Latest / Critically Acclaimed Network / Critically Acclaimed #349 | Wake Up Dead Man: A Knives Out Mystery, Hamnet, Zootopia 2, Jingle Bell Heist

Transcript

Critically Acclaimed #349 | Wake Up Dead Man: A Knives Out Mystery, Hamnet, Zootopia 2, Jingle Bell Heist · Critically Acclaimed Network

0:12
[SPEAKER_00]: Hello, everybody and welcome back to critically acclaimed the movie review podcast where things explode And everything is nice.
0:23
[SPEAKER_00]: My name is William Bibbiani.
0:25
[SPEAKER_00]: I am a film critic I write for the rap and everybody calls me bibs.
0:30
[SPEAKER_02]: My name is Woody Sivold.
0:31
[SPEAKER_02]: I too.
0:31
[SPEAKER_02]: I'm a film critic I contribute to slash film and I don't have a nickname over there.
0:35
[SPEAKER_02]: You can just read my stuff And I think you should I turn out a lot very talented
0:41
[SPEAKER_02]: I can make up words all day.
0:43
[SPEAKER_00]: You can make it right easy if you make up all the words.
0:46
[SPEAKER_02]: This is true.
0:47
[SPEAKER_00]: Yeah.
0:47
[SPEAKER_00]: Although I do think new words get made.
0:49
[SPEAKER_02]: I think I've said this on the podcast before.
0:51
[SPEAKER_02]: I came upon an axiom that has given me a lot of help in my job.
0:56
[SPEAKER_02]: Oh yeah.
0:56
[SPEAKER_02]: Because I work at, for slash film, I have to write many, many articles.
1:00
[SPEAKER_02]: I have to tailor my articles to a headline, and they're all based on popular topics.
1:05
[SPEAKER_02]: I don't always know about the topics that are offered me in the slash film offices.
1:11
[SPEAKER_02]: So I take the ones that I am familiar with.
1:13
[SPEAKER_02]: So I can write it with a lot of stuff.
1:14
[SPEAKER_02]: So I can write right quickly and with some expertise.
1:16
[SPEAKER_02]: And yeah, luckily I've seen enough movies that there's a lot to choose from still.
1:23
[SPEAKER_02]: and often you just do what's assigned you can't afford to necessarily just sort of pitch wait for something to be approved and make a living doing nothing but that also sometimes I don't have an idea that day
1:37
[SPEAKER_02]: And the the axiom that I came upon was inspiration is for suckers, you know, you can wait to be inspired and write a great piece of work, but if you're doing it professionally, just write that comes a point when it's just got to get done.
1:50
[SPEAKER_02]: It's just got to get done, you know, and you get develop a new kind of skill where you can start putting together articles, even come up with some very inspired, uh, bull mols.
2:00
[SPEAKER_02]: Sure, while you're in the midst of your writing, while you're turning in something.
2:04
[SPEAKER_00]: I am very much of the belief that as long as you care about quality, quantity.
2:12
[SPEAKER_00]: is a great way to become an expert at something.
2:14
[SPEAKER_00]: Oh, absolutely.
2:14
[SPEAKER_00]: You can spend your whole life writing one poem, trying to get it right.
2:20
[SPEAKER_00]: If you write a thousand poems in a year, that thousandth poem is gonna be pretty good.
2:24
[SPEAKER_02]: Yeah.
2:25
[SPEAKER_02]: I get really frustrated with certain filmmakers who are obsessed with their own filmography, they want to wait for the right project to come along or they need to be inspired to do just this one particular thing.
2:35
[SPEAKER_02]: And then there's, and then there's also like Stephen Frier's, I'm going to make two three movies a year.
2:42
[SPEAKER_02]: And there's, uh, Stephen Sutterberg.
2:47
[SPEAKER_02]: I'm just going to do it.
2:48
[SPEAKER_00]: Yeah.
2:49
[SPEAKER_00]: Hitchcock was like that as well.
2:50
[SPEAKER_00]: He just like to be working.
2:52
[SPEAKER_00]: You know, people like to make the Keshimi EK for Christ.
2:55
[SPEAKER_00]: Yeah.
2:56
[SPEAKER_02]: It's made 100 movies.
2:56
[SPEAKER_00]: Yeah.
2:57
[SPEAKER_00]: And a lot of them were really fucking good.
2:58
[SPEAKER_00]: He knows how to make him vast, cheap, and good now.
3:02
[SPEAKER_02]: Yeah.
3:03
[SPEAKER_00]: Turns out that is possible.
3:04
[SPEAKER_00]: He just have to really put in the effort.
3:05
[SPEAKER_00]: The point is, I really do think that, you know,
3:11
[SPEAKER_00]: That's that that is work great for your great fucking writer.
3:14
[SPEAKER_00]: Oh, I mean and I love reading your stuff, and I You know what you know what we we didn't get to spend things giving the other we usually don't no But we're with our respective families and the other places, yeah, you work But it was out of town visiting family.
3:30
[SPEAKER_00]: Yeah, I was I was Less busy, but I'm very thankful for you
3:38
[SPEAKER_00]: as a friend, and as a co-host, and as a writer, and it's a real honor to have been doing this with you for 15 years.
3:48
[SPEAKER_02]: It's been maybe four years.
3:49
[SPEAKER_00]: It's been 15 years.
3:51
[SPEAKER_00]: We've produced, like, I think, well, like, 1,500 podcasts together.
3:55
[SPEAKER_02]: We've done a bit.
3:57
[SPEAKER_02]: There's, our lives are now recorded.
4:00
[SPEAKER_02]: I'm thankful for you, William.
4:02
[SPEAKER_02]: If I'm good, if I'm good, it's because of you.
4:06
[SPEAKER_02]: That's a lot.
4:09
[SPEAKER_02]: You give me a lot to aspire to and to look up to.
4:13
[SPEAKER_00]: But you know, here's the deal.
4:14
[SPEAKER_00]: There's, thank you.
4:17
[SPEAKER_00]: And I hope you appreciate the component as well.
4:18
[SPEAKER_00]: But you know, you don't really deserve it.
4:22
[SPEAKER_00]: you.
4:22
[SPEAKER_02]: You're the listener.
4:24
[SPEAKER_00]: The listener right now.
4:26
[SPEAKER_00]: I just want you to know that you're doing everything you can do and it is enough and you're trying so hard and life can be very, very difficult sometimes but you're really, you're in there and you're doing your best and your best is great and you deserve all the happiness in the world.
4:46
[SPEAKER_00]: Yes, you specifically.
4:48
[SPEAKER_00]: Thank you.
4:51
[SPEAKER_00]: I don't know if you deserve a movie podcast.
4:54
[SPEAKER_00]: That feels like, or offering it, that's what we got.
4:57
[SPEAKER_00]: I feel like you deserve more than that, but this is what we have on offer today.
5:01
[SPEAKER_00]: So we're gonna be tone-in-down the saccharin and well, I'm sure I'm gonna be pumping that up again when we get to Hammett.
5:08
[SPEAKER_00]: But we are gonna be reviewing some new releases that opened over Thanksgiving weekend.
5:14
[SPEAKER_00]: We're reviewing Ryan Johnson's latest
5:20
[SPEAKER_00]: We're going to be reviewing the new Shakespeare bio-drama Hamlet sad movie Hamlet Origin story.
5:33
[SPEAKER_00]: Yeah, basically.
5:33
[SPEAKER_00]: It's not like a true story.
5:35
[SPEAKER_00]: It's based on a novel.
5:36
[SPEAKER_00]: Yeah.
5:36
[SPEAKER_00]: It takes a lot of historical liberties.
5:37
[SPEAKER_00]: It's called Hamlet, so in director Chloe Xiao, we're going to be reviewing Zootopia 2 and not Tootopia or Zootopia.
5:50
[SPEAKER_00]: and then lastly we're gonna be reviewing should have called it uh... the fuzz oh that's good because it's about animal cost and they're and they're from animals so i get who that would have been a much better title uh... that's good well we're also gonna be reviewing uh... the new holiday heist movie jingle bell heist
6:12
[SPEAKER_00]: which they do not steal a jingle bells?
6:15
[SPEAKER_00]: That is a metaphor.
6:17
[SPEAKER_00]: And metaphor for holidays.
6:20
[SPEAKER_00]: On that note, let's get started with, we got a couple of sequels, but the one that we both saw.
6:25
[SPEAKER_00]: Ah, it's a little film called.
6:27
[SPEAKER_02]: Wake up, dead man.
6:28
[SPEAKER_02]: It's the third of the binmo-block movies that Ryan Johnson has been putting together.
6:33
[SPEAKER_02]: Ryan Johnson had to grow on me.
6:36
[SPEAKER_02]: Yeah, he got a lot of acclaim early in his career with films like brick and the bother's bloom Yes, I love and I was not so impressed with those.
6:46
[SPEAKER_02]: I felt like he wasn't mature enough I watched brick one years younger.
6:50
[SPEAKER_02]: I watched brick and my my first comment was I liked it better when it was called River's Edge He's I see which he made he's clearly trying like he's driving a lot of his style from other filmmakers He didn't I felt again found his own voice
7:06
[SPEAKER_00]: Okay.
7:07
[SPEAKER_02]: Weirdly it was Star Wars that sort of opened my eyes up to him.
7:13
[SPEAKER_02]: He did Star Wars the last Jedi, which is
7:17
[SPEAKER_02]: one of my favorite Star Wars movies now.
7:19
[SPEAKER_00]: I think it's in my top.
7:20
[SPEAKER_00]: It's definitely in my top three.
7:21
[SPEAKER_00]: I'm saying someday, someday, it's my number one.
7:23
[SPEAKER_02]: Yeah, it's much, it's in my top two.
7:25
[SPEAKER_02]: I like the original Star Wars and then I like that one best.
7:27
[SPEAKER_00]: It's that one last Jedi and Empire.
7:30
[SPEAKER_00]: It's their all swirling me asma of good Star Wars.
7:34
[SPEAKER_00]: And Andor is better than all of them, but that is.
7:37
[SPEAKER_02]: But I admired his Star Wars because he seemed to be like attacking the notion of fandom Like he was sort of ripping things apart.
7:44
[SPEAKER_02]: This war needs to end.
7:46
[SPEAKER_02]: It was what the movie said Yeah, and not necessarily in the way you want it to yeah, and that's the nature of war and also It's the nature of Star Wars.
7:54
[SPEAKER_02]: We can't just focus on these heroes that rise and fall the cycle continues That's not really peace is it.
8:00
[SPEAKER_02]: It's just more and more war
8:01
[SPEAKER_00]: Well, a lot of Star Wars was about a cycle, you know, that line, that George Lucas line, it's like poetry, it rhymes, history repeats itself over and over again.
8:08
[SPEAKER_02]: Well, that's not very hopeful, isn't it?
8:09
[SPEAKER_00]: No, it's not very hopeful at all.
8:10
[SPEAKER_00]: And he was just like, well, how do we actually solve things?
8:15
[SPEAKER_00]: Well, we'd have to do something new.
8:17
[SPEAKER_00]: Yeah.
8:17
[SPEAKER_00]: Wouldn't we?
8:18
[SPEAKER_00]: And then Disney was like, oh, no, that's not what we meant.
8:21
[SPEAKER_00]: Yeah.
8:21
[SPEAKER_00]: So like, let's go back to doing everything.
8:23
[SPEAKER_00]: And we had.
8:24
[SPEAKER_02]: And then, even though it was movies too long, and it's over stuff to change.
8:28
[SPEAKER_02]: Yeah.
8:28
[SPEAKER_02]: And two movies.
8:30
[SPEAKER_02]: It's it ended the story.
8:32
[SPEAKER_00]: Well, it's such a good ending.
8:34
[SPEAKER_00]: Yeah, I mean, it leaves a lot of room to tell more stories, but it's a good Ending yeah, there's an actual ending to it.
8:41
[SPEAKER_00]: It's Arguably a cliffhanger, but it's mostly just ending.
8:44
[SPEAKER_02]: And then yeah, and then he came off of that and started doing the his high profile murder mysteries with these all-star casts
8:49
[SPEAKER_02]: Yeah, which started like one of my favorite fucking genres and I kind of hoped that the popularity of knives out because it was a popular movie Would be enough to sort of inspire this new slew of murder mysteries and we got a couple There was there was a see how they run.
9:04
[SPEAKER_02]: Yeah, which had Agatha Christie and it as a character It was about a murder on the set of the mouse trap, which is clever idea not a great movie Unfortunately, though if you like the genres we're seeing, but it's not the best example We got the minute brand new kind of brunna did some poor on movies Yeah, it's like okay
9:18
[SPEAKER_02]: Let's keep this trend going.
9:20
[SPEAKER_02]: I like this trend, and it didn't really take off as big as my house.
9:24
[SPEAKER_00]: We had like earlier this year, we had the Thursday murder club, which was like a full star cozy mystery with Pierce Brosnan and Helen Miran, a bunch of other likeable actors, and we were doing them, but it should be a bigger deal.
9:41
[SPEAKER_00]: I think the trick.
9:43
[SPEAKER_00]: Is that if you're gonna do a murder mystery moving?
9:47
[SPEAKER_00]: I'm just actually in a market where there are murder mysteries every fucking day.
9:51
[SPEAKER_02]: Yeah, I have every police procedure.
9:53
[SPEAKER_00]: Every police procedure.
9:54
[SPEAKER_00]: The detective story, whatever we get, we see them constantly.
9:58
[SPEAKER_00]: It has to be a story that is A.
10:03
[SPEAKER_00]: worth telling, not just some clever thing, it's not actually be like a tale to tell, not just a fun twist.
10:11
[SPEAKER_00]: And it has to be fiendishly clever.
10:13
[SPEAKER_00]: Yes, and not every writer has that in them, not every director has that in them.
10:21
[SPEAKER_00]: And it is abundantly clear if you look back on his filmography, if you look back at brick, and if you look back to a different degree on brothers' bloom,
10:30
[SPEAKER_00]: Ryan Johnson lives and breathes this shit.
10:34
[SPEAKER_00]: He loves it and it's very very clear he'd like to keep doing this for a very long time and more power to him His first Big ensemble brick was a mystery as well, but it first big ensemble mystery was knives out with
10:50
[SPEAKER_00]: Shit, Anadir Moss, Chris Evans, Christopher Plummer, Jamie Lee Curtis, Michael Shannon, Don Johnson, like, fuck everyone was in us, well, no, apparently not because then we had glass on you And then we had Edward and then Dave Batista and Janel Monay and Kate Hudson, he who grand showed up and like, fuck
11:12
[SPEAKER_00]: great.
11:13
[SPEAKER_02]: I liked glass onion a little less.
11:17
[SPEAKER_02]: I feel like it wasn't as tight as script that time.
11:20
[SPEAKER_02]: I liked he was trying to turn essentially tell a murder mystery about Elon Musk or you know any one of the tech bro billionaires that we have ruining his country.
11:29
[SPEAKER_00]: But both Nines out and Glass Sun Inter about class.
11:32
[SPEAKER_00]: Yeah, you know.
11:33
[SPEAKER_00]: Nines out was about what happens when like a rich man dies and what's going to happen to his money and everyone's after him and everyone blames like the housekeeper who has none and then glass onion was everyone's like on Elon Musk's private island when a murder happens and we're going to really just dig into what it means to be that kind of a tech pro billionaire.
11:54
[SPEAKER_02]: Yeah, yeah, but my issue with glass onion is, um,
11:56
[SPEAKER_02]: They there was like a twist at the end of the first app and all right, it was about halfway through Yeah, and then they flashed back and they gave us Told us another part of the story that we had to see up to that point.
12:07
[SPEAKER_02]: Yeah, and the problem with that is we had an entire third of the movie where there was no New information introduced it was let we got the twist we kind of explored that but it wasn't Changing the story we had already seen it was just looking at it from another perspective and that felt like
12:22
[SPEAKER_00]: wheel spinning rather than gross and then this is where it comes down to what I was saying it's like if you're going to do a big murder mystery movie you have to be a clever mystery but it also has to be a movie and ultimately it doesn't necessarily once you know the ending you should be able to rewatch it and so I think that's where that whole sequence comes in that whole like giant flashback sequence is about character it is about theme it is about the world in which these people inhabit on the backstory to it.
12:51
[SPEAKER_00]: Does it?
12:51
[SPEAKER_00]: And we do get some information that is useful later in the mystery, but it's a very novel.
12:56
[SPEAKER_00]: And here's the thing.
12:58
[SPEAKER_00]: In his first two knives out movies in particular, right?
13:01
[SPEAKER_00]: I'm sure, and I, my understanding, he would much rather call them been while belong to mysteries, but knives out was the first movie, and we're kind of stuck with it.
13:08
[SPEAKER_00]: It's like the thin man.
13:10
[SPEAKER_00]: If you ever watched the thin man with William Powell and Murna Loy, wonderful murder mystery from the 30s, and it was such a hit that there was a sequel called
13:20
[SPEAKER_00]: which took place after the thin man.
13:23
[SPEAKER_00]: But then we have a more of them, like, song of the thin man.
13:26
[SPEAKER_00]: So the thin man, the thin man died.
13:29
[SPEAKER_00]: The thin man is not willing to empower.
13:32
[SPEAKER_00]: No, we just got stuck with the title.
13:34
[SPEAKER_00]: It's like the earliest example of SEO at work.
13:39
[SPEAKER_00]: Where was I going with this?
13:41
[SPEAKER_00]: But like, so like, I feel like,
13:45
[SPEAKER_00]: I feel like he's trying to find a way to tell clever stories within the murder mystery framework, so you can feel very, very clever.
13:52
[SPEAKER_00]: If you get ahead of the story, or the story tricks you, but it's still got to work as a story.
13:55
[SPEAKER_00]: For me, this is the problems I had with the original knives out.
13:58
[SPEAKER_00]: Okay, is that, and it's great moving.
14:00
[SPEAKER_00]: I'm not complaining, it's just not my favorite of these.
14:03
[SPEAKER_00]: Is that he plays so fair, which I respect, for a mystery story teller to do, that I was able to figure out that movie halfway through.
14:14
[SPEAKER_00]: Like, much earlier than halfway through it, actually.
14:17
[SPEAKER_00]: And it played out more or less exactly as I expected, but it was such a well-told story, I didn't mind, but I was a little frustrated that I got wind of it.
14:26
[SPEAKER_00]: with Blassonian I predicted everything except the middle twist that you were talking about.
14:32
[SPEAKER_00]: So I was so jazz that he got me, but the overall murder and everything I figured out pretty quickly as well.
14:42
[SPEAKER_00]: It is not a mystery movie's job to fool you, but it's so much fun when it does.
14:48
[SPEAKER_00]: I feel like when you're watching a murder mystery, it's kind of like the height of like
14:56
[SPEAKER_00]: like audience participation, like you're not actually changing the narrative, but you're playing a game.
15:03
[SPEAKER_00]: The director is trying to misdirect you, or guide you to where the twist is gonna happen, so that when the twist happens, you go, oh, that makes sense.
15:13
[SPEAKER_00]: And in order for that to work, it means he needs to play fair.
15:15
[SPEAKER_00]: Ryan Johnson's honestly so fair, you can predict where it's going, if you're really thinking on your feet.
15:23
[SPEAKER_00]: So I don't mind if I can guess ahead of time, but I will say this, didn't guess this one.
15:27
[SPEAKER_00]: I didn't guess this one, and this one's clever.
15:30
[SPEAKER_02]: It's really clever, and I like this one best of the three.
15:34
[SPEAKER_00]: So the way.
15:35
[SPEAKER_02]: This is best one so far.
15:35
[SPEAKER_02]: Again, we've been accused of having great lead-ups into these movies only to slam the most recent installment.
15:42
[SPEAKER_00]: This is my favorite one.
15:43
[SPEAKER_02]: Okay, bye far.
15:44
[SPEAKER_02]: I think you mentioned that the first two are very much about class and that is true.
15:48
[SPEAKER_02]: They're about wealth, the corrupting, effective wealth, the skateboarding we put on the impoverished, and how people who don't have money are changed by people around them who do and wield it over them.
16:03
[SPEAKER_02]: Yes, the self-importance of the wealthy.
16:07
[SPEAKER_02]: This film, uh, wake up, dead man, is even more pervasively political and it actually traces sort of the roots of a lot of, like, extreme right-wing thinking in the United States to, uh, local churches and individual, uh, religious figures.
16:27
[SPEAKER_00]: Yes, people have an outsize influence on a very small community, would you think wouldn't be a huge game changer, but that adds up.
16:35
[SPEAKER_02]: Yeah, like it's these things like this, it's like trying to find the origin of like a certain kind of American evil, and finding that source and staging a murder mystery there.
16:45
[SPEAKER_01]: That's great.
16:46
[SPEAKER_02]: It's really great.
16:47
[SPEAKER_02]: So this takes place in this little tiny town.
16:50
[SPEAKER_02]: I think it's an upstate New York.
16:51
[SPEAKER_02]: It's not only New England.
16:53
[SPEAKER_02]: It's a New England.
16:54
[SPEAKER_02]: It's this little tiny Catholic church, it's like the church in winter light, it has like five members of its congregation left.
17:04
[SPEAKER_02]: Yeah, a small, a very small, small, small, small congregation and it's led by Josh Brolin, who is a fire and brimstone priest who talks about sort of the evil influences and it's all
17:19
[SPEAKER_00]: Yeah, and he is a whole bit about how he considers a sermon successful if like someone leaves crying because he specifically chose to target them He target their sins.
17:29
[SPEAKER_00]: He targets a person.
17:29
[SPEAKER_00]: He knows about their personal lives And then everyone else who stays and feels afraid that they're next but also is very very glad it wasn't them this week and there's it's there's a certain
17:39
[SPEAKER_02]: It's an abuse and they have fallen for a lot of this a fiery rhetoric of his because he's so loud and insistent about Andy keeps spouting off these really bigoted talking points.
17:51
[SPEAKER_02]: It's all about the horrible queer people in your life.
17:55
[SPEAKER_02]: It's about the horrible non-American people.
17:57
[SPEAKER_02]: Yeah, it's a form of caters.
17:58
[SPEAKER_02]: Yeah.
18:01
[SPEAKER_02]: Okay, this guy needs a poliano, so bad.
18:05
[SPEAKER_00]: Yes, that's what would solve the problem.
18:07
[SPEAKER_00]: Murder or poliano?
18:09
[SPEAKER_00]: No other option.
18:10
[SPEAKER_00]: No.
18:11
[SPEAKER_00]: Haven't been murdered.
18:12
[SPEAKER_00]: Daily Mills.
18:13
[SPEAKER_00]: But whoever committed the murder on this movie.
18:15
[SPEAKER_02]: And in a going my way sense, he's not the main character of the story.
18:19
[SPEAKER_02]: Now, the known character is actually a young priest.
18:23
[SPEAKER_02]: who has turned his life around.
18:25
[SPEAKER_02]: He's born again after, you know, when it's spent some time in prison, he killed a man in a boxing match.
18:30
[SPEAKER_02]: Very quiet, man.
18:31
[SPEAKER_02]: Yeah.
18:31
[SPEAKER_02]: Very much to move to the quiet, man.
18:33
[SPEAKER_02]: Oh, he's, I was gonna, it was a little more, um, other is a little more going my way.
18:38
[SPEAKER_02]: Well, it's going to be like, well, because he's like the, this, the young, the young idealist priest who is trying to move in and change the ways that the can't tanker is old.
18:47
[SPEAKER_00]: I've just been in his backstory, but I think what we're getting at is that Josh Brollen is the character who everyone has a motivation to kill, which is, we know he's going to be the vet again.
18:58
[SPEAKER_00]: Well, I think it's also on the trail.
18:59
[SPEAKER_00]: Yeah, so they don't hide it.
19:00
[SPEAKER_00]: So like the thing is, in a murder mystery, the more people who want the victim dead, the more difficult the murder mystery, because everyone has a motive.
19:09
[SPEAKER_00]: Yes.
19:09
[SPEAKER_00]: So everyone has a reason to be afraid of this guy and Joshua Connor plays the young priest who comes in and he's basically sent in To try to clear up the place in a going way style maybe a young more Sympathetic voice will help tame this fire and brimstone Priest it does not work that way
19:31
[SPEAKER_00]: No!
19:32
[SPEAKER_00]: And everyone is so completely committed to this cult, this cult of personality.
19:38
[SPEAKER_00]: He's built up around in the Dodge of Connor, Kent McKinney, headway.
19:42
[SPEAKER_00]: And...
19:43
[SPEAKER_02]: the opening acts like before It's quite long It's fascinating, but it's quite long It's quite long, but I appreciate that because we're actually spending all that time establishing all these characters established and all of them motive And also exploring the themes of the piece Yeah And it's also not a Ben Wallbunk story He doesn't show up until the second act
20:03
[SPEAKER_02]: Well, none of them are Ben Wawblong's stories.
20:05
[SPEAKER_00]: No, he's like Batman.
20:06
[SPEAKER_00]: He comes in and says all of the people's problems.
20:09
[SPEAKER_02]: It's like, if you're not movie, it's more like, if you remember the film Greenford Danger, if you've ever saw it, you've seen Greenford.
20:15
[SPEAKER_00]: It's an obscure thing for most people, but yes.
20:17
[SPEAKER_02]: There's a really great murder mystery set in a hospital.
20:19
[SPEAKER_02]: It's called Greenford Danger, it's a British film from the 40s.
20:21
[SPEAKER_03]: Yeah.
20:22
[SPEAKER_02]: And it's fantastic.
20:23
[SPEAKER_02]: You should watch it.
20:25
[SPEAKER_02]: But that whole, the detective doesn't show up until like 30 minutes from the end of that movie.
20:30
[SPEAKER_02]: Mm-hmm.
20:31
[SPEAKER_02]: Like he's, he's a late entrance, and like this new character kind of to solve the story and wrap this up.
20:36
[SPEAKER_00]: Yeah.
20:36
[SPEAKER_00]: He, he, he is there to, to put all the pieces together, but the pieces came together along before we got there and like a dead man.
20:42
[SPEAKER_00]: That's the same way.
20:43
[SPEAKER_00]: So I have a lot of time with these people.
20:45
[SPEAKER_02]: and who are who are our suspects.
20:47
[SPEAKER_00]: So we have, we have Glenn Close, who plays the woman who works at the church who is a diheartary believer.
20:55
[SPEAKER_00]: We have Jeremy Renner who was a local doctor who's wife just left him.
20:59
[SPEAKER_00]: And he's an alcoholic and he's very unhappy.
21:02
[SPEAKER_00]: We have Andrew Scott,
21:03
[SPEAKER_00]: great actor plays a sci-fi author who's gone down like Alex Jones rabbit hole I give you some conspiracies and stuff you got carry washington who has been raising like another member of the family all by herself and at the putter dreams aside for it Kaylee Spaniy plays a rich woman with a nerve
21:24
[SPEAKER_02]: problem.
21:24
[SPEAKER_02]: Yeah, she can't walk very well.
21:26
[SPEAKER_00]: She was like I think it's jealous and she'd helped a new problem and she's hoping that Josh Prolin will be able to cure her with a miracle.
21:33
[SPEAKER_00]: Throw in for good measure, Thomas Hayden Church, as a groundskeeper, Milicunus, as the sheriff.
21:40
[SPEAKER_02]: And there's a, and there's a, and the,
21:42
[SPEAKER_02]: Kind of like the key character, I think, is the one probably by Dara McCormack from Good luck to you Leo Grant.
21:48
[SPEAKER_02]: Yeah, it's a matter of fact, because he is a failed right-wing politician and there's a really fantastic scene early on where
21:57
[SPEAKER_02]: He actually laments that he can't form a Trump-like cult of personality.
22:03
[SPEAKER_02]: He's like, I leaned into all of the prejudices.
22:05
[SPEAKER_02]: I leaned into hating trans people.
22:08
[SPEAKER_02]: I leaned into hating immigrants.
22:10
[SPEAKER_02]: That's just part of the course for rolling politics.
22:13
[SPEAKER_02]: But you have to have that certain spark to inspire people to hate and vote for you.
22:18
[SPEAKER_02]: And the fact that he's just saying that so casually, it's like, okay, this is what Ryan Johnson wanted to say.
22:23
[SPEAKER_00]: about sort of the origins of these irresponsible politics, and how that is in a front to what religion is supposed to be.
22:32
[SPEAKER_02]: Yeah, and how the Joshua Connor character is trying to undo that and is having front and is frustrated that he can't.
22:39
[SPEAKER_01]: Right.
22:39
[SPEAKER_02]: And wouldn't you know it, Josh Brolin is murdered in a way that seems impossible.
22:44
[SPEAKER_02]: Yeah, it's basically even though he dies somehow on stage and in a lot
22:49
[SPEAKER_02]: He goes into, yeah, the, the, the murder mystery is stages such where he's in the middle of a service.
22:55
[SPEAKER_02]: He leaves and goes into a small closet with no exits and no windows just so he can kind of take get his breath and then come back on.
23:02
[SPEAKER_00]: Yeah.
23:02
[SPEAKER_02]: He goes into that room, uh, Joshua Connor can see into that room and season in there, but looks away.
23:08
[SPEAKER_02]: and he has killed somehow.
23:09
[SPEAKER_02]: He stabbed.
23:10
[SPEAKER_02]: He has stabbed in the back somehow.
23:12
[SPEAKER_02]: Yeah, and nobody can get in there.
23:14
[SPEAKER_00]: Yeah, and that's when Benoit Blanc arrives and Benoit Blanc naturally as a detective.
23:19
[SPEAKER_00]: Somebody believes in logic is an atheist to his core, which will be a key to the story.
23:25
[SPEAKER_02]: And he did the story, but I think it's a good character dynamic as well.
23:28
[SPEAKER_00]: That's the sort of logical detective and a priest.
23:30
[SPEAKER_00]: Yes, and the priest is the prime suspect for reasons that are abundantly clear when you see the movie.
23:36
[SPEAKER_00]: And so now Ben Wellblank and this priest are trying to solve a murder.
23:39
[SPEAKER_00]: They're completely, you know, ideologically and odds with each other.
23:45
[SPEAKER_00]: And on top of it, it's a lot of room mystery which Ben Wellblank loves.
23:48
[SPEAKER_00]: He's super excited to solve this one and I'm not going to run anything more beyond that other than there's a lot of twists and turns a few I caught early on, but there's so many that it was a tiny percentage Honestly, the thing I mentioned this before like running Johnson plays very fair with his movies and like like if you ever rewatch knives out
24:12
[SPEAKER_00]: Pay attention to the first line of dialogue.
24:13
[SPEAKER_00]: He calls the shots.
24:15
[SPEAKER_00]: Yeah, really, really, really, really early.
24:17
[SPEAKER_00]: And if you're paying attention to thinking like a storyteller, it's kind of easy to see where he's going.
24:22
[SPEAKER_00]: He's got so many layers going on wake up dead, man, that you think you've found all the pieces and it turns out, nope, that throw away joke was super fucking important.
24:31
[SPEAKER_00]: And you just didn't know the context.
24:33
[SPEAKER_00]: And it's fucking genius.
24:35
[SPEAKER_00]: And it's easy to follow, which is the miracle.
24:37
[SPEAKER_02]: It's complicated, but easy.
24:39
[SPEAKER_02]: It's, yeah, you know, because, and this is the advantage of having an all-celebrity cast in these murder mysteries is easy to keep track of everything.
24:48
[SPEAKER_02]: Yeah, it's like, oh, that's going close.
24:49
[SPEAKER_02]: Like, you don't have to remember sort of like the character in their motivation.
24:52
[SPEAKER_02]: You're no, it's going close.
24:53
[SPEAKER_02]: Going close is great in this movie, by the way, playing this kind of tight, like, cruel, righteous character.
25:00
[SPEAKER_00]: And it's a little thing, and people, it's easy to take for granted, it might even seem obvious, but not everyone does it.
25:05
[SPEAKER_00]: He also makes a damn sure to cast people who don't have the same presence.
25:09
[SPEAKER_00]: You'll never look at like Joshua Connor and Andrew Scott on the same scene and like which one, which one is he again?
25:14
[SPEAKER_00]: Yeah.
25:14
[SPEAKER_00]: Like you know.
25:15
[SPEAKER_02]: Which is, Joshua Connor, we have Joshua Connor and you can do it.
25:25
[SPEAKER_02]: Andrew Scott and the same movie, and I'm looking at those two,
25:30
[SPEAKER_02]: They both slept with Paul Mascale.
25:36
[SPEAKER_02]: That was my thought, it's like, what is the, what is the connect, like they both slept with Paul Mascow?
25:42
[SPEAKER_02]: It's a one-degree of Paul Mascow.
25:44
[SPEAKER_02]: Joshua, Joshua Connor had an affair with Paul Mascow in a history of sound, which came out earlier this year, which I love, by the way, it's one of my favorites this year.
25:51
[SPEAKER_02]: And Darrell McCormack was in all of a strangers.
25:57
[SPEAKER_00]: No, it wasn't going with Quarmic, it was Andrew Scott.
25:59
[SPEAKER_02]: All right, Andrew Scott was in all of a stranger's grave.
26:01
[SPEAKER_02]: Sorry, I mixed up my ideas.
26:02
[SPEAKER_02]: Yeah, Andrew Scott was in all of a strangers in Dutch romance.
26:04
[SPEAKER_02]: Paul Mascow.
26:06
[SPEAKER_02]: That's what I'm thinking, but you're right, they have very different presences, they all have different motivations, some of them are playing against types or they're playing their image into type.
26:17
[SPEAKER_02]: And it is exploring all of these things.
26:19
[SPEAKER_02]: My only complaint about actually all three of these knives out movies is he's a better editor.
26:24
[SPEAKER_02]: There comes a point in each of these movies where we're getting...
26:30
[SPEAKER_02]: we're getting to like we've stopped to sort of explore information or think about what we're doing rather than moving the story along a little bit.
26:38
[SPEAKER_02]: I think these could be a little bit more propulsive.
26:40
[SPEAKER_01]: Yeah.
26:40
[SPEAKER_02]: So they're not perfect movies, but I like them and this one I feel like has the most on its mind.
26:46
[SPEAKER_01]: Yeah.
26:46
[SPEAKER_02]: I think because Joshua Conner is such a strong lead, he's driving so much of this action and actually is
26:54
[SPEAKER_02]: A good point of entry because he's actually like the voice of righteousness and logic through all of this Yeah, and there even comes a point in the movie where it takes a turn where you don't expect to wear He wants to step out of the story.
27:06
[SPEAKER_00]: Yeah, it's like he's not really well motivated to have like the brilliant Mercury mystery.
27:10
[SPEAKER_00]: Oh my god, that scene is so fucking brilliant.
27:12
[SPEAKER_00]: Yeah, like he's so invested in everything going on And then one little thing happens and it completely changes his perspective on everything
27:19
[SPEAKER_00]: as it should be like it actually has a good like it's like a moral awakening in that moment there's a really good moment there's a lot of There's a long history of like detective stories which are about people who believe in pure logic people who as a result Do not believe in God then well block doesn't believe in God sure like home typically doesn't
27:41
[SPEAKER_00]: But the problem, at the moment of its problem, but a pervasive element of those stories is that they tend to be incredibly secular stories.
27:50
[SPEAKER_00]: They usually, our anti, maybe not anti-God, but they don't support God.
27:55
[SPEAKER_00]: They're not religious texts in any way.
27:58
[SPEAKER_00]: Wake up, dead man.
27:59
[SPEAKER_02]: And we've got a big part of most murder mysteries is this can't be supernatural.
28:03
[SPEAKER_02]: There's got a ghost here.
28:04
[SPEAKER_02]: That was the big part of the hudging in Venice.
28:06
[SPEAKER_00]: That was a big part of Scooby-Doo as well, until they decided to make it actually supernatural, which I still think was a mistake, but I digress.
28:14
[SPEAKER_00]: This is a movie that has that element, but it respects God.
28:23
[SPEAKER_00]: It respects the idea of God.
28:25
[SPEAKER_00]: It respects religion.
28:26
[SPEAKER_00]: It doesn't respect everyone in it.
28:28
[SPEAKER_00]: That respects everything it does.
28:30
[SPEAKER_00]: Definitely doesn't respect people who manipulate it for personal gain.
28:34
[SPEAKER_00]: But I was genuinely shocked by how impressively and beautifully spiritual this is.
28:42
[SPEAKER_00]: And I'm an atheist.
28:44
[SPEAKER_00]: And I don't, I'm a bragging or anything.
28:48
[SPEAKER_00]: I'm just telling where I'm coming from.
28:49
[SPEAKER_00]: And I think people who are questioning go on a Christian movies,
28:53
[SPEAKER_00]: with a certain amount of pre-existing interest or like, yeah, don't get him, Jesus or whatever.
29:02
[SPEAKER_00]: So I don't really have that, I'm not like, yeah, don't get him, not God, like that's not me, but like I really do love a spiritual movie that can connect with me, whether I'm spiritual or not.
29:16
[SPEAKER_00]: Spirituality serves a really vital function, and a lot of the human experience, whether we want it to or not.
29:28
[SPEAKER_00]: I was genuinely amazed by the depth of feeling.
29:32
[SPEAKER_00]: in wake up dead man as a story about set the murder mystery aside it's super fucking clever yeah and his deserves all the praise in the world if you remove to the murder mystery I made this just a story about Joshua Conner's crisis of faith it's still a great moving and I actually liked the way it's at it I actually think he did a pretty good job of keeping it moving forward well constantly having to reflexively move back because this isn't a novel and you can't just go back to a previous chapter to see something you missed right
30:00
[SPEAKER_00]: which is a trick when you make something this complicated with this many elements of shattering.
30:05
[SPEAKER_00]: Maybe I don't know if there's a way around that, maybe there is another than just a trust the audience so much that the storytelling could become opaque.
30:15
[SPEAKER_00]: But no, this movie is fantastic.
30:17
[SPEAKER_00]: It is laid enough in the year that I'm comfortable calling this one of the best movies of the year.
30:22
[SPEAKER_00]: I really, really love this.
30:23
[SPEAKER_00]: I'm an easy mark in some ways just because I love a good murder mystery and it got me.
30:28
[SPEAKER_00]: Yeah, which murder mysteries don't do very often, so mad respect, but it's also just a great story.
30:33
[SPEAKER_00]: And I will say this, the one thing that pisses me off about the whole wake-up dead man experience.
30:40
[SPEAKER_00]: Is that you know, it's got an Oscar campaign previously movies were both nominated for screenplay Good uh, Glenn close is considered Probably likely for best supporting actress good for her.
30:50
[SPEAKER_00]: Hmm.
30:51
[SPEAKER_00]: He's very well in the film Joshua Connor is being run uh, it being campaigned and best supporting actor.
30:56
[SPEAKER_00]: He's the protagonist He's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's he's
31:08
[SPEAKER_00]: And there is.
31:09
[SPEAKER_00]: It's like saying, and a day our moss was supporting, and nice out.
31:12
[SPEAKER_00]: No, she fucking was not.
31:17
[SPEAKER_00]: And I know a category fraud, which is all those backs of going my way.
31:22
[SPEAKER_01]: Yeah.
31:23
[SPEAKER_02]: Yeah, that's right.
31:23
[SPEAKER_01]: Yes.
31:24
[SPEAKER_02]: Because it was named Fitzgerald.
31:26
[SPEAKER_02]: Perfect Cheryl.
31:27
[SPEAKER_02]: Perfect Cheryl, it was up for supporting and lead.
31:30
[SPEAKER_00]: Yeah, same year.
31:31
[SPEAKER_00]: The actors who nominate for the acting categories at the Oscars, the acting branch.
31:38
[SPEAKER_00]: They couldn't figure out if Barry Fitzgerald was a leader supporting player because there's actually no specific rule that defines that.
31:46
[SPEAKER_00]: It's not about screen time.
31:47
[SPEAKER_00]: Yeah, it's and there's not even necessarily rules about like you have to drive the narrative or something like that or you have to have a clean arc or not.
31:55
[SPEAKER_00]: No, it's, it's, it's mostly vibes.
31:58
[SPEAKER_00]: Pretty much, yeah.
31:59
[SPEAKER_00]: And they couldn't decide it because Ben cross me clearly leading going my way, but it's very frustrating.
32:03
[SPEAKER_00]: They co-lead or heavily featured supporting actor.
32:07
[SPEAKER_00]: And they couldn't decide, they nominated him for both.
32:09
[SPEAKER_00]: He won best supporting actor.
32:11
[SPEAKER_00]: Ben cross the one best actor.
32:12
[SPEAKER_00]: But after that, the academy decided that you can only be in one category.
32:19
[SPEAKER_00]: Yeah.
32:19
[SPEAKER_00]: And so if you are nominated for a best supporting and they
32:24
[SPEAKER_00]: Let's say there were enough votes for a lead, one of them gets thrown out.
32:28
[SPEAKER_00]: So ever since then, people, studios, publicity firms, whatever, they chose.
32:34
[SPEAKER_00]: Anyone who's like performance is perhaps a little nebulous any sort of wiggle room on it They decide are we campaigning for supporting or lead typically this has a lot to do with What's the competition look like this year?
32:47
[SPEAKER_00]: Is lead really really really really tough?
32:50
[SPEAKER_00]: Well shit man, I guess Marsha Gay Hardman was supporting in Bollock Even though she's one of the main characters.
32:56
[SPEAKER_00]: It's a fuck like it's ridiculous and it's just mercenary It makes no fucking sense and this
33:04
[SPEAKER_00]: drives me daddy.
33:06
[SPEAKER_00]: Like I remember when the training day was nominated for best actor and supporting actor.
33:10
[SPEAKER_00]: And that was an interesting case because Denzel Washington, I don't know if he gets the most screen time, but he captivates the screen more and the whole plot does revolve around him.
33:22
[SPEAKER_00]: And Ethan Hawke, who is in the movie just as much and unlike Denzel Washington, has a character
33:32
[SPEAKER_00]: got thrown into supporting.
33:33
[SPEAKER_00]: They really should have been cold leads.
33:35
[SPEAKER_00]: Yeah, or or controversial, Denzel should have been supporting because Ethan Hawke is the one the story actually hangs on.
33:42
[SPEAKER_00]: Yeah, so it's not important, but it bothers me when we can't agree on some basic fucking definitions.
33:49
[SPEAKER_00]: And I would love it if the academy would just fucking say what is supporting and what is not.
33:56
[SPEAKER_00]: because vibes are annoying every year.
33:59
[SPEAKER_00]: Some bullshit, but wait a minute.
34:01
[SPEAKER_00]: Great fucking money.
34:04
[SPEAKER_00]: Another potentially big Oscar contender, a lot of people are saying it could even be the film to beat this Academy Awards season.
34:14
[SPEAKER_00]: Is a film about catching ham in a net.
34:21
[SPEAKER_02]: It's not, that's not what it's about.
34:23
[SPEAKER_02]: It should be.
34:24
[SPEAKER_02]: I would be fun.
34:25
[SPEAKER_02]: I would like to see that.
34:26
[SPEAKER_02]: Spring out of the ham nets.
34:28
[SPEAKER_02]: Just Keith Cliff is just there with his ham hell lens.
34:32
[SPEAKER_02]: He's plus ham hell, but we'll always get me.
34:34
[SPEAKER_02]: It's so fun.
34:36
[SPEAKER_02]: uh there was even one recently where uh the the families like sitting around the Thanksgiving table yeah and and Heathcliffe is in that leaping pose and he's wearing the ham helmet because he's about to leap on the ham but the helmet says gravy and the caption is the like the grandpas say hey where's the gravy helmet yeah
34:58
[SPEAKER_00]: Everyone knows we can't have Thanksgiving dinner without the gravy helmet, but Pete Gallagher I don't know what he's been drinking, but drink more of it, please drink more, god of evil Hamlet, Hamlet is a new film from Chloe Shao, she won best director for Nomadland, about five years ago now, she went off to make, she made we other movies before, the writer, et cetera, but Nomadland was what really shot her into the spotlight, she got swooped up by Marvel, she made internals,
35:25
[SPEAKER_00]: I like internals.
35:26
[SPEAKER_00]: It's an odd film.
35:27
[SPEAKER_00]: A lot I admire about.
35:28
[SPEAKER_00]: A lot I think doesn't work, but it was one of the first Marvel movies to underperform dramatically.
35:35
[SPEAKER_00]: Like based on their expectations, and that's when people started getting worried.
35:40
[SPEAKER_00]: So a turnals is scapegoated a bit.
35:43
[SPEAKER_00]: But now, like many a great filmmaker,
35:47
[SPEAKER_00]: uh... who jumps into the marvellous machine and then gets churned the hell out uh... she's making a movie about why it's important to make art that matters to you remember when john favero did chef fill the same way uh... or when timberton did he didn't do a marvellous movie when timberton did big eyes yeah now it's basically like a tumbler for Disney um... ham net is based on a best-selling novel uh... about
36:13
[SPEAKER_00]: William Shakespeare, his wife, and Hathaway, that is her actual name.
36:19
[SPEAKER_02]: Well, she, she's not like this.
36:22
[SPEAKER_02]: They call her Ennis.
36:23
[SPEAKER_00]: They call her Ennis.
36:25
[SPEAKER_02]: It spelled Agnes, but they pronounce it Ennis.
36:28
[SPEAKER_00]: Yeah.
36:28
[SPEAKER_00]: But, certainly speaking, her name is Anne Hathaway, which is, is Anne Hathaway and Hathaway's real name.
36:33
[SPEAKER_00]: We're just like, choose that.
36:35
[SPEAKER_00]: I think it's a real name.
36:36
[SPEAKER_00]: Cool.
36:36
[SPEAKER_00]: What a fun, fun treat.
36:38
[SPEAKER_00]: So, I feel like Anne Hathaway should have played her.
36:40
[SPEAKER_00]: We're just about to say, but like, you know, what do we do now?
36:43
[SPEAKER_02]: It's literally the part she was born to play.
36:46
[SPEAKER_02]: We know very little about Shakespeare's personal life.
36:49
[SPEAKER_02]: There's been a lot of speculation based on what he wrote.
36:52
[SPEAKER_02]: There's even some branch of scholarship that I give no credence to questioning the authorship of Shakespeare's plays.
37:00
[SPEAKER_02]: I tend to accept that there was a person named William Shakespeare and he wrote the plays that are traditionally attributed to him.
37:07
[SPEAKER_00]: I've read a lot of those theories and almost every piece of, quote, unquote, evidence, they have is specious.
37:15
[SPEAKER_02]: It's, and it's, and it's processed is what it is.
37:18
[SPEAKER_00]: Extremely processed.
37:19
[SPEAKER_00]: It's all based on the idea that no one poor can be a great writer.
37:22
[SPEAKER_02]: Exactly.
37:22
[SPEAKER_02]: That he was, he was poor and uneducated.
37:24
[SPEAKER_02]: He was a prolific reader.
37:25
[SPEAKER_02]: That's all you need.
37:26
[SPEAKER_00]: Yeah.
37:27
[SPEAKER_00]: And also, education was very different at the time.
37:29
[SPEAKER_02]: But we know that he did, because there's records on this, he did Mary Ann Hathaway, they had four children together, and they have the dates of their deaths.
37:39
[SPEAKER_02]: Yeah.
37:41
[SPEAKER_02]: There are one of their sons, young Hamlet Shakespeare, died when he was 11.
37:48
[SPEAKER_02]: We don't know what he died of.
37:49
[SPEAKER_02]: It's postilined that he died of the bubonic plague.
37:52
[SPEAKER_02]: Yeah, it was the style of the time.
37:55
[SPEAKER_02]: Which was the style of the time?
37:56
[SPEAKER_02]: Yeah.
37:56
[SPEAKER_00]: We're, Vanupleg is also what led Shakespeare to write King Lear if memory serves, wasn't he, like, under, like, quarantine?
38:02
[SPEAKER_00]: I think so.
38:03
[SPEAKER_00]: I wrote King Lear while he was under quarantine.
38:06
[SPEAKER_02]: But because Hamlet and Hamlet are interchangeable in terms of, like, Elizabethan naming,
38:15
[SPEAKER_02]: this novel that Clorjao's film is based on, posited that the death of young hemnut was kind of the impetus to inspire Shakespeare to write hemlet.
38:28
[SPEAKER_02]: Uh, now, and how Hamlet was kind of a Shakespeare's, um, grief therapy.
38:38
[SPEAKER_00]: Yes, and there's, and Hamlet is in many respects, a film about grief, a film about fathers and sons being unable to connect because of death.
38:46
[SPEAKER_00]: Yeah.
38:48
[SPEAKER_00]: There's something to that.
38:50
[SPEAKER_02]: However, only certain elements of the clay hamlets are about grieving in death.
38:57
[SPEAKER_02]: It's maybe one of the hundreds of themes that runs through that place.
39:01
[SPEAKER_02]: It's arguably the most prevalent.
39:04
[SPEAKER_02]: Or political corruption, you could say that's a big part of the top five the pretentiousness of the young artist is a big part of it.
39:13
[SPEAKER_00]: I would argue that's less than grief.
39:14
[SPEAKER_02]: The thematic Exploding of Traditional Revenge tragedies that were happen.
39:20
[SPEAKER_02]: It was be viningland.
39:21
[SPEAKER_00]: I feel like that's more of a gimmick Yeah, it's a narrative gimmick.
39:26
[SPEAKER_00]: He's he's he's playing with tropes there.
39:28
[SPEAKER_00]: He's not a lot of theme.
39:29
[SPEAKER_00]: I would say
39:31
[SPEAKER_00]: It's brilliant, they'll get me wrong.
39:32
[SPEAKER_00]: I'm just saying it's that's structure.
39:35
[SPEAKER_00]: That's not thing.
39:35
[SPEAKER_02]: I suppose so This this movie tells the story from the perspective of Shakespeare at home and also mostly from the perspective of Anus yeah who is depicted in this movie.
39:51
[SPEAKER_02]: She's played by Jesse Buckley
39:54
[SPEAKER_02]: as essentially the druid from the movie The Guardian she's like the druid nanny from William Freak and Smurray she's like a child of the woods and there's rumors that her mother who we never meet was I guess we do see her flashbacks yeah was was a witch and a child in nature maybe she can see your future and also she has a
40:17
[SPEAKER_02]: Falcon.
40:18
[SPEAKER_02]: That's a pet.
40:19
[SPEAKER_02]: Yeah, and Shakespeare is in the neighborhood.
40:23
[SPEAKER_02]: He's tutoring some kids in Latin.
40:25
[SPEAKER_02]: He's played by Paul Muskell.
40:26
[SPEAKER_02]: I played by Paul Muskell.
40:27
[SPEAKER_00]: I played by Paul Muskell.
40:27
[SPEAKER_02]: I played by Paul Muskell.
40:28
[SPEAKER_02]: I played by Paul Muskell.
40:29
[SPEAKER_02]: I played by Paul Muskell.
40:30
[SPEAKER_02]: I played by Paul Muskell.
40:30
[SPEAKER_02]: I played by Paul Muskell.
40:32
[SPEAKER_02]: I played by Paul Muskell.
40:32
[SPEAKER_02]: I played by Paul Muskell.
40:33
[SPEAKER_02]: I played by Paul Muskell.
40:34
[SPEAKER_02]: I played by Paul Muskell.
40:35
[SPEAKER_02]: I played by Paul Muskell.
40:35
[SPEAKER_02]: I played by Paul Muskell.
40:36
[SPEAKER_02]: I played by Paul Muskell.
40:37
[SPEAKER_02]: I played by Paul Muskell.
40:38
[SPEAKER_02]: I played by Paul Muskell.
40:39
[SPEAKER_02]: I played by Paul Muskell.
40:40
[SPEAKER_02]: I played by Paul Muskell.
40:40
[SPEAKER_02]: I played by Paul Muskell.
40:42
[UNKNOWN]: I played by Paul Muskell.
40:42
[SPEAKER_02]: I played by Paul Muskell.
40:43
[SPEAKER_02]: I played by Paul Muskell.
40:44
[SPEAKER_02]: I played by Paul Muskell.
40:44
[SPEAKER_02]: I played by Paul Muskell.
40:45
[SPEAKER_02]: I played by Paul Muskell.
40:45
[SPEAKER_02]: I played by Paul Muskell.
40:46
[SPEAKER_00]: I played by Paul Mus
40:47
[SPEAKER_02]: Hamlet, colon, or fuckin' on the bun counter.
40:50
[SPEAKER_02]: They go into a kitchen and they have sex in the kitchen.
40:55
[SPEAKER_02]: Ham, Shakespeare's disapproving mother and Emily Watson.
41:01
[SPEAKER_00]: Emily Watson.
41:02
[SPEAKER_00]: Oh, you're right, Emily Watson.
41:03
[SPEAKER_00]: Sorry.
41:03
[SPEAKER_00]: I was thinking of Hillary and Jackie, which...
41:05
[SPEAKER_02]: She's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she's, she
41:24
[SPEAKER_00]: Great cast.
41:26
[SPEAKER_02]: Yeah, great cast.
41:27
[SPEAKER_02]: And it's about sort of Shakespeare trying to court this young woman in the beginnings of their romance and her getting her getting pregnant and is sort of warmth that they're feeling at home.
41:39
[SPEAKER_00]: Let me reframe this a little bit because I think it's getting a little.
41:41
[SPEAKER_00]: I think the story this one was actually incredibly straightforward.
41:44
[SPEAKER_00]: Yeah.
41:45
[SPEAKER_00]: Shakespeare and in half the way meat.
41:48
[SPEAKER_00]: They fall for each other.
41:50
[SPEAKER_00]: They get married, they have kids.
41:53
[SPEAKER_00]: She quickly realizes that Shakespeare has a bug up his butt about writing, and it won't get any better unless he does something about it.
42:00
[SPEAKER_00]: So she lets him leave the house instead of most of his time in London doing his Shakespeare shit while she stays at home with the family, and she has to endure a lot of the family tragedies all by herself.
42:13
[SPEAKER_00]: We have to start striving a wedge between them, and this is all going to culminate with the production of Hamlet.
42:19
[SPEAKER_00]: I'll see a lot of parallels in this movie with the recent film Sentimental value, where they're both about sort of absentee patriarchy, who may or may not be able to heal all wounds through the healing nature of their art, not notably by being better dads.
42:41
[SPEAKER_00]: There's a lot in mind about this movie, actually.
42:43
[SPEAKER_00]: I do think that it's beautifully photographed.
42:45
[SPEAKER_00]: I think Jesse Buckley,
42:47
[SPEAKER_00]: Fantastic actor, just in general, watch women talking, watch, well, what was the, the lost daughter?
42:55
[SPEAKER_00]: Is that the one she was in with Olivia Coleman?
42:57
[SPEAKER_00]: Yeah, she's on the right great fucking movie.
42:59
[SPEAKER_00]: Um, just one of my favorite actors working today.
43:02
[SPEAKER_00]: And she's, she's even good in men.
43:05
[SPEAKER_00]: Yeah, I don't like the movie.
43:06
[SPEAKER_00]: She's fantastic in it.
43:08
[SPEAKER_00]: Um, Glow and you know, let's her carry most of the movie.
43:12
[SPEAKER_00]: I would say if anything, I would argue that
43:17
[SPEAKER_02]: And she can carry Eve's town a lot to work on this place.
43:20
[SPEAKER_00]: And she can carry that.
43:21
[SPEAKER_00]: She can do that There's a scene in which she's giving birth and I think a lot of people like earlier this year for example when we watched the fantastic form movie And there's a scene where Susan Storm gives birth and it's the easiest birth anyone has ever given.
43:35
[SPEAKER_00]: Also the cleanest.
43:37
[SPEAKER_00]: It's clean Yeah, and this is the antithesis of the hot
43:40
[SPEAKER_02]: Maybe they had a science fiction device on the fantastic foreshad that were just zapped out after birth and made birth so much easier.
43:49
[SPEAKER_02]: What a treat.
43:50
[SPEAKER_02]: It's good thing they had that installed.
43:51
[SPEAKER_00]: Yeah, right?
43:54
[SPEAKER_00]: She has to go through all of these things that setting aside the context and the contrivens which we do need to talk about.
44:01
[SPEAKER_00]: But setting aside that for a moment, there's a lot of things in this movie that are relatively universal.
44:05
[SPEAKER_00]: Family grief, parenthood.
44:10
[SPEAKER_00]: strife between husband and wife, work life balance.
44:14
[SPEAKER_00]: When the movie focuses on these things, I actually think it feels pretty genuine.
44:18
[SPEAKER_00]: Okay, and I think in particular Jesse Butler does a great job of bringing that to life and sort of connecting a lot of the problems that we have today.
44:27
[SPEAKER_00]: with the past in such a way, it's just like, oh, it's always kind of been fucking like that, hasn't it?
44:32
[SPEAKER_00]: And there's something to that.
44:33
[SPEAKER_00]: So there's a certain historical relevance to the film in that regard.
44:38
[SPEAKER_00]: But the trick is that we can't get it anyone into theaters if it's just some guy and some girl having a kid and running these some problems in like 500 fucking years ago.
44:49
[SPEAKER_00]: So it's got to be about Shakespeare.
44:53
[SPEAKER_00]: And this is where it runs into.
44:56
[SPEAKER_00]: Like biopic, prequelitis, where everything everyone does for shadows, their significant achievement later.
45:08
[SPEAKER_02]: In fact, they're, for the Shakespeare nerds out there, they start dropping in little lines of dialogue here and there from Hamlet.
45:17
[SPEAKER_02]: Yeah.
45:18
[SPEAKER_00]: The first thing that's Jesse Buckley says refers to an undiscovered country.
45:23
[SPEAKER_00]: Star Trek.
45:23
[SPEAKER_00]: All right.
45:25
[SPEAKER_02]: Yes, that's where that comes from.
45:27
[SPEAKER_02]: Yeah, it's from Star Trek.
45:28
[SPEAKER_02]: Yeah, the undiscovered country.
45:29
[SPEAKER_02]: From who's born?
45:30
[SPEAKER_02]: No traveler returns.
45:31
[SPEAKER_02]: Yeah Captain's long.
45:34
[SPEAKER_02]: Yeah, Captain's long 10 mark 12, 60 or whatever that play is said.
45:38
[SPEAKER_00]: Hey, William Shakespeare You know that new tragedy, you're writing well listen to this and it's just the score from Voyage Oh No score from his guard down.
45:48
[SPEAKER_02]: Oh, I mean, you're you're you're looking for listen to this and he holds his whole phone up for four hours
45:56
[SPEAKER_02]: Shakespeare's on the other end right now, maybe these things work.
46:05
[SPEAKER_02]: These ideas that we're exploring Shakespeare's life, but on a much more human level.
46:10
[SPEAKER_02]: And Chloe Zhao is actually a very naturalist filmmaker.
46:14
[SPEAKER_02]: She likes to go out and film in natural spaces.
46:18
[SPEAKER_02]: There's a lot of beautiful shots of just walking through the woods and hearing the ambient noise that is, you know, that's a lot of good atmosphere.
46:28
[SPEAKER_02]: The A, the contrivance we know is always hanging over our heads, though.
46:32
[SPEAKER_02]: We're looking for the connections to Hamlet and the real one.
46:36
[SPEAKER_02]: And they're really blunt all the way through the movie.
46:42
[SPEAKER_02]: And then you get to the end and this movie's brain turns into an anvil.
46:45
[SPEAKER_02]: It's like, it is, it becomes unbearable.
46:49
[SPEAKER_00]: And throughout the whole family has to be performed.
46:51
[SPEAKER_00]: Basically, from that point on, there's any hope of subtlety is gone.
46:57
[SPEAKER_00]: And also, I'm sorry, it's hammy, it's literally hammy.
47:03
[SPEAKER_02]: It's super hammy.
47:04
[SPEAKER_02]: And also up to that point where we say we're focusing on family,
47:12
[SPEAKER_02]: big performances that it starts to feel weirdly contrived and desperate, that it ceases to be natural.
47:19
[SPEAKER_02]: In fact, it clashes with the natural visuals, the Chloe Chow is putting out.
47:24
[SPEAKER_02]: These are not sort of understated natural lives of real people.
47:27
[SPEAKER_02]: They start to feel like emotional avatar.
47:31
[SPEAKER_02]: So just a bugly throwing yourself into this thing, giving this gigantic performance, you're at a 10, we need you at a 1.
47:38
[SPEAKER_00]: I guess they really were actually disagree with that, and I do think there are points in our lives significant emotional like milestones Where we reach a ten and unfortunately this movie is about the ten.
47:50
[SPEAKER_00]: It's about all the time But that's not being wrong for the movie that's been keeping the movie Chloe jow is making
47:56
[SPEAKER_00]: It's, well, what, what, I'm not saying to make it.
47:57
[SPEAKER_00]: That's a really great idea, but I do think it's a piece of a piece.
48:00
[SPEAKER_02]: What she's doing is turning every single emotional beat into a climax.
48:03
[SPEAKER_02]: And that is shitty filmmaking.
48:05
[SPEAKER_02]: I'm sorry.
48:07
[SPEAKER_02]: Okay.
48:07
[SPEAKER_02]: Uh, and brutal.
48:08
[SPEAKER_02]: And then by the time we get to the end, where we're actually seeing the staging of Hamlet,
48:15
[SPEAKER_02]: but the Shakespeare nerd part of my brain is screaming, no, no, that's wrong, that's like, I'm never in the history of any production of Hamlet has Forten Bros.
48:24
[SPEAKER_00]: Missed his Q this badly.
48:25
[SPEAKER_02]: Forten Bros.
48:26
[SPEAKER_02]: Missed his Q so badly.
48:29
[SPEAKER_02]: And halfway's in the audience watching it.
48:31
[SPEAKER_02]: She's like, hey, that reminds me of my son, and one of the groundlings says, shush, because as we know, the groundlings were notorious for being quiet and respectful during Shakespeare and performances.
48:41
[SPEAKER_00]: Well, to be fair, it sounds like it's like someone who's like hasn't seen a movie before.
48:46
[SPEAKER_00]: And like he's just like not understanding the basic premise of theater.
48:49
[SPEAKER_02]: And Chloe's y'all doesn't even understand what Hamlet is about in any of these scenes.
48:53
[SPEAKER_02]: Like there might be a few scenes in Hamlet that could kind of be contrived as relating to the death of Hamlet, the 11-year-old child.
49:01
[SPEAKER_00]: But she makes him like the whole play.
49:03
[SPEAKER_02]: But the A, the whole play is, and B, these few moments are A, they're played out of fucking order, which B, B, B, B, B.
49:06
[SPEAKER_02]: B.
49:06
[SPEAKER_02]: B.
49:06
[SPEAKER_02]: B.
49:06
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:07
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:08
[SPEAKER_02]: B.
49:10
[SPEAKER_02]: which bugs the hell out of me.
49:12
[SPEAKER_02]: It's like, I know this fucking play.
49:14
[SPEAKER_02]: This is like one of the most staged plays in history.
49:17
[SPEAKER_02]: Don't mess with it in that way.
49:19
[SPEAKER_02]: There's a moment where Hamlet steps out on stages as if not for my inky cloak or my midnight visit.
49:26
[SPEAKER_02]: He's wearing bright blue clothing.
49:29
[SPEAKER_00]: You did it, bro, that wasn't really a metaphor.
49:34
[SPEAKER_00]: I guess he, wait a minute, is it like everyone that he's in his morning club?
49:38
[SPEAKER_00]: But Claudius has, what's that supposed to be, let her look?
49:42
[SPEAKER_00]: Because I know Claudius is declared a state of morning over, and that's what the whole marriage was.
49:45
[SPEAKER_02]: But he leaves it on, which is, that is, that is, let her, you remember better than that.
49:50
[SPEAKER_02]: It's like take off your morning clothes, you don't need that anymore, and he's not in the morning clothes in the station.
49:54
[SPEAKER_02]: And also, just to add a little bit of juice to it, the actor playing Hamlet at the end is the older in real life, the older brother of the actor playing the dead Hamlet.
50:05
[SPEAKER_02]: Yeah, yeah, I did know that, but I surprised it was kind of drawn at all of the strained parallels between Hamlet and the death of this child.
50:14
[SPEAKER_02]: And it doesn't work because, if you know anything about Shakespeare, it doesn't work on an emotional level because the emotions are being played
50:20
[SPEAKER_02]: and every single bloody scene.
50:23
[SPEAKER_02]: And it just becomes this really turgid dysfunctional melodrama that is painful to get through.
50:30
[SPEAKER_00]: Okay, I just wanted this, it's a pretty bad, but I get to find it nearly as painful as you.
50:34
[SPEAKER_00]: All right.
50:37
[SPEAKER_00]: I think there's a lot that got me through and I think Emily Watson and Desi Buckley get me through most of the movie.
50:44
[SPEAKER_00]: The movie that is perhaps the most obvious comparison for Hamlet is Shakespearean Love.
50:50
[SPEAKER_00]: Shakespearean love is another fictionalized story about William Shakespeare in this and how and the events that led up to the writing of one of his most famous plays in that case from Yonjulia and how wouldn't you know it they paralleled the play What are the us if you've ever known like a writer you know that no writer has ever made shit up or adapted something It's always something that has happened to them very specifically and every line of dialogue they've ever written is something that someone has told them at a very important moment in their lives
51:19
[SPEAKER_00]: nothing they've ever written has just come from like who the fuck knows or was a note from the producer.
51:26
[SPEAKER_00]: It's always very, very tight into the most important moments of the lives and that's such a reductive way to look at the creative process.
51:33
[SPEAKER_00]: I know that's frustrating because
51:35
[SPEAKER_00]: You have to believe that the many artists working on a film like HamNet know that that's not how it works.
51:44
[SPEAKER_00]: They know that this is ultra simplistic.
51:46
[SPEAKER_00]: Shakespeare and love is a comedy.
51:49
[SPEAKER_00]: It's a comedy film.
51:50
[SPEAKER_00]: It's a very soothing.
51:51
[SPEAKER_02]: It's a frothy romance.
51:53
[SPEAKER_02]: We can understand that a lot of it is based on Shakespearean fact.
51:57
[SPEAKER_02]: What we know about Shakespeare, which is not a lot.
51:59
[SPEAKER_02]: Yeah, but also it's it's it's playful though.
52:03
[SPEAKER_02]: It's playing playing with its speculation.
52:05
[SPEAKER_02]: Yeah, Hamlet is so deathly serious.
52:09
[SPEAKER_00]: Yeah, there's almost no levity in this.
52:10
[SPEAKER_00]: So it's really hard to get away with the heavy like you can get away with the heavy handed stuff in Shakespeare and love because it's played at least partly as a gag.
52:18
[SPEAKER_00]: Yeah, that's the fun of it We're having fun with Shakespeare when Hamlet does it.
52:22
[SPEAKER_00]: It's really really clunky and I'm watching this and I'm watching the closing
52:30
[SPEAKER_00]: I'm seeing just how they have to cherry pick that play in order to make this work.
52:34
[SPEAKER_00]: But I'm also thinking about it within the context of the narrative, and here's where I think maybe it's not that bad, because Shakespeare
52:45
[SPEAKER_00]: Didn't come up with Hamlet.
52:47
[SPEAKER_00]: It's an adaptation of a pre-existing story.
52:49
[SPEAKER_00]: It's took a lot of liberties, but it didn't come from out of nowhere.
52:53
[SPEAKER_02]: And if he was working with pre-existing material, and with, in fact, Hamlet comes from an Amlet story.
52:59
[SPEAKER_02]: Yeah.
53:00
[SPEAKER_02]: Well, Dana's story, we actually saw in a film version of that story a couple of times.
53:06
[SPEAKER_02]: There's one called, I think it was called Royale Deceit.
53:08
[SPEAKER_02]: It was a BBC film with Christian Bale, which was the story.
53:12
[SPEAKER_00]: Yeah.
53:12
[SPEAKER_02]: And then we had the Northman.
53:13
[SPEAKER_02]: Yeah, which was Robert Actors, yeah, Robert Actors, the Northman, which was also the Hamlet story.
53:17
[SPEAKER_00]: Yeah, so my point is this.
53:19
[SPEAKER_00]: Yeah, Shakespeare, when he wrote Hamlet,
53:24
[SPEAKER_00]: wasn't in like a pure state of creativity.
53:28
[SPEAKER_00]: He was working on an adaptation.
53:31
[SPEAKER_00]: Yeah, he was saying a lot of liberties was working on an adaptation.
53:33
[SPEAKER_00]: And Hamlet goes in a lot of different directions that aren't necessarily in that original tale.
53:37
[SPEAKER_00]: So he's filling out the gaps with whatever interested him, whatever he thought was important.
53:44
[SPEAKER_00]: And I have no doubt that as an artist, whether he's conscious of it or not, or was conscious of it or not, some of that was personal.
53:50
[SPEAKER_00]: The beer not to be speech.
53:52
[SPEAKER_00]: It may have been something he thought about.
53:54
[SPEAKER_00]: Who the fuck knows?
53:56
[SPEAKER_00]: But it sure seems like it's coming from somewhere.
53:58
[SPEAKER_00]: So I'm not necessarily offended at hand it doing kind of the same thing for Shakespeare his own life.
54:05
[SPEAKER_00]: We're using the contrivence and the expectation of people are going to go see this because they're going to go see something they're familiar with in the original case, Hamlet and in this movie's case, William Shakespeare prequel.
54:18
[SPEAKER_00]: And within the expectations of what you're getting from that adaptive process, we're going to try to fit in something greater than that.
54:29
[SPEAKER_00]: So on that level, I think in some respects, Hamlet is playing fair, and I think it's drawing at least some kind of parallel to what it's doing and what Hamlet's doing.
54:37
[SPEAKER_00]: The problem is that Hamlet is Hamlet, and Hamlet is Hamlet, and Hamlet is Hamlet, and I know how that sounds, but seriously, Hamlet is a truly brilliant sprawling, complicated work of art, to even invite comparison to Hamlet.
54:54
[SPEAKER_00]: is either a huge compliment or first of all in and of itself.
55:00
[SPEAKER_00]: It's like people say this movie isn't perfect, but you may as well say it's not Hamlet, right?
55:04
[SPEAKER_00]: It's just that much too, Hamlet.
55:07
[SPEAKER_00]: It's that towering and artistic achievement.
55:10
[SPEAKER_00]: And Hamlet doesn't have that depth.
55:14
[SPEAKER_00]: I think there is some depth of feeling.
55:16
[SPEAKER_00]: And I think a lot of the actors are responsible for that, and I think Louie Zhao is definitely responsible for that.
55:21
[SPEAKER_00]: I think there's a beautiful work, eat within the narrative.
55:24
[SPEAKER_00]: I don't think it works, but I'm not as angry at it as some of the pit, because this movie has, for the most part, there's only two levels with Hamlet.
55:32
[SPEAKER_00]: You hate its fucking guts, I'm sorry, Hamlet.
55:34
[SPEAKER_00]: You either hate Hamlet's fucking guts, or you think it's the best movie of the year, or one of the literally the best movies of all time, I've heard.
55:41
[SPEAKER_00]: People who I respect say that, I disagree.
55:45
[SPEAKER_00]: I think that's a very bold thing to say about a movie that just came out this week.
55:50
[SPEAKER_00]: And that's a kind of thing.
55:51
[SPEAKER_00]: I would only say once or twice in a lifetime, because only then does it really matter.
55:58
[SPEAKER_00]: And I don't think I could possibly say it about him.
56:00
[SPEAKER_00]: But I...
56:02
[SPEAKER_00]: as often happens with these all or nothing, love and were hated movies, I'm in the middle.
56:08
[SPEAKER_00]: There's a lot of things that are annoying about it.
56:10
[SPEAKER_00]: There's also a lot of stuff I like about it.
56:11
[SPEAKER_00]: I can see why people love it.
56:13
[SPEAKER_00]: I can see why people hate it.
56:14
[SPEAKER_00]: Unfortunately, I think it's a lot of both.
56:16
[SPEAKER_02]: Yeah, I don't hate it as passionately as some of the haters.
56:20
[SPEAKER_02]: I'm familiar with Walter Charles.
56:21
[SPEAKER_02]: Oh, for a response to this, Mary.
56:24
[SPEAKER_02]: He is not his venomous.
56:27
[SPEAKER_00]: He never holds back.
56:28
[SPEAKER_00]: No, I'm his praise.
56:30
[SPEAKER_00]: Or his condemnation to be fair and I've been a while since I've seen him like unload on a movie Yeah, the way he did like I think I think I think it's civil war.
56:40
[SPEAKER_00]: I got kind of civil war Brave new world captain our brave new world.
56:43
[SPEAKER_00]: It was last time I saw him.
56:44
[SPEAKER_00]: Oh, oh, yeah, like I thought I think I'm hoping to remember that right maybe oh and how he couldn't possibly like did
56:51
[SPEAKER_00]: I don't want to give him, I don't want to throw him under the bus for something he didn't even write.
57:00
[SPEAKER_02]: I know he's very keen on the new Superman film.
57:06
[SPEAKER_02]: He's actually quite a good critic.
57:11
[SPEAKER_00]: One of the best writers in the industry, very specifically.
57:17
[SPEAKER_00]: I don't know if you didn't review that one.
57:18
[SPEAKER_00]: I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing, I don't know what the fuck I'm doing,
57:43
[SPEAKER_00]: or add to my appreciation of the movie.
57:47
[SPEAKER_00]: I do think it is the appropriate thing to do to just not cover it.
57:53
[SPEAKER_00]: I'll see it at some point, but I think in the interest of propriety, I'm gonna, I'm gonna refuse myself from this one and I'm gonna leave it entirely, I can talk about the original a little bit.
58:04
[SPEAKER_00]: All right, if you wanna talk about that, but I'm gonna leave this utopia to review entirely of you.
58:09
[SPEAKER_02]: The Zutopia, the first Zutopia came out.
58:12
[SPEAKER_02]: It was a little bit baffling because its whole premise was what if animals were like people?
58:17
[SPEAKER_02]: Because if this was a novel concept, as if this isn't how Disney started a hundred years ago.
58:22
[SPEAKER_02]: Or going back to ancient poetry, and all that this, you know, and some fables and shit.
58:27
[SPEAKER_02]: Yeah, anthropomorphizing animals is like one of the most ancient of all dramatic tropes.
58:32
[SPEAKER_00]: But especially hilarious considering that that's been Disney's bread and butter since the 20s, the other 20s.
58:38
[SPEAKER_00]: which I have to say now.
58:40
[SPEAKER_02]: Like a century ago.
58:41
[SPEAKER_02]: And so Zootopia is the location where these movies are set.
58:49
[SPEAKER_02]: It's a city of animals mostly mammals.
58:53
[SPEAKER_01]: Mm-hmm.
58:53
[SPEAKER_02]: There are, uh, there are, there are no birds and there are no reptiles.
58:56
[SPEAKER_02]: Uh, it's mostly mammals.
58:57
[SPEAKER_02]: There's no fish to speak of.
58:59
[SPEAKER_02]: Yeah, no, no underwater creatures.
59:01
[SPEAKER_02]: But, uh, there has been this fantastic technological advancements that allows animals of various biomes to live together.
59:09
[SPEAKER_02]: So, like, yes, there's a, a frozen tundra bio and that's where a link of polar bear can go to.
59:14
[SPEAKER_02]: go to live at the end of the night, but they all sort of meet the city center and live in sort of harmony.
59:18
[SPEAKER_02]: Yeah.
59:19
[SPEAKER_02]: The first film is about racial profiling.
59:21
[SPEAKER_02]: Yeah.
59:22
[SPEAKER_02]: The two main characters are a rabbit, played by a Jennifer Goodwin.
59:27
[SPEAKER_02]: Yeah, played by Judy Hoppe.
59:28
[SPEAKER_02]: Judy Hoppe, some she's a cop.
59:29
[SPEAKER_00]: Yeah, and she's naive, she's new to the force, and she hasn't become jaded.
59:32
[SPEAKER_02]: Yeah, she's really, really idealistic, and she runs a foul of a small-time criminals to chance of having to team up with named Nick, and that's a Nick Wilde, the character's name is played by Jason Bateman and he's a fox.
59:43
[SPEAKER_02]: Yes.
59:44
[SPEAKER_02]: A fox and a rabbit.
59:45
[SPEAKER_02]: They're the original odd couple.
59:47
[SPEAKER_02]: Pretty much.
59:47
[SPEAKER_02]: And the movie is very much, the movie is actually expressly about how carnivores are being
59:58
[SPEAKER_02]: the politicians in charge.
1:00:02
[SPEAKER_00]: Yes.
1:00:02
[SPEAKER_00]: Yeah.
1:00:03
[SPEAKER_00]: And how?
1:00:04
[SPEAKER_00]: And yet, they still have a little bit of been a lot of positions of power.
1:00:06
[SPEAKER_00]: There's a very front.
1:00:07
[SPEAKER_02]: Yeah.
1:00:08
[SPEAKER_00]: Like, but the thing here is a lion, if memory serves in the original.
1:00:11
[SPEAKER_02]: I think you're right.
1:00:12
[SPEAKER_02]: But yeah, the idea that carnivores are now suspect and how that's being manipulated by the media and however.
1:00:18
[SPEAKER_00]: Or maybe reverting to their animal instincts and just attacking the horse.
1:00:24
[SPEAKER_02]: Yeah.
1:00:24
[SPEAKER_02]: And it's very, very obviously about racial profiling, and especially the way cops do it.
1:00:29
[SPEAKER_02]: Yeah.
1:00:30
[SPEAKER_02]: And of course, there's a conspiracy of foot and the bunny and the vox have to figure out who's in charge.
1:00:36
[SPEAKER_00]: Yes.
1:00:37
[SPEAKER_00]: And over come their own biases.
1:00:41
[SPEAKER_00]: What?
1:00:42
[SPEAKER_00]: Yeah.
1:00:43
[SPEAKER_00]: I'm not going to complain.
1:00:44
[SPEAKER_00]: Do you tell me it's fine?
1:00:45
[SPEAKER_00]: I like to tell you fine.
1:00:47
[SPEAKER_02]: It's fine.
1:00:47
[SPEAKER_02]: It was over praised.
1:00:48
[SPEAKER_02]: I think at the time.
1:00:49
[SPEAKER_00]: Yeah, it's it's an okay movie Yeah, it's not as excited to see a semi-original Disney movie at the time.
1:00:55
[SPEAKER_00]: That's that's true.
1:00:56
[SPEAKER_02]: Yeah, and it's It's themes are novel, but they're not so they're not so hard hitting.
1:01:03
[SPEAKER_02]: It's it's a Disney anime It's a kid's movie.
1:01:05
[SPEAKER_00]: There, that was amazed at how much they don't into it for kids movie.
1:01:08
[SPEAKER_00]: Honestly, it's pretty young I think if they came out now exactly the way it was, it was like, oh Disney's gone woken should
1:01:15
[SPEAKER_02]: But now we have, is it appropriate, too?
1:01:23
[SPEAKER_02]: Which is about redline it?
1:01:24
[SPEAKER_02]: So we're continuing with a lot of, okay.
1:01:27
[SPEAKER_02]: Like, the themes of prejudice.
1:01:31
[SPEAKER_02]: Okay.
1:01:32
[SPEAKER_02]: For people who don't know.
1:01:33
[SPEAKER_02]: Redlining.
1:01:34
[SPEAKER_02]: Redlining.
1:01:35
[SPEAKER_02]: When racist draw redlines on a map, saying that only certain races can live on certain sides of those redlines.
1:01:41
[SPEAKER_02]: Segregation, like institutionalized segregation.
1:01:46
[SPEAKER_02]: Uh, I noted earlier that there are no reptiles in Zootopia, not that we know of.
1:01:52
[SPEAKER_02]: Why is that?
1:01:53
[SPEAKER_02]: Well, we're going to explain that in Zootopia, too.
1:01:55
[SPEAKER_02]: Um, so now, uh, the fox is part of the, the police force in a hinge, Judy hops, still don't get along very well.
1:02:03
[SPEAKER_00]: Uh, there's their dead.
1:02:04
[SPEAKER_00]: There's a big opening.
1:02:05
[SPEAKER_00]: The sequence.
1:02:06
[SPEAKER_00]: We're back a little bit on that.
1:02:07
[SPEAKER_02]: Oh, well, now they have to work as partners, and then they're not good partners necessarily.
1:02:13
[SPEAKER_02]: Ah, so I think it's, I think it's fine.
1:02:14
[SPEAKER_02]: I think I think.
1:02:16
[SPEAKER_00]: They're sent to like a couple of partners therapy together and learn to know that's very, very common for movies that have a pretty happy ending that when there's a sequel The characters in some way have to revert back to the way they were at the beginning of the previous movie Like if the two protagonists got together at the end of the last movie at the beginning of the new movie They broken up and have to get back together Just because we can't figure out how to tell a story otherwise At the time, so I don't know how if that was the case
1:02:43
[SPEAKER_02]: at the beginning of the movie they it's and it's a cop movie so there's a lot of old tropes uh the beginning of the movie they blow a big case and they have to go therapy together they're they're a little too rash uh and in being rash they discover conspiracy there's a fam like a cultural rich
1:03:00
[SPEAKER_02]: powerful family of links that is like revealed pretty early on manipulating all of the politics in Zootopia that the links is make their money on Atari games.
1:03:12
[SPEAKER_02]: They made their money because the Atari links was the handheld Atari device.
1:03:17
[SPEAKER_00]: Thanks to you.
1:03:17
[SPEAKER_02]: They came out in 1990, I believe.
1:03:19
[SPEAKER_02]: Thank you for acknowledging the show.
1:03:20
[SPEAKER_02]: Yes.
1:03:21
[SPEAKER_02]: It's all I ask.
1:03:22
[SPEAKER_02]: You don't have to laugh.
1:03:23
[SPEAKER_02]: I got it.
1:03:23
[SPEAKER_02]: I didn't want it.
1:03:24
[SPEAKER_02]: Okay.
1:03:25
[SPEAKER_02]: The, this family of links is made their money from actually inventing the devices that allow for climate control and allow it to be, yeah, and they have this important book where all of them happen to written down.
1:03:41
[SPEAKER_00]: At the patent office, I do.
1:03:43
[SPEAKER_02]: Well, it's packed.
1:03:44
[SPEAKER_02]: Well, they wrote it down in this big sort of metal journal and it's going to be displayed in the museum and there's a centennial coming up and there's big celebration.
1:03:51
[SPEAKER_02]: The mayor is a former actor who is a horse.
1:03:57
[SPEAKER_02]: Okay, and he doesn't know anything about politics.
1:03:59
[SPEAKER_02]: He's just like very vain and you know can talk a big game He's actually one of the fun of your characters.
1:04:04
[SPEAKER_00]: Okay.
1:04:04
[SPEAKER_02]: I wish it was the horse from Tangled That's honest.
1:04:09
[SPEAKER_00]: I wish it was Maximus So can you imagine a politician who was like unqualified for it, but just like but it was just like an actor But just like a few people just like had a personality and the lady will gravitate it to that be ridiculous
1:04:21
[SPEAKER_02]: No, it was so so so silly look when Reagan did it all that.
1:04:25
[SPEAKER_02]: Oh, yeah, no, we it was all down Oh, but would you know it that book is stolen at a big gala by a snake in the snake is Gary played by a K. Who he quant and we don't know why he stole it, but we're on his tail, but he seems very similar to that I'm makes it must be easy to be honest.
1:04:40
[SPEAKER_02]: He yeah
1:04:42
[SPEAKER_02]: You literally walked into that.
1:04:44
[SPEAKER_02]: He even says that there's lines of dialogue, like I don't want the whole weight of the world on my shoulders.
1:04:51
[SPEAKER_02]: There's a lot so many fucking animal puns in this movie.
1:04:54
[SPEAKER_02]: There's a lot of idioms.
1:04:55
[SPEAKER_02]: If you like, if you like the puns, they're all in there.
1:04:58
[SPEAKER_02]: And they have to chase this guy down, they're on the outs with the police force, maybe they're on the lamb themselves, and then they aren't even left.
1:05:08
[SPEAKER_02]: There's a sheep in the face.
1:05:11
[SPEAKER_02]: She was a big part of the last movie I went on and they have to go through various other Bions to figure out why this snake wants that book because the snake keeps on saying things It's like in their brief pass and like I need this so my family can go home I need this to reveal the truth.
1:05:28
[SPEAKER_02]: You know, it's coming.
1:05:29
[SPEAKER_02]: It's pretty they brought him to see if Yeah, along the way they acquire a beaver played by a fortune femster
1:05:36
[SPEAKER_02]: Okay, and yeah, and Gary the steak ends up becoming one of the links family ends up joining forces with them at one point Okay, so we've got a link a snake and a beaver a link to snake a beaver a rabbit enough ox Those are the main characters of Z to be a two and When they finally reveal what's down on I'm not gonna do that
1:06:00
[SPEAKER_02]: uh... the the beaver character is not as funny as the movie thinks it is Disney has always roved me the wrong way when they try to be funny they're so bad at comedy when they're trying well they've coupled notable example of what's happened and that group is pretty funny but i like the emperor's new group uh... i never saw chicken little from the same director uh... but i heard that one is okay i saw enough of uh... beat the robins to know stop trying to be funny tangle just funny
1:06:28
[SPEAKER_02]: Tangled is funny.
1:06:29
[SPEAKER_02]: Yeah, but a tangled is a fairy tale more than it is a colony.
1:06:32
[SPEAKER_00]: It's tricky because when Disney tries to be funny in Eric Boats, um, there's, it's really frustrating when they try to be dream works funny.
1:06:43
[SPEAKER_00]: Yeah.
1:06:43
[SPEAKER_00]: Like in the original Zootopia where it's like, and this mole rat, or whatever the fuck it was, true or whatever, is Marlon Brando in the
1:06:54
[SPEAKER_00]: Yeah, that's the whole joke.
1:06:56
[SPEAKER_02]: That's the whole joke.
1:06:57
[SPEAKER_02]: And we linger on that.
1:06:59
[SPEAKER_02]: A shrew is the Godfather.
1:07:01
[SPEAKER_02]: And you know what my elementary school is?
1:07:04
[SPEAKER_02]: Love the Godfather.
1:07:05
[SPEAKER_02]: It's Maurice Lamar.
1:07:06
[SPEAKER_02]: So I appreciate that.
1:07:07
[SPEAKER_02]: I do appreciate that.
1:07:08
[SPEAKER_02]: Maurice Lamar is one of my favorite voice actors.
1:07:11
[SPEAKER_00]: Yeah.
1:07:13
[SPEAKER_00]: So all the animals are trying to solve the mystery.
1:07:15
[SPEAKER_02]: Trying to solve the mystery.
1:07:16
[SPEAKER_02]: And it will come down to essentially species red lining.
1:07:21
[SPEAKER_02]: And really end up going into the reptile part of town, which is the tree did like a ghetto.
1:07:26
[SPEAKER_02]: And why are the reptiles over there and how come the reptiles haven't lived in Zutopia for the last century?
1:07:32
[SPEAKER_02]: And we kind of explore that mystery.
1:07:34
[SPEAKER_02]: OK. And I appreciate those things.
1:07:36
[SPEAKER_02]: It's really slickly animated.
1:07:37
[SPEAKER_02]: It's the story falls together better in this one than it did in the first one.
1:07:40
[SPEAKER_02]: Really?
1:07:43
[SPEAKER_02]: That said, it's still only, okay, the idea of animals acting like people is so not novel and treating it like it is, it's not getting me excited.
1:07:56
[SPEAKER_02]: I fail to see what the real selling point of Zootopia is supposed to be other than that.
1:08:02
[SPEAKER_00]: Yeah, it's tricky because it's not a high concept.
1:08:05
[SPEAKER_00]: It's actually incredibly low concept.
1:08:06
[SPEAKER_00]: Yeah, it's barely a concept.
1:08:09
[SPEAKER_00]: And yet, I don't know, man,
1:08:13
[SPEAKER_00]: It feels like the the gimmick was utopia.
1:08:16
[SPEAKER_00]: At least additionally.
1:08:18
[SPEAKER_00]: Wasn't that animals or like people?
1:08:20
[SPEAKER_00]: It's that they thought it out.
1:08:23
[SPEAKER_00]: You know, it's like we put in the effort to figure out how this society would work.
1:08:27
[SPEAKER_00]: I remember when I interviewed the filmmakers in the original Zootopia.
1:08:32
[SPEAKER_00]: And I asked them a couple of questions that I would like to roll my mind.
1:08:34
[SPEAKER_00]: They were kind of bugging me.
1:08:35
[SPEAKER_00]: And I remember I asked them, carnivores and herbivores are living together in harmony.
1:08:41
[SPEAKER_00]: What are the carnivores eating?
1:08:43
[SPEAKER_00]: Yeah.
1:08:43
[SPEAKER_00]: If all the animals are around theomorphic.
1:08:46
[SPEAKER_00]: And they said bugs.
1:08:48
[SPEAKER_00]: We thought it out.
1:08:49
[SPEAKER_02]: The bugs are not in the bug.
1:08:51
[SPEAKER_00]: You can eat all the bugs you want.
1:08:52
[SPEAKER_00]: And apparently, like, I think if you look in the background, you can see like a bugs smoothie plays at one point or something.
1:08:57
[SPEAKER_00]: And they actually eat bugs on camera on this one.
1:09:00
[SPEAKER_00]: Yeah, so yeah, so it sucks with the bugs.
1:09:02
[SPEAKER_00]: But, you know what, we did it.
1:09:04
[SPEAKER_00]: Which, of course, led to our head cannon, which is that this is all what happened after Simba took over in the Lion King, because Simba learned that you don't have to eat the antelope.
1:09:14
[SPEAKER_00]: in order to survive, you can eat bugs, there's slimy but satisfying.
1:09:19
[SPEAKER_00]: And that is the only reasons you don't be exist.
1:09:22
[SPEAKER_02]: It makes sense.
1:09:23
[SPEAKER_02]: It's not bad.
1:09:25
[SPEAKER_02]: I got, I, I, I, I, I, I, I do like the Lion King.
1:09:27
[SPEAKER_02]: I watched it recently.
1:09:28
[SPEAKER_02]: I like the, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I,
1:09:39
[SPEAKER_02]: Remake before I saw the 94 phone and so I finally watched it and the thing that made me most upset about them over he was Why did Symbal go back to the the Pride land just stay with Timon and he had already found Eden What do you want to do if he wants to invite other people to Eden?
1:10:02
[SPEAKER_00]: That's all you you left everyone else in hell
1:10:04
[SPEAKER_00]: That's kind of sucks.
1:10:05
[SPEAKER_02]: Why, why, why they stay?
1:10:07
[SPEAKER_02]: Clearly, they don't want us to go.
1:10:08
[SPEAKER_00]: They didn't know!
1:10:09
[SPEAKER_00]: Didn't they, they didn't have real fried rock?
1:10:11
[SPEAKER_02]: Like he, he was okay.
1:10:12
[SPEAKER_02]: He had founded Lightman with his two full-ish friends.
1:10:15
[SPEAKER_00]: And, and, well, it's like, yeah, it's like that, it's, you know, it is.
1:10:19
[SPEAKER_00]: It's like that chunk and the Bible that they kind of skim over.
1:10:22
[SPEAKER_00]: And then Jesus went away for a long time.
1:10:24
[SPEAKER_00]: And now he's back and he's just, and he's just Jesus.
1:10:26
[SPEAKER_00]: He's just Jesus.
1:10:27
[SPEAKER_00]: It's like that bitten Superman.
1:10:28
[SPEAKER_00]: Where Superman goes for a long walk.
1:10:30
[SPEAKER_00]: And then boom, Clark can't Superman never mind how.
1:10:34
[SPEAKER_00]: That's what it was like for the Lion King.
1:10:38
[SPEAKER_00]: You had to go off, had to learn different philosophies and bring them back to people in order to save them.
1:10:45
[SPEAKER_00]: It's not to wake up dead, man.
1:10:46
[SPEAKER_00]: It's wake up dead, man.
1:10:48
[SPEAKER_00]: I wish Manimal was in it.
1:10:50
[SPEAKER_00]: Oh, man.
1:10:50
[SPEAKER_00]: It will be great.
1:10:50
[SPEAKER_00]: Manimal, now that's a third Zootopia.
1:10:53
[SPEAKER_00]: Yeah, it's a third, manimal.
1:10:56
[SPEAKER_02]: Like, oh, look.
1:10:57
[SPEAKER_02]: Look at this panther, wait what's happening to it?
1:10:59
[SPEAKER_02]: He's turning into some sort of primate.
1:11:02
[SPEAKER_02]: Ugh!
1:11:02
[SPEAKER_02]: We've never seen a human before, what are you?
1:11:04
[SPEAKER_00]: Ah, that really throws the paradigm on.
1:11:06
[SPEAKER_02]: A planet where apes evolved from men.
1:11:09
[SPEAKER_00]: A planet where, well, that's the question in Brazil basically, it's like, the animal's like, what's a man?
1:11:14
[SPEAKER_02]: Yeah, what is a human?
1:11:15
[SPEAKER_00]: What is that?
1:11:16
[SPEAKER_00]: What are we doing here?
1:11:17
[SPEAKER_02]: Well, you're a chimpanzee, add on a couple million years.
1:11:20
[SPEAKER_00]: And shave it off.
1:11:24
[SPEAKER_02]: Well, I'm, okay, so it's better than the original, but she didn't like the original all that much.
1:11:28
[SPEAKER_02]: I wasn't super fond of the original.
1:11:29
[SPEAKER_02]: I don't hate it, I just think it's kind of plain.
1:11:32
[SPEAKER_02]: And again, I'm weirdly frustrated by how low concept it is.
1:11:36
[SPEAKER_02]: I understand the themes are really,
1:11:38
[SPEAKER_02]: Say land and I think they explore them in an interesting way.
1:11:42
[SPEAKER_02]: I think it's visually very rich I was talking about this with you.
1:11:45
[SPEAKER_02]: I saw this in a movie theater where there was no projection booth Yeah, um, some movie theaters have started converting to LED light up screens.
1:11:54
[SPEAKER_02]: There's essentially a full-size full-size movie theater screens that are essentially giant television Yeah, and Because there's no I met an installing that thing like bold by bulb.
1:12:04
[SPEAKER_02]: There's like millions of bulbs up there.
1:12:08
[SPEAKER_02]: Yeah
1:12:09
[SPEAKER_02]: because there's no projector beam, there's no light leakage at all.
1:12:13
[SPEAKER_02]: It's just coming straight from the screen now.
1:12:15
[SPEAKER_00]: Yeah.
1:12:15
[SPEAKER_00]: Which means the light from a projector to the movie screen actually gets like dimmed a little bit because that's a pass through space and debris.
1:12:23
[SPEAKER_02]: And it's just, well, it's also reflected off of a screen.
1:12:26
[SPEAKER_02]: You're projecting it from above and then it bounces back onto the theater.
1:12:29
[SPEAKER_02]: That's the way it's been happening since the inception of film.
1:12:33
[SPEAKER_02]: Yeah.
1:12:33
[SPEAKER_02]: This is the first time where the film itself comes from the screen, which means...
1:12:37
[SPEAKER_01]: It's either anywhere.
1:12:38
[SPEAKER_02]: Yeah, that's the way it always works at home.
1:12:42
[SPEAKER_02]: But now, because of light leakage, there was no such thing as like a true black film strip.
1:12:47
[SPEAKER_02]: You can't blot out all the light with the powerful projector bulb.
1:12:50
[SPEAKER_00]: Yeah.
1:12:51
[SPEAKER_02]: There's also going to be a little light on the screen, so there's kind of a milky thing that is going to
1:12:59
[SPEAKER_02]: Now with these LED screens, the blacks can be truly black, they can just be off.
1:13:04
[SPEAKER_02]: There's no light coming from the screen, that also means the colors can be ditches that much richer in the image can be that much brighter.
1:13:09
[SPEAKER_02]: This is probably the future of what films are going to look like.
1:13:14
[SPEAKER_02]: There's not going to be projectors anymore.
1:13:15
[SPEAKER_00]: This is interesting to do it in and we're talking about this earlier today.
1:13:20
[SPEAKER_00]: We've talked a lot on this podcast about different forms of film projection.
1:13:25
[SPEAKER_00]: How the move to digital was not a smooth one?
1:13:29
[SPEAKER_00]: No, it's very wrong.
1:13:30
[SPEAKER_00]: Very rocky.
1:13:30
[SPEAKER_00]: It took, I think, well over 10 years for digital to even approximate.
1:13:35
[SPEAKER_00]: If not necessarily the aesthetic, then the quality of 35 or 70 millimeter film projection.
1:13:42
[SPEAKER_00]: This is the first time that I've known him when Whitney is talking about a new element of film projection that he's keen on.
1:13:52
[SPEAKER_00]: Well, I'm... You don't seem like there's no, like... You don't seem, uh, negative.
1:14:02
[SPEAKER_00]: Wistful about it, even.
1:14:03
[SPEAKER_00]: I know, it's like this is actually like a good move.
1:14:06
[SPEAKER_02]: It's a good move, especially when I'm watching a film like Zootopia, which is digitally animated.
1:14:10
[SPEAKER_02]: So it can handle those digital images and those bright colors in a certain way.
1:14:14
[SPEAKER_02]: I wouldn't necessarily want to see, I wouldn't think I would want to see something that was shot on film projected on these LED screens, but then I also saw a hell razor, which is a film of shot in 1887.
1:14:26
[SPEAKER_02]: That was remastered and presented in that same way, and you know what, what's great.
1:14:32
[SPEAKER_02]: There wasn't like image loss.
1:14:34
[SPEAKER_00]: It was actually very sharp and it didn't feel like you were watching like a different No, I'm looking moving.
1:14:39
[SPEAKER_02]: No, no, no, like it was definitely the same fun.
1:14:41
[SPEAKER_02]: They're working really hard Now that they have the technology to do it to
1:14:47
[SPEAKER_02]: maintain the visual fidelity of film through digital means.
1:14:53
[SPEAKER_02]: The criterion collection has been great about this.
1:14:56
[SPEAKER_02]: You'll note that there are blue rays in their DVDs are much different, not just in quality, but because they're attuned to different home viewing media, the DVDs looks great on catheter ray tubes.
1:15:05
[SPEAKER_02]: But when you put those on a flat screen TV, the fidelity changes.
1:15:10
[SPEAKER_02]: So they had to make their blue rays much differently to keep sort of like a little bit of the film grain, the same kind of visual texture.
1:15:18
[SPEAKER_02]: That's why they have director sign off on those blue rays.
1:15:20
[SPEAKER_02]: So they make sure they look right.
1:15:21
[SPEAKER_00]: Yeah.
1:15:23
[SPEAKER_02]: And I think they're doing that with these screens.
1:15:28
[SPEAKER_02]: I used to be a 100% 35 millimeter and 70 millimeter purest.
1:15:34
[SPEAKER_00]: It's not, if you will.
1:15:35
[SPEAKER_02]: Very much a snob, I was, I winst when I heard in 2011 when they were going to, theaters were just going to start ripping out all of their film projectors and putting an only digital, because digital wasn't yet great.
1:15:51
[SPEAKER_02]: Some of it was very, very good.
1:15:52
[SPEAKER_02]: It wasn't until I saw Prometheus that I realized digital projectors now can't now have such high fidelity and such detailed images that you can't even project those on film anymore.
1:16:03
[SPEAKER_02]: They're going to look too different.
1:16:05
[SPEAKER_00]: Yeah.
1:16:06
[SPEAKER_02]: Like the revolution had come.
1:16:08
[SPEAKER_02]: I also realized that if I was to be a format snob and say films should only be seen on 35 millimeter film.
1:16:17
[SPEAKER_02]: then I would be robbing people of the ability to see movies.
1:16:22
[SPEAKER_00]: Yes, now they can't do that.
1:16:24
[SPEAKER_02]: Yeah, it's like if you only can see films on 35 millimeter, guess what, you're gonna be watching less movies.
1:16:30
[SPEAKER_02]: And also I couldn't throw too many stones because most of my film education was on VHS.
1:16:35
[SPEAKER_02]: Right?
1:16:36
[SPEAKER_02]: I watched these things on at home on these magnetic tape strips, so these things that were badly formatted.
1:16:41
[SPEAKER_00]: No, we're done.
1:16:42
[SPEAKER_00]: And we're cropped.
1:16:43
[SPEAKER_00]: Yeah, I sort of, first time I saw Lawrence of Arabia
1:16:46
[SPEAKER_00]: Yeah, yeah, and was still good.
1:16:48
[SPEAKER_00]: It's not as good as a good, but it was good.
1:16:49
[SPEAKER_00]: Yeah, we're still watching these movies.
1:16:51
[SPEAKER_00]: I watched this film so far.
1:16:52
[SPEAKER_00]: People watch them on TikTok now.
1:16:54
[SPEAKER_02]: Vertical screen.
1:16:56
[SPEAKER_02]: And, and Quibi's back, by the way, basically.
1:16:58
[SPEAKER_02]: My crow drama is they're calling all these companies, putting out these for short and form vertical screens.
1:17:04
[SPEAKER_02]: Quibi was there.
1:17:05
[SPEAKER_02]: They were all ahead of the game.
1:17:07
[SPEAKER_00]: Every year at the end of the year, all the critics scramble to see as many movies as they can, but rather do the best of the year list,
1:17:16
[SPEAKER_00]: And every year we all talk sometimes more formally than others about, oh, you guys see this movie, whatever you do, don't miss this movie, you know, Mr. Recordio or whatever is popular right now, and every year there's some movie not necessarily like a big like avatar, but like some movie that every critic I know gets a bug up their butt about you have to see this in a theater, you have to.
1:17:45
[SPEAKER_00]: or you will miss how brilliant it is.
1:17:50
[SPEAKER_00]: And every year I think to myself, sounds like you're just saying it's bad outside of a theater.
1:17:56
[SPEAKER_00]: It's not because let's be honest here.
1:17:57
[SPEAKER_00]: Like after it's out of theaters, unless you're lucky enough to catch a revival screening, no one's gonna see it that way ever again.
1:18:03
[SPEAKER_00]: They're gonna see it at home.
1:18:04
[SPEAKER_00]: They're gonna see it streaming, maybe they have blue ray or DVD, but like,
1:18:09
[SPEAKER_00]: they're going to watch it at home.
1:18:10
[SPEAKER_00]: That's not an option.
1:18:11
[SPEAKER_00]: Yeah, to see it on the gigantic theater screen after a few weeks, a couple of months tops in some cases.
1:18:21
[SPEAKER_00]: So while there are definitely preferred ways to watch a movie, generally speaking, there are very few movies that would tell you not to watch in a theater if you had the opportunity.
1:18:32
[SPEAKER_00]: See it over your fucking can.
1:18:34
[SPEAKER_00]: Yeah.
1:18:34
[SPEAKER_00]: The one thing I will say is that try to at least preserve the fucking aspect ratio and don't use motion smoothing.
1:18:40
[SPEAKER_00]: Yeah.
1:18:40
[SPEAKER_00]: At least that.
1:18:41
[SPEAKER_00]: I know the TikToks, whatever.
1:18:43
[SPEAKER_00]: Try not to fucking do that.
1:18:46
[SPEAKER_00]: At least at least we fought so hard to get accurate aspect ratios on home video.
1:18:52
[SPEAKER_00]: There was so much, so many people fought against widescreen.
1:18:57
[SPEAKER_00]: for a long time because TV is worth not shaped the same way.
1:19:00
[SPEAKER_02]: Yeah, people thought they were seeing less of the picture, rather than more, because they would put a black mat on the top and bottom of the screen.
1:19:07
[SPEAKER_02]: Yeah, to retain the jelly.
1:19:09
[SPEAKER_00]: I mean, like, oh, I'm not even using a third of my TV.
1:19:11
[SPEAKER_00]: It's like, yeah, but you're seeing more, I get why you think that, but seriously, you're missing so much of the movie.
1:19:18
[SPEAKER_00]: So respect the aspect ratio, turn off the fucking motion smoothing,
1:19:23
[SPEAKER_00]: write a set your TVs or your monitors to the right you know settings and if you look it up any Tech nerd AV club website will tell you what the right settings are for your TV other than that See how are you fucking can if it's good it'll be good say yeah, so I just better the big screen But if it's good it'll be good also we've reached all these inflection points in technology It's no one can be a format nerd anymore
1:19:47
[SPEAKER_02]: Like you can have one to prefer, I love 70 millimeter film.
1:19:52
[SPEAKER_02]: I will never, ever say that 35 millimeter film doesn't look amazing.
1:19:57
[SPEAKER_02]: I suppose you can get a nice clean print.
1:19:59
[SPEAKER_02]: Oh yeah.
1:20:00
[SPEAKER_02]: and 70 millimetres, nothing's ever looked better than 70 millimetres.
1:20:03
[SPEAKER_00]: To this thing?
1:20:04
[SPEAKER_02]: Yeah.
1:20:05
[SPEAKER_02]: Even though a lot of digital images now have more visual information than 70 millimetres, like if you see like a like an 8K projector that has more information on screen now, then 70 millimetres phone.
1:20:20
[SPEAKER_02]: But we're also seeing film evolve a lot.
1:20:24
[SPEAKER_02]: We're seeing a lot of projectors are now not even capable of projecting some of these crystal digital images.
1:20:30
[SPEAKER_02]: That was a big problem with the way of water.
1:20:33
[SPEAKER_02]: James Cameron was so far ahead.
1:20:35
[SPEAKER_02]: He had to do that high framerate stuff, just so it would reduce some of the visual problems he was having.
1:20:40
[SPEAKER_02]: uh uh just because he needed he wanted so much information on screen that if you put it all on there the projectors wouldn't be able to handle it and there'd be a lot of what they call juggering which means a kind of if you ever see a horizontal pan across like a wave of trees there's kind of like this choppy imaging as the the camera moves and that was two big a problem in Avatar 2 so we had to add all of this high frame rates so everything could remain clear
1:21:09
[SPEAKER_02]: and now projectures have to change.
1:21:12
[SPEAKER_02]: The way films are being presented is changing and I notice that when I'm watching Zootopia 2 of all things and I think if we're to be responsible critics we need to be open to all of the changes and we need to keep an eye out for what the good and the bad is about all of this.
1:21:28
[SPEAKER_00]: We are having right now, you and I, and other people as well, but we're having a conversation right now about the future of cinema.
1:21:39
[SPEAKER_00]: Artistically, technologically, certainly, right now, we're talking about where is cinema headed, which brings me to jingle bell-housed.
1:21:52
[SPEAKER_01]: It's all right.
1:21:53
[SPEAKER_00]: We have to say we have to move on sometime.
1:21:56
[SPEAKER_00]: Yeah, Jinglebell Highest is the next wave of cinema It is the new cinema evolution if you haven't seen Jinglebell Highest, you don't love movies Practically breathless, all right, put it on the fucking poster.
1:22:08
[SPEAKER_00]: I didn't mean it, but I did say it
1:22:11
[SPEAKER_00]: You got me on a technicality motherfucker and it's like that joke in the Simpsons where Marge wrote a book and they asked other authors to write a blurb And they asked Tom Clancy and he said If you're asking me to say if you're hunting for a good read this October Marge Simpsons new book is a clear and present danger to your free time.
1:22:32
[SPEAKER_00]: I won't say that.
1:22:34
[SPEAKER_00]: What do you mean I just did?
1:22:38
[SPEAKER_00]: Jinglebell Highest, Jinglebell Highest is a new Netflix movie.
1:22:42
[SPEAKER_00]: It is technically a rom-com, but it's also a high-st movie and honestly it does both really well.
1:22:50
[SPEAKER_00]: Okay.
1:22:52
[SPEAKER_00]: I'm dead fucking serious actually, because there's a, there's a, we judge movies on a curve don't we, because we're trying to, we're not comparing every movie to every other movie.
1:23:03
[SPEAKER_00]: No.
1:23:03
[SPEAKER_00]: Right.
1:23:03
[SPEAKER_00]: We're not comparing Jinglebell Highest to HamNet, those are very different experiences.
1:23:08
[SPEAKER_00]: So, you know, you're not, there's not a one to one comparison.
1:23:12
[SPEAKER_00]: You were comparing them to other films and maybe like them.
1:23:15
[SPEAKER_00]: So, when you're reviewing a Netflix rom-com, on the Netflix rom-com scale, we're being a little more generous.
1:23:25
[SPEAKER_00]: Then if we would be, if we were looking at some, you know, bleak, three-hour, art-house thing from Germany, that's getting at like the absolute dark recesses of the human soul.
1:23:37
[SPEAKER_00]: There's a going for different things.
1:23:41
[SPEAKER_00]: So I've given some passing grades, maybe even some some praise, to a lot of like Netflix, now there are types of like straight to, you know, TV, Christmas holiday, romcoms over the years, based on that scale.
1:23:55
[SPEAKER_00]: I don't need that scale for Django Bell Highest.
1:23:57
[SPEAKER_00]: It's pretty darn good.
1:23:59
[SPEAKER_00]: Okay, Django and Wayne pretty clever.
1:24:01
[SPEAKER_00]: So Christmas Highest movie.
1:24:02
[SPEAKER_00]: It's a solid flag.
1:24:04
[SPEAKER_02]: And there have been Christmas Highest movie.
1:24:05
[SPEAKER_02]: There have, there have a reindeer games.
1:24:08
[SPEAKER_02]: Ranger games, what was the most Christopher Plumber knives out?
1:24:13
[SPEAKER_00]: No.
1:24:13
[SPEAKER_00]: Well, because, oh, so hard, so hard to make this a size, maybe, you're right.
1:24:19
[SPEAKER_00]: That's much darker than this.
1:24:20
[SPEAKER_00]: Jingle Bell Heist is a film directed by Michael Filmignari, who has been Mike Flanagan's director of photography.
1:24:28
[SPEAKER_00]: Okay, so we shot like Dr. Sleep and some of his Netflix shows.
1:24:33
[SPEAKER_00]: And it stars Olivia Holt, who earlier this year was in Heart Eyes, which was a really, you know, you like the last night it, but I thought it was a really, really clever pairing of Slash and a visit rom-coms that followed both roles simultaneously and reached a fitting conclusion to both.
1:24:51
[SPEAKER_00]: It worked as both films.
1:24:52
[SPEAKER_00]: This is doing that for Heismovies.
1:24:53
[SPEAKER_00]: So the plot is very simple.
1:24:55
[SPEAKER_00]: Olivia Holt plays a pick pocket.
1:24:58
[SPEAKER_00]: who is also working at a department store over the holidays.
1:25:01
[SPEAKER_00]: Her mother is sick.
1:25:04
[SPEAKER_00]: And even though, and this feels like the original script was set in America, but then we changed some production stuff and had to write in a few new lines of dialogue to justify it.
1:25:13
[SPEAKER_02]: Put it in Canada.
1:25:14
[SPEAKER_00]: Yeah, well, they put it in England.
1:25:17
[SPEAKER_00]: OK. And her mother was originally from England, and they moved back to England for the free healthcare.
1:25:22
[SPEAKER_00]: OK.
1:25:23
[SPEAKER_00]: But her mother is so sick that they're going to need to go out of pocket anyway.
1:25:28
[SPEAKER_00]: This was originally set in America, which is fine, it's irrelevant.
1:25:33
[SPEAKER_00]: So it needs a lot of money real real fast.
1:25:36
[SPEAKER_00]: Meanwhile, a guy who is planning to rob the department store, catches wind that she's also a thief, and effectively blackmailed certain to helping him rob the department store, which is run by Peter Seraphinoet's playing a real fucking piece of shit.
1:25:51
[SPEAKER_00]: Just a deliciously evil fucker.
1:25:54
[SPEAKER_00]: So of course you want him stolen from and over the course of the film They plan heists things go right things go wrong and they grow a little bit closer together.
1:26:04
[SPEAKER_00]: Okay, I wanted to know it The friends now they're they're enough.
1:26:09
[SPEAKER_00]: That's the structure of it That works better than it should
1:26:13
[SPEAKER_00]: It really does.
1:26:14
[SPEAKER_00]: I think there is, between this and heart eyes, which would be a great double feature, it's just, we're acknowledging that there's a lot of overlap in dramatic structure where, in a rom-com, people who perhaps have an aversion to one another or would normally never be together, have to spend a lot of time together.
1:26:30
[SPEAKER_00]: Well, why don't they have a project?
1:26:32
[SPEAKER_00]: And why can't that project be crime?
1:26:35
[SPEAKER_00]: Let's do crime.
1:26:37
[SPEAKER_00]: Be Christmas, do crime.
1:26:38
[SPEAKER_00]: Let's do it.
1:26:40
[SPEAKER_00]: That's what they do and Olivia holds in this guy who I'm less familiar with Conor Swindles, which great name for a high-stactor Under Swindles That's W-I-N-D-L-L-S Maybe it's Swindles Maybe it's Swindles I don't know, perfect name for a high-stactor
1:26:58
[SPEAKER_00]: They're very charming together, and honestly a lot of the credit goes to the screenplay of the epic dog, it's just very, very clever, but a lot of it goes to a microfilm ignoring who shoots the shit out of this thing, you get so used to rom-com lighting in these things.
1:27:15
[SPEAKER_00]: which is just basically just blast fucking light on everything.
1:27:19
[SPEAKER_00]: Right.
1:27:19
[SPEAKER_00]: Make everything look crisp, make everything look colorful.
1:27:23
[SPEAKER_00]: Sure, everybody's wearing too much makeup all of a sudden.
1:27:25
[SPEAKER_00]: Get the wide shot, get the medium close, get the close up, get the insert shot of a piece of action, get the fuck out.
1:27:33
[SPEAKER_00]: It's not a lot to it, that's not a bad thing, because wrong times don't typically need a lot more than that, but this is also a high-st movie, and high-st movies have a different kind of a pulse of energy, have a different attention to detail, have a different attention to repetition.
1:27:45
[SPEAKER_00]: We have to go through this, because we need to know this geographic space for later in the movie, because we're gonna play with it.
1:27:50
[SPEAKER_00]: We're gonna reveal hidden looks and crannies, and have to go back through it, but this time in a chase sequence, going in the opposite direction.
1:27:57
[SPEAKER_00]: So you have to do that, you can't have asked that.
1:28:01
[SPEAKER_00]: Cinema cinematographically or editing wise you have to do it right or it's not gonna read We'll get the gist, but it's not gonna read it's not gonna feel like a good high-smoothie They play in the fucking work
1:28:12
[SPEAKER_00]: It's a pretty movie, it's edited well, it's got good pacing.
1:28:17
[SPEAKER_00]: It's got a few twists I didn't see coming, which is pretty rare in a movie like this.
1:28:21
[SPEAKER_00]: This is clever, cute filmmaking, is it great?
1:28:25
[SPEAKER_00]: Now, I'm not gonna cut it, it's great, but it's legitimate, like this is a theatrical release, I would still be giving it the thumbs up, like it's just a solid piece of work.
1:28:36
[SPEAKER_00]: Olivia Holtz who if they ever need to do like a biopic of Julia Styles you should get her I swear to god there's at least a couple of scenes in this movie where she's dressed like just like Julia Styles from the non-dancing parts of save the last dance And she looks just like Julia Styles.
1:28:54
[SPEAKER_00]: It's like whoa nice.
1:28:56
[SPEAKER_00]: That's not a bad thing at all just
1:28:59
[SPEAKER_00]: It's mildly distracting.
1:29:00
[SPEAKER_00]: It would be like if Timothy Shalomay looked exactly like James Dean You would be like, oh, he's a different actor, but he looks a lot like James Dean You ever noticed?
1:29:08
[SPEAKER_00]: You just hear what else looks like James Dean fucking weird, right?
1:29:13
[SPEAKER_00]: So yeah, there's not like a lot of depth to it, rich people are bad.
1:29:16
[SPEAKER_00]: Okay, yeah, they are.
1:29:18
[SPEAKER_00]: Agreed, you know, your heart's in the right place.
1:29:20
[SPEAKER_00]: I'm with you, honestly.
1:29:23
[SPEAKER_00]: Every billion air is a policy failure.
1:29:24
[SPEAKER_00]: Yeah, yeah, exactly.
1:29:26
[SPEAKER_00]: Every billion air is a loose nuke.
1:29:28
[SPEAKER_00]: Right.
1:29:31
[SPEAKER_00]: This movie works.
1:29:32
[SPEAKER_00]: I'm not going to oversell it.
1:29:34
[SPEAKER_00]: I'm just going to tell you this is effective genre filmmaking from people who know what they're doing.
1:29:39
[SPEAKER_00]: Right.
1:29:39
[SPEAKER_00]: They're not trying to explode the genre.
1:29:41
[SPEAKER_00]: They're not trying to change the genre.
1:29:43
[SPEAKER_00]: They're doing a genre mashup that works surprisingly well.
1:29:55
[SPEAKER_00]: Christmas and Connecticut or whatever like a billion times and you just want something new but there's so much out there You don't know what sucks.
1:30:02
[SPEAKER_00]: This doesn't suck.
1:30:04
[SPEAKER_00]: This is worth watching.
1:30:05
[SPEAKER_00]: It's fun.
1:30:06
[SPEAKER_00]: So boom.
1:30:07
[SPEAKER_00]: That's it.
1:30:07
[SPEAKER_00]: It doesn't need much more than that
1:30:10
[SPEAKER_00]: All right.
1:30:11
[SPEAKER_00]: All right.
1:30:12
[SPEAKER_00]: It's less thematically rich as a review than wake up dead man, Hamlet or Zitoobie, too.
1:30:17
[SPEAKER_00]: What can I say?
1:30:18
[SPEAKER_00]: But it is time to review some movies on a critically acclaimed scale every episode.
1:30:22
[SPEAKER_00]: We review movies on a scale of C- to C- plus C- is our lowest grade.
1:30:27
[SPEAKER_00]: Those movies are below average.
1:30:29
[SPEAKER_00]: We don't recommend those movies.
1:30:31
[SPEAKER_00]: A season average movie?
1:30:33
[SPEAKER_00]: It's just okay.
1:30:34
[SPEAKER_00]: Maybe it's a mixed back.
1:30:36
[SPEAKER_00]: and to see plus is above average movie these movies we recommend either wholeheartedly or we just think they're fun on that note jingle bell-housed see plus this is solid genre flick two different genres at once good for them all right seriously I've no complaints don't have a lot much more to talk about other than that it's just it's good slick well executed fun
1:31:02
[SPEAKER_00]: So, it'll be a two.
1:31:04
[SPEAKER_02]: I see.
1:31:05
[SPEAKER_00]: OK.
1:31:06
[SPEAKER_02]: I think it is, uh, impeccably put together, uh, just really slick, really great visuals, pretty good script.
1:31:13
[SPEAKER_02]: It's not, but it's not so groundbreaking or moving that I've find it better than just average.
1:31:21
[SPEAKER_02]: OK.
1:31:22
[SPEAKER_02]: I suspect I know you're great, but HamNet has a C-minus.
1:31:26
[SPEAKER_02]: This, I did not like this movie in the least.
1:31:28
[SPEAKER_02]: It is,
1:31:29
[SPEAKER_02]: It has a corn in its heart and metal in its skull, and it's just that out of the face.
1:31:34
[SPEAKER_00]: Yeah, corn in its heart and metal in its skull.
1:31:37
[SPEAKER_00]: I'm going to show you what that last bit means.
1:31:39
[SPEAKER_00]: Yeah, I didn't dislike it.
1:31:41
[SPEAKER_00]: Me always much as you.
1:31:41
[SPEAKER_00]: I'm going to give this an extremely low say.
1:31:43
[SPEAKER_00]: Where I do think there is stuff to be mined from this.
1:31:46
[SPEAKER_00]: And I'm particularly, I think Jesse Buckley carries it very, very well.
1:31:50
[SPEAKER_00]: I don't think there's some stuff to talk about in it, but I don't think it's what the movie wants us to talk about, which is to its detriment.
1:31:55
[SPEAKER_00]: But I don't think it's the complete watch a lot of people do.
1:31:58
[SPEAKER_00]: Nor do I think it's great cinema.
1:32:01
[SPEAKER_00]: I just think it's a bit of a whiff, but not entirely.
1:32:07
[SPEAKER_00]: And then wake up dead, man.
1:32:09
[SPEAKER_00]: I'm given this one a big ol' C plus, and my favorite room is in the air.
1:32:11
[SPEAKER_00]: I see plus as well.
1:32:12
[SPEAKER_02]: I think it's really, really...
1:32:15
[SPEAKER_02]: tightly put together really well-locked in and in the ways of not just its mystery elements and its plot elements but all of its character stuff and all of its themes about sort of the origins of evil all of that is fantastic.
1:32:26
[SPEAKER_00]: It's genuinely deep drama but also being genuinely funny and a truly twisty journey you probably won't see at all coming murder mystery which is incredibly difficult to pull off.
1:32:41
[SPEAKER_00]: I really don't have enough praise for it I think it's great.
1:32:44
[SPEAKER_00]: uh... and that is it that that is our that is it for critically clinton uh... we'll be back next week with its frife nights at Freddy's this week five minutes of it is two is coming up this week which should be i guess six nights at Freddy's the sixth night at Freddy's yeah it's at a different location so it's five night five additional lights at a different friends yeah or or it's thieves
1:33:06
[SPEAKER_00]: One, five nights at Steve's, they can't be Freddy's.
1:33:10
[SPEAKER_02]: Freddy Fazbear, there's a Freddy Fazbear.
1:33:11
[SPEAKER_00]: Well, that thing is Brother Steve, has his own spin-out chain.
1:33:15
[SPEAKER_00]: Yeah, minecraft movie, that's Steve.
1:33:18
[SPEAKER_00]: The two chain, but we got that, and we got other movies as well, and I think, merrily, we roll along.
1:33:24
[SPEAKER_00]: Oh, yeah.
1:33:25
[SPEAKER_00]: It's coming along this week.
1:33:26
[SPEAKER_00]: Oh, another thing, something.
1:33:32
[SPEAKER_02]: Chris and Stewart is making her directorial debut.
1:33:36
[SPEAKER_02]: Oh yeah, chronology of water.
1:33:38
[SPEAKER_00]: The first week in December is usually pretty lean.
1:33:41
[SPEAKER_00]: Not so much this year.
1:33:43
[SPEAKER_00]: Yeah, quite a few of them.
1:33:44
[SPEAKER_00]: So we'll review a bunch of them.
1:33:46
[SPEAKER_02]: Oh, and there's a new Paul Sorrentino file.
1:33:48
[SPEAKER_02]: I think there's a second film this year.
1:33:50
[SPEAKER_00]: Oh, look.
1:33:51
[SPEAKER_00]: Look at this.
1:33:51
[SPEAKER_00]: Look at that.
1:33:52
[SPEAKER_00]: I saw that a while ago.
1:33:53
[SPEAKER_00]: A while ago.
1:33:55
[SPEAKER_00]: And other films besides.
1:33:57
[SPEAKER_00]: So thank you for listening.
1:33:59
[SPEAKER_00]: Thank you for joining us.
1:33:59
[SPEAKER_00]: Thank you for being.
1:34:02
[SPEAKER_00]: and especially a big thank you to all of our patrons over patreon.com slash critically claim network read and listen to all of our movies at free and get a whole bunch of other podcasts besides including our Star Trek podcast all our yesterdays review every single episode of Star Trek in order we sign up there's a multiple hundred episodes of backlog
1:34:22
[SPEAKER_00]: just a big old cork, a copy of content, enjoy.
1:34:26
[SPEAKER_00]: Another stuff as well, we're behind on our Oscars podcast, but I do want to try to get to that for the end of the month.
1:34:31
[SPEAKER_00]: And yeah, just huge shout out to all of our patrons.
1:34:35
[SPEAKER_00]: We can't do this without you.
1:34:37
[SPEAKER_00]: It means a lot that you like the show, listen to the show, and are willing to contribute to the show, just seriously.
1:34:44
[SPEAKER_00]: We couldn't make rent.
1:34:45
[SPEAKER_00]: So thank you.
1:34:47
[SPEAKER_00]: Thank you.
1:34:47
[SPEAKER_00]: Thank you.
1:34:47
[SPEAKER_00]: Thank you.
1:34:48
[SPEAKER_00]: Thank you.
1:34:50
[SPEAKER_00]: Thank you.
1:34:51
[SPEAKER_00]: And if you can afford to join in once again, that's patreon.com slash critically claim network.
1:34:56
[SPEAKER_00]: If you can't afford to join in, you can still sign up for free and get a free weekly newsletter with links to all of our latest work and also some original writing every week from lately, usually need, but what he does write in sometimes as well.
1:35:08
[SPEAKER_00]: Yeah.
1:35:08
[SPEAKER_00]: And, of course, run the social media as I'm at, well, you need to be on me.
1:35:12
[SPEAKER_00]: What do you sign up for?
1:35:12
[SPEAKER_00]: I forgot, you can also write into us.
1:35:14
[SPEAKER_00]: Our email address is letters at criticallyclimbed.net when you want us to be about this.
1:35:18
[SPEAKER_02]: Send us a physical letter, postcard, or if you'd like to the critically acclaimed network, PO Box 641565, Los Angeles, California, 9-to-blow 64.
1:35:26
[SPEAKER_00]: And that is it for us.
1:35:27
[SPEAKER_00]: Thank you everybody.
1:35:27
[SPEAKER_00]: Have a great week and never forget, everyone is a critic.
1:35:34
[SPEAKER_01]: I want to go to the Midnashow.