro the answer.
• 1:01:13
  Yeah. So I just think it's this is the
• 1:01:16
  plausibility where I'm like, OK, I am out on that part of the
• 1:01:19
  scene. But it shot well, granted, and I
• 1:01:22
  do love the Whistler side of things.
• 1:01:25
  I think the actually the best part of the scene is Carl with
• 1:01:27
  the helium. Actually.
• 1:01:28
  We overlooked that. That was a big thing in 92.
• 1:01:31
  Everybody was doing it. Yeah, it's on Tik.
• 1:01:33
  T.O.K, we should do a podcast on helium.
• 1:01:36
  We really should. You think so?
• 1:01:37
  No, no. I think we could probably just
• 1:01:39
  speed up. Yeah, put it to three times
• 1:01:41
  speed or whatever and it'll sound like we're on.
• 1:01:44
  There you go. So it's one of those bad, good
• 1:01:47
  scenes it. Disappoints me that you don't
• 1:01:49
  love it as much as I do, and I don't think you've made a strong
• 1:01:52
  argument. I think I frankly, but I may I
• 1:01:54
  may have not of articulated as well as I could have, but.
• 1:01:57
  Sticks or doesn't stick and for. Your but yeah, but yeah, C tech,
• 1:02:00
  OK. It doesn't have to spell
• 1:02:01
  something else. It just does.
• 1:02:04
  Yeah, it just. But he chose to come on.
• 1:02:05
  And I'm not the only one. There's people out there that
• 1:02:08
  feel the same way. They're probably and they
• 1:02:09
  probably articulate themselves better.
• 1:02:10
  We should have them on the show to.
• 1:02:12
  Explain my Well, I'll tell you who doesn't need any further
• 1:02:15
  explanation as Chris. He wants this thing shut down
• 1:02:17
  immediately. Of course, as they realize they
• 1:02:20
  have access to the code breaker. It's all the codes.
• 1:02:23
  Yeah, and another thing I don't like.
• 1:02:25
  Maybe this will be more, maybe I'll explain this better.
• 1:02:31
  I think it's Whistler. He says, does anyone want to
• 1:02:34
  murder 500 people? That's what he says, more or
• 1:02:37
  less, because they get into air traffic control.
• 1:02:40
  And he says, does anyone want to take down to passenger planes?
• 1:02:44
  Who wants to murder 500 people? What is?
• 1:02:46
  What a creepy, disgusting, odd thing to say.
• 1:02:49
  Pretty odd. Yeah, I got die hard 2
• 1:02:52
  flashbacks. I I don't remember the line
• 1:02:54
  specifically, but there was a lot of like, do you want to take
• 1:02:56
  down the power grid? Yeah.
• 1:02:57
  Well, one was, do you want to take down to passenger planes?
• 1:03:01
  I just thought it was a bad line.
• 1:03:02
  Totally a bad line. Yeah.
• 1:03:03
  Unacceptable. Unacceptable.
• 1:03:04
  Whistler is better than that. Yeah.
• 1:03:06
  He wants peace on Earth. That's right.
• 1:03:08
  That's why I have to rewatch the scene, because I'm rewatch the
• 1:03:10
  scene things. Don't connect to me because I'm
• 1:03:12
  with you. It's definitely said yeah.
• 1:03:13
  And I'm 90% sure it was Whistler.
• 1:03:16
  Yeah, OK. So it's out of character, Sure,
• 1:03:18
  absolutely, and should not be if.
• 1:03:20
  It's not that if you want. To black out New England?
• 1:03:22
  I'm OK with that. Foxborough Stadium?
• 1:03:24
  Shut it down. Didn't deserve it.
• 1:03:26
  Who wants to watch Tom Brady anyway?
• 1:03:28
  Well, it would have been maybe Drew Bledsoe. 92 This is your
• 1:03:31
  team. These are people.
• 1:03:32
  That's even before Bledsoe. Actually, that's before I was a
• 1:03:35
  Patriots fan. Actually, so it doesn't.
• 1:03:36
  Matter. No, it does not matter.
• 1:03:37
  I like the Rams at that point. Jim Everett, Yeah.
• 1:03:41
  You know, Henry, Ellard, Cleveland, Gary, you know what
• 1:03:43
  I'm talking about. You've won a couple of
• 1:03:45
  championships. I know what's up.
• 1:03:48
  And yeah, Chris's got to lock it down.
• 1:03:50
  Yeah. He's not going to let Liz leave.
• 1:03:51
  Not even Liz gets to leave and at first I thought why is he
• 1:03:54
  letting his wife leave and his kid leave but Liz can't go?
• 1:03:58
  That's an interesting. Point, but they explain it.
• 1:04:01
  Yeah, I guess because. Liz knows the secret.
• 1:04:04
  Yeah, Liz is a suspect, let's say.
• 1:04:06
  Which I don't think was very nice.
• 1:04:08
  No, she doesn't appreciate it. And she shouldn't.
• 1:04:11
  No, I think it's really important that she calls them
• 1:04:13
  out on it. And she does.
• 1:04:14
  Yeah. I look at it ironically, like if
• 1:04:16
  you've got mother, he's the dad of the group of the family,
• 1:04:19
  which is why he's wearing the suit.
• 1:04:20
  He is the guy that runs the show.
• 1:04:24
  Even if Redford is your front facing guy, he's the manager if
• 1:04:27
  you will. Yeah, and so he's bringing the
• 1:04:30
  suit. I think so.
• 1:04:31
  He's just like he's in that higher level of the team, I
• 1:04:33
  think. Yeah, he.
• 1:04:34
  Can still wear a sweater though. Sure, a Cosby sweater.
• 1:04:40
  No better dad out there. It's it's funny, I was looking
• 1:04:44
  up a movie that we've done recently and somebody wrote or
• 1:04:48
  produced Ghost Dad. Yeah, Sydney Partier, he
• 1:04:50
  directed. It that's it.
• 1:04:51
  Yeah, yeah. That was the connective tissue.
• 1:04:53
  I'm like, Oh yeah, I got a 4.4. Yeah.
• 1:04:56
  It's not a good movie. No, no.
• 1:04:57
  Leonard part six, however, is great, fantastic, fantastic, and
• 1:05:02
  this is where it's the next line that has some.
• 1:05:05
  Overtones. This is number 2 number. 2 1/2
• 1:05:08
  OK, yeah, the whole Carl wanting her number thing is 1/2 point.
• 1:05:12
  Oh, OK, OK. She says.
• 1:05:14
  I really enjoyed sleeping with all you guys.
• 1:05:16
  Yeah, Yeah. That's a joke.
• 1:05:18
  Yes, it is. You got it.
• 1:05:19
  I see where you're. Yeah.
• 1:05:20
  OK. OK.
• 1:05:22
  Pin, pin, pin. OK, putting it a pin.
• 1:05:26
  She's got a sense of humor. I like it, but more importantly,
• 1:05:28
  it's hand off time. 9:00 AM. 9:00 AM Yeah, they're off to the
• 1:05:32
  Bay Area. Yeah, the Bay.
• 1:05:34
  Outside, outside, they're going to drop off the box.
• 1:05:37
  Yeah, to Busfield and. Gregory Jones, we think.
• 1:05:41
  Greg Jones, Greg Jones, Greg Jones.
• 1:05:44
  And how do you like how this plays out?
• 1:05:47
  Personally, I think it's great. I love Chris saving the day a
• 1:05:50
  little bit. It's your mother.
• 1:05:53
  Absolutely. I think he has a similar scene
• 1:05:55
  in The Jackal, actually. Yeah, he has his realization.
• 1:05:57
  In a little moment. Yeah.
• 1:05:59
  So he has a little bit of Redford.
• 1:06:00
  I mean, he's at. The.
• 1:06:01
  I like that. I like that Redford is pushing
• 1:06:03
  back, too. He's like, I haven't done the
• 1:06:04
  thing yet. Like he doesn't like how
• 1:06:05
  clueless he is. Yeah, but the Mother thing, it's
• 1:06:08
  your mother. Yeah.
• 1:06:10
  Mother. It's great delivery.
• 1:06:12
  What's that from Mother? It's an SNL skit.
• 1:06:16
  I'm your mother, and we have a quick little newspaper.
• 1:06:19
  Moments. Yes, this is a possible
• 1:06:21
  newspaper. Or I didn't keep on going.
• 1:06:23
  I didn't notice. OK.
• 1:06:26
  Janik is dead. Yeah.
• 1:06:27
  So made the front page. Yeah.
• 1:06:29
  Yeah, of the art section, probably.
• 1:06:30
  Yeah, a lot of stuff makes the front page lately in our movies.
• 1:06:35
  Well, the front page of that specific section.
• 1:06:37
  The San Francisco Times or Chronicle.
• 1:06:40
  Maybe the Chronicle and that seems to set off a bit of an
• 1:06:44
  alarm to who they are dealing with.
• 1:06:47
  It might not be legit NSA. Correct.
• 1:06:50
  Yeah, We don't know. Something's up.
• 1:06:52
  Yeah, something's not. Sitting right and they try and
• 1:06:54
  solve it as, as Martin says, by going to the office.
• 1:06:59
  Of course, Demolished, demolished, gone.
• 1:07:02
  That is dumb concerning. Yeah.
• 1:07:05
  Sorry, thought you were going to say dumb.
• 1:07:07
  Well, I think in your point I imagine is and how quickly did
• 1:07:12
  it get destroyed after whatever. They tried to explain it.
• 1:07:14
  It's been scheduled for a while. OK, Yeah, that's fine.
• 1:07:16
  No big deal, buddy. Absolutely.
• 1:07:17
  It's an abandoned building, so if I was these guys, I would say
• 1:07:21
  great, let's I can get in and get out without anybody
• 1:07:23
  noticing. Yeah, they did the research.
• 1:07:24
  It feels fine. They found it.
• 1:07:25
  Yeah. Yeah, I'm OK with that.
• 1:07:26
  I take the dumb back, buddy retracted.
• 1:07:29
  But what happens next is as much as that previous scene we talked
• 1:07:32
  about was my favorite scene, this is my favorite line, or
• 1:07:35
  these are my favorite lines because the building has been
• 1:07:37
  destroyed. They're panicked.
• 1:07:39
  We've got Chris, who's in the background, OK, pacing on the
• 1:07:43
  telephone. And he says, don't tell me you
• 1:07:45
  can't do it, because I know you can.
• 1:07:47
  Who's he talking? To And don't tell me you won't
• 1:07:49
  do it, because I've got to have it, damn it.
• 1:07:51
  I need to know. I need to know now.
• 1:07:54
  He wasn't even talking to. Anybody.
• 1:07:56
  As he's doing that, he comes and finishes his line in the
• 1:08:01
  foreground in the camera. It's a phenomenal delivery of
• 1:08:04
  phenomenal lines that feel the sense of urgency and panic from
• 1:08:08
  people who know and are exercising that strength and
• 1:08:12
  that power. And from a cinematography
• 1:08:14
  perspective, watching him go from the background, pacing
• 1:08:17
  through the scene to get to deliver that line in such a
• 1:08:20
  beautiful frame, I'm like, God, I just love his delivery.
• 1:08:24
  Don't see a lot of Sydney Poitier movies obviously.
• 1:08:26
  The Jackal and the Archives. But.
• 1:08:28
  He's not an actor that we've gone to a number of times, but
• 1:08:31
  when I watch him in this, I think he's just delivered so
• 1:08:34
  strongly, these lines. He's fantastic.
• 1:08:37
  I love it. I think he recreates that shot
• 1:08:39
  in Ghost Dad, actually, minus the minus the tie.
• 1:08:42
  Yeah, sure. He's not in that movie.
• 1:08:45
  No, but he he wrote it in there for cause.
• 1:08:47
  To do for the cause. Yeah.
• 1:08:49
  Another cause. Wow.
• 1:08:51
  Yeah, it's all coming together. Yeah.
• 1:08:52
  Both troublemakers say the least.
• 1:08:56
  Yes. Anyway, that sort of follows up
• 1:08:58
  with the line that they probably were government, just not ours,
• 1:09:00
  just not ours. Yeah, that's a good, great line.
• 1:09:02
  That's good. There's some good.
• 1:09:02
  Lines in this. Yeah, yeah, yeah, definitely.
• 1:09:05
  Yeah, Well, I'm glad. To hear we got your favorite
• 1:09:07
  lines out of the way, we have nowhere to go but down.
• 1:09:10
  That's right, movie kind of falls apart after this.
• 1:09:14
  I'm joking. One of my favorite scenes is
• 1:09:17
  coming up soon. Ish.
• 1:09:19
  It is. It isn't another one of those.
• 1:09:21
  OK, let me tell you right up the middle.
• 1:09:25
  Be ready for it. But but before we get there,
• 1:09:27
  Bishop wants to know what's going on.
• 1:09:29
  He doesn't like to be in the dark.
• 1:09:31
  No, he doesn't. He's got to figure this out.
• 1:09:32
  Not happy he goes to see Greg. Yep, you know it's one guy that
• 1:09:36
  can help him out. The cultural attache And he's
• 1:09:38
  not messing around. He takes a loaded gun.
• 1:09:40
  Yeah, yeah, I assume it's. Loaded, certainly he spins it.
• 1:09:44
  That's what they do, spin it. Flip it back.
• 1:09:47
  Yeah, excuse yourself, he says. Yeah, he's just got one bullet
• 1:09:51
  in there. There's a little Russian
• 1:09:52
  roulette with the Russian himself.
• 1:09:54
  Could be. They can't talk there, though.
• 1:09:56
  They got to go to a pool area, it seems.
• 1:10:00
  Well, yeah, it's a pool. It's a pool.
• 1:10:02
  Yeah, it's a pool. And.
• 1:10:04
  And the area around it. Yeah, well shot.
• 1:10:07
  I think it's a beautiful shot, one of my favorite.
• 1:10:09
  Shots, it is nice. I knew it's.
• 1:10:10
  A beautiful blue. Watching the doorway, the frame,
• 1:10:13
  the silhouette. I I, I think it's great.
• 1:10:15
  I could practically smell the chlorine.
• 1:10:17
  Yeah, that's how good that. Scene was shot really fantastic
• 1:10:19
  that way. And they got to go somewhere
• 1:10:21
  else even. Yeah, they can't continue to
• 1:10:23
  talk about it. Greg's got some ideas, so
• 1:10:25
  they're they're they're gonna Who is it?
• 1:10:27
  Yeah, he wants to help. Yeah, Redford, I think, is
• 1:10:31
  trusting him. Yeah.
• 1:10:32
  And he alluded that earlier in the movie that he's trustworthy.
• 1:10:35
  It was Liz that really had some I.
• 1:10:37
  Think they just think he's a blowhard.
• 1:10:38
  I think they don't really want to talk to him, but I don't
• 1:10:40
  think they ever questioned his because you're in that business.
• 1:10:43
  It's the professional liars that you can trust the most.
• 1:10:45
  Almost right, Ironically, yeah, because we're both in the same
• 1:10:48
  worlds, I think is the implication.
• 1:10:50
  Hell of a world. Which leads us to another limo
• 1:10:52
  scene. Yes.
• 1:10:53
  Not as steamy. Necessarily no, that that middle
• 1:10:58
  barrier doesn't need to come up on this one.
• 1:11:00
  No, but they're trying to figure out who those fake Yeah, say
• 1:11:07
  guys are. That's right.
• 1:11:08
  Who's Gregory Jones? But unfortunately, Phillip,
• 1:11:11
  they're getting pulled over for speeding.
• 1:11:13
  Suspect I don't know how fast they were going.
• 1:11:15
  That's right, we'll never know. We'll never know.
• 1:11:18
  Greg's about to go really slow though.
• 1:11:20
  What I do like about this scene, though, is the do you want our
• 1:11:23
  protection? Do you want our protection over
• 1:11:25
  like 3 or 4 times? We know that there's something
• 1:11:27
  kind of going on here. This is part of the consulate.
• 1:11:29
  You can stay. There's an energy to that that I
• 1:11:32
  really enjoy. It's short, but I I like.
• 1:11:34
  It and I and I thought he was going to stay.
• 1:11:36
  Sure, I would have stayed. Yeah.
• 1:11:38
  Certainly, either way it's not working out.
• 1:11:40
  No, no, no. Especially for Greg and the
• 1:11:42
  driver. Poor guy.
• 1:11:43
  He's just the driver. Nobody wins.
• 1:11:44
  Nobody wins. Too many secrets.
• 1:11:46
  That's such a great line. Secrets.
• 1:11:48
  He's on the payroll. Exactly, Exactly.
• 1:11:51
  And Greg's last line is, you know you won't know.
• 1:11:52
  Go to trust and that. Impression I'm getting.
• 1:11:55
  This whole movie is really about that.
• 1:11:57
  If you have trust issues, this might not be the movie for you.
• 1:12:00
  Totally. For it's gonna reinforce that
• 1:12:01
  problem. Yeah.
• 1:12:02
  So don't check it out. Yeah, exactly.
• 1:12:04
  Listen to this. Don't watch this movie, Yeah.
• 1:12:05
  Don't. Yeah.
• 1:12:07
  It's all right here. You don't even need to watch it.
• 1:12:16
  We get one of your favorite types of scenes.
• 1:12:19
  I've been begging for one of these scenes.
• 1:12:21
  It's the one of the movies. I don't have to ask the
• 1:12:23
  question. Would it be better with?
• 1:12:24
  Yeah. It is.
• 1:12:26
  What's funny in movies, and we accept that in all types of
• 1:12:28
  movies, is what wouldn't really knock you out, Knocks you out.
• 1:12:32
  Sure. It's just going to leave a
• 1:12:33
  bruise. It's going to hurt.
• 1:12:34
  Yeah, It doesn't knock you out. Yeah.
• 1:12:36
  But we we accept it. That's right.
• 1:12:38
  There's a thing called industry knowledge, and there's a
• 1:12:41
  expectation that you have a basic industry knowledge and a
• 1:12:44
  basic kind of shorthand for what the terms and whatever else it
• 1:12:47
  is in the universe, in the ecosystem, and that is this.
• 1:12:49
  Along with the coffee cup. Yeah, this is that you just sort
• 1:12:52
  of accept it. What's the point if every time
• 1:12:54
  someone gets hit and. Knocks them out and.
• 1:12:55
  You're like. Nope, you're like.
• 1:12:57
  Then stop watching movies. Yeah, don't worry.
• 1:12:59
  Exactly. Right.
• 1:12:59
  Like if every cup is going to bother you, Oh, well, that
• 1:13:02
  wouldn't happen like that. Like, yeah, OK.
• 1:13:04
  Just don't do it, yeah? I love the trunk.
• 1:13:07
  I'm happy to be in it. It's about time.
• 1:13:09
  It's more spacious. Yeah, with only one person in
• 1:13:11
  there. Or the limo trunk.
• 1:13:12
  I think a combination of the two.
• 1:13:14
  Yeah, yeah, yeah, yeah. I think you put Clooney and
• 1:13:16
  Lopez in a limo trunk. I think you've got a different
• 1:13:19
  opinion. And put Redford in there too.
• 1:13:20
  Now we have a scene. Jeez Louise.
• 1:13:25
  I like the little. Thing where on the way they
• 1:13:28
  knock about again Yeah like, like, like someone has to write
• 1:13:32
  that. To your point, yes, it wouldn't
• 1:13:34
  have knocked him out if he had hit him the first time, but they
• 1:13:35
  even acknowledged that probably wouldn't have knocked him out
• 1:13:38
  enough to get them where they need to go.
• 1:13:39
  So we're just going to pull over and.
• 1:13:41
  Whack them and redo it. That part just makes me chuckle.
• 1:13:44
  I wish they would have done something a little bit different
• 1:13:46
  in that moment. OK.
• 1:13:47
  I'll talk about it soon, OK. Yeah, well, we're about an hour
• 1:13:50
  into the movie, about halfway a. Lot of pins.
• 1:13:53
  OK, there's too many pins and we've got the introduction, I
• 1:13:57
  guess the reintroduction of Cosmo, the character.
• 1:13:59
  Sir Ben Kingsley is there, Benny boy, Danny, whatever you want to
• 1:14:02
  call him. Yeah.
• 1:14:03
  Whatever, Whatever. I feel like Kingsley, this guy,
• 1:14:07
  this actor, he's great. He really is.
• 1:14:09
  He's great. That's all I can say.
• 1:14:11
  That's all I want to say. That's all I'm going to say.
• 1:14:13
  Rules of Engagement may be the only movie that we've ever seen.
• 1:14:18
  Well, it's possible. I know he's been in a lot.
• 1:14:20
  I don't think we've done anything other than rules.
• 1:14:23
  House of Santa Fog is a movie that he's in in recent modern
• 1:14:26
  times which is phenomenal. I get the sense that you are pro
• 1:14:29
  band though. Like you think he's probably a
• 1:14:31
  pretty good. Actor, I generally, I think he's
• 1:14:32
  a great actor. Generally this movie, I think
• 1:14:35
  he's a good actor. His accent work is questionable
• 1:14:37
  OK, but generally speaking I think he's great.
• 1:14:41
  That's funny because I did hear some rumblings of people not
• 1:14:44
  being completely on board with the consistency of his accent
• 1:14:48
  and I didn't notice. I think for the most part, if we
• 1:14:51
  look back, you haven't really had too many accent issues,
• 1:14:53
  right? We've talked about the devil's
• 1:14:54
  own. I've had bigger issues with that
• 1:14:57
  accent. Blood diamonds.
• 1:14:58
  I had more issues than brah, brah, bruh.
• 1:15:02
  Yeah. Varsity Blues is where I wasn't
• 1:15:04
  a fan of. That's Rawson's accent.
• 1:15:06
  That's right. But yeah, generally I'm the
• 1:15:07
  more. I think you're either ball don't
• 1:15:09
  notice them or doesn't affect and again you you detect like
• 1:15:13
  such other things that will completely derail you and yet
• 1:15:17
  these things are like completely fly by the night right.
• 1:15:20
  It doesn't matter and this doesn't derail me, but I was
• 1:15:22
  like like every time a bad accent I've talked about it
• 1:15:25
  every time I notice it yeah, it thieves another example of that
• 1:15:28
  pick one and stick with it. You know and yet this one again,
• 1:15:31
  I I don't care. Just do your thing yeah, but
• 1:15:35
  he's doing 3 different accents it feels like throughout the
• 1:15:38
  movie. Yeah.
• 1:15:38
  I'm glad that I don't. Yeah, it's great pick up on that
• 1:15:42
  because that would I'd be out. Well, it's just one more thing.
• 1:15:44
  It's one more thing that you're nitpicking on.
• 1:15:46
  I can't. Afford that, it's a bit of that
• 1:15:48
  same base knowledge we're just talking about.
• 1:15:50
  I don't expect an English actor to speak perfect American, or I
• 1:15:53
  don't expect a perfect a Scottish actor to have a perfect
• 1:15:56
  Canadian accent. Just throw in a couple of A's,
• 1:15:58
  it doesn't bother. Me.
• 1:16:00
  Better movies like The Hunt for Red October.
• 1:16:03
  I was just. Thinking of that when you loved
• 1:16:04
  his Russian accent. Sean Connery.
• 1:16:07
  I nailed it. Totally nailed it.
• 1:16:08
  Nailed it. If you're gonna let that derail
• 1:16:10
  you, you're gonna hate that movie.
• 1:16:12
  And it just feels like such a silly thing to to be frustrated
• 1:16:14
  by. Yeah.
• 1:16:15
  So let it go, buddy. I'm trying.
• 1:16:16
  OK? No promises.
• 1:16:19
  Regardless though, he is just a great on screen presence.
• 1:16:23
  He brings a level of intensity correct that really impresses
• 1:16:26
  me. The character is well written
• 1:16:28
  totally as well. I like how they use the magic
• 1:16:30
  trick. Oh yes, just as a way of saying
• 1:16:33
  this is who that is. I thought the same thing.
• 1:16:35
  Clever. Yeah.
• 1:16:36
  Subtle. Yeah.
• 1:16:37
  Just enough to kind of like, oh, OK, you don't need the Cosmo,
• 1:16:39
  that's you right. Or something.
• 1:16:40
  It's just like a little Cosmo. It's a little visual clue before
• 1:16:45
  we get into the whole story, which I like yeah Cuz it's been,
• 1:16:47
  you know, 25 years. Yes certainly I don't know if
• 1:16:50
  you would recognize them immediately, right.
• 1:16:52
  Yeah it might take a a moment or two yeah.
• 1:16:55
  But yeah, the implication of this is a great scene.
• 1:16:57
  It just really is sort of doubling down on the you can't
• 1:17:00
  trust anybody. The box could reveal everything,
• 1:17:05
  a hell of a box. And that they go over the
• 1:17:08
  conceit, right? Money is the problem.
• 1:17:09
  We've said it forever, right? Money buys politicians, it buys
• 1:17:12
  bureaucracies, it keeps the rich rich and the poor poor.
• 1:17:16
  And that's the design. And that's the way it's always
• 1:17:17
  going to be. And his plan, theoretically, is
• 1:17:20
  to eliminate all of that. And how does that look?
• 1:17:25
  Yeah, ultimately it's right if if nobody's rich and no one is
• 1:17:27
  poor, then everybody is the same.
• 1:17:30
  We're all equal. Yeah.
• 1:17:31
  And the question is really how will that yeah play out over the
• 1:17:35
  long term? I don't think he's thought it.
• 1:17:37
  Through I think it's a reasonable idea.
• 1:17:39
  Oh, it's a great idea, Phil, as as a person that doesn't have
• 1:17:42
  much, that doesn't have much, No, I'll take my equal share,
• 1:17:45
  let's say. Sure, but it is definitely not,
• 1:17:48
  I don't think a well, yeah, half baked plan.
• 1:17:51
  A little bit. Yeah.
• 1:17:52
  He's only had 25 years to think about.
• 1:17:54
  Well. And Redford thinks he's gone.
• 1:17:56
  A little Batty little berserko drops the old C word.
• 1:18:01
  Yes, crazy. And no one likes to hear that.
• 1:18:03
  Nobody wants to because they don't think.
• 1:18:04
  They think, well, I'm not crazy. Every other week someone listens
• 1:18:07
  podcast and go this guys crazy. Yeah, yeah, they do think that
• 1:18:09
  of you, but that is a nice little quiet room they have.
• 1:18:13
  And he reveals that the mob stuff is just his J job.
• 1:18:17
  Yes, right. He does the books.
• 1:18:19
  Yeah. I just don't think that whole
• 1:18:21
  explanation quite did all of it for that character doesn't.
• 1:18:25
  Justify everything that's come before.
• 1:18:27
  And like his motivations and stuff but he delivers it so
• 1:18:31
  well. Kingsley does.
• 1:18:33
  This guy is just a bad guy and wants to create chaos
• 1:18:37
  essentially and is initially. Maybe his reasoning isn't
• 1:18:42
  terrible, but ultimately has led to terrible thing.
• 1:18:47
  It's in that murky zone. Because that sounds reasonable.
• 1:18:49
  Money has been. It's.
• 1:18:50
  A problem? The problem?
• 1:18:51
  With so many things, it's not getting spent the right ways
• 1:18:54
  doing the right thing, of course, been made to.
• 1:18:55
  Hurt people, Violence, wars, guns.
• 1:18:58
  It's all money based. So like you're hearing that and
• 1:19:00
  there's a version of people that would just go like, yeah, yeah,
• 1:19:03
  OK, I'm with you. Like, that makes sense that I
• 1:19:05
  support that. And then the other side of it,
• 1:19:07
  as you're saying, is what does it take to get there?
• 1:19:09
  And who do you have to hurt to get there?
• 1:19:10
  And working with the mobs and this and that?
• 1:19:12
  You're like, OK, so you're not really totally altruistic, but
• 1:19:16
  it is seemingly only an aid of like, I'll take the mob's money,
• 1:19:21
  but I'm going to funnel it into this other larger project that's
• 1:19:24
  going to save the world. We do get the sense though, that
• 1:19:28
  Cause doesn't really want to do harm to Bishop unless he has to,
• 1:19:34
  so he puts his name into a database.
• 1:19:37
  Yes, that's right. But then we find out on the news
• 1:19:40
  that Janik is connected to that killing.
• 1:19:45
  And so far, Bishop's OK. Yeah, he's safe.
• 1:19:48
  He's safe for now. But the clubhouse isn't safe.
• 1:19:50
  It's burned. Yeah, burned.
• 1:19:52
  That's the terminology, buddy. You nailed it.
• 1:19:54
  So where do they go? This is so good.
• 1:19:57
  I like this too. This makes me trouble.
• 1:20:00
  It's only opportunity. For levity, Liz's.
• 1:20:03
  Apartment now becomes the new clubhouse.
• 1:20:05
  Yeah. Gets her more involved too,
• 1:20:06
  right? That totally gets her into the
• 1:20:08
  movie a little bit more. She will play a bigger role now,
• 1:20:11
  actually, till the end. Correct.
• 1:20:12
  Really. From this point moving forward
• 1:20:14
  and this, I find another really, really fun scene.
• 1:20:16
  They're gonna do it their way, they say.
• 1:20:17
  Their way. So Whistler sets up 7 or 8
• 1:20:20
  different satellite hookups software.
• 1:20:22
  I love this stuff in a movie, whether it's tracing that
• 1:20:24
  ticking USB transfer stick. The suspense of that is.
• 1:20:28
  Yum Yum Yum. I eat it up.
• 1:20:29
  Absolutely. And Whistler's so confident too,
• 1:20:31
  right? He's like this Will.
• 1:20:33
  Be fine, don't worry about. It and within 30 seconds they
• 1:20:36
  broke it through four of them or five of them, right and.
• 1:20:38
  And he changes his tune pretty quick.
• 1:20:40
  It's like, uh oh, you better hang up.
• 1:20:41
  You got 8 seconds. 5 seconds, Right.
• 1:20:43
  Did you recognize the voice? Not the first time.
• 1:20:45
  OK, Once you know, you know. Yeah, as they say.
• 1:20:47
  But I don't think they make AI don't think it's so prominent
• 1:20:49
  that. Well, I didn't.
• 1:20:51
  So I'm a first time viewer. Yeah, that's how it works.
• 1:20:54
  I love it and I love it mother coming up with some form of a
• 1:20:57
  lie detector test while on the phone.
• 1:20:59
  So it's like he's that's the truth.
• 1:21:00
  It's him, it's him. Oh no, he's lying.
• 1:21:02
  He's lying gang, all of that. It's like catnip for me.
• 1:21:05
  Which? Leads us to arguably your second
• 1:21:08
  favorite scene. It's a great scene.
• 1:21:10
  It's a really good scene. I like it.
• 1:21:13
  OK, tell me. More and I just like it.
• 1:21:16
  OK, here we go. It's the middle.
• 1:21:18
  Because of some really good elements.
• 1:21:21
  Good writing, good acting. It covers up the plausibility
• 1:21:25
  issues I have with it. They need to find out where he
• 1:21:28
  was could. Have been next door, could have
• 1:21:30
  been a mile away, could have been a skyscraper, Don't know.
• 1:21:32
  We don't know. Luckily Whistler has really good
• 1:21:35
  ears that I buy because Heightened Senses.
• 1:21:38
  Heightened Senses has pretty good nose too.
• 1:21:40
  Totally smells bullshit, so they try to recall what he heard in
• 1:21:44
  the trunk. This is a good moment for
• 1:21:46
  Whistler. Every little sound can mean
• 1:21:49
  something. Totally.
• 1:21:50
  So they're trying to narrow it down sort of like in the
• 1:21:53
  fugitive work. Hey, what's the one?
• 1:21:55
  Our man could be 180 people. Then they narrow it down to 90
• 1:21:59
  to 50. OK, it's three possible people.
• 1:22:01
  Also, the L train exactly at the L in the back.
• 1:22:04
  Well, there's only three stops that have an L train, right?
• 1:22:06
  Boom, Deduction. It's called deduction.
• 1:22:10
  My question is why does he have that recording of Hwy. bumps?
• 1:22:14
  He just has it readily available.
• 1:22:16
  Oh, OK. I don't know that it's highway
• 1:22:18
  bump specifically. I think he's manipulating
• 1:22:20
  sounds, but I you know. I don't he's that good.
• 1:22:22
  Yeah, because you watch him, he's tweedling all the things,
• 1:22:25
  so it's like slower, faster, more spread out, right.
• 1:22:28
  So he's just combining different sounds.
• 1:22:29
  Sound like a Foley to me. Sure.
• 1:22:31
  Like he had that. Yeah.
• 1:22:33
  I mean, here's my highway section over here.
• 1:22:34
  Sure. But I think legitimately, if you
• 1:22:36
  were to break it down, it's probably like, here's your
• 1:22:38
  static louder or not to get that the hum and then the bump or
• 1:22:43
  whatever else. I think it's like concocted one
• 1:22:44
  of the cool things if you ever watch on your favorite streaming
• 1:22:48
  service should. Not be named.
• 1:22:51
  If you watch things like classic albums, one of the things that I
• 1:22:54
  love is they have the sound board in front of them and
• 1:22:57
  they'll pull out different instrumentations, or they'll
• 1:23:01
  highlight the vocal and it'll take away all the
• 1:23:02
  instrumentation, or they'll raise the piano and they'll
• 1:23:05
  lower everything else. So you're just identifying these
• 1:23:07
  different sounds and it's kind of like what Whistler was doing
• 1:23:09
  there. It's manipulating the sounds to
• 1:23:10
  get something that's similar. Listen, we saw it in 6th sense.
• 1:23:14
  We we heard the ghost, we heard it, we heard it, we heard it,
• 1:23:16
  didn't see it. My other thing that I tried to
• 1:23:19
  not focus on and try not to nitpick is the ability to
• 1:23:22
  remember what every little thing you heard in the trunk.
• 1:23:26
  So what I wish they had done in the movie has allowed those
• 1:23:30
  sounds to actually happen naturally while he was in the
• 1:23:33
  trunk. So we could retrace it.
• 1:23:35
  Later, so we could as an audience, go back.
• 1:23:37
  I did hear that. I did hear the cocktail party.
• 1:23:40
  Sure, sure, sure. Sell it to me.
• 1:23:42
  And if you sell it to me, I'll buy it.
• 1:23:45
  Therefore the character buys it. That's all.
• 1:23:48
  I mean, it's up to you, obviously.
• 1:23:49
  I personally think it's it's better this way because it's the
• 1:23:53
  reveal that is the fun part. It's entertaining, right?
• 1:23:55
  I think what I like about it is it feels completely plausible to
• 1:23:58
  me. Oh no, not even close.
• 1:24:00
  It feels completely because you're like, OK, now think about
• 1:24:02
  this. Put yourself in a trunk, buddy.
• 1:24:05
  Let's do this. Let's do this.
• 1:24:06
  Yeah, yeah. Let's get you in a trunk, knock
• 1:24:08
  you out and then see what you hear.
• 1:24:10
  Sure. Yeah.
• 1:24:11
  I'm game. You had alluded earlier that Liz
• 1:24:16
  gets more to do, and this is really ultimately her big
• 1:24:19
  breakout moment in the movie. She gets chosen to be
• 1:24:23
  Pobolowski's date. Do you know why she gets chosen?
• 1:24:26
  I think because he's looking for anal.
• 1:24:29
  There it is. That's not me saying it.
• 1:24:31
  That's her saying it. Yeah, yeah.
• 1:24:33
  I'm just saying that could have been said differently.
• 1:24:35
  Sure. Is this he's?
• 1:24:36
  Looking for this is the this is 3 for three.
• 1:24:38
  Yeah, yeah. OK.
• 1:24:39
  She could have said he's looking for an anal person, someone who
• 1:24:43
  is anal, but she just says he is looking for anal.
• 1:24:46
  Gotcha. So this combined with dancing
• 1:24:49
  with everybody and Carl wanting her number and and sleeping with
• 1:24:52
  everybody thinks you think it's there's an undercurrent
• 1:24:56
  happening. There's an undercurrent, yeah.
• 1:24:58
  I don't know if it's from of the writer who's putting the
• 1:25:01
  undercurrent in there, but I'm sure it's not just or otherwise.
• 1:25:04
  Not me. It's not me.
• 1:25:06
  You're not, yeah. You're not grasping, not
• 1:25:07
  written, no. But I do like whoever decided to
• 1:25:10
  put the Leroy Brown song in. It's a catchy tune.
• 1:25:13
  Yeah, yeah. You're going to go to some
• 1:25:14
  Chinese food, some dim sum. Yeah, well, you dim sum lose
• 1:25:17
  sum. Yeah, don't say that again.
• 1:25:21
  That actor, boy, he's been around Tobolowski.
• 1:25:23
  Yeah. Phil, Phil, Groundhog Day.
• 1:25:27
  That's it. That's right.
• 1:25:30
  That's right. So I'm 18 times in that movie.
• 1:25:32
  Same scene over, over, over and over.
• 1:25:36
  Got the shingles real bad. Yeah, he's great.
• 1:25:38
  But she needs him to say certain words.
• 1:25:41
  Yes, she's got a list. She's taking us on the journey.
• 1:25:45
  Yeah, this is a scene that I really like, but I don't have
• 1:25:48
  anything to say about it. Yeah, there's not much to say.
• 1:25:50
  It's one. Of those people.
• 1:25:51
  He has to say the stuff on us. Yeah, exactly.
• 1:25:53
  It just runs exactly how it's supposed to be.
• 1:25:55
  There's nothing special about it.
• 1:25:56
  There's nothing wrong about it. There's nothing great about it.
• 1:25:58
  It's just here it is the linchpin of the moment.
• 1:26:02
  I like the word passport and this and that.
• 1:26:05
  I kind of like it too. Sure, when she says.
• 1:26:07
  Well, come on. Of course, I only had one
• 1:26:09
  question for you. Have you ever overcooked
• 1:26:11
  carrots? I don't eat cooked carrots.
• 1:26:14
  OK, that explains your eyesight. I eat a lot of regular carrots,
• 1:26:17
  but I I OK I will not eat a cooked.
• 1:26:19
  Carrot. OK, Are you afraid to overcook?
• 1:26:21
  It cuz I don't like them soft and mushy.
• 1:26:23
  Well, you would not be eating this then.
• 1:26:25
  No, no. She said she was OK with it, but
• 1:26:28
  I I don't know. I think you overcooked the
• 1:26:30
  chicken. I think there's a there's a bad
• 1:26:32
  dinner. But yeah, unfortunately, that
• 1:26:34
  stupid little doggy thing. Yeah.
• 1:26:37
  Blows it. Yeah, blows it.
• 1:26:38
  It's annoying, but has to happen.
• 1:26:40
  It has to happen. It has to happen.
• 1:26:41
  Phil Yep. And then they smartly kind of
• 1:26:43
  intercut away from that to the break in the sort of big moment.
• 1:26:47
  They're set up laying all that out.
• 1:26:49
  The temperature has to be a certain thing.
• 1:26:51
  This whole scene is very similar to mission possible one.
• 1:26:54
  Now it came later as we discovered 1996, the vent.
• 1:27:00
  The temperature has to be a certain amount and you can't
• 1:27:02
  really move. Obviously different in of
• 1:27:05
  course, enough. And Mission Impossible is more
• 1:27:08
  dramatic in the sense of Tom's coming down on a wire.
• 1:27:11
  Gotcha. Can't touch the ground.
• 1:27:13
  He's got that bead of sweat. I can't hit the floor and he
• 1:27:16
  catches him with his hand. That's bullshit.
• 1:27:19
  That's bullshit. The only thing I will nitpick
• 1:27:21
  here again, I'm bit in my tongue, my friend.
• 1:27:23
  OK. No, I haven't because that
• 1:27:24
  really hurts is the fact that the black box.
• 1:27:28
  Yeah. Is just going to be laying out
• 1:27:30
  on the desk. Yeah.
• 1:27:31
  I think it goes in a safe. Sure.
• 1:27:33
  Like this is the V code breaker and you just leave it in a
• 1:27:38
  office on that's. I think it's also lit, you know?
• 1:27:41
  Yeah. Here it is.
• 1:27:43
  Yeah, Yeah, yeah. I don't want to be that guy, but
• 1:27:45
  no, come on. Who cares?
• 1:27:46
  But it it is something that I care if you're, I just mean like
• 1:27:49
  if you're watching it for the 3rd, 4th, 5th time, a little
• 1:27:51
  convenient. But in the moment, I found
• 1:27:52
  myself completely engaged. I'm good.
• 1:27:54
  I'm happy to hear it that you're engaged.
• 1:27:57
  Congratulations. But the other things that we're
• 1:28:00
  laying down the groundwork is we have Jake Carl.
• 1:28:04
  He's the gardener. Yeah, sure.
• 1:28:06
  I'm with it. I do like the fact that Ackroyd
• 1:28:10
  covers for him. Covers for him, genius.
• 1:28:12
  That's that's a nice little touch.
• 1:28:13
  Totally. And he's the temperature guy.
• 1:28:15
  Yep, that needs to be made. Clear.
• 1:28:16
  Absolutely for Ron's resume. And the rest of them are just,
• 1:28:21
  like, in the truck? Yeah, they're monitoring.
• 1:28:23
  Yeah. They're monitors.
• 1:28:23
  They've got the cameras all set up in the building.
• 1:28:26
  They've got a spread, a microphone, an earpiece, an
• 1:28:28
  earwig is a word. They're ready for success here.
• 1:28:30
  Yeah. There was a moment where
• 1:28:32
  Whistler, like much earlier, says there's a lot of
• 1:28:34
  ultrasonic. Happening in that room?
• 1:28:36
  Yep, that's got to be the room. Yeah, I like that.
• 1:28:39
  It's great. It's the way he said.
• 1:28:39
  Ultrasonic. He's great.
• 1:28:41
  He is great. He's.
• 1:28:42
  Probably got a professional. Pop protector, Absolutely.
• 1:28:48
  But like the whole purse thing happened, yeah.
• 1:28:50
  How do you feel about that? It's kind of contrivance, but it
• 1:28:53
  needs to happen. Yeah, yeah.
• 1:28:54
  And it makes sense within the context.
• 1:28:56
  Oh, I created the voice pattern for this dog.
• 1:28:58
  Yeah. You go down the hall, move
• 1:29:00
  forward. I think it's perfectly.
• 1:29:01
  Fine, and the fact that he realizes she used a different
• 1:29:04
  name, she could have just used her actual name would have been
• 1:29:06
  the better in hindsight. But then he he puts the whole
• 1:29:09
  passport thing together like, oh.
• 1:29:11
  Yep, Drags her to the office as you would, which I love because
• 1:29:14
  it adds more tension because now they're saying, Marty, you got
• 1:29:18
  to go, you got to hide and move faster.
• 1:29:20
  And he's like, I can't go faster.
• 1:29:21
  Yeah, which? Is the one thing I can't do,
• 1:29:23
  which I love. That's very clever crease.
• 1:29:26
  So you have. This thing of like, the walls
• 1:29:27
  are closing in and then of course, Kingsley opens the door
• 1:29:31
  and nothing. Problem solved, nothing's wrong.
• 1:29:34
  Yeah, what's his face? His office is looks untouched.
• 1:29:37
  So go you can you can. Leave.
• 1:29:39
  Yeah, they're going to call her an Uber, a taxi.
• 1:29:41
  Of course, everything is fine, except she says this is the last
• 1:29:46
  computer date that I'm going on and that for whatever reason,
• 1:29:51
  because it needs it really triggers cause wait, a computer
• 1:29:56
  matched those two? Come on, buddy, I know your
• 1:30:00
  leniency. I love the movie, but that.
• 1:30:03
  Too much, yeah. Because Kingsley's so good, I
• 1:30:07
  was OK with it. OK, all right.
• 1:30:08
  But generally one would want to question that.
• 1:30:11
  Want to question how quickly you came to that decision?
• 1:30:13
  Yeah, that reality, Yeah. Yeah, I've been on many computer
• 1:30:16
  dates back in the day, and you get matched up with a lot,
• 1:30:19
  right? A lot of different people.
• 1:30:21
  That's what I mean. Like you get matched up, but OK,
• 1:30:23
  I'm willing to go to the flow because of the Kingsley factor.
• 1:30:26
  I'm not coining it. It'll come up on the award show.
• 1:30:30
  Oh. He's a Sir Best.
• 1:30:31
  Kingsley. Factor Oh, he's a Sir, so you
• 1:30:32
  got to give him. You know, that's true.
• 1:30:35
  But yeah, so she gets busted and he's curious.
• 1:30:38
  Why is it so hot in here? Why is it so hot?
• 1:30:40
  Goes to find the box is empty. Con.
• 1:30:44
  That's right. Exactly.
• 1:30:45
  No push in on him, but but yeah, Marty's a couple times.
• 1:30:48
  He delivers that well, Marty. Does he do it better than Doc
• 1:30:51
  Brown? That's a.
• 1:30:53
  Good question. It's a different tone, tough to
• 1:30:56
  compare. It is tough to compare.
• 1:30:57
  But it's worth thinking when we do end of year, next year, we'll
• 1:31:00
  keep an eye. Yeah, he's just looking.
• 1:31:03
  And now the walls are really closing in, which I love.
• 1:31:07
  No Way out, buddy. Any movie like this, We just
• 1:31:09
  talked about it. No Way Out.
• 1:31:10
  He's about to be found out at any given moment and they've got
• 1:31:13
  on the earpiece, they've got guys in the South corridor,
• 1:31:16
  they've got guys on the stairwells.
• 1:31:17
  All of that element I think is really exciting and really, I
• 1:31:20
  find very compelling. And I love Kingsley on the PA
• 1:31:22
  system. By the way, absolutely.
• 1:31:24
  Let me just talk to you straight too.
• 1:31:25
  He's like quiet. He's just chilling.
• 1:31:29
  Just chilling. Marty.
• 1:31:32
  Marty, you've got no way out of here.
• 1:31:34
  You know this, right? Like that calm.
• 1:31:36
  I think it's great. Did you forget about Carl?
• 1:31:38
  I'd never really knew where Carl was in the Grand.
• 1:31:41
  Scheme. Oh, you didn't have you didn't
• 1:31:42
  have a copy of the blueprints? No.
• 1:31:44
  Well, he did cost 50 bucks. Yeah, not his money.
• 1:31:46
  No, no, no thanks. He absolutely took it out of
• 1:31:48
  mother's wallet. Good job.
• 1:31:50
  Good job. It's the throw away there, but
• 1:31:52
  nonetheless, yeah, Carl saves the day.
• 1:31:55
  Yeah, took him a little bit though.
• 1:31:56
  Hesitation there. Didn't know why really.
• 1:31:59
  Well, I don't I I think he didn't have the confidence his
• 1:32:02
  body weight would be able to push through.
• 1:32:04
  So if he goes to do the belly flop on top, OK and doesn't go
• 1:32:07
  through, they're all dead. It's over.
• 1:32:10
  So I think he knew that extra moment and I respect him making
• 1:32:13
  sure you could do it, getting the right mindset.
• 1:32:16
  I respect him. I respect the fact the cause was
• 1:32:20
  still unwilling to kill his friend.
• 1:32:22
  This is one of my favorite lines.
• 1:32:24
  One of my favorite. Not the favorite.
• 1:32:25
  The favorite. OK, no.
• 1:32:27
  Well, you say. It no, you give it to me.
• 1:32:28
  I can't do it in a Kingsley, something along the lines of I
• 1:32:34
  can't kill you, kill him. I can't kill my friend.
• 1:32:38
  Kill my friend, kill my friend. Yeah.
• 1:32:39
  See, I told you I can't do it. Yeah, him doesn't sound.
• 1:32:42
  Yeah, the friend in there. This is why I don't write.
• 1:32:43
  This is why I don't write scripts.
• 1:32:45
  It's a great line. Yeah, it's a great line.
• 1:32:47
  I love it. And everybody runs out, they run
• 1:32:51
  up to the roof. Yeah, well, where else you're
• 1:32:52
  gonna go, exactly? Nowhere to go but up.
• 1:32:54
  Absolutely. And meanwhile, we still have the
• 1:32:56
  rest of the crew in the van. That's right.
• 1:32:57
  Yes, Yes. Yes.
• 1:32:58
  What are we gonna do over there? Questions.
• 1:33:00
  Questions. Well, they'll just get busted.
• 1:33:02
  Yeah, two guys. Problem solved.
• 1:33:03
  Yeah, but luckily Whistler is. Quiet third guy in the back.
• 1:33:07
  Like things to do in Denver when you're dead.
• 1:33:08
  You don't know they're back there.
• 1:33:09
  Sleeps through the whole thing. Yeah, I bought this one.
• 1:33:12
  This one. You're OK.
• 1:33:12
  This one I'm all OK with. Couple inept guards.
• 1:33:16
  I mean, why not have a blind guy drive?
• 1:33:18
  Yeah, it's fun. Hey, fun.
• 1:33:20
  You're a little fun in this movie.
• 1:33:21
  Yeah, I'd say it's missing that. Yeah, I hate it.
• 1:33:24
  Really. This is the only part of the
• 1:33:25
  movie I don't. Like finally, Oh my God.
• 1:33:28
  Feels silly. It feels at a time when things
• 1:33:30
  are at a peak level of of intensity.
• 1:33:34
  Yeah. And takes the air out, kind of
• 1:33:37
  culminating with Cosmo and Marty.
• 1:33:40
  And so watching this happen and I love Whistler.
• 1:33:42
  I I loved everything about this movie, but this moment I'm just
• 1:33:45
  like. It's not his fault, he's just
• 1:33:46
  falling orders. Buddy, it feels lame.
• 1:33:48
  It feels it falls flat to me on the humor front.
• 1:33:50
  It feels too silly and goofy to me that I just don't appreciate
• 1:33:53
  it. I am not going to argue with
• 1:33:54
  you. I'm not going to try to turn you
• 1:33:56
  because then you'll think it's perfection.
• 1:33:59
  So I'm going to leave that. There appreciate only 1 scene is
• 1:34:02
  perfect in this one the. Rooftop scene is good though
• 1:34:04
  between the two guys. Head to head, head to head, old
• 1:34:07
  friends. I love it and I love what he
• 1:34:09
  says. Everything Ben Kingsley says
• 1:34:11
  here is is sadly poignant 30 years later.
• 1:34:16
  And that's one thing I will say that I like about this movie.
• 1:34:20
  And movies like this is taking up a movie from the 90s.
• 1:34:25
  In which it's relatable now. Yeah.
• 1:34:28
  Like having that forethought. Yeah.
• 1:34:30
  I wish it wasn't. I wish it wasn't.
• 1:34:32
  Right. Sadly, the forethought is a sad
• 1:34:34
  one. But, you know, the technology,
• 1:34:35
  they're not always gonna get it right.
• 1:34:37
  I appreciate the effort. Yeah.
• 1:34:38
  But when they get the concepts, the ideas exactly, I'm like,
• 1:34:42
  God, yeah, damn. Oh, for sure, you know, and that
• 1:34:45
  this movie is just a really good example of that.
• 1:34:47
  It's all about information, ones and zeros.
• 1:34:49
  Ones and zeros ones. Binary who controls the
• 1:34:52
  information and as we all click accept, accept the terms and
• 1:34:56
  conditions on every app, on every phone, on every website,
• 1:35:00
  on everything we do, we just give it away.
• 1:35:02
  It's all legal for them. And that's the information
• 1:35:05
  that's getting bought and sold 1000 times over.
• 1:35:07
  So the rich can get rich. It's all so prominent and
• 1:35:11
  prevalent in our lives today in ways that it couldn't even
• 1:35:15
  imagine back then. They only even hint at it.
• 1:35:19
  It's there. I was in.
• 1:35:20
  I remember being at the video store in Vancouver and having a
• 1:35:24
  conversation with someone who was studying and getting their
• 1:35:26
  PhD and they were basically writing.
• 1:35:29
  This is probably 2000 and 4567, like somewhere in that region.
• 1:35:33
  We'll say 2007. Somewhere in the middle of that,
• 1:35:36
  they were basically writing their dissertation on privacy
• 1:35:39
  and how the privacy will be the next battle, and his thesis was
• 1:35:44
  something in that vein about how A+ Facebook at the time.
• 1:35:49
  This is before really all the, the mining of our information,
• 1:35:52
  but just the, the Facebooking of it and everybody posting, just
• 1:35:57
  starting to post, just starting to go on their phones all the
• 1:36:00
  time. Just the early days of, you
• 1:36:04
  know, the plane lands and immediately everybody's on their
• 1:36:06
  phones. And he was like, this is
• 1:36:08
  something and, and 20 years later, we're living in that
• 1:36:12
  fucking world. It's crazy to me.
• 1:36:14
  And he's calling it out 30 years earlier.
• 1:36:16
  I think it's really impressive. I'm impressed that my
• 1:36:18
  information is worth something. Yeah, yeah, that's an argument.
• 1:36:22
  Actually. I should say that cuz I hear
• 1:36:23
  that and I would get really angry and frustrated about these
• 1:36:26
  things before. I own a cell phone, right?
• 1:36:27
  I'm just like so anti that. Yeah, for sure.
• 1:36:29
  And one of the things that would happen when people said like,
• 1:36:32
  yeah, what are you getting? And I was like, that's not the
• 1:36:35
  issue. That's.
• 1:36:36
  The issue, that's not the issue. Yeah, I.
• 1:36:37
  Don't have anything on my phone. Go ahead.
• 1:36:39
  And you're like, yeah, but everything is, yeah, like, just.
• 1:36:42
  That's what it stands for. Yeah, What it represents, Right.
• 1:36:45
  Like I didn't search for porn today, so have a look at my
• 1:36:47
  phone. You're like, yeah.
• 1:36:48
  But everything else you did, no one should have that or have
• 1:36:51
  access to it so easily or readily.
• 1:36:53
  Yeah, it's all there. And then we find out later the
• 1:36:55
  NSA, which is sort of part of the back end of this movie, has
• 1:36:58
  been spying on people for decades.
• 1:37:00
  Since 1700s, practically. Well, in the Americas anyway,
• 1:37:03
  like with breaking the laws they was talking about all the time,
• 1:37:06
  right? During the Bush years and Obama
• 1:37:08
  years, this was all happening. Cell phones in particular,
• 1:37:10
  right? These are things.
• 1:37:11
  So anyway, this movie becomes very, very prescient near the
• 1:37:14
  end. Yeah, exactly.
• 1:37:16
  I like how it's able to be light at some moments and be
• 1:37:19
  incredibly serious and others and especially at the right time
• 1:37:22
  totally like this is you're really.
• 1:37:23
  You're culminating here. Yeah, you got a no jokes here,
• 1:37:26
  which is why I moved. Away from the from the van
• 1:37:28
  thing, and this is where the movie's natural end is.
• 1:37:30
  And all the other stuff felt like hijinks at a time where it
• 1:37:33
  didn't really need it to me. I get it buddy, but.
• 1:37:35
  You're perfection. We get a little bit of humor, a
• 1:37:37
  little levity after this. So we had a prologue.
• 1:37:40
  This feels like an epilogue where it's just like this, add a
• 1:37:42
  little bit of fun. Talk to me.
• 1:37:44
  The best possible person to do the pop in, yeah, is James Earl
• 1:37:49
  Jones. Yeah.
• 1:37:50
  Name somebody else that pops in like he does.
• 1:37:52
  The only other person I thought of when I thought of this moment
• 1:37:57
  is Sean Connery at the end of Prince of Thieves.
• 1:37:59
  All right, Yeah. That is King Richard showing up
• 1:38:02
  and it's Sean Connery on the horse.
• 1:38:04
  Good. That's a.
• 1:38:04
  That's a pop in for the H good example just a couple years
• 1:38:07
  earlier. I wasn't asking.
• 1:38:08
  For you not to have an answer. I'm glad you had something.
• 1:38:11
  Yeah. I I it just was.
• 1:38:12
  I was watching. I thought the same thing of
• 1:38:14
  like, who could do that better? Not even who could do it better,
• 1:38:17
  not better, but can also do it. What a great way of this big
• 1:38:19
  reveal at the end of a movie. And it just for whatever reason,
• 1:38:21
  because we had done it relatively recently, that one
• 1:38:23
  popped in my brain They're. Pips pop in people.
• 1:38:26
  There you go. So he's a pip.
• 1:38:27
  Yeah. And like I said, I didn't
• 1:38:29
  recognize the voice. Yeah.
• 1:38:30
  So it's a complete surprise for me.
• 1:38:32
  Totally. And then we have somewhat of an
• 1:38:34
  Armageddon moment. Yeah, OK.
• 1:38:37
  I see how you get there. Yeah.
• 1:38:38
  But they all want something because they're doing something
• 1:38:40
  for their country. That's right.
• 1:38:42
  I guess at this point, obviously James Earl has had a
• 1:38:46
  conversation with. The team Bishop.
• 1:38:48
  Bishop primarily of, you know, this is what it is, this is what
• 1:38:52
  we're going to do. And they kind of call him out on
• 1:38:53
  it. Yep.
• 1:38:54
  Well, you can't use this to spy on Russians, so you're going to
• 1:38:57
  use it to spy on your own people.
• 1:38:58
  That's right. So we want some.
• 1:38:59
  Things. Yeah.
• 1:39:02
  White House correspondents, Yeah.
• 1:39:04
  The biggest contrivance of this whole film.
• 1:39:07
  There's a lot, sure, letting a lot of it go.
• 1:39:10
  You're biting your tongues. It's.
• 1:39:11
  Starting to bleed. It's starting to bleed.
• 1:39:14
  Is the hot female who happens to be there with the gun sure
• 1:39:19
  working that day she happened to have a shift?
• 1:39:21
  Sexy Uzi. Yeah, that's perfect for Carl.
• 1:39:25
  Yeah, he's a little horn dog. That's just one demand.
• 1:39:27
  Yep. Just wants her phone number now.
• 1:39:28
  It's played well. Totally well.
• 1:39:30
  And she digs it. Yeah, why wouldn't you?
• 1:39:32
  And that's funny because she calls him out on it too.
• 1:39:33
  If you can have anything in the world, you just want my phone
• 1:39:35
  number. Exactly.
• 1:39:36
  That's pretty hot. Yeah.
• 1:39:37
  And your river Phoenix. So I thought that was just a
• 1:39:40
  great way to end a movie generally, and often we struggle
• 1:39:46
  not we we don't because we don't make movies, but we do often
• 1:39:49
  struggle with ending these Buck That's true.
• 1:39:52
  And we've been a critic of endings Dire 3 of course, that
• 1:39:56
  just they just don't tie it up quite right.
• 1:39:58
  And I think this does tie it up quite well with some closure,
• 1:40:03
  totally, with some comedy and running off into the sunset more
• 1:40:08
  or less with still that undercurrent of, you know.
• 1:40:11
  Yeah. I mean the last line, the last
• 1:40:13
  little bit is not only are those guys kind of settled now, but
• 1:40:15
  the last lines in the movie are the news report saying the
• 1:40:18
  Republican committee is broke and they large donations to
• 1:40:22
  Greenpeace and Amnesty International and things like
• 1:40:24
  that. So there is that last little
• 1:40:25
  like flip of the middle finger to the RNC and I like that.
• 1:40:30
  I would've been fine without that.
• 1:40:32
  But what Robert does, Robert Redford, he always has things in
• 1:40:36
  his movie where I think his views totally.
• 1:40:38
  And that's fine. Sure.
• 1:40:40
  And I like that he cares. Yeah.
• 1:40:41
  About he's committed. Yeah, sure.
• 1:40:43
  Like we talked about the the lions of lambs.
• 1:40:45
  Like lions for lambs. Yeah.
• 1:40:47
  Yeah. Never say it right.
• 1:40:48
  Never were. But yeah, you can really feel
• 1:40:50
  that he's invested. In that whole movie, a little
• 1:40:52
  preachy for me, but it is very much of an opinion.
• 1:40:55
  Yeah, exactly. And for sure he does lend his
• 1:40:57
  and a lot of not all of them, but.
• 1:40:58
  Totally. But he's obviously a lefty and
• 1:41:00
  he's, I mean, made, you know, all the President's Men.
• 1:41:02
  He's involved in the production of that.
• 1:41:05
  So yeah, the things he's passionate about, he's committed
• 1:41:08
  to. It seems on on levels as well,
• 1:41:09
  you know, beyond he was. Yeah, that's right.
• 1:41:12
  But we love him. We loved him and he.
• 1:41:13
  That's right. It's great.
• 1:41:15
  Yeah, so that's it for me. I love this movie.
• 1:41:17
  I think it's it's near perfect. Obviously not quite, not quite,
• 1:41:22
  but what it is for me, it feels like, and I don't do this
• 1:41:25
  typically, but it is a movie that I can put on.
• 1:41:28
  It's like a light watch, feels like it's on air.
• 1:41:31
  And like obviously the ideas and some of the stuff that we talked
• 1:41:33
  about, the end is a thing. But in terms of just a movie
• 1:41:36
  that floats through my life, there is nothing particularly
• 1:41:39
  great about the movie. It's really good and I find
• 1:41:43
  everything about it really good. So it's one of those like I can
• 1:41:46
  just put it on and just follow it wherever it goes.
• 1:41:49
  You know why I think that is? Because I don't think it's
• 1:41:52
  incredibly memorable. I don't mean that in a bad way,
• 1:41:55
  but it does allow you to go back to that.
• 1:41:58
  Well, more like there's no major twist.
• 1:42:02
  Like it's a, it's an entertaining movie.
• 1:42:03
  It's super entertaining. It goes where it should go.
• 1:42:06
  Generally. It hits the beats, it's funny,
• 1:42:10
  it's entertaining, and that's all you can really ask.
• 1:42:12
  So I think that's why you can go back to it.
• 1:42:14
  It doesn't really have that long lasting, even though the idea of
• 1:42:18
  it, the concept of it is pretty impactful.
• 1:42:22
  I think that's part of the reason why and because you're
• 1:42:24
  not alone. I've heard that before where
• 1:42:25
  it's a movie that you can just just kind of put on in the
• 1:42:28
  background. I think IMDb got it right
• 1:42:30
  though. Of course, of course, it doesn't
• 1:42:32
  always happen. Most usually does. 7.1, OK,
• 1:42:37
  that's what the the people have spoken.
• 1:42:39
  I put a higher than that. That's easily an 8.
• 1:42:43
  That's my take. I'll give it a 7.2, maybe a 7.3
• 1:42:47
  maybe. And that's just over an 8 just
• 1:42:49
  to shut you up. But it was it was a decent film.
• 1:42:53
  Again, for a movie that was two hours, Yeah, it was paced pretty
• 1:42:56
  well. Yeah, it's a movie that feels
• 1:42:57
  light as a breeze to me. I can just watch it all the
• 1:42:58
  time. So I'm happy to see it.
• 1:43:00
  I'm happy to take it off the shelf.
• 1:43:01
  I'm happy we got a chance to watch it.
• 1:43:02
  I'm happy you enjoyed it enough. And I'm happy you you joined us
• 1:43:07
  listeners here this week. We do appreciate it.
• 1:43:10
  As always, please like us on our Facebook page.
• 1:43:12
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• 1:43:14
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• 1:43:18
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• 1:43:21
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• 1:43:23
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• 1:43:26
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