Transcript

Sinners · Citizen Frame

0:00
Don't listen to him. Grace, we're gonna find a way out of this,
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I promise. I am your way out.
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This world already left you for dead. Won't let you build.
0:13
Won't let you fellowship. We will do just that. Together.
0:19
Forever. It's better this way, baby.
0:23
So why don't you go ahead and invite us in? You should listen to him, Grace. Or listen to me.
0:30
Because I know everything he knows now and I want you to let us in there.
0:37
You're the devil, ain't you? Sammy.
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You're the one I came for. I sensed you.
0:46
I want to see my people again. I'm trapped here, but your gifts can bring them to me.
0:53
Y'all give them to me now. Just give me a little Sammy. We'll let y'all live.
0:58
Hey everybody, welcome to our new sweet, sweet episode of Citizen Frame.
1:03
I'm your host, Kieran. As always, always ready to be there to fill you all with
1:07
knowledge of my great movie expertise. Useless knowledge.
1:13
Oh, and there's Trevor, by the way. Speaking of useless knowledge. Hello there.
1:20
Sorry, Mick Gatiss has been in this film. Mark Gatiss. Oh, Mark Gatiss.
1:25
Well, fuck his name is. Get it right.
1:28
We decided, as we mentioned last week, we're going to jump into a film that's
1:31
come out and breaking box office numbers.
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Pretty big budget, considering I don't really see the budget,
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but $90 million. It's made almost $352 million worldwide.
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A million, so good on it. It's nice to see horror do well.
1:46
Especially this kind of horror. This is a movie called Sinners.
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Now, before we go any further, this is spoiler-filled. It is a new release.
1:54
If you don't want to know the spoils, you got to keep listening anyway, because you're here.
1:59
It's rude to leave. Exactly. It's rude to leave a party early. Yeah.
2:04
Stick with it. So, we got Ryan Coogler, who I have a lot of respect for as a
2:08
director. He's the creator of the Black Panther series and the Creed series.
2:12
And he always works with his boy, Michael B. Jordan. Kind of like a Scorsese-De
2:18
Niro kind of relationship going on there.
2:20
Yeah, I haven't seen the Black Panther films, but I'm not into Marvel,
2:25
you know, each to their own, but I have seen some Marvel films,
2:28
but I have seen the first two Creed films and I really liked them.
2:32
Yeah, the Creed films are solid. I'm not a big fan of the Black Panther movies,
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but I can respect Ryan Coogler's vision and just as him, as a visionary,
2:42
as a director, especially now.
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I think I like the fact he's really a good grab bag.
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He's known for Fruitvale Station that kind of introduced him to Michael B.
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Jordan and put Michael B.
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Jordan on the map, then the Black Panthers, then he does the Creed.
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So he's a grab bag of all different genres, which is nice to see,
3:00
especially now tackling horror.
3:03
So he wrote and directed this, good on him.
3:06
And his two movies that he said he would inspire him the most was From Dusk
3:10
Till Dawn and The Faculty. Yes.
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And I can see where he's coming from, especially From Dusk Till Dawn.
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But it's also, it's kind of, you know, how do you do this? I'm racist.
3:23
Go ahead. No one knows I'm racist. I'm not a racist.
3:27
You're a deck like, but I wouldn't go that far. Yeah. Yeah, I'm a douchebag, but I'm not a racist.
3:34
When it comes to, I know you're going to want to jump in here,
3:37
and you're not going to jump in, right, Trevor?
3:40
Okay, go ahead. I'd like to say your bet that I will jump in,
3:42
but yes, go ahead. Say your bet first. There we go.
3:45
Now, when it comes to black horror films, I'm not really familiar with them,
3:51
but you don't get a lot of them. And when they do, they're not the best.
3:54
All the way from the 70s black exploitation films that were coming up,
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like Chaffin and all, we had Blackula.
3:59
And then you had movies like
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bones came out tales from the hood vampire in
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brooklyn was directed by west craven with eddie murphy
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didn't work i'm gonna be honest with
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the only kind of black horror cinema i really got into was the original candy
4:15
man at this back in the early 90s and it wasn't really till the jordan peele
4:22
era kicked in where you started getting smarter black horror films, if that makes any sense.
4:30
I'm sorry if I'm sounding a racist, I'm not. No, no, you don't.
4:34
You're criticizing media, and that's perfectly 100% fine.
4:39
You're not criticizing the color of someone's skin, so, you know, chill.
4:43
But yeah, I mean, I quite like the sort of blackula stuff and the exploitation
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stuff from the 19th, the blaxploitation stuff from the 70s, and,
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you know, obviously Quentin Tarantino did Jackie Brown, which was an homage to that era.
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But yeah, I mean, that they certainly have their flaws i
5:00
would actually prefer that stuff than the more recent
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stuff like you know get out and stuff which i would
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have to re-watch get out but but i quite liked it at the time
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i like the sort of twilight zone feel of it us
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also directed by jordan peele was i thought it was entertaining but flawed but
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you know to sit there and say blackula you rather watch blackula over those
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come on i don't know yeah well yes because it's kind of i like my sort of can't
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be cheesy sort of exploitation stuff you know it's.
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They're different styles of you know
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film films but you know i
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i like the sort of campy 70s cheese and again
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that's not being disrespectful to the 70s exploitation and um you know black
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exploitation stuff but i i do enjoy i have i have a soft spot for it but yeah
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i mean i wouldn't actually class candy man the candy man series as black horror
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so to speak but you know because by Clive Barker, essentially,
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but, you know, obviously you have, you know, Tony Todd and stuff,
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and, you know, the Brainy Green. Of course, just black horror.
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Yeah, it is. And quite frankly, Sinners is a lot, because Sinners deals with
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a very tough topic, so does Candyman.
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But being able to turn it into an enjoyable fantasy kind of horror film is ballsy.
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And Bernard Rose directed Candyman, who's white, and written by a white guy,
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but it's still, the core audience is where, is the black audience.
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I think possibly, I might be associating Candyman too much with the original
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Clive Barker story, The Unforgiven, which is not set in Cabrini Green in Chicago.
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It's actually set at a white working class estate in Liverpool.
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So possibly that's maybe my subconscious association with it.
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Yeah, pretty much. Night and day.
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Yeah. But yeah, fair enough.
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But, yeah, so we're here to talk sinners, and we're going to jump into it and see what I thought.
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It was a gray area for me in this one, but I've watched it twice,
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to be fair to it, and we'll see what happens.
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Now, I want to give a personal shout-out to this young man. He's new to the game.
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His name is Michael Canton, and he plays the lead, Sammy, and just an amazing little artist here.
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He's great. He's got a deep voice. He reminds me of Hosier. Remember that guy, Hosier?
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Hosier's got that deep. The singer, the Irish singer? Yes, yes.
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He's got that deep voice.
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Take Me to Church was a great single band. Yeah. Yeah, that same guy.
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And sounds a lot like him. Beautiful voice, very talented young man.
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And I just want to give him a shout.
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It's his first film, so good on him. I believe the guitar playing is all by him as well.
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It is, it is. And a great ending, which we'll talk about. But now we've got,
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so we got Sammy Jebediah, that's his dad, the preacher played by Saul Williams.
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We got Smoke and Stack, twin brothers played by Michael B. Jordan.
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We got the fucking great scene stealer. Loved him every time he's in it.
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He's up there, right up there with Chris Sarandon.
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And Colin Farrell is Rennick, played by Jack O'Connell.
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You've got Ruthie, played by Adrian Ward Hammond. You got Haley Seinfeld as token white woman.
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That's good. I'm just kidding. She's Mary.
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We've got Delta Slim, played by I Love to See Him, Delroy Lindo.
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You needed a good veteran actor in here. He was basically in loads of stuff
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in the 80s and the 90s and stuff.
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He still is. He is. He's so good. And Guess Shorty, he was so good in the mat.
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Then you got Cornbread. You got other vampires like Bert and Joan.
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And then you got Pearline, Grace, and Terry, and Bo, and so forth. And so forth.
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A lot of people in here. I was getting lost a little bit, but finally found my footing.
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And let's just jump into it. Okay. The opening scenes always fun.
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I always like the opening scenes where films where they like to give you the
8:58
ending before we see everything.
9:00
Yes, and then it goes back. Yeah. Exactly. So we see Sammy, guitar broken up.
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He's got a big claw mark on his face.
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And his father is telling him, drop the guitar, son, drop the guitar.
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Because we find out in the near future, we find out during flashbacks and stuff
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that his father's anti-music. He thinks it's the devil's music.
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Blah, blah, blah. So he's blaming the music for what happens to his face and
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blah, blah, blah. Then we cut to a day earlier.
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Yeah. And that's why it's such a clever title as well, because,
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you know, who are the sinners?
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According to Sammy's dad, it's, you know, it's Sammy and the gang.
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You know, Michael B. Jordan and stuff, you know, they're the sinners because
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they're playing the devil's music and stuff.
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But, you know, then it could be the vampires and, you know, there's,
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it's a very clever title.
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And that's why I had to rewatch it.
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Because of who the real sinners are. Yeah. But I think that's the director's,
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that's what he was trying to do.
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Is it, is it stack? Is it stack and smoke?
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Brothers who show up in town to cause a little havoc?
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Or is it the vampires who during a time, especially down south in Mississippi,
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can offer them hope, you know, lifelong, you know, well, eternity,
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I guess you could say. Then you have the KKK.
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And so you have these three elements.
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And who is the real sinner? And that's pretty much what it is.
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Maybe, you know, they're all sinners in their own way.
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Maybe we are all sinners, you know what I mean? And it is clever in that respect. Yeah. Yeah.
10:40
I think a vampire would be kind of cool. I would love to be a vampire.
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I would have told you what, you sick freak. and the first person that would
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come and fucking do over would be you fuck that I'd be all fucking I'd be eating garlic bread,
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all day I'd be fucking just ready to go man you'd be dead in a minute bullshit
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you know what I mean you're no Peter Cushing to my Christopher Lee fuck that
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you'd be gone man I'd be like oh god Trevor come on man I'd be the best Dracula
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ever suave sophisticated badass,
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now and it's the Back to reality,
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the one film that I did have a problem with, and it's probably my ignorance, is...
11:25
But the actors were speaking with a southern drawl and a Mississippi accent.
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And when spoken fast, and they mumble.
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And so now that eventually changes when there's less background noise happening.
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You know, when the music stops playing. Yeah. And there's more conversation
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between the vampires and themselves.
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I can understand. But when there's a lot of background noise going on,
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I did have a tendency, I have any trouble, especially with Michael B.
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Jordan, what he was saying.
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Yeah. I mean, I get to the authenticity of it, which is, you know,
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it works obviously well in that respect.
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But there was times I was having to listen closely to the dialogue because of
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the, you know, the Southern drawl, which they all speak with.
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Yeah, and that's fine, of course. And that's on me. I watched a second time
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and it kind of fell into place.
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I also have subtitles on. Great. Right?
12:22
And you're American too? No, I got most of it. I got most of it.
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I got the vampires. Right?
12:29
Well, it was an Irish show, you know. Yeah. Top of the morning to your ass.
12:33
The Rocky Road to Dublin. We'll get that scene soon. That was a great fucking scene.
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Ambient. All right. So now, they don't tell you for sure where the brothers got their money.
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And so- They suggest it though? they suggest it
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was Capone yes they were basically it's
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suggested that they're working for doing work for Capone
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but they were basically out for themselves essentially and with
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the because they have Irish beer bear in mind this is the prohibition era as
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well so alcohol was illegal with them having the Irish beer it's suggested that
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they play the mafia and Capone and stuff off against Irish gangsters in Chicago,
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So they were basically They were fucking people over, left, right and centre Essentially,
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but they were also Working with them, but really out for themselves They were up to no good,
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So what was the point of the juke joint? They want to build this juke joint
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for the day. No, they're building it. They're going to own it,
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right? They're buying it. Oh no, they were going to make it.
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They were planning to make an absolute fortune out of it. Okay.
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So they, okay. So they, they'd have the money to just buy it.
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They had the liquor and they stole.
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So they were supposed to make the money from the liquor. And that's why there's
13:45
a fight that improves because, because they're like, you're giving,
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you are, our people, they're not paying.
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You're giving them beer on credit. We can't live on credit.
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Yeah. they were basically putting into their own community coming home to put
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into their own community but at the same time there were no dozers either,
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they made a lot of money through crime in Chicago and basically fucking over
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the likes of the mafia and the Irish gangsters and stuff.
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But also yeah they were coming back to yes put into their own community but
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at the same time make a load more money,
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it's basically a new business venture with this shabing as I would call it which
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is the Irish name for an illegal drinking tan.
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Yeah. Yeah. A juke choice. Yes.
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So you split up the brothers. Yeah. Stack has the red Fedora.
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Smoke had the blue snap front brim. So that's how I was able to differentiate
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the names. So you had Stack and Smoke.
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And I always got confused who was Stack and who was Smoke.
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Well, to be fair, they are played by the same person. I know.
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They're twins. That's the problem.
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Yeah. But they do. And also, we find out that Smoke is the violent one,
15:03
which, ironically enough, is the one who is the badass. So...
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Makes sense. I will say this. When I watched it a second time,
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there's a lot, and I mean a lot, especially with the first act.
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Until we meet Remick, which is about 45 minutes into it, that's Jack O'Connell's
15:25
character, the vampire. Yeah.
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We're about 45. We'll even add another 15, 10 minutes, whatever.
15:31
It takes a while to get into.
15:34
It's almost the same thing with From Dusk Till Dawn.
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Exactly. From Dusk Till Dawn was more of a road movie halfway through it until
15:42
they get to the titty twister and they get, you know, they're comeuppance or they get attacked.
15:48
Yeah. And you have different characters. You have the Clooney,
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who was not a bad guy, but a messed up guy. You had Tarantino,
15:56
who was kind of the nutter.
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He was a nipist, yeah. You have the priest, who was, you know,
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played by Harvey Keitel, the ex-priest.
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So you have these different kind of characters. And these kind of characters kind of play on this.
16:07
You've got Annie who's kind of like the hoodoo they call it her hoodoo instead
16:13
of voodoo it's called hoodoo.
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She's the she's the one the narrator she's the
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one who's going to get these guys through this she's the witchy woman yeah witchy
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woman and then you've got the
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two brothers who are just like George Clooney and Tarantino one more violent
16:29
than the other yeah it does play homage to that but obviously make it his own
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and doing it during a time where Mississippi wasn't at its best.
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Yeah, and also, you know, both essentially, both films are basically crime dramas,
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road movies, as you said, up until the twist midway. So, yes.
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But to be fair to Coogler, he has openly admitted that, you know,
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From Dusk to Dawn is an inspiration for this.
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Oh, I know that. Yeah, and I'm not putting him down for it at all.
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He's proven to be a solid director. And now he wants to play a little nod of homage.
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And it's nice to see that Coogler grew up with films I liked,
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you know, from Dust to Dawn and The Falcon. He's a bird artich.
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Yeah. So they're solid films. So there's nothing wrong once you become a staple
17:22
in the industry to be able to go and have a little fun.
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And, you know, and be able to tackle probably his favorite genre,
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which is probably horror.
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Because if he's already talking about the faculty in From Dostradamus and doing
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the horror film of Sinners he
17:39
clearly has horror films in his blood yeah that was so smart well I mean.
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I'm actually going to say I actually like that one from you Kieran to be fair
17:52
because blood vampires and there's lots of blood in this there you go you just
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jumped into that one credit where credit's due you dick fuck off,
18:04
So when the two brothers...
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I do like when they split the two brothers up. One takes the equipment.
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The other has taken Sammy with him to get more, you know, more talent.
18:15
Yes. To join the band for tonight. And it's a good way of differentiating the
18:22
characteristics of the brothers.
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Because we find out that Smoke, his good friends are looking at his truck and
18:30
he finds out it's them. He ends up shooting him, not killing him.
18:35
But literally, no harm was done, but he still shoots one in the ass.
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And he shoots the other one in the knee just to let you know,
18:41
don't fuck with me. So you know right away.
18:44
Exactly. It sets him up as the badass. Yep. Where the more reserved financial
18:49
one and the business-minded one is with Sammy most of the time.
18:54
And that's Dax. and we do need that I
18:57
think to set up the characters so that
19:00
then later on whenever the bad shit happens you're actually
19:04
you're emotionally connected there and it's
19:07
very very well written and I think
19:10
it's you know proper storytelling you know
19:13
including this first hour which is a slow burn but
19:16
it sets it up very well yeah I was a little concerned with
19:19
a slow burn when I was mentioning From Dusk Till Dawn it
19:22
was a slow burn itself but it was fun you kind of like the
19:25
characters he had some creepiness in there and it was like a
19:28
potboiler with this one i didn't really feel a pot
19:30
boiling well this is because kugler's style
19:33
of writing is more grounded whereas quentin
19:37
tarantino's who wrote from dustledawn is more pulpy and quirky and you know
19:42
snappy so it's just yeah but kugler's is more set in the real world yeah i mean
19:48
i understand what he was trying to do in the first 45 minutes or so he's trying
19:51
to show what it was like down in mississippi working on a plantation plantation,
19:55
a cotton plantation and how things kind of worked,
19:59
it was, it's almost a place like a period piece.
20:01
It is a period piece on a western almost. Yeah.
20:05
So to, to understand, to be able to plant that.
20:10
That history within a horror film works. Yes.
20:14
It introduces us to that world and we're sort of living in it for a while before
20:19
all the crazy stuff happens. It works very well indeed.
20:22
Well, let's start with the crazy shit. We got our boy, Jack O'Connell.
20:29
Hopefully, he's popular from a show where he's called Skins in the UK. Yes, I know of it, yeah.
20:35
He tried to make it in the States and he did a couple films.
20:40
They didn't do quite well.
20:42
And so it's nice to see him getting this other big break because this movie
20:46
catapulted and he is the scene stealer of the film. He's brilliant.
20:49
I mean, you've got Delory Lindo who's fucking genius in his craft.
20:54
You got Michael B. Jordan was very good at what he does.
20:57
He's surrounded by some wonderful acting here, but he does steal the show.
21:02
And he's, so it's nice to see him get a second do and hopefully this way we'll
21:07
bring him, you know, another resurgence for him.
21:10
His vampire has proper presence and threat, you know, and it's just,
21:16
he's just brilliant as a villain.
21:18
He does have threat. Of course he does.
21:22
But there's something about him and this is him selling it.
21:26
And we'll suddenly get to the scene where he's trying to get into the door and
21:30
he's talking to the whole gang, Annie, and he's talking to Miss Crow. Yeah.
21:38
Ciao, ciao. Sorry, ciao. Chow, chow, yeah. He's talking to Grace.
21:42
And that's a great scene. But we'll do that in a second here.
21:45
But yeah, I love the opening, the intro to Remick.
21:47
He runs up to a house. He's being chased by people.
21:51
And he's begging them, let me in, let me in. He looks to the corner.
21:55
He can see their KKK. Yeah. They got the little outfits.
21:58
But he lets them in and obviously turns them. It's a fun little scene. Yeah.
22:05
It's a good setup because I like the fact when you meet him and then once he's
22:11
playing all serious, oh, please let me in. I'm going to die.
22:13
I'm going to die. Don't let him torture me, blah, blah, blah.
22:16
But then when she goes around the corner, he's already turned to her husband
22:19
and he's sitting there. Oh, he'll be up in a moment.
22:22
And you know, right away, he's got a nice little sense of humor.
22:26
And we need a good vampire to sense humor. Yeah. And I also like that the vampires,
22:30
whenever they're turned, they have a hive mind.
22:33
And you know the yeah the backstory
22:36
for the lead vampire is great where he talks about um
22:39
later on how again it goes back to the whole sinners
22:42
and religious stuff how it basically his
22:46
people back in ireland ancient ireland
22:49
so it suggests that he's like probably about like 1500
22:53
years old were basically taken over
22:56
by christianity and christianity didn't come to
22:59
ireland until you know maybe around
23:03
the 7th century you know BC or maybe
23:06
after I would have to check my facts there
23:09
so I think that's great where that then suggests
23:12
that he would have been pagan Irish but also
23:16
that he's about 1500 years
23:19
old well maybe about over 1000 years old anyway you know yeah and we'll get
23:26
more of those kind of dialogue with him a very smart writing by Ryan Coogler
23:30
and yep so we there's a there's a scene in that's fucking wonderful and it's where.
23:39
Slim introduces Sam into the crowd yeah and he's gonna play guitar for the first
23:45
time and the whole thing is just beautiful music the soundtrack's amazing oh yeah and,
23:51
It is a wonderful, astonishing scene. And all it is, it's almost like a 10-minute window of black music.
24:03
And what I mean is, as he's singing and everyone's getting involved,
24:07
you see some of the characters wearing modern clothes.
24:10
You see some of them wearing, you know, all the way to, then you see they're
24:16
putting in little blues, they're putting in a little jazz, they're putting in
24:20
a little rap. It's a terribly created scene.
24:22
And it is the way it's the whole thing.
24:25
It's a history of black music is what it is, mixed with this current song that
24:31
Sammy's singing. It's actually amazing.
24:34
And then you got the house, which is on fire, like they're burning down the
24:38
house. You know, like they're rocking the house down.
24:42
And it's just a wonderful nod, because then we're about to get the flip side
24:47
of that with the Irish music remix.
24:48
Well I mean this scene this is
24:52
basically a musical as well as a period piece in
24:55
a western and a horror but this scene the
24:58
narration says something like whatever music is authentic it conjures the spirits
25:04
of music past and future so you have all this anachronistic you know like 1990s
25:11
21st century musicians in the tribal music and all it's fantastically done so
25:16
it is and it's great music as well.
25:19
Yeah, and as that's happening, Wemek and the other two show up,
25:24
and he goes, we just want to come in and have some money. He's very charming, very likable.
25:27
Well, that's a vampire lore. You have to like the devil as well.
25:31
They have to be invited in.
25:33
They don't still trust him. I think Smoke or Stack says, we let him in.
25:40
Someone spills a beer on him accidentally. That starts a brawl,
25:43
and then we got a bunch of other white guys coming in.
25:46
So that's why they were hesitant.
25:49
Again, they're in the middle of the deep south, in Mississippi.
25:52
So we can understand their paranoia and their reserves. Yeah.
25:56
It was true of the Jim Crow era and segregation and stuff. So very tense times, let's just say. Yeah.
26:04
So we can understand that. But it's the downfall and the greed that is stacked.
26:14
Because He has an argument with Mary about we can't be giving our drink away.
26:23
We got to make money. We can't live on credit.
26:26
And so Mary goes, well, you just turned away, people. You don't know how much money they have.
26:31
And him going, oh, that's a good point. So he's thinking money.
26:34
So she goes out to talk to them.
26:36
About do you have any money and it ends up being her downfall she
26:39
gets bitten yeah i love
26:42
that no one is safe here you know so there's proper
26:45
actual threat we don't know who's going to get turned so it's it that is really
26:50
well played i also love how basically fuck edit this out i've lost my train
26:57
of thought edit this bit what was i going to say oh fuck no no we keep this
27:02
because you i want people because they know what I have to deal with every day.
27:05
No, I was going to say something there. Oh, it'll come back on me.
27:09
I just love it. Oh, yeah, it'll come back to you when I'm saying something poignant, like I always am.
27:13
No, no, that's what it was. I was going to say that, yeah, that I love how everyone
27:18
in this film is a flawed character. That's where I was going with that there.
27:21
Nobody is, there's no, you know, out and out good guys or bad guys.
27:26
They're just proper, well-rounded, flawed characters, human characters.
27:31
Well, I'm going to say the KKK are. bad well yes
27:34
obviously they're the sort of well you said they're you know but
27:37
bullshit uh no but they are obviously what
27:41
you might call it you know they're not in it much i'm talking about the main
27:43
players here i mean you don't you only see them as them at the
27:46
start and the end whatever you find out the twist of well the bar and what they
27:51
have let's just move on yeah you're jumping ahead there now but yeah yeah so
27:55
as and then there's a conversation with sammy and smoke where he tells him you
28:01
should go to a place called Mount Bayou or something like that if you want to play music,
28:05
but he wants to explore and go to Chicago like they did.
28:09
And he makes it, he says, there's no future, kind of like what his father was
28:13
telling him, which I didn't get.
28:15
His father, the preacher saying, you know, the smoke, you play with the devil,
28:20
you'll bring the devil home, he says to him once.
28:23
And he's talking about the music. Well, smoke kind of says the same thing to him.
28:27
And I was confused, and he goes, if you do that, if you do leave and play music,
28:32
I'll find you and kill you. I didn't understand that.
28:35
He was just being a sort of badass. It was like tough love, you know, type thing.
28:41
He wasn't really going to kill him. You know, it's more like a sort of.
28:45
Although they're cousins, it was more like a brotherly sort of,
28:48
you know, trying to steer him right, but in a tough way, if you know what I mean.
28:53
So he's telling that. But I would say that Sammy's dad, the preacher,
28:57
is technically right because with their music, they literally do invite the devil.
29:04
Actually two forms of devil the vampires and the kkk he
29:08
he tells him but smoke tells
29:11
him this is your last juke you're not playing anymore i didn't understand that
29:16
he wasn't he wasn't so he's telling him don't play the music it's crap just
29:21
go do something else i don't just go live your life and mount by you i didn't
29:25
understand why he was pushing him away from music because the guy's clearly
29:28
talented, where his brother,
29:30
Stats was in the car with him, he starts playing the guitar,
29:33
his brother's wow, that's amazing so they're two opposite Well,
29:38
there's conflict there Yeah, I just didn't get why Smoke was so against him
29:42
playing music it just didn't seem,
29:45
I don't know I think he wanted him to play it, but stay with them and for them
29:50
to mentor him, I don't think he wanted him to go away, I think it was just some
29:54
form of emotional blackmail type thing. I don't think he really meant it.
29:58
I think ultimately he was current, but he was a bit too much of a badass.
30:02
And it was like a sort of bravado thing. So, I did believe he meant the best
30:08
for Sammy, but sort of on his terms.
30:12
Yeah. Well, I do like when Mary approaches Remick and the team.
30:18
And they're playing all year is time.
30:21
Oh, the rocky road to Dublin? That scene? No, no. No, that's not fair.
30:27
When she goes out, there's only three of them at this point.
30:30
Oh, sorry, yes, at that point, yeah, the Rocky Road to Dublin's later on. Was it Wild Irish Time?
30:35
Like, I'm still Irish. Yeah, and he's got the gold coins and stuff. It's pretty good.
30:40
Top of the morning to you, Irish time. You're like Warwick Davis in Leprechaun.
30:46
Get my wee pad of gold.
30:50
Oh, yes, at this point, the Rocky Road to Dublin scene is later on.
30:54
That's the best. I love that scene um so i do
30:57
like the chat between mary and the team and again
31:01
that's what makes the film it's the dialogue before someone is turned eventually
31:06
there's a there's like a five minute dialogue between remick and the person
31:10
he's like you'll have remick and grace coming up you'll have remick talking
31:14
to to to smoke soon you know and the conversation is is enthralled,
31:20
and he makes and the funny thing is Remick actually makes some good points yeah
31:25
at the same time and like a good vampire would do to get them turned but.
31:30
It's, I don't know. I just, I just. There's proper tension and it's just really well written.
31:36
So it is, I think this is whatever Remick talks about, you know,
31:40
you know, the whole pagan sort of ancient Ireland stuff and all.
31:43
And then he produces a couple of gold coins as well. Again, highlighting how old he is.
31:47
So it's little touches like that where it's show, don't tell,
31:50
you know, it's just really well done.
31:53
Yeah. there's a line with Remick when he's talking to Mary and this is kind
31:56
of the nail in the coffin where he goes, I'm sorry to hear about your mother.
32:02
Yes. And she goes, I wish I could have been there and saved her before her fate, but I can save you.
32:09
And then he pulls, he comes out of the darkness and his eyes are,
32:13
you know, the red eyes and he's drooling, which was a nice add on.
32:17
I never thought about vampires drooling, you know, messy bastards.
32:21
But I thought about it And the drooling is them, you know, licking their lips.
32:26
They're addicts. It goes back to the whole, they're addicts.
32:30
They're addicted to blood.
32:31
So it's just the thought of drinking her blood, you know. So that's why,
32:34
you know, it's a good touch.
32:36
Yeah, it is. But I've never seen it before done. So it's kind of,
32:39
it is a nice touch. Something different, again, up to Kugler's decision.
32:44
And well played. But I do like the shot where she was walking away from him.
32:48
And then he just lifts up into the air.
32:50
And then it quickly cuts to loud music in the juke joint.
32:54
And as they're out there, they're sitting there dancing and having a great time.
32:58
You know that Mary's getting her comeuppance.
33:00
Uh-huh. Yep. Uh-huh. Oh, yeah. So you know that she's basically turned at this point. Yes.
33:06
There's another shot, another nice shot where Cornbread, I like Cornbread.
33:10
He's character actor. He's been in a lot of stuff.
33:12
But he's going to take a piss. And you can hear, like, they're tossing them. Whispers.
33:21
You can't really hear the saying, but just whispers, faint whispers.
33:25
But then you can see their eyes kind of in the background. But you wouldn't
33:28
really think about it because it almost looks like fireflies.
33:31
No, I do. It was the vampires. Yeah. Which you get in Mississippi.
33:35
So it's a nice little, you know, is the eyes, is the fireflies.
33:40
Because there's a scene coming up where we're reintroduced to Cornbread and
33:43
we quite don't know if he's turned yet.
33:45
It's very fun. And that's very playful.
33:48
A good vampire film, dialogue should be playful and smart. And also the vampire
33:53
lore, it plays well with the vampire lore.
33:56
And, you know, I like that, those touches, you know, where it's taking it serious.
33:59
Yeah. And it's sort of, you know, Coogler's, you know, he knows his stuff and he's done his homework.
34:05
Yeah. So when Mary's turned now, she's resulting starts fucking, fucking stats.
34:10
Yes. And there's a scene where she's like, why are you drooling?
34:12
Oh, do you want some? And he opens his mouth and she drools in his mouth.
34:15
And that's when you know. I'm like, what the fuck?
34:17
What the fuck, man? Yeah. She's got rabies, dude.
34:21
Kinky vampire bitch. Yeah. But before everything goes down, it's,
34:26
it's, it's, and I think the music always plays along with what's happening.
34:32
Um so as mary is
34:36
seducing stack still the we
34:39
have the woman singing don't let the
34:42
sun shine no more yeah and she's repeating it don't let the sunshine you know
34:46
because as he's as she's and anyways as as she's singing it and the music's
34:51
getting louder and they're stamping there's one shot it's one take and it's
34:55
where sammy is told by i can't remember who to go check on stacks.
35:02
We might have a problem here. And he goes to open the door, sees him fucking.
35:06
He closes the door, walks over to Smoke. Smoke tells him to do it.
35:09
And he goes, Smoke, he goes, where's my brother? He's getting some yum yum time.
35:14
And Smoke's like, fuck that, I'll get him. So he leaves, goes open the door
35:18
and instead of seeing him being, you know, getting it on, he's now being eaten.
35:23
Yeah. And it's just one take. And it's just a really nice setup to a scene of
35:29
lovemaking, and then a half second later, it's turned into...
35:32
Well, lovemaking's quite an eloquent way of describing it, I must say.
35:36
It's more like being shagged and murdered by an evil vampire lady.
35:40
Well, you don't know that until Smoke opens the door.
35:43
She could have been... After she... The drooling gives it away.
35:46
Yeah. Obviously. But it's a nice shot.
35:50
It's just one little take, and I enjoy that. Oh, it's all. But I'll bring it back.
35:55
Yeah, go ahead. Because you know, when Smoke opens that door,
35:57
we're going to see something different oh yeah totally and i i would say that
36:01
that's another thing i loved how basically every song here uh is telling some
36:06
aspect of the story of the film so really like that as well within it,
36:12
And then when he shoots her quite a few times, she just gets out and goes.
36:17
We're going to kill all of you.
36:20
Yeah. And then Stax dies.
36:23
So, but it's an effective death too, because it really showed the love between
36:27
the two brothers. The emotion.
36:28
And Jordan sells both parts quite well, which could be hard to do,
36:34
especially if you're playing dual roles.
36:37
Although Jordan's great here at giving, even though they're identical twin brothers,
36:42
he's great here at giving them you know distinct personalities subtle but still
36:47
distinct personalities and that's why I believe he separated them in the film
36:50
so we can have that they're very rarely together they are but she's from the back or,
36:58
but most of the film they're separated talking to their significant others or
37:02
whatever is going on like what happened in real life with twins yeah exactly
37:05
there's a nice line and to me the best character I like Remick.
37:11
He's my favorite character, to be honest with you. But my favorite is Annie.
37:15
And she's the hoodoo, the voodoo, I guess the hoodoo, you call it.
37:19
Witchy woman. Witchy woman.
37:21
And she's smart as hell. There's a line where she goes, wait a minute.
37:26
What did she say to you guys after you shot her?
37:29
Sammy goes, we're going to kill you all. And then all she says is, we?
37:35
And so she puts it together. There's more of these coming. Yeah.
37:39
And she knows pretty much, she puts the pieces together, what these are,
37:43
because of her background.
37:45
Yep. She knows all about the spirits and the spirit world, and she also knows
37:49
that this is worse, actually. They're actually vampires.
37:52
They're the worst kind of evil spirit types.
37:56
And then now you're left with Smoke, which is the one you kind of wanted,
38:00
because Smoke, as we mentioned earlier, he's the aggressive one.
38:04
He's the violent. He'll shoot anything. Yeah, badass.
38:06
Yeah. So you have him under your belt.
38:09
But yeah it's good stuff yeah oh yeah absolutely and again this is where it
38:14
goes proper like Dust till Dawn you know where you have the sort of ragtag team
38:18
having to band together and fight the vampires you know and they're trapped
38:23
in the bar yeah the vampires trying to get in yeah you've got Annie Delta Slim,
38:28
Perline, Sammy Grace,
38:31
and you got Smoke and there's a scene where Cornbread comes back this is the
38:37
scene I mentioned earlier and the whole dialogue he's like are you Smoke you
38:43
know who I am we're like brothers blah blah blah.
38:46
And it's so smart and Annie's challenging him because Annie knows who he is,
38:51
where Smoke knows he's his friend he doesn't want to make sure who to believe
38:57
here he's fucked if he takes a strong decision but there's a line that Smoke finally says she goes,
39:04
You've been coming in and out of this place all day, walking in and out,
39:08
but now you're asking to be invited in?
39:11
Yeah, I was just about to say that. Yeah, and that's whenever he realizes what's going on here.
39:16
You know what I mean? This isn't right because, you know, yeah,
39:21
again, good old vampire lore sticking to it. Yeah.
39:26
And I love the scene where Annie knows right away what to do.
39:32
So she gets pickled garlic she throws a jar of pickled garlic on Stax's face
39:39
when he wakes up because he's obviously a vampire now and he runs out it's kind
39:43
of like acid dam I guess so.
39:47
All she says is we just got to hold up till sunrise okay we need garlic,
39:52
wood, silver, holy water and,
39:55
there's this great scene where it reminded me of the thing,
40:00
she goes yes we need to realize who's not
40:03
who here or who's who or do we realize if one
40:06
of us returned i need you to eat this piece of garlic yes and
40:10
it's it's totally the thing you know trying to work out the paranoia yeah i
40:15
loved it that is such a great scene and and there's another scene where they
40:20
see a dead body in the kitchen and they throw that dead body out in the front
40:24
and they soon realize that was just wine it wasn't blood that they saw spill
40:27
so that poor bastard gets it.
40:30
But it's nice. They fuck up. They're paranoid. They're scared.
40:34
Was this guy bitten? I don't know. Let's chuck him out. But the poor bastard ends up getting it.
40:39
But the scene I love the most is the scene where it's Remick and everyone,
40:46
white, black, they're all dancing the Irish jig and they're singing,
40:50
this is what you're talking about, Dublin.
40:52
Yeah, the Rocky Road to Dublin. The Rocky Road to Dublin. It's a wonderful scene.
40:57
And it's, I could see much more of this,
41:01
it's so haunting, but at the same time so beautiful, and just atmospheric,
41:06
it's just fantastically realized the red eyes, and they're all clapping and it's, you got,
41:13
white with black, and they're all enjoying the music, and they're all,
41:16
you know what I mean it's so clever as well in terms of, you know,
41:21
the lyrics of the song, how they're essentially telling the story of Remick as well you know,
41:26
and you know it's it's just it's just
41:29
fantastic scene along with the earlier scene with
41:32
all of the blues and modern past and present black music this this is one of
41:38
the big highlights of the film yeah it's it's it's complete opposite of what
41:44
we got where one was about music and joy and love and culture and culture where this is,
41:52
I was going to get the same thing. I know. I think it's funny.
41:55
I guess if you get bit by an Irish vampire, you instantly learn how to take
42:00
into Irish balance. I'm doing an Irish jig.
42:04
I would say that a lot of this film with the subtext, with the sort of white
42:09
vampires coming and stuff, I think that there's a lot of commentary here about
42:14
certain white people maybe hijacking black culture,
42:18
or as it would be known today, cultural appropriation.
42:21
But again it's very cleverly it's not beating you over the head with it it's
42:25
very cleverly written and handled and performed so there is definitely that
42:29
subtext there of the hijacking of black culture to appear virtuous or whatever
42:36
you know there's definitely commentary there on that so there is.
42:42
The the first main contact with Remick and the team the rest of the team that's
42:47
left and they're at the doorway and And he knows to go after Grace.
42:53
Yes. And Grace, you need to, you know, he's trying to get her to say,
42:58
you have my permission to come in.
43:01
And he just, he's so, the way he sells, the way he sells it to her is,
43:07
you know, come with me, yada, yada, yada.
43:10
Gives the whole, you know, song and dance as you get in all vampire films.
43:14
Yes. But then when he knows he's not really getting her, all he says in the same tone, he doesn't.
43:18
Great thing about A Good Vampire, and I noticed this, especially with Chris
43:21
Sarandon and with Colin Farrell's performance in Fright Night,
43:25
and even with David from Lost Boys.
43:30
Yes. Keith are suffering. They keep their tone.
43:32
They're very relaxed. They're not going to raise their own unless they're being burned or something.
43:38
But in the same tone, he's being very polite, and he's trying to explain the existence with us.
43:44
And then he just says and if you don't want to do that i'll
43:48
just pay a visit to your grocer and go see your daughter i know that yeah and
43:53
it's proper it's a proper sinister threat and that's where but he's it's also
43:57
very clever because he he sort of knows i think he knows that she's going to
44:01
lose it then and it's because of her that they all actually get in you know with the whole yeah.
44:07
Yeah yeah he finally gets to her but not because yeah she just she's kind of a badass grace but but.
44:14
But it doesn't help where he starts talking to the others about,
44:18
you guys realize where you are right now?
44:21
You're not in a juke joint, okay? You're in a slaughterhouse.
44:25
Because the man you bought this from is coming here this morning and they're
44:30
going to slaughter all of you with his KKK because it turns out Hogwood is the
44:34
headmaster, dragon master, whatever the fuck you call it. Yeah,
44:36
grand dragon bullshit. Grand dragon fuck face.
44:39
Yeah. And Bert and Joan were going to hell before he turned them.
44:44
Yes, that's right. So he's telling them, listen, I turn them.
44:48
They're not going to blast me. I'm on your side here?
44:50
Yeah, so that's where, who are the villains? You know, that's where I'm thinking.
44:56
I know if we're doing it wrong, the vampires are bad. But it's the KKK,
44:59
they're the real assholes here. We all know.
45:01
You know, the fat bastards.
45:04
The stuff with the KKK, this whole thing with the shipping and the bar,
45:10
it's a scam that they've been doing for a while.
45:12
It's heavily suggested once you've seen it and you remember back to the scene
45:18
where they get the power of this older guy, this Grand Dragon,
45:21
KKK guy there's a line of dialogue where it says this floor looks like it's
45:26
just been cleaned and it has because you find out later on that it's basically
45:31
been cleaned of the blood of the
45:33
previous ones that the scammed and then massacred, slaughtered in it yeah.
45:38
And I think that's when they finally turn the fuck off and shut the door Grace,
45:43
they're starting to get ready.
45:45
We got to defend ourselves. Grace finally loses it. Says, come on in, motherfuckers. Yeah.
45:51
It's her fault that they get in. Yeah. And it's because Remick has played her
45:56
and wound her up saying that they're going to get, well, they're saying that
45:59
they've got her husband, but also that they're going to get their daughter.
46:03
And then once she says that, Remick has this great grin.
46:06
Yeah. Well, that's it. He's won. He's got the better of her.
46:10
He sort of, he played her. Grace is fucking Grace is badass God I love her as
46:15
a character this chick's bad I mean,
46:18
They all have, we talk about arcs a lot. They all, they all,
46:21
everyone has an arc and they're all badass.
46:23
You'll see Slim sacrifices himself to save the others by cutting his wrist open
46:28
and feeding himself to the vampires so there could be a distraction.
46:31
You got Grace who literally is on fire and jumping on a vampire and stabbing him in the chest.
46:38
You've got Annie who gets, who asks Smokes to kill her. She gets bitten before she turns.
46:45
She obviously gets bit. and it's a great scene where he has to,
46:49
you know, kill her and again, it's you really kind of start getting these characters
46:54
there's emotion there, because well,
46:56
but that's why, I remember texting you the other night, going,
46:59
god, this is 60 minutes saying, what the fuck's happening, are we going to have any killing?
47:03
And, but now I get it I get it, there's the point,
47:07
there's the part to the slow burn because that means later on when the bad shit
47:10
happens to the characters,
47:13
you occur because you're emotionally invested you've got
47:16
to know them over this hour of the
47:19
slow burn that's the point it's proper professional storytelling
47:23
by ryan coogler so then you got her
47:26
line who you thought would make it with sammy because they're the kind of young love
47:29
interests yes and perline gets it she's gone no one's safe no no one's safe
47:34
everyone's getting it and smoke and now stacks are fighting the two brothers
47:40
i like the nice little twist where stacks is trying to bite him i was wondering
47:45
what was going on to the second viewing,
47:46
why he couldn't bite him in the neck because he's got that silver medallion
47:50
around his neck. That's right.
47:51
That's what he woman give him. Yeah. So, and.
47:56
Oh, I just love it. And I love the- And practical effects, mostly.
48:00
I mean, there is a part of CGI.
48:02
Yeah, besides just little tweaks here and there, but he says most of the- Yeah.
48:05
That's where the money was.
48:06
The time and effort into practical. I think definitely the best way for me,
48:11
anyway, that CGI works, I know I criticize it a lot, but the best way is that
48:16
for me that it works is whenever it's complementing the practical,
48:19
and it's not just all CGI,
48:21
because that sticks there like a sore thumb when it's all CGI.
48:24
So there is a lot of practical here tweaked with a bit of CGI,
48:28
which I really, really liked and appreciated.
48:31
There's a wonderful scene where Sammy runs away as the chaos is happening,
48:35
and our boy gets him, Remick.
48:37
This is a great scene. And I love this scene where Sammy starts praying to himself,
48:41
our father who was in heaven, and all the vampires starts praying with him.
48:45
Oh, yeah, mocking him. So fucking creepy.
48:49
It's sinister. And then Remick's going on his speech, and it almost looks like
48:53
Remick's baptizing him. he's throwing it underneath the water and bringing him back up.
48:57
It gets back to the religious stuff with his preacher dad you know what I mean this is so clever yeah.
49:03
And then I love the fact he takes his guitar and the silver piece I thought
49:08
it was again because it was silver but whatever it was the hard steel whatever
49:12
it was of the guitar sticks in his head practical fucking awesome,
49:17
and he's a big whack of the center of the guitar hanging out of his head it's him doing that.
49:23
Because I like the fact we forgot to mention where Annie tells everyone,
49:27
guys, you hit Remick, you hurt them.
49:31
Yes. They're a hive, man. Yes, when he bashes him in the head,
49:35
gives him that severe head injury, even though he's going to survive it,
49:38
it's still going to take him out for a moment.
49:40
But the great thing about it, all the vampires can't attack him either because
49:44
they're feeling the pain.
49:45
And because it's such a delayed injury for him to bounce back from it,
49:49
the sun comes up right in time and just smokes him. He's got a good death.
49:53
I like a good vampire death.
49:55
That's a good vampire death. I would, as a bit of a, I mean,
49:58
overall, I thought I felt this is great, but as a minor quibble,
50:02
I thought the vampires were a bit stupid and should have, at this point,
50:06
and should have known that the sun was about to rise very soon.
50:09
So they should have prepared for that with their vampire hive mind,
50:13
but I get it as well. It is a minor quibble.
50:16
I don't think it would be because I don't think they would really know Because they're kind of naive.
50:23
Remick would know for definite. He's not naive. And they're high of mind.
50:27
Yeah, so Remick would have been more cautious.
50:31
But he was so... He had a guitar hanging out of his head. Yeah, he was out of it.
50:36
But it's still good. Still good death. Oh, yeah. I love...
50:42
I love when...
50:45
Sammy drives away and then that goes back to the beginning, but you still have
50:50
Stax sitting there and he's got one little surprise left and he decides he's
50:55
going to wait for the KKK to come back.
50:57
Yeah. I would say as well, part of their backstory, which is confirmed here,
51:02
which ties in with this is they, they were actually, they actually served in world war one.
51:06
So they did. So you see whenever he gets the Tommy guns and stuff from Chicago,
51:10
there's also grenades there, which is probably from their time in world war
51:14
one. You know, whatever he's preparing for the KKK.
51:17
But yeah, he pretty much, once
51:20
you see a Tommy gun though, I'm assuming he just stole that from Capone.
51:23
Yes, yes. But I think the Gerniards were maybe from the war.
51:27
But yeah, when he just fucking ambushes them and just kills them all,
51:30
doesn't even, now he takes a fatal bullet, fatal shot, he bleeds out.
51:34
But when he sees Hogwarts face and he just fucking, just pummels him with bullets.
51:40
And they're even in the theater at this point, vampire lovers.
51:44
Or Stacks and Smoke Lovers, they don't care. They're rooting for these guys to get it.
51:50
Yeah. And so when they get slaughtered, and I do like when Annie kept telling
51:55
them, if I don't make it, we have somebody waiting for us on the other side.
51:59
And she's talking about the lost child that him and her had together.
52:03
And you see Stacks, Stacks, Smokes dying in peace because he looks to his right
52:09
and we see Annie and the baby.
52:11
Yes. and as he dies.
52:15
I do love when we cut to 1992 and we got the great buddy guy playing old Sammy.
52:25
Yes, yeah. Such a nice scene. Excellent scene. And I thought it was just going
52:29
to be him playing. Did you see the name of the par?
52:32
Yes, Parlan. Parlan, yeah. Parlan, yeah. Yeah, Parlan.
52:36
It's named after his first love.
52:39
That's right. I do like the fact we got Stash comes back with Mary and
52:45
Yeah. And I thought, oh, please don't roll on this and turn this into a fucking,
52:49
you know, but it's not. He just came to say hi to him.
52:53
Yeah. And he goes, I promise my brother let me go.
52:57
And because he's brother, he has such a bond with his brother,
53:00
he wasn't going to break this promise.
53:03
Says, I'm never going to touch you. Yeah. But I just want to say hi.
53:07
And I know you're older now and I want to give you the opportunity. Do you want to join us?
53:12
And he says pretty much no.
53:15
He sniffs him and goes You haven't got long left With his vampire sense You know,
53:22
I love how he's dressed like an early 90s Sort of hip hop garb and all as well
53:26
They've got that 92 Cosby sweaters I know,
53:31
You don't want to mention Cosby But you know this big Bright color sweaters
53:36
he used to wear Do the right thing It's proper for the The era yeah do the right thing yeah.
53:47
But yeah continuity is definitely there at the very end credits you can stay
53:52
and then you'll have a little guitar solo guitar solo by Sammy which is pretty
53:57
nice doesn't really said anything it's just more of a,
54:01
goodbye kind of thing but there you go yeah.
54:07
Very possibly the best film I've seen this year I think it's a fantastic film
54:13
overall, and a fantastic vampire horror film.
54:18
It's, you know, it's just all round. I think this is just great storytelling,
54:23
and I thought it was excellent.
54:26
Yeah, I was teetering on it because of the length of it.
54:31
And by the second viewing, I got it, understood why it had to be that long.
54:35
I just said that with the last mission of possible.
54:37
I know that's night and day films.
54:39
But I said that in that one. I'm going to back up with this one. You can't edit it.
54:44
You can't because you're taking away some of the substance.
54:47
So you just can't. And then obviously the ending pays off when these characters are getting it.
54:53
You're invested. Yeah, I would say. Try to go ahead.
54:56
And so to be able to take such a dark history from back during the Prohibition
55:05
era in Mississippi and be able to blend it with humor and with vampires,
55:11
yeah, pretty impressive to be able to pull that off.
55:14
You know what I loved about this one of the big things I
55:17
loved about this I mean there's a lot to really like about this but the
55:21
fact that it is so very clever but
55:24
it is not elevated horror it's not pretentious drivel
55:28
know what I mean it is not pretentious in any way it is just a lot of fun but
55:33
also really smart and clever exactly and I'm glad you brought that up because
55:37
people who like your boy Edgar's like that nasferatu which was terrible he needs
55:42
to watch this film Robert Edgar He needs to fucking watch this film. I like acres.
55:48
He needs to watch this film and go, okay, I need to do something.
55:52
No, he does. Because this bastard crazy-
55:56
It's terrible. If I hear atmospheric one more time, mentioning fucking Eggers,
56:01
I'm going to fucking do it.
56:03
He does. If he, now he's doing a Wolfman movie, it's going to suck dick.
56:08
All right. Well, you don't know that you haven't seen it. I'm a fan of Eggers.
56:12
It's going to be, you don't know that. It's not about a werewolf.
56:16
It's about a man who never shaved.
56:18
You don't get it, man. That's what wolves were like back then.
56:22
I would admit that he does need to be branch out into something a little less depressing and heavy.
56:31
Maybe you could do some sort of slapstick carry-on film or something.
56:35
Who knows? This is horror done right. Period.
56:39
And you said it perfectly. It's not elevated. And that's what makes it horror.
56:46
Not that elevated shit. Elevated is horrible.
56:49
But it's not horror. This is true horror. And this is Mastercraft filmmaking.
56:53
And kudos to everyone in it, the actors, everybody.
56:58
And Jack O'Connell, I hope you have a resurgence over here because you stole the movie.
57:02
You were so good. You were so funny. I would say that Eagers isn't elevated
57:06
horror to me, but he does need to chill out a bit. But this is great.
57:09
It is not elevated horror.
57:10
It is, you know what I mean, all around just superbly entertaining,
57:15
but clever and making serious points at the same time, but done,
57:20
weaved within the story as part of the story and not beating the audience over
57:24
the head as if they're stupid. I thought it was great.
57:27
Yeah, it was a good time. Very, very pleased. Who knew? I don't think anybody knew.
57:32
Everyone saw this trailer for this, like, what the fuck is this?
57:35
I just want to say that. The trailer was very sort of, I get that you don't
57:40
want to give too much away in a trailer, but it was underwhelming, the trailer. Yeah.
57:44
So, yeah. So, really glad I got to see it. Yeah.
57:49
Word of mouth, skyrocketed for this one. I was going to say that as well.
57:52
Actually, that was something that I meant to talk about.
57:55
The power of word of mouth, whenever something is proper quality.
58:00
Take note, Hollywood executives, people aren't stupid, and word of mouth works.
58:05
I'll tell you what, if you like a good horror film, you should certainly sink
58:09
your teeth into this one. Boom, boom.
58:13
Oh, that's a good one. Right, count, count, words. That's some words,
58:19
that terrible vampire name.
58:21
Can't wait. Well, it's your vampire name, so. No, I'll be like.
58:24
Well, Count Kieran. That's pretty good. Right, right.
58:28
I'll be like, oh my God, here comes Count Kieran. But I'll be so badass,
58:32
they'll call me Cece. People.
58:35
You don't even think people are shouting Count that. Yeah, it'll be another
58:40
word that sounds very like it, but we'll not go there.
58:44
They'll be like, oh my God, here he comes. He's so cool. His CC's coming to town.
58:50
Yeah. But Karen would think he's recalling him a current, but he's just wouldn't
58:54
be. You already said it. You're repeating it. See, you can't repeat the same joke.
58:58
Boom, boom. All right, guys, we're going to wrap this one up.
59:01
Next up is Possum, terrible piece of shit.
59:03
I haven't seen it yet. I can't wait to see what, well, I promise you,
59:07
Trevor will go, oh my God, it's masterpiece filmmaking.
59:15
I haven't seen it yet. Shit. So, I'm keeping an open mind, and that's all I'm saying.
59:21
Because unlike you, I don't prejudge films. So, there you go.
59:25
That you do, all the time. You actually read the spoilers of the films before you see them.
59:31
Aye, but that's, no, no, I bet that's a flaw. No.
59:34
Don't tell me I don't prejudge. Though I did kind of prejudge,
59:37
yes, because the trailer was shit.
59:39
Well, there you go. So, you're just a minute. Well, no. No. That's different.
59:44
They were spoon-feeding me crap. and I end up getting a nice turkey dinner.
59:48
Oh, happy days. All right. Good on you. We're done. All right.
59:53
Yeah, we got possum up and then we got shark mump.
59:56
And that's us. Guys, take care of yourselves. Thanks for listening. All the best.