Latest / Xenomania / "Swinging for Survival" - The Battery (2012) Episode 18

Transcript

"Swinging for Survival" - The Battery (2012) Episode 18 · Xenomania

• 0:02
  intro: No, be afraid.
• 0:06
  Be very afraid.
• 0:15
  Jon: It's amazing
• 0:17
  Kearns: Day's gone.
• 0:18
  Jon: the day's gone remaster.
• 0:20
  I haven't played it yet, but I've been watching videos.
• 0:23
  Holy cow.
• 0:23
  Man, that hoard of salt thing is nuts.
• 0:27
  Kearns: there's people who are freaking out about it.
• 0:30
  Jon: Nuts, bro.
• 0:33
  Ryan: how many
• 0:34
  Kearns: How many zombies now on screen
• 0:36
  Ryan: do you
• 0:37
  Kearns: do you think
• 0:37
  Jon: It builds like, it starts with like a small hoard and then.
• 0:43
  Like, I was watching this one guy 30 minutes in and he goes
• 0:47
  like hundreds and hundreds.
• 0:51
  Ryan: At least you got a
• 0:52
  Kearns: You got a flame thrower, as you mentioned earlier.
• 0:55
  Well, that
• 0:55
  Jon: You don't get it automatically though.
• 0:58
  Kearns: You must earn the flame thrower.
• 1:00
  Jon: You gotta find it.
• 1:01
  It's like,
• 1:03
  Ryan: You gotta find it.
• 1:04
  You can't
• 1:04
  Kearns: Can't even buy it or put it together.
• 1:07
  Well.
• 1:09
  Jon: there's like loot, crave.
• 1:11
  Kearns: So
• 1:12
  Jon: random stuff in it.
• 1:14
  Kearns: sounds like.
• 1:15
  Yeah.
• 1:16
  Jon: Yeah.
• 1:17
  Kearns: man.
• 1:17
  I can't wait for you to start to get into it.
• 1:19
  Jon: Bro.
• 1:20
  Kearns: John's game features large hoards of zombies, whereas the movie we are
• 1:25
  talking about this week on Xenomania.
• 1:29
  Doesn't have huge hoards of zombies, really.
• 1:31
  There's the illusion of it, but I'd, I'd imagine that's 20 people in costume.
• 1:35
  Um,
• 1:36
  Jon: Mm-hmm.
• 1:36
  Kearns: it to make a creepy movie.
• 1:38
  They, um, we are of course talking about the battery, if you guys are familiar,
• 1:44
  a movie I never would've known about.
• 1:45
  Super easy to access.
• 1:47
  and if I wouldn't known about it for, unless it was for my buddy John here,
• 1:51
  Jon: Yeah, man.
• 1:51
  Kearns: Ryan, had you heard of it?
• 1:53
  Ryan: No, I
• 1:54
  Kearns: No, I never heard of it.
• 1:55
  Ryan: John mentioned it and it was a great
• 1:57
  Kearns: Right.
• 1:58
  Recommendation.
• 1:59
  Yeah, that's, it's a gritty watch.
• 2:01
  Um, it's not a zombie movie.
• 2:03
  First of all.
• 2:03
  It's a zombie movie, but it's not a zombie movie.
• 2:06
  Ryan: Very
• 2:06
  Kearns: Very character driven, very character driven, very psychological.
• 2:10
  you gotta be in the right head space for this one.
• 2:12
  Don't go in thinking you're gonna be watching Donna the Dead and be having like
• 2:14
  a blast with all these people dropping.
• 2:17
  That's not the
• 2:17
  Jon: No,
• 2:18
  Kearns: go.
• 2:19
  Ryan: People
• 2:19
  Jon: no, it gets,
• 2:20
  Kearns: drop.
• 2:21
  Jon: oh yeah, it gets really heavy though.
• 2:24
  Kearns: Yeah, it, it does, it makes you question your
• 2:26
  existence like multiple times.
• 2:29
  But there's some funny scenes too that we'll get into.
• 2:31
  But, um, we'll just give you kind of the overview of the movie.
• 2:34
  You're in a post-apocalyptic, setting.
• 2:36
  Are they in Tennessee
• 2:38
  Jon: They're in New England.
• 2:39
  Kearns: Yeah, they're in New England.
• 2:40
  You're right.
• 2:40
  And there's a. Dude who needs to drive to Arizona in it?
• 2:42
  That's, I dunno
• 2:43
  Jon: Mm-hmm.
• 2:44
  Kearns: Tennessee in my head.
• 2:45
  So they're in the forest, the thick forests of New England.
• 2:49
  You could feel the humidity in this movie.
• 2:52
  Um, do
• 2:53
  Jon: know where this is filmed?
• 2:55
  Kearns: No.
• 2:55
  Where?
• 2:55
  The filmed
• 2:57
  Jon: Kent, Connecticut?
• 2:58
  Kearns: No way.
• 2:59
  Jon: Yeah, man.
• 3:00
  Kearns: New York for a second.
• 3:01
  I was
• 3:02
  Jon: No, Kent, Connecticut.
• 3:03
  In this like, and if, if you watch closely, there's definitely
• 3:07
  parts with that you'll recognize from like I spit on your grave
• 3:11
  Kearns: Oh, cool.
• 3:12
  Okay.
• 3:13
  Jon: and, uh, Friday the 13th, part two is filmed there also.
• 3:17
  Kearns: that's pretty cool, man.
• 3:19
  Jon: Yeah.
• 3:20
  Kearns: little film haven going on over there in Connect to Kit
• 3:23
  Jon: I don't know if you guys have been to Kent, but it's,
• 3:26
  it's a pretty, pretty place.
• 3:28
  Kearns: I'm sure.
• 3:29
  Well, the pretty places in Connecticut are, uh, they're not a dime a dozen
• 3:33
  by any means, but they're, they're pretty much rubber stamps of each
• 3:36
  Jon: They're close.
• 3:36
  Kearns: Like Connecticut's just a pretty, uh, the areas of Connecticut
• 3:39
  that are pretty, are pretty, the cities in Connecticut, not very pretty.
• 3:43
  They don't tend to be that pretty.
• 3:45
  Jon: No, not so much.
• 3:46
  Kearns: the non cities very pretty.
• 3:49
  Yeah.
• 3:49
  It's just a nice, it's a nice state to, uh, drive through on your way
• 3:52
  to Massachusetts from New York.
• 3:55
  Ryan: Just a quick wave.
• 3:57
  Kearns: Yeah.
• 3:57
  Jon: Yeah.
• 3:58
  Kearns: what am I doing?
• 3:58
  Hartford?
• 3:59
  Uh, over there
• 4:01
  Jon: Uh.
• 4:01
  Kearns: Okay.
• 4:02
  Oh, there we go.
• 4:03
  We're in Springfield I go west or east, or I'm on my way to New Hampshire.
• 4:09
  So New England is a rough place to fend off a zombie, invasion, though.
• 4:13
  I would say, um, they do mention in the movie, so the movie features two studs.
• 4:19
  that's not true.
• 4:20
  There's two friends who are both baseball players are the main characters.
• 4:24
  We got names guys, 'cause I'm my brain's made of mashed potatoes.
• 4:28
  Ryan: and Mickey.
• 4:29
  Kearns: and Mickey.
• 4:29
  Ben and Mickey and Ben and Mickey are um, kind of, they're not thriving
• 4:33
  or anything, but they're doing a pretty good job of surviving.
• 4:35
  They got it down.
• 4:36
  Mm-hmm.
• 4:36
  Jon: Mm-hmm.
• 4:37
  Ryan: Yeah,
• 4:37
  Jon: Mm-hmm.
• 4:38
  Ryan: if you the opening, like see
• 4:41
  Kearns: You see Mickey playing with the CD Yeah.
• 4:43
  Ryan: listening
• 4:44
  Kearns: he's listening to the music and he's like zoning out.
• 4:47
  And
• 4:48
  Ryan: scares him
• 4:49
  it
• 4:49
  Kearns: and it initiates
• 4:50
  Ryan: Mickey is
• 4:52
  Kearns: is still looking towards the
• 4:53
  Ryan: Which is an
• 4:54
  Kearns: which is an interesting
• 4:55
  Ryan: And then
• 4:56
  Kearns: And then as they do this
• 4:58
  Ryan: is
• 4:58
  Kearns: Ben is like
• 4:59
  Ryan: lot
• 5:00
  Kearns: a fishing, uh, survival.
• 5:02
  Ryan: scavenging and
• 5:04
  Kearns: and Mickey's kind of in the background
• 5:06
  Ryan: with the
• 5:06
  Kearns: playing with his CD player and replacing batteries left Eight
• 5:09
  batteries, I think it was too.
• 5:11
  Eight batteries at a clipped after people.
• 5:14
  That's a tough one.
• 5:17
  Jon: M Mickey's almost in full avoidance of the zombies at
• 5:22
  the beginning of the movie.
• 5:23
  And he like, it's quick,
• 5:25
  Kearns: quick,
• 5:26
  Jon: apparent, really quickly that he's just looking for community
• 5:30
  and like they, they say like, when the the apocalypse started, they weren't friends.
• 5:36
  They just sort of knew each other.
• 5:37
  They were on the same team, but they didn't hang out together or anything.
• 5:41
  They just sort of wound up together.
• 5:43
  And you see that a lot, that it's like these two still clashing personalities.
• 5:49
  Kearns: Yeah, that's a good point.
• 5:50
  I didn't really think about that.
• 5:51
  but they're not best buds.
• 5:53
  They're definitely, it's definitely a union of circumstance and necessity.
• 5:57
  and it does, it's not like it's negative either.
• 5:59
  It's just is what it is.
• 6:01
  Jon: Yeah.
• 6:02
  Kearns: Ben consistently, like Ben is the provider.
• 6:05
  Ryan: Yes.
• 6:06
  Kearns: he's the hunter, he's the killer.
• 6:08
  Jon: Mm. Mm-hmm.
• 6:09
  Kearns: the, stalker, he's the decision maker.
• 6:12
  And Mickey's just kind of like Ryan said earlier, he is just kind of riding it out,
• 6:15
  doing stupid stuff, like listening to a discman with noise canceling headphones.
• 6:20
  Like, leave one out bud.
• 6:21
  Leave one out for the creepers, the whole movie.
• 6:24
  But it does what the filmmakers, I believe intended it to do.
• 6:26
  It causes you tension like, take 'em off, you idiot.
• 6:31
  Jon: Mm-hmm.
• 6:31
  it's also a really relatable thing to do in that, like
• 6:35
  it's blocking this world out.
• 6:38
  Kearns: Yeah.
• 6:38
  Jon: If, because I mean, the, you think about things in a zombie apocalypse,
• 6:44
  like seeing zombies would be freaky.
• 6:46
  Hearing them in the distance.
• 6:49
  Kearns: Would
• 6:49
  Jon: Is like probably way more unsettling 'cause you don't know where they are.
• 6:53
  Kearns: right?
• 6:54
  just out there ambling about you don't know if they're gonna stumble upon you
• 6:58
  and they hole up in these abandoned homes.
• 7:00
  They clear them first and then they sleep in them.
• 7:02
  And you've
• 7:03
  Jon: Mm-hmm.
• 7:04
  Kearns: you know, you're never settled.
• 7:06
  Ryan: no.
• 7:06
  Kearns: never, I mean, you guys know what it's like to sleep in
• 7:08
  a place that's not your own home.
• 7:10
  Even
• 7:11
  Jon: Yeah.
• 7:11
  Kearns: you.
• 7:11
  You're a
• 7:11
  Jon: Yeah.
• 7:13
  Kearns: you know?
• 7:14
  Jon: And even in that, that's against Ben's wishes when they do stay in a house
• 7:21
  because, not shown in the movie, but they talk about how they were stuck in a
• 7:26
  house for, I think they say three months
• 7:29
  Ryan: Yep.
• 7:29
  Kearns: there for a
• 7:30
  Jon: early, in the apocalypse.
• 7:31
  And he doesn't, Ben doesn't want to get trapped like that again.
• 7:35
  And you know, again, back to m
• 7:37
  Kearns: to
• 7:37
  Jon: Mickey in this stability, he wants to be trapped like that because
• 7:41
  he doesn't like the moving around.
• 7:43
  Kearns: Yeah, he wants to like, he wants some sort of home.
• 7:46
  Right?
• 7:47
  Mickey's a liability is what he is.
• 7:49
  But we'll get into that.
• 7:51
  so that's the broad strokes.
• 7:52
  you get the setting and tone, the imagery of New England, like we said,
• 7:56
  it doesn't look very comfortable, but you can tell they're making
• 7:58
  the best of it in a lot of ways.
• 7:59
  They play catch a little bit here and there.
• 8:01
  They're talking bs.
• 8:03
  They've got decent food, never shows them foraging for it or gathering cans.
• 8:07
  And they never have a short, they have, like I did note this while
• 8:10
  watching it, they have like an end, a bottomless bag of supplies that
• 8:14
  they don't really reference ever.
• 8:16
  It is just a duffle that's filled with cans of chicken and tuna and whatever,
• 8:20
  and they always have what they need.
• 8:21
  Basically.
• 8:22
  They're, uh, there's, you know, sections of the movie where we'll talk about
• 8:26
  later where there's starvation implied, but they never appear to be in need
• 8:30
  of anything or wanting for anything.
• 8:33
  Um, more about Mickey struggle, I think, than anything else.
• 8:37
  And Ben's struggle with Mickey
• 8:39
  Jon: Yeah.
• 8:40
  Ryan: And
• 8:40
  Jon: Yeah.
• 8:40
  Ben is a lone wolf.
• 8:42
  Kearns: job.
• 8:42
  Who's that?
• 8:43
  Ryan as a, um, that's Ben, but he's also the writer and director.
• 8:48
  Ah, thank you.
• 8:49
  Ryan: an
• 8:49
  Kearns: He does an excellent job illustrating the tension
• 8:52
  Ryan: and
• 8:53
  Kearns: and building the characters.
• 8:55
  Mm-hmm.
• 8:55
  Ryan: 'cause
• 8:56
  they're regular
• 8:56
  Kearns: they're people
• 8:57
  Ryan: that's the
• 8:57
  Kearns: and that's the key thing to
• 8:59
  Ryan: And
• 8:59
  Kearns: And
• 9:00
  Ryan: it's,
• 9:00
  Kearns: it, it starts with them being
• 9:02
  Ryan: the house
• 9:03
  Kearns: the house for three Yeah.
• 9:04
  Well, one of the things I like about Mickey is that it would be like what?
• 9:07
  What it would be like, what it would be like with a stupid, horny teenage son.
• 9:11
  I. During an emergency event that you have to deal with, Mickey makes some choices,
• 9:16
  like we're gonna talk about as we go on.
• 9:19
  one of the things that occurs, the movie, movie's, a slow roll, slow
• 9:22
  burn, builds tension, keeps tension at a certain pace, peaks it a couple
• 9:26
  times, but really nothing crazy.
• 9:29
  you're watching it and it, it sort of absorbs you.
• 9:31
  Is the best way I can put it.
• 9:32
  And you're, you're forced into their mind space, which is a great job.
• 9:36
  By, by the, uh, the guy whose name Ryan knows.
• 9:40
  Jon: Jeremy Gardner.
• 9:42
  Kearns: Jeremy Gardner.
• 9:42
  Yeah, Ben, the guy who plays Ben too.
• 9:45
  The movie itself does a great job with that.
• 9:47
  Once the, you see things turning and Ben losing control over Mickey
• 9:51
  a little bit too, is when they pick out, pick up these two-way radios
• 9:57
  Jon: Yeah.
• 9:57
  Kearns: they start talking on the radios and they pick up somebody
• 9:59
  else on the channel and we get a little, we get a little walking dead
• 10:03
  Negan group kind of vibe out of it.
• 10:06
  Ryan: Yep, the orchard.
• 10:08
  Jon: It.
• 10:09
  Yeah.
• 10:10
  Kearns: The
• 10:11
  Jon: The orchard is definitely not what Mickey wants it to be.
• 10:14
  It's never shown, but you can tell it's not what he wants it to be.
• 10:18
  Kearns: and they let that sit in your head for a bit too.
• 10:20
  Like, you know, Ben knows Mickey probably deep down knows, but he can't help
• 10:25
  Jon: Mm-hmm.
• 10:25
  Kearns: needs, he
• 10:26
  Jon: Yeah.
• 10:27
  Kearns: And then the, it doesn't hurt.
• 10:28
  So Ben's talking to the girl whose name is.
• 10:32
  Ryan: Annie.
• 10:33
  Kearns: Annie and he's always reaching out to her.
• 10:35
  So when they first hear the transmission, the orchard tells Annie or is talking
• 10:39
  to Annie, and then, Mickey comes on the radio is like, Hey, we need help.
• 10:42
  Uh, where are you guys?
• 10:43
  We're in, we're in, you know, Connecticut or wherever he says they are.
• 10:46
  And they shut 'em down right away.
• 10:47
  Like, we don't need you.
• 10:48
  If it was a girl, they'd probably be like, yeah, come on down.
• 10:51
  But it's a guy.
• 10:51
  So they're like, nah, we're good.
• 10:52
  We don't need any more dudes.
• 10:53
  So they shut him down and then he just harasses them over the radio forever.
• 10:58
  Until Annie finally talks to him a couple times, again, is like, stop it.
• 11:01
  Stop reaching out.
• 11:02
  They're gonna kill you.
• 11:03
  Kind of implies that somebody's gonna get hurt.
• 11:06
  And then Ben says, Annie's like a 600 pound.
• 11:08
  He says, words that aren't kind that I won't repeat.
• 11:11
  Uh, 600 pound lady, that's not desirable in any way and you're an idiot for doing
• 11:17
  this, blah, blah, blah, blah, blah.
• 11:18
  And Mickey just seems to get more lonely at that point.
• 11:21
  He even makes them go to the house of a girl that he was
• 11:24
  shacking up with for a little bit.
• 11:25
  That's probably one of the creepier scenes in the movie.
• 11:28
  Maybe the second creepiest scene in the movie
• 11:30
  Ryan: Oh, when he is in her
• 11:31
  Kearns: in her bedroom.
• 11:32
  Yeah.
• 11:32
  It's like, yeah, that's weird.
• 11:34
  Ryan: he's like in the
• 11:35
  Kearns: Like in the In line of being unhinged.
• 11:37
  Yeah.
• 11:39
  Ryan: just
• 11:39
  Kearns: And just like he doesn't know how to accept what's going on, so he's like
• 11:43
  Ryan: stuck.
• 11:43
  Kearns: He's
• 11:44
  Jon: He's unhinged.
• 11:46
  Yeah, that's where I was about to go, is how lonely he is too.
• 11:50
  He, he and Ben just don't relate to one another.
• 11:54
  Kearns: There's no help either.
• 11:55
  Um, we won't get too much into it, but the three of us happen
• 11:59
  to work in a place where we see those types of helps coming out.
• 12:04
  That's just how I'll describe it and leave it at that.
• 12:06
  And then you think about what it would be like for these people when it's, when
• 12:09
  they're just just out there and it's them and it's kind of Darwinistic in a way.
• 12:13
  Mickey's not meant to survive this.
• 12:15
  You just can't handle the solitude.
• 12:17
  Even with Ben, he's alone.
• 12:19
  Ryan: Yeah, and he
• 12:21
  Kearns: And he
• 12:21
  Jon: I mean he,
• 12:22
  Kearns: tries.
• 12:22
  He tries.
• 12:24
  Jon: mm-hmm.
• 12:24
  Kearns: Mm-hmm.
• 12:24
  Jon: He's not alone when he is in the backseat of the car by himself.
• 12:28
  Kearns: So we get into that.
• 12:29
  So part of his loneliness comes through in the fact that he
• 12:32
  wants to be with a woman badly.
• 12:34
  Um, there's more to it than that.
• 12:36
  Like Ryan mentioned the orchard, and he really wants the community
• 12:39
  aspect, but he's super horny and we're not gonna sugarcoat it.
• 12:42
  They've got a scene in this movie that is alarming.
• 12:45
  my wife was reading her Kindle while it was going on.
• 12:47
  She didn't look up once and I was like, thank you.
• 12:50
  But, um, Mickey's chilling in the car and I think Ben's fishing or something.
• 12:54
  He's like a,
• 12:55
  Jon: Ben.
• 12:55
  Ben is showering.
• 12:57
  He's showering.
• 12:58
  He's showering in that, in that waterfall.
• 13:00
  Kearns: the writer
• 13:01
  Jon: So you go, you go from this sort of, yeah.
• 13:04
  You go from this sort of like discomfort of thick Ben with this big beard.
• 13:12
  Kearns: I hate
• 13:12
  Jon: You know, dancing around under the water and then he turns
• 13:16
  Kearns: Ben's
• 13:16
  Jon: and there and there's the full on dong
• 13:20
  Kearns: Yeah.
• 13:21
  Jon: just flapping around while he dances.
• 13:23
  So you cut from that back to Mickey in the back of a station wagon with the
• 13:29
  headphones on when, I mean, you can't lie
• 13:34
  Kearns: It's
• 13:35
  Jon: living it was probably a very attractive woman.
• 13:39
  Dead.
• 13:39
  It's, uh, you know, it's.
• 13:41
  A zombie.
• 13:43
  Kearns: lady.
• 13:44
  Jon: Yeah.
• 13:45
  But you could definitely still see that she was probably kind of
• 13:49
  attractive when she was not a zombie.
• 13:52
  And she gets right up to the, to the glass on the, the window and starts,
• 13:57
  you know, banging on the window.
• 13:59
  Well, Mickey has some needs.
• 14:02
  Kearns: Yeah.
• 14:03
  And he starts, he starts hitting the jackrabbit in the back of the car and it
• 14:07
  Jon: Mm-hmm.
• 14:08
  Kearns: and it goes on for a while.
• 14:10
  Like, they don't just cut it, it's, it's long enough for
• 14:13
  you to be like, come on, dude.
• 14:15
  Ryan: Until
• 14:15
  Kearns: Um,
• 14:17
  Ryan: when Ben
• 14:17
  Kearns: so then I. Ben
• 14:20
  Jon: Uh huh.
• 14:20
  Kearns: and wipes out the zombie with his limitless ammo.
• 14:23
  By the way, we never brought that up.
• 14:25
  The fact that they never worry about ammo and he never has
• 14:27
  a problem reloading the gun.
• 14:30
  Jon: Mm-hmm.
• 14:31
  Kearns: he's got this little revolver, well, not even, it's
• 14:34
  a pretty big revolver actually.
• 14:35
  But yeah, he, he kills this, the attractive zombie then laughs at Mickey
• 14:40
  and he is like, you finish up man.
• 14:41
  I'm just gonna head over here.
• 14:43
  And just the mocking I think makes Mickey worse.
• 14:46
  It's not even mocking.
• 14:47
  He's just being, I mean, he's laughing.
• 14:50
  It is
• 14:50
  Jon: Yeah.
• 14:51
  Kearns: But I
• 14:52
  Jon: Yeah.
• 14:52
  I mean, if one of you guys and me were the last.
• 14:58
  Two guys that we knew and I caught, what are you doing that
• 15:01
  I'd find it pretty hysterical too.
• 15:05
  Kearns: There's not much else going on comedy wise.
• 15:08
  It's pretty funny.
• 15:10
  It's a pretty funny circumstance.
• 15:13
  Jon: Yeah.
• 15:14
  Kearns: But yeah, you got that going so.
• 15:17
  Good times, good times.
• 15:21
  Um, things go from bad to worse.
• 15:24
  They end up just, just by chance running across this guy in a car
• 15:29
  that's run outta fuel seemingly.
• 15:31
  And he's got the car in the middle of the road and the guy throw puts
• 15:34
  a knife to Mickey's neck because Mickey's super good at putting
• 15:36
  himself in dangerous situations.
• 15:38
  Oh wait, wait.
• 15:38
  We skipped when Ben ups the ante with their relationship.
• 15:41
  Yeah.
• 15:42
  Ryan, you wanna go through that one?
• 15:44
  So.
• 15:46
  Ryan: an
• 15:46
  Kearns: Find an abandoned house and Mickey loses the shit on Ben.
• 15:49
  Right.
• 15:50
  Ryan: He's like, I
• 15:50
  Kearns: He's like, I just want a quiet night.
• 15:52
  Ryan: And Ben
• 15:53
  Kearns: And Ben agrees.
• 15:54
  Ryan: and we have a
• 15:55
  Kearns: And we have a nice
• 15:56
  Ryan: of
• 15:56
  Kearns: scene of Ben dancing, listening to the music.
• 15:59
  A lot of whiskey takes Mickey's.
• 16:01
  Ryan: A
• 16:01
  Kearns: Oh yeah.
• 16:02
  A lot of whiskey.
• 16:04
  Ryan: A lot.
• 16:04
  A lot of whiskey.
• 16:05
  And, but he takes his
• 16:06
  Kearns: he takes his walk with Mickey's Walkman.
• 16:08
  Ryan: He's having
• 16:09
  Kearns: He's having fun.
• 16:10
  Mickey's more alert.
• 16:11
  Ryan: And then the
• 16:12
  Kearns: And then the next morning,
• 16:14
  Ryan: Ben
• 16:14
  Kearns: Ben finds a zombie.
• 16:16
  Ryan: tied up.
• 16:17
  Kearns: Tied up
• 16:18
  Ryan: leads
• 16:18
  Kearns: he leads the zombie
• 16:19
  Ryan: to Mickey's
• 16:20
  Kearns: Mickey's room
• 16:21
  Ryan: and
• 16:22
  Kearns: and lots of zombie in there with Mickey.
• 16:25
  Ryan: so Mickey
• 16:25
  Kearns: So Mickey can kill it
• 16:27
  Ryan: And
• 16:27
  Kearns: and it, I understand the scene,
• 16:30
  Ryan: but it's
• 16:30
  Kearns: but it's horrible.
• 16:31
  Take time.
• 16:32
  Ryan: I did feel
• 16:33
  Kearns: I did feel bad for Mickey.
• 16:35
  Jon: Oh, a absolutely like that is, that's one of those scenes that
• 16:39
  sort of says to Mickey Ben is a way bigger danger than the zombies I.
• 16:45
  Ryan: yeah.
• 16:46
  Kearns: Oh yeah.
• 16:47
  And I mean, Ben's just trying to make his boy like turn his
• 16:49
  boy into a man kind of thing.
• 16:51
  'cause
• 16:51
  Jon: Yeah.
• 16:51
  Kearns: to do any of the killing defending himself.
• 16:53
  He's like a child.
• 16:54
  Ryan: that's a horrible way.
• 16:56
  Kearns: I agree.
• 16:57
  I get where Ben was coming from, like, if you're gonna live through this,
• 17:00
  Jon: It was probably the only way it was gonna get him to do it.
• 17:03
  Kearns: And then Mickey got real mad.
• 17:05
  Um, so they were, the things were a little tense after that for a while.
• 17:09
  then we get with him.
• 17:12
  Yeah,
• 17:12
  Ryan: fun.
• 17:13
  Kearns: fun.
• 17:13
  Jon: Mm-hmm.
• 17:14
  Kearns: get over it, they get through it.
• 17:16
  Um,
• 17:16
  Jon: apples at each other and,
• 17:18
  Kearns: which is, Mickey was the pitcher.
• 17:20
  So, uh, catcher's got
• 17:21
  Jon: mm-hmm.
• 17:22
  Kearns: too, though.
• 17:22
  Catcher can
• 17:23
  Jon: Yeah.
• 17:23
  Kearns: a great arm.
• 17:25
  Um.
• 17:26
  Jon: Adam Cro, uh, Crom Kronheim, who played, Mickey was actually
• 17:31
  an amateur baseball player.
• 17:33
  Kearns: okay.
• 17:33
  Ryan: Oh, okay.
• 17:35
  Jon: So you get, you get a little like, because that's one of those
• 17:37
  things, if you watch enough baseball movies, it's hard to fake somebody
• 17:41
  knowing how to play baseball.
• 17:44
  Ryan: Yeah.
• 17:44
  Jon: And that sort of adds to it in those moments where they're,
• 17:47
  they're playing catch you.
• 17:49
  Like it adds to the believability that these two guys were baseball players.
• 17:54
  Kearns: did to do was throw that one good curve ball too in the
• 17:56
  open in the beginning and you were
• 17:57
  Jon: Mm-hmm.
• 17:58
  Kearns: That was a curve ball.
• 17:59
  All right.
• 18:00
  Jon: Yeah.
• 18:02
  Ryan: Let's see
• 18:02
  Kearns: cool.
• 18:02
  It does add to the believability.
• 18:04
  Yeah, the
• 18:04
  Jon: And while we're, while we're on baseball, I, I think like if you don't
• 18:09
  know baseball really well, you miss where the title of this movie comes from.
• 18:13
  They're the pitcher and catcher in baseball terms.
• 18:16
  That's the battery
• 18:18
  Kearns: Mm-hmm.
• 18:20
  Ryan: okay.
• 18:21
  I never even
• 18:21
  Jon: uhhuh.
• 18:22
  So you.
• 18:22
  Ryan: cool.
• 18:23
  Jon: So, and without knowing that, it's just, why is this called the battery?
• 18:27
  Is it because he changes batteries all the time?
• 18:30
  Ryan: Yeah,
• 18:30
  Kearns: think it's layered even like, you go into like, well, like what's, like
• 18:35
  Mickey's losing his charge kind of thing.
• 18:37
  Jon: Mm-hmm.
• 18:38
  Kearns: like, yeah, but that's, that's a reach too.
• 18:41
  But even then, I don't even know if we got the director on this and we're
• 18:44
  talking to him, be like, you know, I was really hoping somebody would
• 18:46
  get that deep that's that's a reach.
• 18:48
  That's a literature
• 18:49
  Jon: yeah, I mean, I mean there's so many that, like I found so
• 18:53
  many of these things in there.
• 18:55
  So they played for a Pittsfield, Massachusetts minor League team.
• 19:00
  Kearns: Yeah.
• 19:00
  Jon: Um,
• 19:01
  Kearns: Okay.
• 19:01
  Jon: so Pittsfield is significant to baseball history in that it's
• 19:06
  the first recorded reference to the sport being played.
• 19:10
  Kearns: Oh, neat.
• 19:12
  Jon: Yeah, so there, there was a law banning it within 80 yards
• 19:15
  of town hall, and that's the first recorded baseball thing.
• 19:21
  Kearns: Baseball.
• 19:21
  That's cool though.
• 19:21
  That's interesting.
• 19:22
  Jon: Yeah,
• 19:23
  Kearns: Pittsfield
• 19:24
  Jon: I mean, I watched the making of, and it doesn't come up that that
• 19:28
  was intentional, but it feels like it has to have been intentional.
• 19:32
  Kearns: Yeah.
• 19:32
  I mean, it might have been.
• 19:34
  Ryan: Makes
• 19:34
  Jon: mean, if you, if you're from this area, there's no shortage
• 19:37
  of minor league baseball teams,
• 19:42
  so to choose the one that has that significance.
• 19:45
  Yep.
• 19:45
  I mean, in New England, there's
• 19:48
  Kearns: a
• 19:48
  Jon: bunches of them.
• 19:53
  I am sure I could figure it out.
• 19:55
  Kearns: You might be the only one who's willing to at this point, but New England
• 20:00
  baseball is part of New England's DNA
• 20:03
  Jon: Absolutely.
• 20:04
  Kearns: mean, yeah, yeah.
• 20:06
  Baseball though, I think would predate it, wouldn't it?
• 20:09
  You
• 20:09
  Jon: Oh, absolutely.
• 20:10
  And, and there there's like a,
• 20:12
  Kearns: it's just, it's
• 20:14
  Jon: the, no, the Northeast New England like, sort of has held
• 20:18
  onto that baseball love where other parts of the country lost it.
• 20:22
  Kearns: it.
• 20:22
  Oh yeah, I
• 20:24
  Jon: You, you, because you, you have the storied franchises, you have.
• 20:28
  The red, so,
• 20:29
  Kearns: Sox and the Yankee,
• 20:30
  Jon: and like, those are big parts of the history of those cities.
• 20:37
  Kearns: Yeah, even like getting into like White Sox and things like that too.
• 20:40
  There were
• 20:40
  Jon: Mm-hmm.
• 20:41
  Mm-hmm.
• 20:42
  Kearns: There's all of these, the Dodgers and everybody all
• 20:44
  started in New Englands then brand.
• 20:45
  Then they had to plop 'em in other places as populations grew.
• 20:49
  So yeah, buddy baseball is big, so, all right.
• 20:53
  The batteries a cool idea because that is the unit on a baseball team.
• 20:58
  That's the most important part.
• 21:00
  And then we see the unit break down, and that's when they finally meet
• 21:04
  Annie, who's not a 600 pound evil giant.
• 21:07
  She's an attractive ish young lady.
• 21:12
  Ryan: only Mickey kept
• 21:13
  Jon: With a,
• 21:13
  Kearns: quiet
• 21:14
  Jon: with a bit of an evil streak.
• 21:16
  Kearns: Oh yeah.
• 21:16
  She's definitely evil.
• 21:18
  not evil, she's just, she's gotta do what she's gotta do.
• 21:21
  got no problem getting it done.
• 21:23
  Ryan: she can be
• 21:24
  Kearns: She.
• 21:24
  Ryan: while she's doing it.
• 21:25
  She had an attitude.
• 21:27
  Jon: I, I, I feel,
• 21:29
  Kearns: until they, until Mickey asked that question.
• 21:32
  Ryan: True.
• 21:33
  Kearns: True.
• 21:34
  Jon: I feel like even in that though, like her response
• 21:36
  Kearns: like her response is.
• 21:38
  Jon: so over the top.
• 21:40
  I,
• 21:40
  Kearns: It was a death sentence.
• 21:41
  Uh, I
• 21:42
  Jon: yeah.
• 21:43
  Kearns: so what she does is Mickey finally recognizes her voice.
• 21:46
  They, this guy, they, they run upon, is fleeing from the orchard.
• 21:50
  He stole one of their cars.
• 21:51
  He puts a knife to Mickey's neck, and Ben, uh, bamboozles him into thinking that he
• 21:58
  can take their car and flee to Arizona.
• 22:01
  He doesn't, the man ends up screwed Ben.
• 22:04
  Reclaims his gun and the man runs through a field and Ben chooses to kill him
• 22:08
  instead of letting him just run away, which is another interesting note.
• 22:13
  and then soon thereafter, like conveniently, soon thereafter in
• 22:17
  the same scene, another vehicle's rolling up and it's Annie and some
• 22:21
  goon, and they start chitchatting.
• 22:23
  They say, oh, this is our car.
• 22:25
  What happened to the guy?
• 22:25
  Oh, I shot him.
• 22:26
  He's out in the field and.
• 22:28
  He wasn't a good guy.
• 22:30
  Yeah, he
• 22:30
  Jon: Mm-hmm.
• 22:31
  Kearns: and say he was turned and everybody seems okay with it and
• 22:33
  then Mickey's gotta ruin everything.
• 22:36
  he asks Annie, Hey, are you Annie?
• 22:38
  Jon: He recognizes the voice,
• 22:41
  Kearns: And she
• 22:41
  Jon: he,
• 22:42
  Kearns: shoots Ben in the leg.
• 22:43
  Ryan: Yep.
• 22:44
  Jon: mm-hmm.
• 22:45
  Kearns: No care
• 22:45
  Jon: And he, it's weird too because at that point you've gone, you know, a
• 22:51
  good 20, 30 minutes of the movie without Mickey bringing up the orchard or Annie.
• 22:57
  He seems to have moved on from that concept.
• 23:00
  Kearns: And then
• 23:01
  Jon: she shows up and it's all right back there and he can't keep his mouth shut.
• 23:05
  Kearns: Right.
• 23:05
  Yeah.
• 23:06
  Ryan: He's got no
• 23:07
  Kearns: Got no control.
• 23:08
  It's the theory.
• 23:09
  Birds quickly.
• 23:10
  Ryan: Everything was
• 23:11
  Kearns: Everything's forgot
• 23:12
  Ryan: It's scary.
• 23:13
  Kearns: He's, he's, like I said, he is like a child.
• 23:15
  Ryan: Yeah.
• 23:16
  Kearns: once Annie leaves them bend, bullet and leg and they go to bed, right.
• 23:22
  They get in the
• 23:22
  Jon: And
• 23:23
  Ryan: the
• 23:23
  Jon: no, first
• 23:24
  Kearns: the keys.
• 23:25
  Jon: she throws the keys into the field
• 23:28
  Kearns: Yeah.
• 23:29
  Jon: and like they show the rest of the day and Mickey's searching the field
• 23:32
  for keys that he's never gonna find.
• 23:35
  I.
• 23:36
  Kearns: That is brutal.
• 23:37
  They tried it.
• 23:37
  Yeah.
• 23:38
  Then they go to, they go to bed and when they wake up there's, there's a
• 23:41
  hoard among like walking up on them they have to hole up in the car.
• 23:45
  And that's exactly what they do for, it doesn't say how many days, but
• 23:48
  you assume it's around 10 to 15 days.
• 23:51
  They're in that car
• 23:52
  Ryan: They're
• 23:52
  Jon: It is a good number of days.
• 23:54
  Kearns: Yeah.
• 23:55
  Ryan: tuna
• 23:55
  Kearns: the tuna can.
• 23:56
  Ryan: the corn cans.
• 23:57
  And I'm
• 23:58
  Kearns: Yeah.
• 23:58
  Ryan: I was gagging at that scene 'cause I was like, Jesus, I mean, you
• 24:02
  Kearns: I mean, you gotta survive, but, oh, come on.
• 24:04
  Oh, the
• 24:04
  Jon: You.
• 24:05
  You want another?
• 24:05
  You want another gag?
• 24:07
  Gag on that scene?
• 24:08
  Kearns: What's
• 24:09
  Jon: The piss jug.
• 24:10
  Ryan: Yeah,
• 24:11
  Kearns: yeah.
• 24:12
  Ryan: wasn't it.
• 24:13
  Jon: Real piss.
• 24:14
  Kearns: No way.
• 24:15
  Jon: Yep.
• 24:16
  Kearns: Why would he do that?
• 24:19
  Ryan: That's real
• 24:20
  Kearns: That's acting.
• 24:20
  Ryan: method
• 24:21
  Kearns: I mean, it's, you don't need to go that hard.
• 24:23
  You don't need to go that hard.
• 24:25
  No,
• 24:26
  Jon: And apparently the, the biggest issue in filming that
• 24:29
  scene was Mickey's feet stunk.
• 24:32
  Kearns: I bet they did it.
• 24:33
  You could feel how humid that car was.
• 24:36
  Jon: Mm-hmm.
• 24:36
  Kearns: Mm-hmm.
• 24:37
  So I think they mentioned the feet stinking.
• 24:39
  Jon: That was real.
• 24:40
  Kearns: was real.
• 24:41
  Yeah.
• 24:42
  They mentioned the feet stinking.
• 24:43
  Um, Mickey ends up finally they decide Mickey's gotta go back and run.
• 24:46
  He's gotta get outta the car and run.
• 24:48
  there's this really wacky sunroof in the vehicle, so they use a hand crank
• 24:52
  to open it up, which is kind of cool.
• 24:54
  he climbs out, goes looking, and then it takes, and they just, they show
• 24:57
  Ben, like, milling around in the car.
• 24:59
  I think it's all, all the
• 25:00
  Jon: Mm-hmm.
• 25:02
  Kearns: there's no cut.
• 25:03
  Um, it takes like a few minutes and then Mickey does return and he's bit
• 25:08
  and has nothing else going for him.
• 25:10
  Ryan: was a
• 25:11
  Kearns: that was a great scene.
• 25:12
  Oh, it was good.
• 25:13
  Ryan: tense, and it's just like that
• 25:15
  Kearns: Like that back and forth.
• 25:16
  Ryan: bit, and he's like, I'm
• 25:17
  Kearns: And he's like, I'm gonna have to kill you.
• 25:18
  And he's like, does he ever say it?
• 25:20
  I don't remember if he said it.
• 25:21
  Yeah, he did say it he has to kill him.
• 25:24
  Ryan: Well all yeah.
• 25:25
  He's like, I'm sorry, and, and he
• 25:28
  Kearns: He
• 25:28
  Ryan: trigger.
• 25:29
  Kearns: trigger.
• 25:30
  Jon: I don't, yeah, I don't know if he straight out says,
• 25:32
  I have to kill you so much as.
• 25:34
  Kearns: as
• 25:34
  Jon: It's like one of those things where it's, you know what I have to do
• 25:38
  Ryan: Yeah.
• 25:39
  Kearns: And then there goes and he shoots Mickey in the head in the car.
• 25:43
  And that's brutal.
• 25:44
  It's not like
• 25:44
  Jon: and
• 25:45
  Kearns: 'cause they're best friends.
• 25:46
  It's kind of brutal.
• 25:46
  'cause they're not,
• 25:47
  Jon: mm-hmm.
• 25:48
  Kearns: know how to describe it.
• 25:49
  It, it leaves you feeling a little empty.
• 25:51
  Jon: Mm-hmm.
• 25:52
  And how seemingly easy it was for Ben to do it.
• 25:56
  Mm-hmm.
• 25:56
  Kearns: yeah.
• 25:56
  He's very logical with it.
• 25:58
  Just
• 25:58
  Jon: Yeah.
• 25:59
  Kearns: bit bullet done.
• 26:01
  Plus, there's a few things in it that are not really flushed out.
• 26:04
  Ben has a bullet in his leg.
• 26:06
  They don't discuss whether or not it went all the way through or anything like that.
• 26:10
  They don't discuss the bleeding.
• 26:11
  They show him, changes his bandage once, but then never show
• 26:14
  Jon: Mm-hmm.
• 26:14
  Kearns: off.
• 26:16
  is still a, a, you can still get.
• 26:18
  Infections.
• 26:19
  These are not like, you don't just get shot.
• 26:21
  So they kind of do the same thing they do with the endless
• 26:23
  bag and the endless ammunition.
• 26:25
  They just ignore that.
• 26:26
  Like, oh, this is just a thing that got us stuck in the car.
• 26:30
  we're not gonna talk about gangrene or anything.
• 26:33
  Jon: No.
• 26:34
  Kearns: And so at, after Ben kills Mickey, he decides up through the
• 26:38
  sunroof and try to find the keys as well, or just get away and you see him.
• 26:43
  At the end, limping ahead of the hoards.
• 26:45
  Presumably he
• 26:46
  Jon: Mm-hmm.
• 26:47
  Mm-hmm.
• 26:49
  Kearns: and got there.
• 26:50
  So
• 26:50
  Jon: So while they're stuck in the car, at one point they were discussing, I. A plan.
• 26:55
  And it was the plan they had used to escape the house they were trapped in.
• 26:59
  And essentially it was let's open doors and let them come in and
• 27:04
  then we'll go out another way
• 27:06
  Kearns: Yeah.
• 27:07
  Jon: they're all piling in this one way.
• 27:09
  And Ben and Mickey had determined in the car wouldn't work, but well, after Mickey
• 27:16
  is dead, that's what Ben does, he pops the trunk and he goes out the sunroof.
• 27:21
  Kearns: Yeah.
• 27:22
  Jon: And it gives him, like he limping.
• 27:24
  It doesn't give him a huge headstart, but it gives him enough that they're slow.
• 27:29
  He's gonna stay ahead of them.
• 27:31
  Kearns: And the thing about it is it wouldn't have worked for Mickey
• 27:33
  because Ben was still in the car.
• 27:36
  Jon: Mm-hmm.
• 27:36
  Kearns: out with Mickey,
• 27:37
  Jon: Yeah.
• 27:37
  Kearns: worked, but Ben stays in the car.
• 27:39
  Mickey
• 27:39
  Jon: Yeah.
• 27:40
  Kearns: for the keys.
• 27:41
  So that's really what kills him.
• 27:42
  Jon: Mm-hmm.
• 27:43
  Kearns: like Ben's need to survive, sort of kills Mickey, which
• 27:45
  is another interesting thing.
• 27:47
  Jon: Mm-hmm.
• 27:48
  Ryan: gonna
• 27:48
  Kearns: Yeah.
• 27:49
  Say
• 27:49
  Ryan: they talk about
• 27:50
  Kearns: they talk about this plan, right?
• 27:52
  Ryan: then he's
• 27:52
  Kearns: And then he's like, Hey, Mickey, could we try to find the keys?
• 27:55
  Jon: Mm-hmm.
• 27:56
  Ryan: sent 'em
• 27:56
  Kearns: Maybe he sent him up the entire time.
• 27:58
  It's possible.
• 27:59
  Ben is very
• 28:00
  Jon: Uh,
• 28:00
  Kearns: We figured that
• 28:01
  Jon: mm-hmm.
• 28:02
  Ryan: Yeah.
• 28:02
  Jon: Well, the, the thing that they sort of miss in that moment is.
• 28:06
  Mickey being healthy enough to run still could have led them, led the,
• 28:12
  the mini hoard away from the car for long enough to, for Ben to get out and,
• 28:17
  you know, make their getaway together.
• 28:19
  Kearns: Oh, that's smart too.
• 28:21
  Yeah.
• 28:21
  Good point.
• 28:22
  Ryan: that could have worked.
• 28:23
  Kearns: Work.
• 28:23
  Mm-hmm.
• 28:24
  I think
• 28:24
  Ryan: Ben
• 28:25
  Kearns: Ben kind of went into survival
• 28:26
  Ryan: and focused on
• 28:28
  Kearns: focused on
• 28:29
  Ryan: he kinda
• 28:30
  Kearns: he kind of is trying to
• 28:31
  Ryan: Mickey's
• 28:32
  cause he's leading
• 28:33
  Kearns: he's leading that board to Annie and No Orchard.
• 28:36
  Jon: That's what I like to believe.
• 28:38
  I like to believe that he gets outta that car and he hunts down the orchard.
• 28:43
  Kearns: Yeah.
• 28:44
  He and I, you would hope, part of me thinks he might not, though
• 28:47
  he was very practical and it, I
• 28:49
  Jon: Mm-hmm.
• 28:49
  Kearns: vengeance driven either.
• 28:50
  He didn't, I mean, Mickey was his par partner, but he wasn't his family.
• 28:55
  He wasn't his friend.
• 28:55
  He didn't have love
• 28:56
  Jon: Mm-hmm.
• 28:57
  Kearns: Uh, I
• 28:58
  Jon: And it,
• 28:58
  Kearns: I don't think he did
• 28:59
  Jon: it's, it's, it's interesting because Mickey, they talk about
• 29:03
  connections before the apocalypse Ben, that really doesn't come up much.
• 29:09
  Kearns: Yeah.
• 29:10
  Jon: get the impression that Ben hung out with people, but not so much as friends
• 29:15
  or anything, just entertainment maybe.
• 29:19
  Kearns: Yeah.
• 29:19
  there's a cool little scene where Ben listens to some
• 29:22
  of Mickey's music, the car.
• 29:24
  The music itself is pretty cool.
• 29:26
  Where did they sample that from?
• 29:27
  'cause they definitely highlight it.
• 29:29
  Is there significance to the music at all?
• 29:32
  Jon: I don't think so.
• 29:33
  I think they, but they did get, um, I forget which one of the songs was recorded
• 29:38
  specially for the, for the movie and then rerecorded because it didn't come
• 29:44
  out how Jeremy Gardner wanted it to.
• 29:46
  Kearns: Oh really?
• 29:46
  Ryan: Okay.
• 29:47
  Kearns: That's kind of cool.
• 29:47
  Jon: Like he, I guess the original version that they had recorded was
• 29:51
  kinda electric and upbeat almost.
• 29:55
  And he wanted, you know, the acoustic sort of downbeat version.
• 30:01
  And they went back and re rerecorded it.
• 30:03
  Kearns: Mm. All right.
• 30:06
  So that's pretty cool too.
• 30:07
  Ryan: I
• 30:07
  Kearns: I was gonna say, I feel like upbeat would've
• 30:09
  ruined the Yeah, absolutely.
• 30:10
  Unless they were being ironic about it, like Juno a little bit with
• 30:14
  the way they were using the music.
• 30:16
  Ryan: Oh.
• 30:16
  Kearns: Um, especially at the beginning, beginning scene
• 30:18
  felt like Juno to me so hard.
• 30:20
  Um, but.
• 30:23
  it was just good.
• 30:24
  It just humanizes him a little bit too.
• 30:26
  Just this kid getting lost in his beats kind of
• 30:29
  Jon: Mm-hmm.
• 30:30
  Kearns: Um, but yeah, that's the battery.
• 30:32
  I mean, we just, we just picked it basically down to the bone.
• 30:35
  Um, it's a good
• 30:36
  Jon: Mm-hmm.
• 30:37
  Kearns: Sorry for the spoilers.
• 30:38
  They're implied at this point, but, uh, it's a good watch it,
• 30:41
  if you, wanna watch like a pretty nuance, almost indie ish, um,
• 30:47
  Jon: It's very indie.
• 30:49
  Very, so this is a $6,000 budget?
• 30:53
  Kearns: And that that comes through too.
• 30:55
  That's why we say there's no giant hoard.
• 30:57
  You have to use your
• 30:58
  Jon: Mm-hmm.
• 30:58
  Kearns: and assume the numbers are meant to be like 10
• 31:00
  times what you see on screen.
• 31:02
  My
• 31:02
  Jon: Yeah.
• 31:03
  Kearns: the boom mic guy, sister is one of the zombies and
• 31:07
  like how they go about it like
• 31:08
  Jon: Yeah.
• 31:08
  Kearns: everybody's sort of young and it feels like they're
• 31:10
  Jon: Yeah,
• 31:12
  so, and like in, in typical like zombie fashion, there's nods
• 31:17
  to Romero in the funding even.
• 31:20
  So I, when Romero was making Night of Living Dead, he asked 10
• 31:26
  friends for like $600 each to fund the Night of the Living Dead.
• 31:30
  Jeremy Gardner did the same thing as like a tribute to the Romero DIY concept.
• 31:37
  Kearns: That's cool.
• 31:38
  Jon: Yeah.
• 31:39
  Ryan: That's, that's a nice homage right there.
• 31:42
  Jon: Mm-hmm.
• 31:43
  Eh, you know, they get, they got the Volvo for $600.
• 31:48
  Kearns: I
• 31:49
  Jon: That didn't, it
• 31:50
  Kearns: fair price for that
• 31:51
  Jon: didn't,
• 31:51
  Kearns: Volvo
• 31:52
  Jon: survive The, didn't survive filming.
• 31:55
  Kearns: That's a shame actually.
• 31:57
  Jon: No.
• 31:59
  It, so in the, in the document, the making of
• 32:02
  Kearns: documentary,
• 32:02
  Jon: They're talking about how like the, the rest of the crew is talking
• 32:06
  about how they thought Jeremy Gardner was hoping that that would be his
• 32:09
  car after they finished filming
• 32:12
  Kearns: Aw.
• 32:13
  Because it's
• 32:14
  Jon: and then they just ended up, yeah,
• 32:17
  Kearns: It's
• 32:17
  Jon: it's a,
• 32:18
  Kearns: sweet vintage looking one.
• 32:19
  We're talking like National Lampoon style better.
• 32:23
  that's, I've never seen a car with a, a hand crank sunroof before.
• 32:27
  It's pretty
• 32:28
  Jon: That's old, old school.
• 32:29
  That's like the, those old European cars,
• 32:32
  Kearns: Hell yeah.
• 32:33
  Jon: those up, those top model stuff.
• 32:37
  Kearns: Yeah, it was neat stuff.
• 32:38
  yeah.
• 32:39
  Is there anything else about the movie in particular you guys are
• 32:41
  sitting on that you wanna bring out?
• 32:42
  Ryan: Now we
• 32:43
  Kearns: No, we've covered everything that I wanted to cover.
• 32:46
  I just think it's an excellent film
• 32:47
  Ryan: and
• 32:48
  Kearns: and everyone should give it a chance.
• 32:50
  Jon: Mm-hmm.
• 32:51
  Absolutely.
• 32:51
  Kearns: Yeah.
• 32:52
  Jon: And listen, there is a
• 32:55
  Kearns: really
• 32:55
  Jon: phenomenal.
• 32:57
  Physical release from Scream Factory.
• 32:59
  Highly recommend it.
• 33:01
  And then like you get outtakes and the outtakes are like complete opposite mood.
• 33:06
  There's so much fun in there.
• 33:09
  Kearns: Yeah.
• 33:09
  Jon: much fun in the outtakes and you get the making of, and it's
• 33:13
  like, it's just a good watch.
• 33:15
  Kearns: Cool, nice man.
• 33:16
  All right, well that was the battery.
• 33:19
  Uh, we're gonna roll into top fives Ryan, what do you got for us this week?
• 33:25
  Baseball, movies.
• 33:27
  Ryan: no, I
• 33:27
  Kearns: Damnit.
• 33:27
  Ryan: have, I went with actually
• 33:29
  Kearns: Actually Oh cool.
• 33:31
  Ryan: where
• 33:32
  Kearns: Where characters track.
• 33:34
  Ryan: we're gonna
• 33:34
  Kearns: And we're gonna start with
• 33:36
  Ryan: a
• 33:37
  Kearns: a Mni Shellman produced movie.
• 33:42
  Ryan: I know I
• 33:42
  Kearns: I know, I remember
• 33:43
  Ryan: up so
• 33:44
  Kearns: so badly.
• 33:45
  Ryan: but
• 33:45
  Jon: And then is moving.
• 33:47
  Ryan: and he's
• 33:48
  Kearns: and he's moving.
• 33:49
  I know.
• 33:51
  Ryan: It's
• 33:51
  Kearns: It's staying in,
• 33:52
  Jon: That's why I'm not putting, that's not why I'm, why, that's why
• 33:55
  I'm not putting him on any of my lists.
• 33:57
  I don't want to have to say his name.
• 33:59
  Kearns: his name.
• 34:00
  Ryan: well, uh, Shela D Dong.
• 34:02
  Um, movie
• 34:04
  Kearns: movie is
• 34:05
  Ryan: Devil.
• 34:06
  Kearns: De oh, they are trapped.
• 34:10
  Ryan: Yep.
• 34:11
  Kearns: My mama said when the, when the jelly side of the bread
• 34:14
  drops down, it means he's near.
• 34:16
  I turn the movie off.
• 34:17
  As soon as that happened, it was like the worst M Knight ever.
• 34:22
  Ryan: wood binds in it and I do like boem wood bind,
• 34:25
  Kearns: That's the guy who says the line, I think.
• 34:27
  sure he's the dude who says the line.
• 34:29
  like, yeah, the bad luck comes, it means he's nearby.
• 34:33
  I am just like, yeah, this is so stupid.
• 34:36
  Alright.
• 34:36
  But it is in Ryan's defense, it is a movie that involves people trapped in
• 34:41
  an elevator with presumably the devil
• 34:43
  Ryan: Yep.
• 34:44
  And the dead scenes
• 34:44
  Kearns: and the
• 34:45
  Ryan: cool.
• 34:45
  They're
• 34:45
  Kearns: cool,
• 34:46
  Ryan: especially in
• 34:47
  Kearns: especially in that trapped area.
• 34:48
  It gets tense and it's like very claustrophobic.
• 34:52
  Ryan: and you feel it
• 34:53
  Kearns: You feel it and it's like,
• 34:54
  Jon: It,
• 34:55
  Ryan: don't, I
• 34:55
  Kearns: I
• 34:56
  Jon: it's got moments.
• 34:57
  It's got some good moments.
• 35:03
  Kearns: Great.
• 35:04
  Pick.
• 35:04
  What's your fourth movie, Ryan?
• 35:08
  Ryan: Damn it.
• 35:09
  Um, my
• 35:09
  Kearns: Um, my fourth movie
• 35:11
  Ryan: by Devil.
• 35:11
  Kearns: by devil.
• 35:12
  I like that.
• 35:13
  Ryan: fourth
• 35:14
  Kearns: my fourth movie is actually cute.
• 35:16
  sweet.
• 35:17
  Ryan: from
• 35:17
  Jon: Yes.
• 35:18
  Kearns: Yeah, I was gonna say, all
• 35:19
  Jon: Yep.
• 35:20
  Ryan: seven individuals trapped in a bizarre and deadly
• 35:22
  labyrinth of cube shaped rooms.
• 35:24
  I mean, this
• 35:25
  Kearns: I mean, this is pretty
• 35:27
  Jon: Yeah.
• 35:28
  Kearns: it is.
• 35:29
  Jon: Yep.
• 35:29
  Ryan: trapped
• 35:30
  Kearns: crap going through like
• 35:32
  Ryan: puzzles and stuff.
• 35:33
  Kearns: stuff you remember the lasers,
• 35:36
  Ryan: That's the
• 35:37
  Kearns: like the special effects are so bad.
• 35:39
  Oh yeah.
• 35:39
  You're right.
• 35:40
  Ryan: the, they're horrible.
• 35:41
  Kearns: horrible.
• 35:42
  But it, that's what makes, Cube's a great watch.
• 35:45
  Ryan: well, it kind of leads into my third pick, which is
• 35:48
  the 1999, the remake of House on
• 35:51
  Kearns: of House.
• 35:52
  Oh, nice.
• 35:53
  Okay.
• 35:54
  Ryan: I do.
• 35:55
  I
• 35:55
  Kearns: They are trapped.
• 35:57
  Jon: Remake.
• 35:58
  Ryan: I do like,
• 35:58
  Kearns: I do like, I love
• 36:00
  Ryan: version,
• 36:00
  Kearns: version, but
• 36:01
  Ryan: Rush
• 36:02
  Kearns: Rush, Pam k Jan
• 36:04
  Ryan: Tay Digs,
• 36:05
  Kearns: Digs.
• 36:05
  There's another CGI Nightmare.
• 36:07
  That movie the big bad pops out and you're like, Ooh,
• 36:11
  Ryan: the Black Ghost
• 36:12
  Kearns: it's CGI.
• 36:14
  Yeah.
• 36:15
  Ryan: It's another bad
• 36:16
  Jon: is that time period though.
• 36:18
  Kearns: Yep.
• 36:19
  Like Frighteners and stuff?
• 36:21
  Jon: Mm-hmm.
• 36:23
  Like you get, there's that, that stretch from like.
• 36:26
  95 to oh five where the, where effects are just bad.
• 36:33
  Kearns: They
• 36:33
  Jon: it's, it's like,
• 36:34
  Kearns: them and they're real bad.
• 36:35
  Jon: yeah, it's, it's like a transitional period in the technology almost.
• 36:39
  And it like they just did not age well at all.
• 36:43
  Kearns: The one I bring up all the time for that, that would've held up if they
• 36:46
  just didn't screw up the UFOs so badly with the green was Independence Day.
• 36:50
  They used modeling for all of the explosion scenes and
• 36:53
  destruction of the cities.
• 36:55
  But the UFOs, the air dog fight scenes,
• 36:58
  Jon: Mm-hmm.
• 36:59
  Kearns: part of the movie, the
• 37:01
  Jon: Yeah.
• 37:02
  Kearns: is so bad.
• 37:03
  You could make better on Adobe After Effects in like 10 minutes.
• 37:05
  Now.
• 37:06
  It's
• 37:06
  Jon: Mm-hmm.
• 37:08
  Ryan: That's
• 37:08
  Kearns: That's.
• 37:09
  Ryan: I mean, it's cool, but sad at the same time because they had how much money?
• 37:15
  Jon: A lot,
• 37:17
  Ryan: I was gonna say, yeah,
• 37:17
  Jon: a lot.
• 37:18
  Ryan: but speak about a
• 37:20
  Kearns: filled in the, a lot for me,
• 37:22
  Ryan: A lot.
• 37:24
  But to speak
• 37:24
  Kearns: but to speak about a lot of money.
• 37:26
  This, uh, next movie, this company has a lot of money and they trapped their
• 37:32
  Ryan: 80,
• 37:32
  Kearns: 80, I'm sorry, foreigners,
• 37:34
  Ryan: Americans in their
• 37:35
  Kearns: in their company and.
• 37:37
  Ryan: the
• 37:37
  Kearns: Oh, I remember this.
• 37:40
  This was an interesting watch when I stumbled upon this movie.
• 37:44
  Ryan: great movie John c McGinley,
• 37:46
  Kearns: Kinley, Michael Rucker.
• 37:47
  Ryan: they're
• 37:47
  Kearns: I mean, they're in supporting roles, but they shy
• 37:51
  Ryan: always,
• 37:51
  Kearns: always,
• 37:52
  Ryan: and it's
• 37:53
  Kearns: and it's just.
• 37:54
  Ryan: terror.
• 37:54
  Kearns: Terror.
• 37:55
  Ryan: Mention
• 37:56
  Kearns: terror.
• 37:56
  It's the crowd.
• 37:57
  Terror, man.
• 37:58
  That's the, like, scariest.
• 37:59
  I mean, I don't know if mist is gonna be your number one.
• 38:01
  I hope it is, but it's, it reminds me of the mist, because of the way that the,
• 38:07
  the outside threat is threatening, but the inside threat seems more threatening.
• 38:11
  You can't trust a single person in that office after the
• 38:14
  first 10 minutes of the movie.
• 38:15
  No,
• 38:16
  Ryan: and I don't
• 38:17
  Kearns: and I don't really want, I don't wanna
• 38:18
  Ryan: anything,
• 38:19
  Kearns: anything, but I'm thinking of a lot of themes, especially the ending.
• 38:23
  Ryan: And the ending that fucked me
• 38:26
  Kearns: Fucked me up.
• 38:27
  Jon: Mm-hmm.
• 38:28
  Ryan: the
• 38:28
  Kearns: Like the mist?
• 38:29
  Yeah, like the mis.
• 38:31
  Jon: S So there was another movie that came out right about the same time
• 38:35
  with a similar premise called Mayhem
• 38:39
  Ryan: Yep,
• 38:39
  Jon: with Steven Yune.
• 38:41
  Ryan: yep.
• 38:44
  Jon: Yeah,
• 38:44
  Ryan: was
• 38:45
  Kearns: Was that good?
• 38:46
  I didn't see that one.
• 38:47
  Jon: thou is very good.
• 38:48
  Also
• 38:49
  Ryan: Okay.
• 38:49
  Jon: recommended.
• 38:50
  Kearns: recognize you guys see, speaking of trap, did you see Sweet Home?
• 38:53
  The the Korean movie subtitles only?
• 38:55
  It might be dubbed, but don't watch the dub.
• 38:57
  subtitled on Netflix Flew or everybody's radar.
• 39:01
  I think you guys should give it a shot for the special effects.
• 39:05
  You're gonna be impressed by this limited series budget.
• 39:08
  Well, actually it's not limited series 'cause they did do a season two based
• 39:11
  on the success Effects of the costuming of the monsters are phenomenal.
• 39:17
  And it's basically like a zombie outbreak, but instead of zombies, everybody turns
• 39:20
  into their own unique monstrosity, is
• 39:24
  Jon: Nice.
• 39:24
  Kearns: And they're all stuck in an office or in an apartment building like stole.
• 39:29
  Yeah, it's called Sweet Home.
• 39:31
  I think you guys will dig it.
• 39:33
  Ryan: I'm
• 39:33
  Kearns: give it a
• 39:34
  Jon: Alright.
• 39:34
  Kearns: too.
• 39:34
  It's a, it's, um, a kind of a breakout, one for the creator and it, it
• 39:38
  breaks out they don't, but it does.
• 39:43
  Ryan: This is a kind of good
• 39:44
  Kearns: Kind of
• 39:45
  Ryan: 'cause we're speaking about
• 39:46
  Kearns: different types of monsters and stuff.
• 39:48
  Ryan: movie
• 39:49
  Kearns: movie is not the Mist,
• 39:51
  Ryan: actually
• 39:51
  Kearns: it's actually cabin in the woods.
• 39:53
  Ah, it's a good one too,
• 39:54
  Ryan: they're
• 39:55
  Kearns: because they're technically trapped across the bridge.
• 39:57
  They're trapped in that little island.
• 40:00
  Ryan: know,
• 40:00
  Kearns: you didn't, you didn't make a believer out of the
• 40:01
  big guy in the middle there.
• 40:03
  He's giving you the little head wobble.
• 40:06
  Yeah, and they release all the, the creepy crawlies.
• 40:09
  Ryan: admit, I know
• 40:09
  Jon: I love
• 40:11
  Ryan: is a long stretch for
• 40:12
  Kearns: A long stretch for 4th of July.
• 40:13
  I'll finally end up.
• 40:15
  Ryan: cab in the woods, as it says, number one, all right.
• 40:18
  Kearns: I find that, I think, I think that one is a better choice,
• 40:21
  but I'm gonna keep my mouth shut.
• 40:22
  I like all your choices, man.
• 40:24
  like your
• 40:25
  Jon: like,
• 40:25
  Kearns: They're very Ryan.
• 40:27
  Jon: so like the last 20, 25 minutes of cabin in the woods.
• 40:31
  I really like.
• 40:33
  Ryan: Okay.
• 40:34
  Jon: the hour plus before it.
• 40:36
  I don't so much.
• 40:39
  Kearns: Too much Hemsworth.
• 40:41
  Jon: I, I don't like, it's just,
• 40:44
  Kearns: Yeah, too
• 40:45
  Jon: I don't know what it was.
• 40:46
  There's, but I've watched it a bunch of times and it just,
• 40:49
  I doesn't connect with me.
• 40:52
  Kearns: It doesn't connect as a horror movie.
• 40:53
  It connects as a can't be action film to me.
• 40:56
  Jon: Yeah.
• 40:56
  Kearns: elrich with it, or, um, cosmic with it, I should say, the great old ones.
• 41:02
  And it's a sac and that's cool.
• 41:03
  I dig that.
• 41:04
  But I wanna see.
• 41:06
  wanna see the second one when that
• 41:08
  Ryan: I want,
• 41:09
  Kearns: presumably I wanna watch the earth get burned for what?
• 41:11
  What happened?
• 41:13
  Ryan: wanna see a
• 41:13
  Jon: Yeah.
• 41:15
  Kearns: That'd be cool too.
• 41:16
  Anything.
• 41:16
  I want more story.
• 41:17
  Give me more
• 41:18
  Ryan: I
• 41:18
  Kearns: like that.
• 41:19
  Shit's cool.
• 41:20
  Ryan: allude to so much.
• 41:21
  They allude to with evil Dead.
• 41:23
  There's a lot of homage.
• 41:24
  Kearns: Homages,
• 41:24
  Ryan: uh uh, evil
• 41:26
  Kearns: uh, evil.
• 41:27
  Dead hell.
• 41:29
  Ryan: um, mermaid.
• 41:33
  Kearns: Mer Merman.
• 41:34
  Don't forget a merman.
• 41:35
  I like that part too, where they have to like figure out
• 41:37
  what's gonna happen with them.
• 41:39
  cabin fever would be a good trapped one too.
• 41:42
  Then he gets honey trapped into like ending vd.
• 41:47
  Ryan: That would've been
• 41:47
  Kearns: Uh, Sean from Boy Meets World makes a bad choice with
• 41:51
  a good looking lady when you do not wanna be touching skin.
• 41:54
  He touches some skin.
• 41:56
  Ryan: Yeah, he does.
• 41:57
  Kearns: I, I bet you eight outta 10 guys, four outta five dudes
• 42:00
  are falling into that trap.
• 42:01
  But not, me.
• 42:03
  I don't dare how much Listerine's laying around.
• 42:05
  I'm not doing it.
• 42:07
  the most memorable part of the movie.
• 42:08
  I don't remember anything else about the movie except for him
• 42:10
  pouring Listerine on his junk.
• 42:14
  But they are trapped in cabin fever, right.
• 42:16
  Jon: Mm-hmm.
• 42:17
  Yeah.
• 42:18
  Kearns: a lot of people are Trent,
• 42:19
  Ryan: they isolate
• 42:20
  Kearns: isolate themselves
• 42:21
  Ryan: film
• 42:21
  Kearns: entire film as their skin
• 42:23
  Ryan: off.
• 42:23
  I'm just thinking of the bathtub scene.
• 42:26
  Kearns: Yeah.
• 42:27
  That's so hard to watch.
• 42:28
  Uh, all right.
• 42:28
  John's top five.
• 42:30
  That was a good one, Ryan.
• 42:31
  That was a good one.
• 42:31
  I don't wanna think about that anymore.
• 42:32
  John's stop.
• 42:33
  Five.
• 42:35
  Jon: So I went close to what you wanted.
• 42:37
  I went five sports movies,
• 42:40
  Kearns: okay.
• 42:40
  That is close
• 42:42
  Jon: five sports horror, and like I,
• 42:47
  Ryan: Major leak.
• 42:48
  Jon: I went, I went very b
• 42:50
  Kearns: Mm,
• 42:52
  Jon: very unknown ish.
• 42:56
  Kearns: Okay.
• 42:57
  Ryan: Okay.
• 42:57
  Kearns: I mean,
• 42:57
  Jon: So.
• 42:58
  Kearns: you'd have to, I can't think of a single hor, uh, sports-based horror movie.
• 43:02
  That's true.
• 43:02
  Horror
• 43:03
  Jon: Mm-hmm.
• 43:04
  Kearns: the Running Man might be one, but maybe
• 43:07
  Jon: I, I stretched sport a little bit, you'll see.
• 43:10
  Kearns: like the
• 43:11
  Jon: 'cause there are definitely,
• 43:11
  Kearns: be
• 43:12
  Jon: there are definitely things on here that I
• 43:14
  Kearns: I
• 43:14
  Jon: don't necessarily consider a sport,
• 43:17
  Kearns: Okay.
• 43:17
  But
• 43:18
  Jon: my number five fatal games.
• 43:22
  Ryan: Okay.
• 43:22
  Kearns: Never heard of.
• 43:24
  Jon: Nope.
• 43:25
  Athletes at an elite sports training academy are being killed by Javelins.
• 43:30
  Kearns: jalin wheat.
• 43:31
  Ryan: curious.
• 43:32
  Jon: The surviving athletes must team up to track down the killer.
• 43:37
  Kearns: that's a good alpha to have right there, the most elite,
• 43:39
  dangerous athletes to JA and thrower.
• 43:45
  Jon: Yeah, man.
• 43:46
  Kearns: It's
• 43:46
  Jon: And like you, you get a little PD subplot, a little romance, and
• 43:54
  Ryan: Okay,
• 43:55
  Jon: of dead athletes.
• 43:56
  Kearns: I mean, I love it.
• 43:58
  I love it.
• 43:59
  Jon: so my number four gutter balls,
• 44:04
  Kearns: is this like kingpin, but better.
• 44:08
  Jon: um, it's like in, in with a psycho killer and
• 44:14
  Kearns: So
• 44:14
  Jon: some soft core level
• 44:18
  Kearns: P word.
• 44:19
  Jon: adult scenes.
• 44:20
  Kearns: Yeah, that'll work.
• 44:22
  Um, I mean, those are my two favorite things.
• 44:25
  Bowling and soft core level P words.
• 44:27
  Ryan: Oh, that.
• 44:28
  Kearns: let's, let's go, let's go gutter
• 44:30
  Jon: Gutter balls.
• 44:31
  Midnight bowling alley goes straight into the gutter.
• 44:35
  When an deranged killer starts to off people in the most gory ways, no one will
• 44:40
  be spared if they can't stop this maniac.
• 44:43
  Kearns: what's gonna be great about this movie too, because if it's so
• 44:46
  raunchy, fact that they were like, you know, we need in this movie that takes
• 44:50
  place exclusively in a bowling alley, you know, we need Alice lots of sex.
• 44:56
  'cause people totally bone and bowling alleys everywhere.
• 44:59
  I think the least, least arousing place might be a
• 45:02
  Jon: yeah, there are.
• 45:03
  I was gonna say, there are very, very few places in the world that are less
• 45:08
  sexually exciting than a bowling alley.
• 45:11
  Kearns: I can smell a bowling alley right now and like the memory of all the bowling
• 45:14
  alleys I've ever been in, I smell it.
• 45:16
  the
• 45:17
  Jon: Yeah.
• 45:18
  Kearns: ashtray.
• 45:19
  Jon: Yep.
• 45:20
  And, and I, I, I'm sorry, you're, you're not gonna get me going while
• 45:24
  I'm wearing somebody else's shoes.
• 45:27
  Kearns: Yeah.
• 45:27
  Fair, fair.
• 45:29
  Ryan: it's true.
• 45:30
  Kearns: Were these the last guy's shoes?
• 45:33
  Jon: Who do you, do everybody in these shoes?
• 45:36
  Kearns: Yeah,
• 45:37
  Jon: Are you just attracted to the shoes?
• 45:39
  Kearns: only goes for the 11 and a halfs.
• 45:43
  All right.
• 45:44
  Gutter balls.
• 45:44
  This good all around except for that little twist.
• 45:49
  But the big Lebowski is the Horniest thing about bowling alley.
• 45:52
  That's it.
• 45:53
  Jon: Yeah,
• 45:54
  Kearns: He's the dude.
• 45:55
  Jon: yeah.
• 45:56
  Kearns: the swag.
• 45:58
  Jon: Yep.
• 46:00
  So my number three iced
• 46:04
  Kearns: Hockey or figure skating.
• 46:07
  Ryan: I'm hoping
• 46:08
  Kearns: I'm hoping figure skating right now.
• 46:10
  Ryan: damn.
• 46:10
  Jon: Neither.
• 46:12
  Kearns: Neither
• 46:13
  Jon: So years after their friend dies in a skiing fall while trying to impress
• 46:18
  a woman, a group of young adults are invited to the opening of a ski resort.
• 46:24
  Things go downhill as an old nemesis returns.
• 46:29
  Kearns: Ooh, I'm digging it.
• 46:31
  Ice skating downhill.
• 46:32
  You say
• 46:34
  Jon: Super low budget, recently lovingly released and restored by vinegar syndrome.
• 46:41
  Kearns: Okay.
• 46:43
  Jon: It definitely, like
• 46:45
  Kearns: like they do
• 46:45
  Jon: they do with everything.
• 46:47
  They make these movies that nobody's ever seen, that nobody really cares,
• 46:53
  Kearns: Care
• 46:53
  Jon: would care a whole lot about.
• 46:54
  They make them so beautiful and they're so much fun to watch.
• 46:58
  Kearns: Cool.
• 46:59
  That's vinegar syndrome.
• 47:00
  That's what they do.
• 47:01
  Ryan: Yep.
• 47:02
  Jon: Yeah,
• 47:02
  Kearns: We're gonna have to start a policy where you explain the I am the idiot.
• 47:06
  Your job is to explain these things to the idiot.
• 47:09
  So everybody who's idiot or not picks it up picks it up too.
• 47:13
  So vinegar
• 47:14
  Jon: and I mean, listen, if, if you wanna visit one of
• 47:17
  Connecticut's, not so pretty cities.
• 47:20
  Bridgeport
• 47:21
  Kearns: the
• 47:21
  Jon: Vinegar Syndrome has,
• 47:24
  Kearns: That's the
• 47:25
  Jon: vinegar syndrome, has a physical store.
• 47:28
  Ryan: And
• 47:28
  Kearns: cool in Bridgeport.
• 47:30
  What
• 47:30
  Jon: Yeah.
• 47:30
  Yeah.
• 47:30
  Kearns: they thinking?
• 47:32
  Bridgeport.
• 47:33
  Jon: in burned out Bridgeport.
• 47:35
  Ryan: Oh
• 47:35
  Kearns: Yeah, I was gonna say
• 47:36
  Jon: I, I go on a semi-regular basis.
• 47:38
  Kearns: That's wild.
• 47:39
  The
• 47:39
  Jon: Uh,
• 47:40
  Kearns: out
• 47:40
  Jon: this is the, this is the, this is like the, the dystopian
• 47:44
  part of Bridgeport where you like, this is the only thing that's open.
• 47:49
  Kearns: there's no rent.
• 47:50
  You just have to get there alive.
• 47:52
  Jon: Yeah.
• 47:53
  Kearns: like it.
• 47:54
  Every day to go to work.
• 47:55
  Jon: There's.
• 47:57
  Kearns: I
• 47:57
  Jon: Yeah.
• 47:58
  Kearns: so guys, there's a lot of like, um, defunct factories and warehouse
• 48:04
  space style stuff in New England cities, particularly in ones like Bridgeport.
• 48:08
  I. where just certain things like tactile mills and stuff that just aren't in
• 48:14
  these areas anymore because they can't dump all their shit into the rivers.
• 48:17
  The EPA put a stop to that.
• 48:19
  We'll see that come back soon, but I digress.
• 48:22
  So like that stuff, New York State is filled with stuff like that.
• 48:25
  There's towns that were all centered around cheese factories and stuff.
• 48:29
  Factory goes under.
• 48:31
  There's no way to make money in the towns, so you just have these populations of like
• 48:35
  10,000 people with nothing for income.
• 48:37
  Um, so that's what they're describing.
• 48:39
  Imagine like a bombed out area with no money.
• 48:42
  skittering drug addicts here and there, and that's, that's the area of Bridgeport.
• 48:46
  There are nice spots at Bridgeport, just not many,
• 48:50
  Jon: Well, it's like a lot of the towns along the, the Hudson River,
• 48:54
  they, the closer you are to the river or in Bridgeport's case to
• 48:59
  the sound that you are, the more work they've done to make it nicer.
• 49:03
  Kearns: Yeah.
• 49:03
  The waterfront areas are really, really sweet.
• 49:06
  There's still, I remember thinking to myself, I don't want to dox us, but the
• 49:10
  towns, some of the towns that we live near where there is cheap real estate by the
• 49:14
  river still, I'm wondering how the hell anybody with money hasn't already scooped
• 49:18
  it up and started restoring it because it's gonna be multiple millions of dollars
• 49:22
  Ryan: Not
• 49:22
  Jon: Yeah.
• 49:23
  Oh yeah.
• 49:24
  Ryan: Not
• 49:25
  Jon: Oh yeah.
• 49:25
  Ryan: There will be.
• 49:26
  Kearns: Any who, um, what's the, what are we on number 20?
• 49:29
  What is that?
• 49:30
  Three?
• 49:31
  Jon: That was three.
• 49:32
  Number two is blades.
• 49:36
  Ryan: Of glory.
• 49:37
  Kearns: Glory.
• 49:38
  I knew it was coming.
• 49:40
  Jon: Nope.
• 49:41
  And not
• 49:42
  Kearns: Wesley
• 49:43
  Jon: Snipes.
• 49:44
  Nope.
• 49:45
  Kearns: Oh, okay.
• 49:46
  Jon: Nope.
• 49:46
  Kearns: It's
• 49:47
  Jon: So, in Blades, oh, you're gonna love this one.
• 49:54
  You're gonna love this one.
• 49:55
  Kearns: Okay.
• 49:56
  Jon: Telling you a runaway killer lawnmower plagues a golf course as it
• 50:01
  prepares to host a televised event.
• 50:04
  Ryan: Is Bill
• 50:05
  Jon: Three survivors, three survivors must stop the lawnmower before it
• 50:09
  drives through the competition.
• 50:11
  Kearns: it's a prequel,
• 50:13
  Jon: Yes, it's
• 50:14
  Kearns: prequel.
• 50:16
  Jon: yes.
• 50:17
  Prequel to Caddy Shack.
• 50:19
  Kearns: Yeah, there it is.
• 50:20
  I mean, blades, indeed.
• 50:22
  There's more than one.
• 50:23
  That's cool.
• 50:24
  That's how Chubs really lost his hand.
• 50:26
  Jon: Actually, that's also a vinegar syndrome release.
• 50:29
  Kearns: I mean, it sounds like most of these are going to be Um,
• 50:33
  Jon: Um, yeah,
• 50:36
  Ryan: of are good.
• 50:36
  Jon: no, they, I mean, they have some contracts with major studios.
• 50:40
  They put out Roadhouse.
• 50:44
  Kearns: The original,
• 50:46
  Jon: Yeah,
• 50:47
  Kearns: Oh, good.
• 50:47
  Okay.
• 50:48
  Jon: The, they did the prophecy, uh,
• 50:51
  Kearns: vinegar
• 50:52
  Jon: got
• 50:52
  Kearns: did the
• 50:52
  Jon: Congo.
• 50:54
  Kearns: the original release of it.
• 50:56
  Jon: yep.
• 50:56
  Yep.
• 50:57
  Kearns: All three.
• 50:57
  What?
• 50:58
  Jon: Yep.
• 50:59
  They did Congo.
• 51:00
  Kearns: we have no aragorn.
• 51:03
  The, yeah, Congo was a hot mess, but
• 51:05
  Jon: Mm-hmm.
• 51:06
  Kearns: hot mess.
• 51:06
  We own that.
• 51:08
  The book is way
• 51:08
  Jon: Yep,
• 51:09
  Kearns: the movie, by the way.
• 51:10
  The
• 51:10
  Jon: sure.
• 51:10
  And they usually are
• 51:12
  Kearns: It's Creighton too, which is good.
• 51:13
  Creighton, but anywho.
• 51:17
  All right.
• 51:17
  Getting to number one.
• 51:18
  Zeroing in
• 51:21
  Jon: number one sorority babes in the slime ball bowl Orama.
• 51:27
  Ryan: All
• 51:27
  Kearns: Another bowling movie
• 51:29
  Jon: Yep.
• 51:30
  Bowling did well on this list.
• 51:32
  I don't think it's a sport, but bowling did well on this list.
• 51:35
  Kearns: It's like billiards too.
• 51:38
  I don't know if that's a sport.
• 51:40
  Jon: It's an activity.
• 51:42
  Ryan: Yeah, I
• 51:43
  Kearns: We're gonna
• 51:43
  Jon: An activity.
• 51:44
  Kearns: from Bridgeport specifically about
• 51:46
  Jon: I mean,
• 51:48
  Ryan: how dare you?
• 51:49
  Jon: if it doesn't cause your heart rate to to go up, it's not a sport.
• 51:55
  Kearns: fair.
• 51:55
  That means that puts the bed badminton then, though, that's one of the most
• 51:58
  strenuous activities a human can perform.
• 52:01
  Jon: It's a sport.
• 52:02
  Kearns: It's a,
• 52:03
  Jon: It's a sport.
• 52:04
  Kearns: Um,
• 52:05
  Jon: for those who have not seen sorority babes in the slime ball bowl, orama,
• 52:09
  Kearns: All of
• 52:09
  Jon: uh, sorority pledges and some male friends break into a bowling alley to
• 52:14
  steal a trophy as an initiation rite.
• 52:16
  Kearns: That's pretty
• 52:17
  Jon: They also unleash Uncle Mpy, who grants them wishes with a striking twist.
• 52:24
  Kearns: Pretty sweet right there.
• 52:28
  Jon: Uncle
• 52:29
  Kearns: pretty
• 52:29
  Jon: Py.
• 52:29
  Kearns: So one of the, there's basically a fairy, an elf of sorts.
• 52:34
  That's pretty sweet.
• 52:35
  All right.
• 52:35
  Cool.
• 52:36
  Jon: He's sort of a genie, sort of a.
• 52:38
  Kearns: yeah, a little gin that's got that's got me intrigued.
• 52:41
  I might have to, the title does not bring you there at all.
• 52:46
  awesome.
• 52:47
  But All right guys, that's the top five.
• 52:49
  And that was the Battery, um, one of the, shockingly, one of the episodes
• 52:53
  where we actually stuck to the movie for the entirety of it, I think.
• 52:56
  Jon: We really did.
• 52:58
  Ryan: Yeah,
• 52:58
  Kearns: Yeah.
• 52:58
  So I, I dunno if that's gonna make it better or worse, but
• 53:02
  you let us know in the comments
• 53:04
  Jon: It's a change.
• 53:05
  Kearns: like an, like an a scribe.
• 53:08
  Ryan: like and subscribe.
• 53:10
  Kearns: Subscribe.
• 53:10
  Yeah.
• 53:10
  Like, and subscribe.
• 53:11
  But anyway, um, yeah guys, thanks a lot.
• 53:14
  We'll see you next time.
• 53:15
  Right.
• 53:16
  Ryan: Have a good one guys.
• 53:16
  Kearns: Have a good one, guys.