Latest / Critically Acclaimed Network / Critically Acclaimed #350 | The Secret Agent, Five Nights at Freddy's 2, Merrily We Roll Along, The Chronology of Water, Oh. What. Fun., Fackham Hall, 100 Nights of Hero, Rosemead

Transcript

Critically Acclaimed #350 | The Secret Agent, Five Nights at Freddy's 2, Merrily We Roll Along, The Chronology of Water, Oh. What. Fun., Fackham Hall, 100 Nights of Hero, Rosemead · Critically Acclaimed Network

0:11
[SPEAKER_03]: Greetings friends, welcome back to critically acclaimed the film review podcast where we discuss and review movies.
0:19
[SPEAKER_02]: Hmm.
0:19
[SPEAKER_03]: No, nothing to gossip about this time.
0:21
[SPEAKER_03]: No, just politeness.
0:22
[SPEAKER_03]: Also, it's explosions.
0:24
[SPEAKER_03]: Yeah, we got that too.
0:27
[SPEAKER_03]: My name is Whitney Sibold.
0:28
[SPEAKER_03]: I'm a film critic.
0:28
[SPEAKER_03]: I'm a senior staff writer over at slash film.
0:31
[SPEAKER_03]: With me as always is my far more qualified intelligent and handsome co-host.
0:36
[SPEAKER_03]: William, why don't you introduce yourself?
0:38
[SPEAKER_03]: So nice that you liked me that night.
0:41
[SPEAKER_01]: My name is William DeBionny.
0:43
[SPEAKER_01]: I am a film critic.
0:44
[SPEAKER_01]: I write for the rap everybody calls me bibs and Whitney is more talented This time on critically claimed.
0:52
[SPEAKER_01]: It is our three hundred and fifty-th episode numerically
0:58
[SPEAKER_01]: of this show yes specifically in terms of our podcast we've done several thousand yeah multiple thousand at this point actually in our various programs but of this particular iteration of of our movie reviews podcast we've reached 350 we have nothing planned but it's fun
1:20
[SPEAKER_01]: It's fun.
1:20
[SPEAKER_03]: It's the end of the year.
1:23
[SPEAKER_03]: We're in the early December of the year 2025.
1:28
[SPEAKER_03]: If you're delving through the archives, so that's to catch you up.
1:31
[SPEAKER_03]: Put a little pivot point on your listening experience.
1:35
[SPEAKER_02]: Yeah.
1:35
[SPEAKER_03]: And we're going to be getting to some big awards contenders.
1:38
[SPEAKER_03]: All right.
1:39
[SPEAKER_03]: Five nights at Freddy's too.
1:40
[SPEAKER_01]: Yep.
1:41
[SPEAKER_01]: And and fuck them off.
1:43
[SPEAKER_03]: We are going to... Fack them a haul.
1:45
[SPEAKER_03]: It's gone.
1:46
[SPEAKER_01]: Okay, that is the joke.
1:49
[SPEAKER_01]: Yes.
1:49
[SPEAKER_01]: We are reviewing the new releases.
1:51
[SPEAKER_01]: Five nights at Freddy's to FNAF to the secret agent, the chronology of water.
2:01
[SPEAKER_01]: Fuck them all.
2:02
[SPEAKER_01]: Fuck them all.
2:03
[SPEAKER_01]: Fuck them all.
2:04
[SPEAKER_01]: Okay.
2:05
[SPEAKER_01]: Marily we roll along.
2:08
[SPEAKER_01]: Oh, what?
2:10
[SPEAKER_01]: Fun.
2:11
[SPEAKER_01]: There are periods in it.
2:12
[SPEAKER_01]: There are three periods in that, and that title, 100 nights of hero and Rosemeed.
2:20
[SPEAKER_01]: Rosemeed, California?
2:20
[SPEAKER_03]: Yes.
2:21
[SPEAKER_03]: It said in Rosemeed, California.
2:22
[SPEAKER_03]: It is said in Rosemeed, California.
2:25
[SPEAKER_03]: I know there are many people who live in Rosemeed and allegedly, and I think they would agree with me when I would say, that's a town you drive through.
2:36
[SPEAKER_01]: Yeah, but when you're on a trip from Los Angeles to somewhere else you go through rose me we're inviting a lot of correspondence here I want to just say right now if anyone knows a reason to go Specifically to Rose me I'm not here to live there means perfectly valid place to look down to me.
2:52
[SPEAKER_01]: I'm not going to be insulting to Rose me What are the points of interest in rose me because I have lived
2:59
[SPEAKER_01]: Rosemeed adjacent for 43 years, and I know nothing.
3:05
[SPEAKER_01]: Yeah, it is not come us once.
3:07
[SPEAKER_03]: It's like serritos, like you don't go there.
3:09
[SPEAKER_03]: I don't think they have an auto-square, you go there to buy a car because it's cheaper than in the city.
3:14
[UNKNOWN]: Yeah.
3:15
[SPEAKER_03]: There's nothing else in Syria.
3:17
[SPEAKER_01]: There are so many local jingles that I love and there is a new one in the lexicon.
3:25
[SPEAKER_01]: Oh, that I don't know if people are aware because I know a lot of people don't listen to terrestrial radio anymore.
3:31
[SPEAKER_01]: But if you listen to local radio in California,
3:36
[SPEAKER_01]: You absolutely must pay attention when a commercial comes up for top dog lawyers.
3:47
[SPEAKER_01]: It is the most epic shit I've ever heard.
3:53
[SPEAKER_01]: It is spounding dramatic music like like the
4:02
[SPEAKER_01]: like downbeat bass track, but it's still like Lord of the Rings and its epicness.
4:06
[SPEAKER_01]: While a guy yells at you with a lot of reverb, about a terrible shit that happened.
4:12
[SPEAKER_01]: I was in a car accident and she was in someone offering me justice.
4:17
[SPEAKER_01]: I said, I don't want justice, I want money!
4:23
[SPEAKER_01]: Stop, don't lose a ticket money!
4:25
[SPEAKER_01]: And I'm like fucking hell, that went from,
4:29
[SPEAKER_01]: There was an ad for like a local flower shop a second ago like only fuck I like the ones for freeway insurance You got that a lot.
4:38
[SPEAKER_03]: Hmm Freeway insurance.
4:40
[SPEAKER_03]: It's that thing.
4:40
[SPEAKER_03]: You're a speed nong.
4:41
[SPEAKER_03]: restrictions of that.
4:42
[SPEAKER_01]: Okay, that's a good one.
4:44
[SPEAKER_01]: Good times.
4:45
[SPEAKER_01]: Anyway.
4:47
[SPEAKER_01]: Beautiful.
4:49
[SPEAKER_01]: We should get going.
4:49
[SPEAKER_01]: Now normally we would start with the biggest movie of the week like box office wise, however, we're ahead of the game this time.
4:57
[SPEAKER_01]: Usually we're actually recording this episode before the weekend, even because we're both actually mostly caught up, but we don't actually know what's going to win the weekend.
5:11
[SPEAKER_01]: Probably five nights at Freddy's or at the last door was a big hit.
5:14
[SPEAKER_01]: I mean Zootopia and wicked or still in theaters And they're still right in the cast so maybe it won't topple those two, but it certainly be the biggest new release I'm sure But we didn't both see five nights at Freddy's.
5:27
[SPEAKER_01]: I wanted to I will not have the time this weekend to go see it Whitney did we will get to that in a second in fact of all of the movies we listed
5:37
[SPEAKER_01]: There's only one we both saw.
5:39
[SPEAKER_01]: It is a very, very wild time of year to be a film critic.
5:43
[SPEAKER_01]: There's so many out there.
5:44
[SPEAKER_01]: I thought like, I saw like five movies this week.
5:47
[SPEAKER_01]: Surely, there would be some overlap.
5:50
[SPEAKER_01]: No, no, no, it's wild.
5:53
[SPEAKER_01]: And it's the first week in December, too.
5:54
[SPEAKER_01]: Usually a dead zone.
5:57
[SPEAKER_01]: They usually don't release a lot of new movies, or it's making it a center.
6:01
[SPEAKER_03]: We've been seeing a lot of the prestige pictures, and I think we are talking about a prestige picture.
6:04
[SPEAKER_03]: Oh, we absolutely do, right?
6:06
[SPEAKER_01]: Yeah, yeah.
6:06
[SPEAKER_01]: No, the first film that we're going to be reviewing is Brazil's entry for the best international film category this year's Academy Awards, or the upcoming Academy Awards.
6:19
[SPEAKER_01]: It is called the Secret Agent.
6:24
[SPEAKER_03]: And it's not a spy film, despite the title.
6:27
[SPEAKER_03]: It's political intrigue.
6:28
[SPEAKER_03]: It's political intrigue.
6:30
[SPEAKER_03]: It's about the dictatorship in Brazil.
6:34
[SPEAKER_03]: It's set in 1977, right in the middle of the decade's long dictatorship in Brazil.
6:40
[SPEAKER_03]: Yeah.
6:41
[SPEAKER_03]: And it stars, this is like what I wanted one battle after another to be, essentially, because it's similarly about revolutionaries who are trying in subtle ways to take down or at least survive through this dictatorship and find ways to sort of sneak past the violence that is pervasive around them.
7:04
[SPEAKER_03]: In fact, the first scene in the movie, the main characters, let me look at that one.
7:10
[SPEAKER_01]: I'm not sure if it's Wagner or what it's Wagner.
7:12
[SPEAKER_01]: It is Wagner.
7:13
[SPEAKER_03]: Okay, Wagner.
7:14
[SPEAKER_03]: Wagner Maura pulls up a gas station to gas up his Volkswagen.
7:18
[SPEAKER_03]: And there's a dead guy right over there.
7:21
[SPEAKER_03]: In the parking lot.
7:22
[SPEAKER_03]: About 20 feet away with like a sheet of cardboard over him.
7:25
[SPEAKER_03]: There's like dogs coming up and the gas station or else to scare them off.
7:30
[SPEAKER_03]: It's like, yeah, I got killed there like about two days ago.
7:33
[SPEAKER_03]: We call the cops, but they're busy.
7:35
[SPEAKER_02]: Yeah.
7:35
[SPEAKER_03]: So it's death is everywhere.
7:38
[SPEAKER_03]: Yeah.
7:38
[SPEAKER_03]: And danger is everywhere.
7:39
[SPEAKER_03]: But it's become so normalized, life under this dictatorship has become totally absurd.
7:46
[SPEAKER_03]: Yeah.
7:46
[SPEAKER_03]: And I think that's what this film is going for.
7:49
[SPEAKER_03]: It's trying to show through this series of,
7:52
[SPEAKER_03]: long in some cases very disconnected events what it's like to live in the absurdity of a fascist dictatorship yes which makes it very relevant like it's it's scary yes there's violence everywhere but everybody's just like a little bit insane yeah like the people who are the corrupt politicians and police officers and everyone else who is taking advantage of this terrible system
8:21
[SPEAKER_01]: They're not competent, no, they're just...
8:25
[SPEAKER_01]: willing to do terrible things.
8:28
[SPEAKER_01]: And so they're able to get away with it because everyone is decided they don't care.
8:32
[SPEAKER_01]: And so everyone who does care, who has no power, you still have to go to work.
8:39
[SPEAKER_01]: Yeah, you still have to, he's all about your groceries.
8:42
[SPEAKER_01]: Like you still have to pretend life is going on when in actuality you're watching it fall apart all around you.
8:49
[SPEAKER_01]: The plot such as it is, and this is just like,
8:53
[SPEAKER_03]: there's a lot of like little plots kind of creep around but there's like one through.
8:57
[SPEAKER_01]: I'll keep it focused.
8:58
[SPEAKER_01]: Wagner Mora is the protagonist.
9:01
[SPEAKER_01]: He is a former professor living under an assumed identity in a new town.
9:06
[SPEAKER_01]: Yeah.
9:07
[SPEAKER_01]: He has been placed in a government office, it's the government office where you make identification like driver's licenses and things.
9:14
[SPEAKER_01]: And we don't know what he's doing there.
9:18
[SPEAKER_01]: we don't know like he has there are people who like know he's there and know he's under an assumed identity and they just sort of say by the way sort of wink you know I know that kind of thing but then
9:31
[SPEAKER_01]: you think because it's called the secret agent that he's going to be like activated or something yeah and that's not where this movie is going and why he is even at that government office you think okay he's well situated to perhaps do something not necessarily where the movie is going at all um you just ends up having to be
9:50
[SPEAKER_01]: just right there in the thick of it, as he is trying to figure out his next move in a system that is specifically designed to destroy him for reasons which are eventually revealed and frankly slurred absurd.
10:04
[SPEAKER_03]: There absurd, it's revealed in small ways through small conversations.
10:09
[SPEAKER_03]: I compared it to one battle after another, because there's a scene in PT Anderson's film where the Leonardo DiCaprio character sort of goes into a guy's apartment
10:20
[SPEAKER_03]: Tricked out and there's all these like and he has access to like this network of other people other like revolutionaries Yeah, and I get that sense, but it's way more laid back in this film Well, it's not where people are kind of in the know with each other, but there's not like the secret network of an action Well, like there's nothing really action packed about it.
10:39
[SPEAKER_01]: There's like one Very suspenseful sequence Which involves a foot chase
10:47
[SPEAKER_01]: uh, that happens at one point in the movie, not necessarily where you think it will.
10:50
[SPEAKER_01]: Yeah.
10:51
[SPEAKER_01]: There's also a scene where a severed leg goes on a killing spray.
10:56
[SPEAKER_01]: Well, that's, there's, yeah, there's absurd elements too of this, which is based on a true, not a true story about a leg, but actually like true leg.
11:04
[SPEAKER_01]: newspaper articles that were written in the paper that were satirical, but were also calling attention to topics that the newspaper otherwise wasn't allowed to talk about, but because we were being surrealist, that flew under the radar because fascists.
11:20
[SPEAKER_03]: aren't very smart.
11:21
[SPEAKER_03]: They're not smart.
11:22
[SPEAKER_03]: They're not smart.
11:23
[SPEAKER_03]: They don't have a sense of humor.
11:24
[SPEAKER_03]: They don't have a sense of irony.
11:25
[SPEAKER_01]: Yeah.
11:26
[SPEAKER_01]: Having a sense of humor having a sense of irony and being intelligent, these are not qualities that lead one to become a fascist.
11:35
[SPEAKER_01]: Let's think you have to be the opposite of those things.
11:38
[SPEAKER_03]: As we're learning here in the United States, fascists don't have introspection.
11:41
[SPEAKER_03]: There's not a plan to become a fascist.
11:44
[SPEAKER_01]: They just have based desires that they
11:49
[SPEAKER_03]: They wouldn't be fascists, they wouldn't be cruel, because they would think be thinking about it.
11:56
[SPEAKER_01]: This is something that all art, which is exists to generate empathy, the vast majority of art anyway, is anti-fascist because those are the bad guys in life.
12:09
[SPEAKER_01]: Not movies, not just movies.
12:12
[SPEAKER_01]: There's a lot of, so we feel so specific in its time, so 1970s and not in a, and not in a, not in a cutesy way, but like just as it could, could only be told at this exact moment, and yet feels completely universal.
12:26
[SPEAKER_03]: It's completely relevant to you.
12:28
[SPEAKER_01]: It's just me.
12:28
[SPEAKER_01]: It's really interesting.
12:29
[SPEAKER_03]: Because it's unpacking the mindset of fascists.
12:33
[SPEAKER_03]: And we get it through several angles.
12:36
[SPEAKER_03]: There's these side characters.
12:38
[SPEAKER_03]: It's kind of assassins who, well, are just their assassins.
12:41
[SPEAKER_03]: They don't kill anybody.
12:42
[SPEAKER_03]: for higher and then they do their wicked thing and they have no values.
12:46
[SPEAKER_03]: They just go home and as their job and they have dinner and they outsource.
12:50
[SPEAKER_01]: Yeah, and even they hire other people.
12:52
[SPEAKER_01]: So it's really easy.
12:54
[SPEAKER_03]: The the Wagner Maura character as a young son is being looked after by his in laws.
13:00
[SPEAKER_03]: His wife is long since gone missing and we do find out what happened to her eventually.
13:07
[SPEAKER_03]: I think it's his
13:08
[SPEAKER_03]: Father-in-law is a projectionist at a movie theater.
13:12
[SPEAKER_03]: So there's this weird kind of meta narrative running throughout how we are kind of just watching this movie of a dictatorship playing out.
13:19
[SPEAKER_03]: It feels like a feature film.
13:21
[SPEAKER_03]: So the movie we're watching is like,
13:25
[SPEAKER_03]: the cinematic dream of what it's like to be watching this movie.
13:28
[SPEAKER_03]: I love this film.
13:29
[SPEAKER_03]: It's really actually.
13:31
[SPEAKER_03]: I love the bit with the leg, which it's like introduced to the beginning.
13:34
[SPEAKER_03]: Or a shark is found with a leg in its mouth and that comes back later in the movie.
13:38
[SPEAKER_01]: And also there's like a revival of jaws playing at the movie theater, which is eight times of the leg thing.
13:44
[SPEAKER_01]: Be, remember what jaws is about?
13:48
[SPEAKER_01]: Just as about political corruption and people not willing to do anything to save people's lives because it inconvenutes as those in charge.
13:54
[SPEAKER_03]: And then also there's about halfway through that I made it about halfway through the movie again, these things kind of like jumbled together.
14:02
[SPEAKER_03]: It's like this big sort of experience kind of a film and I love the just sort of the idea.
14:06
[SPEAKER_01]: But it's not overwhelming.
14:08
[SPEAKER_01]: It's not like it's only better.
14:09
[SPEAKER_01]: have a lot.
14:09
[SPEAKER_01]: It's not hyperkinetic.
14:10
[SPEAKER_01]: It's not even one bad left or another.
14:12
[SPEAKER_01]: It's actually very, I love stories of political intrigue that don't feel like movies, that don't feel like everything has to be hyped up in order to sell a story because actual intrigue, actual, even espionage,
14:29
[SPEAKER_01]: doesn't typically work like that.
14:31
[SPEAKER_01]: No, it's sometimes it's really boring.
14:33
[SPEAKER_01]: Like it's dangerous, but it's dull.
14:36
[SPEAKER_03]: So instead we're focusing on the characters and we're invited to do this because there's actually flash forwards to the present day where there's two young student researchers who are listening to audio recordings of the Wagner-Mauer character in the 70s.
14:54
[SPEAKER_03]: and sort of putting together the story for themselves.
14:58
[SPEAKER_03]: So there's all of these super fictionalized elements of this movie.
15:01
[SPEAKER_03]: There's absurdism, there's these kind of impressionistic sequences, but at the same time it feels very immediate and very real and very, very emotionally real.
15:10
[SPEAKER_03]: Oh, very.
15:12
[SPEAKER_03]: But at the same time, there's a lot of moments to breathe.
15:16
[SPEAKER_03]: It's not like emotionally intense.
15:18
[SPEAKER_01]: But there's humor and there's romance and there's beauty and there's comedy.
15:24
[SPEAKER_03]: There's a moment where the Wagner Maurer character has a flame.
15:29
[SPEAKER_03]: This is a woman that he knows and they have sex together.
15:32
[SPEAKER_03]: And it's kind of like,
15:34
[SPEAKER_03]: almost like a 1970s view of sex.
15:36
[SPEAKER_03]: Like, oh, let's just do that.
15:37
[SPEAKER_03]: It's fine.
15:37
[SPEAKER_03]: And they do it.
15:38
[SPEAKER_01]: They do it.
15:38
[SPEAKER_01]: And they do it.
15:39
[SPEAKER_01]: And you're watching 70s movie, like said in the 70s, people would just be like two people who had no sexual chemistry whatsoever, but suddenly find themselves alone in the room.
15:47
[SPEAKER_01]: And it's like, I guess we have to have sex now.
15:50
[SPEAKER_01]: Like, this is what we do here.
15:51
[SPEAKER_01]: Completely dispassionate.
15:53
[SPEAKER_01]: Sometimes satisfying sex.
15:56
[SPEAKER_01]: But I don't think that's supposed to do it.
15:57
[SPEAKER_01]: Or sometimes it's satisfying.
15:59
[SPEAKER_01]: I don't.
15:59
[SPEAKER_01]: I mean, I watched three days of the condor.
16:00
[SPEAKER_01]: I was going to say, I remember Redford and Fade
16:03
[SPEAKER_01]: I don't think they're having a good time.
16:06
[SPEAKER_01]: I feel like they're doing it out of a sense of obligation.
16:08
[SPEAKER_01]: Like, man, free love is only going to be here for a little while longer.
16:12
[SPEAKER_01]: We got to get our bag.
16:16
[SPEAKER_01]: There's a scene in this movie.
16:17
[SPEAKER_01]: It's one of my favorite scenes in any movie this year with, and I believe it's the last film and the last scene we're ever going to get out of Udoq here.
16:26
[SPEAKER_01]: Because the Udokeer, one of the great character actors, just passed away recently, passed away storied career, truly incredible career.
16:39
[SPEAKER_01]: He was amazing in a lot of movies, I give truly excellent performances, he was also in a lot of crap.
16:45
[SPEAKER_01]: And he would say so he would absolutely I don't think he turned down roles.
16:49
[SPEAKER_01]: He's just one of those actors who if you're making a movie He shows up just in case like it's just like out the up in whatever I'm really really glad we got like you don't get to choose this usually is an artist Unless you decide to retire But when you're like you're working you're working and then something happens in you pass away Your last film is whatever it is
17:14
[SPEAKER_01]: great scene to be your last NFL.
17:17
[SPEAKER_01]: There's this incredible sequence where this corrupt police chief takes a shine to Wagner more.
17:25
[SPEAKER_01]: I'm not realizing he's not part of the regime and says you want to do something cool.
17:32
[SPEAKER_01]: Come with me and they go like across the street to a tailor.
17:37
[SPEAKER_01]: The tailor is German and the guy says this guy.
17:42
[SPEAKER_01]: This guy was a Nazi in World War II.
17:43
[SPEAKER_01]: Showing his scars, man, it's fucking awesome.
17:45
[SPEAKER_01]: And everyone's like really, really furious and they're speaking German around him, like, doesn't, you know, he's your Jewish.
17:52
[SPEAKER_01]: Yeah.
17:53
[SPEAKER_01]: Like, no, he'd listen, the only reason we got a, we, and he's bad about it, he hates it.
17:57
[SPEAKER_01]: But it's the only reason he's allowed to operate is that they think he's a fascist.
18:01
[SPEAKER_01]: Yeah.
18:01
[SPEAKER_01]: Not a victim of fascism.
18:03
[SPEAKER_03]: And because he only speaks German, it's essentially just bad mouthing him to his face.
18:06
[SPEAKER_01]: Yeah, yeah, yeah, yeah.
18:07
[SPEAKER_01]: This guy doesn't speak German.
18:08
[SPEAKER_01]: It is.
18:11
[SPEAKER_01]: Truly tragic and absurd all at once and who don't care plays it so perfect.
18:16
[SPEAKER_01]: Yeah, just the perfect scene It's because it brilliant and terrifying and sad and funny and it's just it darkly funny, but like oh That's what a great bed to know
18:28
[SPEAKER_01]: This is an excellent motion picture.
18:29
[SPEAKER_03]: Yeah, I've really, really loved this one.
18:31
[SPEAKER_03]: It might be on my best of the year list.
18:34
[SPEAKER_03]: I don't want to jump ahead, but I mean, you're getting there.
18:37
[SPEAKER_01]: We're going to do that in a few weeks.
18:39
[SPEAKER_01]: So it's got to, it's got a real chance.
18:41
[SPEAKER_01]: I know I'm sure we both have catching up left to do.
18:43
[SPEAKER_03]: Absolutely.
18:44
[SPEAKER_03]: I never,
18:45
[SPEAKER_01]: Feel like I'm yeah, I've seen I've seen about 200 new release movies this year and there's still shit people are telling me I can't believe you haven't seen it.
18:55
[SPEAKER_03]: I'm seeing this.
18:56
[SPEAKER_03]: I've seen less than that.
18:57
[SPEAKER_01]: So I run in these circles sometimes where it's just like Yeah, we're trying to all trying to catch up and see as many movies as we can make sure you make sure you don't miss that five and a half hour documentary.
19:08
[SPEAKER_01]: I'm like, oh
19:09
[SPEAKER_01]: Man, I wish you'd mentioned that before December.
19:12
[SPEAKER_01]: I don't know if I'm going to literally have time for that.
19:16
[SPEAKER_01]: Christ.
19:17
[SPEAKER_01]: I'm going to truly wonder for movie and and I without saying anything specific about it.
19:25
[SPEAKER_01]: I feel like the ending might surprise people, like the way the story concludes.
19:31
[SPEAKER_01]: And I feel like there's a way of interpreting the ending that makes it feel like maybe it's anti-climactic or not what you wanted.
19:40
[SPEAKER_01]: And I think it's fucking brilliant, the way this movie ends.
19:44
[SPEAKER_01]: I really, really do.
19:45
[SPEAKER_01]: I think just completely flips this thing
19:50
[SPEAKER_01]: into something that is just all the more poetic and thoughtful and at so much context then makes me think about where we are now and how we're going to think about where we are now in 40 years.
20:08
[SPEAKER_01]: Really makes me think, and I don't say that lightly because that's such a cliche, it really makes you think.
20:15
[SPEAKER_01]: Does that make me think?
20:16
[SPEAKER_01]: Oh, there's maybe look upon our current situation, not just in America, but the world at large.
20:22
[SPEAKER_01]: And I don't want to say it in a beatway because it's actually very melancholic, but it made me think that like there's a tomorrow.
20:38
[SPEAKER_03]: Yeah.
20:38
[SPEAKER_03]: Through our current dictatorship and understanding how it is about this absurd incompetence that simply is going unchecked.
20:51
[SPEAKER_03]: Yeah.
20:51
[SPEAKER_03]: And the most frustrating thing about it is the fascists think they're smart.
20:57
[SPEAKER_01]: Yeah.
20:57
[SPEAKER_01]: They're not.
20:58
[SPEAKER_01]: Well, the most the the worst part about it is the harm
21:04
[SPEAKER_01]: The part of that, I think, frustrating for us, when you look at it as, here's what's going on in the world today.
21:12
[SPEAKER_01]: If you're trying to look at it as, here's the story being told, writ large across America and the world.
21:19
[SPEAKER_01]: The thing about it, you can't wrap your head around as the absurdity.
21:23
[SPEAKER_01]: Yeah, you would think it would at least not,
21:29
[SPEAKER_01]: Be stupid But it's the only thing that makes sense is the only way it can happen Fucking insane anyway great fucking movie.
21:39
[SPEAKER_01]: Um, is five nights at Freddy's a great movie.
21:40
[SPEAKER_03]: Uh, five nights at Freddy's is a big piece of shit Okay, well hold on I'm not I'm not if he didn't watch that fact.
21:49
[SPEAKER_01]: I'm not if you want that back.
21:50
[SPEAKER_01]: I feel like we need to discuss
21:53
[SPEAKER_01]: where you're specifically coming from.
21:55
[SPEAKER_01]: All right.
21:56
[SPEAKER_01]: It's because, five, if anyone is unfamiliar, if anybody is also like, or you just come, maybe this is.
22:02
[SPEAKER_03]: As somebody who does not like big pieces of shit.
22:07
[SPEAKER_01]: Five Nights at Freddy's is based on a very popular video game series, which was originally the original Five Nights and Freddy's game was a brilliant idea.
22:15
[SPEAKER_01]: You are a security guard in a Chobus pizza like a showbiz pizza or a Chuck and cheese if that's the version you add
22:25
[SPEAKER_01]: it's a kid's pizza dining establishment with a lot of arcade games and there are a lot of animatronic critters that would play music and stuff for the kids.
22:36
[SPEAKER_01]: I went as a kid.
22:37
[SPEAKER_01]: It was fun as a kid.
22:38
[SPEAKER_01]: I'm sure it was an adult.
22:39
[SPEAKER_01]: It was death.
22:41
[SPEAKER_01]: But you're you're working there late at night and you're informed that
22:47
[SPEAKER_01]: The animatronics like to get up and walk around when no one's around.
22:49
[SPEAKER_01]: Yes.
22:50
[SPEAKER_01]: And so you are monitoring them on the security cameras and trying to make sure that they can't get into your security office.
22:57
[SPEAKER_01]: But only one of the doors can be locked at any given time.
23:01
[SPEAKER_01]: So you have to make sure you know where they are, close the right door.
23:04
[SPEAKER_01]: And if they get you, it's this big jump scare.
23:06
[SPEAKER_01]: And in addition to being, I'll be frank, I don't think it's a great mechanic for a video game.
23:12
[SPEAKER_01]: But what it was brilliant at was getting like,
23:15
[SPEAKER_01]: live streamers playing it, and you would watch it.
23:18
[SPEAKER_01]: It's not like you're playing the game.
23:20
[SPEAKER_01]: You're watching other people be scared.
23:21
[SPEAKER_01]: OK. And that was where the phenomenon really started kicking in.
23:25
[SPEAKER_01]: And then people do like the games and the games evolved in their different kinds of games now.
23:29
[SPEAKER_01]: And it's got a whole lot of lore to it.
23:31
[SPEAKER_03]: Oh, well, yeah, hang on, you'll tell me about that in a second.
23:35
[SPEAKER_03]: More is the problem, but I'll tell me about that in a second.
23:38
[SPEAKER_01]: It took a while, but they finally made a feature film, Five Nights at Freddy's, which came out a couple of years ago now.
23:45
[SPEAKER_01]: I was not surprised that it was success, I was a bit surprised at how much of a success it was.
23:51
[SPEAKER_01]: It was a huge financial hit.
23:52
[SPEAKER_03]: They've like $300 million, like I made a lot.
23:55
[SPEAKER_01]: Was it that much?
23:58
[SPEAKER_01]: I'm gonna look that up, because that's totally worth knowing.
24:01
[SPEAKER_01]: But yeah, and that movie, I saw that movie.
24:08
[SPEAKER_01]: I didn't think it was very good.
24:10
[SPEAKER_01]: Yeah, it made almost $300 fucking million dollars.
24:11
[SPEAKER_01]: That's insane.
24:12
[SPEAKER_01]: I've a $200 million of, I'm sorry, I've a $20 million dollar budget.
24:15
[SPEAKER_01]: Yeah.
24:16
[SPEAKER_01]: Now that's how you turn a profit.
24:19
[SPEAKER_01]: But give people what they want, make it cheap.
24:23
[SPEAKER_01]: The five minutes of Freddy's movie was about to start Josh Hutcherson as the security guard.
24:28
[SPEAKER_01]: He's got like a little sister, right?
24:31
[SPEAKER_03]: His little brother has died.
24:33
[SPEAKER_03]: This is the first movie.
24:34
[SPEAKER_03]: His little brother was kidnapped in front of his eyes and he didn't do anything about it.
24:39
[SPEAKER_03]: He still has a younger sister.
24:42
[SPEAKER_01]: Yeah, his parents are out of the picture and he's not raising his little sister and he's and he needs a job in order to maintain custody or she's going to go to their crappy relative.
24:51
[SPEAKER_01]: Yeah.
24:51
[SPEAKER_01]: So he takes the only job he can get, which is a nighttime security guard at a disused Freddy fast bears pizza joint.
25:02
[SPEAKER_01]: And here's the thing, he spends most of the movie asleep.
25:08
[SPEAKER_03]: That's a fun weird thing.
25:10
[SPEAKER_03]: This is a very unusual thing about this movie and that it's so...
25:15
[SPEAKER_03]: There have been over 25 nights at Freddy's games.
25:21
[SPEAKER_03]: If you count, like the main series and the Spinoffs and everything.
25:23
[SPEAKER_03]: Sure, sure.
25:24
[SPEAKER_03]: A lot of a lot of games.
25:25
[SPEAKER_03]: Which means they've been building on the lore for all of this time.
25:29
[SPEAKER_03]: They've been introducing new characters and new stories.
25:31
[SPEAKER_01]: There's that time on the other mastermind behind it.
25:34
[SPEAKER_03]: All this stuff and I feel like when they made the movie they were really trying to appease the fans of those games They were trying to be fair man.
25:41
[SPEAKER_01]: He mount on mass.
25:42
[SPEAKER_03]: They came out on mass and they're folding in all of his extra Lore and in fact I know that the fans like this one.
25:47
[SPEAKER_03]: I went to a screen and Walked out over her to ten year olds talking to his father father's son on a scale of one to five What do you give it any y'all?
25:56
[SPEAKER_03]: Wow, so kids are gonna like this one.
25:58
[SPEAKER_01]: You know what kids got their own stuff.
26:01
[SPEAKER_03]: They got their own stuff That's fine.
26:03
[SPEAKER_03]: I'm an old man.
26:04
[SPEAKER_01]: Yeah, we might be simply out of touch.
26:08
[SPEAKER_03]: Oh I definitely am okay
26:10
[SPEAKER_01]: I think it's important to note that not every person who looks down on stuff that the kids listen I was a kid some of the stuff I liked was really really great some of the stuff had qualities then other people didn't appreciate despite not being very good some of the stuff I loved was trash oh yeah and it was fair to say it even that even though I might have hurt my feelings um but the kids might be on to something something something as I see stuff we don't say yeah um so the kids are loving it um I think that first movie is just
26:39
[SPEAKER_01]: not very good.
26:40
[SPEAKER_01]: It feels like they can't decide how scary they want it to be.
26:44
[SPEAKER_01]: Like all the really scary scary stuff is like only like in two sections.
26:48
[SPEAKER_01]: And then after the, after they horrifically murdered some people, then they might be cute and fun.
26:54
[SPEAKER_01]: And I'm like, I honestly don't know.
26:55
[SPEAKER_01]: What the movie even wants me to feel half the time.
27:00
[SPEAKER_01]: And then Josh Hutcherson spends literally most of the movie asleep trying to, like, just to dream, you kind of remember what it was a little brother.
27:09
[SPEAKER_01]: I mean, the pace off later, but it makes the whole film feel very inactive to me, and then everything kind of came to like a really like rushed conclusion, and then we were done.
27:22
[SPEAKER_01]: My hope, and you're going to tell me, and I get it, you don't like it, but like my hope, is that at the very least, after that awkward introduction, because as much as the target demo for this movie knows the lore has played the games,
27:38
[SPEAKER_01]: You know, one of the reasons why you adapt something to a new medium is to attract people who aren't already familiar with it or don't know all that stuff.
27:46
[SPEAKER_01]: So, at the very least, after establishing awkwardly all that stuff in the first movie, does this feel at least like a cleaner narrative?
27:56
[SPEAKER_03]: Oh, no, it's so much dirtier.
27:58
[SPEAKER_03]: Oh, they add so much new, so many more new elements to the thing.
28:03
[SPEAKER_03]: So we still have the lucid dreaming thing.
28:05
[SPEAKER_03]: Really we solved that and it's not Josh Hutcherson Just someone else randomly decides the lucid dream.
28:14
[SPEAKER_03]: There's okay.
28:15
[SPEAKER_03]: Okay.
28:16
[SPEAKER_01]: Okay.
28:17
[SPEAKER_03]: You were trying to lay out something very cleanly and I have to know it knock it all off the table Because there's not enough room anymore Because there's so much shit to put on the table in front of you now
28:29
[SPEAKER_01]: Okay, pilot on me baby.
28:30
[SPEAKER_03]: So five nights at Freddy's two.
28:32
[SPEAKER_03]: Josh Hutcherson is back.
28:33
[SPEAKER_03]: He's still raising his little sister in the last movie.
28:37
[SPEAKER_03]: I was really unclear as to the personality of the Freddy Fazbear characters, the animatronics that were
28:44
[SPEAKER_03]: Supposedly the scary things, but they were also friendly occasionally, and it was explained that they were powered by ghosts They were the ghosts of children.
28:54
[SPEAKER_03]: Ghosts of children who had been killed by the serial killer.
28:57
[SPEAKER_03]: So But they're sympathetic.
28:59
[SPEAKER_03]: So maybe they're bad guys, but also yeah, they're they're serial killers But also they're sympathetic friends who had like kids.
29:05
[SPEAKER_03]: Yeah, and Also, and this was another element in the movie not only are they possessed by the ghosts of children, but they're they were constructed in such a way that
29:14
[SPEAKER_03]: Matthew Lillard, who was the serial killer, was putting their dead buys inside of the Antonics as well.
29:22
[SPEAKER_03]: They were like walking coffins.
29:24
[SPEAKER_03]: So there was a creepy, which child skeletons as well as being possessed by ghosts.
29:28
[SPEAKER_03]: I mean, that's very creepy.
29:29
[SPEAKER_03]: It's never really explained.
29:31
[SPEAKER_03]: how the ghosts came, became involved specifically with Freddie Fazbear?
29:35
[SPEAKER_01]: Is that a coincidence or was that always part of it?
29:37
[SPEAKER_01]: Yeah, it's a little like that.
29:38
[SPEAKER_03]: There's not like a book of black magic or anything like that.
29:41
[SPEAKER_01]: I think what I really wanted from the first movie was because there was that thing, like, are they...
29:46
[SPEAKER_01]: Good to know or are the horrific villains who will kill you and I guess I just wanted to know what the rule was there It's like in Friday to 13th Jason doesn't kill children.
29:58
[SPEAKER_02]: Okay.
29:58
[SPEAKER_01]: We was established that six made that a hundred percent clear He doesn't kill you if you're a kid.
30:02
[SPEAKER_01]: He remembers being a kid.
30:04
[SPEAKER_01]: He all of terrible stuff happened when he was a kid So if you're a kid you're cool.
30:09
[SPEAKER_01]: Okay, that's the rule anyone else is fair again
30:12
[SPEAKER_01]: Um, so, cool, I get it.
30:15
[SPEAKER_01]: Awesome.
30:15
[SPEAKER_01]: Like, for a long time, it's like, Michael Myers just killed people to try to get the Laurie Strode.
30:19
[SPEAKER_01]: If you lived in a different town, you would find, like, there's a rule.
30:23
[SPEAKER_01]: I was really unclear as to who was on the chopping block.
30:26
[SPEAKER_03]: Yeah.
30:26
[SPEAKER_03]: And why?
30:28
[SPEAKER_03]: Um, and I'm still a little unclear because this, this young character, Abby, is a little older now, but she has trouble making human friends because she misses her
30:38
[SPEAKER_03]: the animatronics that she befriended from the first move okay and Josh Hutcherson has been lying to her saying he's going to go back to that abandoned Freddy Fazbear's where they've been hanging out and fix them and they can be friends again but he doesn't know how to do that.
30:56
[SPEAKER_03]: Has he been going there?
30:57
[SPEAKER_03]: He hasn't been going there.
30:58
[SPEAKER_03]: He's just lying to his own sister.
30:59
[SPEAKER_01]: I don't know.
31:00
[SPEAKER_03]: Okay.
31:01
[SPEAKER_01]: But surely that won't come back to buy him.
31:03
[SPEAKER_03]: The cop from the first movie was a later reveal to be Matthew Lillard's daughter, and now she has to live with the fact that he's been exposed as a serial killer who was dressing in an animatronic and slaying children.
31:15
[SPEAKER_03]: and he was killed in that movie but he because there's a ghost movie he returns in a dream sequence that she has.
31:22
[SPEAKER_03]: She tries to get a vision of Matthew Lillard and it turns out his like dark magic is still out there.
31:27
[SPEAKER_03]: The plot of this movie is about a young girl in Charlotte who was murdered by Matthew Lillard back in 1982 at the original Freddy Fazbear's location, the first one that we didn't know about before.
31:39
[SPEAKER_03]: Okay, all right, and we have with you so far different animatronics now as well as and this is the first time I've been scared by one of these things A big spindly marionette looking animatronic.
31:53
[SPEAKER_03]: Yeah, it's like eight feet tall and it looks like like a Tim Burton version of no face from spirit it away
31:59
[SPEAKER_03]: Like it's got this really good.
32:00
[SPEAKER_01]: Oh hell no.
32:01
[SPEAKER_03]: Yeah, it's kind of a spooky no fucking thank you none of the Freddy Fazbear's animatronic scared me They were too friendly designed and they never did like actual violence because it's a PG-13 movie It was like a little off camera stuff and like a centerpiece.
32:13
[SPEAKER_03]: So it's actually scared by those creatures But this thing was actually scary.
32:18
[SPEAKER_03]: This is the one thing it had this movie has yeah
32:21
[SPEAKER_03]: uh... she was killed in front of a bunch of adults and they never and that sort of caused it to close the animatronics stayed there i guess and that girls ghost ended up uh... possessing the marionette okay uh... and if you want to look up a picture of it uh... just like all right for an af marionette or a fennath puppet you'll see what this thing looks like
32:44
[SPEAKER_03]: Um, oh hell no Yeah, so he's kind of scary though hard fucking pass.
32:49
[SPEAKER_01]: Oh fucking thank you.
32:50
[SPEAKER_01]: What do we why would you do that?
32:53
[SPEAKER_03]: And what I appreciate about what I appreciate about that design is you can see somebody thinking that might be okay for kids even though it's No, I actually don't that's the part of I'm tripled with okay
33:06
[SPEAKER_01]: This isn't a friendly Ronald McDonald thing.
33:08
[SPEAKER_01]: This is Nightmare Fuel before the Nightmare App.
33:12
[SPEAKER_03]: That's the thing.
33:13
[SPEAKER_01]: Like, ah, okay.
33:14
[SPEAKER_01]: Wait a minute.
33:15
[SPEAKER_03]: Anyway, this young girl has now become an angry, vengeful spirit, has possessed the Mary Annette.
33:22
[SPEAKER_03]: I'm not really sure what the rules are in this universe though, because she can also simultaneously possess new versions of the Freddy Fazbear animatronics.
33:36
[SPEAKER_03]: that now look like more plasticky and friendly like Jim Hansen's creature shot made these things and they look fine for like movie creatures.
33:43
[SPEAKER_03]: I appreciate the practical effects.
33:44
[SPEAKER_03]: Yeah, and there's like actors in there and they're just doing sort of the robotic mind and it actually looks fine.
33:50
[SPEAKER_03]: I don't know who built those or why.
33:54
[SPEAKER_03]: And also even though the ghost can possess them, they still, they still need like a literal
34:04
[SPEAKER_03]: In order to leave that location there's like a location lock in place, which is never explained It sounds like a video game again.
34:11
[SPEAKER_01]: I don't even get in the cab in the last movie Well Freddy Fazbear got in the fucking Uber.
34:18
[SPEAKER_03]: No, these are just these new ones.
34:19
[SPEAKER_03]: Okay Okay, this is different rules.
34:22
[SPEAKER_03]: Okay, all right, all right, so they have to break in and Somebody has to can one of the animatronics convinces somebody to undo the sort of
34:32
[SPEAKER_03]: Location box even though they're super natural they're being controlled by ghosts or maybe they're terminator robots this time around Yeah, who have artificial intelligence and can interact with people all of that's unclear Well, I guess if you possess a physical object you do have that physical object you are some somewhat limited by its capacities
34:51
[SPEAKER_01]: You know, so like if I was a ghost car, like I was a ghost and I possessed a car, like for Steve.
34:57
[SPEAKER_03]: Yeah, you could only do I still need gas?
34:59
[SPEAKER_03]: I guess I probably need gas.
35:00
[SPEAKER_01]: So otherwise my options are pretty limited.
35:02
[SPEAKER_03]: Also, this Marionette ghost doesn't just stay in the Marionette.
35:08
[SPEAKER_03]: It can also possess people, and when it possesses people, they turn into like Marionette monsters.
35:14
[SPEAKER_01]: Like that sounds scary.
35:15
[SPEAKER_03]: Their face changes in their eyes light up.
35:17
[SPEAKER_03]: That sounds scary, scary.
35:18
[SPEAKER_03]: Image wise, yes, but why I don't understand the way this is supposed to work What is there's no advantage of trying to happen here?
35:25
[SPEAKER_03]: What's the Vengeance of some kind The go to the daughter maybe on all parents because parents didn't pay attention to her when she was young So it's Jason worries kind of yeah, okay?
35:38
[SPEAKER_03]: That's sort of fun.
35:39
[SPEAKER_01]: Yeah, you let me die.
35:39
[SPEAKER_03]: I kill you.
35:40
[SPEAKER_03]: Mm-hmm.
35:41
[SPEAKER_03]: Okay
35:42
[SPEAKER_03]: Uh, I, but none of this falls into place or clicks in any kind of way, and what's more, it's not even a good horror movie because there are a lot of creative kills or actual terror.
35:55
[SPEAKER_03]: There's a few scary images, maybe.
35:56
[SPEAKER_03]: I like to a scene where there's a riverboat ride in this movie, and somebody falls into the water and they look down to the water with a flashlight, because it's a dark room, and they see a bunch of those little marionette puppets like souvenir dolls, and they swarm in like piranha, like that's kind of cute.
36:12
[SPEAKER_03]: I think maybe three people die in this whole movie there's a scene where somebody gets their head crushed by one of the animatronics, but it's all completely off camera and there's no blood Yeah, if if Okay, the whole inspiration behind this right is
36:35
[SPEAKER_03]: that if you go to show his pizza or you go to check the cheese it's CG13 so they're going for it yeah uh and you see those animatronic bands there's a weird eerie like uncanny valley uh quality they're weird to those things because they are animatronic they move in a vaguely natural way but not really but they're made to mental look really friendly and a lot of people are really scared of those things because they're a little weird a lot of people really like them some kids were frightened by them
37:02
[SPEAKER_03]: Imagine then that those things could step off the stage and start chasing you.
37:07
[SPEAKER_03]: Scary constantly.
37:08
[SPEAKER_03]: Probably wouldn't be good.
37:09
[SPEAKER_03]: Find idea for horror movie, show those things murdering people in bloody ways.
37:15
[SPEAKER_03]: Mm-hmm.
37:15
[SPEAKER_03]: Show them murdering people in bloody ways, and that's all I need.
37:20
[SPEAKER_03]: But I'm robbed of the, I robbed of images of these things like pulling people's heads off and blood spraying everywhere.
37:26
[SPEAKER_03]: I don't even get a visceral thrill from this movie.
37:29
[SPEAKER_03]: But the plot is completely nonsensical.
37:32
[SPEAKER_03]: They introduce all of these new elements.
37:34
[SPEAKER_03]: Skit Ulrich shows up at one point as a little screamary union, because he's not a lords anymore.
37:40
[SPEAKER_03]: As like one of his old business partners and he introduces a music box, which has some sort of key element that can be used to quell the spear in some way.
37:51
[SPEAKER_03]: the spirit escapes Freddy Fazbearers and starts killing other people or possessing other people but I don't really know
38:00
[SPEAKER_03]: to what end they're doing it and they just keep on adding more and more lore and I'm sure fans of five nights of Freddy's understand what these things are from because they're from the games but when it's such bad storytelling that I can't tell what it's going on throughout this movie and there's the camera like zooms in on the things that they're supposed to be significant and I don't know what they're supposed to represent.
38:22
[SPEAKER_03]: There are some animatronics that just have like one scene and we're supposed to be really terrified of them and then
38:29
[SPEAKER_03]: I'm guessing those are from other games and they're setting them up to be killers later.
38:32
[SPEAKER_03]: All of these things have back stories, all of these things have lore that needs to be explained, all of these things have some kind of supernatural connection, and it's never ever once explained why any of this is happening, other than there's, I understand the a concept of eventual spirit, but how does this serial killer have access to supernatural animatronics in the first place?
38:57
[SPEAKER_03]: Wow, that he supposedly invented and I have robots.
39:01
[SPEAKER_03]: There you go, he invented it.
39:02
[SPEAKER_03]: Okay, but how are the spirits in those things?
39:05
[SPEAKER_03]: With some difficulty, I guess so.
39:07
[SPEAKER_01]: Yeah, I am.
39:07
[SPEAKER_03]: And if this is a world where spirits possess stuff, why do they need to possess animatronics, possess a car?
39:12
[SPEAKER_03]: There's got to get into a forklet, front somebody over.
39:15
[SPEAKER_01]: There's something that's interesting.
39:16
[SPEAKER_01]: I think something interesting happening where there's a big enough audience for some very involved fandoms.
39:27
[SPEAKER_01]: that people who are maybe adapted them say to film don't feel terribly beholden to anyone who doesn't know it.
39:37
[SPEAKER_01]: I look at like some of the anime movies that came out this year like chain saw man or demon slayer, which I find like that up on by the way, and really dug a lot.
39:47
[SPEAKER_01]: But they don't hold your hand.
39:51
[SPEAKER_01]: If you haven't seen the show, I mean you can probably follow
39:56
[SPEAKER_01]: but they expect you to have done the work.
40:00
[SPEAKER_01]: Yeah.
40:00
[SPEAKER_01]: It's a very, very labor-intensive form of adaptation.
40:08
[SPEAKER_01]: And I feel like it's frustrating because I feel like a lot of movies that attempted to adapt these sorts of fandoms.
40:17
[SPEAKER_01]: Didn't do a very good job of it, but didn't at least try to work as a movie and try to introduce people to the premises, but it always felt like they were holding something back or they never got to the good stuff.
40:29
[SPEAKER_01]: And you know, it's like, I wanna get to all the parts that I really, really love, but that would take like three movies.
40:34
[SPEAKER_01]: And so we're kind of just jumping into it, knowing that five minutes of ready has sold enough copies that the fans, you can make enough money based on the people who just know it already.
40:48
[SPEAKER_01]: And if anyone else shows up, tough, I guess.
40:52
[SPEAKER_01]: Probably, maybe you'll dig it, maybe you won't, but we're not here for you.
40:56
[SPEAKER_01]: Like, when you look at like, the Star Trek movies, when those became feature films, the ones that were successful were the ones that were inviting.
41:08
[SPEAKER_01]: Yeah, like, if you saw the original series episode space seed before you saw Star Trek 2, the Wrath of Khan, all the better.
41:15
[SPEAKER_01]: But all you really need to know is that Conn is a bad guy with a graduate against Kirk and then you're good, the movie works on its own.
41:25
[SPEAKER_01]: We don't have to do that anymore.
41:27
[SPEAKER_01]: Especially when you're dealing with something that only costs $20 million.
41:29
[SPEAKER_01]: I bet if this costs $100 million, it exactly needs to be a lot more concerned about making it like, friendly to more audiences.
41:38
[SPEAKER_01]: Yeah.
41:38
[SPEAKER_01]: But because it's 20, I guess it gives a shed.
41:43
[SPEAKER_01]: At some point, I wonder though.
41:47
[SPEAKER_01]: Is this one of those things where it's like because you're not a fan, and because you haven't done the homework?
41:52
[SPEAKER_01]: Is this movie just, quote, not for you?
41:58
[SPEAKER_01]: And I'm not a literal sense, because you pay to take it, of course, for you.
42:01
[SPEAKER_01]: I'm talking about, like, it's just not designed for your brain.
42:05
[SPEAKER_03]: It's clearly designed for a large number of people who are already familiar, but here's where I get to sort of flex my muscles as a critic.
42:14
[SPEAKER_03]: If I have to do a lot of homework, just to understand the basics of a movie's plot, then the movie isn't doing its job as a movie.
42:26
[SPEAKER_03]: It's what we call pretense.
42:28
[SPEAKER_03]: Five nights at Freddy's is a pretentious movie.
42:30
[SPEAKER_03]: I think pretentious is misused in a lot of ways.
42:33
[SPEAKER_03]: People use it to mean justically pretentious.
42:36
[SPEAKER_03]: You have to be part of an artistic scene or understand a lot of art history to understand and appreciate it a piece of work.
42:43
[SPEAKER_01]: Which is merely one form.
42:44
[SPEAKER_01]: Other things we think of that as snooty because to have access to or the time experience education to know, good to it.
42:55
[SPEAKER_01]: feels like something that like only certain people are doing.
43:00
[SPEAKER_01]: And there's a certain snootiness, a certain bourgeois quality to that.
43:05
[SPEAKER_01]: It goes the other way, too.
43:11
[SPEAKER_01]: I worry about losing type of popular culture.
43:14
[SPEAKER_01]: And I really do.
43:15
[SPEAKER_01]: I try to keep track of these things.
43:19
[SPEAKER_01]: I accept that not everything is for me.
43:21
[SPEAKER_01]: I accept that like,
43:23
[SPEAKER_01]: People are gonna connect with these things on a level.
43:25
[SPEAKER_01]: I don't pick up by dint of The culture they're immersed in, you know when you're in a school Everyone's your age.
43:35
[SPEAKER_01]: Yeah, everyone's Doesn't want to do their homework and they're just absorbed in whatever popular culture that they're interested in And it becomes this sort of petri dish of culture
43:45
[SPEAKER_01]: You know, we're just things just grow and become their own thing.
43:48
[SPEAKER_01]: And then all of a sudden, skip any toilet has been seen a billion times.
43:52
[SPEAKER_01]: And I'm not decrying skip any toilet.
43:53
[SPEAKER_01]: I'm just saying that like, I think if 40 year olds were interested in it, I don't think it would have done that.
44:01
[SPEAKER_03]: Yeah.
44:02
[SPEAKER_01]: Um, so I don't think it's weird.
44:05
[SPEAKER_03]: It's certainly not for me and I can't speak to how a fan would react to something like this.
44:12
[SPEAKER_03]: I can't say if they did me, I am in the Star Trek and if they did make a Star Trek movie that was nothing but insular references.
44:22
[SPEAKER_03]: I would smile and laugh, but it wouldn't feel like something I could share.
44:28
[SPEAKER_03]: It wouldn't feel like a work of art that I could really explain to somebody else.
44:34
[SPEAKER_03]: It would feel too insular.
44:36
[SPEAKER_03]: I don't like when things are made for me or made for fandoms.
44:42
[SPEAKER_03]: I like things that explore interesting ideas.
44:46
[SPEAKER_03]: I like things that are exciting to watch.
44:49
[SPEAKER_03]: Yeah.
44:50
[SPEAKER_03]: And looking at something through the lens of fandom, hurts art.
44:55
[SPEAKER_03]: And five nights at Freddy's does that.
44:57
[SPEAKER_03]: It hurts its own artistic ambitions because it is catering to a commercially interested audience.
45:08
[SPEAKER_01]: I see that, but I also think there's something to be said for not having to make art that is for everybody.
45:19
[SPEAKER_01]: that it's okay to play to a smaller crowd or just talking about the secret agent.
45:23
[SPEAKER_03]: It's about a very specific time and place and yet it feels universal.
45:26
[SPEAKER_03]: Okay.
45:27
[SPEAKER_03]: Find something universal in five nights at Freddy's.
45:30
[SPEAKER_03]: Find something we can relate to.
45:32
[SPEAKER_03]: Find something that's tapping into a universal fear.
45:35
[SPEAKER_01]: Let me put this into something that maybe you have a different connection to.
45:38
[SPEAKER_01]: All right.
45:40
[SPEAKER_01]: David Lynch's Dune.
45:42
[SPEAKER_01]: Yes.
45:44
[SPEAKER_01]: is extremely opaque if you haven't read the book or I guess now if you seem to didn't even know some of these that cheat sheet because it just conveys everything a lot more cleanly for better words it's really dense there's a lot of story there's a lot of characters and a lot it's not really clearly explained David Lynch is not terribly interested in actually explaining anything that's going on in that very very weird world a lot of people rejected it you and I really like that movie yes
46:11
[SPEAKER_03]: Well, but here's the thing.
46:12
[SPEAKER_03]: I don't like it because of its lore.
46:14
[SPEAKER_03]: I like it because of its artistry.
46:16
[SPEAKER_03]: I like it because of its tone and its characterization.
46:19
[SPEAKER_03]: Okay.
46:20
[SPEAKER_03]: In terms of telling its story, I think it fails.
46:24
[SPEAKER_03]: Okay.
46:24
[SPEAKER_03]: I think it's a film that's really chaotic.
46:27
[SPEAKER_03]: And like you said, opaque.
46:30
[SPEAKER_03]: It's difficult to get your head around a movie like that.
46:32
[SPEAKER_03]: You have to watch it a couple of times just understand what the story is.
46:35
[SPEAKER_03]: Yeah.
46:35
[SPEAKER_03]: But it has enough weird surreal imagery
46:41
[SPEAKER_03]: intriguing sci-fi concepts and has this weird kind of dream-like psychedelic tone to your other things you can imagine that I can stay really involved with this movie even if I'm not getting not into Frank Herbert's sociopolitical commentary which David Lynch didn't seem to have much interest in anyway.
47:00
[SPEAKER_03]: So there's a lot in that film even though it's kind of a mess.
47:05
[SPEAKER_03]: I, I see your point and I see it's a mess, but there's nothing to latch on to besides.
47:10
[SPEAKER_01]: Okay, very enough.
47:11
[SPEAKER_01]: Um, I do have something with a dome fandom that I saw.
47:15
[SPEAKER_01]: Okay.
47:16
[SPEAKER_01]: That I, I was new to and I had to have a bit of a primer on the lore.
47:23
[SPEAKER_01]: Um, and the lore isn't so much, uh, within the narrative.
47:31
[SPEAKER_01]: It's about the history of the thing.
47:35
[SPEAKER_01]: There is a new, I believe it's called a Pro-Shod movie that is the recent Broadway revival of Merrily We Roll Along, is the even song time musical that won a bunch of Tony's.
47:49
[SPEAKER_01]: Yes.
47:50
[SPEAKER_01]: It is not a feature film adaptation.
47:53
[SPEAKER_01]: They filmed the show with angles you wouldn't get from the audience.
48:01
[SPEAKER_03]: They did that with Hamilton, a couple years ago, yeah.
48:04
[SPEAKER_01]: Yeah, it's a whole thing.
48:05
[SPEAKER_01]: It's a whole community.
48:07
[SPEAKER_01]: I don't know a lot about the specifics of the pro-shod sort of when expectations people have of that.
48:16
[SPEAKER_01]: So this is, that was relatively new to me.
48:17
[SPEAKER_01]: But, merrily, we're all along itself has a weird history because Stephen Sondheim was God.
48:27
[SPEAKER_01]: everything he did was not just good, was not just popular, but for a while it was a fucking game changer in musical theater.
48:38
[SPEAKER_01]: Yeah.
48:39
[SPEAKER_01]: And then he and Prince, I think is the guy's name, was the last name of the guy's prince, the head of the high prince.
48:46
[SPEAKER_01]: No, not Prince.
48:47
[SPEAKER_01]: The guy's last name happened to be Prince.
48:49
[SPEAKER_01]: All right.
48:50
[SPEAKER_01]: The head of the idea to adapt
48:53
[SPEAKER_01]: Um, a Kaufman and Hart play called narrowly we roll along into into a musical and the novelty was this it's told backwards we start with the characters as middle aged
49:06
[SPEAKER_01]: miserable failures.
49:08
[SPEAKER_03]: Okay.
49:09
[SPEAKER_01]: And then every scene takes place two years prior.
49:14
[SPEAKER_01]: Okay.
49:14
[SPEAKER_01]: As we see how they went from idealistic young artists who wanted to make it in the world and gradually became Jay to the assholes.
49:28
[SPEAKER_01]: Okay.
49:30
[SPEAKER_01]: But it works backwards, like I said.
49:32
[SPEAKER_01]: Not unlike the movie Memento, perhaps if that's, if that's easy to wrap your head around.
49:38
[SPEAKER_01]: Although there's no memory gimmick, it just happens to be told chronologically in that way.
49:43
[SPEAKER_01]: The initial production of Merrily We Roll Along, which I believe was in the early 80s, was a huge flop.
49:55
[SPEAKER_01]: like 16 performances and it was done.
49:57
[SPEAKER_01]: Yeah, it was very ambitious and I'm very very glad that my friend recommended that I watched a stock imagery called the best worst thing that ever could have happened, which is a documentary from one of the actors who was in that production, you directed it, reliving it, figuring out what went right, what went wrong, what it was like to be there in this weird flashpoint
50:23
[SPEAKER_01]: It seemed like we were in part of a surefire thing and then it all fell apart.
50:28
[SPEAKER_01]: Yeah.
50:29
[SPEAKER_01]: Apparently one of the biggest flaws people pointed out, the reason why that one didn't work was they thought it would be best to hire very young actors, people who could play these people in like the early 20s and then ask them to play them throughout the entire production so that when we meet them, here are these 20 year olds playing 40 year olds.
50:49
[SPEAKER_01]: And apparently,
50:51
[SPEAKER_01]: people couldn't buy into that reality.
50:54
[SPEAKER_01]: It was just too much.
50:55
[SPEAKER_01]: Yeah.
50:56
[SPEAKER_01]: Um, so for that in a couple other reasons, it just got panned and didn't work and it became a big flop.
51:04
[SPEAKER_01]: Uh, it was revived multiple times, but it never played on Broadway again until this recent revival, uh, which stars, uh, Denna Radcliffe.
51:14
[SPEAKER_01]: Well, yeah, he's like the second lead.
51:16
[SPEAKER_01]: Uh, it's, um,
51:18
[SPEAKER_01]: Oh my god, I just, Daniel Radcliffe, Jonathan Graff, and Lindsey Mendez.
51:26
[UNKNOWN]: Okay.
51:28
[SPEAKER_01]: And I think first off, those are all people who are not in their 20s.
51:32
[SPEAKER_01]: They got people who are like in their 30s, and I think John the Graf is in his 40s.
51:36
[SPEAKER_01]: Okay.
51:37
[SPEAKER_01]: To start you off strong, and then it's easier to accept them being younger by like making Jonathan Graf's hair with speed.
51:46
[SPEAKER_01]: Okay.
51:46
[SPEAKER_01]: It's like you can tell, he's in his early 20s, because there's like a whisp of hair on his forehead.
51:50
[SPEAKER_01]: All right.
51:51
[SPEAKER_01]: As opposed to slick back to make it look like he's balding.
51:53
[SPEAKER_01]: So it's like,
51:56
[SPEAKER_01]: It's a core Kent kind of thing, basically.
51:58
[SPEAKER_01]: All right.
52:01
[SPEAKER_01]: So I've never seen this before.
52:03
[SPEAKER_01]: I've never seen Marilyn Monroe long.
52:04
[SPEAKER_01]: I think I'd incidentally heard a little bit of the music, but I never really connected with me because it's one of those musicals where every song tells a story.
52:14
[SPEAKER_01]: It pushes the story along.
52:16
[SPEAKER_01]: So they don't necessarily all work.
52:18
[SPEAKER_01]: They're not all radio friendly.
52:22
[SPEAKER_01]: So yeah, I also Marilyn Monroe was again considered a huge flop for a long time, so it just wasn't really in the public consciousness.
52:30
[SPEAKER_01]: But the new version was a hit.
52:32
[SPEAKER_01]: Uh-huh, want a bunch of Tony's, give it to them.
52:35
[SPEAKER_01]: And now it is a movie that you can see in theaters, just like you would be on a play.
52:39
[SPEAKER_01]: But again, we're not in the audience.
52:43
[SPEAKER_01]: Even more so than, like if you watch Hamilton, the pro shot they did of Hamilton, it's still mostly at sort of a distance.
52:50
[SPEAKER_01]: And we're still mostly angled like in the audience, right?
52:54
[SPEAKER_01]: And so that's the wide shot, or that's the medium shot, but we're like what the audience would more or less see.
53:00
[SPEAKER_01]: Here, Maria Friedman directed the film and I don't actually directed the actual musical itself.
53:09
[SPEAKER_01]: But we're writing the fucking thick of it and we're swinging the camera everywhere.
53:15
[SPEAKER_01]: There's a big close-ups in everybody.
53:17
[SPEAKER_01]: There's reverse shots where we can actually see kind of backstage a little bit, just as we get like someone's reaction to someone else talking.
53:25
[SPEAKER_01]: And I got to be honest, I think it's a little disorienting.
53:29
[SPEAKER_01]: Just that kind of filmmaking style.
53:30
[SPEAKER_01]: Just like, well, she tells it down after a while, but the opening scene is at this big party where Jonathan Groth was a musician who became a musical producer, who has now started producing movies.
53:45
[SPEAKER_01]: And then the opening scene is the 1970s, and he's a big movie producer, he just had a huge hit.
53:51
[SPEAKER_01]: Okay.
53:51
[SPEAKER_01]: and it's a huge party for all of his Hollywood asshole friends and he's sleeping with the new star of his movie and his wife is miserable about it and we find out that he had a huge falling out with his old collaborator who wrote the lyrics to his music, like a Daniel Radcliffe and also that another best friend played by Lindsay Mendes who was an author who became a critic and has been
54:21
[SPEAKER_03]: Uh, uh, sounds very sound highly.
54:24
[SPEAKER_01]: Oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
54:40
[SPEAKER_01]: cut two a couple years later, I'm so happy it was earlier, and we see how they felt apart.
54:47
[SPEAKER_01]: They were in the, their musicals are very successful, I think it had just been turning to a movie, and down the right cliff wanted to get back to work and get us from writing music again because that's what he was good at and that's what he was happy with, and he's been frustrated that he's been so focused on producing him money, and he has this total meltdown
55:05
[SPEAKER_01]: on camera where he reads Jonathan Graff the Riot Act for abandoning the art, only caring about money, not being a good friend, throws him completely under the bus, rumors are related to brilliant song, Daniel Radcliffe sells it so fucking good, you can totally see why I want to tell you.
55:27
[SPEAKER_01]: And so that's that.
55:29
[SPEAKER_01]: And then as we keep moving backwards, we see, I'm admired the storytelling this because it's so gradual.
55:38
[SPEAKER_01]: We see how Jonathan Graffy went from being initially just a real piece of shit that I don't like.
55:46
[SPEAKER_01]: And I saw every scene reveals one tiny thing about how his life went to ruin that was not as necessarily not his fault, but was more complicated than people given credit for.
55:59
[SPEAKER_01]: Yeah, a lot of the decisions he made were things that like the thing, then a record of
56:06
[SPEAKER_01]: I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I can't do it, I
56:29
[SPEAKER_01]: The camera, we do not get good at establishing shots and just all on everybody and there's so many extras.
56:35
[SPEAKER_01]: And they're all part of the chorus so they'll be around later and they'll play different roles throughout the movie.
56:39
[SPEAKER_01]: But we just keep feeling these posts of people laughing or reacting.
56:43
[SPEAKER_01]: And I'm like, I don't know who you are where we are.
56:45
[SPEAKER_01]: Is that the audience?
56:46
[SPEAKER_01]: No, there's no audience, we hear the audience occasionally, but we're not, we don't say the audience.
56:51
[SPEAKER_01]: It's the people who are at the party.
56:54
[SPEAKER_01]: Like the extras in the scene.
56:57
[SPEAKER_01]: And we're just right up in their fucking faces.
57:00
[SPEAKER_01]: There's so many close-ups that I'm completely disoriented and I don't know what's going on, who is doing what in relation to what, and I cannot get my bangs.
57:09
[SPEAKER_01]: Okay.
57:09
[SPEAKER_01]: Gradually, the film stops doing that.
57:14
[SPEAKER_01]: Thank God.
57:16
[SPEAKER_01]: Because I think that's the biggest critique I have is that it opens in such a way that is,
57:23
[SPEAKER_01]: not actually introducing the characters in the story very well.
57:25
[SPEAKER_01]: I'm glad that we're really dropped in the middle of it, and media stress, but like, they go overboard, trying to make sure that you don't have your footing.
57:34
[SPEAKER_01]: And I think that's a mistake, but they correct it pretty fast, and by like, three scenes in, I got it.
57:39
[SPEAKER_01]: And I feel comfortable on the camera, it's calm down a bit, and I'm starting to really get involved.
57:45
[SPEAKER_01]: Once that happened, fuck this is a good musical.
57:48
[SPEAKER_01]: This is such a good musical, this is such a, obviously it's song time, but it's like it's wonderful music, it's wonderful songs, really brilliant bizarre compositions, fantastic storytelling, Jonathan Graff has
58:03
[SPEAKER_01]: I mean, he's a star, it's basically his story, and sometimes his whole arc is a little sort of Ebony's or Scroogean, like a little, you know, just kind of through line, this is all just the ghost of Christmas pass going way overboard, and it goes for his present, and it's like, I barely got to say anything.
58:22
[SPEAKER_01]: So, but when we're down in red, Cliff is on his chest.
58:25
[SPEAKER_01]: So f-he got so fucking good.
58:30
[SPEAKER_01]: I remember seeing that first Harry Potter movie before we knew it was a little kid and he wasn't a particularly talented child actor.
58:39
[SPEAKER_01]: He was fine.
58:40
[SPEAKER_01]: But like you see certain child actors like you see Jackie Cooper and the champ or something.
58:44
[SPEAKER_01]: You know like, oh my god, that kid's got it.
58:46
[SPEAKER_01]: Yeah, he was fine.
58:49
[SPEAKER_01]: He got great.
58:51
[SPEAKER_01]: Two of us fucking credit.
58:53
[SPEAKER_03]: I appreciate, you look at those Harry Potter movies.
58:56
[SPEAKER_03]: There are those who have pretty shactors.
58:58
[SPEAKER_03]: Yeah.
58:58
[SPEAKER_03]: You have to strain to think who wasn't in those marries.
59:02
[SPEAKER_01]: Tim Roth, because he turned down the role of Snape in order to be in Tim Burton's planet of the apes.
59:07
[SPEAKER_03]: That is prerogative.
59:08
[SPEAKER_03]: It's only a better one.
59:09
[SPEAKER_01]: Totally prerogative.
59:10
[SPEAKER_01]: It's fine.
59:10
[SPEAKER_01]: But that's the reason why you don't see Tim Roth.
59:12
[SPEAKER_01]: He's got the one guy.
59:14
[SPEAKER_03]: So I like Malcolm McDowell.
59:15
[SPEAKER_03]: Wasn't in them.
59:16
[SPEAKER_03]: Wouldn't he have been prerogative?
59:17
[SPEAKER_01]: Yeah.
59:18
[SPEAKER_03]: I guess Mr. Futter.
59:20
[SPEAKER_03]: Yeah.
59:21
[SPEAKER_03]: I'm going to rip you hide off.
59:23
[SPEAKER_03]: Yeah, love to see Malcolm McDowell.
59:25
[SPEAKER_01]: Oh, and everything.
59:26
[SPEAKER_01]: He's like who I mean.
59:27
[SPEAKER_01]: I mean, he has to pay attention by Harry Potter.
59:28
[SPEAKER_03]: All right.
59:29
[SPEAKER_03]: He's a wonderful, rye actor who has been in so much garbage in his career.
59:38
[SPEAKER_03]: Yeah, I'm really happy, but amidst all these who's who I think a lot of the young actors picked up just sort of a good sense of professionalism.
59:47
[SPEAKER_02]: Yeah.
59:47
[SPEAKER_03]: So a lot of those actors from the Harry Potter series just continue to work.
59:52
[SPEAKER_02]: Yeah.
59:53
[SPEAKER_03]: And they continue to hone their craft and play a lot of really different interesting roles.
59:56
[SPEAKER_03]: Yeah.
59:57
[SPEAKER_03]: So they they turn up in these movies now.
59:58
[SPEAKER_03]: It's like, oh,
59:59
[SPEAKER_03]: Wow, they're astonishingly good.
1:00:01
[SPEAKER_01]: Harry Milling is a fucking great act.
1:00:02
[SPEAKER_03]: Harry Milling Tom Felton, like these are really good, great actors.
1:00:06
[SPEAKER_01]: Yeah, and yeah, Delirac Club fucking kills in this.
1:00:09
[SPEAKER_01]: And not to, and seriously, it's easy to focus on.
1:00:15
[SPEAKER_01]: uh... gruff and rackliff because they have a bit more prominent like tv movie careers but Lindsey man does totally carries a fucking honor that she's fucking great nice uh... she's very funny she gets all the best one liners um... and it's got a real tragedy to her too and it's it's really just a beautiful excellent intelligent play
1:00:33
[SPEAKER_01]: Awesome.
1:00:33
[SPEAKER_01]: And yeah, if you don't get a chance to go see it on Broadway, this is good.
1:00:38
[SPEAKER_01]: If you're like me and in the first 5-10 minutes, you're just like, I don't like the way this is filmed, it calms down.
1:00:44
[SPEAKER_01]: Okay.
1:00:45
[SPEAKER_01]: And it's totally worth sticking around.
1:00:46
[SPEAKER_01]: So, yeah, highly recommended.
1:00:48
[SPEAKER_01]: It's really fucking great.
1:00:49
[SPEAKER_01]: So, surprising few people I imagine considering how popular an acquainted is, but the world of musical theater and film doesn't interact as often as it used to.
1:01:01
[SPEAKER_01]: I used to be music videos for common and huge blinds.
1:01:05
[SPEAKER_03]: Adapted into movies and turn into people.
1:01:07
[SPEAKER_03]: Like sound of music, I think, is still one of the highest grossing movies of all time.
1:01:10
[SPEAKER_01]: We're just for inflating time.
1:01:11
[SPEAKER_01]: It's still this, yeah, like doing the top.
1:01:13
[SPEAKER_01]: It's in top five.
1:01:14
[SPEAKER_01]: Yeah, at least, especially domestically, but like, yeah.
1:01:18
[SPEAKER_01]: So yeah, there's a lot of people may not know merely we roll along the way that a theater officially not a wood and if this is all news to you and you want to have a little bit more context for it that documentary I mentioned the best worst thing that could have happened or that ever could have happened I think is what it was rumor it happened it's it's easily I found it on I think it was on canopy which is the free streaming service we have in America if you have a
1:01:48
[SPEAKER_01]: Totally worth it, 90 minutes, really interesting, very beautiful, a lot of interesting people wearing that original production, Jason Alexander, John Carlos Esposito, although they didn't in real before, which is kind of a bummer, I think they did, so yeah.
1:02:02
[SPEAKER_01]: Um, fascinating stuff.
1:02:04
[SPEAKER_01]: Uh, tell me about the chronology of water.
1:02:07
[SPEAKER_03]: All right.
1:02:08
[SPEAKER_03]: Uh, I will.
1:02:09
[SPEAKER_03]: The chronology of water is the directorial debut of Kristen Stewart.
1:02:13
[SPEAKER_03]: Hey, good for her.
1:02:14
[SPEAKER_03]: Yeah, she wanted to direct.
1:02:15
[SPEAKER_03]: Now, she is.
1:02:16
[SPEAKER_03]: And um, she has made something quite unexpected because she wrote and directed this film based on a memoir by an author named Lydia Ayuknavich who, um,
1:02:31
[SPEAKER_03]: Very rough life.
1:02:32
[SPEAKER_03]: She tells the story of how she was sexually abused by her father when she was very young and how she kind of had to survive that.
1:02:42
[SPEAKER_03]: She kind of relates a lot of the details of the abuse and sort of the nature of her home life and kind of this atmosphere.
1:02:50
[SPEAKER_03]: She was growing up in and how she found a lot of freedom in swimming.
1:02:54
[SPEAKER_03]: She became a swimmer, not a professional or competitive, just she was a swimmer.
1:02:57
[SPEAKER_03]: Yeah.
1:02:59
[SPEAKER_03]: And
1:02:59
[SPEAKER_03]: Also, how she sort of perlade that into a writing career.
1:03:04
[SPEAKER_03]: She really wanted to be a writer.
1:03:07
[SPEAKER_03]: uh... and we uh... image and poots plays the main character uh... plays the delity a character great at all had a earlier this year i i love image and poots she's been in a lot of trash and movies as well but she's always really selling it she's a very committed actress um... she plays the character from like her teen years through her forties i think uh... image and poots i think is like in her early thirties
1:03:31
[SPEAKER_03]: which is kind of odd in that it's trying to sort of prolong.
1:03:36
[SPEAKER_03]: I think the comment is in having the same actress play the young and the middle-aged characters that we're kind of the same person throughout.
1:03:45
[SPEAKER_03]: There's a little bit of a commentary with this one.
1:03:47
[SPEAKER_03]: It's not.
1:03:48
[SPEAKER_03]: Just a quirk of casting.
1:03:50
[SPEAKER_01]: I could think so.
1:03:50
[SPEAKER_01]: And I mentioned this with Maryly, we're all along.
1:03:52
[SPEAKER_01]: If you have someone who's going to be aged young to old, having someone in the middle is probably the best bet, rather than having someone young, trying to play it out or old, get CTDA, aimster, some bullshit.
1:04:04
[SPEAKER_01]: So, Christopher.
1:04:06
[SPEAKER_03]: Christopher.
1:04:06
[SPEAKER_03]: Yeah, Kristen Stewart, however, is really keen on working with these actors, because
1:04:12
[SPEAKER_03]: Anyway, that's kind of the story, but this is actually a very more of a mood piece.
1:04:18
[SPEAKER_03]: It's very tactile.
1:04:19
[SPEAKER_03]: It's very abstract.
1:04:21
[SPEAKER_03]: We're very much in the head of the Lydia character.
1:04:23
[SPEAKER_03]: So events happen out of order.
1:04:25
[SPEAKER_03]: There's some narration and some scenes.
1:04:26
[SPEAKER_03]: There's a lot of...
1:04:27
[SPEAKER_03]: Close-ups of like a really stressful moments that we don't get context for until later in the movie.
1:04:33
[SPEAKER_03]: The first shot is blood seeping across a floor.
1:04:36
[SPEAKER_03]: We don't really know what's happening in that scene until later on and we keep cutting back.
1:04:40
[SPEAKER_01]: There's a lot of lead good thing.
1:04:42
[SPEAKER_03]: No.
1:04:43
[SPEAKER_03]: Well, I mean, that sets the tone.
1:04:44
[SPEAKER_03]: The thing, this is going to be a film about bleeding and pain.
1:04:46
[SPEAKER_03]: In fact, there's a lot of, it's called the chronology of water.
1:04:50
[SPEAKER_03]: There's a lot of liquid imagery, a lot of going into, not just swimming pools, but also the ocean and bathtubs.
1:04:56
[SPEAKER_03]: and blood is all part of it.
1:04:58
[SPEAKER_01]: What does that symbolize?
1:05:00
[SPEAKER_03]: I think it's just sort of the almost womb-like in this.
1:05:04
[SPEAKER_03]: But more than anything, it's about how bodily immediate our experiences.
1:05:11
[SPEAKER_03]: It's a very tactile movie.
1:05:12
[SPEAKER_03]: We get to sort of see close-ups of textures and skin and more than anything, the fluids.
1:05:19
[SPEAKER_03]: And as we sort of explore through Lydia's life, we get to learn about her interest in writing.
1:05:25
[SPEAKER_03]: How she went to college, the professors she tried to please Jim Balushi shows up as one of the professors and gives a weirdly profound performance He's an underrated actor He's he's he's he's he's he's he's he's he's his team right he was never he like made his name Starting in sort of like mainstream kind of goofy comedy films.
1:05:43
[SPEAKER_03]: Yeah
1:05:43
[SPEAKER_03]: which I liked at the time, I liked films like Taking Care of Business.
1:05:47
[SPEAKER_03]: Yeah, I haven't really done that in forever.
1:05:49
[SPEAKER_01]: It's been a long time.
1:05:50
[SPEAKER_03]: Same with Mr. Destiny.
1:05:51
[SPEAKER_01]: I thought it was amazing.
1:05:52
[SPEAKER_01]: I thought it was fine at Miller's, but it was fine.
1:05:55
[SPEAKER_01]: But I was like 12 years old.
1:05:56
[SPEAKER_01]: I just wanted those guys.
1:05:57
[SPEAKER_01]: I think because, you know, a lot of it was like sort of the residual sort of career stuff of John Belushi.
1:06:03
[SPEAKER_01]: Oh, like you said, riding on it's, well, I feel like I feel like he was such a different kind of comedian.
1:06:08
[SPEAKER_01]: I think they were just trying to like, I don't, I think Hollywood was doing.
1:06:12
[SPEAKER_01]: I don't think he was.
1:06:13
[SPEAKER_01]: They were trying to like, just shoot ornament into a similar comedic vein and he's a much more interesting actor than that.
1:06:18
[SPEAKER_01]: And so whenever he gets to do something like real and genuine, he's always great.
1:06:22
[SPEAKER_03]: So yeah, he has a, a, a, a, a, a, a brief bet.
1:06:26
[SPEAKER_03]: Lydia writes story is trying to kind of unpack the abuse she suffered and she told you know writes these very immediate very abstract stories that reveal in great detail.
1:06:40
[SPEAKER_03]: what happened to her when she was sexually assaulted by her father and it shocks everybody but she's kind of proud to use that as sort of a confrontational means to kind of confront it herself a little bit.
1:06:51
[SPEAKER_03]: She took control of her sexuality, she had affairs with men and women and was just sort of like sleeping her way through the student body at one point.
1:06:59
[SPEAKER_03]: Oh, well, there's there's a great bit where she and two of her girlfriends go off on a
1:07:07
[SPEAKER_03]: And she and one of her girlfriends are like, yeah, we're fucking.
1:07:11
[SPEAKER_03]: And the third friend goes up to them and just says kind of suspiciously, is this a fuck vacation?
1:07:19
[SPEAKER_03]: And they kind of eyeball her and they're like, yeah.
1:07:21
[SPEAKER_03]: And then it's like, okay, well, fuck it.
1:07:25
[SPEAKER_03]: Uh, that's fine.
1:07:27
[SPEAKER_03]: One of our professors is played by Kim Gordon from Sonic Youth.
1:07:31
[SPEAKER_03]: No, Kim.
1:07:33
[SPEAKER_03]: And she plays like the very stern female professor who introduces her to bondage.
1:07:37
[SPEAKER_01]: I don't think I've ever seen her act before.
1:07:39
[SPEAKER_03]: I don't think I have either.
1:07:40
[SPEAKER_01]: Oh, yeah.
1:07:41
[SPEAKER_03]: I mean, she's only in two or three scenes, but yeah, she's fine.
1:07:45
[SPEAKER_03]: She's fine.
1:07:46
[SPEAKER_03]: And her best friend, the one who kind of repeatedly comes back through her life, is Thoraburch.
1:07:51
[SPEAKER_03]: Well, I haven't seen her.
1:07:52
[SPEAKER_01]: Well, another great actor.
1:07:53
[SPEAKER_03]: It was kind of like,
1:07:54
[SPEAKER_03]: was once huge and hollywood and then stepped out of a hole in it was a child actor and then she just acted less and less.
1:08:00
[SPEAKER_03]: Well I know she was also having a lot of trouble with like her her.
1:08:03
[SPEAKER_03]: I think her dad was trying to take control of her finances at one point.
1:08:06
[SPEAKER_01]: Oh yeah, that was one of those child actor cautionary tales where your parents just didn't manage yourself well.
1:08:11
[SPEAKER_03]: Yeah, so that was a big part of why she's she didn't like step away from hollywood because I think I'll do that like
1:08:16
[SPEAKER_03]: I don't think she was getting, she was getting, you know, fucked up.
1:08:19
[SPEAKER_01]: The work has been done in the movie since 2018.
1:08:21
[SPEAKER_03]: Yeah, she doesn't act a lot, but, you know, Kristen Stewart and it convinced her to come back.
1:08:26
[SPEAKER_03]: There's a lot of talk about how Lydia was inspired by William Falkner.
1:08:31
[SPEAKER_03]: This is a work of psychological realism and just like Falkner writes.
1:08:36
[SPEAKER_03]: And I think that is,
1:08:39
[SPEAKER_03]: Not just Lydia, you can have it, but also Kristen Stewart kind of calling her shots, and that this is very much like a work of William Faulkner, and they're kind of calling that they're kind of like lampshading it.
1:08:51
[SPEAKER_03]: It's like, okay, this is a lot like Faulkner, but I don't want to do, I don't want just want to imitate William Faulkner.
1:08:57
[SPEAKER_01]: I have to correct myself, I was looking at Kim Gordon's filmography now, and I just started which would work a little bit more than that.
1:09:04
[SPEAKER_01]: Okay, because something last year called the Midway Point in 2021, she was in a film called 13 minutes, which I didn't see in 2019, she was in quite a few things, including above suspicion and the last black man in San Francisco.
1:09:15
[SPEAKER_01]: So she doesn't work a lot, but she has been working more than I gave her crushes and that's not just me.
1:09:20
[SPEAKER_01]: I read the wrong thing.
1:09:21
[SPEAKER_03]: She exploded in fame because she was in American beauty back in 1999.
1:09:25
[SPEAKER_03]: Oh yeah, she's quite big.
1:09:26
[SPEAKER_03]: It's quite good in that movie and she tried to make her into a bigger star but a lot of the projects she chose didn't take off.
1:09:32
[SPEAKER_03]: Dungeons and Dragons.
1:09:33
[SPEAKER_01]: Well she was like, she was also popular in a child after she was in Hocus Pocus.
1:09:36
[SPEAKER_01]: She was in a new one.
1:09:39
[SPEAKER_01]: Alaska Mumbia troubles.
1:09:41
[SPEAKER_01]: She was a big child actor in the 90s.
1:09:42
[SPEAKER_03]: Yeah, but you know, she's about 40 now and uh, you know, it's just Connected with the right director and that happened to be Kristen Stewart.
1:09:50
[SPEAKER_03]: Kristen Stewart's a very she's a great actress Yeah, she is she got she got a lot of grief for her style in a in the movie Twilight how she came to fan she She didn't exactly what those movies asked of her or she didn't great
1:10:03
[SPEAKER_03]: And she's continued to develop and has chosen a lot of really interesting projects.
1:10:07
[SPEAKER_03]: She's fallen in with a lot of really interesting directors and I think she understands cinema and sexuality and literature and art better than a lot of her contemporaries.
1:10:23
[SPEAKER_03]: That's cool.
1:10:25
[SPEAKER_03]: Her performance is tend to be very introspective and now as a director, she's also very introspective.
1:10:31
[SPEAKER_03]: Um, I don't know if she has anything else in her, like it feels like she poured it all into this.
1:10:38
[SPEAKER_02]: Okay.
1:10:38
[SPEAKER_03]: I'll, I'll, I'll, I'll have to see where she goes from here.
1:10:41
[SPEAKER_03]: Yeah, it's happening.
1:10:42
[SPEAKER_01]: It's happening.
1:10:42
[SPEAKER_03]: I'm not like, if you're, if... Because this is such a striking film, if she makes another film like it, then well, no, she's kind of one trick.
1:10:51
[SPEAKER_03]: Maybe I don't know.
1:10:53
[SPEAKER_01]: I used to think like that a lot like we do the same up thing over and over again.
1:10:57
[SPEAKER_01]: You're one trick.
1:10:58
[SPEAKER_01]: The more older I get the more I think that that's can just be an artist has something that they're interested in.
1:11:05
[SPEAKER_01]: A style or late motif or just something that's really important to them in their lives.
1:11:10
[SPEAKER_01]: And it's a sort of thing that like in the moment we can look at similar movies from the same film maker and go like, oh, they're just been in their wheels.
1:11:18
[SPEAKER_01]: Um, but then sometimes like later on, we look at their career in context, we're like a lifetime achievement award thing or after they die, you look at it and go, oh, they explore the theme in their own particular way for a really long time.
1:11:35
[SPEAKER_01]: So I don't think it's necessarily a problem, but I haven't in the movie, so I can't speak to it.
1:11:40
[SPEAKER_01]: I have heard really good things actually.
1:11:42
[SPEAKER_01]: I kind of,
1:11:44
[SPEAKER_01]: I feel like a few years ago, Kristen Stewart's directorial debut would be getting a lot more attention, just as a matter of course.
1:11:51
[SPEAKER_01]: And I feel like this has been kind of just dumped into a word season and no one's really talking about it, but everyone had to have seen it.
1:11:58
[SPEAKER_01]: Said it was really great.
1:11:59
[SPEAKER_01]: And I knew a couple of critics who told me I should definitely try to see it this week.
1:12:02
[SPEAKER_01]: And I had like five other assignments that just weren't this movie and I'm trying to catch up another thing.
1:12:08
[SPEAKER_01]: So I wasn't able to fit it in.
1:12:11
[SPEAKER_01]: but great, I'm glad it's good.
1:12:14
[SPEAKER_03]: Yeah, that's great.
1:12:15
[SPEAKER_03]: It's a good time.
1:12:18
[SPEAKER_01]: I'm going to, I don't really have a good segue.
1:12:21
[SPEAKER_01]: I'm going to talk about the next biggest movie that I saw.
1:12:26
[SPEAKER_01]: This is a new film from a director I really like.
1:12:29
[SPEAKER_01]: It will also start it off as a comedian I really like.
1:12:32
[SPEAKER_01]: Michael Show Walter.
1:12:33
[SPEAKER_03]: Okay, yeah, he's directed a lot of movies.
1:12:35
[SPEAKER_01]: Yeah, Michael show Walter started off as a comedian on the sketch comedy series, The State Ah, you may remember him that he was Doug and he's out of here.
1:12:47
[SPEAKER_01]: There's a certain group of people who are me and Whitney's age who just chuckled at that.
1:12:51
[SPEAKER_01]: If you didn't, I get it.
1:12:53
[SPEAKER_01]: It's fine.
1:12:54
[SPEAKER_01]: You had to be there.
1:12:54
[SPEAKER_03]: But like, you don't understand me.
1:12:56
[SPEAKER_03]: I'm Doug.
1:12:58
[SPEAKER_01]: I'm Doug.
1:12:59
[SPEAKER_03]: Forget it.
1:13:00
[SPEAKER_03]: I'm Maddie.
1:13:00
[SPEAKER_01]: Yeah.
1:13:01
[SPEAKER_01]: The whole gag of all the Doug sketches in the state was that Doug was like a teenage rebel, but every authority figure was really cool.
1:13:12
[SPEAKER_03]: It was actually like really kind to him.
1:13:13
[SPEAKER_03]: He was trying to be really dismissive and rebellious.
1:13:16
[SPEAKER_01]: cover a little concern about your grades.
1:13:18
[SPEAKER_01]: Oh, what are you gonna do, man?
1:13:20
[SPEAKER_01]: Well, we were thinking about getting you a tutor.
1:13:22
[SPEAKER_01]: Oh, no, man, here, stand.
1:13:24
[SPEAKER_01]: I'm Doug.
1:13:26
[SPEAKER_01]: I'm Rebel.
1:13:27
[SPEAKER_01]: I had sex with my girlfriend for three hours once.
1:13:30
[SPEAKER_01]: And like, that's great, Doug.
1:13:31
[SPEAKER_01]: Listen, we found this stuff in your locker.
1:13:33
[SPEAKER_01]: Oh, what?
1:13:34
[SPEAKER_01]: You're gonna get mad?
1:13:35
[SPEAKER_01]: No, I love we smoke it together.
1:13:38
[SPEAKER_03]: Oh, man.
1:13:38
[SPEAKER_03]: I liked it.
1:13:39
[SPEAKER_03]: But my favorite bit was, oh, man, Dad, you don't understand me.
1:13:42
[SPEAKER_03]: Like, I'm gonna... Have you ever heard of Bob Dylan?
1:13:46
[SPEAKER_03]: Well, yes, I produced his last three records.
1:13:50
[SPEAKER_03]: And Doug's response was, you mean Uncle Robert?
1:13:57
[SPEAKER_03]: I mean, things out with Bob Dylan, he doesn't understand.
1:14:00
[SPEAKER_03]: And I'm like, what's your older, that's Michael's role?
1:14:02
[SPEAKER_01]: Yeah, yeah, yeah, but he actually, I actually was really impressed with what kind of a director he turned into, because he's actually a very sensitive filmmaker.
1:14:11
[SPEAKER_01]: Like he's made some broad comedies, but you look at the ones that he's made as a director and they tend to be very, very character-driven.
1:14:20
[SPEAKER_01]: He did, there's really sweet Sally Field movie that kind of came
1:14:26
[SPEAKER_03]: That was a good one.
1:14:27
[SPEAKER_01]: It's really a good movie actually.
1:14:28
[SPEAKER_01]: I think it's one of her better late era roles where she plays at this introvert who is living kind of a hoarding situation and she has a crush on a younger guy at work and how the kind of opens her up and... Yeah.
1:14:39
[SPEAKER_01]: And not in a creepy way.
1:14:40
[SPEAKER_01]: It's not like a stopper thing.
1:14:41
[SPEAKER_01]: It's just basically like, I want to be the kind of person who could date again.
1:14:45
[SPEAKER_01]: Yeah.
1:14:45
[SPEAKER_01]: And she just...
1:14:47
[SPEAKER_01]: puts yourself out there and putting yourself out there, people realize that without even needing to change, people think she's cool.
1:14:56
[SPEAKER_01]: And it's so sweet, and it's a really, really great role.
1:14:58
[SPEAKER_01]: And it's nice to be after that was a big Oscar nominee called The Big Sick, which is a wonderful film.
1:15:04
[SPEAKER_01]: Yeah, I'm sorry, I'm all non-Giani and Holly Hunter and Ray Romano.
1:15:11
[SPEAKER_01]: Yeah, I love that movie, it's really, really great.
1:15:13
[SPEAKER_01]: He directed Jessica Chestine to an Oscar in the eyes of Tammy Faye.
1:15:17
[SPEAKER_01]: That's right, that was how.
1:15:18
[SPEAKER_01]: Which is an interesting movie, I don't know if it's a great movie, but it's an interesting one because
1:15:23
[SPEAKER_01]: So biopic about the bakers who were really instrumental in turning 20th century Christianity into a pro capitalist endeavor, which didn't use to be in the 20th century.
1:15:37
[SPEAKER_01]: And homophobic.
1:15:38
[SPEAKER_01]: And extremely homophobic.
1:15:42
[SPEAKER_01]: And yet that movie, well, it's completely condemned as the damage that they did, sees them as people.
1:15:49
[SPEAKER_01]: And I, especially Tammy Phil, especially Tammy Phil, especially who I do.
1:15:51
[SPEAKER_01]: Especially who I do.
1:15:52
[SPEAKER_01]: She's more positive, well, yes.
1:15:54
[SPEAKER_03]: But moral person.
1:15:55
[SPEAKER_01]: Yeah, but even her husband insists like, he sees him as pathetic.
1:16:00
[SPEAKER_01]: So there's a real humanist streak in him, and I really like it a lot.
1:16:04
[SPEAKER_01]: His latest is a Christmas movie called Oh, What Fun.
1:16:08
[SPEAKER_01]: And it's mostly, you know, a fun Christmas comedy, but it's a great song.
1:16:12
[SPEAKER_03]: It's just a clever name.
1:16:13
[SPEAKER_01]: Yeah, it's a great ensemble and everyone gets a moment to shine no matter how big their roll is.
1:16:20
[SPEAKER_01]: So the film stars Michelle Fiverr who does not work enough.
1:16:24
[SPEAKER_01]: For my taste, you can do whatever she wants, but she's always wonderful on everything.
1:16:29
[SPEAKER_01]: She plays the mother of the matriarch of a very large family that is getting together for the holidays.
1:16:35
[SPEAKER_01]: Her daughter is played by Felicity Jones.
1:16:38
[SPEAKER_01]: Felicity Jones is a author and also a mother herself who feels very overwhelmed and dominated by her mother in the holidays, because she's kind of doing all the work and making everyone stay with them.
1:16:52
[SPEAKER_01]: He's a nice guy.
1:16:55
[SPEAKER_01]: He's just boring as hell and everyone knows that nobody really likes him very much He was really not really hate him
1:17:02
[SPEAKER_01]: There's also Chloe Grace Maretz is in it.
1:17:04
[SPEAKER_01]: Oh, yeah.
1:17:05
[SPEAKER_01]: Because a young woman who every year for Christmas brings home a different girlfriend, and treats it like it's her true love.
1:17:11
[SPEAKER_01]: And everyone just started goes along with it.
1:17:13
[SPEAKER_01]: And a new girlfriend is starting to realize they have like photo albums of all the other girls.
1:17:19
[SPEAKER_01]: So that's really, really cute.
1:17:21
[SPEAKER_01]: Michelle five has been inspired by Dennis Leary.
1:17:23
[SPEAKER_01]: Always a reliable actor.
1:17:25
[SPEAKER_01]: Her youngest son is played by Dominic Sessa.
1:17:29
[SPEAKER_01]: from the holdovers.
1:17:31
[SPEAKER_03]: Oh, yeah, yeah.
1:17:32
[SPEAKER_01]: He's he's a sad sack without a job and his girlfriend just left him.
1:17:36
[SPEAKER_01]: So he's just amusingly miserable the whole time.
1:17:43
[SPEAKER_01]: Joan Chen plays her next door neighbor who has the annoyingly perfect family.
1:17:47
[SPEAKER_01]: That Michelle Fiverr is like, there's a bit where like she comes over.
1:17:52
[SPEAKER_01]: Michelle Fiverr has gotten her like this special candle.
1:17:55
[SPEAKER_01]: There's like this.
1:17:56
[SPEAKER_01]: kind of Oprah Winfrey, Ellen, the generous type of TV host that she's obsessed with, by Eva Longoria, you're like, you know, it says, it's a good cast in this thing.
1:18:05
[SPEAKER_01]: Really good cast, like it's amazing cast, and it's just like, yeah, everyone should buy these candles for the holidays.
1:18:10
[SPEAKER_01]: They're really great, so she got this candle thinking that this would be a great gift for my neighbor.
1:18:14
[SPEAKER_01]: She won't be able to give me any crap for it.
1:18:16
[SPEAKER_01]: And the neighbor is this, she opened hers first.
1:18:17
[SPEAKER_01]: She got her a two-wicked candle.
1:18:21
[SPEAKER_01]: They were gone for a three-wicked candle.
1:18:23
[SPEAKER_01]: So, oh no, this one wasn't for you.
1:18:25
[SPEAKER_01]: I have to go to the mall now on Christmas Eve and find a five-wicked candle.
1:18:30
[SPEAKER_01]: But the line's so long she just steals it, and ends up getting into a chase with Felicity Jones.
1:18:35
[SPEAKER_01]: All of that is very, very sweet and fine.
1:18:38
[SPEAKER_01]: The story really, really kicks in.
1:18:40
[SPEAKER_01]: Um, when she has planned for her entire family, she got tickets to see, like, this, like, so you think you can dance kind of Christmas show.
1:18:49
[SPEAKER_01]: Okay.
1:18:49
[SPEAKER_01]: So they're all gonna go.
1:18:50
[SPEAKER_01]: This huge family.
1:18:51
[SPEAKER_01]: Everyone's getting in their cars.
1:18:52
[SPEAKER_01]: Everyone's good, you know, you're getting dance cards, et cetera.
1:18:55
[SPEAKER_01]: Everyone goes, and they forgot mom.
1:19:00
[SPEAKER_01]: And this is, like, she's an adult, she's looking at it.
1:19:03
[SPEAKER_01]: Is it like home alone and she's going to sled down the stairs?
1:19:05
[SPEAKER_01]: Like, no, it's not like that.
1:19:06
[SPEAKER_01]: Like, she doesn't need to do that.
1:19:07
[SPEAKER_01]: She knows what happened.
1:19:09
[SPEAKER_01]: Yeah.
1:19:09
[SPEAKER_01]: She could call them, but she's so fucking pissed that she doesn't.
1:19:15
[SPEAKER_01]: She packs her shit, she gets in her car and she fucking leaves as well.
1:19:22
[SPEAKER_01]: She should.
1:19:24
[SPEAKER_01]: Yeah.
1:19:24
[SPEAKER_01]: And the characters are so wonderfully drawn that like, we know it's a mistake.
1:19:29
[SPEAKER_01]: We know that it was just so hectic that everyone thought mom was in the other car.
1:19:33
[SPEAKER_01]: And they realized it pretty quick, once they get there.
1:19:37
[SPEAKER_01]: And once they get there, oh shit, we have to leave now, we fucked up.
1:19:41
[SPEAKER_01]: And they leave for like 72 messages, apologize.
1:19:44
[SPEAKER_01]: They can Jesus, like, don't give a fuck fuck all y'all.
1:19:48
[SPEAKER_01]: They're just, they haven't been taking her for granted the entire time.
1:19:50
[SPEAKER_01]: And she goes on a bit of a road trip, meet some interesting characters.
1:19:58
[SPEAKER_01]: all right that's sweet there's a the movie opens with something that actually several films this week but are just sort of like experience movies yeah this is a little bit more plotty because it's a Christmas movie it's kind of hit that note but the best parts of it are just hanging out with this family because the actors are so good and the characters are
1:20:19
[SPEAKER_01]: just very specific like you know who they are you know that's the kind of guy who says I don't watch TV I only watch like 18 hour documentaries on PBS about George Washington and then the one time we actually see him watching TV he's watching love island so like that's everything he needs to know right there It's just really really good writing.
1:20:38
[SPEAKER_01]: It's really really sharp Whenever the plot is the plot like it really just takes over it gets a little more contrived and that's not the end of the world
1:20:48
[SPEAKER_01]: But the really open was something like, you know, a lot of movies open with like, you know, maybe a voiceover and talk about circumstances and this one opened with a question and I had to pause the movie because it stumped me.
1:21:04
[SPEAKER_01]: Okay.
1:21:04
[SPEAKER_01]: I was genuinely like, wait a minute, this should not be this hard to answer and the question is why aren't there more Christmas movies about moms?
1:21:15
[SPEAKER_03]: like about the mom.
1:21:16
[SPEAKER_01]: About where the mom is the protagonist.
1:21:18
[SPEAKER_01]: Mom's have to do so much at Christmas time for families to celebrate Christmas.
1:21:22
[SPEAKER_01]: They have taken on so much responsibility, typically, you know, that was either exceptions, but I know my mom did.
1:21:28
[SPEAKER_01]: And they have to, they're so stressful and they make at Christmas fucking magical for everybody and it's really, really hard and they're never the protagonist.
1:21:38
[SPEAKER_01]: They're there!
1:21:39
[SPEAKER_01]: Yeah.
1:21:39
[SPEAKER_01]: Sometimes they're like overbearing and we have to like learn a vibe less than about wife mommy's less into her kids more.
1:21:45
[SPEAKER_01]: Sometimes they're really really sweet, but they're more of a background character and it's more about the kids learning the meaning of Christmas or dad trying to you know get a bonus at works to save Christmas or whatever but the mom is very rarely leading it.
1:22:00
[SPEAKER_01]: The only good example
1:22:03
[SPEAKER_01]: of a top-down, whole movie is a Christmas movie.
1:22:06
[SPEAKER_01]: Like you could say you could argue like anti-mame is a Christmas movie.
1:22:08
[SPEAKER_01]: Right, kind of, but it's not that much.
1:22:12
[SPEAKER_01]: That I could think, you know what I'm gonna give that absolutely is like, no, that's a mom movie.
1:22:17
[SPEAKER_01]: Was the longest good night.
1:22:19
[SPEAKER_01]: There you go.
1:22:20
[SPEAKER_01]: Which is great.
1:22:21
[SPEAKER_01]: It's an action picture, but there should be fucking more.
1:22:24
[SPEAKER_01]: It's ridiculous that there aren't more.
1:22:26
[SPEAKER_01]: I actually like, I looked, I did research.
1:22:29
[SPEAKER_01]: It's like sure, I wasn't gonna do anything.
1:22:30
[SPEAKER_01]: It's like very few.
1:22:33
[SPEAKER_01]: The movie had a compelling argument to make.
1:22:37
[SPEAKER_01]: It's centered the mom's experience.
1:22:39
[SPEAKER_01]: It told a story about how mom felt unaplicated, did something for herself, and how the family was shibby enough to deserve it, but not so shibby that they shouldn't make up.
1:22:54
[SPEAKER_01]: You know, which is a difficult tight rubwalk.
1:22:56
[SPEAKER_01]: Yeah, as a storyteller, because like, how do we justify mom ditching her family on Christmas?
1:23:01
[SPEAKER_01]: Well, they have to be pretty bad, but if they're so bad, we don't want her to return.
1:23:06
[SPEAKER_01]: That's a very different movie than if you want them to get family drawn.
1:23:12
[SPEAKER_01]: If you wanted to get together again, they actually have to be bad enough that mom leaves, but be good enough to acknowledge their mistakes and do something about it.
1:23:21
[SPEAKER_01]: and they do, that's good writing.
1:23:23
[SPEAKER_01]: It's good writing.
1:23:24
[SPEAKER_01]: It's very sweet direction.
1:23:25
[SPEAKER_01]: The cast is fucking great.
1:23:28
[SPEAKER_01]: And even though it's a little contrived where the end in particular, I just think it's really nice.
1:23:33
[SPEAKER_01]: It's like a solid Christmas movie.
1:23:35
[SPEAKER_03]: It's, I was gonna say, it's a Christmas movie.
1:23:37
[SPEAKER_03]: There's going to be some level of contrived.
1:23:39
[SPEAKER_01]: It's a certain level of contrived, and some, but you just don't have the genre demands it.
1:23:43
[SPEAKER_01]: You know, there's a really contrived bit towards the end and then like right after the contrived,
1:23:50
[SPEAKER_01]: It slips away.
1:23:52
[SPEAKER_01]: That's like, here's this big dramatic beat.
1:23:54
[SPEAKER_01]: And here's this big, you know, sort of moment that should be like putting everything together.
1:23:59
[SPEAKER_01]: This should be the catharsis.
1:24:00
[SPEAKER_01]: And then they have it.
1:24:01
[SPEAKER_01]: And then a second later, it's like, okay, you had your catharsis fuck off.
1:24:04
[SPEAKER_01]: Like, that's like, that's not good enough.
1:24:07
[SPEAKER_01]: I'm like, good for you, man.
1:24:09
[SPEAKER_01]: It's just really, really well made, and it hits a lot of the right buttons, and I want to be surprised if it's, uh, it's hard to get a Christmas classic these days, because the genre is so flooded.
1:24:19
[SPEAKER_01]: Yeah.
1:24:20
[SPEAKER_01]: That even a good one can be get lost in the shuffle, and I feel like every year there's a... And there are also so insular and specific to the season that probably are going to be...
1:24:28
[SPEAKER_01]: Discovered other than in this month, but this is a month where people do watch Christmas movies It's like watching horror movies of Halloween like people will Discover it, but there's just so much out there now that it is harder there's like I think last it was last year The best Christmas page and ever came out and I think that's one of the best Christmas movies in an Incredibly long time like it.
1:24:50
[SPEAKER_01]: It's a genuinely great deserves to be an upper echelon Christmas movie
1:24:55
[SPEAKER_01]: Nobody talks about it and it pisses me off.
1:24:57
[SPEAKER_01]: It should if this is the one that should be seen But there's just so much and this isn't that good, but it's really good and I would not be like If I was hanging out with a family and they were like hey, let's watch a Christmas movie and they put this on I'd be like great good choice
1:25:12
[SPEAKER_01]: I can't say that about a lot of Christmas movies, so cool.
1:25:16
[SPEAKER_01]: Is it as bad as as the long kiss good night?
1:25:18
[SPEAKER_01]: No.
1:25:19
[SPEAKER_01]: That's a high bar.
1:25:20
[SPEAKER_03]: So let's say, new films are as bad as the long kiss night.
1:25:23
[SPEAKER_01]: But seriously though, it's really quite good.
1:25:26
[SPEAKER_01]: So could those everyone involved?
1:25:28
[SPEAKER_01]: And I think getting Michael Showl Walter on that material was a brilliant idea.
1:25:31
[SPEAKER_01]: He knows how to find an eye balance for it.
1:25:34
[SPEAKER_01]: OK, so I have,
1:25:35
[SPEAKER_01]: You're one left and I have two left.
1:25:37
[SPEAKER_01]: So let's just let's move on to yours All right, because it's also a comedy.
1:25:42
[SPEAKER_01]: Yeah, I think that makes more sense So it's only about fuck them all.
1:25:45
[SPEAKER_03]: I've got a mall.
1:25:47
[SPEAKER_03]: Sure Well, that's that's the joke of the movie.
1:25:51
[SPEAKER_03]: No, it's it's supposed to sound like
1:25:53
[SPEAKER_03]: Fuck them all.
1:25:54
[SPEAKER_03]: Yeah, yeah, say it quick.
1:25:56
[SPEAKER_03]: I got to review this on KCRW and we had to be very careful The way we pronounce the title because that's on the radio Yeah, yeah, yeah, fuck them all is the latest comedy from Jim O'Hanland a British director.
1:26:07
[SPEAKER_03]: I'm not familiar with Oh, and this film stars has a pretty good cast.
1:26:12
[SPEAKER_03]: There's Damian Lewis as the top of
1:26:15
[SPEAKER_03]: The Davenport family and this is sort of like a very
1:26:24
[SPEAKER_03]: Downton Abbey kind of universe.
1:26:26
[SPEAKER_03]: Yeah, early 1930s.
1:26:27
[SPEAKER_03]: It's a very rich out of touch British family as daughters played by Thomas and McKenzie That's good.
1:26:34
[SPEAKER_01]: She's also in testament to Van Lee later this month, which Oh nice.
1:26:37
[SPEAKER_01]: Do not miss that with him.
1:26:38
[SPEAKER_01]: He's really good.
1:26:38
[SPEAKER_03]: Yeah, she's really good.
1:26:39
[SPEAKER_03]: We have from Waterston plays his plays the major arc of the family Oh my god, and Ben Radcliffe plays sort of the handsome young Heathcliffe like rough human character He related to Daniel?
1:26:51
[SPEAKER_03]: No, okay, just random
1:26:54
[SPEAKER_03]: who runs into Thomas McKenzie and they have sort of a romantic regard and he gets a job as a butler so there's a lot of upstairs downstairs stuff and also there's a murder at some point and a very plow row like detective comes in that's the story I'm just laying that out because I wanted to point out that there is a story because this is if Zuckery Brim Zucker made
1:27:23
[SPEAKER_03]: This is a broad, super slapstick joke-a-minute comedy.
1:27:28
[SPEAKER_01]: Okay, when you say that, that means one of two things.
1:27:32
[SPEAKER_01]: Either that's what they attempted, or that's what they achieved.
1:27:37
[SPEAKER_03]: It's what they achieved in this.
1:27:38
[SPEAKER_01]: No, good shit.
1:27:39
[SPEAKER_01]: Oh, that sounds great.
1:27:40
[SPEAKER_03]: It's a relief that it works as well as it does because we've had so many terrible spoof movies.
1:27:47
[SPEAKER_03]: Yeah.
1:27:47
[SPEAKER_03]: Especially about a decade and a half ago, there's this big slew of these really terrible spoof movies put up with filmmakers, freeberg and seltzer.
1:27:57
[SPEAKER_01]: Yes, scary movie was this incredibly crass.
1:28:00
[SPEAKER_01]: Teen horror movie spoof that Keenan every Wayne's did.
1:28:03
[SPEAKER_01]: It's pretty funny for what it is mostly a spoof of scream But a lot of mostly horror movies, but it was so crass that there were a ton of imitators that were merely crass and That was it for the genre for over a decade.
1:28:15
[SPEAKER_03]: It wasn't just that they were crass They weren't funny.
1:28:18
[SPEAKER_03]: They were just sort of matching a lot of references to recent releases
1:28:22
[SPEAKER_03]: Hey, remember this movie?
1:28:23
[SPEAKER_01]: Yeah, sometimes.
1:28:24
[SPEAKER_01]: Now they fart.
1:28:25
[SPEAKER_03]: Sometimes films that were released just months earlier, they were made these things so quickly that they were able to just sort of put these references in, sometimes based on trailers.
1:28:32
[SPEAKER_03]: There was no commentary.
1:28:33
[SPEAKER_03]: It was just, we're just going to share that and put a fart in it.
1:28:36
[SPEAKER_01]: It was basically what we was nothing but memes.
1:28:38
[SPEAKER_03]: they were reducing cinema down to like its base components like they were boiling off things like story and character and just sort of presenting the images we remember it was like this it's like cinema's dying thoughts you know it sounds like something you don't heard would do yeah it's like they're they're just deconstructing cinema down to its base elements there's something weirdly
1:29:00
[SPEAKER_03]: Um, ambitious and important that they're doing by making these utter pieces of shit.
1:29:07
[SPEAKER_03]: Yeah, no one's terrible whatsoever, terrible terrible movies, accidental profundate.
1:29:13
[SPEAKER_03]: Right, the best kind.
1:29:14
[SPEAKER_01]: Uh, is it?
1:29:16
[SPEAKER_01]: No, because I've seen those movies.
1:29:17
[SPEAKER_01]: No, it's not.
1:29:18
[SPEAKER_01]: Only like two of them are good.
1:29:21
[SPEAKER_01]: I'll go to bat for not another teen movie and we're doing a date movie with Alison Hannigan.
1:29:27
[SPEAKER_01]: That's surprisingly funny and actually does kind of work as a movie.
1:29:32
[SPEAKER_03]: Fakem Hall unlike those movies isn't just making references to Downton Abbey.
1:29:36
[SPEAKER_03]: That's where it lives and making reference to a lot of things you might see on Britbox.
1:29:41
[SPEAKER_03]: Like I said, there's a plaro character, there's there's a lot of like cliches that are being leaned upon But more than anything, it's one of those They're just cracking the whip on the script If you don't like that one joke, you're gonna get one in another second and a half like they're just laying them out there Some of them are unbearably stupid by design the Butler is named Siri for instance
1:30:07
[SPEAKER_03]: So they get to turn to the side and say, hey Siri, play music.
1:30:09
[SPEAKER_03]: Yes, I'll play music on the gramophone.
1:30:12
[SPEAKER_03]: And like that kind of, that's funny.
1:30:14
[SPEAKER_03]: Yeah, oh, I'll give him that.
1:30:15
[SPEAKER_03]: There's this genius with this, fine.
1:30:17
[SPEAKER_03]: Like an, and funny commentaries on class.
1:30:20
[SPEAKER_03]: Yes, she's been quoting many men for many years and she's finally found the right cousin to marry.
1:30:26
[SPEAKER_03]: Ah, that kind of thing.
1:30:29
[SPEAKER_03]: Thomas McKenzie, however, is sort of a free spirit.
1:30:31
[SPEAKER_03]: She likes to,
1:30:32
[SPEAKER_03]: think and read books.
1:30:37
[SPEAKER_03]: She's caught with a piece of erotic of one shade of gray.
1:30:39
[SPEAKER_03]: I think this is the level of humor we're dealing with.
1:30:43
[SPEAKER_03]: It's it is stupid.
1:30:45
[SPEAKER_03]: But I like stupid when it's wielded smartly and this is wielded smartly.
1:30:50
[SPEAKER_03]: This is a film that knows film tropes, knows how to parry to them.
1:30:55
[SPEAKER_03]: I hate to give it high praise just because I'm relieved that it worked.
1:30:59
[SPEAKER_03]: So you don't even oversell it.
1:31:01
[SPEAKER_03]: It's not some sort of indelible comedy classic, but gosh, it's funny And I was laughing a lot throughout this thing.
1:31:07
[SPEAKER_03]: That's all you can ask for.
1:31:08
[SPEAKER_03]: Sometimes it's witty wordplay sometimes.
1:31:10
[SPEAKER_03]: It's just crass Slaps to humor.
1:31:12
[SPEAKER_03]: There's a lot of dumb sex jokes.
1:31:14
[SPEAKER_03]: There's a lot of dumb fart jokes But there's also some things that are really smart and insightful.
1:31:19
[SPEAKER_03]: There's a musical number You're gonna be reminded of Zaz.
1:31:23
[SPEAKER_03]: Zucker.
1:31:24
[SPEAKER_03]: We're exactly.
1:31:24
[SPEAKER_02]: Yeah
1:31:24
[SPEAKER_03]: you're gonna be reminded of Mel Brooks, for sure, doesn't quite reach the level of profound absurdity like Monty Python.
1:31:33
[SPEAKER_03]: Okay, that's a lot more.
1:31:34
[SPEAKER_03]: But we're in that camp and that we're in that, it's just good to visit that camp.
1:31:38
[SPEAKER_03]: Even if we're just in the outskirts of it, it's good to finally be in this camp.
1:31:42
[SPEAKER_03]: And everybody is completely committed.
1:31:44
[SPEAKER_03]: There's a funny bit where the young man I hate to do this because I'm just describing the funny jokes but the young man looks over at Thomas and McKenzie.
1:31:51
[SPEAKER_03]: She's in a party and he falls in love and she just happens to have her fists full of devil eggs and it's like eating them all at once.
1:31:59
[SPEAKER_03]: Like who's doing this?
1:32:00
[SPEAKER_03]: Thomas and McKenzie is just eating these eggs.
1:32:01
[SPEAKER_03]: She's like a devil egg in each hand.
1:32:04
[SPEAKER_03]: It's just like all on his like falling in love with her.
1:32:07
[SPEAKER_03]: That kind of commitment.
1:32:08
[SPEAKER_03]: And Damian Lewis,
1:32:09
[SPEAKER_03]: Perfect.
1:32:10
[SPEAKER_03]: He is so good in this.
1:32:11
[SPEAKER_01]: Yeah, I don't know that at all.
1:32:13
[SPEAKER_03]: He he is eventually going to be the murder victim And you know this because they broadcast you from the start of the movie.
1:32:18
[SPEAKER_03]: I guess if and if he dies everything will fall apart Oh my goodness that knife's your fellow close to me like that kind of thing.
1:32:25
[SPEAKER_03]: Yeah It's like I'm only finally seeing his death scene.
1:32:27
[SPEAKER_01]: It's it goes on and on and it's hilarious I'm sure the fact that you haven't mentioned it means he's probably great, but I don't recall ever seeing Thomas and Mackenzie and it's especially a broad comedy before
1:32:39
[SPEAKER_01]: I've seen her in a comedy.
1:32:40
[SPEAKER_01]: I think that's Jojo Rabbit arguably qualified.
1:32:44
[SPEAKER_01]: It's a very dark comedy, but she doesn't really have a lot of the humor in it.
1:32:48
[SPEAKER_01]: I assume she's good like she's she's good.
1:32:52
[SPEAKER_03]: She's fantastic.
1:32:53
[SPEAKER_01]: Yeah, I'm a big fan.
1:32:53
[SPEAKER_01]: I think she's really talented.
1:32:55
[SPEAKER_01]: But I haven't seen the Anne Lee film you were talking about.
1:32:57
[SPEAKER_01]: Yeah, she's she's she's like the third or fourth lead in it, but she's great in every part of it.
1:33:03
[SPEAKER_01]: Um, so.
1:33:03
[SPEAKER_03]: She's seen her since she was in power of the dog.
1:33:06
[SPEAKER_01]: She was in power of the dog.
1:33:07
[SPEAKER_01]: She was in a really good movie two years ago called Ileen.
1:33:10
[SPEAKER_01]: That nobody saw her.
1:33:11
[SPEAKER_01]: Oh, I remember that.
1:33:11
[SPEAKER_01]: I can't.
1:33:12
[SPEAKER_01]: I also like it's a really.
1:33:13
[SPEAKER_01]: Oh, no way.
1:33:14
[SPEAKER_03]: I did see Ileen with that half of it.
1:33:15
[SPEAKER_01]: Yeah, it's a really big.
1:33:17
[SPEAKER_01]: film noir.
1:33:18
[SPEAKER_01]: There's a new character named Marin Ireland and she has a monologue at the end of that movie that should have gotten her an Oscar nomination.
1:33:28
[SPEAKER_01]: It's one of the most things for like fucked up.
1:33:29
[SPEAKER_01]: It's like you just sort of walking in out of a Neil abuse plan.
1:33:34
[SPEAKER_01]: It's just like fuck man.
1:33:36
[SPEAKER_01]: I don't know if she had a fuck you deliver that monologue.
1:33:39
[SPEAKER_01]: So fucking really.
1:33:40
[SPEAKER_03]: Oh gosh, uh, I'm looking I just looked up a handsome McKenzie's filmography.
1:33:44
[SPEAKER_01]: Yeah.
1:33:44
[SPEAKER_03]: She's currently working on a film that has a great title, Victorian Psycho.
1:33:48
[SPEAKER_03]: Oh god.
1:33:49
[SPEAKER_03]: Uh, and it also stars Michael Monroe and Jason Isaacs.
1:33:52
[SPEAKER_03]: So I'm fucked.
1:33:52
[SPEAKER_03]: I'm sold already.
1:33:53
[SPEAKER_01]: I love Michael Monroe.
1:33:55
[SPEAKER_01]: She's great.
1:33:56
[SPEAKER_01]: My next movie that I'm reviewing stars Michael Monroe.
1:33:58
[SPEAKER_03]: Oh, that's a good segue.
1:34:00
[SPEAKER_01]: And I actually think it's a good segue too, because it's also, um,
1:34:04
[SPEAKER_01]: a comedy about, um, about propriety.
1:34:08
[SPEAKER_01]: Okay.
1:34:08
[SPEAKER_01]: It is called 100 Nights of Hero, H-E-R-O, it is directed by Julia Jackman and it's based off of a graphic novel that I'm unfamiliar with called the 100 Nights of Hero by Isabel Bringberg.
1:34:25
[SPEAKER_01]: The movie plays
1:34:29
[SPEAKER_01]: if like West Anderson made a lesbian chaucer story.
1:34:35
[SPEAKER_01]: Okay, which is a good pitch.
1:34:37
[SPEAKER_01]: I'm on board.
1:34:38
[SPEAKER_01]: That's a good pitch.
1:34:40
[SPEAKER_01]: The movie takes place in an alternate.
1:34:42
[SPEAKER_01]: world, very similar to our own, in which the world was created by the gods and everything was great.
1:34:49
[SPEAKER_01]: And then a god called Birdman, played by Richard E. Grant, is just like, everything's too groovy.
1:34:55
[SPEAKER_01]: Okay.
1:34:55
[SPEAKER_01]: I need to, we need to add a pressure to everything.
1:34:58
[SPEAKER_01]: So he decided to basically force everyone to worship Birdman and because Birdman declares it, women and, uh, creepy people aren't allowed to exist and women aren't allowed to be anything.
1:35:11
[SPEAKER_01]: Um, okay.
1:35:12
[SPEAKER_01]: They're like, they're allowed to be married.
1:35:14
[SPEAKER_03]: Introduced misogyny.
1:35:15
[SPEAKER_03]: Yeah.
1:35:17
[SPEAKER_01]: He brought in all the shit basically and now everyone, everyone lives by the laws of Birdman and women and queer people are women are allowed to exist, but only under very specific parameters and queer people aren't allowed to exist at all.
1:35:31
[SPEAKER_01]: Uh, Mike and Monroe plays a woman named Cherry and she did everything she's supposed to do.
1:35:36
[SPEAKER_01]: She married, she married a guy, okay, and that was supposed to be it goes to get married have kids and that was supposed to be her whole life They say that she's only loved there's only two things that men like ask of their women besides having children and that's to be good at chess, but not good enough to win And also this you'd think this would pay off, but it never does also falconry
1:36:02
[SPEAKER_01]: So just we just get these shots of like Michael Monroe like playing chess with a falcon on her arm and I'm like that's fucking great You know woman into falcon or he last week too with hamnut.
1:36:10
[SPEAKER_01]: Yeah, that's true weird right we're weird trend if we see a third one.
1:36:14
[SPEAKER_03]: That's a trend.
1:36:14
[SPEAKER_01]: Nice The plot This is where it feels more like a chalcer thing to me Or maybe come over the better comparison She's she's married and they've married for a while and she's still not pregnant.
1:36:29
[UNKNOWN]: Okay
1:36:30
[SPEAKER_01]: And the Patriarch of the family who's worse with Birdman says that well as I can't be my son's fault, he says you're having sex all the time, and of course he's incapable of having any flaws, so it must be you, and if you're not pregnant soon, we will execute you as so says Birdman, but this is like the lobster.
1:36:50
[SPEAKER_01]: Yeah, it's really bad problem is, they've never had sex.
1:36:57
[SPEAKER_01]: Every night he says good night maybe tomorrow and then that's it and now just like the sort of Damic leaves us hanging over her.
1:37:04
[SPEAKER_01]: Yeah, she could die How's my assistant to give a shit?
1:37:10
[SPEAKER_01]: Uh, he has a friend played by Nicholas Gallett scene Yes Always a treat whatever he shows up and anything He's a sexy guy about and he offers the husband a wager You go away for 100 nights I will try to fuck your wife
1:37:27
[SPEAKER_01]: If she doesn't fuck me, you win the bet and she will be executed because she never got pregnant.
1:37:37
[SPEAKER_01]: If I win the bet, I get to keep your castle and she will be executed because she wasn't faithful.
1:37:45
[SPEAKER_01]: Great great wonderful thing so he shows up like shirtless having just killed a Stag with his bare hands.
1:37:53
[SPEAKER_03]: So she murders them both at that point.
1:37:55
[SPEAKER_01]: No, no, that's not where this goes She has and I do appreciate when the because it's a narrator to this play also blip of
1:38:08
[SPEAKER_03]: A roommate.
1:38:09
[SPEAKER_01]: Yes, all right.
1:38:10
[SPEAKER_01]: Yeah, you could have this say whenever you say the word friend a good friend best friend you have to have a pause there play by Emma Coran who was on The crown she was a deadpool.
1:38:22
[SPEAKER_01]: Yeah, she was the villain deadpool and Wolverine And she's she's her servant and also like best friend They're not lovers yet But Emma Coran is clearly in love with her and Mike and Monroe
1:38:38
[SPEAKER_01]: Does it know what's what's possible?
1:38:40
[SPEAKER_01]: So it never occurs to her and they can put the plan because she knows that if she sleeps with this guy she'll be killed.
1:38:47
[SPEAKER_01]: Anytime he starts put in the moves on Michael Monroe she will ask her friend Hero, Emma Klein, to tell a story, to distract him.
1:38:58
[SPEAKER_03]: but that's one thousand one nights.
1:39:00
[SPEAKER_01]: Basically, it's also one thousand one nights.
1:39:02
[SPEAKER_01]: And the tells of a start, and the story is about women's liberation.
1:39:07
[SPEAKER_01]: And it's a story that they know well because in the version that the Birdman accolites tell, all of the witches die, because they were terrible.
1:39:15
[SPEAKER_01]: They should never have learned how to read.
1:39:19
[SPEAKER_01]: And this one goes in a different direction.
1:39:25
[SPEAKER_03]: So we're tapping into a lot of mythology and ancient literature and the problematic streak of misogyny there on.
1:39:34
[SPEAKER_01]: Very much so.
1:39:34
[SPEAKER_01]: And attempting to sort of retcon a whole lot of queronus into it, where it was a best implied before or worst actively condemned or absolutely.
1:39:49
[SPEAKER_01]: And I appreciate that.
1:39:50
[SPEAKER_01]: And ultimately, this turns out to be a story about the power of stories.
1:39:54
[SPEAKER_01]: the fact that stories about that can be insufferable by can't know it's very risky it's very very risky to tell story about the power of stories um remember lady in the water yeah no no that that was fucking insufferable because like they say like right what you know but if all you know is writing sometimes you just get your head all the way up your ass about how great fucking writing is and it becomes a whole thing the movie is ultimately getting at the idea is that telling stories about people who are
1:40:23
[SPEAKER_01]: is either oppressed or literally against the law, tells people that it is possible to be those people.
1:40:33
[SPEAKER_01]: Yeah, there's a lot of people out there who don't know what their options are.
1:40:37
[SPEAKER_01]: They don't know that there are other ways to live, and there's only three telling stories about those things that you realize that like I do not have to settle for what I was given in my life to what my culture said was okay.
1:40:50
[SPEAKER_01]: There's an ability in that.
1:40:53
[SPEAKER_01]: I'm gonna appreciate that.
1:40:57
[SPEAKER_01]: And that's cute.
1:40:58
[SPEAKER_01]: And it's sweet and it's funny and it's cheap.
1:41:00
[SPEAKER_01]: Unfortunately, there's like a really big sort of a state that they filmed on, but it always feels like everything was like kind of got like a community theater in a big estate kind of vibe.
1:41:12
[SPEAKER_01]: Okay.
1:41:12
[SPEAKER_01]: Like the costume, which is sometimes a little, that can be charming.
1:41:15
[SPEAKER_01]: If any charming, I wish it felt more intentional sometimes it just feels like they didn't have the money.
1:41:21
[SPEAKER_01]: Emma Koran is great, Michael Monroe is not used to her greatest extent because she has to play kind of a wafe for a lot of it, Nicholas Galzine knows the assignment.
1:41:31
[SPEAKER_01]: He's fucking great.
1:41:34
[SPEAKER_01]: So I liked it.
1:41:34
[SPEAKER_01]: I don't think it sells itself as well as it could.
1:41:36
[SPEAKER_01]: I think they're definitely some problems the production had and bringing this to life as well as they could have.
1:41:49
[SPEAKER_01]: how we need to find the, basically, when we look back on history, when we look back on like all these big texts, religious texts, doesn't one night, there were things people didn't know were possibilities in human experience at the time.
1:42:06
[SPEAKER_01]: That doesn't mean they weren't around, that doesn't work where people,
1:42:10
[SPEAKER_03]: But they weren't there's trained literature going back to ancient times.
1:42:13
[SPEAKER_01]: I realized that but there's a lot of it that we still think of now that it's part of the literary canon that is people pointing to it's like, say, that's okay.
1:42:21
[SPEAKER_01]: Who was in Gurnesman?
1:42:23
[SPEAKER_01]: I don't care.
1:42:24
[SPEAKER_01]: I don't care about those people.
1:42:25
[SPEAKER_01]: Well, those people need to know that that was bullshit as that point and that's why we need stories like this, for example, which was why it would be better if the story was
1:42:34
[SPEAKER_01]: a bit more slick, a bit more easy to get in front of those eyes as opposed to I feel like it's moving it's going to preach a lot to the choir.
1:42:40
[SPEAKER_01]: But it's still cute and I do like it.
1:42:42
[SPEAKER_03]: I just don't love it and I don't think it sounds up my alley very good.
1:42:45
[SPEAKER_03]: I think you'd enjoy it and I like that.
1:42:47
[SPEAKER_01]: I think you'd enjoy it and I think you'd also probably realize that it could have been sharper.
1:42:51
[SPEAKER_01]: Okay.
1:42:53
[SPEAKER_01]: But it, you know,
1:42:55
[SPEAKER_01]: I'm not gonna give points just for good intentions, but the movie's all good intentions, and it's somewhat successful.
1:43:01
[SPEAKER_01]: So good.
1:43:03
[SPEAKER_01]: And I will infinitely take that over Rosemeat.
1:43:07
[SPEAKER_03]: We were badmouthing Rosemeat earlier.
1:43:09
[SPEAKER_03]: Rosemeat, you didn't get to badmouth Rosemeat in a different way.
1:43:12
[SPEAKER_01]: Yeah Rosemeat, okay, I'm really frustrated by Rosemeat because I wanna support Rosemeat because there's like good performances in it and
1:43:24
[SPEAKER_01]: And also, it's an extremely excruciating watch.
1:43:29
[SPEAKER_01]: That Rosemeed is their a total debut of someone named Eric Lynn.
1:43:35
[SPEAKER_01]: And it is the story.
1:43:36
[SPEAKER_01]: It's based on a true story, something that I guess happened in Rosemeed, California.
1:43:41
[SPEAKER_01]: It's Lars Lucilou in a very serious dramatic role.
1:43:44
[SPEAKER_01]: She doesn't get to do those very often, and she's very good.
1:43:48
[SPEAKER_01]: So who does for that?
1:43:49
[SPEAKER_01]: Just cross the board, boom.
1:43:53
[SPEAKER_01]: The movie opens more or less present-day than Rose made.
1:43:57
[SPEAKER_01]: She owns a print shop.
1:43:59
[SPEAKER_01]: First scene, we see her coughing, so we know she's dying of cancer.
1:44:04
[SPEAKER_01]: That's what that'd be.
1:44:05
[SPEAKER_01]: The first time she could cry cough.
1:44:06
[SPEAKER_01]: There's like one cough that's not motivated by like the room is smoky or something, or she has a cold.
1:44:12
[SPEAKER_01]: So you know dying of cancer.
1:44:15
[SPEAKER_01]: It's like if any, we'll open our shop someday, won't we?
1:44:18
[SPEAKER_03]: Sure we will.
1:44:19
[SPEAKER_01]: Yeah, no, it's like it's like if you notice and this is just it just allows you shorthand But if you're gonna notice like if any woman throws up in a movie and they're not drunk or didn't just eat bad shellfish They're pregnant that's all that's the only reason that ever happens.
1:44:35
[SPEAKER_01]: They just it's such shorthand But it's also it's it's a joke now and so like it's just it's like oh god here we go So she's dying of cancer.
1:44:44
[SPEAKER_01]: She's a widow her husband recently died of cancer and their teenage son
1:44:50
[SPEAKER_01]: Has schizophrenia and is in treatment for it and is also becoming obsessed with school shootings Which I said with that tone of voice in a healthy way sure sure In an intriguing and yeah thought provoking kind of like now in a in a very very worrisome thought scary way
1:45:20
[SPEAKER_01]: And that's basically it.
1:45:21
[SPEAKER_01]: She's trying to figure out like, if she's going to live, if not, how she's going to get her affairs in order, is how someone going to take care of her son, who definitely needs help.
1:45:31
[SPEAKER_01]: And also,
1:45:34
[SPEAKER_01]: Do I need to find some way to prevent my son from doing something horrible?
1:45:39
[SPEAKER_01]: Is this preventable?
1:45:40
[SPEAKER_01]: If I am irresponsible, if I don't do something and say like, oh, I'll just keep taking him to his psychologist.
1:45:47
[SPEAKER_03]: Like, what do you do?
1:45:49
[SPEAKER_03]: I understand my child's at risk.
1:45:51
[SPEAKER_03]: What do I do?
1:45:52
[SPEAKER_01]: Yeah, I'm not just at risk, but a serious risk, not just to himself, but a serious risk to others, like a could potentially be a disaster wedding to happen and that's scary and that's been done well in movies before we need to talk about Kevin is an excellent film about something not dissimilar.
1:46:11
[SPEAKER_01]: So I'm not saying that's not fair game.
1:46:13
[SPEAKER_01]: What I am saying is that Rose me, there's extremely oppressive in its telling.
1:46:17
[SPEAKER_01]: This is a bleak motion picture, and I'm not saying that's bad.
1:46:21
[SPEAKER_01]: I like bleak.
1:46:22
[SPEAKER_01]: I know you like bleak.
1:46:23
[SPEAKER_01]: There's a whole phenomenon we have.
1:46:25
[SPEAKER_01]: There's a group called the American Cinema Tech here in Los Angeles.
1:46:29
[SPEAKER_01]: They have a couple of movie theaters.
1:46:30
[SPEAKER_01]: And every year, I think in June, they have what they call bleak week.
1:46:36
[SPEAKER_01]: where they screen the most depressing nihilistic movies they can find.
1:46:40
[SPEAKER_03]: I've only got to go this year.
1:46:41
[SPEAKER_03]: Yeah, I've missed the last couple of years.
1:46:43
[SPEAKER_01]: It's been going on for four years now, and they show things like grave of the fireflies and Henry Portion of a serial killer.
1:46:49
[SPEAKER_01]: I saw him and see.
1:46:50
[SPEAKER_03]: I saw Dave Roth.
1:46:51
[SPEAKER_01]: There you go.
1:46:52
[SPEAKER_01]: And there's a margin for this.
1:46:54
[SPEAKER_01]: We don't talk about a lot because the perceived market for movies is usually entertainment.
1:46:59
[SPEAKER_01]: Yeah.
1:46:59
[SPEAKER_01]: But there are people who want to see really depressing things.
1:47:02
[SPEAKER_01]: They find it cathartic.
1:47:04
[SPEAKER_01]: I keep remembering of there's a line in Dr. Who, the episode Blink, which started Kerry Mulligan and was a big breakout of memory serves.
1:47:15
[SPEAKER_01]: She said she liked to be sad and the other character said why?
1:47:18
[SPEAKER_01]: He said because it's happy but for deep people.
1:47:22
[SPEAKER_01]: and i think that i think there's something to that i'm not opposed to bleakness i do believe however that if you're going to put the audience through that much of a wringer there should be a point i'm not saying there's no point to roast me but i'm watching it and i'm wondering and it's just misery and it gets and somehow all that stuff i told you the story gets words from there okay
1:47:46
[SPEAKER_01]: And I'm watching this, I'm like, what am I supposed to be getting out of this?
1:47:50
[SPEAKER_01]: Like, what do you want me to do with this information?
1:47:53
[SPEAKER_01]: It's based on a true story, so there's a certain amount of leeway we give, because if this is all made up, we would say you're laying it on pretty thick.
1:48:01
[SPEAKER_01]: But this really happened more or less, so, okay, fair enough, what do you want me to do?
1:48:08
[SPEAKER_01]: Like, I can say, I can look at this and go, well, that sucks, and that's really sad.
1:48:15
[SPEAKER_01]: But then what, it feels, it's tragic, but in a way where I'm just supposed to look at how sad it is.
1:48:25
[SPEAKER_01]: But I'm like, what am I supposed to do?
1:48:26
[SPEAKER_01]: I can't control if I get cancer to some extent, like I can try not to smoke, but like you know what I mean, like there's no guarantee here.
1:48:34
[SPEAKER_03]: Well, there's enough to be a catharsis to a film that is about misery.
1:48:38
[SPEAKER_03]: It's not just being about looking at it, acknowledging it.
1:48:41
[SPEAKER_01]: Not being with it.
1:48:42
[SPEAKER_01]: Okay, yeah, but again,
1:48:45
[SPEAKER_01]: And I'm not saying, and I'm not saying catharsis too many times.
1:48:47
[SPEAKER_01]: It doesn't have to be catharsic.
1:48:49
[SPEAKER_01]: I just want there to be a point.
1:48:51
[SPEAKER_01]: And I feel as though we're looking at this misery and by the end of this particular film, and I could go into more detail, but I don't want to tell you everything that happens because that's what we're getting to.
1:49:06
[SPEAKER_01]: By the end of it, I was just thinking in myself, this is really fucking sad, and I feel really bad about it.
1:49:14
[SPEAKER_01]: And I don't think the filmmakers had anything else on their mind.
1:49:20
[SPEAKER_01]: There's something on wholesome about the intention, I'm sure the intention was good, but like, I don't know if enough thought went into this.
1:49:32
[SPEAKER_03]: I really don't feel like, you know, they had a good opening salvo.
1:49:36
[SPEAKER_01]: Well, they had a hell of a story to tell.
1:49:38
[SPEAKER_01]: Bad things are really, really happening here, and they're fucking miserable.
1:49:46
[SPEAKER_01]: And that's not sad, like you got me sad, but I can't apply this to anything.
1:49:53
[SPEAKER_01]: I can't apply this to my life, other than I guess, don't do what they did, okay.
1:50:03
[SPEAKER_01]: There's definitely going to be people who like Blake Sinema who I think are going to respond to this movie more positively than me.
1:50:09
[SPEAKER_01]: I'm not going to pretend nor do I ever attempt to pretend that my take on a movie, whether it's strong, like strongly formed or vague, or whatever I feel.
1:50:21
[SPEAKER_01]: I never want to suggest that my take is the take.
1:50:25
[SPEAKER_01]: It's my take.
1:50:27
[SPEAKER_01]: Sometimes it's more confident in lives.
1:50:28
[SPEAKER_01]: So I'm sure that this movie actually has some really good reviews, so like I'm sure there are people who are watching this on like really really getting it Maybe you as someone who is a particularly efficient motto who seeks out bleak movies would appreciate it much more deeply than I thought I found it to be just
1:50:46
[SPEAKER_01]: too much of it was unpleasant for its own sake.
1:50:49
[SPEAKER_01]: And as much as I can view this with a lot of sadness, I also don't know like how accurate the betrayal of schizophrenia was on this movie, so I can speak to that.
1:50:58
[SPEAKER_01]: I do know that there is a line of dialogue in this movie when they're talking to the kids, psychologists, or psychiatrist, one of the other.
1:51:06
[SPEAKER_01]: Where he specifically says that schizophrenia is not linked inherently to violence
1:51:16
[SPEAKER_01]: being connected to it are extremely rare yeah okay good if maybe you should have shown any other example of that because it comes across like that line in the sounds of the lambs we're having a lector says you know oh no no no this is not i don't it's a clear clear star like that's like no no no no like
1:51:37
[SPEAKER_01]: trans people aren't evil and but it's one line and a movie that has a whole budget stuff that could easily be confused maybe really don't know what they're talking about for disputing that premise right and I don't know if they did a great job of throwing in one line of dialogue to try to avoid demonizing schizophrenia but I am not in no way
1:52:04
[SPEAKER_01]: Well informed about schizophrenia the way I am about certain other topics health concerns whatever So I cannot speak to this with any Authority okay, but I do know that that line seemed like it was there as a band-aid and I don't think you did a great job That's too bad so that that I think is at least a worthy of criticism and I also that character Not convinced he's a great psychologist based on based on how things turn out
1:52:30
[SPEAKER_01]: I think he missed some red flags.
1:52:32
[SPEAKER_01]: So, he's not necessarily a voice of authority, I can listen to.
1:52:35
[SPEAKER_01]: So, anyway, that's that.
1:52:37
[SPEAKER_01]: Well, I'm definitely not stopping and rose me.
1:52:39
[SPEAKER_01]: No.
1:52:41
[SPEAKER_01]: Yes, that was the point.
1:52:42
[SPEAKER_01]: That's what he's supposed to get out of the room.
1:52:44
[SPEAKER_01]: Anyway, that's it for our movie reviews this week.
1:52:48
[SPEAKER_01]: Let's review our movies on the scale of C minus the C plus such is the critically acclaimed way.
1:52:54
[SPEAKER_01]: Yes.
1:52:55
[SPEAKER_01]: C minus the movie that is below average.
1:52:57
[SPEAKER_01]: That's the movie we don't recommend.
1:52:58
[SPEAKER_01]: A C plus is the movie that is above the average.
1:53:00
[SPEAKER_01]: That's the movie we do recommend.
1:53:01
[SPEAKER_01]: And anything in the middle, that's a C. That's an average movie on one level or another.
1:53:05
[SPEAKER_01]: On that note, rosemeed.
1:53:08
[SPEAKER_01]: Who's gonna lose really good in it?
1:53:09
[SPEAKER_01]: All right, I have to put that caveat whether you like it or not, but I don't think it works and I find it.
1:53:18
[SPEAKER_01]: manipulative and a disquieting wife.
1:53:23
[SPEAKER_01]: So I'm giving you to see minus.
1:53:24
[SPEAKER_01]: 109s of hero is a high sea.
1:53:28
[SPEAKER_01]: There's really good stuff in it.
1:53:29
[SPEAKER_01]: I think that there's the overall intention and idea of the movie is very strong, the execution, leaves a little to be desired.
1:53:37
[SPEAKER_01]: But if it sounds like it's of interest to you, check it out.
1:53:41
[SPEAKER_01]: Let's see what we got here.
1:53:43
[SPEAKER_01]: Bye-bye, bye-bye, bye-bye, bye-bye, bye-bye.
1:53:45
[SPEAKER_01]: Bye-bye, bye-bye.
1:53:46
[SPEAKER_03]: I'm going to see plus.
1:53:48
[SPEAKER_03]: I'm, I'm, like I said, I don't want to oversell it.
1:53:52
[SPEAKER_03]: It's not one of the greatest comedies of all time, but I was work.
1:53:55
[SPEAKER_03]: And it's such a relief that a film like this can still be made and still be legit funny.
1:54:00
[SPEAKER_03]: That's legit funny.
1:54:01
[SPEAKER_01]: That's awesome.
1:54:02
[SPEAKER_01]: Uh, let's see.
1:54:03
[SPEAKER_01]: Oh, what fun?
1:54:04
[SPEAKER_01]: Uh, like the show Walter Chris was movie starring Michelle Fyfer.
1:54:07
[SPEAKER_01]: Et all.
1:54:08
[SPEAKER_01]: Yeah.
1:54:08
[SPEAKER_01]: Um, see plus.
1:54:09
[SPEAKER_01]: really, really great ensemble Christmas comedy, little contriveded places that sort of undermines the sort of great character work that they're doing, but it's pretty short and like those moments are brief and then we move on and then we back to in good character stuff again.
1:54:23
[SPEAKER_01]: Just really wonderful actors doing fun Christmasy things and good point.
1:54:28
[SPEAKER_01]: They're need to be more Christmas and we's about mom.
1:54:30
[SPEAKER_01]: You're filling a void here and I respect that so see plus.
1:54:34
[SPEAKER_01]: The chronology of
1:54:35
[SPEAKER_03]: Also, C++, this is a really fascinating, the word I use was tactile, it's very visceral moving, and it's rare that you get so much of that texture and a future phone.
1:54:49
[SPEAKER_01]: Uh, let's see what we got here, uh, but but, uh, uh, uh, uh, uh, uh, Meritly we roll along as indeed we do, uh, Bill C. Plus.
1:54:58
[SPEAKER_03]: All right, uh, just uh, You're, you're a really, really positive on this one.
1:55:02
[SPEAKER_01]: I really, listen, I was unfamiliar with it.
1:55:04
[SPEAKER_01]: I think this is a really excellent production.
1:55:06
[SPEAKER_01]: It's a really great story, um, I got maybe seeing it on Broadway's very different experience, but this is a very, very good movie.
1:55:13
[SPEAKER_01]: you know, sort of pro chat version.
1:55:15
[SPEAKER_01]: Richard link later is doing a version of this, but he's shooting it over the course of 20 fucking years.
1:55:19
[SPEAKER_01]: Yeah.
1:55:19
[SPEAKER_01]: Because that's the only way he knows how to do it anymore.
1:55:22
[SPEAKER_01]: It's a gimmick, but hopefully it'll turn out okay, if we're all alive around that.
1:55:28
[SPEAKER_01]: But until then, you got this.
1:55:31
[SPEAKER_01]: And this is a very, very good pro chat version of it.
1:55:33
[SPEAKER_01]: Uh, but, but, but, but, but what do we got here?
1:55:36
[SPEAKER_01]: Oh, five minutes of Freddy's two.
1:55:37
[SPEAKER_03]: Uh, they all seem minus.
1:55:39
[SPEAKER_03]: I hated those movies so much.
1:55:40
[SPEAKER_03]: Oh, no.
1:55:41
[SPEAKER_03]: It's just so mad.
1:55:42
[SPEAKER_03]: What a shame.
1:55:42
[SPEAKER_03]: It's just an end dinner weird spot, too.
1:55:45
[SPEAKER_03]: Like it's one of those things where like smash cuts to credit.
1:55:47
[SPEAKER_01]: Oh, crap.
1:55:48
[SPEAKER_03]: Oh, I thought you were going to finish the story.
1:55:50
[SPEAKER_03]: Like, oh, I guess not.
1:55:51
[SPEAKER_03]: Okay.
1:55:51
[SPEAKER_03]: That's it.
1:55:51
[SPEAKER_01]: Well, I don't see cool, I guess.
1:55:53
[SPEAKER_01]: Uh, and then finally the secret agent.
1:55:55
[SPEAKER_03]: C++, this is a monumental achievement, I don't really have that one.
1:56:00
[SPEAKER_01]: You like the little more than I did, but it is an excellent movie, and I would highly recommend it to anybody, and it is fascinating, unfortunately relatable, has even though it seems like it's very grounded, it does have a surreal streak every once in a while that I admire, and I think it ultimately ends with just the perfect note.
1:56:23
[SPEAKER_01]: So, truly great.
1:56:25
[SPEAKER_01]: Um...
1:56:26
[SPEAKER_01]: Yeah, that's it.
1:56:28
[SPEAKER_01]: That's what we're doing here, that's what we got.
1:56:30
[SPEAKER_01]: Next time, on critically a claim, we'll be reviewing the New Jamesel Brooks movie, Ella McKay.
1:56:38
[SPEAKER_03]: All right.
1:56:38
[SPEAKER_03]: Yeah, that's happening.
1:56:40
[SPEAKER_03]: Don't you mean Nellie McCoy?
1:56:41
[SPEAKER_01]: No.
1:56:42
[SPEAKER_01]: Oh, okay.
1:56:43
[SPEAKER_01]: Kate Winslitt has her directorial debut and we'll be called Goodbye June.
1:56:47
[SPEAKER_01]: We got here.
1:56:48
[SPEAKER_01]: There's a sequel to a film that made my top 10 list a couple of years ago.
1:56:52
[SPEAKER_01]: The film was called Influencer, the new film is called Influencers.
1:56:56
[SPEAKER_01]: Okay, so I guess they're going to end up on a planet where the influencers started like, you know, nesting and taking over the, you know.
1:57:05
[SPEAKER_01]: of the nuclear from space to the only way to be sure.
1:57:07
[SPEAKER_01]: And other things as well.
1:57:09
[SPEAKER_01]: So thank you for listening.
1:57:11
[SPEAKER_01]: Thank you for sticking around.
1:57:12
[SPEAKER_01]: Thank you for joining us.
1:57:13
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1:57:17
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1:57:19
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1:57:20
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1:57:21
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1:57:26
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1:57:28
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1:57:35
[SPEAKER_01]: Big old, big old backlog.
1:57:38
[SPEAKER_01]: The catch up on.
1:57:40
[SPEAKER_01]: We, if you want to find anything we discuss in this episode, our email address is letters.
1:57:44
[SPEAKER_01]: I've critically claimed that net.
1:57:47
[SPEAKER_03]: Which is cool.
1:57:48
[SPEAKER_01]: What did you do?
1:57:49
[SPEAKER_01]: You could do that also.
1:57:50
[SPEAKER_01]: We have a PO box, and I can never remember the address.
1:57:52
[SPEAKER_01]: So Whitney is going to do this.
1:57:54
[SPEAKER_03]: It sent us a physical letter, sent us a postcard, sent us so whatever you like to.
1:57:58
[SPEAKER_03]: The critically acclaimed network PO box 641565 Los Angeles, California, 9.0064.
1:58:03
[SPEAKER_03]: Do it today.
1:58:06
[SPEAKER_01]: Yeah.
1:58:07
[SPEAKER_01]: And run social medias.
1:58:08
[SPEAKER_01]: I'm Matt Layne, to be honest.
1:58:10
[SPEAKER_01]: I'm not Winnie Siables.
1:58:11
[SPEAKER_01]: And never forget.
1:58:17
[SPEAKER_01]: Everyone's a critic.
1:58:20
[SPEAKER_02]: I want to go to the midnash show.
1:58:24
[SPEAKER_02]: I'm sorry I wet.