Latest / Houselights: A Film Director Podcast / Somethings Gotta Give (2003) - Nancy Meyers | Houselights #282

Transcript

Somethings Gotta Give (2003) - Nancy Meyers | Houselights #282 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the net Palty.
0:20
Speaker 2: Tonight on House Lights, we're covering Something's Gotta Give from
0:23
Speaker 2: two thousand and three, in which Nancy Myers asks what
0:26
Speaker 2: happens when a sixty three year old man who has
0:29
Speaker 2: spent his entire adult life dating women under thirty has
0:32
Speaker 2: a heart attack in the Hamptons and has to be
0:34
Speaker 2: nursed back to health by the mother of the woman
0:36
Speaker 2: he came there to sleep with, the answer is that
0:39
Speaker 2: Diane Keaton wins an Oscar nomination and Jack Nicholson is
0:42
Speaker 2: essentially forced at metaphorical gunpoint to develop an interior life
0:47
Speaker 2: with me fully channeling his inner sleeves, completely certain he
0:51
Speaker 2: can charm his way through this podcast and already planning
0:55
Speaker 2: the exit John Mills and bringing nothing but his swimsuit,
0:58
Speaker 2: Frustrated he can't go for a dip with his main
1:01
Speaker 2: squeeze without his mother calling the cops. Darren Moser Something's
1:05
Speaker 2: Got to Give as a movie where the Hampton's beach
1:07
Speaker 2: house has better lighting than most people's wedding photos, where
1:10
Speaker 2: Keanu Reeves plays a doctor who is also in love
1:13
Speaker 2: with Diane Keaton and the film expects you to just
1:16
Speaker 2: roll with it, and where Nicholson spends two hours being
1:19
Speaker 2: punished for being himself, which Myers frames as a love story.
1:24
Speaker 2: The crying scene laps itself like boont to Eve and
1:27
Speaker 2: the kitchen alone probably costs more than my house. This
1:30
Speaker 2: is house lights.
1:32
Speaker 3: Wow, what an opening, What an opening. And I gotta
1:37
Speaker 3: I gotta say I thank you for calling out the
1:39
Speaker 3: lighting in this Hampton's magical fairy tale Castle on the Beach,
1:45
Speaker 3: because boy, howdie, Yes, it's lit better. It's lit better
1:50
Speaker 3: than I'm define better, lit better, brighter, it's definitely more.
1:56
Speaker 3: It's clearer, very very very.
1:58
Speaker 2: Uh yeah, it's not natural, is basically what I'm trying
2:02
Speaker 2: to say.
2:02
Speaker 3: That's true, like the dark side of the Force. It's
2:05
Speaker 3: very unnatural.
2:06
Speaker 4: It helps that everything in the house is white. They
2:08
Speaker 4: probably just had to shoot a light up at the
2:10
Speaker 4: ceiling and it just bounced and lit everything.
2:14
Speaker 5: The entire house is a bounce card.
2:16
Speaker 3: Yeah yeah, And.
2:19
Speaker 2: So okay, So this was again, this is we're continuing
2:22
Speaker 2: our Nancy Meyer's House and this was written, produced, and
2:25
Speaker 2: directed by her. It was released in two thousand and three.
2:27
Speaker 2: It's one hundred and twenty eight minutes, rated PG thirteen,
2:30
Speaker 2: budget of eighty million worldwide gross of two hundred and
2:33
Speaker 2: sixty six, So this was not a flop.
2:36
Speaker 5: It was.
2:37
Speaker 2: Keaton received a nomination, which we talked about, and Nicholson
2:40
Speaker 2: received a Golden Globe nomination for the Best Actor in
2:43
Speaker 2: a Musical or Comedy. That that category still makes me laugh.
2:46
Speaker 3: Yeah.
2:47
Speaker 2: But one thing that really kind of struck a chord
2:50
Speaker 2: with me was Myers wrote this movie following her divorce
2:54
Speaker 2: from filmmaker Charles Schier, her longtime collaborator. You know, they
2:58
Speaker 2: had written and produced together for nearly I think two decades,
3:03
Speaker 2: and you know, this film is about a woman who
3:05
Speaker 2: rebuilt her life after a bad marriage and is now
3:08
Speaker 2: inconveniently falling in love again and throwing herself into her
3:12
Speaker 2: work by creating You know, these are not unrelated facts
3:17
Speaker 2: right to what's going on, I'd always write what you know,
3:20
Speaker 2: Myers is clearly working some stuff out with this movie.
3:25
Speaker 3: Yes, very much so, very very much so, and I
3:29
Speaker 3: think that it's I'm definitely not I'll preface everything by saying,
3:35
Speaker 3: I'm definitely not the target audience for this movie. I
3:38
Speaker 3: recognize that going in. I knew it going in, but
3:42
Speaker 3: I'm always ready to be surprised and delighted. You never
3:48
Speaker 3: know what you're actually gonna what's actually going to resonate
3:50
Speaker 3: with you. And I think that this is a really
3:55
Speaker 3: interesting movie from the standpoint that there are so many
4:00
Speaker 3: pieces that that that come together in but not like
4:05
Speaker 3: a puzzle. They they they're thinking there, it's like putting
4:09
Speaker 3: tools in a toolbox. These things all belong in the toolbox,
4:13
Speaker 3: but it doesn't form anything. It's their pieces and they're
4:17
Speaker 3: they're related to each other. They're all things that I
4:20
Speaker 3: would use for similar tasks. But I don't see any
4:25
Speaker 3: cohesion in this thing. It feels very episodic in a
4:29
Speaker 3: sense where it's like, Okay, this is the thing that's happening,
4:31
Speaker 3: this is the next thing that's happening, this is the
4:32
Speaker 3: next thing that's happening, and it's not really there's no
4:36
Speaker 3: through line to it. I guess that's what I'm trying
4:38
Speaker 3: to say, Like, yes, Keaton has a through line, but
4:41
Speaker 3: I'm saying, like the events are they just they just
4:45
Speaker 3: don't come together. I'm not saying that, like you know,
4:47
Speaker 3: obviously Keana Reeves ties in and Jack Nicholson's character ties in.
4:52
Speaker 3: I'm not saying that it's that it's like not competently written.
4:56
Speaker 2: So are you're trying to say like it feels like
4:58
Speaker 2: a series of vignettes rather than.
5:01
Speaker 3: Yes, that is what the Yes, it feels like a
5:05
Speaker 3: streaming series that got recut into a movie.
5:10
Speaker 2: Oh man, today, this would be a season of television.
5:13
Speaker 3: Oh yeah, right, six episodes easy?
5:16
Speaker 4: Yeah, yeah, I mean I had heard that this had
5:20
Speaker 4: a kind of sitcomy vibe to it, and you and
5:24
Speaker 4: not just for the vignette ness, but there's a lot
5:28
Speaker 4: of plot gymnastics that happened, especially early on in this movie,
5:34
Speaker 4: to create this exact scenario of why Jack Nicholson is
5:40
Speaker 4: in this house for a prolonged amount of time and
5:44
Speaker 4: just yeah, all sorts of like why the doctor's there,
5:47
Speaker 4: why the daughter is there, all of these things. I mean, yeah,
5:50
Speaker 4: we say, you know, mental gymnastics, but yeah, it's it.
5:54
Speaker 4: This is only could have been written because I don't
5:58
Speaker 4: feel life would naturally collect they really try, But what say,
6:03
Speaker 4: get you with that first hurdle once to go to
6:05
Speaker 4: the first hurdle of why he's even staying there, you
6:08
Speaker 4: can kind of swallow it. That's the hardest hurdle to
6:11
Speaker 4: get over because you're like, no, just go home. In
6:14
Speaker 4: a normal. In real life, he would just go home,
6:17
Speaker 4: he would not stay there.
6:19
Speaker 2: But yeah, well it's it's so true because this man's
6:25
Speaker 2: super wealthy, as as is everybody in every Nancy Myers film.
6:32
Speaker 2: Everybody's affluent, everybody's wealthy, everybody's successful, and so he has
6:38
Speaker 2: he has people who could wait on him hand and foot.
6:42
Speaker 2: He could easily go to a hotel in the area
6:46
Speaker 2: and just have his assistant to do everything and get
6:48
Speaker 2: everything for him, and have the nurse go there. And also,
6:51
Speaker 2: what a terrible doctor Keanu Reeves is. I work in healthcare.
6:55
Speaker 2: If you're passing out as you're exiting the hospital, you're
7:00
Speaker 2: not leaving that hospital. I don't care who you are. Like,
7:04
Speaker 2: as a doctor, you wouldn't say like, okay, promise me this.
7:07
Speaker 5: No screw you.
7:09
Speaker 3: Yeah, the doctor doesn't like lawsuits, nor does the hospital.
7:13
Speaker 3: The doctor could be like, well, I'll send you home,
7:14
Speaker 3: and hospital administrators come comes running out of those double
7:18
Speaker 3: doors like whoaa, no no, no, no, no no no.
7:21
Speaker 3: I struggle with this movie. I think that one of
7:26
Speaker 3: the things that I think, Darren, I like that you
7:30
Speaker 3: said sitcom quality to it. It does because you nailed it.
7:36
Speaker 3: This doesn't feel like real life works this way because
7:39
Speaker 3: it doesn't. And I'm gonna just absolutely zero in and
7:45
Speaker 3: nitpick something that's so stupid to focus in on. But
7:48
Speaker 3: the fact that they make Jack Nicholson like the head
7:52
Speaker 3: of a hip hop record label bothered me so much,
7:56
Speaker 3: not for any racial aspect or anything like that, but
7:59
Speaker 3: it felt so unnecessary. It felt like, well, why would
8:03
Speaker 3: a young lady like him, they like the hip hop,
8:06
Speaker 3: he should run a hip hop label. And I'm like,
8:09
Speaker 3: that is the most insane contrivance. That falling over in
8:13
Speaker 3: the parking lot, insane contrivance. Why he's there, all of
8:16
Speaker 3: this stuff and you throw all of these things at me.
8:18
Speaker 3: And the thing I'm fixated on is like, why did
8:20
Speaker 3: it have to be a hip hop label? That's just
8:23
Speaker 3: so unnecessary right here, and that that, for some reason
8:26
Speaker 3: is the thing that really that's the point at which
8:29
Speaker 3: I sort of like branched off, started branching off, and
8:32
Speaker 3: it was just this slow separation from the rest of
8:35
Speaker 3: the movie for me. I don't know why.
8:37
Speaker 5: It's just me.
8:40
Speaker 2: Yeah, it's it's it's interesting because Nicholson is playing Nicholson
8:46
Speaker 2: in this in this movie.
8:48
Speaker 5: And you know that's not a knock.
8:50
Speaker 2: It works for a lot of people, a lot of actors,
8:53
Speaker 2: a lot of characters. Like you go see a Hugh
8:56
Speaker 2: Grant film, you know exactly who you're gonna get. You
8:59
Speaker 2: go see It's not like Johnny Depp or Gary Oldman.
9:03
Speaker 2: You know, it's Jack Nicholson. Can be a variety of
9:07
Speaker 2: different people, but you know the kind of performance that
9:11
Speaker 2: you're gonna get from Nicholson. Like he's not gonna go
9:13
Speaker 2: outside of himself. It's gonna be just versions of Nicholson. Again,
9:18
Speaker 2: not a knock. And this movie apparently Myers wrote this
9:24
Speaker 2: character specifically for Nicholson. She's like, this is going to
9:28
Speaker 2: be Jack Nicholson. And she wrote Diane Keaton's role for
9:33
Speaker 2: Diane Keaton. And how great is that? Where like when
9:36
Speaker 2: you're writing a script and you're like, this is gonna
9:37
Speaker 2: be Nicholson, this is gonna be Keaton, and then you
9:40
Speaker 2: have this way to make that happen. And she said
9:43
Speaker 2: that when she called up Jack Nicholson, he always said,
9:48
Speaker 2: he said on the phone call, I've always wanted to
9:51
Speaker 2: be in a tuxedo comedy. And it's like a throwback
9:55
Speaker 2: reference to the classic Hollywood screwball comedies and things like that,
9:59
Speaker 2: and Myers just described it as one of the greatest
10:01
Speaker 2: phone calls of her life talking with Nicholson, and she
10:05
Speaker 2: said that instead of fighting the smirking court sign at
10:10
Speaker 2: the Lakers version of himself, they just rolled with it.
10:13
Speaker 2: They're like, this is going to be the guy. There's
10:16
Speaker 2: a reason why you get Jack Nicholson for this role,
10:18
Speaker 2: and so they're just leaned into it and you could
10:20
Speaker 2: see that. Darren, do you think that was a benefit
10:23
Speaker 2: to the movie or do you think it was a
10:25
Speaker 2: detriment because you're only seeing Nicholson.
10:29
Speaker 4: No, I think I think it works for me. I
10:33
Speaker 4: mean I've seen a lot of Nicholson movies, but not
10:36
Speaker 4: really in this genre, in the kind of romance genre,
10:40
Speaker 4: and so yeah, it was kind of enjoyable, like seeing
10:44
Speaker 4: I got it. I understood, like John said, like why
10:48
Speaker 4: people go for this, Like he can turn on the
10:51
Speaker 4: charm like he's in and you buy it because we've
10:57
Speaker 4: seen many movies where the chemistry does not work and
11:00
Speaker 4: you're like, no, this person is terrible. It's like he's
11:03
Speaker 4: he rides that line of he's not a terrible person,
11:08
Speaker 4: but he's also kind of an ass, Like but you
11:11
Speaker 4: just kind of let him get away with it a
11:14
Speaker 4: little bit as the plot dictates, but in a different
11:17
Speaker 4: way than like Mel Gibson was in What Woman Want,
11:21
Speaker 4: Like that was a different kind of situation.
11:25
Speaker 5: So I think, I mean, like you said.
11:28
Speaker 4: To have it written for these two great actors, and
11:33
Speaker 4: it comes across so well, like they have the chemistry there.
11:40
Speaker 4: I will say I did not understand the crying. That
11:44
Speaker 4: was the only part that kind of took me out,
11:46
Speaker 4: where like a switch was flipped and now every shot
11:50
Speaker 4: is a crying shot, and I don't it felt really fake.
11:55
Speaker 4: I didn't understand it.
11:57
Speaker 5: But that's okay.
11:58
Speaker 2: That's really funny that you bring that up, because that's
12:02
Speaker 2: probably my favorite part of the movie, is that crying scene,
12:07
Speaker 2: because it is so fake, and I think it's it's
12:10
Speaker 2: very much a wink to the audience that that's how
12:13
Speaker 2: I took it. It's very much like you know, like
12:16
Speaker 2: Keaton's hamming it up, like it's supposed to be overwrought.
12:21
Speaker 2: It's supposed to be melodramatic. It's supposed to be what's
12:25
Speaker 2: the term I'm looking for. It's supposed to be silly.
12:28
Speaker 2: It's supposed to be.
12:29
Speaker 4: The art on your sleeve. We see exactly what she's
12:32
Speaker 4: meant to be feeling.
12:33
Speaker 2: She's acting like a Yeah, she's acting like a teenager
12:36
Speaker 2: going through a breakup, even though she's almost sixty and
12:41
Speaker 2: it's it's it's almost like an Anchorman bit, but in
12:45
Speaker 2: a rom com. And so to me, I thought it
12:47
Speaker 2: was funny because it was very self aware. But I
12:49
Speaker 2: can completely understand why that how that couldn't land for
12:53
Speaker 2: certain people. I completely get it. John, I have a
12:56
Speaker 2: question for you while I give Darren some homework. Darren,
12:59
Speaker 2: can you look up who was nominated and who won
13:02
Speaker 2: that year for Best Actress at the Oscars. John, my
13:06
Speaker 2: question to you is what do you think of Diane
13:10
Speaker 2: Keaton in this role? And was it Oscar worthy? If so, why?
13:17
Speaker 5: Why not?
13:18
Speaker 3: Okay, that's always the thing we're always talking about. You know.
13:23
Speaker 3: My criteria for an Oscar or an Award nomination is
13:28
Speaker 3: I cannot see this film working without this person in
13:31
Speaker 3: this role, right Keaton? Do I see anybody else playing
13:36
Speaker 3: this role as well as she does?
13:39
Speaker 5: Here?
13:40
Speaker 3: I guess since it's written for her, no, that the
13:44
Speaker 3: cadence of her character leans into the strengths of Diane
13:49
Speaker 3: Keaton as an actress, and does that make it Award
13:54
Speaker 3: worthy maybe, but it's it's one of those things where
13:59
Speaker 3: it's incredibly difficult to argue for it, because there's also
14:04
Speaker 3: that weight that goes along with Oscar nomination of this
14:08
Speaker 3: is gonna be this is like a transformative role. There's
14:12
Speaker 3: an unfair sort of metric given. So I would say,
14:16
Speaker 3: at the baseline, can I see anybody else play this
14:19
Speaker 3: role as well? I can see other people play the
14:22
Speaker 3: role differently. I can see the movie working with that.
14:25
Speaker 3: But can I see anybody playing Diane Keaton playing this
14:28
Speaker 3: role as well? No, just like I can't see somebody
14:31
Speaker 3: playing William Shatner playing Captain Kirk. You know, you can
14:34
Speaker 3: have Captain Kirk, but you can't have somebody playing William
14:37
Speaker 3: Shatner playing Captain Kirk. That's William Shatner playing Captain Kirk.
14:41
Speaker 3: So you know, I guess I'm kind of threading the needle.
14:45
Speaker 3: But there was nothing exceptional about the performance to me,
14:49
Speaker 3: But I would be wrong not to give it credit
14:53
Speaker 3: for being what this film asked of her.
14:57
Speaker 5: Yeah, now, Darren who is not that year?
15:02
Speaker 4: So for two two thousand and three Oscars, the nominations
15:07
Speaker 4: were Naomi Watts from twenty one Grams Samantha Morton from
15:11
Speaker 4: In America, Dan Keaton from Something's Got to Give, Keisha
15:16
Speaker 4: Castle Hughes from Whale Rider, which I remember the making
15:20
Speaker 4: a joke about her having like three names as such
15:23
Speaker 4: a young actress, and Seri's thron for monster who won
15:28
Speaker 4: the Oscar deserving me.
15:31
Speaker 3: So, did you guys ever see a monster?
15:33
Speaker 5: Yes?
15:34
Speaker 2: Yeah, I think I've seen all of those, and probably
15:39
Speaker 2: no disrespect to miss Keaton, but out of all of those,
15:44
Speaker 2: Sheep was probably the weak clink my alone, and that
15:48
Speaker 2: I guess it doesn't don't matter at this point.
15:50
Speaker 4: It's interesting because, like, looking at the list, I had
15:53
Speaker 4: to do a double check that this was for best Actress,
15:56
Speaker 4: because a lot of these roles kind of felt of
16:00
Speaker 4: the caliber of like supporting actress. But just that that's
16:03
Speaker 4: not how the plot went. I don't know it. It's
16:07
Speaker 4: an interesting year, as it always is.
16:11
Speaker 3: Yeah, I mean, the thing is, like, ultimately, it's one
16:14
Speaker 3: of those silly things where you know, there are thousands
16:18
Speaker 3: of movies released every year, and the odds are actually
16:22
Speaker 3: pretty high that there are so many award worthy performances
16:26
Speaker 3: out there that just never get noticed for one reason
16:29
Speaker 3: or another, you know, and it like everything comes down
16:32
Speaker 3: to so much stuff, and it's I think that you'd
16:36
Speaker 3: have to be blind not to look at you know,
16:39
Speaker 3: Oscar nominations sometimes given as an acknowledgment of somebody, you know,
16:45
Speaker 3: and sometimes even Oscar wins can be seen. Now well,
16:49
Speaker 3: of course an award is acknowledgement of somebody, but like
16:51
Speaker 3: sort of like a you know, they're not gonna win it,
16:54
Speaker 3: or even if they win it, like it, you know.
16:56
Speaker 3: I would always go back to when when Patino did
17:01
Speaker 3: not win for Godfather Part two and you know, Art
17:05
Speaker 3: Carney won for like Harry and Tonto, and it was like, really, guys,
17:09
Speaker 3: but you know he was you know, what were the
17:12
Speaker 3: Ozzy he was going to have another film sort of thing.
17:15
Speaker 3: But like I'm not saying that again to throw shade
17:18
Speaker 3: on Keaton, but like the awards stuff is so weird,
17:23
Speaker 3: Like for me to acknowledge something readily as oh, that's
17:28
Speaker 3: that's an award nominate, that's an award winning performance. I
17:31
Speaker 3: would fall on the side of monster, you know, of
17:34
Speaker 3: like that that film like it blew me away that
17:37
Speaker 3: that was Charlie's throne, Like I couldn't believe that was
17:40
Speaker 3: her and it was a transformation yeah, I lost her
17:44
Speaker 3: in this. I'm seeing Diane Keaton play Diane Keaton a
17:48
Speaker 3: Diane Keaton role, I should say throughout the film, you know,
17:51
Speaker 3: like there's a difference there for me.
17:54
Speaker 5: One thing kind of jumping off of that note.
17:58
Speaker 2: Was, so, do you guys know who the composer was
18:00
Speaker 2: for this movie?
18:02
Speaker 3: No, not off hand, I don't.
18:04
Speaker 5: It's Hans Zimmer.
18:06
Speaker 4: Well, color me what little known you know composer might
18:11
Speaker 4: have heard of him, might have seen his work.
18:13
Speaker 2: This is post Lion King, post Gladiator, post Thin Red Line,
18:17
Speaker 2: post Black Hawk Down, post Last Samurai.
18:21
Speaker 3: He needed a breather, he wanted to do something great.
18:24
Speaker 3: You know this, this yours reeks.
18:26
Speaker 5: This reeks of Zimmer.
18:29
Speaker 2: In turn, there's a lot open secret in Hollywood that
18:36
Speaker 2: Zimmer outsources his lesser projects to his team members, and
18:43
Speaker 2: he goes whole hog for Doune, But then he brings
18:46
Speaker 2: in other composers that just it's like basically ghostwriting, but
18:51
Speaker 2: under his banner.
18:53
Speaker 3: Like Stephen King and his later novels.
18:55
Speaker 2: Yeah, like King's later novels or Pattison, That's what I
18:57
Speaker 2: was thinking of Patterson, Patterson's novels. Okay, yeah, like reeks
19:02
Speaker 2: of ghost writer, Uh, do you guys remember a single
19:06
Speaker 2: note from this movie?
19:07
Speaker 3: Not even one, not even accidentally. I like, it's one
19:11
Speaker 3: of those things where I'm fairly certain there was music,
19:14
Speaker 3: but I don't know when the hell it happened.
19:15
Speaker 4: I mean, actually thinking about it for a second, I
19:19
Speaker 4: can kind of vaguely remember the elevator music and you
19:23
Speaker 4: know what I mean, like that kind of like.
19:26
Speaker 5: Dude, do do do? Do do do?
19:29
Speaker 4: Like that background music that's playing is there around the
19:32
Speaker 4: house and getting into Shenani Like the movie was just
19:36
Speaker 4: full of that type of music. It's like light and
19:38
Speaker 4: it's airy, but it you can't remember what it sounds like,
19:42
Speaker 4: but you kind of vaguely.
19:43
Speaker 3: Remember, Oh, I know what it sounds like. It sounds
19:46
Speaker 3: like a wealthy person who has a home in the
19:47
Speaker 3: Hamptons and the type of music that they play, that's
19:50
Speaker 3: what it sounds like. And it's look again, I fixated
19:54
Speaker 3: on on Nicholson being the head of a you know,
19:57
Speaker 3: hip hop label and everything like that bothers me. But
20:00
Speaker 3: there's a style of living in this film that puts
20:07
Speaker 3: more distance between me and it, specifically because there is
20:12
Speaker 3: a certain affectation with a lifestyle where I'm like the
20:17
Speaker 3: people that are represented and that you're talking to anybody
20:21
Speaker 3: that's like nodding their head like yeah, oh, this is
20:23
Speaker 3: like that time. I'm like, most of the audience that
20:27
Speaker 3: sits down for this is not seeing a life style
20:30
Speaker 3: that they'll ever touch, So there's a huge element of
20:33
Speaker 3: fantasy for them. And I know that this is a
20:35
Speaker 3: successful film, but I do. I think this is like
20:38
Speaker 3: a fantastical movie situation for people, like the type of
20:43
Speaker 3: life that you would lead, but it's written by somebody
20:46
Speaker 3: who's had the good fortune to taste some of that,
20:50
Speaker 3: and that's sort of the that's what the music, but
20:53
Speaker 3: also like the the you know, the in film music
20:56
Speaker 3: like Levine Rose playing in the background all the time
20:59
Speaker 3: and earth a Kit songs and like that sort of
21:03
Speaker 3: stuff like playing in the background, like that's This movie
21:07
Speaker 3: very much feels like a party I'm uncomfortable at because
21:10
Speaker 3: I just want to go have a hamburger sort of thing.
21:13
Speaker 3: And it's just it's that I know that's a weird
21:16
Speaker 3: tangent to go on, but I think that's another reason
21:18
Speaker 3: that I think this movie's a little difficult for me
21:20
Speaker 3: to plug into.
21:21
Speaker 2: And I feel like that's a problem with myers overall,
21:24
Speaker 2: you know, like there there is that disconnect, there is
21:26
Speaker 2: that problem like when you when everything can be solved
21:29
Speaker 2: with you know what, Oh she's in Paris.
21:32
Speaker 5: I'm gonna go to.
21:32
Speaker 2: Paris real quick, or I'm gonna hop I'm gonna hop
21:35
Speaker 2: on the concord and make this happen.
21:38
Speaker 5: It's difficult to connect.
21:39
Speaker 4: It happens a lot like this, the immediateness of the
21:44
Speaker 4: ultra wealthy to just do whatever they want. And yeah,
21:47
Speaker 4: like last minute trip to Paris, like today he left today,
21:52
Speaker 4: he left that exact same day he heard she was
21:54
Speaker 4: in Paris and not there is because he could because
21:58
Speaker 4: he he just said, I just all my companies and
22:01
Speaker 4: I got a lot of money. Like we're not throwing
22:03
Speaker 4: the word millionaire around though we are, like.
22:06
Speaker 3: Oh yeah, I found out that laying on a beach
22:08
Speaker 3: in the Bahamas getting drunk wasn't for me. So I
22:11
Speaker 3: decided to truly challenge myself. And it's like, you're what
22:15
Speaker 3: you're living. Wait, you decided after six hours at the
22:19
Speaker 3: life that people would literally murder half of their street
22:22
Speaker 3: for is not for you. Oh well, good for you.
22:25
Speaker 3: I'm so happy to hear that. That's wonderful. Go work
22:28
Speaker 3: on yourself. That's great. Yeah, sorry, I like again, that's
22:32
Speaker 3: the fantasy aspect, that's what That's what I find a
22:35
Speaker 3: movie like this to be fascinating is that it's fantasy
22:39
Speaker 3: without people acknowledging it as literally fantasy. They might as
22:44
Speaker 3: well be living in a world with dragons and horses
22:48
Speaker 3: that can talk and stuff like that. Like that's this
22:50
Speaker 3: is as fantastical as that, but has the veneer of
22:55
Speaker 3: materials that exist in the world. Therefore, were like, oh, well,
22:58
Speaker 3: this is happening in real life. That's in a sense,
23:01
Speaker 3: there's all like it's almost like a huge compliment to
23:04
Speaker 3: the movie because I'm like, you made a fantasy film
23:06
Speaker 3: that's awesome, Like this is literally no different than watching
23:10
Speaker 3: an enchanted princess in a castle sort of thing. And
23:14
Speaker 3: it's just that's kind of you know what. I think
23:16
Speaker 3: I might have just found a way to like the
23:18
Speaker 3: movie more by coming at it from that angle. All right, cool,
23:22
Speaker 3: I like this. I like it When this happens on
23:24
Speaker 3: the show the.
23:25
Speaker 4: Princess walks along the beach every day, gathering seashells as
23:29
Speaker 4: she writes her scrolls, her memoirs, it's like, yeah, same
23:34
Speaker 4: same thing.
23:35
Speaker 3: And on top of that, I would say that most
23:37
Speaker 3: playwrights don't live a pampered life like that. A lot
23:40
Speaker 3: of them do not.
23:42
Speaker 5: Oh my gosh.
23:43
Speaker 2: And also like, okay, so when we're driving in and
23:46
Speaker 2: Amanda Pete says to Jack Nicholson, like when he said,
23:50
Speaker 2: he's like, how rich is she, She's like, well, if
23:51
Speaker 2: she you know, or something along the lines like if
23:54
Speaker 2: she lives within a mile here, she's rich. And she's like,
23:58
Speaker 2: that's what happens writing a hit play. And but in
24:02
Speaker 2: that moment, they don't preface that she's a lifelong playwright.
24:05
Speaker 2: And so when she just said a hit play, I'm like, no, no,
24:10
Speaker 2: you do not get a house in the Hamptons after
24:12
Speaker 2: you write a hit play.
24:14
Speaker 3: Ye, Rogers and Hammerstein didn't quit after one Honey.
24:19
Speaker 2: Unless you're Lynn Manuel Miranda with Hamilton, you are not Yeah,
24:24
Speaker 2: and living in the Hamptons. It takes yeah, yeah, okay,
24:28
Speaker 2: So all right, So twentieth Century Fox was the original
24:33
Speaker 2: distributor of this film, but they passed because they felt
24:37
Speaker 2: like it wasn't bankable because everyone was too old, and
24:42
Speaker 2: they clearly were wrong.
24:43
Speaker 4: Old people don't go to the movies obviously.
24:46
Speaker 2: Just but okay, here's the thing I want to ask
24:49
Speaker 2: you guys this question. One of my favorite shows of
24:52
Speaker 2: all time is Boston Legal and Denny Crane, and one
24:58
Speaker 2: of the reasons why it was canceled is because ABC
25:01
Speaker 2: felt like there wasn't enough young blood on it, that
25:04
Speaker 2: there was way too you know, like the Candice Bergen,
25:08
Speaker 2: William Shatner, John Learra kat you know, they felt like
25:12
Speaker 2: these were the three main people of the show, not
25:14
Speaker 2: including you know, the main character violent short, but they
25:18
Speaker 2: felt like, oh, you know, like there's too many old
25:20
Speaker 2: people on the screen. There's got to be young folks.
25:22
Speaker 2: And they even wrote it into the storyline when they
25:24
Speaker 2: broke the fourth wall about it, and it's actually, it's honestly,
25:30
Speaker 2: it's really sad to me because I don't need to
25:33
Speaker 2: see everybody who's twenty two. Not everybody needs to be
25:35
Speaker 2: twenty six, not everybody has to be seventeen. Like, let's
25:38
Speaker 2: see people in multiple stages of life all throughout life.
25:42
Speaker 2: And with that in mind, do you think this movie
25:47
Speaker 2: would have worked if it was with younger people and
25:50
Speaker 2: like somebody was just going through some sort of you know,
25:53
Speaker 2: medical condition or something.
25:55
Speaker 5: Tell me, why tell me why?
25:57
Speaker 3: I mean, I'll take for a swing. It doesn't work
26:00
Speaker 3: specifically because it's way too boring. Any amount of interest
26:04
Speaker 3: that I have in this film is in the fact
26:08
Speaker 3: that it shows that universality of emotional difficulty that people
26:15
Speaker 3: go through, that it's not relegated just to youth. When
26:18
Speaker 3: you're having questions about your purpose, your heart, your love,
26:23
Speaker 3: how you've lived your life. You know, young people get
26:26
Speaker 3: so far up their own keyster that what, boy, did
26:29
Speaker 3: I sound like an old guy there? That you know
26:31
Speaker 3: where they they think they're the only ones that are thinking,
26:34
Speaker 3: you know, living these deeply examined lives where they're looking
26:37
Speaker 3: at it. I was a young man once. I know
26:40
Speaker 3: this to be true. But it shows that, like, even
26:43
Speaker 3: when you're in your fifties or your sixties or whatever,
26:46
Speaker 3: you're like, you're still having those same questions. You're still
26:49
Speaker 3: a human being. And I think the movie is interesting
26:52
Speaker 3: specifically because it shows people who are so advanced in
26:58
Speaker 3: their careers their lives that younger people would look at
27:02
Speaker 3: them and say, oh, well, they've been through it all
27:04
Speaker 3: and they've got it all figured out. And it's saying, no,
27:06
Speaker 3: nobody's got it figured out. Everybody's still just trying to
27:09
Speaker 3: figure where they're going and what they're doing from this
27:13
Speaker 3: point forward. That I so, no, I don't think this
27:16
Speaker 3: works with younger people at all now.
27:19
Speaker 4: And I like the fact that it is set after
27:23
Speaker 4: her divorce. It is not like, oh, they're having trouble
27:27
Speaker 4: and then Jack Nicholson's character comes in and oh, look,
27:30
Speaker 4: I'm going to leave my husband. No, No, that has
27:32
Speaker 4: nothing to do with him. That happened. It's part of
27:35
Speaker 4: her life and her history. And she still works with
27:39
Speaker 4: the guy, which is still kind of weird, but you know,
27:43
Speaker 4: you have that, and yeah, it's it would not be
27:48
Speaker 4: interesting at all if it was oh, here's two young
27:53
Speaker 4: dot com millionaires who goes back, then that's what it
27:57
Speaker 4: would have gotten on the money, you know, and they're
28:01
Speaker 4: just trying to figure out love. That's all we got
28:03
Speaker 4: to figure out. We figured out the money thing, now
28:05
Speaker 4: we got to figure out the love thing. It's like, No,
28:08
Speaker 4: the pause that they give as they're thinking things, the
28:12
Speaker 4: way they talk to each other, the way they're trying
28:16
Speaker 4: to figure it out, is really interesting because not a
28:20
Speaker 4: lot of movies do that, because not a lot of
28:22
Speaker 4: movies are set in this you know, stage of life.
28:26
Speaker 4: But you know, you're right, No one watches Old People
28:29
Speaker 4: Golden Girls. Nobody watched that terrible show, no terrible ratings.
28:35
Speaker 3: You know, I think that a thing that does show
28:40
Speaker 3: Fox's ridiculous miscalculation and Sony's wisdom in release timing is
28:47
Speaker 3: the fact that this was a December movie. And this
28:50
Speaker 3: is exactly the type of thing where you're coming up
28:53
Speaker 3: on the holidays and it's like, you want to go
28:56
Speaker 3: to the movies. This is you look at this and
29:00
Speaker 3: there's a baseline where you're in the holidays and maybe
29:05
Speaker 3: the kids want to go see the New Star War
29:08
Speaker 3: or something like that, but mom and Dad can go
29:11
Speaker 3: off and go see this movie, or even the older
29:14
Speaker 3: kids can go with you or something like that. Where
29:17
Speaker 3: it's like you're actually appealing to an audience that is
29:22
Speaker 3: sometimes feeling a little ignored. And release timing is key
29:27
Speaker 3: to success. And I think Sony absolutely knew right when
29:31
Speaker 3: to release this. You release this in summer, it gets slaughtered.
29:34
Speaker 3: You release this in February, it's forgotten. You release this
29:37
Speaker 3: around Christmas. Oh is that Diane Keaton Jack Nicholson movie.
29:41
Speaker 3: Let's go see that. And even if one of the
29:44
Speaker 3: people in the relationship say a me in the relationship,
29:48
Speaker 3: doesn't want to go see it. It's like, Eh, how
29:51
Speaker 3: bad could it be? Right? Then she'll be happy. Fine,
29:55
Speaker 3: I'll go Like I know, I feel like I'm sort
29:59
Speaker 3: of like being crass with it. But seriously, like Sony,
30:03
Speaker 3: Sony saw how to play this way smarter than obviously
30:07
Speaker 3: Fox did, and it's like, it's a shame that Fox
30:10
Speaker 3: couldn't figure that one out. I think this is a
30:12
Speaker 3: no brainer. If I'm the head of a studio, I'm
30:15
Speaker 3: picking this up and I'm doing exactly what Sony did.
30:17
Speaker 3: I'm releasing this right in December. Awesome, guys, we got
30:21
Speaker 3: a shot at this well.
30:24
Speaker 4: And it's interesting because I remembered, oh, two thousand and three.
30:27
Speaker 4: I remember another movie that came out in two thousand
30:30
Speaker 4: and three a matter of weeks before this, was Love Actually,
30:34
Speaker 4: which I think definitely while it does have a lot
30:37
Speaker 4: of different stories and some are older people, not as
30:41
Speaker 4: old as you know, Jack Nicholson, I don't think, but yeah,
30:47
Speaker 4: that is definitely the younger demographic.
30:52
Speaker 5: I get that.
30:53
Speaker 2: Liam Neeson in his twenties, you know, just all.
30:58
Speaker 4: Right, all right saying it has more plot lines with
31:02
Speaker 4: younger people in it, that's all.
31:03
Speaker 3: It's Spry Chicken, Alan Rickman too.
31:06
Speaker 2: And Hugh Grant as an eighteen year old M Absolutely,
31:10
Speaker 2: I'm just I'm just seeing all the basically a high
31:12
Speaker 2: school film at this point.
31:13
Speaker 3: Yeah, you know, well wait a minute, oh so wait
31:17
Speaker 3: a minute? Was uh?
31:18
Speaker 5: Was this?
31:19
Speaker 3: So that was right around the same time as like
31:21
Speaker 3: Matrix Revolutions then, right?
31:24
Speaker 4: I think that was also a three. Yeah, that doesn't
31:26
Speaker 4: think great Matrix was a summer I would assume.
31:30
Speaker 3: For some reason, I don't know. Yeah, anyway, doesn't matter.
31:35
Speaker 2: Wet's okay, Well, now that we're talking about Matrix, let's
31:37
Speaker 2: talk about Keanu Reeves here. Okay, Okay, a big Keanu
31:43
Speaker 2: Reeves fan. He's better than this. He's better than this. Okay,
31:48
Speaker 2: he's he's handsome. You could true him playing a doc.
31:53
Speaker 2: I don't even want to say that out loud, but.
31:57
Speaker 5: I don't.
31:57
Speaker 2: I can't. I can't put my finger on it. Why
32:00
Speaker 2: does this not work?
32:03
Speaker 3: Because the role is so bland that not even a
32:08
Speaker 3: competent actor like Reeves can figure out exactly what to
32:12
Speaker 3: do with it. And he's obviously a very skilled actor
32:16
Speaker 3: waiting for his director to tell him how to make
32:19
Speaker 3: this interesting. He is I think it was Ebert called
32:23
Speaker 3: him like a walking plot contrivance or something like that,
32:27
Speaker 3: or a plot complication or something. Yeah, and it's like, yeah,
32:31
Speaker 3: like he this character exists only to give Diane Keaton
32:36
Speaker 3: the opportunity to leave him at the end. And honestly,
32:40
Speaker 3: that is actually one of the things that I think
32:43
Speaker 3: doesn't work about the movie is there was a brief
32:47
Speaker 3: moment at the end where I thought she was going
32:49
Speaker 3: to go off. I believed, Oh, she's going to go
32:51
Speaker 3: off with him, and Jack Nicholson will really have learned
32:54
Speaker 3: his lesson. He's crying.
32:57
Speaker 4: Oh.
32:58
Speaker 3: It felt I don't think this is what I have
33:00
Speaker 3: nothing to back this up. It really felt like a reshoot.
33:03
Speaker 3: It really felt like she left him. She went off
33:06
Speaker 3: with Kenna Reeves. He went off to the bridge to
33:09
Speaker 3: to to deal with his his sadness, and then audiences
33:14
Speaker 3: were like, no, we want to see them get back together,
33:17
Speaker 3: like this Endi.
33:18
Speaker 4: And Evitude we could not get together exactly.
33:22
Speaker 3: I can see that.
33:23
Speaker 4: I mean the same thing, yeah, the same thing with
33:27
Speaker 4: Reeves is like it felt like his character did not
33:31
Speaker 4: exist when he was not on screen, like he vanished
33:35
Speaker 4: into the ether and then forgot to put it that
33:39
Speaker 4: he was there until it was like, oh, yeah, we
33:42
Speaker 4: needed to be on a date. He's waiting for the
33:45
Speaker 4: date and then we see him again. I'm like, oh,
33:47
Speaker 4: that's right, he's in this movie. And then he's gone again.
33:50
Speaker 4: Like that, That's how I think it felt. Yeah, it
33:55
Speaker 4: was definitely one of those. And again he's trying, he's
33:59
Speaker 4: he's putting hard into it, but it's such a it's
34:04
Speaker 4: so interesting because they're putting so much depth into Keaton
34:10
Speaker 4: and Nicholson's role that the shallowness in the plot and
34:15
Speaker 4: the story on Keano's is so striking. Like this isn't
34:19
Speaker 4: even a love triangle. This is like a love you
34:22
Speaker 4: know you, it doesn't even make a triangle.
34:25
Speaker 3: Yeah, because it's.
34:26
Speaker 4: So it's like you're there just so there's a line
34:29
Speaker 4: between the two leads, and you're pulling it down, but
34:32
Speaker 4: you're not making a triangle. You're just disrupting it slightly.
34:36
Speaker 3: I would actually say that because of the way it works.
34:38
Speaker 3: He actually pulls it up so that it's a frown,
34:41
Speaker 3: so it's it's it's because look.
34:43
Speaker 4: Something's gotta give, Okay, something's gotta go.
34:47
Speaker 3: To day. Well done, sir, No, I do I think
34:51
Speaker 3: I think I completely agree with the way you're you're
34:54
Speaker 3: stating it, and it makes me think of another character
34:57
Speaker 3: that just doesn't seem to serve any real purpose, which
35:00
Speaker 3: is Francis mcdorman's character, where I'm like, why why is
35:04
Speaker 3: she even? Why is her sister here? It's like she's
35:10
Speaker 3: just there, and it's like I.
35:11
Speaker 4: Didn't mind her. I felt like I felt like it
35:17
Speaker 4: it needed that character because that gives a closer in
35:23
Speaker 4: age sister encouragement, which I think I'd rather have than
35:30
Speaker 4: the young daughter that was also kind of dating this
35:32
Speaker 4: guy encouragement. I don't know it I did. I understand.
35:39
Speaker 3: Yeah, I understand what you're saying. But I would say
35:41
Speaker 3: in response to that that it's just that the the movie,
35:46
Speaker 3: the script backed itself into a corner and it's like
35:48
Speaker 3: I need this other character, so yeah, okay, it exists,
35:53
Speaker 3: and it's it's I think it's no different than Keanu
35:56
Speaker 3: Reeves's character, where when she would show up, I was like, oh,
35:59
Speaker 3: right her, she Yeah, she exists.
36:02
Speaker 4: There's even a seed where they both show up in
36:05
Speaker 4: the same scene to bring each other back into the plot. Yes,
36:09
Speaker 4: who I found Look what I found for you at
36:11
Speaker 4: the at the farmer's market. It's literally both the side
36:14
Speaker 4: characters rallying to be relevant. Again.
36:19
Speaker 3: Well, I mean I think that that there's another thing
36:22
Speaker 3: aspect to that that that that doesn't work for me,
36:25
Speaker 3: which is the fact that Diane Keaton is such a
36:30
Speaker 3: prize to him that he's been pining away so that
36:33
Speaker 3: when he accidentally runs across her sister at a farmer's market,
36:36
Speaker 3: he's like, yeah, here's what I'm like. He's a young doctor.
36:41
Speaker 3: If if something falls through and he gets stood up
36:43
Speaker 3: at a date, he's definitely in the dat He'll be okay, Yeah,
36:48
Speaker 3: he's gonna be like, well that didn't work, and he's
36:50
Speaker 3: gonna move on. He's not that that's just it's it's
36:57
Speaker 3: one of those things where again it gets back to
36:59
Speaker 3: that whole idea of like it's it's a bunch of
37:03
Speaker 3: pieces vignettes, but they don't they don't all work together
37:07
Speaker 3: like they're they're you know, it's just sort of a jumble.
37:11
Speaker 4: Now. Let but let's circle back to Nancy Myers, because
37:15
Speaker 4: we've seen three movies, so I'm starting to feel or
37:19
Speaker 4: notice some kind of threads between them, Like the way
37:23
Speaker 4: you know your your main characters are. We're gonna see
37:26
Speaker 4: some similarities next week, just so you guys know, like
37:30
Speaker 4: I think even Hans Zimmer comes back, so we're being
37:33
Speaker 4: into that well again. Uh but yeah, I feel from
37:39
Speaker 4: you know, The Parents and the Parent Trap to you know,
37:43
Speaker 4: Mel Gibson to Jack Nicholson. She has this style for
37:48
Speaker 4: sure of I think was super rich people who have
37:53
Speaker 4: to figure out how to live in a family. I
37:58
Speaker 4: don't know it, it's it's take.
38:01
Speaker 3: I think her style. I'll piggyback off what you're saying.
38:04
Speaker 3: I understand what you're saying, and I'll piggyback off it
38:07
Speaker 3: and say that a lot of her characters feel like
38:10
Speaker 3: inventions as opposed to people, and it is the like
38:16
Speaker 3: a thing that's it can work. It works in the
38:19
Speaker 3: Parent Trap because it's a Disney movie. Disney movie, Like
38:23
Speaker 3: I go in and I'm like this, this is just
38:25
Speaker 3: a weird fantasy sort of thing. This would never happen.
38:28
Speaker 3: I'm accepting from the beginning that this is just fantasy
38:31
Speaker 3: what women want. Yeah, I mean, like mel Gibson's character
38:35
Speaker 3: doesn't ever feel like he's actually actualized in any way.
38:39
Speaker 3: All of the situations are like everything feels very constructed.
38:44
Speaker 3: This is a constructed reality as opposed to a lived reality.
38:48
Speaker 4: I think I think you nailed it. I think it's
38:51
Speaker 4: a fantasy. All all of these are fantasies. I never
38:55
Speaker 4: once think that these stories are Oh well, this kind
38:59
Speaker 4: of maybe is what Nancy Myers lived through in her youth,
39:03
Speaker 4: and that is why she wrote this movie.
39:05
Speaker 5: No, no, none.
39:07
Speaker 4: Of these are are that kind of which is not bad.
39:10
Speaker 4: I'm not saying it's bad that there's place for fantasy
39:13
Speaker 4: in our movies. It's just there just happens to not
39:17
Speaker 4: be castles and dungeons and princesses.
39:19
Speaker 3: It's just modern day fantasy is doctors and hip hop
39:24
Speaker 3: record execs and playwrights. Yeah you're not, you're again.
39:29
Speaker 4: Wait till next week, guys, it's we're drinking from the
39:32
Speaker 4: same well.
39:33
Speaker 6: Oh no, oh boy. Okay, all right, let's let's wrap
39:38
Speaker 6: it up. I really want to know. I'm gonna I'm
39:42
Speaker 6: gonna break with tradition. John, how many how many fake
39:48
Speaker 6: heart attacks? How many anxiety inducing panic attacks? Are you
39:53
Speaker 6: giving this film that doctors should be more aware of
39:56
Speaker 6: what's going on?
39:59
Speaker 3: I will well, I'm giving it a very generous two.
40:04
Speaker 3: And the reason for that generous two is because Myers
40:09
Speaker 3: had the sense to cast to write for and cast
40:13
Speaker 3: people who worked in what they were given, who knew
40:18
Speaker 3: what they were doing. This is this is going to
40:21
Speaker 3: sound terrible the way I put it, But her wisdom
40:24
Speaker 3: here is casting people that she didn't really need to direct,
40:29
Speaker 3: and that's the reason the movie doesn't fall apart. And
40:32
Speaker 3: so her two leads are so experienced, are so naturally
40:37
Speaker 3: gifted in screen performance that they can just carry it
40:41
Speaker 3: through and she can show up and make sure everything's
40:45
Speaker 3: lit right and thing the camera is working and the
40:48
Speaker 3: DP is getting stuff done and all of that type
40:51
Speaker 3: of stuff, but there's nothing. What's disappointing to me is
40:55
Speaker 3: there's nothing inspired here. This is written as a way
40:59
Speaker 3: for her to to work through and purge feelings that
41:02
Speaker 3: she has, but I never touch on I never feel
41:06
Speaker 3: like I touch on those feelings. And I think the
41:08
Speaker 3: fundamental flaw is because it feels like Jack Nicholson is
41:12
Speaker 3: the main character at certain points and Diane Keaton is
41:16
Speaker 3: the one I should care about. I should be introduced
41:19
Speaker 3: to her first. I should be given more of her
41:22
Speaker 3: story first. I should be given more of everything first
41:25
Speaker 3: with her. But then you can't set up the Nicholson
41:29
Speaker 3: love story thing as easily or whatever. But I never
41:33
Speaker 3: connected with these characters. But it's not incompetently made. It's
41:38
Speaker 3: not something where I'm like, oh, these people don't even
41:40
Speaker 3: know what they're doing. They know what they're doing.
41:42
Speaker 5: It just didn't work. So two, Darien, how about you?
41:46
Speaker 4: I'm giving it a three. I think it definitely scored
41:51
Speaker 4: better than what women want for me. And at the end,
41:56
Speaker 4: I did care about the characters like they I was
42:01
Speaker 4: curious about what was going to happen to them, barring
42:06
Speaker 4: the crying, which just took me out of it. But yeah,
42:10
Speaker 4: I wanted to see how this played out, and I
42:15
Speaker 4: think when a movie can do that, it's definitely what
42:18
Speaker 4: I will probably watch this again, you know, and to
42:21
Speaker 4: re enjoy now that I know the story, you know
42:25
Speaker 4: the characters again. I think Nicholson's performance.
42:27
Speaker 5: Is just is really good.
42:30
Speaker 4: Not like Oscar Worthy good, but he's carrying that character
42:36
Speaker 4: and it doesn't toe the line passed into a caricature,
42:42
Speaker 4: you know, I can I can buy it, which which
42:44
Speaker 4: I enjoy. So I'm giving it three rocks off the beach.
42:48
Speaker 4: You can decide if they're black or white.
42:52
Speaker 2: I'm gonna split the difference. I'm gonna give this a
42:54
Speaker 2: two point five. This is kind of on the same
42:58
Speaker 2: level as what women want for me, Like, there's some
43:00
Speaker 2: really interesting moments, and there are parts that genuinely make
43:04
Speaker 2: me laugh, But overall, it could be a whole lot shorter,
43:08
Speaker 2: it could be a whole lot tighter. You could utilize
43:11
Speaker 2: the time better this. I feel like the scene where
43:17
Speaker 2: we see Jack Nicholson's butt through the gown goes on
43:24
Speaker 2: three times as long as it needs to, and it
43:27
Speaker 2: starts off really funny, and then it gets less funny,
43:31
Speaker 2: and then you're like, Wow, this is going on for
43:33
Speaker 2: a long time, and then it moves on to that
43:35
Speaker 2: wasn't funny. I feel like that scene is a microcosm
43:39
Speaker 2: of the movie and its structure from scene to scene,
43:43
Speaker 2: and that there needed to be a script doctor. There
43:47
Speaker 2: needed to be either a script doctor or a better editor,
43:51
Speaker 2: or an editor that could stand up to Myers a
43:52
Speaker 2: little bit better. But that's hard when it's a writer, producer,
43:54
Speaker 2: and director. So I'm saying two and a half. That's
43:58
Speaker 2: where I'm at, Aaron, what are we doing next week?
44:02
Speaker 4: Next week we'll be wrapping up the House of Nancy
44:05
Speaker 4: Myers with two thousand and Six's the holiday guess where
44:10
Speaker 4: our characters are going next on house Lights.
44:13
Speaker 1: Join the Revolution, Join the Nerd Party,