Latest / Frightmares / Ep. 399 - Presence (2024)

Transcript

Ep. 399 - Presence (2024) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:11
  Speaker 2: Hello, filthy movie lovers.
• 0:14
  Speaker 1: My name is Gentry Austin.
• 0:16
  Speaker 3: And I'm Casey Scott.
• 0:17
  Speaker 2: And we're the hosts of The Sin Syndicate, a film
• 0:20
  Speaker 2: podcast for something weirdos, anti-criterion bros, and Joseph Sarno aficionados.
• 0:28
  Speaker 2: Join us semi-weekly as we peer into the adults-only theaters
• 0:32
  Speaker 2: and sticky-floored cinemas of the golden age of sexploitation.
• 0:37
  Speaker 1: When the morals were loose, the laws were murky, and
• 0:41
  Speaker 1: the intercourse was all simulated. Find us now on the
• 0:45
  Speaker 1: Someone's Favorite Productions podcast network.
• 0:55
  Speaker 4: The following podcast will contain spoilers.
• 0:58
  Speaker 1: Tangents, hot takes, and excessive foul language, viewer discretion is advised.
• 1:04
  Speaker 4: Enjoy the show.
• 1:47
  Speaker 3: Welcome back to Frightmasters Podcast. I'm your host, Austin Proctor.
• 1:50
  Speaker 3: And joining me today for episode 399 is my good friend,
• 1:54
  Speaker 3: Michael Viers. How are we today?
• 1:56
  Speaker 4: We couldn't make this 400. We couldn't have done an
• 1:59
  Speaker 4: even 400. No, I'm kidding. I'm just fucking up.
• 2:01
  Speaker 5: You know, I'm doing, you know, I'm going to say
• 2:04
  Speaker 5: I'm doing great, even though I'm kind of doing weird,
• 2:06
  Speaker 5: but we're going to.
• 2:07
  Speaker 4: Make it work.
• 2:08
  Speaker 3: We're going to make it work.
• 2:10
  Speaker 4: That was kind of like a Beetlejuice thing. We're going
• 2:12
  Speaker 4: to make it work. We're going to make it work.
• 2:14
  Speaker 3: Today, on another installment of Spectember Frights, we are discussing
• 2:18
  Speaker 3: our modern pick, Presence from 2024, a horror movie that
• 2:21
  Speaker 3: understands nothing is scarier than a teenage boy. Let's see
• 2:24
  Speaker 3: where this lands on the Nightmare Index. All righty, Michael.
• 2:34
  Speaker 3: What have we been watching, Michael? like in the past
• 2:39
  Speaker 3: week or so what have you been getting into i.
• 2:41
  Speaker 5: Have been watching so much stuff and it's mostly so
• 2:45
  Speaker 5: this has been 2026 has been the year of rewatches
• 2:49
  Speaker 5: and it's because since i i work from home now
• 2:52
  Speaker 5: i'm not doing phone calls all day i will just
• 2:54
  Speaker 5: if i watched a movie in the past week and
• 2:56
  Speaker 5: there's a there's a dvd or blu-ray commentary i just
• 2:59
  Speaker 5: pop that shit on and listen to it while i
• 3:00
  Speaker 5: work yeah love it so i'm gonna try to avoid
• 3:04
  Speaker 5: extremely non-horror things like I don't think I need to
• 3:07
  Speaker 5: talk about my love for Moonstruck on this podcast.
• 3:10
  Speaker 3: I think you do. I think we need to hear
• 3:12
  Speaker 3: about it.
• 3:12
  Speaker 5: Okay, well, I rewatched Moonstruck for Amanda and my sideshow,
• 3:19
  Speaker 5: Cage is the Rage, where Amanda and I work through
• 3:22
  Speaker 5: the entire works of Nicolas Cage in chronological order. And
• 3:28
  Speaker 5: the episode that we're about to record is going to
• 3:30
  Speaker 5: be an episode on Moonstruck, and it's also going to
• 3:33
  Speaker 5: be Vampire's Kiss, which is one I've never seen.
• 3:37
  Speaker 3: Oh yeah, I've heard things, but have not seen either.
• 3:41
  Speaker 5: So as we've been working through Nicolas Cage's film, do
• 3:43
  Speaker 5: you mind if I just go on a small Nicolas
• 3:45
  Speaker 5: Cage tangent?
• 3:47
  Speaker 3: I'm never going to say no to a Nicolas Cage tangent.
• 3:49
  Speaker 4: I just wanted to make sure.
• 3:51
  Speaker 5: So as we've been working through his filmography, it's been
• 3:53
  Speaker 5: really interesting to see kind of the progression of the
• 3:58
  Speaker 5: Nicolas Cage that we know. Because there's realistically, there's two
• 4:02
  Speaker 5: beasts inside Nicolas Cage. There is the beast that is
• 4:06
  Speaker 5: a legitimately good actor. Both versions of Nicolas Cage are
• 4:09
  Speaker 5: legitimately good actors. He just kind of approaches things a
• 4:11
  Speaker 5: little bit differently. And it is kind of weird to
• 4:13
  Speaker 5: think that, because we think of Nicolas Cage as being
• 4:15
  Speaker 5: this wild kind of guy.
• 4:17
  Speaker 4: And there was.
• 4:18
  Speaker 5: A period of time where he was like the leading
• 4:21
  Speaker 5: man in the 90s. And as we're working through his
• 4:26
  Speaker 5: early career, he's definitely making weird choices. Like you have
• 4:29
  Speaker 5: things like Peggy Sue got married or Even though it's
• 4:32
  Speaker 5: a little bit more of a subtle role, his role
• 4:35
  Speaker 5: in Valley Girl has some real big cage choices in it.
• 4:40
  Speaker 5: But he's just kind of doing the leading man. Like, hey,
• 4:43
  Speaker 5: I'm trying to prove that I'm a solid actor kind
• 4:45
  Speaker 5: of guy. And that continues as well in Moonstruck, which
• 4:49
  Speaker 5: he's very good in.
• 4:50
  Speaker 4: Mm-hmm.
• 4:51
  Speaker 5: And the only reason he's in that movie is because
• 4:52
  Speaker 5: Cher pretty much went down bad for him and was like,
• 4:55
  Speaker 5: if he's not in this movie, I'm not in this movie.
• 4:57
  Speaker 3: Oh man, getting an endorsement from Cher, that would be
• 5:00
  Speaker 3: a highlight.
• 5:02
  Speaker 5: But from everything I've come to understand... Vampire's Kiss is
• 5:06
  Speaker 5: like the Rosetta Stone for the Nicolas Cage performance style.
• 5:11
  Speaker 4: That we all know.
• 5:12
  Speaker 3: Oh, okay.
• 5:14
  Speaker 5: Because then after that, he has an uncredited role in
• 5:19
  Speaker 5: a movie called Never on Tuesday, which is directed by
• 5:21
  Speaker 5: Adam Rifkin, and I'm definitely going to ask him about that.
• 5:24
  Speaker 5: Some movie called Time to Kill, where he plays Enrico Silvestri,
• 5:28
  Speaker 5: and then it's wild at heart. So then he starts
• 5:31
  Speaker 5: working with David Lynch.
• 5:32
  Speaker 4: Mm-hmm.
• 5:33
  Speaker 5: We are getting into some really weird shit for Nicolas Cage.
• 5:38
  Speaker 5: And just also some really good performances. So I'm excited
• 5:42
  Speaker 5: to continue this journey. So yeah, I watched Moonstruck. All
• 5:45
  Speaker 5: of that to say, I watched Moonstruck. And I watched
• 5:47
  Speaker 5: it with the commentary track. I've been, I told you
• 5:52
  Speaker 5: about this. I've been, Tubi is a blessing to us all.
• 5:57
  Speaker 5: Because all of Are You Afraid of the Dark? Goosebumps
• 6:01
  Speaker 5: and Tales from the Crypt are all on there.
• 6:03
  Speaker 4: Whoa. Well, there's an asterisk to Goosebumps.
• 6:06
  Speaker 5: Not all the episodes are for some reason on there,
• 6:09
  Speaker 5: but there's some really delightful archivists.
• 6:11
  Speaker 4: Online who make sure they show up on YouTube. So
• 6:15
  Speaker 4: I've been watching all of those. I've almost been watching
• 6:17
  Speaker 4: them simultaneously.
• 6:18
  Speaker 5: I'll watch one episode from each and then watch a
• 6:21
  Speaker 5: second episode from each and just kind of going along
• 6:23
  Speaker 5: with them.
• 6:23
  Speaker 4: And I have thoughts.
• 6:25
  Speaker 5: Here's kind of like my too-long-didn't-read for the three big horror.
• 6:29
  Speaker 4: Shows from the 90s.
• 6:31
  Speaker 5: Tales from the Crypt, I would say, is overall the
• 6:33
  Speaker 5: most consistent. It's also interesting because at this time, stereo
• 6:37
  Speaker 5: sound was just becoming a thing. So you'll hear the
• 6:42
  Speaker 5: music in your left and right speaker, but the dialogue
• 6:46
  Speaker 5: is still pretty centered in the middle. But they almost
• 6:49
  Speaker 5: are treating it like monotracks. Once you get to Tales
• 6:53
  Speaker 5: from the Crypt, they had that HBO money, so it
• 6:56
  Speaker 5: punches you in the face with sonic quality. I'm like,
• 6:59
  Speaker 5: oh shit, they had a good sound mixer on this.
• 7:03
  Speaker 5: So Tales from the Crypt is the overall most consistent
• 7:04
  Speaker 5: because it also has people like Walter Hill and Robert
• 7:07
  Speaker 5: Zemeckis directing for it.
• 7:08
  Speaker 3: Yeah, that's very true.
• 7:10
  Speaker 4: Are You Afraid of the.
• 7:11
  Speaker 5: Dark is the scrappiest. It is the grittiest of the three. Like,
• 7:17
  Speaker 5: while Tales from the Crypt can go there because they're
• 7:20
  Speaker 5: on HBO and it's for adults, are you afraid of
• 7:24
  Speaker 5: the dark is getting away with some shit? Because they
• 7:27
  Speaker 5: are shooting just on video, it looks like, in Canada,
• 7:32
  Speaker 5: and no one was really watching what anyone was.
• 7:35
  Speaker 4: Doing in Nickelodeon at the time.
• 7:36
  Speaker 5: So, episode two was about a killer clown type story.
• 7:43
  Speaker 5: They're like, oh, there was this clown who was actually
• 7:44
  Speaker 5: a convict. Who went and hid inside this funhouse. And
• 7:48
  Speaker 5: the cops could never find him. And they never found
• 7:50
  Speaker 5: him again. And if you make it to the end
• 7:51
  Speaker 5: of this haunted house. You find the clown.
• 7:54
  Speaker 4: But they're also kind of hinting at the carnival barker
• 7:57
  Speaker 4: who is telling everyone.
• 8:00
  Speaker 5: About this might be the clown, and it almost becomes
• 8:03
  Speaker 5: like a killer clown slasher film at one point.
• 8:05
  Speaker 4: It's like, this is for children.
• 8:08
  Speaker 3: At the end of the day, this is for young
• 8:11
  Speaker 3: adults and children.
• 8:13
  Speaker 5: It's almost like if Tobey Hooper had made Funhaus for children.
• 8:17
  Speaker 3: Oh, my God. Yeah, that's definitely not for children. There's
• 8:22
  Speaker 3: a lot of adult material in the front.
• 8:25
  Speaker 5: Yeah, cut all that adult material out. If you ever
• 8:29
  Speaker 5: watch it, you'll see what I'm talking about.
• 8:31
  Speaker 4: And then Goosebumps.
• 8:32
  Speaker 5: Goosebumps is kind of like in between. Where it definitely
• 8:37
  Speaker 5: skews more kid-friendly, which is fine. That's kind of like R.L.
• 8:40
  Speaker 4: Stine. But it's still kind of creepy.
• 8:42
  Speaker 5: And surprisingly decent effects for the fact that they probably
• 8:45
  Speaker 5: made this thing for 50 bucks in a swim gym.
• 8:51
  Speaker 3: I love the addition of the Slim Jim.
• 8:56
  Speaker 5: The episode The Girl Who Cried Monster is weirdly Lovecraftian,
• 9:00
  Speaker 5: and there are some decent practical effects in it. Like, oh,
• 9:05
  Speaker 5: this is a lot of fun. So I've been watching that.
• 9:09
  Speaker 5: I've also been watching a lot of Looney Tunes because
• 9:11
  Speaker 5: I just got some Looney Tunes in the review, and
• 9:13
  Speaker 5: I just saw Coyote vs.
• 9:14
  Speaker 4: Acme.
• 9:16
  Speaker 5: And then I don't know how much time you want
• 9:17
  Speaker 5: me to spend on it, but I did just watch
• 9:19
  Speaker 5: the 50th anniversary edition of the giant spider invasion.
• 9:23
  Speaker 3: Oh, man.
• 9:26
  Speaker 4: Let me tell you.
• 9:27
  Speaker 3: You know what? I'm going to direct people to your
• 9:30
  Speaker 3: letterbox so you can get more people on, more eyes
• 9:34
  Speaker 3: on it, more likes, more comments. Go read his review
• 9:38
  Speaker 3: because that encompasses everything, and it's very succinct. Michael's a
• 9:43
  Speaker 3: very succinct writer, and I'm going to direct him to your...
• 9:48
  Speaker 3: If I can, which I think I can, I will
• 9:50
  Speaker 3: put the link to that in this description. I should
• 9:53
  Speaker 3: be able to do that.
• 9:54
  Speaker 4: You should be able to.
• 9:55
  Speaker 3: Fucking click on that.
• 9:57
  Speaker 5: The last thing I will say, please go read the
• 9:59
  Speaker 5: review because I was also trying to be, I don't
• 10:02
  Speaker 5: like being mean.
• 10:04
  Speaker 4: No, no.
• 10:04
  Speaker 5: I feel like I, I did a good job with
• 10:06
  Speaker 5: that review, but one thing I will say is I
• 10:10
  Speaker 5: had a serious case of FOMO when they were selling
• 10:13
  Speaker 5: the DVD before I even saw the movie. So I
• 10:15
  Speaker 5: went home with a copy of that, of this version and,
• 10:18
  Speaker 5: On DVD, because they're like, we don't know if we're
• 10:20
  Speaker 5: going to be pressing anymore. I'm like, oh, God, I
• 10:22
  Speaker 5: need to own this. And let me tell you, I'm
• 10:25
  Speaker 5: glad I purchased it when I did. Because a friend
• 10:28
  Speaker 5: of mine went back out there earlier, or after me.
• 10:30
  Speaker 5: I paid $ 20 for it. He paid $ 30.
• 10:35
  Speaker 3: Fucking inflation is so real.
• 10:39
  Speaker 4: Wow.
• 10:40
  Speaker 5: And then I found out I could get the Dark
• 10:41
  Speaker 5: Force Entertainment 4K version of the theatrical cut, the one
• 10:45
  Speaker 5: that I want, for the same price, for $ 20.
• 10:49
  Speaker 3: What a world we live in today.
• 10:51
  Speaker 4: Yeah.
• 10:51
  Speaker 5: So that's the short and sweet version of everything I watch.
• 10:56
  Speaker 4: Ooh, can I actually give you a movie recommendation?
• 10:58
  Speaker 3: Oh, I'm always up for it. I'll put it on
• 11:01
  Speaker 3: my watch list. What do you got?
• 11:02
  Speaker 5: This doesn't fall within what I've watched in the last week,
• 11:04
  Speaker 5: but it was back in August. I watched a movie
• 11:08
  Speaker 5: that's on, I believe it's on HBO Max, called The Parenting.
• 11:11
  Speaker 4: Have you watched this?
• 11:13
  Speaker 3: I loved The Parenting, yes.
• 11:14
  Speaker 4: I had such a fucking fun time with The Parenting.
• 11:17
  Speaker 2: Yes.
• 11:19
  Speaker 5: And what it does so well is it is incredibly funny. However,
• 11:24
  Speaker 5: it doesn't make fun of the scares. The scares are
• 11:27
  Speaker 5: still effective. Parker Posey is just Parker Posey-ing the fuck
• 11:31
  Speaker 5: out of this movie in the best way possible. And
• 11:33
  Speaker 5: I feel like this is the most fun Brian Cox
• 11:35
  Speaker 5: has ever had because he seems like a real crotch.
• 11:39
  Speaker 3: Yeah, he was fantastic in this. Lisa Kudrow is in this.
• 11:42
  Speaker 3: Parker Posey is in this. It is so much goddamn
• 11:45
  Speaker 3: fun because you're right. They have a lot of fun
• 11:47
  Speaker 3: with the humor, but then the scares, you're like, ah, like,
• 11:51
  Speaker 3: oh shit. So yeah.
• 11:53
  Speaker 2: Yeah.
• 11:54
  Speaker 4: And then that was a good one.
• 11:56
  Speaker 5: Dean Norris, isn't it? It's like, oh shit, you're from
• 11:58
  Speaker 5: Breaking Bad. Look at you having fun.
• 12:00
  Speaker 3: Oh, that's right. Yeah, yeah, yeah. I know the face.
• 12:03
  Speaker 3: I didn't know the name. Fun fact, I just restarted
• 12:06
  Speaker 3: watching Breaking Bad, so that'll be a lot of fun.
• 12:09
  Speaker 4: The parenting was a lot of fucking fun. I agree.
• 12:15
  Speaker 5: I gave it a heart on Letterboxd, which as of
• 12:17
  Speaker 5: right now is the only way, unless you read my review,
• 12:19
  Speaker 5: to really get an idea if I liked something. But
• 12:21
  Speaker 5: you can't just go off of that, because I like
• 12:23
  Speaker 5: movies that don't.
• 12:24
  Speaker 4: Get a heart.
• 12:24
  Speaker 3: That's true.
• 12:25
  Speaker 4: You have to read the reviews.
• 12:26
  Speaker 3: Got to read the reviews. I've watched too much shit
• 12:29
  Speaker 3: to name, so I'm going to rattle off most of these,
• 12:32
  Speaker 3: but I do want to briefly talk about three because
• 12:35
  Speaker 3: they were from AV Entertainment. Cat Cam, which is a
• 12:39
  Speaker 3: lot of fun. I mean, the name pretty much describes it,
• 12:43
  Speaker 3: the whole movie. It's told through the lens of cat cameras.
• 12:46
  Speaker 3: This couple goes on vacation. And they have one of
• 12:50
  Speaker 3: their brothers, Jay, watch the cat and kind of keep
• 12:52
  Speaker 3: an eye on him. And it's like a spooky... It's
• 12:55
  Speaker 3: like Good Boy with a cat, kind of. It was good.
• 12:58
  Speaker 3: At the end of the day, it was a good
• 13:01
  Speaker 3: kind of lo-fi horror movie. Gave it a three. Really
• 13:05
  Speaker 3: enjoyed it. And then I watched Cannibal Mukbang, which... I
• 13:10
  Speaker 3: saw that.
• 13:12
  Speaker 4: Dude. I.
• 13:14
  Speaker 3: Oh my God. So I thought it was going to
• 13:16
  Speaker 3: gross me out. And if you watch my TikTok and
• 13:18
  Speaker 3: my content- The.
• 13:19
  Speaker 4: Title is gross.
• 13:20
  Speaker 3: The title's gross. The poster is kind of gross, but
• 13:24
  Speaker 3: also really good. And it didn't gross me out at all.
• 13:27
  Speaker 3: And April Consolo, just, I was mesmerized by this woman.
• 13:32
  Speaker 3: She is incredibly attractive. She is incredibly talented. She just
• 13:37
  Speaker 3: has- Like what Maxine Mink says, the X factor. She
• 13:41
  Speaker 3: has it, and she's going to do, I feel, I hope,
• 13:44
  Speaker 3: she's going to do great things after this movie. Gave
• 13:47
  Speaker 3: that one a four. Solid movie. And then the last
• 13:50
  Speaker 3: one for AV Entertainment was called Psychonaut. And that one starred, well,
• 13:55
  Speaker 3: I say starred. She is in a lot of it,
• 13:56
  Speaker 3: but Fiona Dorff was in that one, and that's what
• 13:59
  Speaker 3: kind of drew me in. But then the other two
• 14:01
  Speaker 3: main actresses, Julie Bateman and Yasmeen Blake, were fantastic actors.
• 14:06
  Speaker 3: I don't really want to say too much about it,
• 14:08
  Speaker 3: but it's kind of another lo-fi, sci-fi, futuristic, heady, kind
• 14:14
  Speaker 3: of like almost Lynchian, I would say.
• 14:17
  Speaker 4: What was this one called again?
• 14:18
  Speaker 3: Psycho Not. N-A-U-T. Highly recommend. You can get the DVD.
• 14:24
  Speaker 3: You can get the Blu-ray. I don't think it's streaming anywhere,
• 14:28
  Speaker 3: but it was really good. Three and a half for that.
• 14:30
  Speaker 3: And then I'm going to rattle off all of the
• 14:31
  Speaker 3: ghost movies I've been watching. I went on a weird
• 14:35
  Speaker 3: space to then ghost thing. I don't know what I did.
• 14:38
  Speaker 3: So I decided one day I wasn't stressed out enough
• 14:40
  Speaker 3: and watched Gravity, which for 90 minutes my butthole is
• 14:45
  Speaker 3: just puckered. Watched Interstellar for the first time.
• 14:48
  Speaker 5: Sorry, that was a creeping joke where it just went
• 14:54
  Speaker 5: over me very slowly.
• 14:58
  Speaker 3: Watch Interstellar for the first time. Five stars. Fuck you,
• 15:02
  Speaker 3: Christopher Nolan. That's all I have to say. My review
• 15:05
  Speaker 3: is I would be absolutely insufferable if I could make
• 15:08
  Speaker 3: Nolan-level films. Then I re-watched Event Horizon, four stars. Apollo 18,
• 15:14
  Speaker 3: three and a half stars. Then I got into my ghost,
• 15:17
  Speaker 3: because I had a couple days to myself, so I
• 15:19
  Speaker 3: watched Talk to Me, four and a half stars. Host,
• 15:22
  Speaker 3: four stars. Unfriended... Three and a half, Unfriended, Dark Web 4, Mama.
• 15:28
  Speaker 4: Wait, how many Unfriended movies are there?
• 15:30
  Speaker 3: There's two.
• 15:30
  Speaker 4: Oh, okay.
• 15:31
  Speaker 3: Dark Web is like, it's one of- For some reason.
• 15:35
  Speaker 5: I thought you just said Unfriended 4. For some reason,
• 15:38
  Speaker 5: I think I just zoned out for a second.
• 15:40
  Speaker 3: Four stars, sorry.
• 15:42
  Speaker 4: Oh, that makes far more sense. I was like, holy fuck.
• 15:45
  Speaker 3: No, no, no. First, Unfriended, three and a half, Unfriended,
• 15:48
  Speaker 3: Dark Web 4, Mama 4. And then I watched three
• 15:52
  Speaker 3: new movies for this year. Penny Lane is dead on shutter. Um,
• 15:55
  Speaker 3: I'm tired. I'm tired of the, of victimizing women. Uh,
• 15:59
  Speaker 3: I feel like we just need to, I'm so tired
• 16:01
  Speaker 3: of it. So I've made a goal for me to
• 16:05
  Speaker 3: write a script that involves women in power. Cause like it's,
• 16:07
  Speaker 3: I hate victimizing. I gave it three stars because they
• 16:10
  Speaker 3: did get good revenge and whatever. Um, then I watched
• 16:13
  Speaker 3: it ends, which has a great rating, right? It has
• 16:17
  Speaker 3: a 3.4 or something on, on letterboxd. It was not
• 16:21
  Speaker 3: the vibe. Nothing was explained. It was too ambiguous, two stars.
• 16:27
  Speaker 3: And then against my better judgment, because I am boycotting A24,
• 16:31
  Speaker 3: but Spencer brought up a good point, because Onslaught was
• 16:35
  Speaker 3: definitely made and done before the Google AI deal, and
• 16:39
  Speaker 3: I want to support my boy, Adam Wingard. If it
• 16:41
  Speaker 3: was any other director, I wouldn't have gone to the theater,
• 16:44
  Speaker 3: but I really want to support Adam Wingard.
• 16:46
  Speaker 2: So.
• 16:47
  Speaker 3: It's like I was upset with myself, but I'm like,
• 16:50
  Speaker 3: I'm here for Wingard, not A24. Onslaught was fucking incredible.
• 16:55
  Speaker 3: I like seeing Wingard return to horror because it's been
• 16:58
  Speaker 3: 10 years since he did Blair Witch. That was his
• 17:01
  Speaker 3: last horror movie because he's been doing the monster verse. And,
• 17:04
  Speaker 3: you know, good for him. But Onslaught was so fucking good.
• 17:09
  Speaker 3: And that brings us to the movie today of Presence.
• 17:13
  Speaker 3: So that was... A lot of movies. So go check
• 17:16
  Speaker 3: my letterbox. I watched like five movies in a day.
• 17:19
  Speaker 3: I had nothing to do. I had a day to myself,
• 17:22
  Speaker 3: and I was like, it is movie marathon day.
• 17:24
  Speaker 4: All right.
• 17:25
  Speaker 3: Well, that was a fuck ton of movies. I love it.
• 17:28
  Speaker 3: Let's go into the whatever it's called, the body count.
• 17:32
  Speaker 3: There we go. I know my own goddamn format. All right,
• 17:38
  Speaker 3: let me blow through this quickly so we can get
• 17:40
  Speaker 3: to the movie at hand. This is Presence from technically 2024,
• 17:44
  Speaker 3: but not released until January 24th of 2025. Rated R
• 17:48
  Speaker 3: for violence, drug material, language, sexuality, and teen drinking. Mild
• 17:52
  Speaker 3: sex and nudity. Mild violence and gore. Severe profanity. Moderate alcohol, drugs,
• 17:56
  Speaker 3: and smoking. And moderate, frightening, and intense scenes. Coming in
• 17:59
  Speaker 3: at a very brisk hour and 24 minutes. Thank you,
• 18:02
  Speaker 3: Steven Soderbergh. There we go. listed as a drama horror
• 18:10
  Speaker 3: thriller directed by the man I just said, or tried
• 18:13
  Speaker 3: to say, Steven Soderbergh. He has a very interesting career,
• 18:16
  Speaker 3: and he's done a lot of stuff, but the ones
• 18:18
  Speaker 3: I picked are Erin Brockovich, Oceans 11 through 13, and Contagion,
• 18:23
  Speaker 3: written by David Koepp, has written Death Becomes Her, Jurassic
• 18:26
  Speaker 3: Park 1 and 2, and Spider-Man, composed by Zach Ryan,
• 18:31
  Speaker 3: who also composed things I think you've seen. I think
• 18:33
  Speaker 3: they were on your Christmas episode. A Christmas Prince... The
• 18:36
  Speaker 3: Royal Wedding, and A Christmas Prince, The Royal Baby. Netflix
• 18:41
  Speaker 3: Christmas thing? Yes, yes.
• 18:44
  Speaker 5: A Christmas Prince is a shockingly solid film for what
• 18:49
  Speaker 5: it is, and I need to specify for what it is.
• 18:52
  Speaker 5: I actually like the third one better than the second one.
• 18:56
  Speaker 4: Okay.
• 18:57
  Speaker 3: All right. Cinematography, interestingly enough, by Steven Soderbergh as well.
• 19:03
  Speaker 3: He did the cinematography for Oceans 11 through 13, Contagion,
• 19:06
  Speaker 3: and Magic Mike's Last Dance.
• 19:08
  Speaker 2: Hey-o.
• 19:09
  Speaker 3: Edited by Steven Soderbergh as well. He edited Magic Mike
• 19:13
  Speaker 3: 1 through 3, Unsane and Black Bag, which is one
• 19:17
  Speaker 3: of his most recent movies. Starring Lucy Liu, so fucking
• 19:23
  Speaker 3: random as Rebecca. You probably know her from Kill Bill
• 19:26
  Speaker 3: 1 and 2 as O-Ren Ishii. I mean, she's been
• 19:29
  Speaker 3: in like 120-something things, but I picked that one because
• 19:32
  Speaker 3: Kill Bill feels like the most known. And then you
• 19:35
  Speaker 3: have Chris Sullivan as Chris, who is also in Guardians
• 19:39
  Speaker 3: of the Galaxy Vol. 2 as Taserface. Taserface. I fucking
• 19:44
  Speaker 3: love that. Kalina Liang as Chloe. She's actually going to
• 19:48
  Speaker 3: be in the upcoming Street Fighter movie. as Chun-Li Eddie
• 19:52
  Speaker 3: Mayday as Tyler he only has one other credit for
• 19:54
  Speaker 3: a short film called Cloudbound Eagle and then West Mulholland
• 19:58
  Speaker 3: as Ryan he was in Dark Harvest as Mitch Crenshaw
• 20:03
  Speaker 3: estimated budget of 2 million only grossing 11.1 but that's
• 20:07
  Speaker 3: still pretty solid This movie was filmed in Cranford, New Jersey.
• 20:10
  Speaker 3: You can watch this on Hulu and Plex. Movies that
• 20:12
  Speaker 3: came out around the same time, we have Mickey 17,
• 20:15
  Speaker 3: Captain America Brave New World, Companion, The Gorge, Together, Wolfman,
• 20:21
  Speaker 3: If I Had Legs I'd Kick You, Heart Eyes, Dogman,
• 20:24
  Speaker 3: and Lurker. IMDb summary, a family becomes convinced they are
• 20:28
  Speaker 3: not alone after moving into their new home in the suburbs.
• 20:32
  Speaker 3: Time for your favorite noise, because it's the autopsy. Gross.
• 20:38
  Speaker 3: All right, Michael, this was your first time seeing Presence.
• 20:43
  Speaker 3: What do we have for your overall thoughts on this movie?
• 20:46
  Speaker 4: Liked it, didn't love it. Simple and sweet.
• 20:49
  Speaker 3: Okay. And you, I know you said, because just like
• 20:56
  Speaker 3: you're going through Nicolas Cage's filmography, you're also going, you
• 20:59
  Speaker 3: started doing that with Steven Soderbergh as well, correct?
• 21:02
  Speaker 4: Yep, started last year. I'm not like trying to rush
• 21:05
  Speaker 4: through them.
• 21:06
  Speaker 5: I just realized that there's a lot of film that
• 21:10
  Speaker 5: Steven Soderbergh had made, and I realized that at the time,
• 21:13
  Speaker 5: I had only seen like four of them, and he has.
• 21:15
  Speaker 4: Had a crazy career. Mm-hmm.
• 21:18
  Speaker 5: And originally, it's kind of crazy to think that he
• 21:23
  Speaker 5: was supposed to.
• 21:26
  Speaker 4: Steven.
• 21:26
  Speaker 5: Soderbergh has had a really interesting career because the man
• 21:28
  Speaker 5: has been making films steadily since his first feature in 1989.
• 21:31
  Speaker 2: Mm-hmm.
• 21:32
  Speaker 5: And what I was looking up is I remember when
• 21:35
  Speaker 5: he really came on my radar was around the time
• 21:39
  Speaker 5: that he had a really crazy run of films. He
• 21:42
  Speaker 5: did Contagion, Haywire, Magic Mike, Side Effects, and Behind the
• 21:47
  Speaker 5: Candle Opera. And the reason I mention this is because
• 21:51
  Speaker 5: if you use that period and look back, he had
• 21:55
  Speaker 5: already made a fuck ton of movies.
• 21:57
  Speaker 4: And he originally talked about retiring.
• 22:00
  Speaker 5: Side Effects was going to be his last film.
• 22:02
  Speaker 4: And then he was like, I'm done. I'm done.
• 22:04
  Speaker 5: But even after he quote unquote retired, he couldn't quite retire.
• 22:10
  Speaker 5: He was shooting second union for the Hunger Games films
• 22:13
  Speaker 5: because I think that man loves shooting movies more.
• 22:17
  Speaker 4: Than I love anything.
• 22:20
  Speaker 5: And he has just continued to keep making like two
• 22:23
  Speaker 5: to sometimes three movies a year. And it's a crazy run.
• 22:28
  Speaker 5: So I decided earlier or sometime last year that He
• 22:33
  Speaker 5: has made so many films. I haven't even counted because
• 22:36
  Speaker 5: he keeps making them. I hadn't seen any of these films,
• 22:39
  Speaker 5: so I wanted to go back. I started with Sex, Lies,
• 22:41
  Speaker 5: and Videotape. Then I watched Kafka, King of the Hill, Underneath, Schizopolis,
• 22:47
  Speaker 5: Grey's Anatomy, Out of Sight. Next up, I have The Limey. Occasionally,
• 22:52
  Speaker 5: I will watch newer stuff. I did watch Black Bag
• 22:55
  Speaker 5: around when it came out. I'm not counting that because
• 22:58
  Speaker 5: right now I'm ranking them as I go. I will
• 23:00
  Speaker 5: rank those once I get back to them if that
• 23:04
  Speaker 5: makes sense no i got same thing with presence so
• 23:07
  Speaker 5: yeah he's had a really insane career and i also
• 23:10
  Speaker 5: appreciate his admiration for not letting something like gear get
• 23:16
  Speaker 5: in your way oh i don't have a budget i
• 23:17
  Speaker 5: don't have all this stuff cool what do i have
• 23:21
  Speaker 5: what can i make this with oh i can shoot
• 23:22
  Speaker 5: this on an iphone cool let's do this oh i
• 23:24
  Speaker 5: got a dslr let's do this And he'll still make
• 23:27
  Speaker 5: big budget films that are really sleek and glossy like
• 23:30
  Speaker 5: Black Bag. But then he'll get a couple people together
• 23:34
  Speaker 5: for a week in a house and just like, let's
• 23:35
  Speaker 5: do this. He is experimenting with AI in a way
• 23:40
  Speaker 5: that I don't really appreciate. And I do find it
• 23:45
  Speaker 5: very ironic that the last film that he made, The Christophers,
• 23:48
  Speaker 5: which I still need to watch, is a movie about
• 23:51
  Speaker 5: art forgery. And I'm just going to let that hang
• 23:55
  Speaker 5: on there a little bit that he made a film about,
• 23:58
  Speaker 5: you know, the the the kind of.
• 24:01
  Speaker 4: Sordid world of art forgery. And he is using generative A.I. unironically.
• 24:09
  Speaker 3: Oh, goodness. Yeah, that's. Yeah, there's.
• 24:13
  Speaker 5: But at this point, I've already committed to doing this
• 24:15
  Speaker 5: fucking challenge. So I got at least, you know, watch
• 24:18
  Speaker 5: his non A.I.
• 24:19
  Speaker 4: Films.
• 24:19
  Speaker 3: Non A.I.
• 24:20
  Speaker 4: Like what? Forty of them.
• 24:21
  Speaker 3: Yeah, so he has 42 feature-length films that he's directed.
• 24:25
  Speaker 4: Was I right? Holy shit, I just pulled that out
• 24:27
  Speaker 4: of my ass. You were right.
• 24:28
  Speaker 3: 42 feature-length, taking out, you know, shorts, documentaries, stuff like that, miniseries.
• 24:32
  Speaker 5: Oh, and I'm watching his shorts, too, as I can
• 24:35
  Speaker 5: find them. I have a funny story about that, but
• 24:36
  Speaker 5: I don't think we have time.
• 24:38
  Speaker 3: Okay. So, yeah, 42, and what I find interesting is
• 24:41
  Speaker 3: the fact that he's only done three horror movies. One
• 24:45
  Speaker 3: I haven't even heard of. It's called, the first one
• 24:49
  Speaker 3: being called Psychos from 2014. I haven't heard of that one.
• 24:51
  Speaker 3: Unsane from 2018.
• 24:52
  Speaker 4: I don't even see that on his filmography. Interesting.
• 24:57
  Speaker 3: Yeah, so Psychos from 2014, Unsane from 2018, shot on
• 25:01
  Speaker 3: a fucking iPhone, and it's shockingly impressive.
• 25:04
  Speaker 4: I think I have your copy of that.
• 25:06
  Speaker 3: Yeah, I got an extra copy somehow, and I remember
• 25:11
  Speaker 3: sending that one to you. And then Presence, so I
• 25:12
  Speaker 3: find it very interesting that he's only done three horror movies,
• 25:17
  Speaker 3: but he's done a lot of... He's very much like
• 25:21
  Speaker 3: Gore Verbinski, he tackles a lot of genres, and I
• 25:25
  Speaker 3: feel like he does a lot of them well. I
• 25:27
  Speaker 3: think Unsane was a very good psychological horror movie that
• 25:32
  Speaker 3: was done on a shoestring, like you said, $ 50 on
• 25:34
  Speaker 3: a Slim Jim. And even this one, only a $ 2
• 25:36
  Speaker 3: million budget. He shot it on a Sony F9 III
• 25:42
  Speaker 3: or something like that with the Sony G lenses. I
• 25:45
  Speaker 3: think he also used a DJI.
• 25:47
  Speaker 4: Osmo?
• 25:50
  Speaker 2: Yeah.
• 25:51
  Speaker 3: That makes sense.
• 25:52
  Speaker 4: Real quick, can I point something out?
• 25:53
  Speaker 3: Yeah, yeah.
• 25:54
  Speaker 5: So I decided to look up Psychos, and it is
• 25:59
  Speaker 5: a experimental edit that splices together the 1960 Psycho and
• 26:02
  Speaker 5: the 1998 Psycho. So it's just a re-edit of those
• 26:05
  Speaker 5: two films together as one.
• 26:07
  Speaker 3: Okay, so then technically he's only directed two then. Yes.
• 26:10
  Speaker 3: My point, it just got even better. He's done two
• 26:14
  Speaker 3: horror movies out of 42 films, which is interesting. So
• 26:17
  Speaker 3: I like that he's constantly experimenting. And this film very
• 26:21
  Speaker 3: much feels very experimental. So let's kind of dive in
• 26:25
  Speaker 3: here because from the moment this movie opens, I was
• 26:31
  Speaker 3: just in love with it because right off the bat,
• 26:36
  Speaker 3: he establishes that he has zero interest in playing things
• 26:39
  Speaker 3: by the rules. It's a long, steady cam shot in
• 26:42
  Speaker 3: a completely empty house, I would say right around sunset,
• 26:45
  Speaker 3: and it's just floating through. And it's got this hauntingly
• 26:48
  Speaker 3: beautiful music behind it. There's no scares. We're not being
• 26:52
  Speaker 3: introduced to monsters or a family. We are just being
• 26:55
  Speaker 3: introduced to a perspective. What that perspective is, not a clue.
• 27:01
  Speaker 3: You know, you really don't know. I mean, obviously, the
• 27:03
  Speaker 3: movie is called Presence. It was marketed as a horror
• 27:06
  Speaker 3: movie from the ghost's perspective. But, you know, you still
• 27:09
  Speaker 3: are unsure, at least when I watched it. I wasn't
• 27:12
  Speaker 3: sure what I was getting into. And I think it
• 27:14
  Speaker 3: was a very smart move because he establishes how this
• 27:18
  Speaker 3: thing moves through the house. And this must have been
• 27:20
  Speaker 3: a logistical nightmare to have to move through an entire
• 27:23
  Speaker 3: house and reflections and shadows and all of that stuff.
• 27:27
  Speaker 3: So doing that in and of itself is very impressive.
• 27:30
  Speaker 5: I also appreciate too that he didn't feel the need
• 27:33
  Speaker 5: to over-light anything. So it's an empty house. And that
• 27:38
  Speaker 5: opening shot is incredibly dark.
• 27:41
  Speaker 3: It's very underexposed.
• 27:42
  Speaker 4: To the point.
• 27:44
  Speaker 5: Well, is it underexposed or is it exposed for what
• 27:48
  Speaker 5: it's supposed to be? Which would, if he's shooting off
• 27:50
  Speaker 5: intentionally of natural light, he could be exposing for outside.
• 27:54
  Speaker 3: That's true.
• 27:55
  Speaker 4: That's just a semantics thing.
• 27:58
  Speaker 5: But it is so dark to the point that since
• 28:00
  Speaker 5: I watched this on Plex and I, when it first started,
• 28:05
  Speaker 5: because sometimes on some of these streaming services, they don't
• 28:08
  Speaker 5: always have the very best version of something. And there
• 28:11
  Speaker 5: was a moment where I'm like, is this just a
• 28:14
  Speaker 5: version of this film where they completely just crushed the
• 28:15
  Speaker 5: black levels? It wasn't until the movie began that I saw,
• 28:18
  Speaker 5: I was like, oh no, that was just intentional. That
• 28:21
  Speaker 5: he just, the feeling of kind of floating through a
• 28:24
  Speaker 5: dark house, he only showed us what he wants us
• 28:27
  Speaker 5: to see. And I think that's, I like bold choices
• 28:32
  Speaker 5: like that because right now we live in a world
• 28:34
  Speaker 5: with filmmaking where everything is kind of the same shade
• 28:36
  Speaker 5: of gray because.
• 28:39
  Speaker 4: I don't know.
• 28:40
  Speaker 5: We can, cameras can see into the darkness, but doesn't
• 28:42
  Speaker 5: mean we always need to be able to see every detail.
• 28:45
  Speaker 3: Right. And I, I love how he is establishing a
• 28:48
  Speaker 3: personality of this ghost through basically cinematography, which is very interesting.
• 28:54
  Speaker 3: He's going down narrow staircases. He's going around narrow, narrow corridors. And,
• 28:58
  Speaker 3: you know, he was this cinematographer on this. So he
• 29:00
  Speaker 3: is behind the camera doing all of this. And the,
• 29:03
  Speaker 3: the first, I'd say the first shot is a couple
• 29:06
  Speaker 3: of minutes. And then when the family actually arrives, uh, Uh, we,
• 29:09
  Speaker 3: you know, we realize, okay, the, this is cause I
• 29:11
  Speaker 3: was like, fuck, is this how dark the movie is
• 29:13
  Speaker 3: going to be? I can't, I don't remember. I was like,
• 29:15
  Speaker 3: I don't remember being this dark. And then the family arrives.
• 29:17
  Speaker 3: I think it's raining or no, it was, sorry. It
• 29:19
  Speaker 3: was the realtor. She arrives first and kind of introduces
• 29:22
  Speaker 3: the family to the home. And we get another kind of,
• 29:26
  Speaker 3: it's about a five minute one shot, which I, I
• 29:29
  Speaker 3: love one shots and I love one shots on steady,
• 29:32
  Speaker 3: steady cams. It's just one of my favorite things. And
• 29:34
  Speaker 3: he organizes this, this first interaction with the family, almost
• 29:38
  Speaker 3: like a play in my opinion. because everyone is in
• 29:42
  Speaker 3: one shot. And then we follow Chloe to the mirror,
• 29:44
  Speaker 3: which is a very important part of this movie that
• 29:46
  Speaker 3: we'll get to later. And then the realtor comes into frame,
• 29:49
  Speaker 3: talks about it, blah, blah, blah. And then they shift
• 29:52
  Speaker 3: focus to Rebecca and Chris in the kitchen talking about
• 29:56
  Speaker 3: basically having two different conversations. Like he's talking about one thing.
• 30:00
  Speaker 3: She's talking about another. And I'm like, okay, we're already
• 30:02
  Speaker 3: setting up that they have communication issues. And then it
• 30:06
  Speaker 3: focuses to Tyler and then the entire, entire group of
• 30:09
  Speaker 3: people again. And then we go follow Chloe. I thought
• 30:13
  Speaker 3: that was such a masterfully done shot. I really was,
• 30:16
  Speaker 3: it just, I don't know. It just gives you this
• 30:18
  Speaker 3: kind of intimate feeling like you're, and you're supposed to
• 30:21
  Speaker 3: be viewing this as the ghost. So you have just
• 30:23
  Speaker 3: this perspective of like, I am part of this, even
• 30:27
  Speaker 3: though nobody knows I'm here. Does that make sense?
• 30:29
  Speaker 5: No, that makes complete sense. And for as much as
• 30:33
  Speaker 5: Steven Soderbergh is a, I'm trying to think of the
• 30:37
  Speaker 5: best way to put this. He's a person who experiments
• 30:39
  Speaker 5: quite a bit. He definitely has an experimental bent to
• 30:44
  Speaker 5: his work. He is a structuralist in a lot of ways.
• 30:46
  Speaker 5: And I think some of that also comes down to
• 30:48
  Speaker 5: the fact that this was co-written by David Koepp, where
• 30:53
  Speaker 5: he's playing around a lot with form, but then he's
• 30:56
  Speaker 5: also just making sure that things are bookended, that things
• 30:58
  Speaker 5: are introduced that may not make sense right away. And
• 31:02
  Speaker 5: like you said, he's giving each character and each moment...
• 31:06
  Speaker 5: a chance to breathe. So that way he's, he's essentially
• 31:09
  Speaker 5: given us not story exposition, but character exposition in a
• 31:14
  Speaker 5: way that he, so cause he wants to know who
• 31:17
  Speaker 5: these people are and because that's all we're going to have.
• 31:22
  Speaker 3: Right.
• 31:22
  Speaker 5: There's less plot and more so just story, like what's
• 31:27
  Speaker 5: happening in the moment.
• 31:29
  Speaker 4: And you, you said it very beautifully that, it.
• 31:31
  Speaker 5: Is almost like a bunch of mini plays and i
• 31:34
  Speaker 5: think that's very smart and i think it's also very
• 31:36
  Speaker 5: smart the way that he establishes the space because at
• 31:39
  Speaker 5: any point at a certain point i know exactly where
• 31:42
  Speaker 5: we are in relation to this house and as things
• 31:45
  Speaker 5: unfold that becomes kind of important and you know so
• 31:49
  Speaker 5: when characters are having conversations seemingly alone there is almost
• 31:53
  Speaker 5: this feeling of a character can come around the corner
• 31:56
  Speaker 5: at any time and interrupt this conversation. Is someone hearing
• 31:59
  Speaker 5: something they're not supposed to be besides the ghost?
• 32:03
  Speaker 4: And yeah, I think it's, it's, it's very clever.
• 32:06
  Speaker 3: And that's what I, that's the type of movie I
• 32:09
  Speaker 3: really enjoy is the perspective of kind of, and you know,
• 32:13
  Speaker 3: in this case, obviously it's, no one knows about the
• 32:15
  Speaker 3: ghost at first, but I love movies where I feel
• 32:18
  Speaker 3: like I am experiencing the events with these characters because
• 32:22
  Speaker 3: even the ghost is, is confused. It doesn't really know
• 32:25
  Speaker 3: what it's doing here, why it's here, who these people
• 32:28
  Speaker 3: necessarily are. And we find out along with the characters,
• 32:33
  Speaker 3: like we don't have that superior position as the audience. Like, Oh,
• 32:36
  Speaker 3: I know what's happening here. Other than the fact that
• 32:39
  Speaker 3: we know that this is through the lens of some ghost.
• 32:42
  Speaker 3: We don't know if it's malicious until the first real
• 32:46
  Speaker 3: kind of glimpse into that is when you see the
• 32:49
  Speaker 3: ghost kind of organizing Chloe's things and putting them away.
• 32:52
  Speaker 3: I was like, okay, so, This ghost seems helpful for
• 32:55
  Speaker 3: some reason.
• 32:56
  Speaker 4: Well, everything is in the moment. Yeah.
• 33:00
  Speaker 5: You don't get a chance to intercut between what's happening
• 33:03
  Speaker 5: between two different characters in one moment because there's that trap.
• 33:08
  Speaker 5: You know, the specter has to... Anytime that there's a cut,
• 33:11
  Speaker 5: it's to a different point in time.
• 33:13
  Speaker 4: Yes.
• 33:14
  Speaker 5: So it's... You're always going to kind of pick up
• 33:17
  Speaker 5: things in progress, in media res, you know.
• 33:20
  Speaker 3: Which is, yeah, I love that.
• 33:22
  Speaker 4: Yeah, it's like I said, it's a very clever way
• 33:24
  Speaker 4: to do it.
• 33:24
  Speaker 5: And as we were watching, Amanda kept saying that it
• 33:26
  Speaker 5: reminds her of a found footage film in that regard, because,
• 33:31
  Speaker 5: you know, found footage films, you're always just in the
• 33:34
  Speaker 5: moment of what's going on.
• 33:35
  Speaker 3: And you're also in that POV kind of style. And
• 33:38
  Speaker 3: that's what I think I love so much about this
• 33:40
  Speaker 3: film is they're the only hard cut is to black.
• 33:43
  Speaker 3: And then, you know, the next scene happens. So I
• 33:46
  Speaker 3: really enjoy that. I applaud the integrity of using one,
• 33:50
  Speaker 3: I assume one camera, probably some different lenses. I know
• 33:53
  Speaker 3: there's only one camera listed on IMDb, but that could
• 33:56
  Speaker 3: be inaccurate because the Osmo is also something that you
• 33:59
  Speaker 3: could definitely be using in a small space like that.
• 34:01
  Speaker 3: But something that I think we're going to do kind
• 34:04
  Speaker 3: of a little differently with this, almost because I feel
• 34:06
  Speaker 3: the movie demands a conversation on the characters here. and
• 34:12
  Speaker 3: kind of a breakdown on the family. Usually I don't
• 34:14
  Speaker 3: talk about each individual character, but I feel like it's
• 34:17
  Speaker 3: kind of necessary because what's going on in the family
• 34:23
  Speaker 3: to me is interesting because there's a symmetry, right? You
• 34:26
  Speaker 3: have two camps. You've got Chris and Chloe on one
• 34:29
  Speaker 3: side and Rebecca and Tyler on the other side, and
• 34:31
  Speaker 3: they have radically different ideas about empathy, about responsibility, what
• 34:36
  Speaker 3: it means to love somebody, and then this supernatural presence,
• 34:39
  Speaker 3: which is us, quote-unquote, is caught in the middle of
• 34:42
  Speaker 3: this trying to figure everything out while also figuring itself
• 34:45
  Speaker 3: out and i i love that and there's even this
• 34:48
  Speaker 3: really great shot too where chloe and chris are sitting
• 34:52
  Speaker 3: on the couch tyler and rebecca are standing and you
• 34:56
  Speaker 3: can just see the division between them and then it
• 34:58
  Speaker 3: will focus on one of them as they talk and
• 35:00
  Speaker 3: then pan over and focus on the other one and
• 35:02
  Speaker 3: there's and one side is brightly lit, the other side
• 35:05
  Speaker 3: is a little bit darker, and it was just such
• 35:07
  Speaker 3: a beautifully framed shot that I was like, you can
• 35:11
  Speaker 3: just see the divide, just this invisible wall between this
• 35:15
  Speaker 3: family of four.
• 35:17
  Speaker 5: And it's something, and real quick, I want to just,
• 35:19
  Speaker 5: because I don't like putting false information out there, I double-checked,
• 35:23
  Speaker 5: I found in an article for the Los Angeles Times,
• 35:26
  Speaker 5: the entire film was shot on a Sony A7, and
• 35:28
  Speaker 5: they used a DJI Ronin stabilizer, so.
• 35:31
  Speaker 3: Okay, Sony A7, there you go. I knew it was
• 35:33
  Speaker 3: a Sony.
• 35:35
  Speaker 5: Anyways, no, but once again, with as much as Soderbergh experiments,
• 35:41
  Speaker 5: he's a structuralist in a lot of the way that
• 35:45
  Speaker 5: he handles blocking. So blocking, I think, is kind of
• 35:48
  Speaker 5: a lost art. We're at this point now where anyone
• 35:52
  Speaker 5: can go out and make something. We have these very
• 35:54
  Speaker 5: powerful tools in our pockets, and that's not complaint uh
• 35:58
  Speaker 5: i think that's that's that's a wonderful advantage that we
• 36:01
  Speaker 5: have but there is a lot of the art of
• 36:05
  Speaker 5: filmmaking being lost because there's not a system in play
• 36:11
  Speaker 5: because once upon a time if you wanted to become
• 36:12
  Speaker 5: a director you worked your way up and you worked
• 36:15
  Speaker 5: on the camera team and since so much of filmmaking
• 36:19
  Speaker 5: did come from theater blocking is an important part of
• 36:21
  Speaker 5: it i You know, there is a concept. I talk
• 36:25
  Speaker 5: about this in an episode I just did on Ikiru
• 36:29
  Speaker 5: with Brian Tariko, where if you watch that movie directed
• 36:33
  Speaker 5: by Akira Kurosawa, you could watch that movie silent with
• 36:36
  Speaker 5: no subtitles and have a pretty good idea of what's
• 36:39
  Speaker 5: going on, what people's relationships are to each other, and
• 36:42
  Speaker 5: kind of get an idea of character based on the
• 36:45
  Speaker 5: way that the characters are acting. And Soderbergh does a
• 36:48
  Speaker 5: lot of that. Like, you look at any scene with
• 36:51
  Speaker 5: Lucy Liu and Chris Sullivan... and Lucy Liu's kind of
• 36:55
  Speaker 5: embodying this confidence. Chris Sullivan's a little more slunk over,
• 36:58
  Speaker 5: and he's kind of finding his voice as the film
• 37:01
  Speaker 5: goes on and finds his confidence. But then, as you
• 37:03
  Speaker 5: mentioned before, the relationship between the brother and sister, and
• 37:07
  Speaker 5: even just the way that... Now, Soderbergh is at a
• 37:11
  Speaker 5: little bit of a disadvantage in this film, because he
• 37:14
  Speaker 5: doesn't have the same tools at play in terms of,
• 37:19
  Speaker 5: Because as you know, as someone who's been doing a
• 37:21
  Speaker 5: lot of shooting yourself, where you place the camera, what height,
• 37:23
  Speaker 5: it says a lot about what you're trying to do
• 37:26
  Speaker 5: with the character. And I think a perfect example of
• 37:29
  Speaker 5: this is watch Silence of the Lambs. Any of the
• 37:31
  Speaker 5: scenes between Clarice and Hannibal Lecter, watch the height of
• 37:36
  Speaker 5: where he places the camera and what it's doing for
• 37:40
  Speaker 5: the characters in the scene.
• 37:41
  Speaker 4: So he loses a little bit of that, but he
• 37:43
  Speaker 4: finds other ways to do it.
• 37:44
  Speaker 5: Like you said about the way that he uses shadow.
• 37:48
  Speaker 5: The way that where these characters are positioned in the
• 37:51
  Speaker 5: scene as opposed to where they are to each other.
• 37:53
  Speaker 5: There's a lot being said about these characters throughout that
• 37:58
  Speaker 5: when it's done effectively, it goes unnoticed. It's just something
• 38:01
  Speaker 5: that you feel. Because we get a lot with these characters,
• 38:07
  Speaker 5: but there's still a lot.
• 38:08
  Speaker 4: Of things gone unsaid.
• 38:09
  Speaker 5: And we have to rely on these interpersonal moments to
• 38:13
  Speaker 5: kind of put together the story that we're not being told.
• 38:15
  Speaker 3: Yeah, I mean, you're 100% right, because there's even one,
• 38:18
  Speaker 3: and this is really my only, I say my only issue,
• 38:23
  Speaker 3: because I feel that in my bones, is there's one
• 38:27
  Speaker 3: thing that is brought up one time, or maybe twice,
• 38:32
  Speaker 3: where Rebecca has this secret, because at one point Chris
• 38:37
  Speaker 3: is on the phone with a friend and he says,
• 38:39
  Speaker 3: you know, like what would have, what's the ramifications if
• 38:43
  Speaker 3: someone's doing something illegal and then, you know, the spouse
• 38:45
  Speaker 3: knows and they bring it up one more time before
• 38:47
  Speaker 3: they leave for their trip and then they just never
• 38:48
  Speaker 3: bring it back up again. Yeah.
• 38:50
  Speaker 4: It never comes up. It bugs the shit out of me.
• 38:52
  Speaker 3: Yeah. It's the only thing that I genuinely do not
• 38:55
  Speaker 3: like about this movie because we have already established at
• 38:58
  Speaker 3: this point in the movie before they leave that Rebecca
• 39:02
  Speaker 3: is is not only the most infuriating character in this movie,
• 39:06
  Speaker 3: but she should be on a top 10 list of
• 39:08
  Speaker 3: just worst mothers in horror. She also has an incredibly,
• 39:12
  Speaker 3: incredibly weird relationship with her son, Tyler, almost to the
• 39:16
  Speaker 3: point where it's disturbing because she doesn't just favor this son.
• 39:20
  Speaker 3: She like worships the ground he walks on, tells him
• 39:24
  Speaker 3: that he gave her purpose. She has built almost her
• 39:27
  Speaker 3: entire identity around this man. And then even at the end,
• 39:30
  Speaker 3: the beginning of the movie when tyler's like well what
• 39:32
  Speaker 3: about chloe that for me was a huge moment because
• 39:35
  Speaker 3: i thought oh maybe tyler is a caring brother and
• 39:40
  Speaker 3: then it turns out he is just as much of
• 39:42
  Speaker 3: a dick and a pompous asshole as his mother is
• 39:45
  Speaker 3: He is so self-absorbed in his own, I'm going somewhere,
• 39:50
  Speaker 3: I'm athletic, I'm this and that. And everyone except for
• 39:53
  Speaker 3: the father, which I'm going to talk about him the
• 39:55
  Speaker 3: most because he's the real MVP here, is basically treating
• 39:59
  Speaker 3: Chloe like she's a problem. Like she didn't just have
• 40:03
  Speaker 3: two of her best friends die from a quote unquote overdose.
• 40:07
  Speaker 3: Like she's grieving the death of these people and Tyler
• 40:11
  Speaker 3: and Rebecca are treating it Like, this is annoying. I'd
• 40:15
  Speaker 3: rather not deal with it. Rebecca at one point even says,
• 40:19
  Speaker 3: we can't let her drag us down with her. What
• 40:24
  Speaker 3: the fuck?
• 40:25
  Speaker 4: Yeah, yeah.
• 40:26
  Speaker 5: And in a lot of ways, in some ways, I
• 40:29
  Speaker 5: don't necessarily blame Tyler for being the way that he
• 40:32
  Speaker 5: is because he is being put on a pedestal by
• 40:35
  Speaker 5: one of his parents.
• 40:36
  Speaker 4: Correct.
• 40:37
  Speaker 3: Correct. I don't blame him either.
• 40:40
  Speaker 4: I really don't. I blame him, but I understand how
• 40:43
  Speaker 4: he got there, I guess I should say.
• 40:44
  Speaker 3: Yeah.
• 40:45
  Speaker 5: Because some of their bickering just feels like sibling bullshit.
• 40:52
  Speaker 5: But he does have a couple redeeming moments in this
• 40:55
  Speaker 5: film that shows, okay, he's not a completely terrible person.
• 41:00
  Speaker 5: And he does care to some extent. One could argue
• 41:04
  Speaker 5: that it's maybe a little too late, but... It's, yeah,
• 41:08
  Speaker 5: he has an interesting role to play in this movie
• 41:11
  Speaker 5: because in one way or another, he's going to become
• 41:13
  Speaker 5: very unlikable.
• 41:15
  Speaker 3: Yeah, I mean, so really the scene for me that
• 41:19
  Speaker 3: kind of solidified how much of an asshole he was,
• 41:23
  Speaker 3: was that dinner scene where Chloe is mentioning the presents
• 41:27
  Speaker 3: to the family. The father is not dismissing it. He
• 41:30
  Speaker 3: is curious about, it sounds farfetched, but I mean, he's
• 41:33
  Speaker 3: listening and Tyler just explodes and starts swearing. And this
• 41:38
  Speaker 3: is fucking stupid. You're going to fucking believe this talks
• 41:41
  Speaker 3: about it being like, you know, like what you're experiencing
• 41:44
  Speaker 3: with your, you know, dead drug addicted friends. Like that
• 41:47
  Speaker 3: was such a cruel line to say. And then he
• 41:50
  Speaker 3: storms off and that solidified like, wow. Okay. So Tyler,
• 41:55
  Speaker 3: the problem that Chloe is having, who is completely shutting
• 41:59
  Speaker 3: down as a human being, she is going, you know, inward.
• 42:03
  Speaker 3: She is, she has really no one to turn to
• 42:05
  Speaker 3: except her father, which we will get to, but you know,
• 42:08
  Speaker 3: she's grieving and she's messy and she needs help. And
• 42:11
  Speaker 3: Tyler is just like, this is such a burden for me.
• 42:14
  Speaker 3: And I was like, wow, what a terrible brother. And,
• 42:17
  Speaker 3: you know, Rebecca is kind of on his side to
• 42:19
  Speaker 3: a certain extent. She's not outright as rude about it.
• 42:24
  Speaker 3: She's more subtle with the way she talks about it
• 42:27
  Speaker 3: to Chris. Because if you noticed, Chloe and Rebecca have
• 42:32
  Speaker 3: one scene that is just them together. One scene. And
• 42:37
  Speaker 3: she gives her the most fucking, like, unloving hug I've
• 42:41
  Speaker 3: ever seen. before she leaves. And I find that to
• 42:44
  Speaker 3: be very interesting. Like she basically doesn't exist to Rebecca.
• 42:48
  Speaker 3: Like Chloe is such an afterthought. And instead, like instead
• 42:52
  Speaker 3: of using that, um, that moment for her, you know,
• 42:56
  Speaker 3: instead of using her grief and her sadness about these
• 43:00
  Speaker 3: people to connect with her daughter, she almost distances herself
• 43:03
  Speaker 3: from her daughter. And it's like, what are we doing here, guys?
• 43:06
  Speaker 4: Yeah. Yeah. There's, there's a clear divide in this, in
• 43:10
  Speaker 4: this household. Yeah.
• 43:11
  Speaker 5: And the father, he's trying to keep it all together.
• 43:16
  Speaker 5: You know, he clearly doesn't like his own son at times.
• 43:20
  Speaker 4: He loves his son.
• 43:21
  Speaker 5: He doesn't like him very much. He doesn't like the
• 43:23
  Speaker 5: person he's becoming. He even has that great dad line that,
• 43:26
  Speaker 5: you know.
• 43:27
  Speaker 4: Oh, God. I don't remember the exact quote.
• 43:29
  Speaker 3: I got you. I got you.
• 43:30
  Speaker 4: What was that great dad line?
• 43:32
  Speaker 3: Because they're on the couch and he's just swearing and swearing.
• 43:34
  Speaker 3: And he's like, Tyler, there is a good, decent person
• 43:37
  Speaker 3: inside of you. And I really hope to see him someday.
• 43:40
  Speaker 3: And I was like, oh, it's like, yes, you fight.
• 43:45
  Speaker 3: And he is so, Chris is so, he does lose
• 43:49
  Speaker 3: his shit at dinner, but because everyone's fighting, I get it.
• 43:51
  Speaker 3: His emotional level and range, he kept things so calm
• 43:56
  Speaker 3: because he's like, there's nothing I can do with this
• 43:59
  Speaker 3: just outrageous kid. So I'm going to hit him with
• 44:01
  Speaker 3: this fucking real sentence. And hopefully maybe it wakes something
• 44:06
  Speaker 3: up inside of him. but he kept such a level
• 44:09
  Speaker 3: head through most of this movie. I was like father
• 44:11
  Speaker 3: of the fucking century, dude.
• 44:13
  Speaker 4: Yeah.
• 44:13
  Speaker 5: And like, he's, he's constantly the bridge between scenes. If
• 44:17
  Speaker 5: you watch the way so much of this movie is splintered.
• 44:21
  Speaker 5: And part of that is because teenagers are, they're teenagers. They're,
• 44:25
  Speaker 5: they're going to want to stay in their room. They're
• 44:27
  Speaker 5: going to want their own space. He's usually the character
• 44:31
  Speaker 5: that's going from space to space, trying to keep things together.
• 44:34
  Speaker 5: Even something as simple as going around asking if anyone
• 44:37
  Speaker 5: wants a burrito, Right.
• 44:39
  Speaker 4: I love that. He doesn't ask, oh, I'm going to
• 44:41
  Speaker 4: order from the Mexican place. What do you want? You
• 44:43
  Speaker 4: want a burrito? Everyone's getting a burrito. Yep. Yep. Keep
• 44:46
  Speaker 4: it simple.
• 44:48
  Speaker 5: But he's usually the character that's bridging everyone, where he's
• 44:53
  Speaker 5: trying to make sure that Chloe doesn't feel ostracized.
• 44:59
  Speaker 4: Yeah. More than she probably already does.
• 45:00
  Speaker 3: He wants to make her feel heard because unfortunately, Rebecca, I,
• 45:05
  Speaker 3: in my opinion, as a viewer, I feel she is self-absorbed.
• 45:08
  Speaker 3: She's vain. She's deeply invested in appearances. And that's why
• 45:11
  Speaker 3: I think she clutches on to Tyler so much because
• 45:14
  Speaker 3: he's the successful one, but the movie does not make
• 45:16
  Speaker 3: her this cartoonish villain. She's still a mother who genuinely
• 45:20
  Speaker 3: like genuinely believes what she's doing is what's best. And
• 45:24
  Speaker 3: that's what's, that's what makes her so frustrating to me
• 45:26
  Speaker 3: because she thinks she's doing the right thing. And maybe
• 45:30
  Speaker 3: objectively she is in her mind, but for me as
• 45:33
  Speaker 3: a father, I'm not on her side in any regard.
• 45:38
  Speaker 3: And then that brings me to Chris, because seriously, a
• 45:41
  Speaker 3: goddamn legend, because horror movies at this point really have
• 45:44
  Speaker 3: conditioned us for the dad to kind of be the
• 45:48
  Speaker 3: ones that are the abusive ones or absent or. skeptical,
• 45:52
  Speaker 3: dismissing things. And Chris is one of the most wholesome
• 45:57
  Speaker 3: dads in horror that like to this day, like, like
• 46:01
  Speaker 3: how I said, Rebecca should be on a top 10 worst.
• 46:03
  Speaker 3: He's like a top 10 dad in a horror movie
• 46:06
  Speaker 3: because he's just a good dad. He sees that Chloe
• 46:09
  Speaker 3: is struggling. He doesn't really understand that. You know, you
• 46:12
  Speaker 3: can't put yourself in the mindset of a teenager who's
• 46:14
  Speaker 3: lost two people if you've never experienced that. So, you know,
• 46:18
  Speaker 3: unless you've gone through that, you really can't relate, but
• 46:20
  Speaker 3: he is doing his damnedest to connect with his daughter
• 46:23
  Speaker 3: and make her feel heard, which is the most important
• 46:26
  Speaker 3: thing you can do for your child is make them
• 46:28
  Speaker 3: feel hurt. Even if you do not believe them or,
• 46:31
  Speaker 3: and in this case, I think he does believe her
• 46:33
  Speaker 3: to a certain extent, but he does not treat her
• 46:35
  Speaker 3: trauma like this embarrassing inconvenience. He really does want to
• 46:39
  Speaker 3: understand what hap what is happening. And I think he
• 46:42
  Speaker 3: respects that she is experiencing something that is tragic. That's
• 46:48
  Speaker 3: the vibe I got.
• 46:50
  Speaker 4: He's searching for answers, too. He's the reason that they
• 46:53
  Speaker 4: have the medium come to the house.
• 46:55
  Speaker 3: That's true.
• 46:56
  Speaker 5: He's just looking for, you know, I don't know if
• 46:59
  Speaker 5: he necessarily believes it, but he's just like, what does
• 47:02
  Speaker 5: it hurt? What does it hurt to try?
• 47:04
  Speaker 4: Yeah. Right.
• 47:05
  Speaker 3: And, and, and that's the, that's, that's, that's something I
• 47:07
  Speaker 3: really enjoyed because usually it's the opposite. Like usually the
• 47:11
  Speaker 3: dad is the dismissive one. The, the wife is brought,
• 47:14
  Speaker 3: bring someone in and then, you know, the dad's just like,
• 47:16
  Speaker 3: you're just, you're crazy or whatever. But in this case,
• 47:19
  Speaker 3: he reached out to the realtor. The realtor has a
• 47:22
  Speaker 3: friend who kind of has this, you know, they don't
• 47:24
  Speaker 3: call her a psychic or a medium. She just has,
• 47:26
  Speaker 3: I can't remember. They use a different terminology, um, But
• 47:30
  Speaker 3: then she comes in and has that experience with the mirror,
• 47:34
  Speaker 3: which is a very important aspect of this movie. And
• 47:37
  Speaker 3: I really love that scene so much because she's looking
• 47:40
  Speaker 3: directly at the lens because she can sense that there
• 47:44
  Speaker 3: is a presence there. And I love, you don't get
• 47:46
  Speaker 3: very many times where they look at the camera, but
• 47:48
  Speaker 3: when you do, it's like you feel this weird connection,
• 47:52
  Speaker 3: like they're understanding what's going on. that there, there is
• 47:56
  Speaker 3: a presence here. And I, that whole scene with the, with,
• 47:58
  Speaker 3: I guess the medium I'll call her that was done so,
• 48:01
  Speaker 3: so very well. Um, also really loved how when, when
• 48:06
  Speaker 3: Lisa opened the door to come in, the camera like
• 48:09
  Speaker 3: charged her, it was like, it was like stepping up
• 48:12
  Speaker 3: to her and she like backed up. There was just
• 48:14
  Speaker 3: a moment I wanted to mention, but that whole scene
• 48:16
  Speaker 3: with the mirror was incredible. And then that's, that's when
• 48:19
  Speaker 3: the split really happens in this family. you have Chloe
• 48:23
  Speaker 3: and Chris like, okay, clearly something's going on here, and
• 48:26
  Speaker 3: Tyler's like, this is bullshit, and Rebecca, and they both
• 48:29
  Speaker 3: storm out, and you're like, guys, did you not see
• 48:31
  Speaker 3: what happened here?
• 48:33
  Speaker 5: It's an interesting film, too, because there's a real matter-of-fact
• 48:40
  Speaker 5: way that Soderbergh handles the concept of paranormal activity. Think
• 48:46
  Speaker 5: about something like The Conjuring. The Conjuring is a very
• 48:49
  Speaker 5: sensationalist viewpoint of a haunting.
• 48:53
  Speaker 4: Of a ghost, of a story like that. This movie
• 48:56
  Speaker 4: doesn't have that.
• 48:57
  Speaker 5: It's just, through most of the film, observing, and the most, like,
• 49:02
  Speaker 5: you know, the most that happens is, like, shelves fall down,
• 49:05
  Speaker 5: or the time that they move the book, but, like,
• 49:08
  Speaker 5: you know, it's very small things. It's, like, not like
• 49:12
  Speaker 5: this big sensationalist thing, and from the little bit of
• 49:16
  Speaker 5: research I was able to do, and I found this
• 49:19
  Speaker 5: also in that Los Angeles Times article, that Soderbergh's mother
• 49:25
  Speaker 5: was a parapsychologist. Someone who studies ghosts and hauntings. But
• 49:32
  Speaker 5: he himself is a skeptic.
• 49:34
  Speaker 3: Interesting! And he's still... Made a movie about it. Ah,
• 49:38
  Speaker 3: that's interesting.
• 49:39
  Speaker 5: Yeah, he even said, too, that, you know, the idea
• 49:44
  Speaker 5: came from him because, you know, him and his wife
• 49:47
  Speaker 5: joke that there might be a presence in the house
• 49:49
  Speaker 5: that they live in.
• 49:50
  Speaker 4: Huh.
• 49:52
  Speaker 5: But all to be said, he's still skeptical about the
• 49:54
  Speaker 5: existence of ghosts, and it makes sense because he's almost
• 49:59
  Speaker 5: viewing this movie in a very analytical way and the
• 50:02
  Speaker 5: concept of a ghost in a very analytical way.
• 50:04
  Speaker 3: Huh.
• 50:05
  Speaker 4: That's... One thing I definitely.
• 50:08
  Speaker 5: Think we should talk about is, and not to promote
• 50:12
  Speaker 5: my own show, The Shameless Picture Show.
• 50:13
  Speaker 4: Oh, please.
• 50:14
  Speaker 3: I want you to promote it always.
• 50:15
  Speaker 5: But in the episode we recently did on the film
• 50:19
  Speaker 5: The Dirties, me and my guest on that episode, we
• 50:22
  Speaker 5: were talking about how the third character in that movie
• 50:25
  Speaker 5: was the cameraman.
• 50:28
  Speaker 4: Soderbergh's performing in this film.
• 50:30
  Speaker 5: Soderbergh as the ghost is performing, the way that he
• 50:35
  Speaker 5: moves through scenes, the way that he'll get close to
• 50:38
  Speaker 5: something and then back off. When things get too intense,
• 50:40
  Speaker 5: the way the ghost will go hide. That is a
• 50:44
  Speaker 5: character in itself. Because even though there is an analytical
• 50:49
  Speaker 5: way that he's viewing a lot of these things, he's
• 50:52
  Speaker 5: adding emotion into the way that he's filming things.
• 50:55
  Speaker 3: It's even.
• 50:56
  Speaker 5: sometimes the ghosts will get really close and Amanda will joke.
• 50:58
  Speaker 4: That's like fucking eye to eye.
• 51:00
  Speaker 5: And there's other times where the, the presence is just
• 51:03
  Speaker 5: kind of hiding off in a doorway and just observing.
• 51:07
  Speaker 4: Right.
• 51:07
  Speaker 3: It's almost like there, you know, it gave me the
• 51:09
  Speaker 3: sense in some scenes where it's just kind of like you're,
• 51:11
  Speaker 3: you know, you're eavesdropping on a conversation that you're not
• 51:14
  Speaker 3: technically supposed to hear. So it gives you this interesting viewpoint,
• 51:18
  Speaker 3: which I, which again, I, I quite enjoyed. And, um, Yeah,
• 51:23
  Speaker 3: you're right. It's interesting that it picked the closet of
• 51:27
  Speaker 3: all places, but I get it. It's a place that
• 51:30
  Speaker 3: you can hide. If you've watched the movie, you know
• 51:34
  Speaker 3: that the ghost is the brother Tyler. We'll get there
• 51:37
  Speaker 3: in just a second. So I do love that. There's
• 51:40
  Speaker 3: even that scene where Chloe and Ryan, who I have
• 51:45
  Speaker 3: to mention briefly here, are having sex and the camera
• 51:48
  Speaker 3: just hands into the, you know, into the clothes. Cause
• 51:51
  Speaker 3: it's like, I don't, I don't want to, I shouldn't
• 51:53
  Speaker 3: be here. I should not be a witness to this,
• 51:56
  Speaker 3: but Ryan. Now the last character I'm going to talk about,
• 52:00
  Speaker 3: because if I can biggest emotional betrayal for me, I
• 52:04
  Speaker 3: didn't get a great sense from him right off the bat.
• 52:07
  Speaker 3: But then he was just so charming and attentive and like,
• 52:12
  Speaker 3: you choose, you're in control. And that's exactly what he
• 52:16
  Speaker 3: wants to take away from her. He is saying these things,
• 52:19
  Speaker 3: but he doesn't really mean it. And it's this hypocrisy
• 52:22
  Speaker 3: that it's like the whole point. Like he doesn't want
• 52:24
  Speaker 3: Chloe to choose. He wants to create this situation where
• 52:27
  Speaker 3: she can't choose. And then when he, when I see him,
• 52:30
  Speaker 3: you know, I can't, when I, when I saw this
• 52:34
  Speaker 3: in theaters, I was like the betrayal that I felt
• 52:37
  Speaker 3: was unfathomable. I was like, I really thought we were
• 52:42
  Speaker 3: going to have a character who was, who was kind
• 52:45
  Speaker 3: of like the bill scars guard of barbarian. Like, Oh,
• 52:49
  Speaker 3: I'm not sure about him. And then he turned out
• 52:51
  Speaker 3: to be just a perfectly fine guy. And then no,
• 52:54
  Speaker 3: you find out that not only is he trying to
• 52:56
  Speaker 3: drug her, he killed the other two girls. Clearly this
• 52:59
  Speaker 3: kid is a fucking sociopath and a serial killer at
• 53:03
  Speaker 3: this point, which is, I liked that kind of, twist
• 53:07
  Speaker 3: because you get kind of two twists right you think
• 53:10
  Speaker 3: we're here to figure out the ghost and what's going
• 53:14
  Speaker 3: on with the ghost and you do figure that out
• 53:15
  Speaker 3: but also there's that twist of like oh shit the
• 53:17
  Speaker 3: villain is this teenager the villain's not even the ghost
• 53:20
  Speaker 3: the the ghost is there to try and prevent ryan
• 53:24
  Speaker 3: from killing chloe and that was such a very like
• 53:28
  Speaker 3: whoa moment for me that i did not see coming
• 53:30
  Speaker 3: i thought this was going to be specifically about the
• 53:32
  Speaker 3: ghost so getting that i was like fuck right like
• 53:36
  Speaker 3: i i felt so betrayed i don't know how did
• 53:38
  Speaker 3: you feel about that situation was that did you see
• 53:41
  Speaker 3: that coming at.
• 53:41
  Speaker 5: All no well no okay but also i just i
• 53:46
  Speaker 5: just tend not to trust people so when he was
• 53:50
  Speaker 5: being uh but i guess my first thing was like
• 53:53
  Speaker 5: well he's good friends with chloe's brother and he's kind
• 53:56
  Speaker 5: of a knob so like when's the the knobbery gonna
• 53:59
  Speaker 5: show itself Uh, but no, when the first time that
• 54:02
  Speaker 5: he pulled out the little baggie and to, to drug
• 54:06
  Speaker 5: her drink, I was like, wait a second.
• 54:08
  Speaker 1: What?
• 54:08
  Speaker 4: Yeah.
• 54:09
  Speaker 3: Like, whoa, whoa, whoa. What are we doing here?
• 54:11
  Speaker 4: Hang on. Yeah. Yeah.
• 54:12
  Speaker 5: And then like when he, you know, came back to
• 54:16
  Speaker 5: do it later on and he, you know, first drugged
• 54:20
  Speaker 5: the brother and Amanda's for, you know, pointed out right away.
• 54:24
  Speaker 4: It's like, well, that's a different drug. Ambien.
• 54:26
  Speaker 2: Yeah. Yeah.
• 54:28
  Speaker 4: Just the way that he's giving it to him.
• 54:30
  Speaker 5: Yeah, and then there was a whole thing where I
• 54:34
  Speaker 5: was like, okay, he's clearly a fucking creepazoid. What is
• 54:40
  Speaker 5: his ultimate goal here? Even if I didn't necessarily trust him,
• 54:44
  Speaker 5: I wasn't expecting the twist of him being the person
• 54:50
  Speaker 5: that really killed the friends.
• 54:51
  Speaker 3: Yeah, he used fentanyl for her. uh, Ambien for the
• 54:56
  Speaker 3: brother and you, you know, use the plastic sheeting to
• 55:00
  Speaker 3: cover there, which is interesting. Cause it's like, why didn't
• 55:03
  Speaker 3: you just, you know, you already had the fentanyl, like
• 55:05
  Speaker 3: you could just overdose them that way. But then he
• 55:08
  Speaker 3: goes to the extra level, which is the true like
• 55:11
  Speaker 3: psychotic nature of this guy to put the plastic over
• 55:14
  Speaker 3: their mouth. So that way they just essentially suffocate to death,
• 55:18
  Speaker 3: which is just, I mean, this kid is in high school, dude,
• 55:22
  Speaker 3: the fuck happened to you? Like, oh my God. So
• 55:25
  Speaker 3: you find that out. And then all of those moments
• 55:28
  Speaker 3: that we see prior to the presence watching Chloe, we
• 55:32
  Speaker 3: find out is her brother. She is trying, you know,
• 55:35
  Speaker 3: Tyler is trying to understand his death. He's trying to realize,
• 55:38
  Speaker 3: you know, he sees the person he is as he
• 55:40
  Speaker 3: is experiencing, you know, what happened, but on the other side.
• 55:45
  Speaker 3: And this is where it kind of gets sad. You know,
• 55:48
  Speaker 3: he's confronting himself and realizing that he was a shitty brother.
• 55:51
  Speaker 3: He's kind of arrogant and, He's watching his family. He's
• 55:54
  Speaker 3: watching himself and slowly realizing that he's kind of a dick.
• 55:57
  Speaker 3: But then there also is the redemption because he is
• 56:00
  Speaker 3: inevitably what saves his sister. And this is the part
• 56:04
  Speaker 3: I love about ghost movies. A lot of ghost movies
• 56:07
  Speaker 3: is how they fuck with time, right? And the ending
• 56:11
  Speaker 3: is either going to work for people or it's going
• 56:13
  Speaker 3: to not work for people because I think that's why
• 56:15
  Speaker 3: it has a 2.9. But when the medium is there
• 56:18
  Speaker 3: and they're talking about ghosts and like they don't experience
• 56:21
  Speaker 3: time the same way past future present it's all happening
• 56:24
  Speaker 3: at the same time it's very much akin to a
• 56:26
  Speaker 3: ghost story these these movies i paired together it was
• 56:30
  Speaker 3: a terrible idea because i spent 90 or you know
• 56:33
  Speaker 3: three hours just crying fucking bawling my eyes out because
• 56:36
  Speaker 3: they're just so the movies are so beautiful but you
• 56:39
  Speaker 3: find all of that out and um like I said,
• 56:43
  Speaker 3: it's either going to work for you or it's going
• 56:44
  Speaker 3: to not, but I really like how time is fucked
• 56:47
  Speaker 3: with because there are no rules. Like we don't know
• 56:51
  Speaker 3: the afterlife. Um, and it's, it's, it's very possible that
• 56:56
  Speaker 3: this is just how it works. It's if you've seen
• 56:58
  Speaker 3: a rival as well, a rival also kind of fucks
• 57:01
  Speaker 3: with time. It's aliens in that one, but the same
• 57:04
  Speaker 3: things are present with, you know, the future past, all
• 57:07
  Speaker 3: of these things kind of happening simultaneously. Um, um so
• 57:11
  Speaker 3: i enjoyed that it's it's something that again i feel
• 57:14
  Speaker 3: is either going to work or not the reveal for
• 57:16
  Speaker 3: you and knowing that the ghost was tyler saving his
• 57:20
  Speaker 3: sister was that something that landed for you or did it.
• 57:24
  Speaker 5: Did it did and if if anything because like the
• 57:28
  Speaker 5: climax of the film was very very well done uh
• 57:30
  Speaker 5: a lot of great tension um I feel like my,
• 57:36
  Speaker 5: one of the things I've been saying so much throughout
• 57:38
  Speaker 5: this conversation is the concept of too little, too late. Uh,
• 57:41
  Speaker 5: and I kind of feel that way about the film
• 57:42
  Speaker 5: as well. It's like as good as that climax was
• 57:45
  Speaker 5: and the, them going out the window was really fucking shocking. I,
• 57:50
  Speaker 5: I think the, the art of a slow burn is
• 57:53
  Speaker 5: you need to kind of trickle things in throughout the film.
• 57:56
  Speaker 4: Okay.
• 57:57
  Speaker 5: And I, I feel like, uh, for me personally, I
• 58:01
  Speaker 5: wish we would have, uh, had a couple more moments
• 58:05
  Speaker 5: to really make that feel earned.
• 58:09
  Speaker 4: Okay. If that makes sense.
• 58:10
  Speaker 5: No, it was, it was, um, you know, I've got
• 58:14
  Speaker 5: a lot of trauma based around brothers, um, and relation
• 58:20
  Speaker 5: relationships that you've never really gotten to explore to their
• 58:23
  Speaker 5: full extent. And I never will get the chance to
• 58:26
  Speaker 5: explore that relationship with my brother. So those moments always
• 58:29
  Speaker 5: kind of hit me.
• 58:30
  Speaker 4: Uh, differently.
• 58:32
  Speaker 5: And, um, you know, cause throughout this entire film, I
• 58:35
  Speaker 5: just wanted Tyler to just not.
• 58:37
  Speaker 4: Be a fucking shit. You know, there's always going to
• 58:40
  Speaker 4: be a bit of like sibling bickering. That's fine. That's whatever.
• 58:43
  Speaker 5: That's just part of spending your life with someone that,
• 58:47
  Speaker 5: you know, you're kind of forced to when you're both
• 58:49
  Speaker 5: going through this weird times in your lives. Like when
• 58:51
  Speaker 5: you grow up with someone, you spend too much fucking
• 58:53
  Speaker 5: time with them. Um, you're just going to grow to
• 58:56
  Speaker 5: just be annoyed by them.
• 58:57
  Speaker 1: Yeah.
• 58:58
  Speaker 5: Um, but, They would never... The concept that they'll never
• 59:03
  Speaker 5: figure out what their relationship would have become is what's
• 59:06
  Speaker 5: heartbreaking to me.
• 59:08
  Speaker 4: It is.
• 59:09
  Speaker 3: It's a very bleak, somber, and somehow... What's the word?
• 59:15
  Speaker 3: I'm trying to think of a fancy word for positive
• 59:18
  Speaker 3: or whatever you want to call it. There's a lot
• 59:20
  Speaker 3: of emotions that happen by the end of it because...
• 59:25
  Speaker 3: You know, Tyler is dead. Ryan is dead. Not not
• 59:29
  Speaker 3: a loss there. But then, you know, you also have
• 59:31
  Speaker 3: the mom who worshiped Tyler. And now she's just kind
• 59:34
  Speaker 3: of stuck with Chloe. I'm not empathizing with her. It
• 59:38
  Speaker 3: almost feels like, hey, now you need to pay attention
• 59:40
  Speaker 3: to the one child that actually needed you. So but yeah,
• 59:45
  Speaker 3: I quite enjoyed it. The ending, because you have I
• 59:50
  Speaker 3: think they did a great job with stretching out that
• 59:53
  Speaker 3: scene because it is a pretty long scene from when
• 59:56
  Speaker 3: she drinks the.
• 59:59
  Speaker 4: And it's so uncomfortable.
• 1:00:01
  Speaker 3: And that's the thing, right? You've spent this whole time
• 1:00:04
  Speaker 3: in this mysterious, mysterious place, not knowing what's going on.
• 1:00:07
  Speaker 3: And then suddenly everything becomes real, a real imminent threat,
• 1:00:12
  Speaker 3: real danger. And they drag it out to the point
• 1:00:15
  Speaker 3: where he's fucking with her and like letting her not
• 1:00:18
  Speaker 3: breathe and then letting her breathe. And it's in sitting
• 1:00:21
  Speaker 3: in that I was like, oh, my God.
• 1:00:23
  Speaker 4: It's essentially a cat playing with its food. Right.
• 1:00:25
  Speaker 3: And I was like, this is diabolical. So and then
• 1:00:29
  Speaker 3: I love how the camera rushes down and it does
• 1:00:32
  Speaker 3: that kind of like. and then like the camera shakes
• 1:00:34
  Speaker 3: and it's like, wake the fuck up Tyler. And I
• 1:00:37
  Speaker 3: do feel the ending was kind of not anticlimactic, but
• 1:00:40
  Speaker 3: it did feel rushed. However, I did, like I said,
• 1:00:42
  Speaker 3: I did like how they stretched out that just painful
• 1:00:46
  Speaker 3: scene to ultimately end it so quickly, like boom, bing, bang, done. Um,
• 1:00:51
  Speaker 3: but then I have a question. It's like, okay, well
• 1:00:53
  Speaker 3: that girl was clearly on a lot of drugs. Did,
• 1:00:56
  Speaker 3: did they, you know, obviously she survived, but it's like,
• 1:00:58
  Speaker 3: did we get the, the, the plastic off her face?
• 1:01:01
  Speaker 3: And then she just sat there till, you know, she
• 1:01:03
  Speaker 3: woke up, I guess, because then the next scene is
• 1:01:06
  Speaker 3: them moving out of the house and fair enough. I
• 1:01:09
  Speaker 3: wouldn't want to live there either. But what I really
• 1:01:11
  Speaker 3: enjoy too about the ending is Rebecca actually sees her
• 1:01:15
  Speaker 3: son in the mirror. And that's why that mirror coming
• 1:01:18
  Speaker 3: back to the beginning of this, what we said at
• 1:01:19
  Speaker 3: the episode at the beginning of the episode, that mirror
• 1:01:21
  Speaker 3: is important and it holds all of these, you know,
• 1:01:24
  Speaker 3: cause even the lady was like, Oh, it's a hundred
• 1:01:26
  Speaker 3: years old and mirrors can hold memories and people and
• 1:01:30
  Speaker 3: So she sees her son realizes who the presence was.
• 1:01:34
  Speaker 3: And then this camera shot is so goddamn beautiful where
• 1:01:38
  Speaker 3: the camera backs out of the house. Clearly they hook
• 1:01:41
  Speaker 3: it to a drone and then he just ascends in
• 1:01:44
  Speaker 3: like he has done his purpose is complete. He has
• 1:01:48
  Speaker 3: saved his sister and now he can finally move on.
• 1:01:52
  Speaker 3: And that was such a beautiful ending shot for me.
• 1:01:55
  Speaker 4: I don't know.
• 1:01:56
  Speaker 3: I'm a very big champion of this movie kind of,
• 1:01:58
  Speaker 3: you know, warts and all, but I, this movie just
• 1:02:01
  Speaker 3: works for me so fucking well. It just gives me,
• 1:02:04
  Speaker 3: I don't know. It weirdly gives me this cozy feeling,
• 1:02:08
  Speaker 3: even though I know the subject material is not cozy
• 1:02:10
  Speaker 3: in any regard, but just the father daughter connection and this,
• 1:02:15
  Speaker 3: this presence kind of peeking in on all of this
• 1:02:18
  Speaker 3: and the mystery of it, it just fully works for me.
• 1:02:22
  Speaker 3: Like I said, the only thing that doesn't work is
• 1:02:23
  Speaker 3: that fucking random subplot that they never bring up again.
• 1:02:28
  Speaker 3: What the fuck?
• 1:02:28
  Speaker 5: Yeah, I was legitimately curious. You're just dangling a carrot
• 1:02:32
  Speaker 5: in front of us at this point.
• 1:02:33
  Speaker 4: Yeah, I want to know.
• 1:02:34
  Speaker 3: So I pretty much think that's all I've got here.
• 1:02:40
  Speaker 3: Is there anything that we did not touch on that
• 1:02:42
  Speaker 3: you'd like to mention before we wrap up?
• 1:02:46
  Speaker 4: Not really. I feel like we got most of it.
• 1:02:50
  Speaker 3: Yeah.
• 1:02:51
  Speaker 4: Way to go, Soderbergh.
• 1:02:52
  Speaker 3: Yeah, way to go, Soderbergh. I guess my ending thing
• 1:02:55
  Speaker 3: here is presence is less of a haunted house movie
• 1:02:59
  Speaker 3: and more of a ghost story about the complicated, fucked up,
• 1:03:02
  Speaker 3: occasionally beautiful ways that people can continue loving each other
• 1:03:06
  Speaker 3: even after they're gone. And I think this is a
• 1:03:08
  Speaker 3: very good ghost story. Like I said, it's very much
• 1:03:12
  Speaker 3: akin to a ghost story. Instead of being the ghost
• 1:03:15
  Speaker 3: you are witnessing from the, it's the ghost perspective, but
• 1:03:19
  Speaker 3: the ghost is actually in frame. And how they represent
• 1:03:22
  Speaker 3: the ghost is just the sheet with the two eyes.
• 1:03:24
  Speaker 3: I just love that movie. It is incredibly beautiful. Much
• 1:03:29
  Speaker 3: like this movie. So I like these two movies together.
• 1:03:31
  Speaker 3: You pair them together, you're going to cry. If you're me,
• 1:03:35
  Speaker 3: at least. But I like these two because.
• 1:03:37
  Speaker 4: And you don't cry much.
• 1:03:38
  Speaker 3: I don't. But the second that song plays... in a
• 1:03:42
  Speaker 3: ghost story, that song that, you know, it's like Casey
• 1:03:47
  Speaker 3: Affleck is making it in the movie, but it's done
• 1:03:49
  Speaker 3: by someone else. Every time that song plays, I just
• 1:03:53
  Speaker 3: fucking weep, dude. That song is so emotional for me,
• 1:03:56
  Speaker 3: and I don't know why.
• 1:03:57
  Speaker 4: I've still not seen the film. Me and Nick are
• 1:04:00
  Speaker 4: doing an episode on it.
• 1:04:02
  Speaker 3: Oh, dude.
• 1:04:03
  Speaker 5: And it's one I've been waiting to do. So I
• 1:04:07
  Speaker 5: think I've talked about it on this show. David Lowery
• 1:04:09
  Speaker 5: is a pen pal of mine.
• 1:04:10
  Speaker 3: Yes.
• 1:04:11
  Speaker 4: Years.
• 1:04:12
  Speaker 5: Um, it's one of his films that I've intentionally held
• 1:04:14
  Speaker 5: off on just because I liked there still being some
• 1:04:16
  Speaker 5: new ones.
• 1:04:17
  Speaker 3: That I can discover. I'm excited for you to watch that.
• 1:04:21
  Speaker 3: It is such a beautiful, it is just a beautiful film. Um,
• 1:04:25
  Speaker 3: but all right, I think that that'll do it for
• 1:04:27
  Speaker 3: the movie here. So that is presence from a 2024.
• 1:04:31
  Speaker 3: Let's go into the final cut here. Taglines. This is
• 1:04:34
  Speaker 3: very strange because, uh, they did not finish this tagline. It,
• 1:04:38
  Speaker 3: it says in this house, there is a, That's it.
• 1:04:43
  Speaker 4: Weird tagline. Yeah, I don't know.
• 1:04:45
  Speaker 3: Trivia, only three things that I could find of interest.
• 1:04:48
  Speaker 3: There was only like five things total, but the film
• 1:04:50
  Speaker 3: was shot in just three weeks, nearly entirely within one house,
• 1:04:54
  Speaker 3: according to Variety. The average film contains hundreds, if not thousands,
• 1:05:00
  Speaker 3: of hard cuts. This film only contains 33 hard cuts
• 1:05:04
  Speaker 3: to black, which is crazy. The on-screen end credits font
• 1:05:07
  Speaker 3: is the same as Poltergeist from 1982, which is a
• 1:05:09
  Speaker 3: lot of fun.
• 1:05:12
  Speaker 4: Goofs. I didn't catch that. That's fun.
• 1:05:14
  Speaker 3: Yeah, I didn't catch that either. And then when I
• 1:05:16
  Speaker 3: read that, I went back and looked at it and
• 1:05:17
  Speaker 3: I was like, oh yeah, no goofs. There was one
• 1:05:20
  Speaker 3: and it was extremely long and it had zero likes
• 1:05:23
  Speaker 3: and zero thumbs down. So whatever. We have rated 6.1
• 1:05:28
  Speaker 3: out of 10 on IMDB. So for our purposes of
• 1:05:31
  Speaker 3: the Nightmare Index, that is a 3.05 out of five.
• 1:05:34
  Speaker 3: It also has a 2.95 of an aggregate score on Letterboxd.
• 1:05:37
  Speaker 3: 87% on the Tomatometer, 52% audience score. I know you
• 1:05:46
  Speaker 3: are not currently rating films, but if you had to
• 1:05:48
  Speaker 3: just give an impulse rating on what you think you'd
• 1:05:50
  Speaker 3: give this, what would it be?
• 1:05:52
  Speaker 4: I'd say maybe a three.
• 1:05:54
  Speaker 3: A three?
• 1:05:54
  Speaker 4: I'd say probably a three.
• 1:05:55
  Speaker 3: Like I said, I'm a huge champion for this film.
• 1:05:57
  Speaker 3: Four and a half for me. I just think it's
• 1:05:59
  Speaker 3: a beautifully done movie. So that gives us a Nightmare
• 1:06:01
  Speaker 3: Index of 3.5. And I have completely redone the entire
• 1:06:07
  Speaker 3: Nightmare Index because I realize that Letterboxd has an aggregate
• 1:06:11
  Speaker 3: score if you go to the website and hover over
• 1:06:14
  Speaker 3: the rating. So everything has changed and now there are
• 1:06:17
  Speaker 3: no ties anywhere. So this is going to sit right 336. Okay,
• 1:06:24
  Speaker 3: so right above Army of the Dead at a 3.35
• 1:06:27
  Speaker 3: and right below Cocaine Bear at a 3.40.
• 1:06:29
  Speaker 4: Okay.
• 1:06:31
  Speaker 3: So that is going to be number 24 on the
• 1:06:35
  Speaker 3: Nightmare Index out of currently 42 films.
• 1:06:39
  Speaker 5: And a fun fact, if you're on the Letterboxd app,
• 1:06:43
  Speaker 5: you can change it between ratings and friends ratings.
• 1:06:47
  Speaker 3: Yes, you can. I found that out by accident like
• 1:06:51
  Speaker 3: a few months ago. I was like, oh, that's fun.
• 1:06:53
  Speaker 3: I like that. Similar movies according to IMDb. This is
• 1:06:57
  Speaker 3: where it gets really weird. Together, Black Bag, but that
• 1:07:02
  Speaker 3: was directed by Soderbergh. Drop, Oddity, and Good Boy. Sure.
• 1:07:08
  Speaker 3: Similar movies according to Letterboxd. These make a lot more
• 1:07:11
  Speaker 3: sense because they're ghosts. Stir of Echoes, Caddo Lake, Night Swim,
• 1:07:16
  Speaker 3: and American Haunting, and Lake Mungo.
• 1:07:18
  Speaker 4: I forgot about Night Swim. It wasn't very good.
• 1:07:21
  Speaker 3: It was really not that great. Funny reviews, and then
• 1:07:24
  Speaker 3: we can GTFO.
• 1:07:27
  Speaker 5: Okay, so I didn't get as many, most of them
• 1:07:31
  Speaker 5: I forgot, but I got a couple.
• 1:07:32
  Speaker 4: All right.
• 1:07:33
  Speaker 3: Why don't you go first, because if we have any overlap,
• 1:07:36
  Speaker 3: I've got extra.
• 1:07:37
  Speaker 5: All right, so first one is Two and a Half
• 1:07:39
  Speaker 5: Stars by David Ehrlich, a film critic I like. His
• 1:07:43
  Speaker 5: review says, Like so many of Soderbergh's post-retirement exercises, this
• 1:07:46
  Speaker 5: would have been great if it had been good.
• 1:07:49
  Speaker 4: Okay. Okay. I think that's probably the best one I found.
• 1:07:56
  Speaker 3: So no rating, no heart from Lexi Amariello. He could
• 1:08:01
  Speaker 3: have at least put the orange juice back in the
• 1:08:03
  Speaker 3: damn fridge, fucking savage.
• 1:08:09
  Speaker 5: This one was from Aries Blue. They gave it two
• 1:08:11
  Speaker 5: and a half stars. Soderbergh delivers the best acting performance
• 1:08:14
  Speaker 5: in this film.
• 1:08:16
  Speaker 4: This is not wrong.
• 1:08:19
  Speaker 3: Four stars from Shobin. Get you a ghost who's going
• 1:08:24
  Speaker 3: to clean your room and fend off all your opponents
• 1:08:26
  Speaker 3: for you. I agree. What a wholesome ghost.
• 1:08:31
  Speaker 4: This one is from that YouTuber I sent you, Patrick Willems.
• 1:08:36
  Speaker 5: No review, no heart, but he said, this is going
• 1:08:38
  Speaker 5: to be one of those movies that makes everyone mad,
• 1:08:40
  Speaker 5: and I will forever be the guy that slides in
• 1:08:42
  Speaker 5: annoyingly to announce, well, I liked it.
• 1:08:45
  Speaker 3: Hey, that's me! Four stars from Harley Quinn. The ghost
• 1:08:50
  Speaker 3: in my room probably needs help too, because it's done
• 1:08:54
  Speaker 3: with me and my depression.
• 1:08:58
  Speaker 4: All right, this one is from... Emily St.
• 1:09:00
  Speaker 2: James.
• 1:09:01
  Speaker 4: Just a heart.
• 1:09:02
  Speaker 5: It says, I really liked this question mark, question mark,
• 1:09:05
  Speaker 5: possibly improved by my constant low-key anxiety that someday having
• 1:09:09
  Speaker 5: to raise a teenager amongst the scariest thing of them all,
• 1:09:13
  Speaker 5: teenage boys.
• 1:09:14
  Speaker 3: Correct. All right, last one for me, because I genuinely
• 1:09:18
  Speaker 3: do want to know. Jacob drew three and a half stars,
• 1:09:21
  Speaker 3: and I'm going to read this in the voice that
• 1:09:23
  Speaker 3: I'm hearing in my head. But did the dad ever
• 1:09:26
  Speaker 3: order the burritos?
• 1:09:30
  Speaker 4: Oh, right. So I think I've got one more.
• 1:09:34
  Speaker 3: Go for it.
• 1:09:35
  Speaker 5: It says, Ian gave it three stars. Scariest part is
• 1:09:38
  Speaker 5: that mother-son relationship.
• 1:09:40
  Speaker 4: Fucking right.
• 1:09:43
  Speaker 3: All righty, Michael. If people would like to hear you
• 1:09:46
  Speaker 3: and the sultry sound of your voice, where can they
• 1:09:48
  Speaker 3: find you on social media?
• 1:09:51
  Speaker 4: All right.
• 1:09:52
  Speaker 5: You can find me at Michael underscore Vyers on Instagram.
• 1:09:56
  Speaker 5: Shameless Picture Show on Instagram and TikTok. You can find
• 1:09:59
  Speaker 5: me at Vyers102008 on Letterboxd or just search my name.
• 1:10:03
  Speaker 5: I've got pretty easy to find social media accounts. And
• 1:10:07
  Speaker 5: then you can also find my podcast, The Shameless Picture Show.
• 1:10:11
  Speaker 4: We are... A critical analysis podcast that focuses on gaps
• 1:10:16
  Speaker 4: in our watching history. Occasionally I'll do some interviews. Austin,
• 1:10:23
  Speaker 4: what's coming up next? I don't remember what you're working on.
• 1:10:25
  Speaker 3: So we've got Who's That Girl, which by the time
• 1:10:28
  Speaker 3: this episode releases will be out. And then we've got
• 1:10:32
  Speaker 3: Tron coming out, but I think you wanted me to
• 1:10:35
  Speaker 3: slide in something before Tron. I think I wrote all these.
• 1:10:38
  Speaker 4: Yeah, which we can't talk about yet.
• 1:10:40
  Speaker 3: Can't talk about yet. It is an interview with somebody,
• 1:10:43
  Speaker 3: but then Tron's coming up, and then you've got another
• 1:10:45
  Speaker 3: interview with Bill. Not Bill. You just did Bill. You
• 1:10:50
  Speaker 3: watched Ikaru.
• 1:10:51
  Speaker 4: Yeah, with Brian Tallarico.
• 1:10:54
  Speaker 3: Yeah, you've got a lot of good stuff coming up.
• 1:10:56
  Speaker 5: Yeah, I've got Wildwood, New Jersey, with the director Ruth Lightman.
• 1:11:01
  Speaker 5: And then I've got just announced... I got Adam Rifkin
• 1:11:06
  Speaker 5: coming on.
• 1:11:06
  Speaker 3: Yeah, Adam Rifkin. And then, of course, the end of
• 1:11:09
  Speaker 3: the year with the Christmas special. Always a good time.
• 1:11:12
  Speaker 4: What are you joining us for?
• 1:11:12
  Speaker 3: I am very, very thrilled to be on the Christmas episode.
• 1:11:16
  Speaker 3: I'm very excited. So if you enjoy this show, please
• 1:11:19
  Speaker 3: rate and review on your favorite podcast app of choice.
• 1:11:22
  Speaker 3: Follow us on Facebook, Instagram, TikTok, Slasher Threads, and YouTube
• 1:11:25
  Speaker 3: at Frighteners Podcast. Email is stayspookyatoutlook.com. I'm also going to
• 1:11:30
  Speaker 3: ask anybody to send me spooky, scary stories. that I
• 1:11:34
  Speaker 3: could read on my social media. I want to get
• 1:11:37
  Speaker 3: into that. So if you've got a spooky story and
• 1:11:40
  Speaker 3: a fucking real fake, I don't give a shit. Send
• 1:11:43
  Speaker 3: it my way. You can follow me on Letterboxd at Dr. Proctor. Also,
• 1:11:48
  Speaker 3: check out the Dust Bunnies trailer on YouTube. It is out.
• 1:11:51
  Speaker 3: It is done.
• 1:11:52
  Speaker 4: It is a great little film. Austin doesn't like to
• 1:11:55
  Speaker 4: compliment himself. I'll do it for him. I think it's
• 1:11:57
  Speaker 4: a great fucking film.
• 1:11:59
  Speaker 3: If you'd like to expand your movie podcast listening, be
• 1:12:01
  Speaker 3: sure to check out, of course, The Shameless Picture Show,
• 1:12:04
  Speaker 3: the Dead Eye Millennial Film Club, if they're even still
• 1:12:06
  Speaker 3: doing stuff. I don't know what the hell Jason Hillman's
• 1:12:08
  Speaker 3: doing these days.
• 1:12:08
  Speaker 4: Yeah, Jason Hillman, what the hell are you doing?
• 1:12:11
  Speaker 3: I'll have to get in his DMs. And one week
• 1:12:13
  Speaker 3: rental as well. Next week, Corey and I will be
• 1:12:16
  Speaker 3: doing Terrified, not Terrifier, Terrified from 2017 as our international pick.
• 1:12:23
  Speaker 3: It is directed by Damian Rugna, who also did When
• 1:12:26
  Speaker 3: Evil Lurks. It is streaming on Shudder. It is such
• 1:12:30
  Speaker 3: an underrated film with one of the greatest jump scares
• 1:12:33
  Speaker 3: of all time. So I'm putting that. I'm not going
• 1:12:36
  Speaker 3: to tell you when it is, where it is. Greatest
• 1:12:38
  Speaker 3: jump scare of all time. So until next week, guys,
• 1:12:41
  Speaker 3: stay tuned and stay spooky. Thank you for listening.
• 1:13:25
  Speaker 4: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:13:29
  Speaker 4: please select the link in the description