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IT CAME FROM SCREAMBOX: The Beyond! · WASD and Beyond

0:22
I shouldn't say he I don't want to let him ruin what was a great
0:26
afternoon evening because we watched the Artemis 2 launch,
0:30
which. Was great time Landon.
0:32
An incredible yeah, Landon watched it.
0:35
He he didn't seem very yeah, he didn't seem very enthused sort
0:39
of attention span on that boy. But the rest of us, I mean, we
0:42
watched it. It was honestly, it was kind of
0:44
an emotional thing. I was like, wow, this is, you
0:48
know, a lot of my and our generations grew up.
0:51
Every time we saw something historic, it was usually
0:54
something terrible. It was bad and.
0:56
This feels like one of the first times in my memory that I can
1:00
remember, like seeing something that is historic for humanity.
1:07
Kind of like everybody stood together when that was happening
1:10
on thumbs up. Nice.
1:13
All right, cool. It's all this chilled.
1:15
Look at this. Yeah, I, I just hope it doesn't
1:17
get overshadowed because we need good things.
1:20
We need, we need to, we need to see good things.
1:23
We need to know that they're happening because.
1:26
People need to be able to breathe again.
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Is what it is. So fucked in this hellscape of a
1:33
world. Oh, you know what's even more
1:36
fucked than shit in this hellscape of a world?
1:38
Oh, oh, the movie that we are talking about on it came from
1:44
Screenbox. Welcome back everybody.
1:46
We're host Nick and Noah. Alex taking a bow this week.
1:50
He's not feeling well. Get better buddy.
1:53
Before we get into it, we are sponsored by Screenbox and Final
1:57
boss and Doc logging. Go check
1:58
themoutdownbelowemailswasdbyond@gmail.com If you want to talk about this
2:03
movie with us or if you want us to watch a movie of your
2:05
suggestion, let us know. Emails are open.
2:08
We read them if they come in, so hit us up check us out on
2:13
YouTube, Spotify, Apple, all that stuff.
2:15
I'm getting back on posting on YouTube.
2:18
Sorry about the weird little hiatus there getting back to it,
2:21
editing everything, getting things uploaded.
2:23
So like follow, subscribe there We are uploading our Lloyd
2:27
Kaufman episode not this week, but next week.
2:32
Let's do it next week. That's a good time give you guys
2:35
some awesome exposure and joy to that interview.
2:39
So get ready for that. But now let's discuss the movie
2:43
that Mister Noah chose. Noah lead the way.
2:47
This week I picked the The Beyond from 1981, which is
2:53
directed by Lucio Fulci. How do you say it, Fulci, when
3:02
this movie centers on a woman who inherited abandoned mansion
3:07
slash hotel in Louisiana that was the site of many a gruesome
3:11
murders. And the mansion hotel is rumored
3:17
to be something of a gateway to hell.
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And that's what the whole movie is focused around.
3:21
This is the second film in a trilogy, the Gates of Hell
3:25
trilogy, along with city of the living dead and housed by the
3:29
cemetery. And this is this is two of
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three. So it's right in the middle of
3:32
those two. This is a movie made by an
3:35
Italian filmmaker who spoke very little English, making the
3:40
production of this movie very difficult.
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He often had to mime out the the things that the actors were
3:47
going to do, and you could tell that he doesn't speak English in
3:50
some of the ways that it's written.
3:51
It's the dialogue is very robotic at times.
3:55
He doesn't quite know when to use certain words and it feels
3:59
very awkward. You would think some of the cast
4:02
would be like, you know, like 1 moment, let's revise that and
4:07
then do that during the cut. But he's a prolific director who
4:11
did his own shit. Sorry, continue.
4:14
No, I mean, he like, like you mentioned, he's, he was
4:17
something of a difficult director and he had a bit of a
4:21
reputation for being that way. So I, I have a feeling and for
4:27
some of the cast, this is not their first time working with
4:29
him. The main character who plays
4:31
Liza is in all three movies. Is she I Fuck dude.
4:36
That's OK, I need to rewatch all of them.
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Some cast members and maybe crew members probably had experience
4:44
working with him, so they knew how difficult it was.
4:48
Most of the filming was done in early 1980, some additional
4:53
filming being done in Italian studios afterwards.
4:56
Those scenes were mostly the heavy special effects sequences.
5:01
Every effect is done practically.
5:03
There's not. There's no CGI, there's no
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visual effects really. Everything is practical.
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All the blood, all the gore, all the guts, all the lightning.
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It's all a practical effect, and you could tell that they spent a
5:17
lot of time on it. The sequence where the dog rips
5:22
out Emily's neck took three days to complete and they had to make
5:28
a puppet replica of the dog. Fucking nightmare.
5:35
Yeah, they they released the film in 1981 in Italy.
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Estimates around the box office are a little bit difficult
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because at the time they used the Italian lira, which was
5:50
discontinued in 2002 for the euro.
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However, it grossed 747 million lira and its in its initial run
6:00
in Italy, which translates to about $800,000.
6:04
So it sounds like a lot more than it is.
6:06
It's kind of like the pace though, 700 million versus
6:09
$800,000, but that's still about 3.3 million today.
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And then it would, yeah, which is good.
6:16
It's it's really good. This was definitely a commercial
6:19
success. And then three years later, it
6:22
was finally released in the US with a new name, 7 Doors of
6:25
Death, a completely different score, and some edits that made
6:29
it shorter. The fullest sensor cut.
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Yeah, it was. They cut out.
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Heavily. But not heavily it was.
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It was a little bit shorter. I think it was less than 10
6:40
minutes shorter. OK.
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I I'm not sure which. I think we saw the real cut.
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We did. On screen box so they have the
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the full 1. The full length was released in
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September of 1998, which is also the same time I was released
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into the world. During its US opening week, it
7:04
made about $455,000, which considered it a commercial
7:08
success. After the director's death in
7:12
1996, the uncut film was available in the US thanks to
7:18
Grindhouse, who partnered with Quentin Tarantino to get a
7:21
theatrical release. This release had some
7:26
interesting connections, including the use of it in other
7:29
films such as Sam Raimi using a shot of the tarantulas from
7:33
Martin's death scene in the transformation scene where Peter
7:37
Parker turns into Spider Man in the 2002 movie.
7:41
It's because he didn't have a whole lot of money despite
7:45
making a Spider Man movie. Of course, it was the first
7:49
Spider Man movie so they were a little unsure and he used
7:53
footage from his past work and footage a single shot of one of
7:59
the spiders from this movie. Overall, the reception was
8:04
pretty mixed. Critics like Roger Ebert penned
8:06
the film for being incoherent and filled with bad dialogue.
8:09
Which he he is right. It is, but it's not.
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You're not there for the dialogue.
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No, you're absolutely not, Siskel and Ebert.
8:18
Man, you guys are grouches. But other critics praised it for
8:23
the surrealist imagery and the gruesome special effects, which
8:27
got better on repeat viewings. In the time since it's released,
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it's seen anniversary runs in theaters, midnight showings, and
8:34
maintains A cult following to this day, including of just last
8:38
year, it was remastered in 4K on A6 disc box set released by
8:43
Grindhouse. It's.
8:45
Cool. So it's still got there's a lot
8:48
going on here and I think the concept, the the movie sets up
8:53
the idea of a hell mouth and you get kind of just enough that
9:01
they want to really get into that.
9:04
But it seems like it's not always the focus.
9:08
Like a lot of it's like ghoul style zombies killing people and
9:13
then like a cursed house, kind of a Haunted Mansion type.
9:19
He. Started in like he starts in
9:21
like One Direction, kind of goes into another and then goes, but
9:25
I want to do the hell mouth. So let's go back to the hell
9:27
mouth. Which is it?
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It's it, it is a bit ADHD incoherent, but like the hotel
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itself serves as like the conduit, right?
9:37
So it's like it makes sense. But in the way in which he does
9:41
it, you're like, I want to see more hell mouth.
9:43
I don't give a fuck on the hotel anymore.
9:44
You could have done the hotel for the 1st 10 minutes, showed
9:47
that it's a conduit and then we could have been in the hell
9:49
mouth. I would have been happy but.
9:51
Yeah, the the idea of a building where something happened, be it
9:58
like a ritual or some gruesome attack, it sort of begs the
10:02
question, like, did that happen because it's a hell mouth?
10:06
Or is it a hell mouth now because of the things that
10:09
happened there 'cause we see throughout the movie, there's
10:12
the Book of Abon and then there's like some sigils around
10:17
the place. Yeah.
10:20
So I wonder like at what point is the hell mouth open?
10:26
Because it's saying that it was created back in the 30s when the
10:29
movie starts, but then it seems to be like activated in the
10:35
present day. With great violence.
10:37
So when the when in the beginning of the film, that man
10:40
is crucified for what he's doing against a wall essentially.
10:44
And that that was the plan. Like he's self sacrificing to
10:48
open the hell mouth with great violence and blood shed.
10:52
So it opens the door to hell to that hell mouth specifically
10:56
because that's where he's placed the hell mouth.
10:59
It I, I believe that's how that works.
11:00
That would work in this universe.
11:03
So he because he'd clearly knew something was going on because
11:07
he was like he was painting the the void space that we see at
11:12
the end of the movie. Yeah.
11:15
So I think I, I think likely what it is, is that it's a hell
11:21
mouth on its own. It's just naturally is that way.
11:26
And then certain people can maybe sense it that it is like a
11:32
heightened spiritual area. And that guy happened to because
11:37
it when they when the gang of men come in, they call him a
11:40
warlock. Yeah.
11:43
So it's it's clear that this is not random.
11:45
They've planned this out for this guy.
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Yeah. It's really interesting concept
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because it's like, so he knows and then as we learn later,
11:54
other people know too. Yeah, it just.
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Continues on and on and on. Yeah, and that leads us into the
12:02
character of Emily, who gets referred to as Emma a few times,
12:08
which is a bit weird. Who's like a do you?
12:12
What did you think is? Is Emily a ghost or what is
12:15
Emily? What is?
12:16
I think Emily got AI think I don't know I think she's just
12:23
she's just I don't know. I need to re watch this again
12:28
now because I haven't seen this in years and I've seen it again.
12:31
I still don't like I don't know what Emily is.
12:34
I almost thought she was like a distraction to a degree from
12:38
hell but or gotten loose from hell but I'm unsure.
12:41
So one, one of the things that happens throughout the movies,
12:44
you see characters have these white glassy eyes and actually
12:49
the way they did that was a glass contact to get that
12:53
effect. And you can see it 'cause
12:55
there's a really crisp line sometimes when the person's like
13:01
their, the color of their eye is picking out from behind the
13:04
contact and you can see the, the border of it.
13:07
You can really tell that it's like a glass contact, which was
13:12
apparently horribly uncomfortable.
13:14
She is a CRS who transcends temporality.
13:20
OK, so I think she gets out of hell.
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That's why when they're like cornering her, she's like, no,
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I, I will not go back. So did she make a deal or I
13:30
think she. Just got out of hell.
13:33
So she might she escaped Is the dog from hell too?
13:37
Because the dog seems to like her for the most part.
13:40
I think it may have just been a dog that she fucking found.
13:45
This is just somebody seeing eye dog.
13:47
It's just gone missing. Where did it go?
13:50
Because the first time you see her, it's her who's in the
13:53
window when the guy falls off the scaffolding.
13:56
Yes. And then she just appears on the
14:00
bridge. Which makes sense because she's
14:03
walked out the hell mouth of that point and made her way
14:06
upstairs. So you think she she walked all
14:09
the way to the bridge? She didn't just appear there.
14:13
It I don't know. Because I thought I was under
14:16
the impression that she's a ghost and she could disappear
14:18
wherever. Yeah, but then the but then
14:21
Dickie rips her throat out, so she's got she her physical body
14:25
is there. I think she was able to get out
14:27
of hell, but she's blind because of the sights of hell.
14:31
And then it's it's strange because that effect, that
14:35
blindness happens to other characters too.
14:38
It happens to Jill after both of her parents have died at the
14:42
cemetery. In one second she's fine and the
14:44
next second her eyes are white and they don't go back.
14:47
But it she appears in different places.
14:53
That's interesting. I don't, I don't quite know
14:54
what. She is but.
14:56
It made me think. We're gonna have to, like, do a
15:00
deep dive on this film 'cause it, I mean, his movies are
15:02
always like this. Yeah.
15:04
You just have to dive and dig and pull shit out and go oh OK.
15:10
This movie was only like, I think it was like an hour and
15:12
25. Yeah, hour and 25.
15:14
But it did. It did drag a little bit at
15:17
times, which is. Crazy that it felt like that
15:18
because it was such a shorter film, but it's it's good.
15:22
It's just it's just at certain points it hits those dips,
15:26
you're like, come on, like keep it rolling.
15:29
I. Mean the the effects are really
15:31
good I wanted. Like, phenomenal.
15:34
If you're watching this just for the effects, I think you're
15:37
going to be very happy. We get a, we get, you know, we
15:41
get some melting bodies, we get some eyes gouging out a couple
15:46
times. We get that crucifixion sequence
15:49
of the beginning, which is really cool, how they did that
15:53
when they had his arms up on the wall like this.
15:56
The guy is holding his arm right here.
15:58
He's covering up the space. In the wall.
16:01
Behind him where the prosthetic starts, it's really good.
16:04
And then once, once the nails are in the guy's arm, they cut
16:09
away and they cut back and it's his arm with a prosthetic nail.
16:13
Super impressive, super impressive shot.
16:16
Like hats off to the effects team because that it's so good.
16:21
Yeah. Oh yeah, phenomenal stuff, dude.
16:23
And it. And it looks good too.
16:25
It looks painful. It looks gross every like death
16:28
and like disgusting thing you could possibly be submerged into
16:32
in this movie as well. It has that rusty video nasty
16:37
feel to it. You're like, which is what this
16:40
was back in the, this was, this was.
16:41
Completely considered. A video nasty.
16:43
You, you mentioned the video nasty, but it was branded a
16:46
video nasty immediately when it released in the UK.
16:50
Oh yeah, it was. And in the UK it had the most
16:53
censorship because they were trying to suppress it.
16:58
Well, it's just like how when zombie came out, which is
17:01
another one of his films, which if you think this is crazy, you
17:04
got to check out Zombie, which we will check out Zombie right
17:06
on the show because it's on screen box, another film of his
17:10
words, just like Yep, Nope, Nope, you know, censor, censor,
17:13
censor. But it's got a deeper thing to
17:15
say, even if it's a bit pretentious at times.
17:18
This I don't feel is pretentious.
17:20
I feel like this had a lot to say and not a whole lot of time
17:22
to say it in. So it was kind of like cramped.
17:26
I think yeah. I mean, so the trilogy that he's
17:31
made of these 3 movies are all sort of based around the same
17:35
idea of like a gateway to hell or a hell mouth or hell leaking
17:39
out into the the mortal world. And I think one of the things
17:45
that this movie is lacking is you never see the doorway.
17:49
Yes. It really felt like they wanted
17:51
to show it because it's remember, like Indiana Jones.
17:55
I don't remember which one, but there's like a certain point
17:57
where like a mystical door opens and it's like an endless spiral
18:01
in there and it's an obvious visual effect.
18:05
It felt like they wanted to do that so bad.
18:07
But this director was committed to not using any computer
18:10
graphics. Yeah, that and like just they
18:15
could have. What he could have done is done
18:17
the painting. He could have.
18:19
Yeah, that's what we walk into at the end.
18:21
But it's a physical prop. But he could have went the Star
18:23
Wars route or really any movie back then.
18:26
Route of all right, let's get someone to paint this.
18:29
We're going to fucking get this shot.
18:31
Or they could have done it with like a rear projection.
18:34
It I, I was, I was, I guess a little disappointed that they
18:38
didn't show it. But I was also impressed with
18:40
the restraint to not show us what the people are seeing.
18:45
And you get the severity of it from their reaction 'cause that
18:48
happens a bunch of times. A lot of the times the person
18:51
obviously sees something terrifying and you don't.
18:55
You don't get to see it, you just get their reaction to it.
18:58
Which I I always loved that cause what you don't see is
19:01
scare than what you do see sometimes it's like what could
19:05
that be? And like you look at a movie
19:07
like martyrs, right? Like the whole like seeing
19:10
heaven will blind you. Like I love that this is a that
19:14
is almost lifted from this film with seeing hell will blind you
19:17
to a degree to the horrors of it all or the beauty of heaven.
19:20
And it's like it's just it's too much for the mind to fathom.
19:23
I do love that because they they immediately they just go blind
19:26
when they well, not immediately pretty fast.
19:27
They go blind to hell or the void rather, which is it's hell.
19:31
I mean, that's but I love that tie in at the end too, because
19:35
the painting is what what opens the film and the actual physical
19:38
manifestation of the painting is what closes the film.
19:41
And it's like, this is great. You know, bodies are placed
19:44
properly too. It was really meticulously done.
19:48
Yeah, I would. I would love to have seen the
19:51
set that they built for the void.
19:53
Yeah, that's. Because that, yeah, that might
19:56
must have been like one of the creepiest places to be.
20:00
But back then too, how would you have got it was a sound stage
20:04
for sure. But like, how do you make it
20:08
look that dense and fucking just they?
20:11
Just did a really good job. Yeah.
20:14
Yeah, I mean, they, it's, you know, it's dimly lit and it's
20:18
very grainy and it's like sand and dirt and there's fog.
20:23
So that does hide some crimes a little bit.
20:27
But for the most part, like when you look at it, the painting, it
20:31
looks like the painting it, they're just in it.
20:34
And I, I, you know, what I really expected to happen was it
20:38
would be them in the void and then it would like pan out and
20:41
they would be in the painting and it would have them like
20:44
painting. I thought that would have been
20:46
sweet. That would have been a Twilight
20:47
Zone type thing. If they.
20:48
Were in the painting the whole time.
20:51
It's like, God, that's I'd be so pissed off.
20:53
That's like, have you ever seen what dreams may come with Rob
20:55
Robert Williams, Robin. Williams.
20:58
Robin Williams Roberts Williams Robin Williams You should check
21:03
out what dreams may come. It's a very good movie.
21:06
It's like a psychological trip. But yeah, no, dude, I, I, I love
21:10
the void or the beyond. Dude, I am losing it.
21:15
It had a couple different names, the Void could have been one of
21:17
them and it would be a good one. We did get kind of close to the
21:23
end. The movie turned into a bit of a
21:25
zombie killing type. Of thing which we talked about.
21:30
He said. He said relax, I'm a doctor, and
21:33
then reached into his desk and pulled out a six.
21:35
Shooter on a six shooter a big iron on escape looking at.
21:39
Yeah, you just keep that at work, huh?
21:40
And then for a while, he. Just bottle of whiskey.
21:45
Yeah, for a while he just goes around shooting these, like,
21:48
ghouls until finally, like, you get the reveal that they're in
21:56
hell and they're in this place where no matter where they go,
21:59
they're always going to come back to the basement of the
22:02
hotel. Or the autopsy room.
22:04
Or the yeah, or the autopsy room, 'cause they we're shown
22:08
that the autopsy room is like right on the main floor, but
22:12
they like go up and down in the elevator and they just keep
22:14
coming back to it. Piss me off, dude, I'd get So
22:19
I'd be like, dude, I'd be like, well, I just I have, I'd be
22:23
like, I have endless bullets. Well, it doesn't have endless
22:26
bullets. We.
22:27
I know. And we see him reload shots.
22:29
So you're supposed to just go, yeah, he reloaded in between
22:32
that, but. This is also a guy who's
22:34
probably never touched a gun before, because when he goes to
22:36
reload, he's trying to put the bullets back down the barrel
22:40
into the. He was hitting some nasty
22:44
headshots though at the end. He was, he was hitting some
22:46
flicks like he would turn around and just bam, shoot somebody
22:50
pretty quick, quick on the draw. That doctor.
22:53
Interesting. This doctor's really good at
22:55
shooting people in the head. Got to be careful with that guy.
22:58
You never know, but yeah, I, I, I really liked it.
23:01
I'm I'm definitely going to check out the other two movies
23:04
in the in this trilogy because I want to see where he goes.
23:09
I don't know the time gap like I.
23:11
Don't remember how long. Before the 3rd movie came out,
23:16
Yeah, really solid. Oh yeah, dude, I, I, I love, I
23:21
love him as a director. Like I say, he's a pain in the
23:24
ass. But the movies that you get are
23:26
so fucking just in your face raw, don't give a fuck.
23:30
And they're there to offend you, but also say something.
23:32
And it's like, OK, you know, that's why these are called
23:35
classics. Like the his films are mostly
23:38
all called classics and they're hard to avoid if you're in the
23:42
horror realm, right? Like, I mean, let's see zombie,
23:49
the beyond city of living dead, the house by the cemetery.
23:54
Don't torture A duckling. There's just so much here, dude.
23:58
Like, it's a lot, but they're good films and I I'm happy to
24:05
have fallen upon his films at a very young age.
24:09
How old were you? I saw a zombie when I was like
24:12
12 I've. Heard I've heard about zombie
24:16
being a little bit intense. It's incredibly intense as fuck.
24:20
We'll watch it. It's not like necromantics
24:23
intense. Right.
24:23
Necromantic was was offensively, I don't even know what to call
24:31
that. Like it was just offensively
24:33
vulgar. It was, it was, it was the shock
24:36
factor of it. Yeah, well, that's like why you
24:40
have films like fucking. I hate to even say its name, but
24:44
Serbian Film. Yeah.
24:47
It was just a. Bad movie.
24:48
That's the films that crossed the line into being like snuff.
24:53
It's it, well, it's for, it's for the try hards.
24:56
But this is not that this. Is not that this is great?
24:59
This is a great time. This would be great for
25:02
Halloween if you want to do like a little movie marathon.
25:05
Yes, these three that are really solid, great effects.
25:10
I can only assume the effects get better with time.
25:13
Yep. So I I'm I'm about ready to give
25:18
it a number if you are. Let's do it.
25:19
I'm. Going to give it a 5 out of
25:21
five. This was incredible.
25:23
I would recommend this to anybody.
25:26
This gets a perfect score from it came from screen box.
25:28
This is a 5 out of five. This is this.
25:29
Is and I think I think Alex would agree.
25:31
I do too. This is the epitome of a cult
25:33
classic. This is what makes a cult
25:35
classic a cult classic, especially full SHE films.
25:39
It's these are what directors look to to go where can I cross
25:43
boundaries? What can I do to subvert the
25:47
audience's expectations? And that's what you get in a
25:50
full SHE. Film these are, yeah.
25:53
You know, Speaking of directors, Sam Raimi is a is a big fan.
25:57
Oh yeah. This director and before the
26:00
movie, I think it only works if it's your first time watching it
26:03
on screen box, but you get a little special message from Ted
26:07
Raimi. Which was Michigan natives, by
26:11
the way. Yeah, yeah.
26:12
Michigan both. Pump that up, pump that up,
26:14
Michigan natives just like yours truly.
26:16
Let's That's right. I'm not a I'm not, yeah, I'm not
26:19
a native. I'm not from here.
26:21
No, you live here. You're a Michigander.
26:23
Lived. Yeah, whatever.
26:25
So yeah, no. Great, great pick.
26:28
Great fucking pick, Alex. He watched it, some of it.
26:31
So yeah, he would have given it 5.
26:33
Alex, we're voting for you. 5 out of five.
26:34
Perfect score. Certified.
26:38
Certified. It came from Phil.
26:42
I don't know. We're working on stuff.
26:43
If it did come from screen box. It did there.
26:47
We go, we're 6 episodes from the end and we can introduce this
26:49
new thing. Did it come from screen box or
26:51
did it not? Even though they all come out of
26:55
that might not work. So far they've all they've all
26:57
come from screen box, but eventually maybe we'll talk
27:00
about movies that didn't come from screen box.
27:03
Maybe. Maybe a little.
27:05
Sizzle. But you guys will have to wait
27:09
for that reveal. So get ready for next week.
27:13
Lloyd Kaufman, Insane that we got to discuss things with him
27:16
and talk with him. Great, great, great fella.
27:19
Love him so much. Uncle Lloyd, you're amazing.
27:22
Go support everything Troma does.
27:25
And he was. He was at the protests over the
27:27
weekend. He's a ledge.
27:29
He's. A ledge in.
27:31
Everything he does. Love him, love him.
27:35
Check out the sponsors screen box, final Law of Stock Longy,
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27:44
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27:50
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27:56
It came from screen box and roll for deception.
27:58
Until next week guys, take it easy and be safe.
28:02
Gratzi screen box. But actually me alone.