Latest / Nashville Movie Dispatch / The Cinema Chronicles, Vol. 39: 'The Drama' and More

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The Cinema Chronicles, Vol. 39: 'The Drama' and More · Nashville Movie Dispatch

• 0:21
  Speaker 1: It's that time once again for a brand new volume
• 0:25
  Speaker 1: of the cinema Chronicles right here on Nashville Movie Dispatch.
• 0:31
  Speaker 1: I'm your host, Brandon Vick, member of the Southeastern Film
• 0:35
  Speaker 1: Critics Association and a board member of the Music City
• 0:38
  Speaker 1: Film Critics Association, and the resident film critic for Nashville
• 0:42
  Speaker 1: Movie Dispatch. Of course, you can see all of our
• 0:46
  Speaker 1: work as one big old unit on Nashville moovidispatch dot
• 0:51
  Speaker 1: substack dot com. Before I get into the films we're
• 0:57
  Speaker 1: gonna be talking about today, and I'm gonna share a
• 1:00
  Speaker 1: little thing that I went to last week that had
• 1:04
  Speaker 1: the legendary Albert Brooks doing an interview with also, I
• 1:09
  Speaker 1: would say, in some ways a legendary Kevin Pollock. The
• 1:15
  Speaker 1: stuff you can find right now on Nashville Movie Dispatch.
• 1:19
  Speaker 1: There is a I did a podcast review, a solo
• 1:22
  Speaker 1: vix flickx podcast review of Exit eight. It's a Japanese
• 1:26
  Speaker 1: thriller that's based on a video game Stony and I
• 1:30
  Speaker 1: did a Steven Soderberg podcast that where I also gave
• 1:35
  Speaker 1: my thoughts and my vix Flix rating for his latest
• 1:39
  Speaker 1: called The Christophers that will be playing at the Bell Court.
• 1:42
  Speaker 1: That's playing at the Bell Court now that has MICHAELA.
• 1:46
  Speaker 1: Cohen and Sir N McKellen and it as well as
• 1:50
  Speaker 1: Kevin's got a review of I Swear, which won more
• 1:55
  Speaker 1: than a few BAFTAs, including the for Best Actor, beating
• 1:59
  Speaker 1: out all of those you know, other actors that ended
• 2:04
  Speaker 1: up winning the Oscar and Michael the Michael Jackson biopic.
• 2:11
  Speaker 1: So and obviously there's a whole lot more on there,
• 2:14
  Speaker 1: and so please feel free to check it out, all
• 2:18
  Speaker 1: the articles on there, podcasts listen to wherever you get
• 2:22
  Speaker 1: your podcasts, and we greatly appreciate it. And so, yeah,
• 2:28
  Speaker 1: so there was a basically a Netflix comedy festival that
• 2:35
  Speaker 1: was here in Nashville. They've done it more than a
• 2:37
  Speaker 1: few years. They have stuff from the Rhyme and they
• 2:40
  Speaker 1: got stuff at the Bridgtone Arena downtown. But there is
• 2:44
  Speaker 1: my father in law bought tickets like eight months ago
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  Speaker 1: to this like basically an evening with Albert Brooks and
• 2:52
  Speaker 1: it's kind of hosted interviewer that's a word by Kevin Pollock.
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  Speaker 1: And so it was at this local university called Belmont University.
• 3:06
  Speaker 1: It's a pretty fancy one but they have the Fisher
• 3:09
  Speaker 1: Center of Performing Arts, and let me tell you, it
• 3:11
  Speaker 1: is a beautiful spot, gorgeous inside it was. It's an
• 3:17
  Speaker 1: awesome venue. I'd never been there before. I hope to
• 3:21
  Speaker 1: go again for something, whatever it may be. But it
• 3:26
  Speaker 1: was great. We were kind of sitting like right there
• 3:28
  Speaker 1: in the middle of front row. It was really cool.
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  Speaker 1: And I'm a big fan of Albert Brooks. Most of
• 3:35
  Speaker 1: my family doesn't know who he is or doesn't appreciate him,
• 3:39
  Speaker 1: and you know that's something that they were going to
• 3:41
  Speaker 1: have to live with. But I I mean, honestly, he's
• 3:46
  Speaker 1: done great work and I haven't even seen like all
• 3:48
  Speaker 1: of like some of his best work, as the scholars
• 3:52
  Speaker 1: have pointed out. I've never seen Defending Your Life with
• 3:57
  Speaker 1: him and Meryl Streep. I've never seen all of broadcast news.
• 4:00
  Speaker 1: But I've seen Taxi Driver, and I've seen Mother, and
• 4:03
  Speaker 1: I've seen what was at the Scout, and I've seen
• 4:07
  Speaker 1: The Muse, and I've seen Drive and so he's also
• 4:11
  Speaker 1: been in This is forty and recently talking about the
• 4:14
  Speaker 1: Steven Soderberg podcast.
• 4:15
  Speaker 2: I watched Out of.
• 4:16
  Speaker 1: Sight and he's in that too. And of course he's
• 4:19
  Speaker 1: Nemo's dad, who I think most of my family is
• 4:22
  Speaker 1: probably the only time they really that's the only time
• 4:24
  Speaker 1: they really know who he is, which means they only
• 4:26
  Speaker 1: know his voice. But I could have listened to him
• 4:30
  Speaker 1: talk all night. I love that Kevin Pollock was there too.
• 4:34
  Speaker 1: Every time I hear his name, I think of a
• 4:37
  Speaker 1: few good men. I think of grumpy, grumpy slash grumpy
• 4:41
  Speaker 1: old men. And I can't remember. And I know somebody
• 4:45
  Speaker 1: who's who's gonna listen to this will know. But he
• 4:48
  Speaker 1: played somebody like this kind of entertainer slash host and
• 4:54
  Speaker 1: that thing you do. And he had this saying and
• 4:58
  Speaker 1: it was something about Pittsburgh and I and I just
• 5:02
  Speaker 1: remember the suit and the way his hair looked in
• 5:04
  Speaker 1: any way, both seemed like really cool guys, and so
• 5:08
  Speaker 1: it was it was a treat to see him. There
• 5:13
  Speaker 1: is a great it's on HBO Max. There's a great
• 5:15
  Speaker 1: Albert Brooks documentary and it was actually directed by the
• 5:19
  Speaker 1: late Rob Reiner. And apparently they've been friends since like
• 5:22
  Speaker 1: they were fifteen. And in case you don't know, the
• 5:27
  Speaker 1: story of them meeting is pretty cool. I will share
• 5:29
  Speaker 1: this with you, but I highly recommend the documentary. Is
• 5:35
  Speaker 1: they were in the same class and they were talking
• 5:36
  Speaker 1: about where like everyone stands up, introduces themselves and Albert
• 5:42
  Speaker 1: Brooks sat in the back and Rob Reiner sat in front,
• 5:46
  Speaker 1: and he didn't hear exactly what he said, but but
• 5:49
  Speaker 1: some of the stuff he heard he was like, man,
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  Speaker 1: he's really funny. So he was like after class, Well
• 5:55
  Speaker 1: went up to him and we were talking and he
• 5:58
  Speaker 1: was like, hey, you know, when did you move here?
• 6:00
  Speaker 1: And oh where do you live? And what do you
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  Speaker 1: want to do and stuff like that, and he said
• 6:05
  Speaker 1: and he said it a week ago, but it's also
• 6:07
  Speaker 1: in the documentary where he said, I have no idea
• 6:10
  Speaker 1: because I have never done this, but I said out
• 6:13
  Speaker 1: of the blue that I know Carl Reiner and Rob goes,
• 6:19
  Speaker 1: how do you? And he's like, I do too. He's
• 6:21
  Speaker 1: like you do and he's like how do you. He's like, well,
• 6:23
  Speaker 1: he's my father, and he's like that was probably one
• 6:25
  Speaker 1: of the most awkward moments we've ever had. But they've
• 6:28
  Speaker 1: been friends for I mean decades. But if you had
• 6:34
  Speaker 1: if you know a little bit about because he used
• 6:37
  Speaker 1: to do Albert Brooks did the variety shows. I mean
• 6:39
  Speaker 1: he did Carson. I think he said like thirty times,
• 6:42
  Speaker 1: and my father in law had when he lived with us,
• 6:45
  Speaker 1: he would show me scenes from the Tonight Show, and
• 6:48
  Speaker 1: I've seen stuff, and obviously it's in the documentary as well.
• 6:51
  Speaker 1: So there's some stories I had heard. There's some stories
• 6:53
  Speaker 1: I hadn't heard, but obviously it everything sounds different when
• 6:57
  Speaker 1: you're there and they're in person telling you. I'm giving
• 7:01
  Speaker 1: these little antidotes, but I kind of wished Kevin Pollack
• 7:07
  Speaker 1: kind of went more into certain a certain kind of
• 7:10
  Speaker 1: flow with the interview is kind of all over the place,
• 7:12
  Speaker 1: but the Q and A was the best part because
• 7:16
  Speaker 1: some people probably shouldn't have gone up there and asked
• 7:19
  Speaker 1: questions to him, but those that did, and some actually were,
• 7:23
  Speaker 1: they let him kind of go into other films or
• 7:28
  Speaker 1: other aspects of his career. One of the great things
• 7:31
  Speaker 1: I heard. I'm a huge fan of Drive, and I
• 7:33
  Speaker 1: love that movie. I love him in it.
• 7:35
  Speaker 2: And one of the.
• 7:37
  Speaker 1: Questions and I forgot what was asked, but basically he
• 7:39
  Speaker 1: said he was kind of looking for more roles like
• 7:42
  Speaker 1: that one, and I would love to see him do
• 7:47
  Speaker 1: more stuff like that. I mean, he is a comedic genius,
• 7:50
  Speaker 1: but what he was able to do in Drive, I
• 7:52
  Speaker 1: thought was phenomenal. So that was awesome to hear and
• 7:57
  Speaker 1: then there were some people there all shit one story
• 8:00
  Speaker 1: and it actually made me laugh. But this guy got
• 8:03
  Speaker 1: up and basically talked about how big of a fan
• 8:07
  Speaker 1: his father was and the films that his father introduced
• 8:10
  Speaker 1: him to of Albert Brooks. But then we come to
• 8:14
  Speaker 1: find out he didn't bring his father. Instead, he came
• 8:17
  Speaker 1: with some friends who he told Albert Brooks didn't know
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  Speaker 1: who the fuck he was. So I don't even know
• 8:23
  Speaker 1: the question, but I do remember after they answered it
• 8:26
  Speaker 1: and they said thank you, and he said thanks, walked
• 8:28
  Speaker 1: off and pure like Albert Brooks delivery. He was like,
• 8:34
  Speaker 1: he was like, yeah, no, I appreciate it making me
• 8:35
  Speaker 1: feel like shit. And I got a good laugh out
• 8:39
  Speaker 1: of it, and Kevin Pollack kind of grilled some some
• 8:42
  Speaker 1: folks too, But it was a nice it was. It
• 8:44
  Speaker 1: was a really cool night just to kind of just
• 8:47
  Speaker 1: be in the building with someone like that. And I
• 8:51
  Speaker 1: highly recommend checking out Albert Brooks the documentaries on HBO Max. Also,
• 8:56
  Speaker 1: I need to go back and watch some of his
• 8:59
  Speaker 1: other film but the ones that I mentioned earlier are
• 9:02
  Speaker 1: well worth it. He is a he's a very unique guy.
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  Speaker 1: But also the way that he writes is is is
• 9:13
  Speaker 1: really unique, and you can tell everything is kind of
• 9:17
  Speaker 1: just even when he was talking last week, like the
• 9:22
  Speaker 1: personality and just the way that he kind of sees
• 9:25
  Speaker 1: the world. He's so good at kind of putting that
• 9:27
  Speaker 1: on paper and getting that across in films, And so
• 9:33
  Speaker 1: I highly recommend watching more than just Finding Nemo for
• 9:37
  Speaker 1: Albert Brooks, because he is a he's a comic genius,
• 9:41
  Speaker 1: a comedic genius, but he's also a hell of a
• 9:45
  Speaker 1: hell of an actor, hell of a writer, a hell
• 9:47
  Speaker 1: of a director. So I wanted to take up at
• 9:51
  Speaker 1: least three minutes to make sure you know the name
• 9:55
  Speaker 1: Albert Brooks, so you're not like those guys friends and
• 9:57
  Speaker 1: are just assholes. So but hey, I got four movies
• 10:02
  Speaker 1: for you. They're all very different. I also think that
• 10:06
  Speaker 1: I don't know if I've ever done a show that's
• 10:08
  Speaker 1: had this many movies where it made the had lower ratings.
• 10:16
  Speaker 1: But stick with me. I'll talk about it. I'll tell
• 10:19
  Speaker 1: you about it. And then for the last film, I'm
• 10:23
  Speaker 1: gonna bring in the eic of Sobros Network, Stony Keeley,
• 10:28
  Speaker 1: because he actually saw this film before I did, and
• 10:31
  Speaker 1: I know he has some thoughts on it, and I
• 10:34
  Speaker 1: think it'll be a good, really good discussion. And but
• 10:39
  Speaker 1: first we're gonna start with two Face and Gandhi crashing
• 10:46
  Speaker 1: a plane in shark infested waters. I'll tell you about
• 10:50
  Speaker 1: it next. So there's something about shark movies in the summertime,
• 11:08
  Speaker 1: Am I right? And I'm not talking it's not necessarily summer,
• 11:12
  Speaker 1: but it when it went. But it's I'm talking like
• 11:14
  Speaker 1: when it's already getting hot outside and you gotta switch
• 11:19
  Speaker 1: out them sweatpants for them swimsuits. You know. Of course,
• 11:22
  Speaker 1: I'm assuming all this started with probably Jaws, which was
• 11:28
  Speaker 1: the first summer blockbuster. But I mean we're look, we're
• 11:33
  Speaker 1: suckers for the for the shark movies, right. I mean
• 11:38
  Speaker 1: I remember thinking it was kind of fun to watch
• 11:40
  Speaker 1: the meg and that's one of the that's one of
• 11:43
  Speaker 1: the ones I remember recently. But it doesn't really matter
• 11:48
  Speaker 1: the story or who's starring in them. Just show us
• 11:51
  Speaker 1: sharks gobbling up silly humans and we're there. However, for
• 11:57
  Speaker 1: Deep Water, which which comes out this Friday in theaters
• 12:03
  Speaker 1: starring Aaron Eckhart and Ben Kingsley, you might want to
• 12:08
  Speaker 1: spend your time more wisely and maybe watch director Rennie
• 12:12
  Speaker 1: Harlan he directed Deep Water, but he also directed another
• 12:17
  Speaker 1: shark movie called Deep Blue Sea. And you may want
• 12:21
  Speaker 1: to watch Deep Blue Sea at home instead, because I
• 12:25
  Speaker 1: I'll admit, I really don't know how Deep Water even
• 12:28
  Speaker 1: got into movie theaters. It's sort of beyond me. Let's go,
• 12:36
  Speaker 1: let's get into the Rotten Tomatoes synopsis. Here, a flight
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  Speaker 1: from La to Shanghai goes down in the middle of
• 12:43
  Speaker 1: the Pacific. After surviving the crash, the survivors soon discover
• 12:47
  Speaker 1: they're not alone and they must survive the shark infested waters.
• 12:53
  Speaker 1: I will say this, there is an intriguing premise here
• 12:58
  Speaker 1: because I think we've I've seen movies that have been
• 13:02
  Speaker 1: about shark infested waters. We've seen movies about surviving plane crashes.
• 13:08
  Speaker 1: I don't think we've ever seen a movie about both.
• 13:11
  Speaker 1: So there's something to it, right about surviving the plane
• 13:16
  Speaker 1: crash and then trying to survive those damn shark attacks.
• 13:21
  Speaker 1: And the plane crash sequence is actually pretty good. It's
• 13:25
  Speaker 1: it's thrilling, it's it's got some real excitement to it.
• 13:33
  Speaker 1: I think it's shot pretty well, but I I'm not
• 13:39
  Speaker 1: sure like any kind of suspense that was felt during
• 13:44
  Speaker 1: this plane crash quickly vanishes to never return, which is honestly,
• 13:51
  Speaker 1: that's really saying something considering it's the shark stuff that's
• 13:55
  Speaker 1: supposed to be the real thrills of this also, and
• 14:01
  Speaker 1: I mean, I don't really know of any real and
• 14:08
  Speaker 1: I'm not including Jaws here, but you know, most of
• 14:11
  Speaker 1: the shark movies, you know, you're kind of there for
• 14:13
  Speaker 1: just the sharks and kind of see like, oh, you know,
• 14:16
  Speaker 1: how how is it gonna go? How you're looking for
• 14:19
  Speaker 1: the kills? Right? But most of the characters they don't like,
• 14:25
  Speaker 1: there's not much to them, right, and deep deep Water
• 14:32
  Speaker 1: and and mister Harlan, they the fact that they are
• 14:36
  Speaker 1: trying to add any kind of humanity or personal connection
• 14:41
  Speaker 1: to any of these characters that I mean, are they're
• 14:44
  Speaker 1: truly they're merely here to be shark snacks is kind
• 14:48
  Speaker 1: of laughable. Most of it, most most, if not all,
• 14:53
  Speaker 1: of the characters are typical stereotypes that are lazily written
• 15:00
  Speaker 1: on its best, probably not to even listen to the dialogue.
• 15:03
  Speaker 1: And let me tell you, I wasn't totally shocked. I
• 15:07
  Speaker 1: knew that this was I knew that the script dialogue
• 15:10
  Speaker 1: it was gonna be rough, and you know, how I
• 15:12
  Speaker 1: knew because when the when the movie starts and there
• 15:18
  Speaker 1: are four people under those writing credits, you know something's
• 15:24
  Speaker 1: something's up. It should not take four different people to
• 15:27
  Speaker 1: write about a shark movie. So I knew that, oh,
• 15:34
  Speaker 1: there's there's good, there's there's something up here. I think
• 15:38
  Speaker 1: Deep Water Over I mean, is very it's very cliched.
• 15:43
  Speaker 1: And almost all the other types of movies that are
• 15:47
  Speaker 1: like that are like this one. It's senseless, and sometimes
• 15:53
  Speaker 1: it's it's just straight up dumb. There are there are
• 15:57
  Speaker 1: different things that just you don't know why they're doing it.
• 16:02
  Speaker 1: You don't know how we got here. You don't know
• 16:06
  Speaker 1: why some of the characters deuce the things that they do,
• 16:09
  Speaker 1: because there's certainly not enough that you've seen on screen
• 16:14
  Speaker 1: that is gonna make it make sense or make you care.
• 16:18
  Speaker 1: That's not it's not happening. And I guess there's you know,
• 16:24
  Speaker 1: I mean, listen, at least there's I guess an effort,
• 16:26
  Speaker 1: but it just none of it works. And they try
• 16:30
  Speaker 1: and and bless his heart, Sir Ben Kingsley, they really
• 16:34
  Speaker 1: try to do something with him to kind of get
• 16:37
  Speaker 1: those like ah, tug on those heart strings. We got
• 16:41
  Speaker 1: him and like Aaron Eckhart's character, who's kind of the
• 16:45
  Speaker 1: first uh, I don't even know if it's called a
• 16:48
  Speaker 1: first mate, but he's not a captain, but he's basically
• 16:50
  Speaker 1: there to kind of keep Sir Ben Kingsley, who is
• 16:53
  Speaker 1: the captain on track, and he's going through something and
• 16:58
  Speaker 1: his kid is sick, but he doesn't really want to
• 17:01
  Speaker 1: go home, and they try to make it a thing
• 17:04
  Speaker 1: and it's and it's not. And let me give you
• 17:07
  Speaker 1: a hint about let me let me give you a
• 17:08
  Speaker 1: little insight on some of these characters because one of
• 17:11
  Speaker 1: them are on like two different soccer teams and one
• 17:16
  Speaker 1: doesn't like the other because he was hitting on his
• 17:18
  Speaker 1: sister and they tried to fight. So there's already quote
• 17:22
  Speaker 1: unquote tension between them when they're on the flight. And
• 17:26
  Speaker 1: there's also this young kid who's a dickhead to this
• 17:29
  Speaker 1: woman who's British who's also kind of snobbish and rude,
• 17:33
  Speaker 1: but it's like an agism thing and even some of
• 17:37
  Speaker 1: the dialogue literally is talking about how old she is
• 17:41
  Speaker 1: and I don't know, I mean, like I said, it's
• 17:45
  Speaker 1: it's pretty lazy. Uh. The visual effects are pretty questionable
• 17:54
  Speaker 1: at best. Again, I'm not saying it's perfect, but the
• 17:59
  Speaker 1: playing stuff I thought was done pretty well for I
• 18:03
  Speaker 1: mean everything considered. Here's the real problem I think is
• 18:08
  Speaker 1: that the sharks look like straight up like if those
• 18:16
  Speaker 1: aren't computer animated sharks, then I don't know what is.
• 18:23
  Speaker 1: They don't look great, and the more that they show them,
• 18:27
  Speaker 1: the more it is. It's very apparent. But also with
• 18:34
  Speaker 1: shark movies and for deep water, where's the gore, it's
• 18:39
  Speaker 1: what you're What we mainly get is just blood in
• 18:42
  Speaker 1: the water and the sharks just like shaking their asses.
• 18:45
  Speaker 1: That's about all that you really get. I remember there's
• 18:48
  Speaker 1: one scene towards the end where the shark jumps up
• 18:51
  Speaker 1: to get something. I won't tell you what, but it
• 18:57
  Speaker 1: they barely show anything. I do know there's a couple
• 19:01
  Speaker 1: of them that kind of showed like the effects of
• 19:04
  Speaker 1: a shark bite, and you get some blood. But for
• 19:06
  Speaker 1: the most part, it really is just fake ass sharks
• 19:10
  Speaker 1: jumping and chomping, and then there's blood in there. Then
• 19:14
  Speaker 1: that's it. And you would be amazed by some of
• 19:17
  Speaker 1: the reactions from the people. I laughed at one part
• 19:22
  Speaker 1: because somebody gets basically eaten and I don't know if
• 19:28
  Speaker 1: anyone cared, And I'm like, I don't know, if maybe
• 19:32
  Speaker 1: they are so devastated from this plane crash that watching
• 19:36
  Speaker 1: a human watching a human being gets eaten alive just
• 19:41
  Speaker 1: doesn't do it for them. I'm really I'm not sure.
• 19:45
  Speaker 1: It's it's quite embarrassing for all other b movie sharks
• 19:51
  Speaker 1: around the world. You give, if you're gonna make something
• 19:56
  Speaker 1: like this, don't hold back on the blood and gore,
• 20:00
  Speaker 1: go all out, just go all out. Uh. Deep Water
• 20:05
  Speaker 1: comes out this Friday. I think there's gonna be some
• 20:09
  Speaker 1: fans of it, just given it's a shark movie. And
• 20:13
  Speaker 1: if anyone cares about Aaron Eckhart anymore, then you know,
• 20:18
  Speaker 1: maybe you'll have a fun time. I didn't so. The
• 20:23
  Speaker 1: vix flick rating for Deep Water is one and a
• 20:25
  Speaker 1: half out of five stars. And coming up next, Bob
• 20:29
  Speaker 1: Odenkirk is back and he's bringing some punches. Normal, starring
• 20:49
  Speaker 1: Bob Odenkirk and some other people. Let's start with rotten
• 20:54
  Speaker 1: Tomatoes synopsis here for sure, if you lyssius Bob Odenkirk,
• 21:00
  Speaker 1: his provisional posting to the quaint Midwestern American town of
• 21:03
  Speaker 1: Normal was meant to be a welcome respite from both
• 21:07
  Speaker 1: his marital woes and recent moral injuries in the line
• 21:10
  Speaker 1: of duty. But when a botched bank robbery interrupts the
• 21:15
  Speaker 1: municipality's tranquil pace, a dark secret is inadvertently exposed and
• 21:20
  Speaker 1: ulysses who Ulyssus soon discovers that the town is anything
• 21:26
  Speaker 1: but it's namesake. So Bob Ownenkirk is damn good at
• 21:31
  Speaker 1: playing the everyman hero. His bang up performance of an
• 21:34
  Speaker 1: unforeseen badass who takes a licking and keeps on ticking
• 21:38
  Speaker 1: and the nobody action flicks proves he can mix it
• 21:40
  Speaker 1: up with the best of them, and once again, indirector
• 21:44
  Speaker 1: Ben Wheat leaves lean and mean, neo western small town
• 21:48
  Speaker 1: offbeat thriller. He's ready to throw down in his own
• 21:51
  Speaker 1: unique way, but with less exciting results. Normal starts off
• 21:57
  Speaker 1: slow to introduce you to the characters and the surroundings
• 22:03
  Speaker 1: of this small town. The slow burn is okay, but
• 22:07
  Speaker 1: not enough is offered by the time all hell breaks
• 22:11
  Speaker 1: loose for that kind of remaining hour, so it all
• 22:15
  Speaker 1: kind of leans into first thirty minutes, and then the
• 22:18
  Speaker 1: last hour is when things kind of get going. But look,
• 22:20
  Speaker 1: no matter how many people get killed and there are
• 22:23
  Speaker 1: some six stylish kills here. It doesn't really add that
• 22:27
  Speaker 1: much value to the story, and the story is pretty
• 22:31
  Speaker 1: flimsy to begin with. Maybe because Normal is written by
• 22:36
  Speaker 1: Derrek Colestad, who also wrote He's wrote some John Wick movies,
• 22:40
  Speaker 1: but he's he also wrote the two Nobody movies. But
• 22:45
  Speaker 1: even given the excessiveness of Wheatley that Wheatley brings, Normal
• 22:51
  Speaker 1: feels so much like a rehash of what odin Kirk
• 22:55
  Speaker 1: and Calstad have already done. But I think odin Kirk
• 23:00
  Speaker 1: would probably disagree. This is per Yahoo Entertainment. It's called Normal.
• 23:05
  Speaker 1: Bob Odenkirk explains how his new action movie differs from Nobody. Now.
• 23:09
  Speaker 1: I want to note this is an article from twenty
• 23:12
  Speaker 1: twenty four, when the movie was first announced, says Odenkirk
• 23:18
  Speaker 1: says that Normal will have more of an m Night
• 23:21
  Speaker 1: Shamalan kind of level of suspense and mystery compared to
• 23:25
  Speaker 1: twenty twenty one's Nobody. So, speaking with the Hollywood Reporter,
• 23:29
  Speaker 1: Odenkirk discussed how Normal will be a completely different film
• 23:33
  Speaker 1: compared to Nobody. He's quoted saying, obviously we don't want
• 23:37
  Speaker 1: to give anything away, but the first thing I said
• 23:39
  Speaker 1: to Kolstad was this has an m Night Shamalan kind
• 23:42
  Speaker 1: of level of suspense and mystery. There's a sustained sequence
• 23:46
  Speaker 1: of figuring out what really is going on, including some
• 23:48
  Speaker 1: major red herrings. Now, I gotta say that is quite
• 23:52
  Speaker 1: a comparison there, Bob. And the problem with that is
• 23:56
  Speaker 1: the mystery in the middle of all of this turns
• 23:58
  Speaker 1: out to really not be one of, if not the
• 24:03
  Speaker 1: least interesting thing of the entire movie. And on top
• 24:07
  Speaker 1: of that, there's not enough here to really create its
• 24:10
  Speaker 1: own identity and stand on its own, So it's obvious
• 24:15
  Speaker 1: inspirations of hot fuzzz assault on precinct thirteen. I talked
• 24:21
  Speaker 1: about john Wick Fargo, and I'm sure there's probably many more.
• 24:25
  Speaker 1: They just become reminders of a beIN there and done
• 24:30
  Speaker 1: that better. With that said, normal is still relatively fun
• 24:35
  Speaker 1: and easy to enjoy. I think watching Odin Kirk work
• 24:38
  Speaker 1: his magic with a performance that's mild mannered and tender
• 24:42
  Speaker 1: harder tender hearted, but easily can flip the switch to
• 24:48
  Speaker 1: an unsuspecting lethal wape lee. The weapon is listen, it's
• 24:52
  Speaker 1: a hoot. The action is also insane. It's explosive, blood splattering,
• 24:56
  Speaker 1: body parts flying, everywhere. The absurd comedic parts mesh really
• 25:02
  Speaker 1: well with all of the foolish carnage that's eventually unleashed.
• 25:05
  Speaker 1: This is really a wheatly specialty, and I will say
• 25:11
  Speaker 1: I do recommend checking out Sean's review on Nashville Movie
• 25:16
  Speaker 1: Dispatch for this. He liked it a little more than
• 25:20
  Speaker 1: I did, but at the end, at the end of
• 25:22
  Speaker 1: his review, I appreciate that he sets the expectations just right.
• 25:28
  Speaker 1: In his review, he says Normal is well a fairly
• 25:32
  Speaker 1: normal action flick. It doesn't reinvent the wheel, but it
• 25:36
  Speaker 1: never gets boring enough to make you check your watch.
• 25:41
  Speaker 1: That basically, that's the bar that's been set for this one.
• 25:47
  Speaker 1: Normal is getting a Vixflix rating of two and a
• 25:49
  Speaker 1: half out of five. And coming up next it is
• 25:55
  Speaker 1: the Mummy, but not the Mummy you're thinking of. And
• 25:59
  Speaker 1: it ain't the Mummy, Tom Cruise, it's that Lee Cronan
• 26:03
  Speaker 1: one y'all been waiting for. Next, Lee Cronan's The Mummy.
• 26:21
  Speaker 1: Let's start with a good old synopsis from Rotten Tomatoes.
• 26:25
  Speaker 1: The young daughter of a journalist disappears into the desert
• 26:28
  Speaker 1: without a trace. Eight years later, the broken family is
• 26:30
  Speaker 1: shocked when she's returned to them. However, what should be
• 26:34
  Speaker 1: a joyful reunion sued and turns into a living nightmare.
• 26:37
  Speaker 1: She starts to transform into something truly horrifying. So writer
• 26:44
  Speaker 1: director Lee Cronan, uh, he did The Hole in the Ground.
• 26:48
  Speaker 1: He's also did Evil Dead Rise. His Mummy film is
• 26:52
  Speaker 1: an intriguing spin on an old classic monster. And also,
• 26:56
  Speaker 1: please don't forget that Brendan Fraser is not in this.
• 27:02
  Speaker 1: That was their whole social media thing and it got
• 27:05
  Speaker 1: kind of sad by the time the movie came out.
• 27:08
  Speaker 1: But but anyway, the Mummy here. It quickly becomes more
• 27:14
  Speaker 1: like The Exorcist and Evil Dead, which, as I said,
• 27:17
  Speaker 1: funny enough Cronin directed Evil Dead Rise, and even some
• 27:22
  Speaker 1: of some scary movie spoof shit like Scary Movie Too.
• 27:26
  Speaker 1: It's yeah, it's it's it's quite a combo there. But
• 27:30
  Speaker 1: simply put, this all just fills. Second hand, it's too long.
• 27:36
  Speaker 1: It's over two hours in like ten minutes, though somehow
• 27:39
  Speaker 1: still can't invest enough in its family drama and emotional
• 27:43
  Speaker 1: elements involving losing a daughter and then her showing back
• 27:47
  Speaker 1: up eight years later as a possessed corpse. This is
• 27:52
  Speaker 1: per Indie Wire review, it says there's something to be
• 27:56
  Speaker 1: said about the Cannon family's refusal to reckon with the
• 28:00
  Speaker 1: profound horror that has been inflicted upon them, But it
• 28:03
  Speaker 1: would be an understatement to say that Lee cron is
• 28:06
  Speaker 1: The Mummy insufficiently invests in their denialism, despite repeated overtures
• 28:10
  Speaker 1: toward deeper feeling and the rich vein of emotion that
• 28:13
  Speaker 1: a better film might have tapped from the pain of
• 28:15
  Speaker 1: forcing Katie's parents to question the only answer they've ever
• 28:20
  Speaker 1: gotten to their most desperate pairs. This dowur clump of
• 28:24
  Speaker 1: feel bad quotations fun lacks the courage to look at
• 28:28
  Speaker 1: what's under the skin, even as it shoves our faces
• 28:31
  Speaker 1: and a sticky mess of bone and bile. So I
• 28:37
  Speaker 1: will say the movie the movie. The acting in it
• 28:40
  Speaker 1: is pretty good, but it's it's the efficiently nasty imagery
• 28:45
  Speaker 1: that this Mummy can't can't get enough of. For those
• 28:49
  Speaker 1: kind of horror fans, this look, this will be heaven
• 28:53
  Speaker 1: on earth for you. The peeling of flesh, vomit, spewing, blood,
• 28:57
  Speaker 1: gushing you and you can deny there's some real skill
• 29:01
  Speaker 1: to it all. I think Cronan and his team do
• 29:04
  Speaker 1: a fantastic job when it comes to this type of stuff. However,
• 29:09
  Speaker 1: I think dedicating itself on being so gross and gory
• 29:16
  Speaker 1: in its attempt I think to kind of keep the
• 29:18
  Speaker 1: audience in this constant state of shock actually winds up
• 29:22
  Speaker 1: robbing us of any real suspense or scares. I think
• 29:27
  Speaker 1: Cronin does too much body horror that it actually does
• 29:32
  Speaker 1: become a little tiring and expected. Plus it's been done before.
• 29:38
  Speaker 1: He himself has done this before, with, for instance, the
• 29:43
  Speaker 1: Evil Dead Rise movie. I will say I think Cronan's
• 29:51
  Speaker 1: The Mummy is well crafted, yet it is ultimately uninspiring
• 29:57
  Speaker 1: and unnecessary while relishing, and I mean relishing and abusing
• 30:03
  Speaker 1: the audience. Also, it's not even really a Mummy movie,
• 30:11
  Speaker 1: given that it's over two hours long. Besides the initial
• 30:15
  Speaker 1: thing of sort of where she's found and what and
• 30:18
  Speaker 1: why her abduction happened, so much of it is evil
• 30:26
  Speaker 1: dead exorcist stuff that it almost feels like you're cheating
• 30:34
  Speaker 1: by even calling this the Mummy. And I know there's
• 30:39
  Speaker 1: a story about why they put Lee Cronin in the title.
• 30:46
  Speaker 1: I didn't read it. I just find it funny because
• 30:48
  Speaker 1: I just think of like John Carpenter's you know, Halloween
• 30:53
  Speaker 1: or John Carpenter's Vampire Like. I just don't think enough
• 30:56
  Speaker 1: people really know who he is, even though I am
• 30:59
  Speaker 1: a fan of The Hole in the Ground and especially
• 31:01
  Speaker 1: Evil Dead Rise. But this just it doesn't It doesn't work,
• 31:07
  Speaker 1: and it's not a Mummy movie. It's barely even a
• 31:12
  Speaker 1: horror movie. So Lee cron as the Mummy is getting
• 31:16
  Speaker 1: two out of five stars. And then coming up next,
• 31:21
  Speaker 1: I'm bringing Stony in here and we're gonna talk some
• 31:25
  Speaker 1: good old fashioned drama next. The drama per Rotten Tomatoes,
• 31:46
  Speaker 1: it just says a happily engaged couple is put to
• 31:49
  Speaker 1: the test when an unexpected turn sinds their wedding week
• 31:54
  Speaker 1: off the rails. So before we before we get Stony
• 31:59
  Speaker 1: in here, before we start really hashing it out here,
• 32:02
  Speaker 1: I wanted to share something that kind of sets it up.
• 32:05
  Speaker 1: This is via time, it says. In an interview with
• 32:09
  Speaker 1: The Popcorn Podcast, writer director Christopher Borgy explained the questions
• 32:15
  Speaker 1: the drama ask about love, honesty, and where our moral
• 32:19
  Speaker 1: lines actually lie are not intended as a statement about
• 32:23
  Speaker 1: cancel culture, but rather our individual outlook on romantic commitment.
• 32:29
  Speaker 1: He's quoted saying this is a very personal story. It
• 32:32
  Speaker 1: doesn't look at the societal level of deciding where your
• 32:34
  Speaker 1: lines are, where the line for unconditional love is. The
• 32:39
  Speaker 1: movies exploring more of their personal limit and more of
• 32:43
  Speaker 1: the limits of how honest and how flawed you can
• 32:46
  Speaker 1: be in your most private life publicly is a very
• 32:49
  Speaker 1: different sort of discussion. It's one that's too big for me.
• 32:55
  Speaker 1: So stony. You actually saw this before I did, and.
• 32:58
  Speaker 2: I it feels like a rare thing by the way.
• 33:01
  Speaker 1: It it is. But I also was like, I have
• 33:04
  Speaker 1: to see it soon because I don't want anyone.
• 33:06
  Speaker 2: Well, that's why while it that's why we made such
• 33:09
  Speaker 2: a concerted effort to go see it as quickly as
• 33:12
  Speaker 2: we possibly could, because what I kept hearing was know
• 33:18
  Speaker 2: as little about this as possible going into it. And
• 33:24
  Speaker 2: I mean, you know how the internet is. I went
• 33:26
  Speaker 2: to see the movie and the next day I started
• 33:28
  Speaker 2: seeing memes on Twitter, Yeah, about stuff that had happened
• 33:33
  Speaker 2: in the movie. That nobody's outright spoiling it, but you
• 33:38
  Speaker 2: just little nuggets that kind of decrease how hard things
• 33:43
  Speaker 2: hit when this movie takes a turn.
• 33:45
  Speaker 1: Yes, and our buddy Bread had seen it as well before. Yeah, me,
• 33:50
  Speaker 1: I don't know if he saw it before you or not,
• 33:52
  Speaker 1: but I remember I was like, when does this happen?
• 33:54
  Speaker 1: And he's like, probably in the first thirty minutes.
• 33:57
  Speaker 2: Yeah, it's it's earlier than I expected.
• 33:59
  Speaker 1: Yeah, So when they started playing the game, I thought
• 34:03
  Speaker 1: this must be it.
• 34:04
  Speaker 2: Here we go.
• 34:05
  Speaker 1: Yeah, we are not gonna spoil it here. It has
• 34:08
  Speaker 1: been almost a month. It came out early April, so
• 34:12
  Speaker 1: we're gonna talk around it without directly stating. And as
• 34:17
  Speaker 1: you're listening to this, maybe you already know, maybe you've
• 34:19
  Speaker 1: already seen it. But I don't want I don't want it.
• 34:26
  Speaker 1: I wanted to feel like when we saw it of ye. Yeah,
• 34:29
  Speaker 1: And I'm gonna say it took me by it took
• 34:32
  Speaker 1: me by surprise. But I love the way they handled
• 34:37
  Speaker 1: it and it really does ignite the actual real narrative
• 34:44
  Speaker 1: of who are you? What does your partner really know
• 34:52
  Speaker 1: about you? And how does that change how you're seen
• 34:56
  Speaker 1: by your friends, by your partner, by your family.
• 35:00
  Speaker 2: I how many, real quick, how many awkward conversations do
• 35:04
  Speaker 2: you think that movie forced on drives home from the theater?
• 35:07
  Speaker 1: Yeah? I feel like did anyone else play those games?
• 35:10
  Speaker 2: Yeah?
• 35:10
  Speaker 1: Like the game is like, what's the worst thing you've done? That?
• 35:12
  Speaker 1: And then they go around the table. But I will
• 35:19
  Speaker 1: say this, I it's quite jarring when it's said, and
• 35:27
  Speaker 1: then how it's always just lingering. Yeah, it's there, especially
• 35:32
  Speaker 1: for Robert Pattinson's character. But I also liked how deranged
• 35:38
  Speaker 1: it becomes, even dealing with the themes that it deals with.
• 35:43
  Speaker 1: The dark humor that is involved is my kind of thing,
• 35:47
  Speaker 1: Like I love that even though it is clearly something serious,
• 35:50
  Speaker 1: and it's clearly with Sindea's character and just mental health,
• 35:57
  Speaker 1: but even like there's something about like there is something
• 36:00
  Speaker 1: darkly funny about why she ended up not doing what
• 36:07
  Speaker 1: she was thinking about doing.
• 36:09
  Speaker 2: Yeah, And it's it's really interesting the way this film
• 36:14
  Speaker 2: kind of turns that entire premise on its head. Because
• 36:18
  Speaker 2: you hear this the answer Zindaia's character was her name Emma.
• 36:23
  Speaker 2: I can't remember the character's name.
• 36:25
  Speaker 1: There's Emma and Rachel.
• 36:26
  Speaker 2: You hear you hear Emma's answer to what's the worst
• 36:31
  Speaker 2: thing You've ever done? And it is kind of jarring.
• 36:34
  Speaker 2: It is not what I expected it to be. And
• 36:38
  Speaker 2: then somehow to speak to the dark humor and how
• 36:44
  Speaker 2: there's this constant element of all is not as it
• 36:47
  Speaker 2: seems in this story, and it's so fascinating the way
• 36:52
  Speaker 2: they take what Emma's character did, and somehow by the
• 36:55
  Speaker 2: end of the movie you're mad at the other characters, yes,
• 36:59
  Speaker 2: and you're kind of like, okay, like this has gone
• 37:03
  Speaker 2: a little too far, because, like you said, it gets
• 37:06
  Speaker 2: so unhinged by the end of the story that it's
• 37:09
  Speaker 2: just masterfully done, masterfully written.
• 37:11
  Speaker 1: And we're going to get into this because it's I've
• 37:14
  Speaker 1: made a note about performances. But Elena Haym Yeah, as Rachel,
• 37:22
  Speaker 1: I know, she's the character has gotten a lot of ship.
• 37:26
  Speaker 1: The drama is not the drama without.
• 37:29
  Speaker 2: I would say, yeah, I would say so.
• 37:31
  Speaker 1: Charlie, that's Robert Pattinson's carton Emma. Yes, but you can't
• 37:36
  Speaker 1: do it without Rachel, and her story is a pretty
• 37:40
  Speaker 1: shitty it is.
• 37:41
  Speaker 2: Yeah, but that also.
• 37:42
  Speaker 1: Kind of goes back to are we rating how awful? Yeah,
• 37:50
  Speaker 1: when one thing didn't even happen.
• 37:54
  Speaker 2: Mm hm.
• 37:54
  Speaker 1: You know, it's a tricky tone. This whole movie is
• 38:00
  Speaker 1: a really tricky tone. But I think that's why I
• 38:03
  Speaker 1: really felt it's so alluring, because you don't quite know
• 38:13
  Speaker 1: where it's going and what it's going to be now,
• 38:16
  Speaker 1: I will say, I think my only real criticism is
• 38:21
  Speaker 1: I think once we kind of get into the meat
• 38:25
  Speaker 1: of the story, I still think there's there's a there's
• 38:31
  Speaker 1: a lack of depth and what it's trying to say
• 38:38
  Speaker 1: and how it's using these characters to do it. But
• 38:45
  Speaker 1: I think it also I mean, but listen, it's utterly
• 38:49
  Speaker 1: fascinating anyway, but there is a lot. There is a
• 38:53
  Speaker 1: lot to try and connect within the hour and forty
• 38:58
  Speaker 1: something minutes. But I also feel like, like you were
• 39:03
  Speaker 1: talking about, like when you leave the theater, it's definitely
• 39:06
  Speaker 1: a conversation starter. I would have liked a little more
• 39:10
  Speaker 1: into Emma. You get some it's not like you don't
• 39:14
  Speaker 1: know where it's coming from. But I also feel like
• 39:16
  Speaker 1: the other characters could have it, could have dove into
• 39:21
  Speaker 1: it more. And I think for me, it's not so
• 39:23
  Speaker 1: much about what her thing is. It's more of like
• 39:30
  Speaker 1: the toll that it takes on the relationship because we
• 39:33
  Speaker 1: do kind of skip around because it all takes place
• 39:35
  Speaker 1: within a week of their wedding. But that also because
• 39:42
  Speaker 1: of that kind of time crunch, there's a lot of
• 39:47
  Speaker 1: splendid awkwardness that I was just drawn to and Zindai
• 39:53
  Speaker 1: and Robert Patson are fantastic together.
• 39:57
  Speaker 2: It's some of her best work. Oh yeah, you watch
• 40:01
  Speaker 2: like this coming what two years off of Challengers? Yeah,
• 40:06
  Speaker 2: two or three, I can't remember Challengers.
• 40:08
  Speaker 1: I think it was twenty twenty four.
• 40:09
  Speaker 2: Yeah, it's like this is where you kind of start
• 40:12
  Speaker 2: to see where like she's got something. She's got something
• 40:18
  Speaker 2: going at this point.
• 40:19
  Speaker 1: Yeah. Yeah, yeah, And and and what a what a
• 40:22
  Speaker 1: role to take on? Like what a role because the
• 40:27
  Speaker 1: her character there there is a lot that's underneath that
• 40:32
  Speaker 1: I talk about that kind of I wish we kind
• 40:35
  Speaker 1: of could dig into some of these themes a little more,
• 40:38
  Speaker 1: but there really is something to her character of based
• 40:43
  Speaker 1: on first appearance and their little cute meeting to the
• 40:49
  Speaker 1: final scene. Yeah, you know, like there is there's a
• 40:53
  Speaker 1: lot that has unfolded, would you. I saw a lot
• 41:01
  Speaker 1: of people I talked about this because of the preview,
• 41:03
  Speaker 1: and they were like, it's not what you think it is,
• 41:05
  Speaker 1: which to me, anytime A twenty four comes up, I
• 41:08
  Speaker 1: just assume this is not the title, Like, this is
• 41:11
  Speaker 1: not the total film.
• 41:13
  Speaker 2: Yeah.
• 41:14
  Speaker 1: Do you consider this a rom com?
• 41:18
  Speaker 2: Yeah?
• 41:19
  Speaker 1: Or is it like that? More like demented I form
• 41:23
  Speaker 1: of it.
• 41:24
  Speaker 2: I would consider it a rom com because I don't
• 41:27
  Speaker 2: know what else I would consider it.
• 41:29
  Speaker 1: Yeah, I feel I feel like rom com, but it
• 41:31
  Speaker 1: can't be like ten Things I Hate about You rom com.
• 41:35
  Speaker 1: It's like a twisted demented one. But yeah, there is
• 41:40
  Speaker 1: there's definitely elements of like a legit rom com. Like
• 41:45
  Speaker 1: to me, I liked it when she just pantses him
• 41:48
  Speaker 1: when he's trying to be serious and stuff like that,
• 41:50
  Speaker 1: and even some of the conversations even though like he
• 41:54
  Speaker 1: can't get out of his own head, they are funny
• 41:56
  Speaker 1: conversations he's having with his buddy. But there's also it
• 42:02
  Speaker 1: is deeply concerning.
• 42:04
  Speaker 2: It's like the Lighthouse of rom coms.
• 42:08
  Speaker 1: But instead of Willem Dafoe, it's Zndaia.
• 42:10
  Speaker 2: Yeah, so I saw this.
• 42:14
  Speaker 1: I saw this tweet and I really like what it
• 42:18
  Speaker 1: had because there's a lot of things that I think
• 42:20
  Speaker 1: you could say, Hey, the drama is talking about this,
• 42:24
  Speaker 1: and it's pointing to this, and it's it wants to,
• 42:27
  Speaker 1: you know, dissect this. But this was from Jake at
• 42:33
  Speaker 1: Nuclear Broadcast. That's bro d c as team. He says,
• 42:38
  Speaker 1: I think my favorite read of the drama is it
• 42:41
  Speaker 1: as an examination of America's mass violence fetish running parallel
• 42:46
  Speaker 1: with our instinct to perform morality and grade ourselves against others.
• 42:51
  Speaker 1: The hypocrisy is obvious, but still so skillfully depicted, especially
• 42:58
  Speaker 1: in the performances, and that kind of leads me to
• 43:03
  Speaker 1: the conversation on performances in this film.
• 43:07
  Speaker 2: I would say, real quick, I almost think the drama
• 43:11
  Speaker 2: is not actually in terms of its messaging, is not
• 43:17
  Speaker 2: even the most effective as a love story of two
• 43:20
  Speaker 2: people trying to reconcile with their past and just get
• 43:24
  Speaker 2: back to one another. I don't even think it's about
• 43:29
  Speaker 2: the thing that Zen Day or excuse me, Emma admits
• 43:33
  Speaker 2: to to me, it's more about the reflection of what
• 43:37
  Speaker 2: we learn about ourselves in response to such things, and
• 43:41
  Speaker 2: how so much of the response to this is driven
• 43:46
  Speaker 2: by what will so and so think of me if
• 43:51
  Speaker 2: I go along with this? Oh yeah, yeah, by that.
• 43:56
  Speaker 2: It's it's kind of to that review you you just mentioned.
• 44:01
  Speaker 2: It's kind of I think that's where the film kind
• 44:05
  Speaker 2: of has an icky tone. It's kind of like you
• 44:08
  Speaker 2: see some of this stuff and you're just like, oh,
• 44:10
  Speaker 2: this is this is gross, but it's so true, And
• 44:14
  Speaker 2: that's where to me, it really hits home.
• 44:17
  Speaker 1: Well, and I and I and I had a thing
• 44:19
  Speaker 1: in here where it was You're right, like, that's that
• 44:25
  Speaker 1: kind of sets it off. But there's definitely things that
• 44:28
  Speaker 1: then they become more than what this initially was supposed
• 44:34
  Speaker 1: to be, because then things start to, yeah, infiltrate the
• 44:40
  Speaker 1: every day, and then it makes you think, well, what
• 44:42
  Speaker 1: about this and why would she do that? And why
• 44:44
  Speaker 1: is it this? And and and it's funny just how
• 44:47
  Speaker 1: with all their stories it was hers given the circumstances
• 44:53
  Speaker 1: of everybody else's stories, which is also a part which
• 44:57
  Speaker 1: I think is also why you kind of resent Rachel
• 45:00
  Speaker 1: and I'll and more than one way.
• 45:04
  Speaker 2: But I I think Charlie's pretty shitty in this movie too.
• 45:08
  Speaker 1: Yeah that's Robert Pattinson.
• 45:10
  Speaker 2: Yeah, I think people get so fired up about Rachel,
• 45:14
  Speaker 2: but I think I think Charlie does some pretty shitty
• 45:16
  Speaker 2: stuff in this movie too.
• 45:18
  Speaker 1: As uh as a lot of ham said Emma started it.
• 45:27
  Speaker 1: She posted a thing on the beach and her shirt
• 45:29
  Speaker 1: said Emma started it. And I'm like, I guess, technically, yeah,
• 45:34
  Speaker 1: that's right. Yeah, technically I think Emma had a certain
• 45:38
  Speaker 1: approach about it that Rachel ended up being a big
• 45:41
  Speaker 1: old beer. But but I and to your point with
• 45:47
  Speaker 1: that is there's also there's there's just this thing that's
• 45:52
  Speaker 1: like of empathy mm hmm. There's this kind of being
• 45:58
  Speaker 1: defined by your past or just even just disturbing thought
• 46:02
  Speaker 1: you had at such a vulnerable age, and there is
• 46:06
  Speaker 1: this and I think it does kind of go into
• 46:09
  Speaker 1: where and I think, especially in Charlie's case, is that
• 46:12
  Speaker 1: there is this kind of forgiveness versus judgment and it's
• 46:16
  Speaker 1: a it's it's a very muddle thing because there's so
• 46:23
  Speaker 1: much of what Charlie is doing is about trying to
• 46:29
  Speaker 1: fix her. And I think that's also what I really
• 46:34
  Speaker 1: liked about the film is that it's she might not
• 46:39
  Speaker 1: need as much work as these other characters think she does,
• 46:43
  Speaker 1: and maybe you need to check yourself at the door.
• 46:46
  Speaker 2: And I think it's another thing that the movie does
• 46:49
  Speaker 2: quite smartly is that we learn we see through flashback
• 46:54
  Speaker 2: scenes throughout Emma's life leading up to this moment that
• 46:58
  Speaker 2: she mentions at the dinner scene, and I think over
• 47:01
  Speaker 2: the course of the film, we kind of learn like
• 47:05
  Speaker 2: this was a pretty dumb thing that was kind of
• 47:10
  Speaker 2: brought forth by the conditions of her upbringing right, and
• 47:16
  Speaker 2: once she sees the potential consequences of this thing, she
• 47:21
  Speaker 2: doesn't about face. And I think that that illustrates how
• 47:26
  Speaker 2: she was so drunk at the dinner. It didn't come
• 47:29
  Speaker 2: across well. Rachel had such a vitriolic reaction to it,
• 47:34
  Speaker 2: absolutely that it amplified things. But by the time we
• 47:38
  Speaker 2: get to the end of it, we're kind of just like, yeah,
• 47:41
  Speaker 2: this was just a dumb kid. It's just a dumb kid.
• 47:44
  Speaker 2: It is, like I hate to say, because the subject
• 47:47
  Speaker 2: matter is so serious, I hate to say, it's not
• 47:49
  Speaker 2: that deep, but it's like this visceral reaction was a
• 47:55
  Speaker 2: little bit of a reach, and by the time we
• 47:58
  Speaker 2: get to it, it's like, oh, see the flashback scenes,
• 48:01
  Speaker 2: the symbolism of like Charlie wanting to take care of
• 48:05
  Speaker 2: the teenage Emma and being there for her and all that,
• 48:09
  Speaker 2: And it's to me, it's like he struggles because that's
• 48:13
  Speaker 2: what he wants, and I think deep down he probably knows,
• 48:17
  Speaker 2: but this reaction to it was so extreme that it
• 48:23
  Speaker 2: just kind of clouds his judgment.
• 48:25
  Speaker 1: And and I think part of the thing, which I mean,
• 48:27
  Speaker 1: I do understand, is like Rachel's initial reaction is almost
• 48:32
  Speaker 1: like she was a part of it. Yeah, she knows
• 48:36
  Speaker 1: someone involved.
• 48:37
  Speaker 2: Yeah, but it's almost like.
• 48:40
  Speaker 1: She's claiming to be the victim of it. Yeah, you know,
• 48:42
  Speaker 1: and so and and and and Honestly, I mean Charlie
• 48:46
  Speaker 1: does I mean, he he he focks things up way
• 48:51
  Speaker 1: more than they should. And I mean, I totally get it.
• 48:53
  Speaker 2: Mike's the only one with some common sense in the
• 48:55
  Speaker 2: whole Dair movie.
• 48:56
  Speaker 1: Yeah, yeah, and then you think, why how did him
• 48:59
  Speaker 1: and Rachel get.
• 49:00
  Speaker 2: Yeah, that man has to be so miserable.
• 49:03
  Speaker 1: You were talking about the flashbacks.
• 49:06
  Speaker 2: Yeah.
• 49:06
  Speaker 1: And there is a piece on Indy Wier called the
• 49:08
  Speaker 1: Drama has one big idea but its edit is designed
• 49:11
  Speaker 1: to have ten per minute that says I was always
• 49:16
  Speaker 1: repeating the mantra that this edit should move at the
• 49:19
  Speaker 1: speed of thought. Editor Joshua Raymond Lee told Indy Wyer
• 49:23
  Speaker 1: we had a few mantras during the edit. One was
• 49:25
  Speaker 1: that we should try to have ten editing ideas per minute,
• 49:29
  Speaker 1: to think of the edit or of how we could
• 49:31
  Speaker 1: be innovative in addition to the story we're telling. He
• 49:34
  Speaker 1: goes on to say, there's a phrase that Deborah Treisman
• 49:37
  Speaker 1: in the New Yorker Fiction podcast used to describe a
• 49:39
  Speaker 1: short story recently that I really like. She said, it's
• 49:42
  Speaker 1: important that you ventilate certainty in your writing. I thought
• 49:47
  Speaker 1: that was a really good way of expressing it. Flashbacks
• 49:50
  Speaker 1: in film can be an accurate representation of the past,
• 49:54
  Speaker 1: but we wanted to treat them in the edit more
• 49:56
  Speaker 1: like the way we move in and out of memories.
• 50:00
  Speaker 1: By doing so, Lee and Borgly craft the editing equivalent
• 50:06
  Speaker 1: of a slightly adhd anxiety spiral, but they make the
• 50:10
  Speaker 1: structure of the drama even more complex by blurring the past,
• 50:14
  Speaker 1: present and fantasy. He says, sometimes we go into a fantasy,
• 50:18
  Speaker 1: would Charlie come out of it with Emma, and we're
• 50:20
  Speaker 1: not sure whether it was a memory or a fantasy.
• 50:22
  Speaker 1: Because of that construction, our philosophy was to give the
• 50:26
  Speaker 1: audience as much credit for their intelligence as possible, assume
• 50:30
  Speaker 1: as much intelligence as possible, and move at a speed
• 50:33
  Speaker 1: that would both excite would excite them and require them
• 50:37
  Speaker 1: to lean forward. And I appreciated that and the way
• 50:43
  Speaker 1: that the editing was done. That was one of the
• 50:45
  Speaker 1: I think the things that really stick out within top
• 50:49
  Speaker 1: of these memories flashbacks, but also the blurring of the
• 50:57
  Speaker 1: lines of where you kind of see the teenage Jema
• 51:00
  Speaker 1: Robert Pattinson there, but also like how he's kind of
• 51:05
  Speaker 1: seeing her at a time when he didn't know her. Yeah,
• 51:09
  Speaker 1: And I feel like that's sort of their way of
• 51:12
  Speaker 1: that kind of judgment and forgiveness, is that he's I think,
• 51:18
  Speaker 1: trying to understand it, but he can't and so but
• 51:23
  Speaker 1: you don't know the child she was, and I mean,
• 51:26
  Speaker 1: she was just a kid. She's fifteen. So I really
• 51:31
  Speaker 1: liked how the editing got a lot of this across
• 51:35
  Speaker 1: and just not within the relationship, but also kind of
• 51:40
  Speaker 1: a peek into their mind of like this, there are
• 51:45
  Speaker 1: struggles all around each of these scenes.
• 51:51
  Speaker 2: I think it's also effective the way the film's edited
• 51:54
  Speaker 2: because it kind of feels indicative of the bigger picture,
• 51:59
  Speaker 2: which is like, hey, can we slow down a little
• 52:03
  Speaker 2: bit and maybe think some of this through before just
• 52:06
  Speaker 2: reacting acting, and then we're compounding our problems like that
• 52:12
  Speaker 2: in and of itself kind of feels like a message
• 52:14
  Speaker 2: about the state of society today is that it's it's
• 52:20
  Speaker 2: kind of like things happen and we just move quickly
• 52:24
  Speaker 2: from moment to moment without really like slowing down, and
• 52:29
  Speaker 2: you know, participating in a little self reflection, self awareness.
• 52:32
  Speaker 1: Yes, I know we're talking about performances. I thought the
• 52:35
  Speaker 1: main four were really good. I really like Zendai and
• 52:38
  Speaker 1: Robert Pattinson and I even I was amazed of not
• 52:41
  Speaker 1: only once kind of the film decides to go in
• 52:45
  Speaker 1: a certain direction, but just how each of them were
• 52:48
  Speaker 1: able to emotionally, emotionally connect to different things and even
• 52:56
  Speaker 1: like like we talked about, they're not the most likable people, Yeah,
• 53:01
  Speaker 1: but there's each of them. I think each of them
• 53:06
  Speaker 1: you're able to at least in part understand where they
• 53:12
  Speaker 1: are once hearing this stuff, even though Emma is Emma,
• 53:20
  Speaker 1: how do you process that and how do you try
• 53:23
  Speaker 1: and get past it? Or you just start questioning everything?
• 53:28
  Speaker 1: And the way that especially Rachel, Emma and Charlie and
• 53:35
  Speaker 1: how each of them respond, not just in that scene
• 53:39
  Speaker 1: but till the end is I think I think. I
• 53:46
  Speaker 1: think it was. It was quite gripping, but it was
• 53:48
  Speaker 1: also like it's I didn't there wasn't one character where
• 53:55
  Speaker 1: I just didn't believe that, like why wouldn't you? Like
• 54:01
  Speaker 1: why would you do this and do that? Like I
• 54:03
  Speaker 1: not that I agree with everything that these characters did,
• 54:05
  Speaker 1: but there's I feel like there's a piece in all
• 54:08
  Speaker 1: of them that's that was sort of like, you know,
• 54:12
  Speaker 1: how would you take that news and you can't help
• 54:16
  Speaker 1: but change your perspective on something, But it's also how
• 54:20
  Speaker 1: how you handle it, and that's really the rest of
• 54:24
  Speaker 1: the film is how these characters handle it, which also
• 54:28
  Speaker 1: leads again to the insanity and to even though it
• 54:33
  Speaker 1: shouldn't be the funny parts of it, because it's just
• 54:37
  Speaker 1: it does go off the rails.
• 54:40
  Speaker 2: And it's nuts. Man. Yeah, I mean it is like
• 54:44
  Speaker 2: one moment after another, yeah, and they just kind of
• 54:47
  Speaker 2: where things going.
• 54:49
  Speaker 1: And then like even when they like they go and
• 54:50
  Speaker 1: like do their pictures and they're yeah, but slowly gets
• 54:54
  Speaker 1: into it. So by the time the wedding, by the
• 54:57
  Speaker 1: time we get to wedding day, it's like, okay, like
• 55:03
  Speaker 1: gloves are off. And I felt like that was a
• 55:06
  Speaker 1: great climax, like the whole head but all of it.
• 55:11
  Speaker 1: Would you say at the end the final scene, when
• 55:15
  Speaker 1: it's all said and done, do you see any real
• 55:22
  Speaker 1: actual growth or change or is it just I think
• 55:29
  Speaker 1: I do, But I also think it's also just realizing
• 55:37
  Speaker 1: the shit you did that it never had to get
• 55:42
  Speaker 1: to this point, like are they different people are have
• 55:47
  Speaker 1: especially like involving Charlie, has he just realized how much
• 55:53
  Speaker 1: he just sort of fucked up.
• 55:55
  Speaker 2: I think it's true acceptance, and I think it is
• 56:00
  Speaker 2: I took the final scene as Charlie kind of getting
• 56:08
  Speaker 2: a glimpse of life without Emma and going with his
• 56:13
  Speaker 2: gut a little bit.
• 56:14
  Speaker 1: And he tries pretty hard and I think unintentionally to
• 56:18
  Speaker 1: ruin it.
• 56:19
  Speaker 2: I don't think that Charlie. By the time we get
• 56:22
  Speaker 2: to the end of the movie, it feels like Charlie
• 56:25
  Speaker 2: kind of comes to his senses a little bit, like
• 56:27
  Speaker 2: he's having these feelings where he's kind of fighting the
• 56:31
  Speaker 2: urge to I don't want to say forget and forgive,
• 56:36
  Speaker 2: but like you see him kind of empathizing with Emma
• 56:42
  Speaker 2: and then he kind of loses it. And then by
• 56:45
  Speaker 2: the end, I think that taste of life without her
• 56:48
  Speaker 2: it's this acceptance of I'm gonna live for her, I'm
• 56:52
  Speaker 2: not gonna live for everybody else and what they think,
• 56:55
  Speaker 2: because I know this woman and this is what I
• 57:00
  Speaker 2: want my life to be.
• 57:01
  Speaker 1: And I feel like they're in a way it's brought
• 57:03
  Speaker 1: them closer because it seemed great and then she just
• 57:10
  Speaker 1: mentions one thing that I mean, yes, was like, you know,
• 57:17
  Speaker 1: a punch to the gut because you don't I mean,
• 57:21
  Speaker 1: you know, I don't I mean to find that out
• 57:25
  Speaker 1: within a week of marrying and then you're like, well
• 57:28
  Speaker 1: wait a minute, time out. But I agree with you
• 57:32
  Speaker 1: in the sense that I feel like both of them
• 57:35
  Speaker 1: were kind of facing of who they of who they
• 57:41
  Speaker 1: really are. And I think it was more of an
• 57:44
  Speaker 1: acceptance for Charlie, but I think for Emma it was too,
• 57:49
  Speaker 1: because I think as much as she didn't want it
• 57:55
  Speaker 1: to change anything, it did. But at the end he
• 57:59
  Speaker 1: does there's nothing that he probably doesn't know now, so
• 58:06
  Speaker 1: it's almost like a clean slate in a sense. It's
• 58:09
  Speaker 1: almost like the way that that scene ends makes sense
• 58:14
  Speaker 1: because it's almost like in many ways starting over, you know.
• 58:20
  Speaker 1: And I I really liked I really liked that and
• 58:25
  Speaker 1: the fact that that that scenario is mentioned earlier on
• 58:31
  Speaker 1: how they would like to do the wedding.
• 58:33
  Speaker 2: It's very fitting, I thought.
• 58:34
  Speaker 1: But then, but then part like stuff like that, even
• 58:37
  Speaker 1: though obviously the material is very different, that's you know,
• 58:43
  Speaker 1: that's that's some ron, that's some rom com. It is
• 58:46
  Speaker 1: stuff there, you know.
• 58:48
  Speaker 2: And I think from Emma's perspective too, is it's her
• 58:52
  Speaker 2: kind of acknowledging. I don't think what Charlie did is
• 58:58
  Speaker 2: who Charlie is, Like, I think we're gonna work past
• 59:02
  Speaker 2: this because he's he's been under a lot of stress.
• 59:05
  Speaker 1: Yeah, yeah, and so there's a there is at least
• 59:08
  Speaker 1: an understanding between the two. Yeah, now I did. I
• 59:12
  Speaker 1: got the impression that things are going to get better.
• 59:15
  Speaker 1: But either way, there is an understanding and acceptance that
• 59:19
  Speaker 1: I feel like was pretty much being asked as soon
• 59:24
  Speaker 1: as that one pivotal scene. Yea, and yes, Charlie took
• 59:28
  Speaker 1: the long way around, but they I felt like they did.
• 59:33
  Speaker 2: Yeah and I and I think that's kind of symbolic
• 59:37
  Speaker 2: of a larger message that this is where we kind
• 59:40
  Speaker 2: of tie into the more cheesy, hokey kind of rom
• 59:44
  Speaker 2: com thing, but it is kind of this overall message
• 59:47
  Speaker 2: of like, hey, love can still win out and yeah,
• 59:51
  Speaker 2: that's where I found the elements of real romance to
• 59:55
  Speaker 2: be in. Was like, just how hard they fuck can
• 1:00:00
  Speaker 2: fight to get to that scene, to get to that
• 1:00:03
  Speaker 2: ending was like, Okay, none of this other stuff, none
• 1:00:07
  Speaker 2: of this other commentary matters. We're still here and we're
• 1:00:10
  Speaker 2: still together, and like you said, it's like it feels
• 1:00:13
  Speaker 2: like a bit of a clean slate, like a fresh start.
• 1:00:15
  Speaker 1: Yeah.
• 1:00:16
  Speaker 2: But I too felt this is a hopeful ending, that
• 1:00:21
  Speaker 2: this is kind of the reset that things are going
• 1:00:23
  Speaker 2: to get better.
• 1:00:24
  Speaker 1: Yeah. Yeah. And again, not that anyone is necessarily innocent
• 1:00:28
  Speaker 1: in all this. Yeah, but you know, hey, if you
• 1:00:32
  Speaker 1: come out at the other end still loving each other,
• 1:00:35
  Speaker 1: then that's yeah, that's good enough for me. Yeah, anything else.
• 1:00:41
  Speaker 2: I wrote a review of this film, but it's not
• 1:00:43
  Speaker 2: going to be available until the twenty twenty six National
• 1:00:46
  Speaker 2: Movie Dispatch Movie Annual comes out in November. All right,
• 1:00:50
  Speaker 2: a review exclusive exclusive for the book.
• 1:00:53
  Speaker 1: Oh that'll be that'll be a good one. It'll be
• 1:00:56
  Speaker 1: well worth reading. What Wou'd you give this?
• 1:01:00
  Speaker 2: I gave it a four after I first saw it,
• 1:01:03
  Speaker 2: and then the more I thought about it and the
• 1:01:05
  Speaker 2: depth to which this movie speaks and the complicated nature
• 1:01:10
  Speaker 2: of the emotions involved and the performances, I bumped it
• 1:01:14
  Speaker 2: up to a four and a half.
• 1:01:15
  Speaker 1: Yeah, I could see that. I gave it a Vixfix
• 1:01:18
  Speaker 1: rating a four out of five. I would say that's
• 1:01:20
  Speaker 1: a solid but solid four out of five. I would
• 1:01:23
  Speaker 1: like to revisit this again when it comes on or
• 1:01:27
  Speaker 1: when you can buy it or whatever, because I'm just
• 1:01:32
  Speaker 1: it's so performance driven. But I just love the way
• 1:01:37
  Speaker 1: that Borgley was able to was able how he was
• 1:01:44
  Speaker 1: able to tell this story, and for anybody that really
• 1:01:49
  Speaker 1: wants to get that true experience, try to not let
• 1:01:54
  Speaker 1: it get supposed. And I don't want to act like
• 1:01:56
  Speaker 1: it's some like huge thing, but I don't think you'll
• 1:01:59
  Speaker 1: see it coming. I just don't think it's the confession
• 1:02:03
  Speaker 1: you think it's going to be.
• 1:02:04
  Speaker 2: I thought, as crazy as this was gonna be, and
• 1:02:07
  Speaker 2: what's seeing a twenty four on it? I was like, Oh,
• 1:02:09
  Speaker 2: she's gonna say she's an alien.
• 1:02:11
  Speaker 1: I'm gonna I thought she was just gonna turn into
• 1:02:13
  Speaker 1: Willem Dafoe. Yeah, maybe, and Robert Pattinson have to deal
• 1:02:16
  Speaker 1: with it.
• 1:02:17
  Speaker 2: Yeah, So could have happened.
• 1:02:19
  Speaker 1: I don't know, But all right, So catch Stoney's review
• 1:02:23
  Speaker 1: exclusively in Our Nashville Our annual Nashville Movie Dispatch book
• 1:02:31
  Speaker 1: that comes out in December.
• 1:02:33
  Speaker 2: And to Hey twenty twenty five and twenty twenty four
• 1:02:36
  Speaker 2: are available on Amazon.
• 1:02:37
  Speaker 1: And it's got some exclusive shit in there too.
• 1:02:39
  Speaker 2: You just search Nashville Movie Dispatch and it's up there.
• 1:02:42
  Speaker 1: There you go, so again. Check out everything that we've
• 1:02:47
  Speaker 1: got going on at Nashville Movie Dispatch dot substack dot com,
• 1:02:52
  Speaker 1: and I'll be back next month, same time, same place.
• 1:02:58
  Speaker 1: Until then, just see a damn movie. H m hmm