Latest / Critically Acclaimed Network / Critically Acclaimed #338 | Weapons, Freakier Friday, Souleymane's Story, Sketch, It's Never Over Jeff Buckley

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Critically Acclaimed #338 | Weapons, Freakier Friday, Souleymane's Story, Sketch, It's Never Over Jeff Buckley · Critically Acclaimed Network

0:11
[SPEAKER_00]: Greetings friends welcome back to critically acclaimed the film review podcast where good taste and bad taste come with a sound effect attached and always the same one
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[SPEAKER_00]: It's easier that way.
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[SPEAKER_00]: My name is Whitney Sybel.
0:26
[SPEAKER_00]: I'm a film critic.
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[SPEAKER_00]: I'm a senior staff writer over at slash film.
0:30
[SPEAKER_00]: And with me, as always, as my far more intelligent, scintillating and exciting co-host William, why don't you introduce yourself?
0:36
[SPEAKER_03]: You know, every time Whitney, I'm willing to be on a film clinic for the wrap, everybody calls me, I was yada yada yada.
0:44
[SPEAKER_03]: Every time Whitney introduces me and I know everyone's noticed this we we alternate every even episode Whitney introduces every ad number I do every time you introduce me he always says like I'm more intelligent co-host and it takes all the energy I have not to slap him so hard This man is a genius and and it'd be one thing if it was just a compliment
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[SPEAKER_03]: Don't tell yourself down.
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[SPEAKER_00]: Oh, bitch.
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[SPEAKER_03]: She doesn't do that in the process.
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[SPEAKER_00]: You, sir.
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[SPEAKER_03]: I wonder, full?
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[SPEAKER_00]: I will never.
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[SPEAKER_00]: I admire you.
1:16
[SPEAKER_00]: I'll never acknowledge however that you are a staggeringly intelligent and very talented film critic.
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[SPEAKER_00]: Well, that's, and I'm glad to be here with you.
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[SPEAKER_00]: I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_00]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be here with you.
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[SPEAKER_03]: And I'm glad to be
1:41
[SPEAKER_03]: This week, on critically acclaimed, we're reviewing a bunch of new movies, our new releases this week are weapons, the latest film from Zach Kregger, the director of Barbarian, Freaky Irr Friday, a sequel to the Lindsay Loan, Jamie Lee Curtis, version of Freaky Friday, which itself was a remake of the nineteen seventies, Disney film with Jody Foster, and I think it was Barbara Harris, was her mom in that one?
2:04
[SPEAKER_03]: I believe so.
2:05
[SPEAKER_00]: There's been like a Freaky Friday movie.
2:07
[SPEAKER_00]: Oh yeah, there was there was one with Shelley Long and then ninety-seven forgets about there was like a musical version that they did I think the Edinburgh they filmed a performance that was a movie I think it was an adaptation of the Broadway musical, but yeah, they put that on the Disney channel and then there was and there's tons of equals to the books and then movies made from the sequels that I'm nothing to do with the original movies.
2:27
[SPEAKER_03]: It's interesting.
2:28
[SPEAKER_03]: So but that's up.
2:30
[SPEAKER_03]: There is a new independent drama called the Sulemon story which is the story
2:38
[SPEAKER_03]: Oh, it's really fun.
2:40
[SPEAKER_00]: You want to tell you all about, well, that's one of the best of this year.
2:43
[SPEAKER_00]: Oh, that's exactly what we got to that.
2:44
[SPEAKER_03]: There's also a new... I hesitate to call it a family movie.
2:50
[SPEAKER_03]: It's more of a horror movie for kids, but it's still very definitely like four kids.
2:55
[SPEAKER_03]: It's called Sketch.
2:57
[SPEAKER_03]: And then lastly, there is a new documentary about whether it is ever over for Jeff Buckley, spoiler alert, the title is, it's never over Jeff Buckley.
3:06
[SPEAKER_00]: Chris Jeff Buckley, rather, infamously dieted aged thirty, so we're going to be talking about Jeff Buckley.
3:11
[SPEAKER_00]: Okay, but the title says it's never over Jeff Buckley which is which is a nice thing.
3:16
[SPEAKER_03]: In any case, it seems like the big release this weekend is Zach Craigler's weapons.
3:23
[SPEAKER_03]: So let's let's dive into that, shall we?
3:26
[SPEAKER_03]: Is that crazier?
3:28
[SPEAKER_03]: It's interesting because a lot of people have been calling this his sophomore film.
3:32
[SPEAKER_03]: He, this is one of the situations where I'm not sure if we all agree on whether co-directing a movie counts because he's co-directed two movies for Barbarian.
3:41
[SPEAKER_03]: For Barbarian.
3:41
[SPEAKER_03]: For Barbarian.
3:41
[SPEAKER_00]: For Barbarian.
3:42
[SPEAKER_00]: This march, which was like a sex comedy.
3:44
[SPEAKER_00]: Yeah.
3:45
[SPEAKER_00]: I think that was a comedy too.
3:47
[SPEAKER_00]: Yeah, and that same, he and that same co-director did.
3:50
[SPEAKER_00]: The Civil War on Drogs, which I'm not familiar with.
3:53
[SPEAKER_03]: Yeah, but Barry was a sort of solo film.
3:56
[SPEAKER_03]: I just don't know if that counts as your first movie or not, if you've co-directed two features.
4:00
[SPEAKER_00]: Yeah.
4:00
[SPEAKER_00]: So it was this first solo directorial effort.
4:03
[SPEAKER_00]: This is a second solo directorial.
4:04
[SPEAKER_03]: Now this is a semantics argument, but I'm just one, I doesn't seem like we all agree on what that means.
4:10
[SPEAKER_03]: I've seen people call it a sophomore film, a people call it a team call it.
4:12
[SPEAKER_03]: It's a third film.
4:13
[SPEAKER_03]: I haven't seen the two films that pre-date barbarian.
4:17
[SPEAKER_03]: But Barbarian was a massive success.
4:21
[SPEAKER_03]: Was it like, twenty-two, twenty-one, twenty-one, twenty-one, I think.
4:24
[SPEAKER_03]: It was a huge, huge hit.
4:25
[SPEAKER_03]: It came out in September, really blindsided.
4:28
[SPEAKER_03]: A lot of people.
4:29
[SPEAKER_03]: And it is a horror movie about two people who end up at an Airbnb where there's like this mysterious creepy room in the basement.
4:39
[SPEAKER_03]: And then it turns out there's something, hear me out here.
4:42
[SPEAKER_03]: Mysterious and creepy in the mysterious and creepy room in the basement.
4:46
[SPEAKER_03]: and then bad things happen.
4:50
[SPEAKER_03]: It was hugely successful and very critically planned.
4:53
[SPEAKER_00]: It's odd because that was actually one of many films that came out within like a two or three year period.
4:59
[SPEAKER_00]: There were all about how creepy it was to stay at an Airbnb.
5:02
[SPEAKER_03]: I mean, to be fair, it is creepy to stay at an Airbnb.
5:05
[SPEAKER_00]: It's no creepyer than staying in a hotel room.
5:07
[SPEAKER_00]: And to be fair, there's a love.
5:09
[SPEAKER_00]: There's a lot more movies.
5:11
[SPEAKER_03]: I suppose the shining they can see.
5:14
[SPEAKER_03]: There's a lot of movies about creepy.
5:16
[SPEAKER_00]: Just specifically Airbnb is we're getting, we're taking it on the chin.
5:20
[SPEAKER_00]: There was one called super host.
5:22
[SPEAKER_00]: There was, what was the one with the host?
5:23
[SPEAKER_03]: I don't remember that at all.
5:24
[SPEAKER_00]: Yeah, it's about the host is stalking around the house like threatening kill people if they don't leave her a good review with Dave Franco.
5:32
[SPEAKER_00]: There was one day Franco.
5:33
[SPEAKER_00]: Yeah.
5:35
[SPEAKER_00]: Oh, what was the moment?
5:36
[SPEAKER_00]: That might have been super heavy.
5:37
[SPEAKER_00]: What was the moment?
5:37
[SPEAKER_02]: I think it was the moment that everybody was called super host.
5:39
[SPEAKER_00]: There was also the one with Dan Stevens, where they were sort of in this, in an Airbnb, and they were being spied upon, and they were all having fairs with one another.
5:50
[SPEAKER_00]: That's not random.
5:52
[SPEAKER_03]: But, you know, makes sense.
5:53
[SPEAKER_03]: You know, Airbnb became this very much this go to sort of replacement for hotels and motels.
6:00
[SPEAKER_03]: If anyone is unfamiliar with this, there goes the rental.
6:03
[SPEAKER_00]: Yeah.
6:03
[SPEAKER_00]: That was the one with Dan Stevens.
6:05
[SPEAKER_03]: I realize this is going to seem like really obvious to a lot of people, but we have a lot of people who, you know, all over the world may not be as familiar with it.
6:13
[SPEAKER_03]: And Airbnb is basically people offer their house or their apartment to rent their house for a couple of days.
6:22
[SPEAKER_03]: I'm not going to be in my house for a couple of days.
6:23
[SPEAKER_03]: Some of who's visiting town can stay at my place.
6:26
[SPEAKER_03]: And there's, you know, there's a contract that goes to like, you know, restaurants or stuff.
6:31
[SPEAKER_03]: But like, yeah, that's basically it.
6:35
[SPEAKER_03]: It's a very common place.
6:37
[SPEAKER_03]: I've Airbnb a couple of times.
6:41
[SPEAKER_03]: Never was quite comfortable with it, to be perfectly frank, because it is someone else's space and a very intimate kind of way.
6:47
[SPEAKER_03]: I mean, sometimes people tell places where they just use it for Airbnb, but so there's something a little, you are entering into a zone that is theoretically someone else's living quarters and it's a whole thing.
6:57
[SPEAKER_03]: So I can see why after that became ubiquitous,
7:02
[SPEAKER_03]: people would want to use that as a fodder for horror, because that happens anytime anything new happens.
7:08
[SPEAKER_03]: Any new technology, any new business.
7:10
[SPEAKER_03]: I'll angle of it.
7:12
[SPEAKER_03]: Yeah, we can turn it into a source of horror or comedy or action.
7:19
[SPEAKER_03]: We're gonna do it because we're constantly looking for something new, even if we're doing the same old thing with it.
7:25
[SPEAKER_03]: I was not the biggest fan of barbarian.
7:28
[SPEAKER_00]: Barbarian has a strange structure.
7:30
[SPEAKER_00]: Yeah.
7:31
[SPEAKER_00]: It's essentially a dip-tick because the characters from the beginning of the movie, they've handled the kind of concludes until, and then like, they come back to the new character and see things from his perspective.
7:43
[SPEAKER_00]: And this is something that Zach Craigard does with weapons as well.
7:47
[SPEAKER_00]: He wants to tell the same story from multiple perspectives.
7:51
[SPEAKER_00]: And when we, and in both movies, he kind of reveals what sort of what the big secret is, and yet there's still another act to go.
8:00
[SPEAKER_00]: After we reveal the big secret, and I will say this as a filmmaker, he's very adept at keeping the tension in the interest high even after he gives us the reveal.
8:10
[SPEAKER_03]: very tricky thing to do.
8:11
[SPEAKER_03]: I will grant you that because a lot these movies especially weapons but these movies are built on a mystery what is going on and you know some movies once you reveal the mystery it's like that's all I cared about like you've ever watched the Pelican brief it's it's not a horror movie it's like John Rich on the trailer with Julie Roberts and Denzel watching them big hit when it came out and it's all about how Julie Roberts plays like a lost student who wrote a brief of some kind that had something to do with Pelicans you don't know what it is for a long time but
8:41
[SPEAKER_03]: But apparently she figured something out that was very, very criminal, and that people would kill to cover it up.
8:47
[SPEAKER_03]: So people are trying to kill her.
8:49
[SPEAKER_03]: But we don't know what's in the brain.
8:50
[SPEAKER_03]: We don't know what she has discovered.
8:52
[SPEAKER_03]: And instead of revealing it at the end, they reveal it at the end of act two.
8:56
[SPEAKER_03]: And then it's just nothing interesting.
9:00
[SPEAKER_03]: It's just, oh, I guess we still have to, I guess that guy's still out.
9:03
[SPEAKER_03]: There was to do some about that.
9:04
[SPEAKER_03]: But the only thing that they were really,
9:07
[SPEAKER_03]: capturing our attention with was what's in the pelican grief.
9:10
[SPEAKER_03]: So that can be death.
9:12
[SPEAKER_00]: I'll and I'll say this.
9:14
[SPEAKER_00]: So that's he's a very skill that creating sort of mood pacing and good scare moments and keeping stories going.
9:22
[SPEAKER_02]: Yeah.
9:22
[SPEAKER_00]: In terms of like handling a script he's very good at it.
9:25
[SPEAKER_02]: As far as actors too.
9:27
[SPEAKER_00]: He's very good with actors against some good performances.
9:30
[SPEAKER_00]: In weapons, Julia Garner plays an elementary school teacher, and at first he thinks she's just sort of this victim, but she's really kind of this messy character as like a lot of problems and we get into her story.
9:42
[SPEAKER_00]: I like all of that.
9:43
[SPEAKER_03]: Very complicated figure, yeah.
9:45
[SPEAKER_00]: But like with Barbarian, I get the sense that Zett Krieger actually doesn't have very
9:54
[SPEAKER_00]: I don't want to say he doesn't have savory interests, but he clearly is going at similar themes in both of these moves.
10:00
[SPEAKER_01]: Yes.
10:00
[SPEAKER_00]: That I'm not entirely comfortable with.
10:02
[SPEAKER_00]: Yeah.
10:03
[SPEAKER_00]: In terms of, and I'm not going to give anything away, but I will say that there's a lot of what I'll call crony imagery, like old fashioned fairy tale
10:12
[SPEAKER_00]: Scary old lady behind of images that he kind of falls into a little too easily.
10:18
[SPEAKER_03]: I think that and this is probably half of barbarian as well.
10:21
[SPEAKER_03]: I think that is that Craig are is excellent.
10:24
[SPEAKER_03]: That's setting up a story, building atmosphere, building a mystery, putting an unexpectedly rich characters into situations where honestly a cipher could have been going through it and I would be scared.
10:38
[SPEAKER_03]: really, really put in it all the effort.
10:39
[SPEAKER_03]: But at some point, he does, and honestly, he can get away with not revealing as much as he reveals in these movies, and it would probably be okay.
10:47
[SPEAKER_03]: But he's willing to tell you exactly what's going on.
10:50
[SPEAKER_03]: He's willing to solve his own mysteries.
10:53
[SPEAKER_03]: But once we get the solution, we realize here's what Zach Craig or either thinks his scary or thinks we think his scary.
11:01
[SPEAKER_03]: And granted, scary is very subjective.
11:04
[SPEAKER_03]: What scares some person is not necessarily going to scare everyone else and vice versa.
11:07
[SPEAKER_03]: But with two movies, he definitely has this idea that older women and women with conventionally unattractive bodies or style are fundamentally creepy.
11:26
[SPEAKER_03]: And that's something I find
11:29
[SPEAKER_03]: unsavory.
11:30
[SPEAKER_00]: And a way that I'm like, I don't think that's, I don't think that's as creepy as you think that's creepy.
11:35
[SPEAKER_00]: He, he probably just thinks that's creepy.
11:37
[SPEAKER_00]: He's probably just tapping into a lot of old stories.
11:41
[SPEAKER_00]: Think of the history of, yeah, Hansel and got a little bit of the history of, and it's an archetype, the chrome archetype, the scary old lady.
11:50
[SPEAKER_00]: The witches from these old fairy tales.
11:53
[SPEAKER_00]: And how, if you sort of delve into the history of,
11:57
[SPEAKER_00]: those kinds of fairy tales and how you're why the older woman is always the villain in these pictures and who's telling the story to the young children that kind of the point of the story with the message of the story and I remember going to a lecture once where they explained that the the grandmothers were left at home to take care of the children while their parents were busy either farming or taking care of the homework doing the work
12:24
[SPEAKER_00]: And so it was they who were sort of empowering themselves by putting themselves in these kind of scary villain roles because they wanted to be feared at home.
12:33
[SPEAKER_01]: Yeah.
12:33
[SPEAKER_00]: So by the kids.
12:34
[SPEAKER_00]: Yeah.
12:34
[SPEAKER_00]: So there was this kind of domestic set up to a lot of these old chrome stories.
12:39
[SPEAKER_00]: I don't know if all of that is filtered into the present day, but it's kind of leaked into the present day at the Halloween store.
12:45
[SPEAKER_00]: Yeah.
12:47
[SPEAKER_00]: I was telling him about Daniel Gould's bed about how Halloween stories.
12:51
[SPEAKER_00]: You get the three big ones.
12:52
[SPEAKER_00]: It's Dracula, the Wolfman, and older woman.
12:55
[SPEAKER_00]: Yeah.
12:55
[SPEAKER_00]: Just some old lady.
12:58
[SPEAKER_00]: Yeah.
12:58
[SPEAKER_00]: No.
12:59
[SPEAKER_00]: So he's... At this point, he's clearly, I think what he's doing is just sort of tapping into Halloween story imaging.
13:04
[SPEAKER_00]: Yeah, but I'm not giving a lot of thought.
13:06
[SPEAKER_03]: I know a deeper meaning.
13:07
[SPEAKER_03]: I think that's implicit.
13:08
[SPEAKER_00]: Which, and I think, but my problem is that it reveals him as a very superficial filmmaker.
13:12
[SPEAKER_03]: That's that is my concern and I feel like especially with weapons and let's talk about weapons because we're kind of just alluding to some of the like the imagery in it.
13:19
[SPEAKER_03]: We're not talking about the plot.
13:21
[SPEAKER_03]: I think with weapons he's because with barbarians he has done what Airbnb's and there's definitely an element of like sexism and there's me too in that story as well and he's touching upon series things, but it's more about just the horror with weapons he's evoking some very serious
13:36
[SPEAKER_03]: ideas and experiences a lot of people can relate to.
13:40
[SPEAKER_03]: And when I'm concerned that when you sort of whittle that down to what's that character thinks is scary, you're kind of doing it at this service.
13:49
[SPEAKER_03]: So the plot of weapons is this and it's a really, really scary setup.
13:53
[SPEAKER_03]: And it feels like a fairy tale.
13:55
[SPEAKER_00]: Oh, yeah, yeah.
13:56
[SPEAKER_00]: I love the way it's set up.
13:57
[SPEAKER_00]: I love everything technical about this.
13:59
[SPEAKER_00]: Oh, yeah.
13:59
[SPEAKER_03]: I love that it is like being it's the narrator is like a child.
14:05
[SPEAKER_03]: I don't think it's a character in the movie.
14:06
[SPEAKER_03]: No.
14:07
[SPEAKER_03]: It's like some kid who like has in this town years later telling you about what happened in this town.
14:11
[SPEAKER_03]: I've heard this story and she says um
14:16
[SPEAKER_03]: One day, this teacher, Justin Gandhi, played by Julie Garner, who's amazing in this movie.
14:21
[SPEAKER_00]: Julie Garner's great.
14:22
[SPEAKER_03]: Great actor in general.
14:23
[SPEAKER_00]: That's one of the best.
14:25
[SPEAKER_00]: When we reviewed Phantastic Force.
14:27
[SPEAKER_00]: Yes, yes.
14:27
[SPEAKER_03]: Which he makes a lot out of very little in that movie.
14:30
[SPEAKER_03]: And I was very frustrated that it really felt like her part had been
14:33
[SPEAKER_03]: cut down either in the editing room or in the screenwriting phase in the wolf man.
14:38
[SPEAKER_03]: Yeah, we're getting this here because I feel like that's definitely a juicy part and it feels like a lot of the setup for her wasn't in there so that the payoffs really kicked in.
14:46
[SPEAKER_03]: But she goes to work one day.
14:48
[SPEAKER_03]: She's an elementary school teacher.
14:49
[SPEAKER_03]: It's like second or third grade and she comes in the school and
14:54
[SPEAKER_03]: every child in her classes in there.
14:56
[SPEAKER_00]: Except for one.
14:57
[SPEAKER_03]: Except for one.
14:57
[SPEAKER_03]: That's the only way to live out of the trailer.
14:59
[SPEAKER_03]: It's one of the, it's like the second or third scene in the movie.
15:01
[SPEAKER_03]: You know it right away.
15:02
[SPEAKER_03]: And so I like that actually because you're telling everyone because all the trailers are just here's a story.
15:09
[SPEAKER_03]: Every child in this one woman's class went missing.
15:12
[SPEAKER_03]: It was only her class.
15:14
[SPEAKER_03]: They all woke up in the middle of the night at two, seventeen a.m.
15:18
[SPEAKER_03]: and just ran outside into the darkness and we're never seen again.
15:21
[SPEAKER_03]: And I like that when we get into the theater, it turns out there was one little thing they didn't tell us, and that just sort of bumps up the mystery, because now there's like one other unexplained thing.
15:31
[SPEAKER_03]: So all of the students in this class except for one, disappeared at the same time.
15:35
[SPEAKER_03]: As you can imagine, everyone is terrified.
15:37
[SPEAKER_03]: Everyone is really, really worried.
15:39
[SPEAKER_03]: There's police investigation, and then the movie jumps about a month into the future.
15:42
[SPEAKER_03]: There's been an investigation.
15:45
[SPEAKER_03]: Miss Gandhi has been the police don't think she has anything to do with it, but the parents in this town who are all all represented by one parent mostly there's not there's not a mob of parents, Josh Brolin sort of stands in for all but there's a mob, but he's the one we see that he talks to a couple others and it seems like they're going through hell, which imagine they would be, but he's the standard for that, but and Josh Brolin is also great.
16:08
[SPEAKER_03]: The parents in this town, one answers, they don't have answers.
16:12
[SPEAKER_03]: That's incredibly dissatisfying, just intellectually, but emotionally, it's devastating.
16:18
[SPEAKER_03]: And all they know is, all the kids are in this woman's class, and she's right here.
16:23
[SPEAKER_03]: And she's not talking.
16:25
[SPEAKER_00]: And she has no answer.
16:25
[SPEAKER_00]: Well, she's not talking.
16:27
[SPEAKER_00]: She doesn't know we either.
16:28
[SPEAKER_00]: Well, they don't know that she doesn't know.
16:30
[SPEAKER_03]: They think that she's just not talking.
16:31
[SPEAKER_03]: They think she's hiding something either she's responsible or she knows something.
16:36
[SPEAKER_03]: But surely,
16:37
[SPEAKER_03]: This is the one connection at between all of those kids.
16:40
[SPEAKER_03]: So there must be something to do with her.
16:42
[SPEAKER_03]: And so she becomes the subject of a local witch hunt.
16:45
[SPEAKER_03]: They paint the word witch on her car in case you didn't pick up on the subtlety of the witch hunt angle, which I guess.
16:54
[SPEAKER_00]: Well, it's also a theme of the movie going back to that chrome.
16:56
[SPEAKER_03]: Yeah, definitely that old, very long monster kind of vibe.
17:00
[SPEAKER_03]: So we see the story from Justin's perspective.
17:04
[SPEAKER_03]: She
17:07
[SPEAKER_03]: She tries to look into it herself.
17:08
[SPEAKER_03]: She's been put on like a administrative leave.
17:11
[SPEAKER_03]: And she starts sort of devolving into some of her worst habits, turns out she's an alcoholic, starts drinking again.
17:18
[SPEAKER_00]: She's having a affair with a local cop.
17:20
[SPEAKER_03]: Yeah, who's her ex-boyfriend?
17:21
[SPEAKER_03]: And he's seeing someone else.
17:22
[SPEAKER_03]: So that's a whole problem.
17:24
[SPEAKER_03]: And he's in the recovery alcoholic as well.
17:26
[SPEAKER_03]: And then she covers some information.
17:29
[SPEAKER_03]: And then right when it seems like something's about to really kick in,
17:33
[SPEAKER_03]: We cut and then we see the story from Josh Roland's character's perspective as we see that he's devastated, he's sleeping in his child's room, he's having nightmares, he's very haunting nightmares, and he's trying to piece it all together, he's starting to find little clues that suggest
17:51
[SPEAKER_03]: at least like where the kids are running too.
17:54
[SPEAKER_03]: So he's starting to piece it together.
17:55
[SPEAKER_03]: And then it's only scary happens.
17:57
[SPEAKER_03]: And then we cut to the cop.
17:59
[SPEAKER_03]: She's slept with play by Alden Aaron, right?
18:01
[SPEAKER_03]: Great actor by the way.
18:02
[SPEAKER_03]: I always love seeing him.
18:04
[SPEAKER_03]: And we see this perspective.
18:05
[SPEAKER_03]: It turns out it's kind of a shitty cop.
18:07
[SPEAKER_03]: And then we see it from another perspective and so on and so on.
18:11
[SPEAKER_03]: It's a really good way to give the audience information what keeping all the characters out of the loop.
18:17
[SPEAKER_03]: Everyone gets pieces, but nobody sees the entire puzzle except the audience.
18:21
[SPEAKER_00]: uh uh and in case you couldn't tell um and Zach Kriger has said this in interviews.
18:25
[SPEAKER_00]: He was inspired by Magnolia which is another movie that takes place over the course.
18:30
[SPEAKER_00]: That takes place over the course of one day and it's from the perspective of like this big bad idea of characters.
18:35
[SPEAKER_03]: I feel like it has a lot more in common with the Con brothers' blood symbol.
18:38
[SPEAKER_03]: You see blood symbol?
18:39
[SPEAKER_00]: Oh yeah.
18:40
[SPEAKER_03]: Blood Symbol was their first movie, it is, I still think it might be one of their best if not there.
18:45
[SPEAKER_03]: Not that they didn't make great movies afterwards, it's just, it's that good.
18:48
[SPEAKER_03]: Blood Symbol is a story about the guy who owns a bar, his wife, and the guy who works with barfies having a fair with, and the private detective, he hires to uncover the affair.
18:58
[SPEAKER_03]: When he discovers the affair, the guy says, okay, I want you to kill him.
19:03
[SPEAKER_03]: From that point on,
19:06
[SPEAKER_03]: no one in this movie knows everything going on in this movie everyone is mistaken about what's happening and so the the guy who works at the bar he thinks something horrible has happened but that's not what happened everyone so like only the audience knows everything that's going on and it's only like the last shot do they even realize they don't know the whole story it's a really complicated bit of writing here
19:30
[SPEAKER_03]: Again, well, here's the thing, I'm not sure if it's more focused though, I guess the Magnolia Magnolia is very sprawled.
19:36
[SPEAKER_00]: This is more widely focused on mysteries.
19:38
[SPEAKER_00]: I think by sort of splitting up the perspective that does let us see these sort of like miniature stories.
19:45
[SPEAKER_00]: It lets the actors to do a little bit, you know, have a little bit of a showcase.
19:48
[SPEAKER_00]: Right.
19:49
[SPEAKER_00]: I was very fond of the actor who played like the Stoner character.
19:52
[SPEAKER_00]: Yeah.
19:53
[SPEAKER_00]: He gets his own chapter as well.
19:55
[SPEAKER_00]: I'll let me look at that actor's name.
19:56
[SPEAKER_00]: Yeah, he does his turn out he's good.
19:58
[SPEAKER_00]: Let's see.
19:59
[SPEAKER_00]: Austin Abrams.
20:00
[SPEAKER_00]: He plays James.
20:01
[SPEAKER_00]: He's like a drug addict, too.
20:04
[SPEAKER_00]: And he's great.
20:04
[SPEAKER_00]: That guy's a star.
20:05
[SPEAKER_02]: Yeah, he's really good.
20:09
[SPEAKER_00]: And we get pieces of information from each one of their stories.
20:14
[SPEAKER_00]: But it also feels a little bit here and there like we're being jerked around a little bit.
20:19
[SPEAKER_00]: Like the filmmakers are deliberately obfuscating just to sort of stall for time.
20:24
[SPEAKER_00]: Right.
20:25
[SPEAKER_00]: And that's a careful balance.
20:28
[SPEAKER_00]: Yeah.
20:28
[SPEAKER_00]: You can give us information and very skillful way.
20:31
[SPEAKER_00]: And I think mostly pulls it off.
20:33
[SPEAKER_00]: But there were a few scenes, especially in the cop story where I realized we're not getting any new information.
20:39
[SPEAKER_00]: No, that's the thing.
20:39
[SPEAKER_03]: The cop story is frustrating because I love old and Aaron right.
20:43
[SPEAKER_03]: The other stories, the drug addict's story is...
20:48
[SPEAKER_03]: He's not really directly connected to the mystery, but there's things that transpire.
20:53
[SPEAKER_00]: But he learns stuff.
20:54
[SPEAKER_00]: Like, that gets the audience.
20:55
[SPEAKER_03]: It's very, very well then.
20:56
[SPEAKER_03]: And it turns out, all the error-to-hakes thing doesn't connect to a lot.
21:00
[SPEAKER_03]: And so I actually learned, I'm reminded of it, because it's like, we're looking at this one mystery from their respective, all these different people.
21:06
[SPEAKER_03]: But like, okay, so the teacher makes sense.
21:08
[SPEAKER_03]: One of the parents makes sense.
21:10
[SPEAKER_03]: A guy who's like in the criminal element in his part of this town, where no one sees what's going on.
21:14
[SPEAKER_03]: Okay, kind of makes sense.
21:15
[SPEAKER_03]: A cop also makes sense, except
21:17
[SPEAKER_03]: He's not investigating the crime.
21:19
[SPEAKER_03]: He's very specifically not investigating the crime.
21:22
[SPEAKER_03]: He's not terribly connected to Justin, other than the fact that they slept together.
21:27
[SPEAKER_03]: He's having a rough day at the office, no one's arguing that.
21:30
[SPEAKER_03]: But also, it turns out he's shit and probably shouldn't be a cop.
21:35
[SPEAKER_03]: That doesn't feel like it's directly connected to the tell.
21:39
[SPEAKER_03]: We're sending it waiting for that to connect, and by the time it does, we realize we need all of that.
21:44
[SPEAKER_03]: We didn't need all of that.
21:47
[SPEAKER_00]: It does sort of enrich the story in a vague sort of way, but it doesn't really have to live with it for a little while longer.
21:54
[SPEAKER_03]: I suppose you know what it's like to be that teacher.
21:56
[SPEAKER_03]: I get to know what it's like to be that parent, and I get to know what it's like to be that cop.
22:02
[SPEAKER_03]: He's not relevant to the mystery that we're excited about.
22:05
[SPEAKER_03]: Yeah.
22:06
[SPEAKER_03]: That's the thing.
22:06
[SPEAKER_03]: And then eventually eventually we get the kids story and all and everything's revealed.
22:12
[SPEAKER_03]: Yeah.
22:13
[SPEAKER_03]: It's all just kind of dumped on you at once basically.
22:18
[SPEAKER_03]: Here's the thing.
22:19
[SPEAKER_03]: When you build up a mystery, especially one that doesn't seem like it could possibly have a clean explanation.
22:24
[SPEAKER_03]: It feels very dreamlike.
22:26
[SPEAKER_03]: The idea of the whole universe.
22:29
[SPEAKER_00]: Nothing is connected.
22:30
[SPEAKER_03]: Yeah, how could this possibly make sense?
22:31
[SPEAKER_03]: And it turns out, it makes sense.
22:34
[SPEAKER_03]: I don't think it's very intelligent.
22:36
[SPEAKER_03]: I don't think that's very interesting.
22:37
[SPEAKER_03]: And I think when it boils down to ultimately is
22:41
[SPEAKER_03]: simplistic.
22:44
[SPEAKER_03]: And it's not a satisfying conclusion to me.
22:47
[SPEAKER_03]: It's such a great buildup.
22:49
[SPEAKER_03]: It's a very JJ Abrams kind of thing where you're really great at laying the foundation.
22:54
[SPEAKER_03]: But damn it, the top floor of your building is just ramshackling crap.
23:00
[SPEAKER_03]: And to be fair, there's good stuff in the last part of weapons.
23:04
[SPEAKER_03]: There's one really epic bizarre incident towards the end.
23:09
[SPEAKER_03]: That is a memorable image.
23:11
[SPEAKER_03]: and it is certainly wild to watch and I will remember it.
23:15
[SPEAKER_03]: I still don't think it works though and I don't think it really helps any sort of metaphor here.
23:19
[SPEAKER_03]: The school shooting metaphor, the idea that all of a sudden all these kids in this class are lost.
23:23
[SPEAKER_03]: That's when that evokes right now.
23:24
[SPEAKER_03]: That's the common peril.
23:27
[SPEAKER_03]: That kind of falls by the wayside and the more you think about it, it's like, well, who represents what here and that doesn't really work, the which on thing completely falls apart for real.
23:35
[SPEAKER_00]: And also, if this was about like the way maybe a violent actor or school shooting perhaps has an effect on a town, then we should be seeing more of the
23:46
[SPEAKER_03]: It's like six people and granted that could be enough to provide it.
23:51
[SPEAKER_03]: They like cast a wide enough net, but we don't cast a wide enough net.
23:55
[SPEAKER_03]: It's very, very, very tiny actually.
23:58
[SPEAKER_03]: Yeah.
23:59
[SPEAKER_03]: It's so frustrating because it's so beautifully filmed and the editing is really sharp and it's scary.
24:03
[SPEAKER_00]: It's scary.
24:04
[SPEAKER_00]: It's scary.
24:04
[SPEAKER_00]: It's scary.
24:04
[SPEAKER_00]: It's scary.
24:04
[SPEAKER_00]: It's scary.
24:05
[SPEAKER_00]: It's scary.
24:05
[SPEAKER_00]: It's scary.
24:05
[SPEAKER_00]: It's scary.
24:06
[SPEAKER_00]: It's scary.
24:06
[SPEAKER_00]: It's scary.
24:06
[SPEAKER_00]: It's scary.
24:06
[SPEAKER_00]: It's scary.
24:07
[SPEAKER_03]: It's scary.
24:07
[SPEAKER_03]: It's scary.
24:07
[SPEAKER_03]: It's scary.
24:08
[SPEAKER_00]: It's scary.
24:08
[SPEAKER_00]: It's scary.
24:08
[SPEAKER_00]: It's scary.
24:08
[SPEAKER_03]: It's scary.
24:09
[SPEAKER_03]: It's scary.
24:09
[SPEAKER_03]: It's scary.
24:09
[SPEAKER_03]: It's scary.
24:10
[SPEAKER_03]: It's scary.
24:10
[SPEAKER_03]: It's scary.
24:10
[SPEAKER_03]: It's scary.
24:11
[SPEAKER_03]: It's scary.
24:11
[SPEAKER_03]: It's scary.
24:11
[SPEAKER_03]: It's scary.
24:12
[SPEAKER_03]: It's scary.
24:12
[SPEAKER_03]: It's scary.
24:12
[SPEAKER_03]: It's scary.
24:13
[SPEAKER_03]: It's scary.
24:13
[SPEAKER_03]: It's scary.
24:13
[SPEAKER_03]: It's scary.
24:14
[SPEAKER_03]: It's scary.
24:15
[SPEAKER_03]: It's scary.
24:15
[SPEAKER_03]: It's scary.
24:16
[SPEAKER_03]: It's scary.
24:16
[SPEAKER_03]: It's scary.
24:16
[SPEAKER_03]: It's scary.
24:17
[SPEAKER_03]: It's scary.
24:17
[SPEAKER_03]: It's scary.
24:18
[SPEAKER_03]: It's scary.
24:18
[SPEAKER_03]: It's scary.
24:19
[SPEAKER_03]: It's scary.
24:19
[SPEAKER_03]: It's scary.
24:19
[SPEAKER_03]: It's scary.
24:20
[SPEAKER_03]: It's scary.
24:20
[SPEAKER_03]: It's scary.
24:21
[SPEAKER_03]: It's scary.
24:22
[SPEAKER_03]: It's scary
24:23
[SPEAKER_03]: No, and honestly, there's kind of big plot things where I'm like sitting there and like, okay, so someone did this for this reason.
24:33
[SPEAKER_03]: At no point do you explain how this solves that problem for them?
24:39
[SPEAKER_03]: Like, yeah, I was like, what, what, I understand that, it's like an underpants, no one's kind of, I think it's like, okay, so all these children go missing, question marks my problem is solved.
24:53
[SPEAKER_03]: That is not clear, and I get it, it's like, you've got some, and it's because it's some things are a little vague, but he's playing so much.
25:01
[SPEAKER_00]: He explains so much, and also, I believe the one thing out, the things that all together.
25:06
[SPEAKER_00]: The character that sort of is bringing a lot of this stuff together, like, yeah, we get a lot, but not everything, you're overexplaning some things, under explain others, and it's like, and in a way that feels frustrating to me.
25:21
[SPEAKER_03]: It's interesting because this is actually one of the most acclaimed movies of the year.
25:25
[SPEAKER_03]: It's got a really, really staggeringly high rating on Ron Tomatoes amongst a lot of reviews.
25:29
[SPEAKER_03]: Yeah, and I wanted the very, very few reviews that actually skewed negative.
25:34
[SPEAKER_03]: Okay.
25:35
[SPEAKER_03]: But what I do think is interesting is that I've seen a lot of people with similar critiques, but they weren't deal breakers.
25:41
[SPEAKER_03]: Okay, and that's fair.
25:42
[SPEAKER_03]: Because there's so much in the movie that works.
25:45
[SPEAKER_03]: There's so much that's really, really good.
25:47
[SPEAKER_03]: The performances are fantastic.
25:49
[SPEAKER_03]: It's filmed scary as hell.
25:52
[SPEAKER_03]: It really is most of a good movie.
25:55
[SPEAKER_03]: The question is, how much does the resolution of the mystery and whether or not that is satisfying, whether or not that makes sense?
26:03
[SPEAKER_03]: How much does that matter to you?
26:05
[SPEAKER_03]: And in the end, because ultimately this movie purported to be about things, finding out that those things
26:12
[SPEAKER_03]: weren't very well thought out, broke it for me.
26:15
[SPEAKER_03]: And so on a binary system, the rotten tomatoes, yes or no, I have to go no, because I think the movie attempted something and failed it.
26:25
[SPEAKER_03]: We don't do that system.
26:26
[SPEAKER_03]: We do a C- to C plus system.
26:28
[SPEAKER_03]: And I'm not entirely sure I honestly haven't decided yet.
26:30
[SPEAKER_03]: I'll figure it up by the end of the episode.
26:32
[SPEAKER_03]: If this is a C or a C- to me.
26:34
[SPEAKER_03]: Because there's so much good about it, but I still kind of pissed at it.
26:39
[SPEAKER_03]: It's really, really frustrating.
26:41
[SPEAKER_03]: It's not just movies aren't just good or bad.
26:43
[SPEAKER_03]: Yeah.
26:43
[SPEAKER_03]: You won't war the world, but fight.
26:46
[SPEAKER_03]: What are the world's things?
26:47
[SPEAKER_03]: It's unilaterally bad.
26:49
[SPEAKER_03]: There's no, there's no, there's no, there's nothing really good thing about it.
26:52
[SPEAKER_00]: There's nothing redeemable.
26:53
[SPEAKER_00]: No, no, no, no, no.
26:54
[SPEAKER_00]: To be bad all the way through.
26:55
[SPEAKER_03]: To be fair, there are some of these that are just legitimately terrible.
26:57
[SPEAKER_03]: But yeah, this is definitely like a mixed bag.
27:02
[SPEAKER_03]: It's someone very, very talented telling a story that
27:08
[SPEAKER_03]: Who's editing him?
27:09
[SPEAKER_03]: Like who's giving him notes?
27:10
[SPEAKER_03]: Who's giving him script notes?
27:12
[SPEAKER_03]: I just want to know because I just feel like there's this is almost there.
27:15
[SPEAKER_00]: It's so close to working great.
27:17
[SPEAKER_00]: It's close and I think what somebody needs to sit that Cregard down with is and ask him what is his movie about because he's telling me this really spooky kind of fairy tale and he is explaining the way the plot works and he's letting it me know what all these characters are up to but I'm not really sure what he's getting at.
27:35
[SPEAKER_00]: Yeah, I feel like other than small-ton panic things.
27:40
[SPEAKER_00]: I see things in here, but I'm not impressed by what he's trying to say, because it seems very simple.
27:44
[SPEAKER_03]: There's definitely an element of who's looking after the children.
27:48
[SPEAKER_03]: Right?
27:50
[SPEAKER_03]: Are we paying enough attention to what's going on with our children or are we focused elsewhere?
27:53
[SPEAKER_03]: But even that, once you actually sort of piece out how the story is structured and what we actually see as opposed to what is suggested,
28:04
[SPEAKER_03]: I don't think that really pans out very effectively either.
28:06
[SPEAKER_03]: It doesn't feel like he is comfortable evoking stuff, but he is only interested in revealing the plot and isn't actually interested in exploring the themes.
28:16
[SPEAKER_03]: This movie is so much more about things.
28:19
[SPEAKER_03]: I am way less interested in making sure that the plot makes perfect sense.
28:23
[SPEAKER_03]: because I didn't expect it to.
28:26
[SPEAKER_03]: We perfectly willing to just feel like, and then we'll never know why those kids left.
28:29
[SPEAKER_03]: That would have been fine.
28:30
[SPEAKER_03]: You even got away with that.
28:31
[SPEAKER_03]: Very twin peak style.
28:32
[SPEAKER_03]: Like, I just wanted to reveal who killed our bomber.
28:35
[SPEAKER_03]: You could have done that.
28:36
[SPEAKER_00]: Have you seen pick that good hanging rock?
28:37
[SPEAKER_03]: I thought I was thinking like a hanging rock.
28:40
[SPEAKER_03]: actually, I have some issues with that movie, but that is, I love it.
28:42
[SPEAKER_03]: Here's the thing we pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick and pick.
29:03
[SPEAKER_03]: So how many go missing?
29:05
[SPEAKER_03]: Like three or four or like, oh, I thought it was like seven or something.
29:08
[SPEAKER_03]: Like a group of girls, not the entire class, just vanishes off the face of the earth.
29:13
[SPEAKER_03]: And nobody knows why, and it's all about them trying to deal with that, and it's never explained except in the book where it was.
29:21
[SPEAKER_03]: And the actual explanation makes it so much worse.
29:27
[SPEAKER_03]: It is not, I don't remember if it was like,
29:31
[SPEAKER_03]: actually in the book or if they someone cut it out of the book, but it's like it's well known, what was in the chapter.
29:36
[SPEAKER_03]: But like, yeah, there isn't actual, there isn't actual, there isn't actual, if you watch the TV mini series, they did.
29:41
[SPEAKER_03]: I'll get into that.
29:42
[SPEAKER_01]: I'll get into that.
29:43
[SPEAKER_03]: I'll get into that.
29:44
[SPEAKER_03]: Um, and honestly, so much more interesting without it.
29:49
[SPEAKER_01]: Yeah.
29:49
[SPEAKER_03]: It's like, yeah, okay, because they sent, but it's not interesting anymore.
29:54
[SPEAKER_03]: It's like what you were evoking with the mystery with the unknown.
30:00
[SPEAKER_03]: I mean, it's a bit of a cliche, but the idea is that the fear of the unknown is one of the most oldest and primal fears.
30:07
[SPEAKER_03]: What's really driving cool?
30:09
[SPEAKER_03]: Yeah, as the oldest emotion of mankind is fear and the oldest version of the fears is fear of the unknown.
30:14
[SPEAKER_03]: I'm paraphrasing.
30:17
[SPEAKER_03]: To an extent, yeah, that tracks.
30:21
[SPEAKER_03]: If you're going to
30:24
[SPEAKER_03]: remove the fear of the unknown and make it known.
30:26
[SPEAKER_03]: It'd better be good.
30:28
[SPEAKER_00]: Yeah, well especially when you make the unknown so damn scary and and but like I said I feel like once we know in a film like weapons once we know I feel like Zach Craig or knows what to do with that story afterwards.
30:39
[SPEAKER_01]: It's still engaging.
30:41
[SPEAKER_00]: Totally true.
30:42
[SPEAKER_00]: There are some filmmakers who can't pull that off.
30:44
[SPEAKER_00]: I know a lot of people really liked Jordan Peels film us.
30:49
[SPEAKER_00]: But they explained it and didn't want them to.
30:52
[SPEAKER_00]: It's like it's scarier when you don't explain it because when you do all these new logical problems start to emerge.
30:58
[SPEAKER_03]: He makes that the end.
30:59
[SPEAKER_03]: He makes the revelation so literal.
31:01
[SPEAKER_03]: Yeah.
31:02
[SPEAKER_03]: I do lose.
31:04
[SPEAKER_03]: It's one of those things where it's like, but here's the thing though.
31:06
[SPEAKER_03]: He reveals that much closer to the end than weapons does.
31:10
[SPEAKER_03]: That's true.
31:10
[SPEAKER_03]: So it's in there, but honestly, it's almost because of the explanation and the way it's done, it feels like dream launch anyway.
31:17
[SPEAKER_03]: Um, weapons just lays it all out in a way.
31:20
[SPEAKER_03]: I don't think it's very satisfying.
31:21
[SPEAKER_03]: So listen, we've, I think we've talked enough about it.
31:23
[SPEAKER_03]: Um, our opinions are pretty clear.
31:25
[SPEAKER_03]: I wrote an article, um,
31:28
[SPEAKER_03]: I wrote my review for the rap, and I tried to keep it as vague as possible because the embargo lifted before the movie came out and my issues with the film had a lot more to do with the resolution of the mystery than the film itself.
31:38
[SPEAKER_03]: If I was only allowed to talk about the non-spoiler stuff, I would only be allowed to raise about the movie, so I had to vaguely allude.
31:45
[SPEAKER_03]: And could as to my editors, they allowed me to write a spoiler review later.
31:48
[SPEAKER_03]: Okay, I'm kind of getting into more than we did here, more specifics, about the way that I feel the film's revelations.
31:56
[SPEAKER_03]: undermine what it's attempting to talk about or at the very least what it should be talking about should have been talking about
32:04
[SPEAKER_03]: You said it yourself.
32:06
[SPEAKER_03]: We want to sit that crag your down and say, specifically, what were you getting at?
32:09
[SPEAKER_03]: Yeah.
32:09
[SPEAKER_03]: Because if he was getting after something specific, I don't think anything worked.
32:14
[SPEAKER_03]: If he was getting at, like, I kind of want to have a bunch of conversations, I don't think that works either.
32:20
[SPEAKER_03]: I don't think he undermines himself by getting to specific and he gets so specific that it boils down to, do you specifically find this scary?
32:29
[SPEAKER_03]: And frankly, I don't.
32:31
[SPEAKER_03]: I don't find it nearly as scary as he does.
32:34
[SPEAKER_03]: I've actually find boiling it down to this particular phobia, um, childish.
32:41
[SPEAKER_03]: Yeah, it's like, I'm not a fan.
32:43
[SPEAKER_03]: But, um, but then again, you know what, I didn't love barbarian either.
32:46
[SPEAKER_03]: So, there you go.
32:47
[SPEAKER_03]: Right set up again, didn't love the payoff.
32:49
[SPEAKER_00]: I'm more forgiving of Barbarian than you are, but I have the same issues with it.
32:52
[SPEAKER_00]: Yeah.
32:54
[SPEAKER_00]: I agree, I think.
32:55
[SPEAKER_03]: Not a deal breaker for Barbarian, yeah.
32:56
[SPEAKER_00]: I think Barbarian was at least savvy enough to bring up themes of the exploitation of women and sexism that it, I don't want to say it takes the edge off, but it feels like it is addressing some of its own problems.
33:08
[SPEAKER_00]: I'm just a little bit ending of the lines that, like the very ending.
33:11
[SPEAKER_03]: The very ending ultimately comes down like one in the area, I don't think that's fair,
33:16
[SPEAKER_03]: Yeah, you know, and loading our gunner gets a lot of leeway on this kind of thing because it's supposed to be edgy.
33:20
[SPEAKER_03]: It's supposed to be pushing the boundaries, but that doesn't mean it can't be done that.
33:25
[SPEAKER_03]: And it's always very tricky when you look at movie like, is it's like what Ebert said.
33:32
[SPEAKER_03]: You know, it's not what a movie is about.
33:33
[SPEAKER_03]: It's how it's about it.
33:36
[SPEAKER_03]: What I believe is about is not nothing.
33:38
[SPEAKER_03]: Yeah, I disagree to that agree because that's that's not when you're when you could be arguing is that it doesn't matter what the movie is about so long as the execution is great to an extent I can get beyond that the film is all of those things a great style and it's idea exactly and like if if the idea is
33:58
[SPEAKER_03]: fiddle faddle if it's like Jurassic world rebirth Yeah, where the idea is like basically I have an idea for how to get people on another island full of dinosaurs All I care about is the execution because there's nothing to be concerned about There's no there's no meaningful scene being explore by that movie.
34:13
[SPEAKER_03]: That's an excuse to have a good time I can let that go because you weren't attempting to do anything weapons in these aimed low and it's not weapons aims high
34:24
[SPEAKER_03]: Unfortunately, I don't think it hits the target ironically.
34:26
[SPEAKER_03]: That was so gene-shallot of me, but like I did do it by accident.
34:30
[SPEAKER_03]: But we should move on.
34:32
[SPEAKER_03]: There is another film.
34:35
[SPEAKER_03]: Uh, start.
34:36
[SPEAKER_03]: Oh wait.
34:37
[SPEAKER_03]: Who's the actor who's in both weapons and freaky Friday?
34:39
[SPEAKER_03]: Oh, Junta and Raphael isn't both.
34:40
[SPEAKER_03]: Junta and Raphael isn't both.
34:41
[SPEAKER_03]: Junta and Raphael isn't both.
34:43
[SPEAKER_03]: They had the screening.
34:44
[SPEAKER_03]: No one else was like a barb in a high birthday.
34:46
[SPEAKER_03]: They had the screening of weapons and the screening of freaky or Friday at the same theater like thirty minutes after each other.
34:52
[SPEAKER_03]: So we saw weapons and then we chased it with freaky or Friday and Junta and Raphael was in both and I'm like, oh, cinematic universe.
35:00
[SPEAKER_03]: Honestly, they've done some of this stuff we've seen weapons.
35:03
[SPEAKER_03]: That's not entirely impossible.
35:05
[SPEAKER_03]: It's not entirely impossible.
35:07
[SPEAKER_03]: But very, very different in time.
35:08
[SPEAKER_03]: So I saw the original freaky Friday with Jody Foster and Barbara Harris when I was a kid.
35:13
[SPEAKER_03]: It was very popular.
35:14
[SPEAKER_03]: It was on TV a lot.
35:15
[SPEAKER_00]: We watched it in school a lot.
35:17
[SPEAKER_03]: Yeah.
35:18
[SPEAKER_03]: I haven't seen in decades.
35:20
[SPEAKER_03]: I really have.
35:20
[SPEAKER_03]: So I only have vague memories of it.
35:22
[SPEAKER_03]: I don't know how well it holds up.
35:23
[SPEAKER_03]: I haven't seen
35:26
[SPEAKER_03]: the Lindsay Lowe and Jamie Lee Curtis version until a couple of days ago actually.
35:30
[SPEAKER_03]: Like, I saw it before the screening, but it was very, very recent.
35:33
[SPEAKER_00]: And there's a lot of nostalgia for that movie.
35:36
[SPEAKER_00]: There are a lot of very specific age groups.
35:39
[SPEAKER_03]: Here's the thing with Lindsay Lowe, and you know, she created the skids on a lot of it, had nothing to do with how, who she was, how talented she was.
35:47
[SPEAKER_03]: She was the victim of a lot of bullshit that we treat young women celebrities.
35:50
[SPEAKER_03]: It's not fair.
35:52
[SPEAKER_03]: She's always been super talented, and that's the thing.
35:55
[SPEAKER_03]: Lindsay Loan, through a combination of talent and either really good taste and projects or luck, happened to be in a series of good to great kid and teen friendly movies in a row.
36:12
[SPEAKER_03]: And she was always amazing in them.
36:14
[SPEAKER_03]: If you look at her version of the parent trap, she's impeccable.
36:17
[SPEAKER_00]: Well, Lindsay Lohan is, she's always been a star.
36:21
[SPEAKER_00]: She started acting when she was young.
36:23
[SPEAKER_00]: I think her first giant hit was Remake of the Paratrox.
36:28
[SPEAKER_03]: That's right, I think that movie is, that movie is actually really good.
36:31
[SPEAKER_00]: Oh, okay, I'm sorry.
36:32
[SPEAKER_03]: I was making it up with something like that.
36:34
[SPEAKER_00]: That was first.
36:35
[SPEAKER_00]: Yeah.
36:35
[SPEAKER_03]: That movie, she plays two different characters and she nails it.
36:38
[SPEAKER_03]: She's perfect.
36:39
[SPEAKER_03]: She's, it's such a complicated performance.
36:40
[SPEAKER_03]: And yeah, you know, Haley Mills was great too, but like,
36:43
[SPEAKER_03]: That's a tricky, tricky role, especially for a young actor.
36:46
[SPEAKER_03]: And she slays.
36:47
[SPEAKER_03]: She's fantastic, and it's very, very clear she's a star.
36:50
[SPEAKER_03]: And then she was in like a series of successful films, culminating, I think with mean girls, I think that was our last like really, really big hit, but obviously I think confessions of a teenage drama queen.
37:01
[SPEAKER_03]: Well, that was not as popular, but it was very successful.
37:05
[SPEAKER_03]: I don't remember how successful herbie fully loaded is, but let me tell you something.
37:09
[SPEAKER_03]: That's actually a pretty good movie.
37:10
[SPEAKER_00]: It's okay.
37:11
[SPEAKER_03]: It's a personality.
37:13
[SPEAKER_03]: It's genuinely funny.
37:14
[SPEAKER_03]: It's got some real hard to it.
37:15
[SPEAKER_03]: Like Michael Keaton plays her dad in that relationship works.
37:19
[SPEAKER_03]: The herbie movies are not all good.
37:21
[SPEAKER_03]: That is one of the better herbie.
37:23
[SPEAKER_00]: I've seen all those herbie movies, including the one for the nineties with Bruce Campbell that nobody remembers.
37:28
[SPEAKER_03]: Which is a shame because it's actually pretty good and an introduce is a herbie.
37:31
[SPEAKER_03]: Herbie, if you don't know what I'm talking about, there's a series of Disney movies and like the seven days.
37:36
[SPEAKER_00]: Started in sixty eight.
37:37
[SPEAKER_03]: Yeah, with the love bug.
37:39
[SPEAKER_03]: Yeah, and the idea was he was a Volkswagen Beetle that he was car, but he was sentient.
37:45
[SPEAKER_03]: and could like drive around on his own and tried to help people fall in love because I guess he's into that.
37:51
[SPEAKER_03]: And it was like Emma, but Emma was a car.
37:54
[SPEAKER_03]: And he had a series.
37:56
[SPEAKER_03]: The first move was huge hit.
37:57
[SPEAKER_03]: There were three sequels, I think initially.
37:59
[SPEAKER_00]: There was herbie goes.
38:00
[SPEAKER_03]: Herbie goes bananas, herbie goes to Monte Carlo.
38:02
[SPEAKER_03]: And that's in reverse order.
38:03
[SPEAKER_03]: And then there was the one in the middle.
38:05
[SPEAKER_03]: There was the one with like
38:07
[SPEAKER_03]: The really weird dream sequence, or like the evil guy who wants to destroy her be is like in his office and he looks or can you win?
38:13
[SPEAKER_00]: Can you win?
38:13
[SPEAKER_00]: Can you win?
38:14
[SPEAKER_00]: Can you win?
38:14
[SPEAKER_00]: Can you win?
38:14
[SPEAKER_00]: Can you win?
38:15
[SPEAKER_03]: Can you win?
38:15
[SPEAKER_03]: Can you win?
38:16
[SPEAKER_03]: Can you win?
38:16
[SPEAKER_03]: Can you win?
38:17
[SPEAKER_03]: Can you win?
38:17
[SPEAKER_03]: Can you win?
38:17
[SPEAKER_03]: Can you win?
38:18
[SPEAKER_03]: Can you win?
38:18
[SPEAKER_03]: Can you win?
38:19
[SPEAKER_03]: Can you win?
38:22
[SPEAKER_03]: Um, I think that was it.
38:23
[SPEAKER_03]: I think it was just something like that.
38:25
[SPEAKER_00]: Herbie goes banana.
38:26
[SPEAKER_00]: Yeah.
38:26
[SPEAKER_03]: Herbie was out of the last one.
38:27
[SPEAKER_03]: Monty Carlo was the third one.
38:29
[SPEAKER_03]: The love bug was the first one.
38:31
[SPEAKER_03]: And I'm totally spacing out the second one was called.
38:32
[SPEAKER_03]: Second one's pretty good though.
38:33
[SPEAKER_00]: Oh, it's herbie rides again.
38:34
[SPEAKER_03]: Herbie rides again.
38:35
[SPEAKER_03]: Uh, there's this really is so real.
38:37
[SPEAKER_03]: A dream sequence in herbie rides again.
38:38
[SPEAKER_03]: We're keen in way and he's like this evil guy.
38:40
[SPEAKER_03]: He's trying to like buy up some land or something and herbie kind of stop them.
38:43
[SPEAKER_03]: They'll unplug.
38:45
[SPEAKER_03]: And Herbie has been foiling him at every turn.
38:48
[SPEAKER_03]: And he looks out his window.
38:51
[SPEAKER_03]: He's like, you know, off of some scary apartment like Lex Luthor.
38:54
[SPEAKER_03]: And he looks at the window.
38:55
[SPEAKER_03]: And he sees to his left Herbie on the window ledge looking at him.
39:00
[SPEAKER_03]: It's like, it's like the monster after Jurassic Park three going out.
39:04
[SPEAKER_03]: But like the edge of the building had to be just a white enough to fit a car.
39:09
[SPEAKER_03]: But he's such a weird surreal moment.
39:11
[SPEAKER_03]: It's my favorite.
39:12
[SPEAKER_03]: Just like
39:13
[SPEAKER_03]: What moments in movies?
39:15
[SPEAKER_03]: But I guess she was, she was, Lindsay Lone was in her beautiful load and that was really, really good.
39:19
[SPEAKER_03]: But I, yeah, I'd seen all of those, I'd never saw confessions of a teenage drama again, but I saw the rest of them when they came out.
39:24
[SPEAKER_03]: Well, they were good movies.
39:26
[SPEAKER_03]: Freaky Friday, alluded name, and I finally watched it just before I went to see the new one.
39:34
[SPEAKER_03]: It's really good, but.
39:38
[SPEAKER_03]: Lindsay Loan and Jamie Lee Curtis, their mother and daughter, they swap bodies for a day because they've lost sight of what the other one is going through and they have to learn to Bible less than but walk in each other's shoes.
39:49
[SPEAKER_03]: Basic shit.
39:51
[SPEAKER_03]: But it's a brilliant acting exercise.
39:54
[SPEAKER_03]: They're both spectacular at playing the other.
39:58
[SPEAKER_03]: It's very, very clear that that is Jamie Lee Curtis and Lindsay Lowen's body and vice versa.
40:04
[SPEAKER_03]: They would never confuse those two performances.
40:05
[SPEAKER_03]: They're stellar in it.
40:07
[SPEAKER_03]: The only problem with the movie.
40:10
[SPEAKER_00]: is the racism?
40:12
[SPEAKER_00]: It's really the early two thousands and there was still a lot of lingering racism in popular media, specifically around Asian characters.
40:23
[SPEAKER_03]: We're not pretending there still isn't, but it was a lot more overt.
40:26
[SPEAKER_00]: It was very much more planned.
40:27
[SPEAKER_00]: Well, I mean, the further bat, like you go to the eighties and it was even more
40:30
[SPEAKER_03]: Oh, Disney movies from the seventies.
40:31
[SPEAKER_03]: Watch them.
40:32
[SPEAKER_03]: What is it?
40:33
[SPEAKER_03]: What is it?
40:33
[SPEAKER_03]: What is it?
40:34
[SPEAKER_03]: What is it?
40:34
[SPEAKER_00]: What is it?
40:34
[SPEAKER_03]: What is it?
40:35
[SPEAKER_03]: What is it?
40:48
[SPEAKER_03]: Yeah, they go to an Asian restaurant and there's a fortune cookie and the fortune cookie is magic, but like it's given to them by this old woman and when she shows up, there's a gong noise.
41:00
[SPEAKER_03]: Yeah.
41:01
[SPEAKER_00]: And there's just two thousand three.
41:02
[SPEAKER_00]: I think we had a grown-up pie.
41:04
[SPEAKER_03]: It was bad at the time.
41:05
[SPEAKER_03]: But like, yeah, so she gives them fortune.
41:08
[SPEAKER_03]: And probably this is the thing she does often.
41:11
[SPEAKER_03]: But I will say this cake.
41:12
[SPEAKER_03]: Oh, Brian, is in it.
41:14
[SPEAKER_03]: Rosalind Chow was played the woman who swept her body's daughter and it's a small role and again, it's a racist subplot, but she's funny in it.
41:22
[SPEAKER_00]: I just back and freak you for I did playing a different character.
41:24
[SPEAKER_00]: That's a character.
41:25
[SPEAKER_00]: That's the same character.
41:26
[SPEAKER_03]: She's still the same character, it's just like she was a different girl.
41:29
[SPEAKER_03]: She just became a family friend, I guess.
41:31
[SPEAKER_03]: Listen.
41:33
[SPEAKER_03]: Except for the racism part which is not the whole movie thank god that every time it comes up it's that that movie's really really good I haven't seen it since it came out I saw it in theaters.
41:44
[SPEAKER_00]: I do remember that the performances were both fantastic.
41:46
[SPEAKER_00]: I thought jemily Curtis specifically yeah was really really funny
41:51
[SPEAKER_00]: But also, this is a light film for kids.
41:55
[SPEAKER_00]: It's not terribly emotionally complicated.
41:57
[SPEAKER_00]: Everything's really polished.
41:59
[SPEAKER_03]: It's a motionally sincere though.
42:01
[SPEAKER_03]: And a way that I think Disney has kind of lost the neck of a lot these days.
42:05
[SPEAKER_00]: Oh, I'll say this.
42:06
[SPEAKER_00]: I do feel that way about freakier Friday.
42:08
[SPEAKER_00]: I feel like the emotions are well earned in freakier Friday.
42:12
[SPEAKER_00]: And to expand on the plot a little bit, this is now a four-way swap.
42:16
[SPEAKER_00]: Yeah.
42:18
[SPEAKER_00]: We fast forward it in time.
42:20
[SPEAKER_00]: The Lindsay low in character is now a mom of her.
42:22
[SPEAKER_00]: She has a teenager around.
42:24
[SPEAKER_00]: Yeah, she's a single mom.
42:25
[SPEAKER_00]: Who's the father?
42:26
[SPEAKER_00]: Never impressed.
42:27
[SPEAKER_00]: They actually said she chose to be a single mom.
42:30
[SPEAKER_00]: So I don't know exactly what that means.
42:32
[SPEAKER_00]: Exactly.
42:33
[SPEAKER_00]: It's vague.
42:33
[SPEAKER_03]: But like it doesn't necessarily mean she's allowed to have a love story.
42:36
[SPEAKER_03]: Yeah, she didn't have like a husband or a lover who's like dead or out of the picture if you just as a single mom if you look at the original freaky Friday her mom is remarried and she's marrying Mark Harmon which honestly Yeah, probably she on him since it's done for school just a really good actor But Lindsay loans dad died and she felt like it was too soon.
42:56
[SPEAKER_03]: It was like a couple of years, but she still felt like it was too soon and so that was like a big girl with a big discord stuff Coldly furnished fourth the marriage day.
43:04
[SPEAKER_00]: Yeah, so like but things that became kind of
43:07
[SPEAKER_03]: I'm not gonna call it an albatross because thank the movie dealt with it very fairly, but it became, it was like this really heavy element.
43:12
[SPEAKER_03]: And I think they were trying to let Lindsay Loan be a mother who can have a love interest without having to get into either divorce and then you have to meet the shitty dad or whatever.
43:24
[SPEAKER_03]: He died again and that's just you don't it's no fun.
43:27
[SPEAKER_03]: So I they're left in Vegas.
43:29
[SPEAKER_03]: It's not really terribly important.
43:30
[SPEAKER_03]: It's a little distracting but it's not a deal.
43:32
[SPEAKER_00]: Chad Michael Murray isn't he plays like the hot young boy in the first one in the two thousand three movie back in this one is as an adult he's so
43:40
[SPEAKER_03]: his his plight is so hilarious to me because he's he's he falls for Lindsay long is about teenagers and then she switches bodies and he loses interest in her because she's a totally different person now but then he meets Lindsay low and in Jamie Lee Curtis his body and he immediately falls in love with Jamie Lee Curtis I do like the Lindsay low and as a line as Jamie Curtis I'll say this he likes you for your mind
44:03
[SPEAKER_03]: Which is really really cute, but they fucked with his head.
44:08
[SPEAKER_03]: Like he's really confused.
44:10
[SPEAKER_03]: Like he's still in love with Jamie Lee Curtis to this day.
44:16
[SPEAKER_03]: Like he's not interested in Lindsey Lowe, but every time her mom shows up he's like
44:20
[SPEAKER_00]: They thought they'll still happily marry.
44:23
[SPEAKER_00]: They found it over a baby one more time, the Britney Spears song.
44:26
[SPEAKER_00]: Yeah.
44:27
[SPEAKER_00]: Great bid in the first in the two thousand three movie.
44:29
[SPEAKER_00]: We're singing it outside of Jimmy Lee Curtis.
44:30
[SPEAKER_03]: So he's back in this one and it's very, very clear.
44:33
[SPEAKER_03]: He's needed therapy in this whole.
44:35
[SPEAKER_00]: This is really interesting Mark Harman is in this movie and Chad Michael Murray is in this movie both those actors played Ted Bundy at one point.
44:40
[SPEAKER_03]: No.
44:41
[SPEAKER_00]: Yeah.
44:42
[SPEAKER_03]: I didn't know about Chad Michael Murray that's funny.
44:44
[SPEAKER_00]: Yeah, it's like Ted Bundy American monster or something.
44:47
[SPEAKER_03]: Oh, we're at that's fun.
44:48
[SPEAKER_03]: I didn't know idea.
44:50
[SPEAKER_03]: So anyway, Lindsey Loan, she has a daughter and Jamie Lee Curtis.
44:54
[SPEAKER_03]: He sells a good relationship with her mom.
44:55
[SPEAKER_03]: They're kind of co-parenting and Barcarma is still there as well.
44:59
[SPEAKER_03]: Less involves.
45:00
[SPEAKER_03]: Really, really nice guy.
45:01
[SPEAKER_00]: Jamie Lee Curtis stick this time as she's
45:05
[SPEAKER_00]: She's an aspiring therapist.
45:06
[SPEAKER_00]: She wants to know.
45:07
[SPEAKER_00]: She was a therapist in the first one.
45:08
[SPEAKER_00]: Oh, is she?
45:09
[SPEAKER_03]: Yeah, she was like, she just published a book in the first one.
45:12
[SPEAKER_03]: So I think at this point her career is winding down a little bit and she's kind of like doing like a podcast.
45:16
[SPEAKER_00]: Yeah, she was like an online.
45:18
[SPEAKER_03]: It's not her job isn't terribly important.
45:19
[SPEAKER_00]: Well, it is because every joke is based on that.
45:22
[SPEAKER_03]: Oh, yeah.
45:24
[SPEAKER_03]: Because it's all therapy speed, I guess.
45:25
[SPEAKER_03]: Yeah, fair enough.
45:26
[SPEAKER_03]: But Lindsay wants daughter.
45:30
[SPEAKER_03]: has a rival at school.
45:31
[SPEAKER_03]: She's this like rich British debut time who is moved to LA when her mom died and she hates it there and she's very stuck up and they don't get along.
45:39
[SPEAKER_03]: They get into an altercation at school.
45:41
[SPEAKER_03]: They accidentally blow up a science lab.
45:43
[SPEAKER_03]: And so Lindsay Loan meets the other girls dad who is played by Manage Asento from from the accolade.
45:50
[SPEAKER_03]: From the accolade he was on the good place as well.
45:56
[SPEAKER_03]: He's smoking.
45:58
[SPEAKER_00]: He's like distractedly answered he's he's so good looking he's got a British accent which is very very sexy He's a bit where he gets to dance the the same dance that Patrick's ways he danced in dirty dance.
46:11
[SPEAKER_03]: He's not perfect at it like it's it's just like yeah, that was sexy.
46:15
[SPEAKER_03]: What's the list?
46:17
[SPEAKER_03]: He can't something I like about these movies
46:20
[SPEAKER_03]: They have really positive and very gentle ideas about masculinity.
46:25
[SPEAKER_03]: Like, Mark Harmon is a very supportive kind man.
46:28
[SPEAKER_03]: Like, even when the first movie, when like, you know, when Lindsay Lone trades places with her mom and her mom is talking about, oh, you don't want to support my kid.
46:35
[SPEAKER_03]: He's like, hey, no, wait a minute.
46:38
[SPEAKER_03]: I will break up with you if you think I don't support your kid.
46:41
[SPEAKER_03]: I'm so supportive of everything your child is doing and I think she should actually be allowed to do the thing you don't want to do.
46:46
[SPEAKER_03]: Like all of this, like he's such a good guy.
46:49
[SPEAKER_03]: And then he just sent out, you know, he's a single father.
46:50
[SPEAKER_03]: He's struggling with his daughter because, you know, lost.
46:55
[SPEAKER_03]: He's so kind.
46:56
[SPEAKER_03]: He's so patient.
46:57
[SPEAKER_03]: He's so understanding.
46:58
[SPEAKER_03]: He's a good role model actually in this movie.
47:01
[SPEAKER_00]: There's first of all, this is a put up by Disney.
47:06
[SPEAKER_00]: There's going to be dead parents all over it.
47:07
[SPEAKER_00]: Sure.
47:08
[SPEAKER_00]: Yeah, sure.
47:09
[SPEAKER_00]: The dead parent has been moved to the nineties to send those up loud.
47:11
[SPEAKER_00]: Yeah.
47:11
[SPEAKER_00]: What do you think fertilize in these movies?
47:13
[SPEAKER_00]: The bodies of all the dead parents?
47:15
[SPEAKER_00]: Circle of life.
47:17
[SPEAKER_00]: It's like your parents die and they become the grass and then we eat the grass.
47:22
[SPEAKER_00]: Which is why there was a scene of the teenage girls eating grass.
47:27
[SPEAKER_00]: That's not on this, Mary.
47:30
[SPEAKER_00]: No, but they do have these kind of gentle ideas of very functional family units.
47:36
[SPEAKER_00]: I'm not going to be great deals of discomfort.
47:39
[SPEAKER_00]: But it needs to be addressed, but nothing that's used in the earthshower.
47:43
[SPEAKER_03]: But the things that it doesn't feel insincere.
47:45
[SPEAKER_03]: It doesn't feel like we're portraying some kind of unrealistic fantasy life.
47:49
[SPEAKER_03]: It's actually like, no, actually if everyone's trying really, really hard, there will still be conflict, but we can get through it together.
47:55
[SPEAKER_03]: And I think it's actually,
47:57
[SPEAKER_03]: Very reasonable.
47:58
[SPEAKER_03]: Like it's actually like they put it from a family.
48:00
[SPEAKER_03]: Anyway, there's a Lindsey Lowe and a manager sent us a side to get married after a while and the girls don't want to be sisters.
48:07
[SPEAKER_03]: One of them wants to move back to London.
48:09
[SPEAKER_03]: There's some debate about whether the whole family is going to move to London in which case Lindsey Lowe and his daughter is going to be pissed or they're going to stay in Los Angeles in which case manager sent us daughters going to be pissed.
48:19
[SPEAKER_03]: There's a big party before the wedding, and then a psychic, you know, just randomly shows up, says some magic words, and it turns out they've all switched bodies.
48:29
[SPEAKER_03]: So now, Lindsey Loan and Jimi Lee Curtis are in the bodies of the two teenage girls, and the two teenage girls are in the body of Lindsey Loan and, uh, generally, Chris.
48:39
[SPEAKER_03]: And that's the movie for everybody else.
48:42
[SPEAKER_03]: Just all this can do wacky things.
48:44
[SPEAKER_00]: And in the swapped bodies, it is a Friday.
48:47
[SPEAKER_00]: The wedding is going to happen on Saturday.
48:49
[SPEAKER_00]: The teenage girls want to split up the wedding.
48:51
[SPEAKER_00]: And that's the whole.
48:53
[SPEAKER_00]: The teenage girls in the adult bodies.
48:56
[SPEAKER_00]: Jamie Lee Curtis fucking brings it.
48:59
[SPEAKER_00]: She's so funny.
49:00
[SPEAKER_00]: She never half-ass as a baby.
49:02
[SPEAKER_00]: And she's playing a different character this time than she did in the two thousand three movie.
49:06
[SPEAKER_00]: So she actually gets to sort of explore and do like new kinds of physicalities.
49:11
[SPEAKER_00]: Yeah.
49:11
[SPEAKER_00]: Giving a similar but also very different performance.
49:13
[SPEAKER_00]: It's very probably a minor what she did.
49:15
[SPEAKER_00]: Yeah.
49:16
[SPEAKER_00]: And she gets some really good dramatic beats too.
49:17
[SPEAKER_00]: And I'll say this Lindsay Lohan has had a bit of a rough career.
49:22
[SPEAKER_00]: Especially the last twenty years.
49:24
[SPEAKER_00]: She was really really a star in her teenage years, but she was dodged by a lot of tabloids.
49:29
[SPEAKER_00]: She was struggling with substance abuse for a long time.
49:31
[SPEAKER_00]: She was in and out of the pot.
49:32
[SPEAKER_03]: Honestly, critics thought paled on her unfairly as well.
49:35
[SPEAKER_03]: Her most notorious movie is I know who killed me.
49:38
[SPEAKER_03]: I'm sorry, man.
49:39
[SPEAKER_03]: That's a pretty good movie.
49:40
[SPEAKER_00]: That's actually a really fun, yeah.
49:41
[SPEAKER_03]: It's an interesting movie and if you'd understand what the filmmakers were inspired by for that, like, told us a lot of the things people made fun of.
49:49
[SPEAKER_00]: We're intentional and they really and I think Ligelo has good in that movie.
49:52
[SPEAKER_00]: She's great.
49:54
[SPEAKER_00]: I didn't see some of her more notorious films like Liz and Dick.
49:58
[SPEAKER_03]: Oh, that's very very bad.
49:59
[SPEAKER_03]: It's not entirely her fault the budget.
50:01
[SPEAKER_00]: I did see it's done.
50:01
[SPEAKER_00]: I don't blame her entirely for that.
50:03
[SPEAKER_00]: Although she is not good in it.
50:10
[SPEAKER_03]: I don't know what the fuck he thought.
50:12
[SPEAKER_00]: What happened with Lindsay Lohan?
50:14
[SPEAKER_00]: I actually admire that she was being sort of hounded by the press and everybody was dogging on her and critics were mean to her.
50:21
[SPEAKER_00]: To the point where there was like this wolf pack mentality.
50:24
[SPEAKER_00]: We're just going to go after Lindsay Lohan.
50:26
[SPEAKER_00]: So she fled the country.
50:27
[SPEAKER_00]: She's like, you know what?
50:28
[SPEAKER_00]: I'm not gonna deal with that anymore.
50:31
[SPEAKER_00]: She's gonna get clean and she's gonna spend a time on beaches and she's earned it.
50:35
[SPEAKER_00]: And she ended up spending so much time just like in Greece hanging out on the beach.
50:39
[SPEAKER_00]: She's like, I like this.
50:40
[SPEAKER_00]: This is my life now and she bought a resort.
50:43
[SPEAKER_00]: I think there's two low hand resorts and it's
50:45
[SPEAKER_03]: I don't know the details, but it's seriously good for her.
50:47
[SPEAKER_00]: But yeah, like good for her, she got back on her feed.
50:49
[SPEAKER_00]: She found like relationships.
50:51
[SPEAKER_00]: She's a lot healthier again.
50:52
[SPEAKER_00]: She's back in movies.
50:53
[SPEAKER_00]: Uh-huh.
50:53
[SPEAKER_00]: She hasn't lost that movie star spark.
50:55
[SPEAKER_00]: She still has that.
50:56
[SPEAKER_00]: I really admire that.
50:57
[SPEAKER_03]: Her first couple of films back were like Netflix, romcons, very much in the hallmark mold.
51:02
[SPEAKER_03]: Um,
51:03
[SPEAKER_03]: They're not particularly good movies, although she's especially good in like the second one where it's like her best friend is marrying the guy.
51:10
[SPEAKER_03]: She has a crush on and she makes like a wish and then she now she's getting married to him.
51:14
[SPEAKER_03]: But it's actually just like that episode of Star Trek Strange New World.
51:17
[SPEAKER_03]: I just realized that that's really funny.
51:19
[SPEAKER_03]: That's not a great movie, but it's actually like you believe the romance is good in it.
51:23
[SPEAKER_00]: Here she was like getting used to being a leading actor and so she was able to do it on her own terms.
51:32
[SPEAKER_03]: She hasn't missed the step.
51:33
[SPEAKER_03]: She's great.
51:33
[SPEAKER_00]: No, she's fantastic.
51:34
[SPEAKER_00]: She's really great.
51:35
[SPEAKER_00]: She is completely committed.
51:36
[SPEAKER_00]: She's bringing the whole stick.
51:38
[SPEAKER_00]: I think feels strange.
51:40
[SPEAKER_00]: She's just there for it.
51:41
[SPEAKER_00]: Yeah.
51:41
[SPEAKER_00]: I those two are great.
51:42
[SPEAKER_00]: The two teenage girls, I think they're giving a little less to work with.
51:47
[SPEAKER_00]: They're playing these older characters.
51:48
[SPEAKER_03]: And the whole thing is they just like, oh, hey, we can eat all the junk food we want.
51:54
[SPEAKER_03]: And we won't feel the physical effects because the older you get the more that that does.
51:57
[SPEAKER_00]: And that's like the one joke that has.
51:59
[SPEAKER_03]: It's kind of official film, and it's fine, but that's not where the emotional core is.
52:03
[SPEAKER_03]: I do appreciate that when they swap bodies, Lindsey Loan and the two team characters are now the adult characters.
52:12
[SPEAKER_03]: They're both like,
52:14
[SPEAKER_03]: this again.
52:14
[SPEAKER_03]: Okay, um, I love you and I understand where I was coming from and I apologize for losing sight of that.
52:22
[SPEAKER_03]: And then like, so we're good, right?
52:24
[SPEAKER_03]: No.
52:25
[SPEAKER_00]: That's like no, that's not going to solve it.
52:26
[SPEAKER_00]: So find some other emotional arc.
52:28
[SPEAKER_03]: I appreciate that they immediately went to what worked last time.
52:31
[SPEAKER_03]: It's supposed to pretend they don't remember or that it would be worth trying.
52:35
[SPEAKER_00]: That's great.
52:36
[SPEAKER_00]: Um, again, the movies completely frivolous.
52:38
[SPEAKER_00]: I'm almost embarrassed at how much I liked it.
52:41
[SPEAKER_00]: Like by the time they get to the end, I know where all these characters are.
52:45
[SPEAKER_00]: I'm not ever laughing out loud, but I'm kind of chuckling happily to myself.
52:49
[SPEAKER_03]: I don't have to let a few times.
52:51
[SPEAKER_03]: There's two things in the movie that I have a genuine critique about.
52:55
[SPEAKER_03]: One, I suspect maybe an acting thing they decided wasn't worth doing.
53:01
[SPEAKER_03]: The teenage daughter from England has a British accent, but when she's in Jamie Lee Curtis's body, she doesn't.
53:07
[SPEAKER_03]: And Jamie Lee Curtis has a British accent to tell.
53:10
[SPEAKER_03]: Accents aren't genetic.
53:13
[SPEAKER_03]: You wouldn't talk the way you talked.
53:15
[SPEAKER_03]: Maybe your mouth would be used talking a certain way, but it would not just feel, you would be talking with your accent.
53:22
[SPEAKER_03]: Yes.
53:22
[SPEAKER_03]: That doesn't feel like that doesn't pass the smell test.
53:26
[SPEAKER_03]: I wonder if the accent thing proved a little difficult maybe from one of the actors.
53:30
[SPEAKER_03]: And I just decided not to bother.
53:32
[SPEAKER_00]: I remember working with a director.
53:34
[SPEAKER_00]: I've acted in some audio dramas.
53:37
[SPEAKER_00]: And the director asked to like,
53:40
[SPEAKER_00]: one character just said hey could I do an accent for this character and the director's question was can you do it?
53:49
[SPEAKER_00]: Can I do an accent?
53:51
[SPEAKER_00]: Can you do an accent?
53:52
[SPEAKER_00]: Like can you do an if you can go for it?
53:54
[SPEAKER_00]: Yeah, I want you to do this But if it's not good if you can't do it don't yeah, it's not that vital It's like I feel like that's what's going on here.
54:04
[SPEAKER_00]: Maybe yeah, either Let me look at the younger actresses.
54:08
[SPEAKER_03]: I mean, it's not as egregious as Kevin Costner not doing an accent in Robinhood Prince of Bames, which honestly
54:15
[SPEAKER_03]: I mean, it's a problem.
54:16
[SPEAKER_03]: I think it's, and it's certainly it's distracting.
54:18
[SPEAKER_03]: And I think it's distracting in this movie, but honestly, the rest of that movie works.
54:21
[SPEAKER_00]: So if you're Hammond, this is the, either she couldn't play an American, or Jamie Lee Curtis couldn't play a Brit.
54:29
[SPEAKER_00]: And I suspect Jamie Lee Curtis could do it, but who knows?
54:32
[SPEAKER_00]: Who knows?
54:33
[SPEAKER_03]: I feel like maybe they were rushed and they couldn't get the voice vocal dialed.
54:38
[SPEAKER_00]: I'm guessing it was a case, though, of Jamie Lee Curtis.
54:41
[SPEAKER_00]: Let's do a British accent.
54:43
[SPEAKER_00]: Can you do it?
54:44
[SPEAKER_03]: Yeah.
54:45
[SPEAKER_00]: Not great.
54:46
[SPEAKER_00]: Okay, we're gonna drop it.
54:47
[SPEAKER_03]: And again, it may be a time to do a full vocal, maybe not, but I don't know.
54:50
[SPEAKER_03]: But we're gonna, it's a little distracting.
54:52
[SPEAKER_03]: I got over it.
54:53
[SPEAKER_03]: I don't care.
54:54
[SPEAKER_00]: Oh, that's odd though.
54:55
[SPEAKER_00]: She's an American actress.
54:57
[SPEAKER_00]: So Sofia Hammond.
54:59
[SPEAKER_00]: Well, she's probably like a reason.
55:00
[SPEAKER_04]: Is anyone though?
55:01
[SPEAKER_00]: Yeah, I don't know.
55:02
[SPEAKER_00]: Weird.
55:03
[SPEAKER_00]: Weird choices.
55:04
[SPEAKER_00]: I looked her up.
55:04
[SPEAKER_00]: She's born in Pasadena.
55:06
[SPEAKER_00]: Oh, funny.
55:07
[SPEAKER_03]: OK.
55:08
[SPEAKER_03]: That's right.
55:10
[SPEAKER_03]: But for all I know, she was raised for a long time for her who knows.
55:12
[SPEAKER_03]: But I couldn't say.
55:15
[SPEAKER_03]: Other way.
55:15
[SPEAKER_03]: Bit of a distraction.
55:16
[SPEAKER_03]: My one actual meaningful critique.
55:19
[SPEAKER_03]: And I do think this is timing.
55:22
[SPEAKER_03]: I also think they should have seen this coming.
55:25
[SPEAKER_03]: There is a scene in the movie where in order to break up the wedding.
55:29
[SPEAKER_03]: They decide one of the things that Lindsay Lowe and Amanda Jacento as the real versions of them had to do today was to go to the immigration office where they were going to have a meeting with someone in order to prove that like listen our relationship is genuine and he really wants to be a citizen of this country and can we get our paperwork.
55:53
[SPEAKER_03]: The plot point is she's going to try to sabotage the immigration hearing.
56:00
[SPEAKER_03]: First off, this plot in general is very loaded right now considering the horrifying fascism people being kidnapped going to like legal proceedings that they're trying to actually go through the process legally and then thrown in concentration camps.
56:15
[SPEAKER_03]: That's an actual thing that's happening right now.
56:17
[SPEAKER_03]: I know we're having a good time with Freaky Friday, but Freaky Friday went there.
56:22
[SPEAKER_03]: And a plot of a character we're supposed to be rooting for sabotaging an immigration hearing, knowing that
56:29
[SPEAKER_03]: Bad things could happen to him.
56:32
[SPEAKER_03]: Now, granted, I'm sure this movie was filmed like a year ago, but also this was already in the conversation.
56:37
[SPEAKER_03]: No, it's not, wasn't exactly what's going on right now.
56:41
[SPEAKER_03]: It's really toned up.
56:43
[SPEAKER_03]: It really, that whole scene, it's like, they're cute.
56:47
[SPEAKER_03]: They're still good.
56:48
[SPEAKER_03]: But it lands with a real thud for me.
56:50
[SPEAKER_03]: And again, it's just like, wow, bad fucking timing.
56:53
[SPEAKER_00]: They're trying to make a light of this, and it's just not.
56:55
[SPEAKER_03]: A couple years ago, you put a gun away with this.
56:57
[SPEAKER_03]: This year, that scene, that scene lands with a thud.
57:02
[SPEAKER_03]: And it's just, yeah, you've taken me right back to a really shitty reality right now.
57:08
[SPEAKER_03]: And that sucks.
57:10
[SPEAKER_03]: So,
57:12
[SPEAKER_03]: But it does recover.
57:15
[SPEAKER_03]: It's in the middle of the movie.
57:16
[SPEAKER_03]: It's not like the ending of the movie, and that's the belt we end on.
57:19
[SPEAKER_03]: It does recover, and the performances are really, really wonderful.
57:22
[SPEAKER_03]: And again, I think the thing, I just was not prepared for just how healthy these are.
57:29
[SPEAKER_03]: Okay, now we're going to learn a little bit less than we'll walk into each other's shoes, but it's really, really good stories.
57:33
[SPEAKER_03]: about communication, about the difficulties, the honest difficulties of life at various stages of it, which has been increased dramatically in this one because we have teenage years, people in their thirties, and people in their twilight years, and those are very different problems that you're going through just on a day to day.
57:50
[SPEAKER_03]: Very sensitive to all of it.
57:52
[SPEAKER_03]: Just character-driven, good family movie.
57:59
[SPEAKER_03]: One bad scene, notwithstanding.
58:04
[SPEAKER_03]: kind of fucking great actually like good old people may freak your Friday like you didn't have to go that hard but you did let's let's take a huge shift here because I have heard amazing things about Suleamon stories since last year when I started playing some festivals and now I just finally come out and I was bummed I didn't get a chance to see it because it's been on my radar for a long time.
58:26
[SPEAKER_00]: What is Suleamon story?
58:27
[SPEAKER_00]: Suleamon story is a French film
58:32
[SPEAKER_00]: by a filmmaker, I'm not familiar as a board, I think it's pronounced Boris.
58:35
[SPEAKER_00]: Boris, a large keen, okay?
58:38
[SPEAKER_00]: And this is a, you might be a little bit on edge because this is actually a story of a white French filmmaker telling the story of the black immigrant experience.
58:51
[SPEAKER_00]: And now I would say luckily,
58:55
[SPEAKER_00]: He nails it.
58:58
[SPEAKER_00]: The lead actor of this film is named Abu Sanghari, and he is an on-professional.
59:05
[SPEAKER_00]: He hadn't done an acting before this movie, but he also nails it.
59:10
[SPEAKER_00]: He just brings in a lot of natural emotions that you don't really even get from professionals.
59:18
[SPEAKER_00]: And he plays a character who is living on the streets of Paris.
59:22
[SPEAKER_00]: He's from the character of Guinea.
59:25
[SPEAKER_00]: And he from the country.
59:27
[SPEAKER_00]: What do I say character character character he's in the country again.
59:30
[SPEAKER_00]: Just for clarity.
59:30
[SPEAKER_00]: Okay.
59:31
[SPEAKER_00]: Yeah, so from the companies.
59:32
[SPEAKER_00]: Yes, he's a getting in character.
59:34
[SPEAKER_00]: He's an immigrant and he is he's like a door-driver and he just goes to restaurants.
59:39
[SPEAKER_00]: They say okay, we'll give you a couple of bucks and he delivers food and he tries to get it there as quickly as possible.
59:45
[SPEAKER_00]: Uh, it's
59:47
[SPEAKER_00]: Not the easiest job.
59:48
[SPEAKER_00]: He doesn't get a lot of money and he can only get this job by using like these apps and he can only get an app if he has an ID and he doesn't have an ID because he's an immigrant.
59:58
[SPEAKER_00]: So there's reveals that there's this whole network of like
1:00:02
[SPEAKER_00]: But leg identities that you're allowed to rent or not allowed to.
1:00:06
[SPEAKER_00]: But that you get these people in desperate situations rent from other people.
1:00:11
[SPEAKER_00]: And those are the people charge like ninety percent of their earnings so they can get hardly any money.
1:00:15
[SPEAKER_00]: And he does this just so he can make it to the bus just on time show the just the right kind of card he has to be ready with it just so he can go to a homeless shelter for the night.
1:00:25
[SPEAKER_00]: A place where he can sleep.
1:00:26
[SPEAKER_00]: And he has in communication with his family back in Guinea.
1:00:32
[SPEAKER_00]: is trying to get together enough sort of time and cloud so we can finally go to the immigration office.
1:00:39
[SPEAKER_00]: This is all in France.
1:00:43
[SPEAKER_00]: We see at the beginning of the movie, I am waiting to go in and we learn that he's actually been going to kind of this, he's been paying money to essentially a coach who has been telling him what kind of story to tell to the immigration office, so they'll sign his papers and give him the right to work in France legally.
1:01:02
[SPEAKER_00]: uh... sue them on story oh okay it's it's it's the story he gets to make up and of course it's about how he's fleeing some kind of political persecution and he had some sort of tragedy in his past they have to make it sound really dramatic so it's impresses the immigration on this and so he's kind of trying to memorize this and memorize all the details while going through all of this panic uh... this movie is
1:01:26
[SPEAKER_00]: unrelenting.
1:01:27
[SPEAKER_00]: It reminded me of the dark and brothers, like two days one night, or cannot apply to school, where people are just in a panic, always, and running to the next thing, always in this constant state of kind of horrid desperation most of the time.
1:01:41
[SPEAKER_00]: Um, uh, you've seen the dirt and brothers.
1:01:44
[SPEAKER_00]: I was going to give them a bite.
1:01:45
[SPEAKER_00]: It is the, uh, Tory.
1:01:46
[SPEAKER_00]: I'm looking at any of those.
1:01:47
[SPEAKER_03]: I saw it with a bite.
1:01:48
[SPEAKER_03]: I don't think I'm seeing the others, but it was a bite.
1:01:50
[SPEAKER_03]: It's great.
1:01:51
[SPEAKER_03]: Yeah.
1:01:52
[SPEAKER_03]: I, it does have that vibe of country.
1:01:53
[SPEAKER_03]: Yeah.
1:01:54
[SPEAKER_00]: Yeah.
1:01:55
[SPEAKER_00]: They're, they're very interested in bringing a lot of humanity to, uh, impoverished people, suffering people.
1:02:02
[SPEAKER_00]: People that are, uh, ignored by, um, not just society, but by movies sometimes.
1:02:10
[SPEAKER_00]: And yet, this film, Suleiman's story, is actually very careful about not fetishizing the poverty.
1:02:17
[SPEAKER_00]: It doesn't go into that kind of misery porn territory.
1:02:20
[SPEAKER_03]: That's the truth.
1:02:21
[SPEAKER_03]: Yeah, a lot of movies don't tend to rather rise falling to that.
1:02:24
[SPEAKER_00]: And sometimes, and there's a habit, and I hate it when it happens, when a filmmaker will find sort of an impoverished or suffering character, and turn them into some kind of martyr,
1:02:37
[SPEAKER_00]: to the point where it's almost doable.
1:02:40
[SPEAKER_00]: Yeah, that there's some kind of nobility to their poverty.
1:02:42
[SPEAKER_00]: No, these people are just struggling.
1:02:43
[SPEAKER_00]: They just don't have money.
1:02:45
[SPEAKER_01]: Yeah.
1:02:45
[SPEAKER_00]: Like, oh, look, look how brave they are.
1:02:46
[SPEAKER_00]: They're surviving.
1:02:47
[SPEAKER_00]: That's not bravery.
1:02:48
[SPEAKER_00]: They're just fucking surviving.
1:02:50
[SPEAKER_01]: Yeah.
1:02:50
[SPEAKER_00]: You know, it does it involve bravery sometimes, but mostly they're just busy and trying to make ends meet.
1:02:55
[SPEAKER_02]: Yeah.
1:02:57
[SPEAKER_00]: It's about the stress that's not bravery, they're just alive.
1:03:00
[SPEAKER_00]: And I feel like that soon-in-one story actually does bring a lot of that kind of humanity to it.
1:03:08
[SPEAKER_00]: And then the final portion of the movie is him telling the story.
1:03:12
[SPEAKER_00]: and how sort of his own story also comes through on that scene.
1:03:19
[SPEAKER_00]: And that's like an extended twenty minute sequence.
1:03:22
[SPEAKER_00]: It's like the entire last act of the film.
1:03:24
[SPEAKER_00]: That's actually pretty short movie, right?
1:03:25
[SPEAKER_00]: It's pretty short.
1:03:26
[SPEAKER_00]: It's about eight, seven minutes.
1:03:27
[SPEAKER_00]: That's really tight.
1:03:28
[SPEAKER_00]: Yeah.
1:03:29
[SPEAKER_00]: This is one of my favorite movies of the year.
1:03:30
[SPEAKER_00]: I feel like it just really has that kind of palpable humanity.
1:03:35
[SPEAKER_00]: It's gonna have stress you recognize.
1:03:38
[SPEAKER_00]: If you have ever been to the fucking DMV, you're gonna recognize the sort of the kind of, you're a credit pressure that you're under and how much worse it is when you're when you're impoverished and you're not allowed to work legally.
1:03:53
[SPEAKER_03]: I mean, that's, again, going into some of the real life shit that really made people want to listen to a lot of podcasts right now, but yeah, bureaucracy is bad at the best of times, because it takes a long time.
1:04:06
[SPEAKER_03]: Everyone's left hand doesn't know what the right hand is doing.
1:04:11
[SPEAKER_03]: You get wrong information like bureaucracy sucks.
1:04:14
[SPEAKER_03]: There's a reason for it, but
1:04:18
[SPEAKER_03]: for every way one time when things go to the weather is supposed to go there's like one little miscommunication that fucks up your whole life for six months or longer yeah and it sucks it really really really sucks
1:04:32
[SPEAKER_03]: But yeah, yeah, when it can destroy your life like that, that's just, that's terrible.
1:04:38
[SPEAKER_03]: Honestly, we feel so helpless.
1:04:42
[SPEAKER_03]: It's the end.
1:04:42
[SPEAKER_03]: You just have to one real person on the phone with the AI right now.
1:04:47
[SPEAKER_00]: Everything is standing your way.
1:04:49
[SPEAKER_00]: I'm reminded of,
1:04:50
[SPEAKER_00]: the Terry Pratchett, like the Boots theory of socioeconomic unfairness.
1:04:55
[SPEAKER_00]: Are you familiar with that?
1:04:57
[SPEAKER_00]: Terry Pratchett was a fantasy author.
1:04:59
[SPEAKER_00]: We wrote a bunch of novels about discworld, this sort of fantasy world.
1:05:03
[SPEAKER_00]: But somebody had come up with the idea that the cop in those stories came up with this idea that you can illustrate the unfairness, the socioeconomic unfairness in society with Boots.
1:05:18
[SPEAKER_00]: He wore cardboard boots and they were really cheap, but they wore out really quickly.
1:05:21
[SPEAKER_00]: So they had to keep on buying new boots.
1:05:24
[SPEAKER_00]: Whereas rich people could afford to buy one pair of really expensive boots that lasted for a really long time.
1:05:30
[SPEAKER_00]: In fact, they lasted so long that after the end of like ten years, the poor person had replaced their boots
1:05:37
[SPEAKER_00]: to more money than it would have taken for that rich person to buy one pair of boots.
1:05:41
[SPEAKER_00]: But because they're only getting little drips and drabs of money, they end up spending more than they're earning.
1:05:47
[SPEAKER_00]: And it sort of illustrates that it's expensive to be poorer.
1:05:52
[SPEAKER_00]: And it's cheap to be rich.
1:05:54
[SPEAKER_00]: The reason rich people are rich is because they actually have to spend less money overall.
1:05:58
[SPEAKER_03]: Yeah, but also like the systems that we have in place, they're increasingly designed to keep us out of them.
1:06:05
[SPEAKER_03]: Like, this is a little thing, but it was very, very telling.
1:06:09
[SPEAKER_03]: The right aid is a chain of pharmacies.
1:06:15
[SPEAKER_03]: I don't know how far it reaches, but certainly in California.
1:06:18
[SPEAKER_03]: And they shut down.
1:06:20
[SPEAKER_03]: They struggle, then I don't know if they're shut down everywhere, but they're out of business here in my neighborhoods.
1:06:26
[SPEAKER_03]: And that was when my mother had her prescriptions.
1:06:29
[SPEAKER_03]: So they moved over to a local, another pharmacy chain called CVS.
1:06:34
[SPEAKER_03]: Yes.
1:06:35
[SPEAKER_03]: So I had to call CVS, and I had to not just refill her prescriptions, I had to ask questions about her prescriptions and how they'd been changed.
1:06:43
[SPEAKER_03]: So I call
1:06:45
[SPEAKER_03]: and the automated service did not have an option to talk to a person.
1:06:51
[SPEAKER_03]: Literally, not an option.
1:06:55
[SPEAKER_03]: I had to dig around online and it turns out, you have to press, eight, zero, zero, three.
1:07:05
[SPEAKER_03]: You can't just, sometimes you just press zero, okay, you're there.
1:07:08
[SPEAKER_03]: No, no, no, no, no.
1:07:09
[SPEAKER_03]: They heed that shit because they don't want you to talk to them.
1:07:15
[SPEAKER_00]: They don't want you to talk to them.
1:07:16
[SPEAKER_00]: They don't want to pay if someone to talk to you.
1:07:19
[SPEAKER_00]: That's true.
1:07:20
[SPEAKER_00]: It's in both directions.
1:07:21
[SPEAKER_03]: If you have a problem, that's annoying to them to solve it and they'd rather you be so discouraged, you just decide to live with the problem.
1:07:28
[SPEAKER_03]: That fucking sucks.
1:07:31
[SPEAKER_03]: All of the shit's like, and we're getting into the weeds here, because I haven't, unfortunately, seen in the movie, but I can talk about some of the things that I've experienced.
1:07:37
[SPEAKER_03]: But yeah, no.
1:07:41
[SPEAKER_03]: I feel like there is one problem with movies, with movies like this, so they feel so real.
1:07:46
[SPEAKER_03]: I think we'll go to movies.
1:07:49
[SPEAKER_03]: not to be reminded of all the variables.
1:07:51
[SPEAKER_00]: I can't tell you why you go to movies.
1:07:54
[SPEAKER_00]: You, dear listener, know why you go.
1:07:57
[SPEAKER_00]: I can tell you that when I find a movie that stresses me out or terrifies me or makes me feel completely miserable, despair, that I am exhilarated.
1:08:06
[SPEAKER_00]: I like movies that capture real human experiences and I feel like getting into the actual details and really
1:08:19
[SPEAKER_00]: recapturing very specifically that kind of stress is going to allow you to recognize it a little bit more sharply.
1:08:28
[SPEAKER_00]: It's going to force something unconscious in your conscious mind.
1:08:32
[SPEAKER_00]: And I think it is ultimately a better tool for dealing with those stresses in real life.
1:08:40
[SPEAKER_03]: I wanted to make clear that I wasn't saying that that's like a good thing.
1:08:42
[SPEAKER_03]: Or even really a bad thing.
1:08:43
[SPEAKER_03]: People go to art for all kinds of reasons.
1:08:46
[SPEAKER_03]: But my thing is this, I think some people think that because you go to movies for escapism, that will always be the way they are to you.
1:08:53
[SPEAKER_03]: And I think sometimes you're just waiting to see the movie that connects with you on a different level.
1:08:57
[SPEAKER_03]: And then you realize, oh,
1:08:59
[SPEAKER_03]: I don't need to watch a movie to escape reality.
1:09:02
[SPEAKER_03]: I can see it reflected back in me in a way that makes me feel understood.
1:09:06
[SPEAKER_03]: Yeah, we're seeing it or that it's in lightens me about other people's light.
1:09:10
[SPEAKER_03]: And that is also in and of itself.
1:09:13
[SPEAKER_03]: It can be exhilarating.
1:09:14
[SPEAKER_03]: It can be entertaining.
1:09:15
[SPEAKER_03]: It can be terrifying, but it can be just as moving.
1:09:18
[SPEAKER_03]: Yeah.
1:09:19
[SPEAKER_03]: The other thing.
1:09:20
[SPEAKER_03]: Oh, I lost it.
1:09:23
[SPEAKER_03]: Hold on a second.
1:09:23
[SPEAKER_03]: Oh, my other thing is this, I also feel like
1:09:27
[SPEAKER_03]: I feel like there's two kinds of people.
1:09:29
[SPEAKER_03]: This is obviously very reductive, nothing is a binary.
1:09:31
[SPEAKER_03]: But in my experience, there are people who, when they're sad, they want to listen to happy music because it improves their mood.
1:09:41
[SPEAKER_03]: Then there are people who, when they're sad, they want to listen to, like, Morrison.
1:09:46
[SPEAKER_03]: Yeah, or like, Sarah McLaughlin, or whatever.
1:09:50
[SPEAKER_03]: Like something sad.
1:09:51
[SPEAKER_03]: The blues, like whatever.
1:09:52
[SPEAKER_03]: Like you want to process your emotions by digging in deeper with them.
1:09:58
[SPEAKER_03]: And I feel like that kind of person in particular should definitely seek out these kinds of movies because you're going to get that in really.
1:10:06
[SPEAKER_00]: Well, I've always, I've never quite understood or at least in one way objected to this idea of escapism.
1:10:19
[SPEAKER_00]: I feel like when you go to see a movie that you could describe as escapism, it's that, you know, your outside life is hard in some way or it's stressful or you're just bored with it, whatever's happening in your world.
1:10:31
[SPEAKER_00]: And you go to a movie that's a bit of a fantasy and you get to sort of
1:10:35
[SPEAKER_00]: project yourself into the movie for a short while, leave the world and escape into a fantasy escape itself.
1:10:43
[SPEAKER_00]: When I go to see a movie that I sort of enjoy and I can kind of like lose myself into that world, I find it more of a reminder of the things in the world that are already beautiful.
1:10:56
[SPEAKER_00]: Just sort of showing me the exciting things about the world as that's already fair.
1:11:01
[SPEAKER_00]: Here's the good stuff.
1:11:02
[SPEAKER_00]: I'm not escaping.
1:11:03
[SPEAKER_00]: I'm just being reminded that it's still out there.
1:11:05
[SPEAKER_00]: It's actually quite the opposite of escapism.
1:11:08
[SPEAKER_00]: It's kind of enhancing my experience.
1:11:10
[SPEAKER_00]: Sure.
1:11:11
[SPEAKER_00]: And I feel like, but I feel it's the same experience can be had with a very aggressively disturbing movie.
1:11:17
[SPEAKER_00]: Very depressing.
1:11:18
[SPEAKER_03]: I think of escapism increasingly.
1:11:20
[SPEAKER_03]: Because I think we think of movies as escapism because some of them are trying to be frivolous.
1:11:25
[SPEAKER_00]: and some sort of sort of sort of just a world rebirth.
1:11:27
[SPEAKER_03]: For example, it's a fun movie, it's very, very frivolous.
1:11:32
[SPEAKER_03]: But I don't know, I think it wascapism, I don't think about someone trying to engage me, because with a narrative, because then that they're complex working parts there.
1:11:43
[SPEAKER_03]: When I think it wascapism, I think about
1:11:46
[SPEAKER_03]: like a hobby.
1:11:48
[SPEAKER_03]: You know, like I build model planes.
1:11:50
[SPEAKER_03]: Like that's when you're like really just in a zone.
1:11:53
[SPEAKER_03]: You know, like all you're thinking about is the project.
1:11:56
[SPEAKER_03]: For at hand.
1:11:57
[SPEAKER_03]: All you're thinking about is the toothpick recreation in your building of the Empire State Building.
1:12:03
[SPEAKER_03]: All you're thinking about is the cross repuzzled book that you're trying to solve every puzzle and or whatever it is.
1:12:09
[SPEAKER_03]: That for me feels like a skip isn't because you're so in a zone like about one thing you're completely checked out.
1:12:16
[SPEAKER_03]: You are not engaging with anything.
1:12:19
[SPEAKER_03]: Movies with rare exception are narrative driven.
1:12:23
[SPEAKER_03]: If not in a very literal sense.
1:12:25
[SPEAKER_00]: When we're talking about sort of like Hollywood entertainment.
1:12:28
[SPEAKER_03]: I think even ones that we consider abstract still have some kind of narrative.
1:12:32
[SPEAKER_03]: It's pretty weird because our minds do that.
1:12:35
[SPEAKER_03]: We create a narrative even if we don't see one.
1:12:40
[SPEAKER_03]: That is trying to engage with us.
1:12:42
[SPEAKER_03]: That's trying to give us new information.
1:12:44
[SPEAKER_03]: Even if the new information is, oh, that kind of got bit by a radioactive go for it.
1:12:48
[SPEAKER_03]: That's why he's go for a man.
1:12:50
[SPEAKER_03]: I can see that.
1:12:50
[SPEAKER_03]: Like, you know, it's not, we're not really escaping.
1:12:52
[SPEAKER_03]: We're just engaged in a different way.
1:12:53
[SPEAKER_03]: Anyway, um, not that, you know, a hobby isn't engaging.
1:12:56
[SPEAKER_03]: I just feel like you're entering a different mind space than when I'm watching a frivolous movie.
1:13:00
[SPEAKER_03]: But we're in the wait.
1:13:01
[SPEAKER_03]: Um, that's all about, uh, speaking about the imagination.
1:13:05
[SPEAKER_03]: Uh, there's a new movie called Sketch.
1:13:09
[SPEAKER_03]: Sketch, flying a bit under the radar, is a horror movie for kids.
1:13:14
[SPEAKER_03]: It is about a little girl.
1:13:19
[SPEAKER_03]: because it's a kid's movie, one of her parents has died, her mother died.
1:13:24
[SPEAKER_03]: Her father is played by Tony Hale.
1:13:27
[SPEAKER_03]: Okay.
1:13:28
[SPEAKER_03]: Very good actor.
1:13:30
[SPEAKER_03]: And he's really struggling.
1:13:33
[SPEAKER_03]: So he's got a young daughter who is processing her emotions by drawing in a sketchbook some really dark shit.
1:13:43
[SPEAKER_00]: Like looking out like every harm movie.
1:13:45
[SPEAKER_03]: Yeah, yeah, basically like, you know, I saw the faceless man.
1:13:49
[SPEAKER_00]: Are my room less now?
1:13:49
[SPEAKER_03]: Yeah, like, oh, well, can you draw on for me?
1:13:51
[SPEAKER_03]: Oh, that's a scary child's picture, you know, that kind of thing.
1:13:54
[SPEAKER_03]: So like the first scene in the movie, she's on a bus and there's this kid who sits near her name Bowman, who is self-professed quote, a be-hole.
1:14:03
[SPEAKER_03]: There's a date where like, what are you gonna do, Bowman?
1:14:06
[SPEAKER_03]: I'm gonna do what I do best.
1:14:08
[SPEAKER_03]: Be a total be-hole.
1:14:10
[SPEAKER_03]: Good life.
1:14:12
[SPEAKER_03]: But he's being a jerk, he's calling her like an orphan, even though she's got a dad turns out there is kind of like a weird terminology for it, but whatever.
1:14:18
[SPEAKER_03]: But she's mad at him.
1:14:20
[SPEAKER_03]: And she draws a demon stabbing him.
1:14:25
[SPEAKER_03]: And again, these kids are in fourth grade tops, like very, very young kids.
1:14:29
[SPEAKER_00]: Those are monsters all the time.
1:14:30
[SPEAKER_03]: Yeah, no, I'm just saying, but like it's still, if you draw a picture of one of your schoolmates getting stabbed, they're gonna call your parents.
1:14:37
[SPEAKER_03]: At least, just to make sure is everything okay.
1:14:41
[SPEAKER_03]: So they call cradad, and that's, again, we're going through a lot, and the school counselor is actually very understanding about it.
1:14:48
[SPEAKER_03]: It's like, hey, did you draw this?
1:14:50
[SPEAKER_03]: Okay, I need to ask you, is this something you actually want to happen?
1:14:54
[SPEAKER_03]: And she says, no, okay.
1:14:56
[SPEAKER_03]: Well, then drawing it is the best way to go here.
1:14:58
[SPEAKER_03]: So I'm going to give you this no pad.
1:15:00
[SPEAKER_03]: And just put all your dark stuff.
1:15:01
[SPEAKER_03]: It's better that it got to go somewhere.
1:15:03
[SPEAKER_03]: And it's better that it goes into a no pad than it does, you know, in your real interactions with people.
1:15:08
[SPEAKER_03]: So you let your imagination run wild.
1:15:12
[SPEAKER_03]: And so her notebook starts getting full of like weird and bizarre monsters.
1:15:17
[SPEAKER_03]: And they're interesting monsters.
1:15:19
[SPEAKER_03]: Like there's one.
1:15:20
[SPEAKER_03]: I forget what he calls it.
1:15:22
[SPEAKER_03]: I'll just make up a name.
1:15:23
[SPEAKER_03]: Oh, yeah, that's the blood emator.
1:15:24
[SPEAKER_03]: What does the blood emator do?
1:15:26
[SPEAKER_03]: He eats blood and then he barfs up the blood.
1:15:29
[SPEAKER_03]: And I'm like, she's a skit.
1:15:32
[SPEAKER_03]: That's what I mean.
1:15:35
[SPEAKER_03]: So she's got this notebook well stuff.
1:15:36
[SPEAKER_03]: And meanwhile, she has a slightly older brother who's like a sixth grade or something.
1:15:41
[SPEAKER_03]: And he's trying to keep his family together.
1:15:43
[SPEAKER_03]: His dad won't talk about his mom, his sister's going through a lot of trouble.
1:15:46
[SPEAKER_03]: He's just trying to fix everything.
1:15:48
[SPEAKER_03]: And he finds, and this is never explained, but it's not important, a pond in the woods behind the back of their house.
1:15:58
[SPEAKER_03]: He's got a cut on his hand, and he puts his hand in the water because he dropped his phone in there, and his phone was broken.
1:16:04
[SPEAKER_03]: And now his hand is healed, and his phone works.
1:16:09
[SPEAKER_03]: They broke like this one plate that belongs to their mother was like a special plate.
1:16:13
[SPEAKER_03]: This is a plate for your special day.
1:16:14
[SPEAKER_03]: We only use it on special days, and it got broken.
1:16:16
[SPEAKER_03]: So we put the pieces in the pond and now the plates fixed.
1:16:20
[SPEAKER_03]: And so he's thinking of myself, oh, I found a magic pond that fixes everything.
1:16:23
[SPEAKER_03]: So he goes to get the ashes of his mom.
1:16:26
[SPEAKER_03]: And I'm like, oh fuck, I've seen pet cemetery.
1:16:29
[SPEAKER_03]: Yeah, this is gonna be good.
1:16:30
[SPEAKER_03]: And then the the the daughter stops him and says, what are you doing?
1:16:34
[SPEAKER_03]: She doesn't even know what's going on.
1:16:35
[SPEAKER_03]: It's like, what are you doing with mom's ashes?
1:16:37
[SPEAKER_03]: There's a bit of a scuffle at her sketchbook falls on the pond and now all the monsters are coming to life.
1:16:42
[SPEAKER_03]: Okay, I like that.
1:16:43
[SPEAKER_03]: It's fun.
1:16:44
[SPEAKER_03]: And so all of these monsters, and it's cool because they're made out of whatever medium she drew them in.
1:16:48
[SPEAKER_03]: So like if she drew these like these big giant red spiders, but instead of like the body between the legs, it's big eyeballs.
1:16:57
[SPEAKER_03]: They're called them itars.
1:16:58
[SPEAKER_03]: Nice.
1:17:00
[SPEAKER_03]: They're made of chalk.
1:17:01
[SPEAKER_03]: So although they're scary and they jump on you, you know, you squirt water on them and they just sort of run away and so they're still drawing.
1:17:08
[SPEAKER_03]: Yeah, they're still drawing.
1:17:08
[SPEAKER_03]: And like so these are actually really frighteningly realized a lot of these things.
1:17:13
[SPEAKER_03]: But because there's still these like child like elements, there's like this one monster called Dave.
1:17:19
[SPEAKER_03]: I love that.
1:17:20
[SPEAKER_03]: Dave is a giant blue blob with giant spindly legs.
1:17:24
[SPEAKER_03]: They're still very powerful.
1:17:26
[SPEAKER_03]: And Dave likes to crush people.
1:17:30
[SPEAKER_03]: And if Dave can't crush you, well, let's say he misses.
1:17:32
[SPEAKER_03]: It's okay.
1:17:33
[SPEAKER_03]: He has snake toes that kill you if they touch you.
1:17:37
[SPEAKER_03]: And that sounds really authentic to like the fourth grade.
1:17:40
[SPEAKER_03]: Really?
1:17:40
[SPEAKER_03]: That's a good child like imagination.
1:17:42
[SPEAKER_03]: And so it's really, it's very, very scary.
1:17:44
[SPEAKER_03]: He like traps them in their school bus.
1:17:47
[SPEAKER_03]: And he's like gonna crush them and it's like its tentacles are like going inside.
1:17:50
[SPEAKER_03]: And it's really, really super scary.
1:17:52
[SPEAKER_03]: But Dave also has big doogly eyes.
1:17:56
[SPEAKER_03]: And it doesn't make him not scary, but it does make him not so intense.
1:18:01
[SPEAKER_03]: It makes him a kid movie scary.
1:18:04
[SPEAKER_03]: The art of making a horror movie for children.
1:18:09
[SPEAKER_03]: is very tricky.
1:18:11
[SPEAKER_03]: A lot of movies try to bring horror elements into the world of kids movies and family movies, but they always try to humanize them.
1:18:18
[SPEAKER_03]: And this is not a bad thing.
1:18:19
[SPEAKER_03]: You look at something like Hotel Transylvania, where all of these monsters, the things kids are typically scary of, there's people.
1:18:26
[SPEAKER_03]: They're just, they want to vacation, they're both fans of DAX.
1:18:29
[SPEAKER_03]: They're normal folks, but they're, they're kind of weird.
1:18:32
[SPEAKER_03]: And so the thing that you would be scared of is actually not that scary.
1:18:36
[SPEAKER_03]: But to tell a child, no, that is scary.
1:18:40
[SPEAKER_03]: But it's okay because you can conquer that.
1:18:43
[SPEAKER_03]: That is trickier to do without either A, making it so dark that it just traumatizes the kids, or B, not making it dark enough and it ends up feeling like nothing.
1:18:54
[SPEAKER_03]: Sketch gets the balance.
1:18:58
[SPEAKER_03]: That is so hard to do.
1:19:00
[SPEAKER_03]: Like it feels like training wheels for horror.
1:19:02
[SPEAKER_03]: Like all the horror rhythms are in there.
1:19:04
[SPEAKER_03]: All the moments where like, oh, you shouldn't have opened that door.
1:19:07
[SPEAKER_03]: If that would have been like the same shot in a actual like horror movie for adults and we would have all felt the tension and it would have all built really good except what's behind there.
1:19:18
[SPEAKER_03]: Chuck eyeballs spiders like it's a little less intense.
1:19:21
[SPEAKER_03]: Um, the kids are all really, really talented.
1:19:24
[SPEAKER_03]: The dialogue is really, really funny.
1:19:27
[SPEAKER_03]: Um, but not in a slightly heightened way, but not in a clearly unbelievable way.
1:19:32
[SPEAKER_03]: Just like some movie people are talking like they're moving.
1:19:34
[SPEAKER_00]: I do like children's horror movies that are made for kids.
1:19:39
[SPEAKER_03]: Yeah.
1:19:39
[SPEAKER_03]: Don't don't know is the whole.
1:19:41
[SPEAKER_00]: Jodonji's the whole is a great one.
1:19:42
[SPEAKER_03]: Primarily under scene, a really good film.
1:19:45
[SPEAKER_00]: Film like Paranormal like films that are about kids, these anime.
1:19:48
[SPEAKER_00]: Poor line, another good one.
1:19:49
[SPEAKER_00]: There was the one, the year Hotel Transylvania came out.
1:19:52
[SPEAKER_00]: I think it was also like, I think Goosebumps and Frankenstein.
1:19:55
[SPEAKER_00]: We all came out with them like, three, two, one.
1:19:57
[SPEAKER_03]: It was a great horror movie for kids.
1:19:59
[SPEAKER_03]: The Wolf fan chasing you through the grocery store.
1:20:01
[SPEAKER_00]: actually scary that's yeah like it will take some of the horror elements seriously but overall atone is kind of light and then the climax will be dark and a little bit spooky there's some stakes to it but there's no fear that somebody's actually gonna die in like a bloody way if you're you can be scared but they probably won't lose more than one night at least sometimes that's like they're for kids but they push the line a little bit i felt that way about um
1:20:24
[SPEAKER_00]: Scary stories to tell with that dark.
1:20:25
[SPEAKER_00]: I was a little too scary.
1:20:27
[SPEAKER_00]: I don't think that's for kids.
1:20:28
[SPEAKER_03]: I think that's a teenager's movie about a bass because I think little kids, which is to be fair, little kids got traumatized on bass by scary stories.
1:20:38
[SPEAKER_00]: I know I was.
1:20:38
[SPEAKER_00]: There's a Stephen Gamble illustration.
1:20:40
[SPEAKER_03]: There's still just sketches in that story that give me the, give me the willies.
1:20:45
[SPEAKER_03]: Just thinking about it.
1:20:46
[SPEAKER_00]: Yeah.
1:20:47
[SPEAKER_03]: And so like, yeah, that was always right in my life.
1:20:49
[SPEAKER_00]: I like that movie.
1:20:50
[SPEAKER_00]: The scary stories tell the dark.
1:20:51
[SPEAKER_00]: It's okay.
1:20:52
[SPEAKER_03]: gets a little more sprawling than it needs to.
1:20:55
[SPEAKER_03]: I think it loses focus, but it's when it's good.
1:20:57
[SPEAKER_03]: It's really good.
1:20:58
[SPEAKER_00]: Yeah.
1:21:00
[SPEAKER_00]: My one complaint is that in that movie, they can flake two of the stories.
1:21:04
[SPEAKER_00]: There's the haunted palace with the rotting woman.
1:21:06
[SPEAKER_00]: And everybody, I say that and a whole generation just freaked out.
1:21:09
[SPEAKER_00]: We know we know that it.
1:21:11
[SPEAKER_03]: We saw like the eye socket on the spider crawling out of I think.
1:21:15
[SPEAKER_00]: They made that character, the protagonist of the big toe, which was a different story and scary stories to tell.
1:21:21
[SPEAKER_00]: Oh, they did do that, did they?
1:21:22
[SPEAKER_03]: Yeah.
1:21:25
[SPEAKER_03]: That's not too bad.
1:21:25
[SPEAKER_00]: It's not too bad, but I like that movie just because it is scary.
1:21:28
[SPEAKER_03]: Well, they really bring those drawings to life in a very scary way.
1:21:36
[SPEAKER_00]: I like horror movies for kids, especially ones that go for fright, but it's okay for them to be a little bit whimsical or a little bit Halloweeny and a little bit fun because
1:21:46
[SPEAKER_00]: I've said this before and like some people have disagreed with me.
1:21:50
[SPEAKER_00]: I think kids like to be scared.
1:21:51
[SPEAKER_00]: I think watching kind of scary movies is a great way for them to have an outlet for horror without being truly terrifying.
1:21:58
[SPEAKER_00]: We're watching something that's maybe a little too sophisticated gory or something.
1:22:02
[SPEAKER_03]: Well, you don't want to show kids a horror movie that's bleak.
1:22:05
[SPEAKER_03]: Like, you wouldn't want, like, okay, Ari Astor to remake Gremlins.
1:22:09
[SPEAKER_03]: Like, I want to say that.
1:22:10
[SPEAKER_00]: Okay, well, we're not necessarily one of my kids.
1:22:12
[SPEAKER_03]: I feel like I don't think that sounds like a kid's movie.
1:22:14
[SPEAKER_03]: I mean, maybe he'd take a spin that and turn that, he'd be really good at it.
1:22:17
[SPEAKER_03]: But like, if you imagine the Ari Astor version.
1:22:20
[SPEAKER_00]: Okay, so we're keen Phoenix is a pilot in the World War II.
1:22:23
[SPEAKER_00]: Yeah.
1:22:23
[SPEAKER_00]: No one believes him.
1:22:25
[SPEAKER_03]: Oh, so it's like a prequel about Dick Miller.
1:22:30
[SPEAKER_00]: The Dick Miller character.
1:22:31
[SPEAKER_00]: Yeah.
1:22:31
[SPEAKER_03]: Oh, shit.
1:22:31
[SPEAKER_03]: That's actually a good idea.
1:22:33
[SPEAKER_03]: I wouldn't say that.
1:22:34
[SPEAKER_00]: Well, I mean, that's, that's where the term Grimmlin comes.
1:22:36
[SPEAKER_00]: Oh, I know.
1:22:37
[SPEAKER_00]: Yeah, it's from World War II.
1:22:38
[SPEAKER_03]: Obviously, doing a Grimmlin's prequel about Dick Miller and World War II was not a bad.
1:22:44
[SPEAKER_03]: That's actually pretty good.
1:22:47
[SPEAKER_03]: But, but no, like you don't want to have, like if a kid's a kid's horror move, like at the end of the monster squad, it didn't end with all the kids dead.
1:22:54
[SPEAKER_03]: Right.
1:22:55
[SPEAKER_01]: Right.
1:22:55
[SPEAKER_03]: That's too much.
1:22:56
[SPEAKER_03]: You want to like scare the kids, but you want to have an ending where they are victorious, but not victorious for like some BS reason.
1:23:04
[SPEAKER_03]: Like you want to have them victorious because they overcame their fears and actually did something.
1:23:09
[SPEAKER_00]: And they got to do it and I'll do it.
1:23:10
[SPEAKER_03]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
1:23:12
[SPEAKER_03]: You you need to it needs to be about countering your fears, but your fears actually you need to be respected enough to be shown as scary.
1:23:19
[SPEAKER_03]: Right.
1:23:20
[SPEAKER_03]: This movie does sound really, really well.
1:23:21
[SPEAKER_03]: It's funny.
1:23:22
[SPEAKER_03]: It's emotionally genuine and it is kind of demonic and it is from Angel Studios.
1:23:30
[SPEAKER_00]: It's a Christian movie studio.
1:23:32
[SPEAKER_03]: Angel Studios has built their whole brand on right wing slash Christian ideology.
1:23:41
[SPEAKER_03]: like specifically like evangelical fundamentalist kind of Christian yeah yeah like not all the movies are super religious but they're all very right way or or vice versa like they did that animated movie earlier this year called king of kings which is an animated film about Jesus and you said it was all right until they sort of sell it it's like it's okay it's not great or anything like that but
1:24:03
[SPEAKER_03]: It's not like it's not badly done thing.
1:24:05
[SPEAKER_03]: It's probably like it's too cheap and should have had more money throughout the animation and stuff.
1:24:09
[SPEAKER_03]: And they're doing a greatest hits of Jesus' life and they skip over some particularly interesting bits like I'm not sure why you leave out the part where he was talking about the meek shell and hair at the earth and rich people can't get in the habit.
1:24:21
[SPEAKER_03]: Like you're leaving those at very specifically.
1:24:26
[SPEAKER_03]: But like that's that's some of the casers to their demographic.
1:24:28
[SPEAKER_03]: They feel safe going to an angel's season because it's going to be very, very Christian.
1:24:32
[SPEAKER_03]: They did that movie at the end of last year called Homestead, which was about, you know, there's not white people are going to blow up the world.
1:24:41
[SPEAKER_03]: And now the white people, mostly white people, are only going to survive because the billionaires are able to provide for them.
1:24:54
[SPEAKER_03]: The only way you can get real news is from White Ring, right wing radio, people's lives are saved because they bought a Tesla, lighting like God.
1:25:00
[SPEAKER_03]: And here's the thing, that terrible execution is just laughable in a lot of its principles, but then it comes to a really kind of meaningful, actually good Christian message at the end.
1:25:09
[SPEAKER_03]: But a lot of the things that it said were that it was doing were actually the wrong thing to do.
1:25:13
[SPEAKER_03]: All right, but then what they do at the end of those movies is that they would then because the home set wasn't a movie.
1:25:19
[SPEAKER_03]: It was the first two episodes of a TV series that you can now only see if you've subscribed to Adel.
1:25:25
[SPEAKER_00]: Oh, streaming service.
1:25:26
[SPEAKER_00]: And also they can't enter capitalist messages becomes suddenly very capitalist indeed.
1:25:30
[SPEAKER_03]: Yeah, yeah, it's about Christian generosity and then it's like, oh, yeah, no, no, no.
1:25:34
[SPEAKER_03]: And also, like, at the end, one of the characters like just turns and breaks the fourth wall and like the credits and he was like, hey,
1:25:40
[SPEAKER_03]: If you like this movie, you should buy extra tickets and we'll send them to people so they can see the film and you're just trying to inflate your numbers.
1:25:55
[SPEAKER_03]: and a, that's, I mean, that's just disingenuous.
1:25:57
[SPEAKER_03]: And when you do it at the end of the, of the Christ movie, I mean, you actually included the scene where Jesus Christ, like, got angry and tried to beat up the people who were trying to make money, like off of religion.
1:26:08
[SPEAKER_00]: It's one of, one of my favorite Jesus moments.
1:26:10
[SPEAKER_00]: Yeah, great.
1:26:10
[SPEAKER_03]: It's one of my favorite Jesus moments.
1:26:11
[SPEAKER_03]: It's like, what makes Jesus lose his shit?
1:26:13
[SPEAKER_00]: Capitalism.
1:26:14
[SPEAKER_03]: People trying to use their, like, faith just to make money.
1:26:19
[SPEAKER_03]: And then that's your credits, Jesus.
1:26:23
[SPEAKER_03]: So like,
1:26:24
[SPEAKER_03]: Here's a movie that it doesn't have any overt right wing ideology.
1:26:27
[SPEAKER_03]: There's certainly something that wouldn't like, yeah, impact that, but like, it's not a right wing screen.
1:26:35
[SPEAKER_03]: It's not, I don't think Christianity is even mentioned.
1:26:38
[SPEAKER_00]: Okay.
1:26:39
[SPEAKER_03]: It doesn't fit their brand.
1:26:41
[SPEAKER_03]: In fact, I've actually seen, I was curious about this.
1:26:43
[SPEAKER_03]: I was just kind of just seeing what sort of like the comments were online.
1:26:46
[SPEAKER_03]: People were kind of pissed actually.
1:26:47
[SPEAKER_03]: Like, I know what, I see the Angel Studio stamp.
1:26:50
[SPEAKER_03]: And I know, because I am right-wing, I am Ruby Evangelical Christian.
1:26:54
[SPEAKER_03]: Whatever.
1:26:54
[SPEAKER_03]: Like, I know that this is, it made for me and my family.
1:26:58
[SPEAKER_03]: This is not going to challenge my beliefs or offend us.
1:27:03
[SPEAKER_03]: And then they saw them like, oh, you made a movie about demon monsters.
1:27:07
[SPEAKER_00]: I'm not okay with that, but but not like as they are depicted in any sort of knowledge.
1:27:12
[SPEAKER_03]: But just you know in that way that like people said that like
1:27:16
[SPEAKER_03]: You know, I mean, granted, I've different feelings about this now, but like, you know, oh Harry Potter is evil.
1:27:24
[SPEAKER_03]: Because these evil don't believe in Christ.
1:27:26
[SPEAKER_03]: They're just using magic soldering problems in magic.
1:27:29
[SPEAKER_03]: Which craft can only it only God can use magic like that kind of thing.
1:27:33
[SPEAKER_03]: And I'm like, there's other, there are now very good reasons.
1:27:37
[SPEAKER_03]: That is not one of them.
1:27:38
[SPEAKER_03]: But it's in that mode, you know, there's monsters and they don't solve their problems by Jesus.
1:27:43
[SPEAKER_03]: Um, do you learn a bit about that?
1:27:45
[SPEAKER_03]: I think it's really interesting that Angel Studios, this is like a movie.
1:27:48
[SPEAKER_03]: They didn't produce this.
1:27:49
[SPEAKER_03]: They picked this up from festivals.
1:27:51
[SPEAKER_03]: They saw a really good movie and they just distributed it.
1:27:55
[SPEAKER_03]: They don't even try to panhandle for cash at the end.
1:27:58
[SPEAKER_00]: That's uncharacterized.
1:27:59
[SPEAKER_03]: That is uncharacterized.
1:28:00
[SPEAKER_03]: It makes me wonder like, so did they only do that for movies, catering to their right-wing Christian audience?
1:28:07
[SPEAKER_03]: I'd be insulted by that actually.
1:28:09
[SPEAKER_03]: If it was for all their movies, I would say, at least they're consistent, but like no, it's only for the ones that pass the plate when the church goes.
1:28:17
[SPEAKER_03]: Listen, regardless, but I say this not to go off on my own political screen, which yeah, we're not going to pretend we don't have a political leave here.
1:28:25
[SPEAKER_03]: We talk about all the time.
1:28:26
[SPEAKER_03]: But I say this for actually kind of the opposite reason as well, but if you see the angel studios logo on this and assume this movie is going to
1:28:35
[SPEAKER_03]: be right-wing screens, who was going to be extremely evangelically Christian, and that may not be for you.
1:28:41
[SPEAKER_03]: A lot of people aren't interested in those kinds of movies.
1:28:44
[SPEAKER_03]: No, this one's actually not going to do that.
1:28:46
[SPEAKER_03]: It's just a really great kid's horror movie.
1:28:49
[SPEAKER_03]: And so I actually highly recommend it.
1:28:52
[SPEAKER_03]: Nice.
1:28:52
[SPEAKER_03]: And we should move on.
1:28:53
[SPEAKER_03]: We have one more film left.
1:28:54
[SPEAKER_03]: It is a documentary.
1:28:55
[SPEAKER_03]: I did not see it.
1:28:57
[SPEAKER_03]: It is called, It's Never Over, comma Jeff Butler.
1:29:01
[SPEAKER_03]: Uh, do you know Jeff Buckley?
1:29:02
[SPEAKER_00]: I, yes, but I would am struggling to remember any of his teams.
1:29:06
[SPEAKER_00]: He probably remember the record he came out with called Grace came out in nineteen ninety four and it wasn't a huge hit in the United States.
1:29:14
[SPEAKER_00]: I think it peaked it like a hundred and fifty on the billboard charts.
1:29:17
[SPEAKER_00]: It was big hit overseas.
1:29:19
[SPEAKER_00]: Uh, it finally went platinum in like twenty sixteen.
1:29:22
[SPEAKER_00]: Um, Jeff Buckley, uh, was he was one of those, um,
1:29:28
[SPEAKER_00]: One of those nineties rocker guys, who is very much into the poetry of rock, this is actually a very, very straightforward documentary.
1:29:39
[SPEAKER_00]: The director, Amy Berg, incorporates like a lot of like hand, like the animate sort of sketches a little bit and there's a lot of animated portions, but mostly it just takes us through from his birth to his death.
1:29:51
[SPEAKER_00]: And there's not a lot to deal with unfortunately because he died when he was thirty.
1:29:57
[SPEAKER_00]: And all we really learned about him is he was always interested in music.
1:30:02
[SPEAKER_00]: He was the son of Tim Buckley, who also died very young.
1:30:06
[SPEAKER_00]: Tim Buckley died at age twenty eight of a drug overdose.
1:30:09
[SPEAKER_00]: And he was a rocker who he fathered Jeff Buckley, but wasn't there to raise him.
1:30:15
[SPEAKER_00]: Jeff Buckley didn't actually meet his dad and there was a little bit older and he got to spend us wonderful week with his dad.
1:30:20
[SPEAKER_00]: That's all he really remembers.
1:30:21
[SPEAKER_00]: his mom was sort of encouraged him to get into music and he just sort of lost himself in music he just loved it he loved Led Zeppelin but he was also kind of depressed throughout the movie they kind of come to the conclusion that he might have been bipolar but it was never diagnosed
1:30:37
[SPEAKER_00]: And he started to just talk very politically about music.
1:30:43
[SPEAKER_00]: He only put ever put out the one record by toured incessantly.
1:30:45
[SPEAKER_00]: He toured for three years after all of this one record.
1:30:49
[SPEAKER_00]: He was always playing at these like live open mics and these little clubs in New York.
1:30:54
[SPEAKER_00]: He's from LA, but he actually joined sort of like the Brooklyn art scene.
1:30:57
[SPEAKER_00]: We do get to learn that he was a terrible boyfriend.
1:31:00
[SPEAKER_00]: Like he would get so involved with the music that he would just sort of neglect his girlfriends and just sort of stay out and never communicate.
1:31:08
[SPEAKER_00]: Treated as girlfriends very badly they get any man on camera because it turns out there was this one evening when they were at it Jeff Buckley was at this jazz club with Amy Mann and just sort of flirted with her very awkwardly like trying to get her into bed unsuccessfully so it's fun fun hearing Amy Mann saying yeah, I was just trying to get with me and writing me these cute little notes and he's kind of like kind of this cute little
1:31:32
[SPEAKER_00]: cute little guy and yeah, I turned him down like I'm not just going to do weird for me.
1:31:40
[SPEAKER_00]: He was definitely depressed from time to time, but he was very late.
1:31:45
[SPEAKER_00]: He became a face of MTV very briefly and he recorded a lot of these bumpers from TV.
1:31:51
[SPEAKER_00]: Uh, where he talked about how, you know, well, welcome back to MTV, more corporate rock.
1:31:56
[SPEAKER_00]: He was very, very good Gen Xer, very anti-corporate, very similar attitudes like Kurt Cobain and Eddie Vetter and a lot of the singers of that era kind of had these similar attitudes about MTV and corporate rock.
1:32:09
[SPEAKER_00]: And yet there were still part of that whole machine.
1:32:12
[SPEAKER_00]: uh... when he was touring in uh... members he was touring in Memphis and he was just sort of this goofy guy did things on impulse and he was with a buddy is like hey let's go swimming in that river and he just ran out fully close not drunk he wasn't on drugs or anything he was just being a little so yeah just being a goose and they they put a boom box down by the river is like yeah i'm gonna swim and i close it could be a lot of fun and the boat came by and dragged him under a new drought
1:32:38
[SPEAKER_00]: It's thirty years old.
1:32:40
[SPEAKER_00]: It was just a dumb guy.
1:32:41
[SPEAKER_00]: It was just a dumb guy.
1:32:46
[SPEAKER_00]: The film tries to give his life some sort of arc.
1:32:51
[SPEAKER_00]: And tries to lay some poetry over his death.
1:32:54
[SPEAKER_00]: But his death was just a dumb accident.
1:32:57
[SPEAKER_00]: He was just being a dumb guy and he did a dumb thing and he died.
1:33:00
[SPEAKER_03]: I mean, it's sad when someone's telling to... Is that what anyone does?
1:33:03
[SPEAKER_00]: Yeah, it's sad.
1:33:04
[SPEAKER_03]: But when you see how much potential they could have had to really make it.
1:33:07
[SPEAKER_03]: a huge difference in the world.
1:33:08
[SPEAKER_03]: I mean, his cover, I was looking at him, I was like, how do I know?
1:33:12
[SPEAKER_03]: He did that one cover of Halloween.
1:33:14
[SPEAKER_03]: That is ubiquitous.
1:33:16
[SPEAKER_00]: And rather unfortunately, the movie doesn't go into that.
1:33:19
[SPEAKER_00]: Because he did that cover of Halloween, Leonard Collins, one of the most covered songs in rock history.
1:33:24
[SPEAKER_03]: Yeah.
1:33:25
[SPEAKER_00]: Maybe the most covered song in rock history.
1:33:27
[SPEAKER_03]: I mean, nowadays, yeah, probably.
1:33:30
[SPEAKER_00]: Yeah.
1:33:31
[SPEAKER_00]: And no, it's not a religious song.
1:33:33
[SPEAKER_00]: It's about an orgasm.
1:33:34
[SPEAKER_00]: I have a
1:33:36
[SPEAKER_03]: hurt there's a there's radio stations that go to like all Christmas songs and like December and they say hello to me on there and I'm like, dude, no, I got it.
1:33:45
[SPEAKER_03]: I understand that we've like sex songs.
1:33:47
[SPEAKER_00]: You understand?
1:33:48
[SPEAKER_03]: Somehow we've like moved like my favorite things from like the the sound of music into like Christmas territory.
1:33:53
[SPEAKER_03]: I I never voted for that.
1:33:56
[SPEAKER_03]: That was that was decision was made without me.
1:33:59
[SPEAKER_03]: I will
1:34:00
[SPEAKER_03]: virulently campaign against turning Hallelujah into a Christmas song.
1:34:04
[SPEAKER_03]: It is not.
1:34:06
[SPEAKER_03]: And just because it has that one word in it that does not make it Christmas song.
1:34:11
[SPEAKER_03]: Jesus.
1:34:13
[SPEAKER_03]: I mean, I realize it's ironic to say that, but Jesus.
1:34:15
[SPEAKER_03]: Yeah.
1:34:17
[SPEAKER_03]: It's a great cover, but that's one of the most overplayed songs ever.
1:34:20
[SPEAKER_03]: It's really lost all its power to me.
1:34:22
[SPEAKER_00]: Yeah, it's it's overplayed.
1:34:24
[SPEAKER_00]: Yeah.
1:34:24
[SPEAKER_03]: By the time I used it in Shrek, I was like, yeah.
1:34:29
[SPEAKER_03]: I don't know man.
1:34:30
[SPEAKER_03]: I don't know if that's I don't know if I'm that's invested in Shrek as Halloween is like Jenner Cohen lurches from the grave and says fuck you man.
1:34:37
[SPEAKER_03]: Let's see like like the first track is a good movie.
1:34:40
[SPEAKER_03]: I'm not gonna pretend it's not a good movie, but like
1:34:44
[SPEAKER_00]: get to earn how low the we just throw it anywhere now but uh uh uh Jeff Buckley's mom controlled a lot of his state controls his state now controls all of his music uh she's probably the reason why Grace stayed in uh the consciousness uh Grace is a great record
1:35:06
[SPEAKER_00]: It's, and Jeff Buckley had this wonderful singing voice in a huge range.
1:35:10
[SPEAKER_00]: He gets in these really high notes.
1:35:11
[SPEAKER_00]: He's sang a lot like a Judy Garland.
1:35:14
[SPEAKER_00]: But he could also really whale like the really kind of rock growls if it called for it.
1:35:18
[SPEAKER_00]: He had a wonderful wonderful singing voice.
1:35:20
[SPEAKER_00]: There's a few moments that you might raise an eyebrow where he said he wanted to be Nina Simone.
1:35:28
[SPEAKER_00]: He wanted to be Judy Garland.
1:35:30
[SPEAKER_00]: And he liked to dress and dresses when he was at home occasionally.
1:35:33
[SPEAKER_00]: Okay.
1:35:34
[SPEAKER_03]: All right.
1:35:35
[SPEAKER_00]: They don't explore that any further.
1:35:36
[SPEAKER_03]: Well, I mean, we don't, we don't, you know, let's see wrote something down.
1:35:39
[SPEAKER_00]: No, there's nothing about his sexuality or his gender, but it's something with her co-band.
1:35:43
[SPEAKER_00]: Yeah.
1:35:44
[SPEAKER_03]: There's a lot of people.
1:35:47
[SPEAKER_00]: playing around with gender a little bit.
1:35:48
[SPEAKER_03]: A lot of people may be, but a lot of people who play around and that this is, again, it's not binary thinking, but like, a lot of people who play around with gender eventually realize, oh, I'm, I don't fit entirely within the gender, maybe I'm not, maybe you're a player, maybe you're a player.
1:36:02
[SPEAKER_00]: That would happen to Jeff Buckley, who's to say.
1:36:03
[SPEAKER_03]: Who's to say, but it is interesting to note those things.
1:36:07
[SPEAKER_00]: The first thing about this documentary is it stops at his death, and his legacy continued after his stuff.
1:36:12
[SPEAKER_00]: He was good.
1:36:13
[SPEAKER_00]: He and everything continued.
1:36:14
[SPEAKER_00]: I don't know at what point in rock history that Helylia became the thing again.
1:36:20
[SPEAKER_00]: I think because it wasn't huge when Leonard Cohen for his ability.
1:36:23
[SPEAKER_03]: Honestly, I think it's when they started using it in TV shows.
1:36:26
[SPEAKER_03]: I maybe so.
1:36:27
[SPEAKER_03]: I guess it was a West Wing that really brought it to prominence.
1:36:30
[SPEAKER_00]: I think Jeff Buckley has a lot to do with that.
1:36:32
[SPEAKER_00]: I think his cover of Hallelujah kind of pushed it into a certain kind of musical mindset.
1:36:39
[SPEAKER_00]: Other musicians started paying attention to it, other musicians started covering it, perhaps.
1:36:42
[SPEAKER_00]: He could have been the reason it became a big thing.
1:36:46
[SPEAKER_00]: What happened to his musical legacy when his other friends and other famous musicians, he was playing.
1:36:51
[SPEAKER_00]: He played around with Chris Cornell.
1:36:52
[SPEAKER_00]: All right, Pete Chris Cornell.
1:36:53
[SPEAKER_00]: Yeah.
1:36:54
[SPEAKER_00]: That.
1:36:55
[SPEAKER_03]: I was just, I just, I'll, I'll, I'll mention it.
1:36:59
[SPEAKER_03]: I'll link to it.
1:37:00
[SPEAKER_03]: I'll put it on my social media when it happens.
1:37:01
[SPEAKER_03]: I was just on a podcast where we talked about the, what makes a great James Bond song?
1:37:06
[SPEAKER_03]: Oh, we talked a lot about Chris Cornell who actually made a song about the complexity of being James Bond.
1:37:14
[SPEAKER_00]: You know, you know my name.
1:37:15
[SPEAKER_00]: You know my name.
1:37:16
[SPEAKER_03]: But like it's actually like if you actually really listen to the lyrics about it, it's not just like I'm fucking badass.
1:37:21
[SPEAKER_03]: It's actually like, no, I'm going through some shit.
1:37:24
[SPEAKER_00]: But I felt quite bad because I was on such a modern complex guy.
1:37:27
[SPEAKER_00]: Yeah.
1:37:30
[SPEAKER_00]: So yeah, I wish that they had spoken a little bit more about where his music went after he died.
1:37:36
[SPEAKER_00]: And instead it just sort of tries to turn his life into kind of a rather conventional narrative.
1:37:44
[SPEAKER_00]: And that's a trap, a lot of biographies and documentaries and biopics can fall into.
1:37:50
[SPEAKER_00]: In order to fit a human life into a movie length, they start reducing it into very familiar storybeats.
1:37:57
[SPEAKER_00]: Well, especially when you're talking about the whole life.
1:37:59
[SPEAKER_00]: Exactly.
1:38:00
[SPEAKER_00]: And when you see that repeated time and time again, it doesn't matter what kind of musician they are, you see it again.
1:38:05
[SPEAKER_00]: It starts to make all musician lives seem kind of the same.
1:38:08
[SPEAKER_00]: When it really, it couldn't be more different.
1:38:10
[SPEAKER_03]: I still think in one of the best ways to handle biopics is the Scott Alexander Lerick here, Zaseki method.
1:38:17
[SPEAKER_03]: where those are the guys who wrote at wood and the people versus Larry Fland and the moon and big guys.
1:38:22
[SPEAKER_03]: They were big guys, right?
1:38:23
[SPEAKER_03]: They were big guys.
1:38:24
[SPEAKER_03]: Yeah, yeah.
1:38:25
[SPEAKER_03]: Oh, and goosebumps.
1:38:27
[SPEAKER_03]: And that's true.
1:38:28
[SPEAKER_03]: There were another stuff too, but like their their their biopics are what they're best known for.
1:38:33
[SPEAKER_03]: They also did dolomite as my name, which is Brett.
1:38:35
[SPEAKER_03]: But those are all biopics of people, but they're not about their entire lives.
1:38:39
[SPEAKER_03]: It's about this one really fascinating chapter in their lives.
1:38:43
[SPEAKER_03]: It's from this point to this point.
1:38:45
[SPEAKER_03]: That's a narrative.
1:38:47
[SPEAKER_03]: The whole life is a whole life.
1:38:50
[SPEAKER_03]: It's full of all kinds of stuff.
1:38:53
[SPEAKER_03]: To turn a whole life into a narrative, the last third of your life has to be the last act.
1:38:58
[SPEAKER_03]: You know, like, you're gonna be reductive, but if you can find the narrative within it.
1:39:02
[SPEAKER_00]: But of course it's always nice to be done.
1:39:03
[SPEAKER_03]: You know, you have limited options in that way.
1:39:05
[SPEAKER_00]: I'm really glad what they did with Edward, because if they had told the end of his life, it's an actually very optimistic film.
1:39:12
[SPEAKER_00]: But if you saw how Edward died, it would not be a very optimistic film.
1:39:15
[SPEAKER_03]: And to be fair, men on the moon, Andy Kaufman also died y'all.
1:39:19
[SPEAKER_03]: Men on the moon is a story of his life, of his whole life.
1:39:22
[SPEAKER_03]: But the first thing that happens in the movie is Jim Carrier's Andy Kaufman comes out.
1:39:26
[SPEAKER_03]: I'm not going to do the voice, that's all lie.
1:39:28
[SPEAKER_03]: But he says, yeah, they mixed up my whole life for dramatic purposes.
1:39:32
[SPEAKER_03]: Like the last heroic thing is when he played a play Carnegie Hall.
1:39:36
[SPEAKER_03]: And that did not happen at that point in the start.
1:39:39
[SPEAKER_03]: They lose it around because that's a more satisfying ending.
1:39:41
[SPEAKER_03]: But Andy Kaufman built his whole careers on this direction and lies.
1:39:44
[SPEAKER_03]: So it's inappropriate.
1:39:46
[SPEAKER_03]: In a fun way, but yeah, that fits Andy Kaufman.
1:39:48
[SPEAKER_03]: But the rest of the movies are about in full chapter.
1:39:51
[SPEAKER_03]: OK, so let's wrap this up.
1:39:54
[SPEAKER_03]: So we're going to do our review roundup.
1:39:56
[SPEAKER_03]: And we review movies on a scale of C minus to C plus in which the lowest rating we can give in movies is C minus.
1:40:01
[SPEAKER_03]: That's a movie that we consider below average.
1:40:04
[SPEAKER_03]: not recommended.
1:40:05
[SPEAKER_03]: A C is an average movie, you know, it's just okay.
1:40:10
[SPEAKER_03]: Maybe one part's better than another.
1:40:11
[SPEAKER_03]: It's only for one audience or whatever.
1:40:13
[SPEAKER_03]: And then a C plus is a movie.
1:40:14
[SPEAKER_03]: We genuinely recommend we think it's above average.
1:40:17
[SPEAKER_03]: We think you should see it.
1:40:19
[SPEAKER_03]: On that note, it's never over Jeff Buckley.
1:40:23
[SPEAKER_00]: I'm gonna give it a C, because I just liked hearing the Jeff Buckley story.
1:40:28
[SPEAKER_00]: I think if you're a Jeff Buckley fan, you know it already, but if you're not a Jeff Buckley fan, maybe this will make you a fan.
1:40:34
[SPEAKER_00]: It's gonna at least make you curious enough to buy his record grace.
1:40:37
[SPEAKER_00]: Okay.
1:40:38
[SPEAKER_00]: Well, back in, that's a good function.
1:40:40
[SPEAKER_03]: Okay, sketch, sketch is a C+.
1:40:42
[SPEAKER_03]: I thought it was a really, really solid story.
1:40:44
[SPEAKER_00]: I do want to say that.
1:40:45
[SPEAKER_03]: I recommend it to see it.
1:40:46
[SPEAKER_03]: We don't always have the time.
1:40:48
[SPEAKER_03]: I did recommend that you see it before we did this podcast.
1:40:50
[SPEAKER_03]: I'm a little bummed, but it's still really worth checking out and I was totally delighted by it and it's another one that's like really punchy.
1:40:58
[SPEAKER_03]: It's like mindy minutes.
1:41:00
[SPEAKER_03]: It's just like just a
1:41:03
[SPEAKER_03]: Just a solid flag.
1:41:05
[SPEAKER_03]: Love it.
1:41:05
[SPEAKER_03]: Okay.
1:41:06
[SPEAKER_03]: Yeah.
1:41:06
[SPEAKER_03]: Suleam on story.
1:41:07
[SPEAKER_00]: So much.
1:41:07
[SPEAKER_00]: This is a C++.
1:41:08
[SPEAKER_00]: Like I said, this is one of favorite films of the year.
1:41:11
[SPEAKER_00]: Just it's humanity.
1:41:13
[SPEAKER_00]: It's stress.
1:41:14
[SPEAKER_00]: It's realism.
1:41:15
[SPEAKER_00]: It's compassion.
1:41:16
[SPEAKER_00]: It's all just
1:41:18
[SPEAKER_00]: palpable and strong and and also doesn't ever stay it's welcome.
1:41:21
[SPEAKER_02]: Yeah, I go freaky or friday And help me.
1:41:25
[SPEAKER_00]: It's also a plus it's a plus It's like functions perfectly well.
1:41:29
[SPEAKER_00]: It's just emotionally satisfying.
1:41:30
[SPEAKER_00]: It's slight.
1:41:31
[SPEAKER_00]: It's you know kind of kind of an imps substantial movie, but it earns all of those emotions Jamie Lee Curtis is great.
1:41:37
[SPEAKER_00]: Oh, he lives a little hand is a star.
1:41:39
[SPEAKER_00]: All these pieces things are all function the way they ought to
1:41:42
[SPEAKER_03]: everyone does their job and they did it without the racism this time good yeah still think immigration seems a miscalculation but really generally speaking it's emotionally mature it is sweet it is funny and I mean Lindsey Lowe and has a little less to work with I think than the generally greatest doesn't it sense but
1:42:03
[SPEAKER_03]: They're great.
1:42:04
[SPEAKER_03]: Yeah.
1:42:05
[SPEAKER_03]: They're just so great.
1:42:06
[SPEAKER_03]: Um, so yeah, no, really, really solid.
1:42:08
[SPEAKER_03]: I like them.
1:42:09
[SPEAKER_03]: It would be a lot of big mostly plus.
1:42:10
[SPEAKER_03]: And then finally, weapons weapons.
1:42:14
[SPEAKER_00]: I'm going to need to be seen because I think the style is very strong.
1:42:17
[SPEAKER_00]: And I think it's actually incredibly watchable.
1:42:19
[SPEAKER_00]: I like all of the performances in it.
1:42:21
[SPEAKER_00]: All of the surface stuff is great.
1:42:23
[SPEAKER_02]: Yeah.
1:42:23
[SPEAKER_00]: But there's not a little not a lot of the surface.
1:42:25
[SPEAKER_00]: It's not not really
1:42:27
[SPEAKER_03]: Seeing enough to me which I would be fine with if it didn't practically announce that there was something under the surface, which is why I'm gonna give it a very high scene when I say it's like right on here for me, and I just feel like I'm not comfortable like I can comfortable praising parts of this movie, but I feel like if I if I don't say I don't think this movie works, I would be also be like
1:42:47
[SPEAKER_00]: I'll say this in its favor.
1:42:49
[SPEAKER_00]: It begins in ends with that narration.
1:42:51
[SPEAKER_00]: This is what happened in my town.
1:42:52
[SPEAKER_00]: So it has sort of the the wiff of an urban legend about it.
1:42:56
[SPEAKER_00]: So when it goes into almost like fairy tale territory, it is playing a little fair.
1:43:03
[SPEAKER_03]: It's playing fair, but I also can't help but think that that's a fair excuse.
1:43:07
[SPEAKER_00]: But that's also, you know, that's a fair thing to say.
1:43:09
[SPEAKER_03]: Yeah, so again, again, it's not, it's not that it's badly made.
1:43:13
[SPEAKER_03]: It's that it aims high and it hits low.
1:43:16
[SPEAKER_03]: And so yeah, although there's a lot to admire about it, I think as a whole, it doesn't work for me, which is like I feel like if I watch it again, I'm going to be kind of annoyed a lot of stuff.
1:43:25
[SPEAKER_00]: I think if I were, we're to watch it again, I get less out of it.
1:43:28
[SPEAKER_03]: But certainly the first time, at least the first after you're wrapped like you're totally like it.
1:43:34
[SPEAKER_03]: And I remember if you remember it called the beginning of this podcast, I was like, am I forgetting something?
1:43:38
[SPEAKER_03]: I didn't forget something.
1:43:40
[SPEAKER_03]: It was only when we got to review around a pair of memories.
1:43:43
[SPEAKER_03]: The last episode of critically acclaimed on the review round up apparently I forgot to give a score to she rides shotgun.
1:43:49
[SPEAKER_03]: Someone pointed this to me.
1:43:51
[SPEAKER_03]: She read shotgun was the crime thriller starring Terran Edgerton as a guy trying to tell her yeah trying to predict his daughter from white supremacists who were trying to kill them both And it was really really good so I'm giving it a C plus that was a fish at all.
1:44:05
[SPEAKER_03]: It's really really really good matter of record doesn't break the mold but it is Damn it's a good mold really molded the shit out of it.
1:44:13
[SPEAKER_03]: It's really good.
1:44:14
[SPEAKER_03]: That is it for critically clan.
1:44:15
[SPEAKER_03]: Thank you everybody for listening.
1:44:16
[SPEAKER_03]: Thank you for joining us.
1:44:17
[SPEAKER_03]: It's only back next week with your views of
1:44:20
[SPEAKER_00]: Well, that comes out next.
1:44:21
[SPEAKER_00]: I think nobody too next week.
1:44:22
[SPEAKER_00]: I think nobody too.
1:44:23
[SPEAKER_03]: We'll do a review.
1:44:24
[SPEAKER_03]: Nobody too.
1:44:25
[SPEAKER_03]: Gosh, dang it.
1:44:25
[SPEAKER_03]: I'm presumably other stuff as well.
1:44:29
[SPEAKER_03]: Thank you for everybody for listening.
1:44:30
[SPEAKER_03]: Thank you for joining us.
1:44:31
[SPEAKER_03]: If you want to talk about anything we discussed in this episode, our email address is letters at criticallyclimbed.net.
1:44:35
[SPEAKER_03]: What do you mean what is our PO bot?
1:44:37
[SPEAKER_00]: Send us a letter or postcard, whatever you like to.
1:44:40
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1:44:41
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1:44:46
[SPEAKER_03]: Yeah.
1:44:47
[SPEAKER_03]: By all means, check out our Patreon Patreon.com slash critically acclaimed network.
1:44:51
[SPEAKER_03]: We have a lot of, with bonus material there that is only available to our patrons.
1:45:00
[SPEAKER_03]: I think many hundreds of episodes.
1:45:02
[SPEAKER_03]: Yes.
1:45:03
[SPEAKER_03]: That are exclusive to Patreon and many which are still ongoing.
1:45:07
[SPEAKER_03]: We're gearing up to do the next episode of our Oscars podcast.
1:45:11
[SPEAKER_03]: Only the best we're hoping to be able to record that this week.
1:45:13
[SPEAKER_03]: Yes.
1:45:14
[SPEAKER_03]: Because we're very, very close.
1:45:15
[SPEAKER_03]: Take that one, takes a lot more research than most of our work, but it's worth it.
1:45:19
[SPEAKER_03]: We're reviewing every single movie, we're nominated for Best Picture.
1:45:21
[SPEAKER_03]: We just hit, in, in, in, in, in, in, in, in, in.
1:45:27
[SPEAKER_03]: Great.
1:45:28
[SPEAKER_03]: I've been impressed with that.
1:45:32
[SPEAKER_03]: But anyway, so that's hopefully coming up very, very soon.
1:45:35
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1:45:43
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1:45:46
[SPEAKER_03]: Yeah.
1:45:46
[SPEAKER_03]: That's certainly very, very fun.
1:45:49
[SPEAKER_03]: And yeah, and we're on social media, I'm at, I'm at willing to be on.
1:45:52
[SPEAKER_03]: I'm at, I'm at, I'm at, I'm at, I'm at critical claim.
1:45:54
[SPEAKER_03]: We need to update that social media account.
1:45:55
[SPEAKER_03]: We're off, and I'm aware of that.
1:45:57
[SPEAKER_03]: And yeah, I guess that's it.
1:45:59
[SPEAKER_03]: Have a great week everybody.
1:46:01
[SPEAKER_03]: And everyone, including you, is a critic.
1:46:05
[SPEAKER_01]: I'm on a goal to the mid-notch show.
1:46:09
[SPEAKER_00]: I'm sorry I went.