Latest / Frightmares / Ep. 387 - Silver Bullet (1985)

Transcript

Ep. 387 - Silver Bullet (1985) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:07
  Speaker 2: Whoa whoa, whoa whoa?
• 0:09
  Speaker 3: Oh Okay, okay, okay, okay, I'm ready.
• 0:11
  Speaker 4: I'm ready.
• 0:12
  Speaker 3: Welcome to Split Your Head, a bi weekly podcast hosted
• 0:15
  Speaker 3: by me Bob that covers the gamut of all things horror, exploitation, cult, underground, experimental, transgressive, bizarre,
• 0:24
  Speaker 3: and indie. I have been fortunate enough to connect with
• 0:26
  Speaker 3: some of the most groundbreaking and upcoming filmmakers, writers.
• 0:29
  Speaker 4: And artists.
• 0:30
  Speaker 3: Don't expect a typical interview. I love shooting the shoot
• 0:33
  Speaker 3: with my guests and stumbling on surprising topics that literally
• 0:36
  Speaker 3: split our heads. From spider comedies to nihilistic sleeves, a
• 0:40
  Speaker 3: comfortable art house to genre classics that gets my brain
• 0:42
  Speaker 3: buzzing and cracking wide open like a watermelon full of blood.
• 0:46
  Speaker 3: Then I would like to share it with your emails.
• 0:51
  Speaker 3: Now part of the Someone's Favorite Productions Podcast Network, Hi Mom.
• 0:55
  Speaker 2: The following podcast will contain spoilers, tangents, hot takes, and
• 0:59
  Speaker 2: a sessive foul language.
• 1:01
  Speaker 4: Viewer discretion is advised.
• 1:03
  Speaker 2: Enjoy the show.
• 1:46
  Speaker 4: Welcome back to frid Maar's podcast. I'm your host Austin
• 1:49
  Speaker 4: Proctor and joining me today for episode three eighty seven
• 1:52
  Speaker 4: is my beautiful wife Gabrielle proct tour Oho. It has
• 1:58
  Speaker 4: been a shit show over here. Oh yeah, just want
• 2:02
  Speaker 4: to let everybody know what We had no.
• 2:07
  Speaker 2: Idea now, but it was an illness that made us
• 2:10
  Speaker 2: most ill.
• 2:12
  Speaker 4: Yeah uh, not ill in the fun hip way, ill
• 2:16
  Speaker 4: as in sick as fuck. Yeah. Man, we were supposed
• 2:20
  Speaker 4: to so it this this episode is like a week late. Goddamn.
• 2:24
  Speaker 4: This month, we're having five fucking Wednesdays. So the first
• 2:27
  Speaker 4: was a Wednesday, so we were already off to a
• 2:29
  Speaker 4: bad start because we got sick. When the fuck did
• 2:32
  Speaker 4: we get sick the Thursday, the Friday before the first
• 2:35
  Speaker 4: of the month. What is time? I don't even think we.
• 2:40
  Speaker 2: Got sick over a week ago.
• 2:42
  Speaker 4: Over a week ago, and we're.
• 2:44
  Speaker 2: Still struggling with the remnants of I can't hear out
• 2:47
  Speaker 2: of my left ear, I can't hear it of my right.
• 2:49
  Speaker 4: Let's talk about this later today on the first installment
• 2:52
  Speaker 4: of Jelycanthropes, how we're discussing our essential pick Silver Bullet
• 2:56
  Speaker 4: from nineteen eighty five, a movie where the were wolf
• 2:59
  Speaker 4: should be the coolest thing, but really it's the motorized wheelchair.
• 3:05
  Speaker 4: Let's see where this lands on the nightmare index. Wait
• 3:13
  Speaker 4: did you say accurate?
• 3:14
  Speaker 2: Yeah?
• 3:15
  Speaker 4: I was joking. Oh you didn't like this, did you?
• 3:19
  Speaker 2: We're going to talk about it.
• 3:21
  Speaker 4: God damn it. Where's Jason when I need him? He
• 3:25
  Speaker 4: loves a good small town.
• 3:27
  Speaker 2: You know what movies would have locked me in? You
• 3:29
  Speaker 2: did this to yourself.
• 3:31
  Speaker 4: Look, I know everyone's gonna be complaining out there. American
• 3:34
  Speaker 4: Werewolf in London's focus essential. No, No, it's not okay.
• 3:39
  Speaker 4: That movie is mid at best, with a great transformation. Okay,
• 3:46
  Speaker 4: just throwing it. I mean hot takes right out of
• 3:48
  Speaker 4: the gate. I feel like everyone you know what, We're
• 3:53
  Speaker 4: just gonna say it. I don't want to piss everyone off.
• 3:55
  Speaker 4: Someone from Christmas Florida will not stop fucking bugging me.
• 3:59
  Speaker 4: This is this six call. Anyways, I'm in a mood today,
• 4:03
  Speaker 4: this sickness. I'm not down with it anymore. It's been horrible.
• 4:07
  Speaker 4: So that's why this episode is so late. I'm gonna
• 4:09
  Speaker 4: have to scramble to get the rest of the month
• 4:11
  Speaker 4: out and we're on vacation next week. So yes, totally
• 4:14
  Speaker 4: gonna be a ten out of ten experience. What have
• 4:18
  Speaker 4: you been watching.
• 4:20
  Speaker 2: Recently much What haven't I've been watching? Let's see, I've
• 4:26
  Speaker 2: been really hitting up some Bette Midler movies for reasons.
• 4:33
  Speaker 2: Just watched Outrageous Fortune, which I had never seen, which
• 4:36
  Speaker 2: is her and oh crap, what's the other actress's name?
• 4:40
  Speaker 2: Diane from Cheers? Shelly Long there we go, and that
• 4:43
  Speaker 2: movie I can't believe I've never seen before. It was
• 4:47
  Speaker 2: so much fun. It was such a delightful watch. I
• 4:49
  Speaker 2: will absolutely be rewatching it because it's two actresses who
• 4:53
  Speaker 2: absolutely hate each other the minute they meet each other.
• 4:56
  Speaker 2: But it turns out they're both sleeping with the same
• 4:58
  Speaker 2: dude who also happened to be a spy, and it's
• 5:03
  Speaker 2: so silly, but their chemistry is excellent. Also has one
• 5:09
  Speaker 2: of the most amazing reveals of a character and disguise
• 5:13
  Speaker 2: I've ever seen. I showed that to you. I made
• 5:15
  Speaker 2: you come in the room and watch it so hard,
• 5:19
  Speaker 2: the non reveal reveal. It's so good, like Mission impossible.
• 5:24
  Speaker 2: Could never know they wish, they wish they could make
• 5:28
  Speaker 2: it that amazing. Yeah, and then I also checked out
• 5:33
  Speaker 2: Ruthless People again, which I love, that one with her
• 5:35
  Speaker 2: and Danny DeVito.
• 5:37
  Speaker 4: Oh that's why We watched Matilda the other day because.
• 5:40
  Speaker 2: I've been watching Danny de Vita movies too. Yeah, and
• 5:44
  Speaker 2: also watched First Wives Club again and checked out jur
• 5:48
  Speaker 2: Number two, a Clint Eastwood flick two years ago. That
• 5:52
  Speaker 2: movie was excellent. I finally saw the two thousand and
• 5:56
  Speaker 2: six masterpiece stick It, Stink It, where the girls.
• 6:01
  Speaker 4: Are stuck on you.
• 6:02
  Speaker 2: No, stick It, the gymnastics movie with like forty seven
• 6:05
  Speaker 2: needle drops. James Gunn never had so many needle drops
• 6:10
  Speaker 2: in his life.
• 6:11
  Speaker 4: Did he direct that?
• 6:12
  Speaker 2: No, He's just famous for his needle drops. Um. Yeah,
• 6:16
  Speaker 2: But I've been just kind of checking out some feel
• 6:18
  Speaker 2: good movies. Finally saw Shall We Dance? With Greg Kanear
• 6:21
  Speaker 2: and Jennifer Lopez. Also not Greg Knear, what's his name?
• 6:27
  Speaker 2: He got gray here, Richard.
• 6:28
  Speaker 4: Gear, Greg Kanere, Richard Gear rhyme fugging.
• 6:34
  Speaker 2: Jennifer Lopez. Also just a like a warm soup of
• 6:37
  Speaker 2: a movie, like so cozy, so nice.
• 6:40
  Speaker 4: See that's interesting because soup has been used recently on
• 6:43
  Speaker 4: this podcast a negative way to describe Godzilla, King of
• 6:47
  Speaker 4: the Monsters, And it's just a soupy mess in your eyes.
• 6:51
  Speaker 4: But you're saying this is like Campbell's Chicken Noodle, Like.
• 6:54
  Speaker 2: Shall we dance? It's such a cozy movie. You're just like, ah,
• 6:57
  Speaker 2: I feel I feel warm inside, I feel joy. I
• 7:01
  Speaker 2: forgot I could feel that from watching a film. That's
• 7:03
  Speaker 2: how it makes you feel. And lastly, I watched The
• 7:06
  Speaker 2: Associate with Wiopy Goldberg.
• 7:08
  Speaker 4: Didn't you fucking watch Uh Made in Manhattan or some
• 7:13
  Speaker 4: shit the other day too when we.
• 7:14
  Speaker 2: Were when we were all Leopold the wedding Date. Good lord,
• 7:18
  Speaker 2: I've been watching, Oh the Wedding Planner.
• 7:20
  Speaker 4: Oh okay, what did I say?
• 7:22
  Speaker 2: Uh Made Manhattan? Oh okay, the wedding Planners. What you're
• 7:27
  Speaker 2: thinking of? But let me tell you that if you
• 7:30
  Speaker 2: are not there, just know that The Associate, well, an
• 7:34
  Speaker 2: otherwise very silly movie, has like a twenty second jump
• 7:39
  Speaker 2: scare from your least favorite person to ever make a cameo,
• 7:42
  Speaker 2: and you're like, oh god, it's so long and wisey
• 7:45
  Speaker 2: and it's so much And if you can think of
• 7:48
  Speaker 2: one person who frequently loved to pay to put himself
• 7:51
  Speaker 2: in movies and then eighties and nineties, it's that guy
• 7:55
  Speaker 2: who sucks. And it was like it was way too long.
• 7:58
  Speaker 2: It was it was a fucking jump scare. I think
• 8:00
  Speaker 2: I literally went no, oh, my so, and that's what
• 8:05
  Speaker 2: most of the reviews are about for that movie, by
• 8:07
  Speaker 2: the way, or just why was this in here? And why?
• 8:10
  Speaker 4: Interesting? Interesting? Interesting?
• 8:13
  Speaker 2: Watching a lot of comedy?
• 8:16
  Speaker 4: All right? I have? I thought I watched a lot
• 8:19
  Speaker 4: more stuff than I have, but apparently I haven't what
• 8:24
  Speaker 4: number yet? I don't care. This isn't a fucking competition.
• 8:28
  Speaker 4: I recently just did my two three load stats. My
• 8:37
  Speaker 4: three hundred and three hundred film was Anaconda. Oh yeah,
• 8:42
  Speaker 4: what I'm a good for you?
• 8:45
  Speaker 1: Like?
• 8:45
  Speaker 4: What the fuck do you want for me? The one
• 8:48
  Speaker 4: year you're ahead of me in movies and you just
• 8:50
  Speaker 4: constantly throw it in my face? I don't I don't understand.
• 8:54
  Speaker 2: I like that. I started this for extremely petty reasons
• 8:57
  Speaker 2: and now it's just for fun.
• 8:59
  Speaker 4: But well, jokes on you, because I'm not catching up anyways.
• 9:05
  Speaker 2: You don't know I could get sucked into a show,
• 9:07
  Speaker 2: that's true.
• 9:08
  Speaker 4: So let's go to the old diary. Here. We talked
• 9:11
  Speaker 4: about all this shit. I mean, we literally talked about
• 9:14
  Speaker 4: all of this. We talked about Tough Turf and the
• 9:16
  Speaker 4: New Kids, right Hunt for the Wilder People. Didn't we
• 9:18
  Speaker 4: talk about the hun for the Wilder People. You and
• 9:21
  Speaker 4: I personally talked about it. We didn't talk about it
• 9:23
  Speaker 4: on here, did we not? No, I don't know. I
• 9:26
  Speaker 4: don't know where I am. Last thing, the last movie
• 9:29
  Speaker 4: that we covered on the show was Gamera Versus Veras.
• 9:33
  Speaker 4: I feel like I talked about Anaconda and Forbidden Fruits
• 9:35
  Speaker 4: and Leviticus. I don't fucking remember. Forbidden Fruits was mid
• 9:39
  Speaker 4: it was. It was not great.
• 9:41
  Speaker 2: I felt like it was going to be different than
• 9:43
  Speaker 2: it was. I didn't hate it, but it feel like
• 9:45
  Speaker 2: not a fan. It wasn't like the what they were
• 9:48
  Speaker 2: trying to do wasn't fully formed.
• 9:50
  Speaker 4: Yeah, it wasn't a fan. I apologies. I didn't go
• 9:53
  Speaker 4: back and listen to the other episode, even though I
• 9:55
  Speaker 4: probably should have. Yeah, Forbidden Fruits not that great. It
• 9:58
  Speaker 4: made me not like, that's her face, the girl bent
• 10:02
  Speaker 4: neck lady. Yes, I love her and everything and for
• 10:06
  Speaker 4: summer Victoria pet Pedrini. Not a fan of her in this.
• 10:09
  Speaker 4: I don't like a movie that makes me not like her.
• 10:12
  Speaker 4: Levitiicus basically a queer It follows and yet somehow completely different.
• 10:16
  Speaker 4: Fucking amazing four and a half. I feel like I've
• 10:18
  Speaker 4: definitely said that, we watched something called Lair of the
• 10:20
  Speaker 4: White Worm. Don't know what the fuck that movie was
• 10:24
  Speaker 4: two and a half. I was also in like a
• 10:26
  Speaker 4: you know, like a drug induced coma with all of
• 10:28
  Speaker 4: the medicine we were taking, So I'm gonna need to
• 10:31
  Speaker 4: rewatch that when I have more clarity.
• 10:33
  Speaker 2: I just liked watching it, And you're like, isn't this
• 10:36
  Speaker 2: a movie about vampires. I'm like, yeah, but also they
• 10:38
  Speaker 2: keep calling it a worm, but also they seem to
• 10:40
  Speaker 2: be snakes, so I don't know.
• 10:42
  Speaker 4: Yeah, no no idea.
• 10:43
  Speaker 2: And if you're running like a full explanation on that, goodness,
• 10:45
  Speaker 2: there isn't.
• 10:46
  Speaker 4: One rewatched for no reason at all other than the
• 10:50
  Speaker 4: fact that I wanted to laugh and was just painfully sick.
• 10:54
  Speaker 4: Watched Borat one and two, four and a half for
• 10:57
  Speaker 4: the first, Borat four for the second Borat. We watched
• 11:00
  Speaker 4: new movie for this year called Monkey's Magic, Mary Go
• 11:03
  Speaker 4: Round on Shutter and don't let the twenty twenty four
• 11:07
  Speaker 4: release date confuse you, because it definitely came out this year,
• 11:10
  Speaker 4: it just took a while to actually release. Someone was
• 11:15
  Speaker 4: on drugs making that. I believe it was a wild time,
• 11:19
  Speaker 4: thank mister Rogers. But like just it's like mister.
• 11:22
  Speaker 2: If you've ever seen don't Hug Me, I'm scared.
• 11:25
  Speaker 4: It's like that the same people.
• 11:27
  Speaker 2: No, it's like that mixed with mister Rogers. And if
• 11:31
  Speaker 2: you know those two things, then you're good. You know
• 11:33
  Speaker 2: what you're getting into.
• 11:34
  Speaker 4: It's kind of like, what was that other one that
• 11:36
  Speaker 4: Hulu did, that original one about the TV star abducting kids? Yeah,
• 11:40
  Speaker 4: mister or something rather Sir Crockett. Yeah, it's like that,
• 11:44
  Speaker 4: but there's no abduction of This guy's just on a
• 11:46
  Speaker 4: show when he goes nuts and it's like, what's reality?
• 11:49
  Speaker 2: Yeah?
• 11:49
  Speaker 4: Where are we? So that one was fun three stars.
• 11:52
  Speaker 4: I watched a new another new movie for this year
• 11:55
  Speaker 4: called The Voices of Our Mother, directed by Mark O'Brien.
• 11:58
  Speaker 4: If Mark O'Brien does not sound from me, he directed, wrote,
• 12:02
  Speaker 4: and starred in a movie called The Righteous, which is
• 12:06
  Speaker 4: essentially about ninety minutes of just straight dialogue, and it's
• 12:08
  Speaker 4: some of the best dialogue I've ever heard in a movie.
• 12:11
  Speaker 4: It's like Quentin Tarantino style, Like the dialogue is just
• 12:14
  Speaker 4: so well done. Yeah, you know, minus all the you know,
• 12:18
  Speaker 4: slurs and racial fucking slurs whatever. Yeah, yeah, all that
• 12:25
  Speaker 4: shit minus all the negative parts of Quentin Tarantino. This
• 12:28
  Speaker 4: one was really good. I don't understand the hate. It's
• 12:30
  Speaker 4: gonna like a two point six out of five on letterbox.
• 12:33
  Speaker 4: I quite enjoyed this. It's like demonic Possession and in
• 12:37
  Speaker 4: a Bloodline and Satan and then right up my alley
• 12:40
  Speaker 4: three three point five out of five and then from
• 12:44
  Speaker 4: my cult movie challenge. I don't know what the fuck
• 12:47
  Speaker 4: week I'm supposed to be on, but this is the
• 12:48
  Speaker 4: life I'm living. It was Kim G Woon week, and
• 12:53
  Speaker 4: I was gonna watch A Tale of Two Sisters. I've
• 12:55
  Speaker 4: been wanting to watch that for quite some time. Impossible
• 12:58
  Speaker 4: to find, don't know why, not streaming anywhere, couldn't buy
• 13:02
  Speaker 4: a physical copy, so I'm like, fuck it, I'll watch.
• 13:04
  Speaker 4: I saw the Devil. Oh no, I was gonna show
• 13:06
  Speaker 4: that to you. I didn't own that movie. Oh okay,
• 13:10
  Speaker 4: And the cheapest copy I could find was forty five dollars. Cool,
• 13:14
  Speaker 4: I guess I'll rent it. Can't rent it all right?
• 13:17
  Speaker 4: Fuck this, I'm done. I just gave up and I
• 13:19
  Speaker 4: filtered through his movies found something called The Quiet Family,
• 13:23
  Speaker 4: which I had never heard of before. A family decides
• 13:27
  Speaker 4: to buy a lodge in a remote hiking area. Their
• 13:29
  Speaker 4: first customer commits suicide, and the distraught family buries his
• 13:33
  Speaker 4: body to avoid the bad publicity. But their luck gets worse.
• 13:36
  Speaker 4: The bodies start piling up and the family becomes frantic
• 13:39
  Speaker 4: to rectify the situation. It's like Tucker and Dale Versus Evil,
• 13:43
  Speaker 4: except instead of a couple of redneck goofballs, it's an
• 13:47
  Speaker 4: entire family who just find themselves in the worst possible situation. Yeah,
• 13:54
  Speaker 4: it's like a South Korean Tucker and Dale Versus Evil,
• 13:58
  Speaker 4: focused around a family, and not two and not just
• 14:01
  Speaker 4: two guys, but one of the familiar faces. I know,
• 14:05
  Speaker 4: Song King Ho from Parasite Snow Piercer Memories of Murder,
• 14:10
  Speaker 4: the host Bang June Ho's like, muse, I guess if
• 14:14
  Speaker 4: you want to call it, he's in that.
• 14:15
  Speaker 2: Yes, I can only assume that Bang Juneo has a
• 14:17
  Speaker 2: shrine of him somewhere. It has to just like a
• 14:20
  Speaker 2: photo of him on his desk. Who use those? What
• 14:23
  Speaker 2: am I gonna write for you? Now?
• 14:24
  Speaker 4: He's incredible in this as he is in everything, and
• 14:28
  Speaker 4: it's probably the youngest I've ever seen him. Because The
• 14:30
  Speaker 4: Quiet Family was from nineteen ninety eight. This one is
• 14:33
  Speaker 4: streaming on Prime if you want to check it out.
• 14:35
  Speaker 4: It is a delightfully dark comedy horror thing going on
• 14:40
  Speaker 4: has a three point six out of five on Letterbox.
• 14:42
  Speaker 4: I gave it a four. If you want to check
• 14:44
  Speaker 4: out my full review, you can go find the Cult
• 14:47
  Speaker 4: Movie Challenge list I have and check it out. I
• 14:50
  Speaker 4: don't know what next week is and I'm probably already
• 14:52
  Speaker 4: behind on that, But like I said, we've been sick
• 14:54
  Speaker 4: for twelve days. The last day, the last time I
• 14:56
  Speaker 4: was sick, this song was fucking COVID. I think this
• 14:58
  Speaker 4: was worse than COVID what we have. I'd say it
• 15:02
  Speaker 4: was worse because every day I woke up with new symptoms.
• 15:05
  Speaker 4: It was chills and a fever. Then it was like
• 15:06
  Speaker 4: a headache, then it was an earache, then it was dizziness.
• 15:10
  Speaker 4: Fuck this, whatever this is.
• 15:11
  Speaker 2: Yeah, I was postpartum when I had COVID, so I
• 15:14
  Speaker 2: was still healealing from a c section and our baby
• 15:17
  Speaker 2: had when you got COVID. Yeah, so I'm gonna say
• 15:20
  Speaker 2: COVID was worse for me because I couldn't be around
• 15:22
  Speaker 2: my baby, and then I was sick with a fever
• 15:25
  Speaker 2: that made it feel like my highlights.
• 15:26
  Speaker 4: No, that's fair, that's fair. That's fair for me though.
• 15:28
  Speaker 4: I mean, I was just sitting in my office watching
• 15:30
  Speaker 4: Dawn of the Dead and zombie movies, and it was
• 15:33
  Speaker 4: the same level of annoyance.
• 15:35
  Speaker 2: And I had an open wound with sickness.
• 15:37
  Speaker 4: Yeah, that's that's not fun. So I'd say whatever we got,
• 15:40
  Speaker 4: whatever I got, was worse than my experience with fucking COVID.
• 15:45
  Speaker 4: It's terrible, some viral infection, and the doctors are just like,
• 15:48
  Speaker 4: he'll go away on its own. My favorite kind of sickness.
• 15:52
  Speaker 4: CMC week for next week is oh, shark'sploitation, and I
• 15:57
  Speaker 4: haven't just I think I'm just gonna do deep Water.
• 15:59
  Speaker 4: I think we have to. Yeah, I was gonna do
• 16:01
  Speaker 4: Jaws two because I haven't seen it, but yeah, and
• 16:05
  Speaker 4: then there's Jaws three, the Revenge or something, so let's
• 16:09
  Speaker 4: just do Let's just do deep water. So that'll be
• 16:11
  Speaker 4: on the next episode. I'm gonna save the rest of
• 16:14
  Speaker 4: my titles for the next episode because I'm gonna have
• 16:18
  Speaker 4: to record so many back to back to back. But
• 16:20
  Speaker 4: we're also getting into the media franchise, which is a
• 16:22
  Speaker 4: whole other story that I'll save for later. So With
• 16:26
  Speaker 4: that being said, let's roll into the body count. Fucking mouse,
• 16:35
  Speaker 4: scroll it, scroll it, all right. So this is Silver
• 16:38
  Speaker 4: Bowl from nineteen eighty five, released on October eleventh of
• 16:41
  Speaker 4: that year in the USA, rated R. There is no
• 16:44
  Speaker 4: sex in nudity, severe violence and gore, moderate profanity, mild alcohol,
• 16:48
  Speaker 4: drugs and smoking, and moderate frightening and intense scenes coming
• 16:52
  Speaker 4: in in an hour and thirty five minutes. Listed as
• 16:54
  Speaker 4: a straight horror nothing else. Directed by Daniel Attias Attias,
• 17:00
  Speaker 4: this is literally the only movie he ever directed. He
• 17:03
  Speaker 4: has ninety three credits for TV and directed twenty episodes
• 17:06
  Speaker 4: of Beverly Hills nine O two one zero. So there
• 17:09
  Speaker 4: you Go, written by Stephen King and I don't mean
• 17:12
  Speaker 4: like based off of the novella. This movie was based
• 17:15
  Speaker 4: off the novella, but Stephen King actually wrote the screenplay
• 17:19
  Speaker 4: for this movie. He also wrote screenplays for Creep Show,
• 17:22
  Speaker 4: Maximum Overdrive, and Pet Cemetery, all three movies that he
• 17:26
  Speaker 4: makes a cameo in, and for some fucking reason, he
• 17:29
  Speaker 4: was like, you know what, don't need a cameo in
• 17:30
  Speaker 4: Silver Bullet, all right, thanks, Bro really would have appreciated
• 17:34
  Speaker 4: that compose.
• 17:37
  Speaker 2: What I'm just gonna throw this out.
• 17:39
  Speaker 4: Oh fuck, here we go.
• 17:41
  Speaker 2: And I'm so sorry for wherever the subtens, because, believe me,
• 17:44
  Speaker 2: I think Maximum Overdrive is a hilarious good time. I
• 17:48
  Speaker 2: feel like Stephen King's stronger when he writes the story
• 17:52
  Speaker 2: and then someone else comes in and makes it a
• 17:55
  Speaker 2: functioning movie.
• 17:57
  Speaker 4: I highly disagree, And that's your choice. Show four stars,
• 18:01
  Speaker 4: Maximum Overdrive four stars, pet Cemetery four stars. If you're
• 18:05
  Speaker 4: keeping up with the trend, you can pretty much guess
• 18:08
  Speaker 4: my rating for this one so highly. I highly disagree.
• 18:11
  Speaker 4: I highly disagree you would.
• 18:13
  Speaker 2: I'm just that's I guess that's my hot take. I'm
• 18:15
  Speaker 2: just throwing it out early.
• 18:17
  Speaker 4: Yeah. Now, I like when he comes in because then
• 18:19
  Speaker 4: he has the ability to change all of his endings,
• 18:22
  Speaker 4: because all of his endings people fucking hate. So I'm
• 18:25
  Speaker 4: sort of cycle of the Werewolf had a different ending
• 18:26
  Speaker 4: and he's like, let's fucking change that shite anyways. Uh.
• 18:31
  Speaker 4: Composed by Jay Chadaway. He also composed Maniac and then
• 18:35
  Speaker 4: Maniac Cop one and two separate movies Just so We're
• 18:40
  Speaker 4: All Clear, and then a combined one hundred and eighty
• 18:43
  Speaker 4: three episodes of Star Trek working on the Next Generation
• 18:46
  Speaker 4: at Deep Space nin not Deep Space nine, Voyager and Enterprise,
• 18:51
  Speaker 4: which is fucking crazy. Cinematography by Armando Nnowsi. He also
• 18:55
  Speaker 4: did the cinematography for Like So Much Italian Cinema, Maximum
• 18:59
  Speaker 4: Overdrive and Frankenstein Unbound than We Have edited it by
• 19:04
  Speaker 4: David Lowenthal, who also edited mad Man, Friday the Thirteenth,
• 19:08
  Speaker 4: The Final Chapter and Alien from La starring Gary Busey,
• 19:12
  Speaker 4: his uncle Red, who literally everybody should know. I'm not
• 19:14
  Speaker 4: telling you who he is. Evan mcguil is Reverend Lowe.
• 19:17
  Speaker 4: He was also in thirty episodes of Twin Peaks as
• 19:20
  Speaker 4: Big Ed Hurley. Corey Haim is Marty Coslau, even though
• 19:23
  Speaker 4: I'm gonna call them Coleslaw because it's funnier. He wasn't
• 19:26
  Speaker 4: The Lost Boys as Sam, which is crazy because that
• 19:28
  Speaker 4: was two years later and he literally looks like an
• 19:31
  Speaker 4: entirely different human being. In the Puberty Happens Man, Puberty
• 19:35
  Speaker 4: Happens So Fast, Megan follows as Jane Coleslaw, who I'm
• 19:38
  Speaker 4: just gonna mention because you'll kill me if I don't.
• 19:41
  Speaker 4: She was in She was in Anne of Green Gables
• 19:43
  Speaker 4: as Anne Shirley.
• 19:44
  Speaker 2: Yeah, she was, Hey, look anybody who knows anything knows.
• 19:49
  Speaker 2: That show is iconic.
• 19:51
  Speaker 4: It's a two part mini series.
• 19:54
  Speaker 2: Anne of Green Gables has two spinoffs, Anne of Avonlea
• 19:59
  Speaker 2: and I can't remember the other one like Anne return
• 20:01
  Speaker 2: sounds like you, but then you have Anne with an
• 20:04
  Speaker 2: e that they did, which was a reboot of that
• 20:06
  Speaker 2: on Netflix which did get canceled. And no shade to
• 20:08
  Speaker 2: the girl who played Anne, because she did a great job,
• 20:11
  Speaker 2: but she is not Meghan Follows. Megan Follows was also
• 20:15
  Speaker 2: Catherine de Medici and every season of Rain and she
• 20:19
  Speaker 2: crushed the hell out of the role. She was so
• 20:21
  Speaker 2: evil and yet for the longest time, I'd stare at
• 20:23
  Speaker 2: her and I go, you're literally poisoning people. Why do
• 20:26
  Speaker 2: I trust you? Oh my god, it's Anne Shirley.
• 20:30
  Speaker 4: That was so much brain rot for me. Thank you.
• 20:33
  Speaker 2: Yeah. It's really funny how you get just so adjusted
• 20:36
  Speaker 2: to a character, whether or looks like. You watch someone
• 20:38
  Speaker 2: who you only see is evil, so when they're good
• 20:40
  Speaker 2: in the show, you're just like, fucking trust.
• 20:42
  Speaker 4: It's the complete it's the complete opposite with what's his face,
• 20:47
  Speaker 4: raub Or Patrick, No, Patrick Stewart. He's always like the
• 20:52
  Speaker 4: good guy, and then you see him in Green Room
• 20:53
  Speaker 4: and you're like, what the fuck or why are you
• 20:56
  Speaker 4: a Nazi?
• 20:56
  Speaker 2: In my heart, I trust you, but everything you're doing
• 20:59
  Speaker 2: is bad. Yeah. In that show, she's like, I poison
• 21:02
  Speaker 2: people and I lie and I kill and you're like,
• 21:04
  Speaker 2: Yet in my heart, I'm like, she's probably good. Deep down,
• 21:08
  Speaker 2: I think.
• 21:08
  Speaker 4: Probably she probably has good motives. Robin Groves as Nan Coleslaw,
• 21:13
  Speaker 4: who was also in The Nesting is Lauren Cochrane. Lean
• 21:16
  Speaker 4: Russem is Bob Coleslaw. He was in thirty episodes of
• 21:19
  Speaker 4: prison Break as Jonathan Krant. And then we have Terry
• 21:22
  Speaker 4: O'Quinn as Sheriff Joe Holler. He was also in The Stepfather,
• 21:26
  Speaker 4: which we just recently watched, as Jerry Blake.
• 21:29
  Speaker 2: We how long it took us to notice it was
• 21:31
  Speaker 2: him because he changed his hair so much in The
• 21:33
  Speaker 2: step Father.
• 21:34
  Speaker 4: He's fucking a man of disguises. I didn't recognize him
• 21:37
  Speaker 4: playing a sheriff.
• 21:38
  Speaker 2: It follows under the track that, yeah, I can see
• 21:41
  Speaker 2: why people didn't know Clark Kent was supermanned.
• 21:44
  Speaker 4: I'm throwing this movie in the canon that this was
• 21:46
  Speaker 4: just another role he was filling in in his reign
• 21:49
  Speaker 4: of terror, because I mean this is only two years
• 21:51
  Speaker 4: before The Stepfather, so I'm gonna it's just my little
• 21:54
  Speaker 4: head canon. Then he's still Jerry Blake estimated a budget
• 21:57
  Speaker 4: of seven million, only grossing twelve point four million, and
• 22:00
  Speaker 4: filmed in Bergau and Wilmington, North Carolina. Check this out
• 22:04
  Speaker 4: on Prime for five ninety nine. I guess I said
• 22:06
  Speaker 4: fuck you to the movies that came out around the
• 22:08
  Speaker 4: same time. That's been happening. It's been happening a lot lately.
• 22:12
  Speaker 4: I can tell you that Howling came out around this time.
• 22:14
  Speaker 4: I can tell you that Friday the Thirteenth Part two
• 22:17
  Speaker 4: came out in nineteen eighty one. American Worreolf and London
• 22:21
  Speaker 4: was nineteen eighty one. Blowout was nineteen eighty one. So
• 22:24
  Speaker 4: there you go. There's some movies seen all this. Yeah,
• 22:26
  Speaker 4: you have IMDb summary and a small town brutal killing
• 22:29
  Speaker 4: start to plague the close knit community. Marty Coleslaw, a
• 22:32
  Speaker 4: paraplegic boy, is convinced the murderers are the doings of
• 22:35
  Speaker 4: a werewolve. Let's go into the autopsy. I'm upset that
• 22:41
  Speaker 4: you didn't like this movie, but tell me your overall thoughts.
• 22:43
  Speaker 4: It's fine, I'll say I hate it. It, I'll get over it.
• 22:46
  Speaker 4: Just tell me your overall thoughts.
• 22:49
  Speaker 2: It wasn't as exciting as I had hoped it would be.
• 22:53
  Speaker 2: Huh so bad. I didn't hate it, but I what
• 22:58
  Speaker 2: a ringing endorsement.
• 23:00
  Speaker 4: I didn't hate it.
• 23:01
  Speaker 2: I mean, I don't know what you want from me, man.
• 23:03
  Speaker 2: I didn't feel a strong connection to the characters. I didn't.
• 23:08
  Speaker 2: I didn't feel a sense that the characters, like the
• 23:12
  Speaker 2: family didn't feel like a family to me. I mean
• 23:15
  Speaker 2: outside of the uncle and the two kids, but like
• 23:17
  Speaker 2: the parents just felt like completely devoid of human connection.
• 23:21
  Speaker 2: They literally just only spoke to Bret the sister, which
• 23:26
  Speaker 2: I get is from the sister's POV. But it's like,
• 23:28
  Speaker 2: does this family even like each other? Do you guys
• 23:31
  Speaker 2: really even care about sending your parents away because they
• 23:33
  Speaker 2: don't seem to care about you. Also terrible parents. They're
• 23:38
  Speaker 2: like letting their kids scooter off in a wheelchair all
• 23:41
  Speaker 2: over the fucking place, not a clue where he is.
• 23:43
  Speaker 4: It's the Sevenies, man, there's a different times.
• 23:46
  Speaker 2: But I did really appreciate the small because there were
• 23:49
  Speaker 2: just didn't feel like there was a lot of moments
• 23:50
  Speaker 2: of like real human connection in there. And I really
• 23:54
  Speaker 2: like when those happened in films like We're.
• 23:58
  Speaker 4: No, No, Let You.
• 24:00
  Speaker 2: But like the moment where he feels guilty about his
• 24:04
  Speaker 2: friend paying that very bizarre prank on his sister, being
• 24:07
  Speaker 2: a real dick for no reason. Yeah, and he feels
• 24:11
  Speaker 2: guilty so he gives her money for new pantyhose. That
• 24:14
  Speaker 2: was a really sweet moment, Like I really enjoyed that
• 24:16
  Speaker 2: moment where he's like, you know, I shouldn't have let
• 24:20
  Speaker 2: my friend play that trick on you, and I didn't
• 24:22
  Speaker 2: think he'd take it that far. And I like, I'm sorry,
• 24:25
  Speaker 2: I hurt you, Like, and.
• 24:26
  Speaker 4: Then she throws it right back in his face in
• 24:28
  Speaker 4: a good way, saying I don't need this much money.
• 24:30
  Speaker 4: It's only a dollar forty nine. Here's a dollar back.
• 24:33
  Speaker 2: Yeah, that was a really sweet moment of human connection.
• 24:36
  Speaker 2: But you know, it was just it it felt like
• 24:39
  Speaker 2: it was missing some depth. To me. That's fine, and
• 24:44
  Speaker 2: I'm not saying it wasn't fun to watch, but it Yeah,
• 24:47
  Speaker 2: there was just like I wish there had been a
• 24:48
  Speaker 2: little more depth into the connection and some parts were
• 24:52
  Speaker 2: a little bit slow.
• 24:54
  Speaker 4: What was man, I should have I should have got
• 24:56
  Speaker 4: a fan, I shouldn't I should have picked someone who
• 24:58
  Speaker 4: had never seen this movie, but that's on me. I mean,
• 25:02
  Speaker 4: to be fair, I did. I did also tell everyone
• 25:04
  Speaker 4: that Corey and I were going to be doing American
• 25:05
  Speaker 4: Werewolf in London, but sickness happened, and I'm just I'm
• 25:11
  Speaker 4: just not the biggest fan of American Werewolf in London.
• 25:14
  Speaker 4: I'm not.
• 25:15
  Speaker 2: And I like that one better so well, fucking I mean,
• 25:18
  Speaker 2: it's not my favorite werewolf movie. We all know my
• 25:21
  Speaker 2: favorite werewolf movie. And I don't care what the rating is.
• 25:24
  Speaker 2: I'll die on that hill.
• 25:26
  Speaker 4: What Well, yeah, I get that. My overall thoughts is
• 25:31
  Speaker 4: this movie fucking rocks. I love a small town setting.
• 25:35
  Speaker 4: You get so much werewolf action in this you gotta
• 25:39
  Speaker 4: he's on hind legs, big ears. This is like exactly
• 25:44
  Speaker 4: the werewolf I want to see when I watch a
• 25:46
  Speaker 4: werewolf movie, unlike some movies where the werewolf is crawling
• 25:50
  Speaker 4: on all fours and you barely get to see it
• 25:53
  Speaker 4: for a ninety seven minute runtime. American Wolf in London, Yeah,
• 25:58
  Speaker 4: I just think this movie is just the howling would
• 26:01
  Speaker 4: have been essential. That would have been the pick, but
• 26:03
  Speaker 4: we already covered that last year. My dumb ass, you know,
• 26:07
  Speaker 4: just had to do that one for nineteen eighty one.
• 26:09
  Speaker 4: That would have been essential. And I know everyone out
• 26:11
  Speaker 4: there is like, oh, American Werewolf is the essential. I again,
• 26:15
  Speaker 4: I just don't. There's not enough werewolf in American Werewolf
• 26:19
  Speaker 4: in London. For me. You don't get the transformation until
• 26:23
  Speaker 4: an hour into that movie, and before that there are
• 26:26
  Speaker 4: just a there's a glimpse of them being attacked in
• 26:29
  Speaker 4: the beginning, and then you have a couple of like
• 26:31
  Speaker 4: nightmares about were wolves, but you don't actually get werewolf
• 26:35
  Speaker 4: transformation on screen until a fucking hour into the movie.
• 26:39
  Speaker 4: And now so for Bullet, you only get one transformation
• 26:42
  Speaker 4: and it's in the third act, but you're still seeing
• 26:44
  Speaker 4: the werewolf throughout the entire movie. That's my biggest problem
• 26:47
  Speaker 4: with American Werewolf in London.
• 26:49
  Speaker 2: And see, for me, American Werewolf is not my favorite
• 26:53
  Speaker 2: werewolf movie. But I like the movie because I really
• 26:57
  Speaker 2: like this whole build up where he's trying to like
• 27:00
  Speaker 2: recover from losing his friend, recover from this really weird
• 27:03
  Speaker 2: trip he just had in Europe, and you know he's
• 27:07
  Speaker 2: kind of just moving on with his life. Well, this
• 27:08
  Speaker 2: weird shit's still happening to him. I'm like, deep down,
• 27:13
  Speaker 2: he doesn't believe it. He doesn't really like he's like,
• 27:18
  Speaker 2: is it gonna happen?
• 27:19
  Speaker 4: Is it?
• 27:19
  Speaker 3: Ad?
• 27:19
  Speaker 2: That would be ridiculous if it happened. And I really
• 27:22
  Speaker 2: just like that anticipation, and it's like, oh no, not
• 27:26
  Speaker 2: only is it gonna happen, it's gonna fucking suck when
• 27:28
  Speaker 2: it does.
• 27:30
  Speaker 4: But the title is an American Werewolf in London, So
• 27:33
  Speaker 4: there's no stakes there. That's what I'm saying. Well, yeah,
• 27:36
  Speaker 4: you're not suspicious that he's gonna turn. It's called an
• 27:39
  Speaker 4: American Werewolf in London. He's the only American in London
• 27:43
  Speaker 4: that we're following, so the transformation is imminent. There's no stakes.
• 27:47
  Speaker 2: Yeah, I get that, And maybe if the title have
• 27:49
  Speaker 2: been different it would work better for you.
• 27:51
  Speaker 4: It's also too long of a fucking title.
• 27:53
  Speaker 2: But I really like that anticipation and that that build up.
• 27:58
  Speaker 2: And sometimes I think werewolf movies that werewolf movies have
• 28:03
  Speaker 2: a really hard time because vampires you want to see
• 28:05
  Speaker 2: as much vampire as vampire, and as possible. Were wolves
• 28:09
  Speaker 2: you have to find the fine line between not showing
• 28:13
  Speaker 2: them too early or too often, but not under showing them,
• 28:17
  Speaker 2: like there is a there's a literal balance to that
• 28:19
  Speaker 2: because if you overdo it, it's like okay, we okay,
• 28:22
  Speaker 2: the scariness loses its appeal because frankly, it's really hard
• 28:27
  Speaker 2: to make a convincing were wolf. It's a giant wolf
• 28:30
  Speaker 2: man thing that's either going to be really cgi heavy
• 28:34
  Speaker 2: or really it's gonna be a man who's hairy, or
• 28:40
  Speaker 2: it's gonna very come off very puppety. So you have
• 28:42
  Speaker 2: to find this really really delicate balance. And I think
• 28:45
  Speaker 2: that's where werewolf movies struggle, not that they're not fun
• 28:48
  Speaker 2: to watch, but that no, no, no, I was just saying,
• 28:53
  Speaker 2: there's like, it's not that they're not fun to watch,
• 28:55
  Speaker 2: but werewolf movies can so easily swing one way or
• 28:59
  Speaker 2: the other. I think that's why they end up being
• 29:01
  Speaker 2: so like divisive for people, like whether or not they
• 29:03
  Speaker 2: love them or hate them, and it especially matters how
• 29:06
  Speaker 2: the werewolf looks.
• 29:08
  Speaker 4: Well, that's why I think The Howling is the best
• 29:10
  Speaker 4: because it perfectly balances the amount of werewolves and we
• 29:16
  Speaker 4: get just a metric fucked kind of transformations, Like you
• 29:19
  Speaker 4: get so many transformations in that movie. It's my favorite
• 29:21
  Speaker 4: werewolf movie. It is absolutely the best. Rick Baker worked
• 29:25
  Speaker 4: on that movie. He also worked on American Werewolf in London.
• 29:27
  Speaker 4: That's why the effects are so good between both. But
• 29:30
  Speaker 4: I think Silver Bullet does an incredible job at giving
• 29:35
  Speaker 4: you glimpses here and glimpses there, and close ups of
• 29:37
  Speaker 4: his face, and then you don't get like the real
• 29:40
  Speaker 4: full reveal until the third act. How they reveal the
• 29:42
  Speaker 4: werewolf in Silver Bullet is perfect. In American Werewolf in London,
• 29:46
  Speaker 4: you get glimpses when they get attacked, and then you
• 29:50
  Speaker 4: don't get anything else again, you get dream sequences. That's it.
• 29:54
  Speaker 4: Those don't count. I'm sorry. You get a couple of
• 29:56
  Speaker 4: dream sequences and then you actually get the transformation at
• 29:59
  Speaker 4: fifty nine minutes. That is too long in a werewolf movie,
• 30:03
  Speaker 4: where I'm not seeing enough werewolf outside of dreams. Again,
• 30:06
  Speaker 4: not counting those. Like my issues with American Wolf in London.
• 30:11
  Speaker 4: One is David just fucking leaves Jack when he gets attacked,
• 30:15
  Speaker 4: straight up leaves and then he's like, oh, I should
• 30:17
  Speaker 4: probably turn around and help my friend. Yeah, it's too late.
• 30:20
  Speaker 4: There's also a really gross comment made by one of
• 30:23
  Speaker 4: the nurses, Nurse Gallagher. She mentions to Nurse Price that
• 30:27
  Speaker 4: she's like, I think David is a jew because she
• 30:30
  Speaker 4: has already had a look, meaning she looked at his
• 30:33
  Speaker 4: penis when he was unconscious. That's fucking gross, just throwing
• 30:36
  Speaker 4: that out there, and she devilishly smiles too. I took
• 30:39
  Speaker 4: a picture for you to see so you could see
• 30:42
  Speaker 4: her face with how proud she is that she looked
• 30:44
  Speaker 4: at his penis without his consent. And that's what she
• 30:47
  Speaker 4: looks like right there, deranged.
• 30:50
  Speaker 2: That's such a weird thing to say.
• 30:51
  Speaker 4: It's so gross.
• 30:52
  Speaker 2: It's like when people do that with like, oh, kids
• 30:55
  Speaker 2: getting changed. Oh, he's gonna be a lady killer when
• 30:58
  Speaker 2: he gets older. Why are you looking at his commenting
• 31:00
  Speaker 2: on it?
• 31:01
  Speaker 4: Now?
• 31:01
  Speaker 2: It'll be weird.
• 31:01
  Speaker 4: Now. Obviously I know women don't go through circumcision, but
• 31:04
  Speaker 4: you can think of the roles were reversed and someone
• 31:08
  Speaker 4: made a male nurse made a comment about a women's genitals,
• 31:13
  Speaker 4: that would be like what the fuck? That would be
• 31:15
  Speaker 4: completely not okay. But here it's okay. That yeah, that
• 31:19
  Speaker 4: that a nurse is just looking at his dick. I mean,
• 31:22
  Speaker 4: this is the.
• 31:22
  Speaker 2: Time period where guys were frequent. Movies frequently had dudes
• 31:26
  Speaker 2: making secret peekaboo hole things. To watch girls in showers.
• 31:30
  Speaker 2: So this is just a time like it doesn't matter
• 31:33
  Speaker 2: if they said it, it's okay. I'm staring at them.
• 31:36
  Speaker 4: And then between between that whole thing and the nurse
• 31:38
  Speaker 4: price just taking David home. This hospital has the worst
• 31:42
  Speaker 4: They're the most unethical hospital to exist. I think the
• 31:47
  Speaker 4: best part about this movie outside of the Transformation is
• 31:50
  Speaker 4: the dream David has with like the werewolves with machine guns.
• 31:55
  Speaker 4: I want to watch that movie. What whatever that movie
• 31:58
  Speaker 4: is where they come busting in the door of machine guns.
• 32:00
  Speaker 4: It's like where Wolves of the SSR fake trailer. I
• 32:03
  Speaker 4: want to see that. Basically, thirty seven minutes of this
• 32:07
  Speaker 4: movie is all in the hospital and nothing interesting happens.
• 32:10
  Speaker 4: During the scene of the transformation, fucking Blue Moon by
• 32:13
  Speaker 4: Richard Rodgers is playing, and it kind of ruins the
• 32:15
  Speaker 4: whole Transformation to begin with. There's entirely too much of
• 32:18
  Speaker 4: David Naughton's dick and ass in this movie. He also
• 32:21
  Speaker 4: drops an fsler at one point, and being haunted by
• 32:24
  Speaker 4: your friend who died at the beginning is one thing.
• 32:26
  Speaker 4: But the theater scene where Jack is introducing David to
• 32:29
  Speaker 4: all of the kills, it's just fucking silly. And this
• 32:32
  Speaker 4: film is also very pro suicide because everyone just starts
• 32:35
  Speaker 4: telling David to kill himself at one point. Those are
• 32:37
  Speaker 4: my problems with American Werewolf in London.
• 32:40
  Speaker 2: What about the movie we're viewing right now?
• 32:43
  Speaker 4: Here's ten reasons why this movie is better.
• 32:46
  Speaker 2: Oh Jesus Christ him.
• 32:47
  Speaker 4: I was gonna do five apiece, but it turned into
• 32:49
  Speaker 4: ten one. This is a novella from Stephen King, and
• 32:52
  Speaker 4: he also did the screenplay two Love Him or Hate Him.
• 32:54
  Speaker 4: Gary Busey is in this and he's fucking awesome. Small
• 32:57
  Speaker 4: town setting a motorized wheelchair that gets better, you know
• 33:01
  Speaker 4: what I mean? Like he like he what does he call?
• 33:03
  Speaker 4: Soups it up? Werewolf pov? Don't get me wrong. There
• 33:07
  Speaker 4: is some instances of werewolf pov in American Werewolf in London,
• 33:11
  Speaker 4: but we actually get like the paw in front of
• 33:13
  Speaker 4: the screen or in front of the camera when he's
• 33:15
  Speaker 4: like climbing up great one liners. The last name Marty
• 33:19
  Speaker 4: Coleslaw's fucking hilarious. You also get the twist of the
• 33:22
  Speaker 4: Preacher being the werewolf, which was something I never saw
• 33:26
  Speaker 4: coming when I first watched this. It ends on Halloween
• 33:30
  Speaker 4: and you get the transformation back into a human. There
• 33:33
  Speaker 4: you go. There's my reasons why. So starting with kind
• 33:38
  Speaker 4: of the opening here, I really enjoy the fact that
• 33:41
  Speaker 4: it opens on a full moon, because you that gives
• 33:45
  Speaker 4: me the feeling that, all right, well, were wolves are
• 33:48
  Speaker 4: gonna be out right. I mean this, that's what this is.
• 33:50
  Speaker 4: Silver Bullet did it? Did it give you an immediate
• 33:53
  Speaker 4: sense of unease by seeing a full That was the
• 33:56
  Speaker 4: first shot of the movie was a full moon.
• 33:58
  Speaker 2: I thought, Ah, starting on the full moon. Okay, He's like, okay,
• 34:06
  Speaker 2: I mean, honestly, that's pretty common to werewolf movies though,
• 34:10
  Speaker 2: because they're not really fucking around with the Well, let's
• 34:12
  Speaker 2: give it a few days, then we'll get to the
• 34:14
  Speaker 2: werewolf thing. Nah, you got to get to attack number
• 34:18
  Speaker 2: one if you'd like the story to progress in a
• 34:20
  Speaker 2: forward motion.
• 34:21
  Speaker 4: And that's where I think this movie succeeds, because you
• 34:24
  Speaker 4: have the town drunk on the railroad tracks doing I
• 34:29
  Speaker 4: don't even know. Did they explain what this man was doing?
• 34:32
  Speaker 2: He does minor track maintenance.
• 34:35
  Speaker 4: Yeah, so he's there, it's a full moon, and then boom, chaos.
• 34:41
  Speaker 4: Werewolf explodes out of the darkness and literally knocks Arnie's
• 34:44
  Speaker 4: head clean off. I mean, we get a decapitation in
• 34:47
  Speaker 4: this movie in under five minutes ten out of ten
• 34:50
  Speaker 4: no notes.
• 34:50
  Speaker 2: Yeah, also deemed that and Oopsie he got drunk on
• 34:55
  Speaker 2: the train tracks? Yeah, because the train wouldn't have moved
• 34:59
  Speaker 2: his body from the tracks. His face wouldn't have been
• 35:02
  Speaker 2: battered around like a ball under the train after it
• 35:05
  Speaker 2: got detached from his head, Like, who's the corner? Because
• 35:09
  Speaker 2: they suck at their job.
• 35:10
  Speaker 4: I'm so glad you brought this up because one of
• 35:12
  Speaker 4: the goofs I have written down that I'll just read
• 35:14
  Speaker 4: now is when Arnie is killed at the beginning of
• 35:16
  Speaker 4: the movie, the coroner concludes that he got drunk and
• 35:18
  Speaker 4: fell asleep on the tracks, implying that the train took
• 35:20
  Speaker 4: his head off. However, Arnie's track cart is parked only
• 35:24
  Speaker 4: a few yards away on the same tracks that he
• 35:27
  Speaker 4: supposedly died on, and couldn't have died because of a
• 35:30
  Speaker 4: train accident without causing a major accident. The cart, the
• 35:33
  Speaker 4: body of the tracks are all clearly visible. Yeah.
• 35:36
  Speaker 2: Also given the you think they'd checked the train schedule, Well,
• 35:43
  Speaker 2: he was.
• 35:43
  Speaker 4: The town drunk lit us care are you think you're
• 35:46
  Speaker 4: talking about the corner?
• 35:47
  Speaker 2: Yeah, the corner, Like the people, the fucking police department.
• 35:51
  Speaker 2: No one did any investigating. They're like, ah, he's drunken, decapitated, happens. Yeah, anyway,
• 35:56
  Speaker 2: moving on, we got a we got a pictic to
• 35:59
  Speaker 2: get too.
• 36:00
  Speaker 4: It's like the Mayor and Jaws, like, uh yeah, I
• 36:02
  Speaker 4: don't care that there's a shark in the wall. I mean,
• 36:04
  Speaker 4: of course at this point they have no idea that
• 36:06
  Speaker 4: there's a werewolf. But we've got a Fourth of July
• 36:09
  Speaker 4: party to happen, so the shark can stay in the water.
• 36:12
  Speaker 4: Everyone the beaches are open, so.
• 36:16
  Speaker 2: I mean, if you're gonna go swimming, you gotta expect sharks.
• 36:21
  Speaker 4: I just think that for Stephen King adaptation, it's surprisingly
• 36:24
  Speaker 4: savage like this that that catches me off guard every
• 36:28
  Speaker 4: time I watch it. I honestly, I don't know why.
• 36:30
  Speaker 4: I just forget that he completely gets his head gooshed
• 36:33
  Speaker 4: off of his body. It's just very un Stephen King,
• 36:36
  Speaker 4: you know what I mean.
• 36:38
  Speaker 2: I think in a way, I think that because we've
• 36:40
  Speaker 2: either seen Stephen King as adapted.
• 36:43
  Speaker 4: By Big Production Mike Flanagan.
• 36:46
  Speaker 2: Yeah, like Mike Flannagan, uh Kubrick, where they are more
• 36:50
  Speaker 2: violent in their specific moments, or you get TV miniseries
• 36:55
  Speaker 2: Stephen King where they can't show as much shit, so
• 36:59
  Speaker 2: everything's toned down because if you actually got stuff to
• 37:03
  Speaker 2: the degree it's described, this would not be shocking at all.
• 37:07
  Speaker 4: True.
• 37:08
  Speaker 2: I mean, Geez rose Red as literally just a ratings
• 37:13
  Speaker 2: issue as far as violence is concerned. Yeah, because people
• 37:16
  Speaker 2: are just like dying left and right in that thing.
• 37:18
  Speaker 4: That's true. But I just I love the coroner schalking
• 37:23
  Speaker 4: up to an accident because it doesn't make any sense,
• 37:25
  Speaker 4: and it's one of those moments where I'm like, I
• 37:27
  Speaker 4: just what fuck it. It's that whole fucking logic that
• 37:30
  Speaker 4: I mentioned at many times on this show. It's like, whatever,
• 37:33
  Speaker 4: it's He's clearly not an accident. Everybody's just going to
• 37:35
  Speaker 4: be moving on. No one's going to be the first
• 37:38
  Speaker 4: person to say, well, this is clearly the actions of
• 37:41
  Speaker 4: a werewolf in town, because how many you like, no
• 37:44
  Speaker 4: one's That's not the first thing that I would go
• 37:46
  Speaker 4: to with someone being beheaded.
• 37:48
  Speaker 3: Yeah.
• 37:48
  Speaker 2: Did I black out for the part where we got
• 37:50
  Speaker 2: to how Marty decided it was a werewolf because at
• 37:53
  Speaker 2: some point he was talking about it and then when yeah,
• 37:55
  Speaker 2: so obviously werewolf.
• 37:56
  Speaker 4: And I'm like, what you definitely blacked out.
• 37:59
  Speaker 2: Okay, because I was like, that was a leap from where.
• 38:04
  Speaker 4: I have it written down in my notes here somewhere,
• 38:06
  Speaker 4: or at least I hope I do. We're about to
• 38:08
  Speaker 4: find out. Got to get through all these fucking notes.
• 38:11
  Speaker 4: But yeah, so, I think Stephen King has always understood
• 38:14
  Speaker 4: that denial is one of humanity's strongest survival mechanisms. His
• 38:19
  Speaker 4: characters rarely ignore evil because they're dumb. They ignore it
• 38:22
  Speaker 4: because accepting the truth would shatter their understanding of their world. Again,
• 38:25
  Speaker 4: it's too early for people to recognize this as a werewolf,
• 38:29
  Speaker 4: but they just chalk it up to something else, something
• 38:32
  Speaker 4: that makes more sense than big bad werewolf.
• 38:35
  Speaker 2: And I think that's why so many of his stories
• 38:37
  Speaker 2: are so frequently set in small towns, because the small
• 38:42
  Speaker 2: town mentality is we don't look at the ugly thing
• 38:46
  Speaker 2: it is, We brush that under the rug. We do
• 38:48
  Speaker 2: not talk about that everything is perfect, everything is fine,
• 38:52
  Speaker 2: And Stephen King really leans into that and how far
• 38:56
  Speaker 2: people are willing to take that notion and what they're
• 39:01
  Speaker 2: willing to pay to keep the idyllic mindset, Like, I mean,
• 39:07
  Speaker 2: Dary's the ultimate example.
• 39:09
  Speaker 4: Yeah.
• 39:10
  Speaker 2: Now, granted, Pennywise makes them do that too, but.
• 39:14
  Speaker 4: He had powerful bitch man. He's super strong.
• 39:17
  Speaker 2: But no one questions why all the kids go missing.
• 39:20
  Speaker 2: No like it it is. He does very often set
• 39:23
  Speaker 2: this mind of people don't want to look at what
• 39:27
  Speaker 2: they don't understand and it's scary.
• 39:29
  Speaker 4: They just brush it off.
• 39:30
  Speaker 2: Yeah, which is why the guy got beheaded by the train.
• 39:32
  Speaker 4: That didn't happen exactly. But the thing I love about
• 39:35
  Speaker 4: this movie is that the audience has superior position because
• 39:38
  Speaker 4: we know better, and that creates a dramatic irony. In
• 39:41
  Speaker 4: the movie. We're watching the town make all the wrong
• 39:44
  Speaker 4: conclusions while knowing exactly where those mistakes are going to lead,
• 39:49
  Speaker 4: so the body count begins to rise. The movie shifts
• 39:51
  Speaker 4: gear and introduces us to the people whose lives are
• 39:54
  Speaker 4: about to be completely turned upside down, and it does it.
• 39:57
  Speaker 4: I think it does it through a storytelling you that
• 40:00
  Speaker 4: people have been debating ever since film was released. Through
• 40:03
  Speaker 4: the narration. I don't know if I like the narration
• 40:05
  Speaker 4: it feels I don't know if that happens in the
• 40:07
  Speaker 4: Cycle of the Werewolf like. The movie opens with Jane
• 40:11
  Speaker 4: clearly as an older woman, recalling the events of what's
• 40:14
  Speaker 4: happening I forgot she was narrating until she picked it
• 40:18
  Speaker 4: back up at like forty minutes in and I was like, Oh,
• 40:21
  Speaker 4: that's right, you were narrating.
• 40:22
  Speaker 2: This, Stephen King do be living in a narration?
• 40:25
  Speaker 4: So I don't know. I think it serves its purpose,
• 40:28
  Speaker 4: but I have mixed feelings about it. It does kind
• 40:32
  Speaker 4: of give it this campfire story, local legend feel, but
• 40:37
  Speaker 4: at the end of the day, it also just doesn't
• 40:39
  Speaker 4: really fit in because it's not used constantly throughout the film.
• 40:42
  Speaker 4: It's the beginning, a part of the middle, and then
• 40:45
  Speaker 4: the end. I don't know. Do you do agree? Do you?
• 40:48
  Speaker 4: How do you feel about the narration?
• 40:50
  Speaker 2: I feel like we would have been fine without it.
• 40:52
  Speaker 2: I also think it was a really random pick for
• 40:55
  Speaker 2: it to be the sister.
• 40:56
  Speaker 4: Yeah, it's putting it from her perspective kind of doesn't
• 41:00
  Speaker 4: make sense because she.
• 41:02
  Speaker 2: Wasn't around for some of the things that if she's telling.
• 41:05
  Speaker 2: The thing is is, if you're telling the story, you
• 41:09
  Speaker 2: have to be present for every event, or you have
• 41:14
  Speaker 2: to explicitly state that you were told about these events later.
• 41:19
  Speaker 2: But if you're she's not there for half this shit. Yeah,
• 41:23
  Speaker 2: so how the hell is she know that he was
• 41:26
  Speaker 2: stuck in the bridge and the preacher was like right
• 41:32
  Speaker 2: on top of him, and how the fuck does she know?
• 41:35
  Speaker 4: Well, she only was narrating things from why That's why I.
• 41:38
  Speaker 2: Think the way this implied that she's telling the story,
• 41:41
  Speaker 2: she is relaying to us the tale of what happened.
• 41:44
  Speaker 2: That's uh that yeah, that fall okay, But you have
• 41:48
  Speaker 2: to be there for everything to know that that's happening.
• 41:51
  Speaker 2: So it would have made more sense for Marty to
• 41:53
  Speaker 2: know and his sister to have relayed the small bitch
• 41:56
  Speaker 2: that she was in by herself.
• 41:57
  Speaker 4: True, yeah, yeah, it should have come from Marty's perspective,
• 42:01
  Speaker 4: and I'm sure reading Cycle of the Werewolf might contextualize
• 42:05
  Speaker 4: things a bit more. But there's also moments where Jane
• 42:08
  Speaker 4: explains things that the movie has already shown us visually,
• 42:11
  Speaker 4: and in those instances it can feel a little redundant.
• 42:13
  Speaker 4: So I don't know, Like I said, I need to
• 42:16
  Speaker 4: read the novella. I don't know if it's structured differently,
• 42:19
  Speaker 4: and maybe this is a case of Stephen King writing
• 42:23
  Speaker 4: trying to do something better, But like again, I don't
• 42:26
  Speaker 4: know desource material, so I can't compare it to anything.
• 42:29
  Speaker 2: I also found it really confusing that it appeared that
• 42:34
  Speaker 2: we started in summer but we ended in fall, but
• 42:37
  Speaker 2: it was kind of unclear. The way they set up
• 42:39
  Speaker 2: the time frame for this happening.
• 42:41
  Speaker 4: Timeframe is terrible.
• 42:42
  Speaker 2: The timeframe set up, it's so confusing. I'm like, is
• 42:45
  Speaker 2: this over like a week or months? Because they have
• 42:49
  Speaker 2: no clear indicator. You're kind of just supposed to pick
• 42:52
  Speaker 2: up on what's going on around them and maybe piece
• 42:54
  Speaker 2: together timeline. But their timeline is so difficult to follow.
• 42:58
  Speaker 4: That's my biggest issue with this movie. And I do
• 43:00
  Speaker 4: have trivia on it that says you know where it
• 43:04
  Speaker 4: takes like the timeline of how it takes place, but
• 43:06
  Speaker 4: they don't. Yeah, they don't give you anything, and it's
• 43:08
  Speaker 4: very it's very bizarre because I really thought at first
• 43:12
  Speaker 4: this was just during the cycle of the full moon,
• 43:15
  Speaker 4: which can last up to two to three days yep.
• 43:18
  Speaker 4: And then it kept going and I'm like, okay, are
• 43:20
  Speaker 4: we in a different month now? And then they're like, Calloween.
• 43:23
  Speaker 4: I'm like, when did we start this? Aren't you got
• 43:26
  Speaker 4: the fireworks? I remember because Uncle Red said, you're not
• 43:29
  Speaker 4: gonna have fireworks for Fourth of July. You're gonna have
• 43:32
  Speaker 4: fireworks for September, so I guess we're in September, and
• 43:36
  Speaker 4: then I think the movie opens with like spring of
• 43:39
  Speaker 4: nineteen seventy six.
• 43:40
  Speaker 2: It opens its spring. Yeah. Then we see them go
• 43:45
  Speaker 2: school's over, summer, school are like school's over. It's summer.
• 43:49
  Speaker 2: And then I guess it's fourth of July.
• 43:52
  Speaker 4: And then it's September.
• 43:55
  Speaker 2: It's September. Then it's Halloween.
• 43:57
  Speaker 4: Yeah.
• 43:57
  Speaker 2: Ten, there's like, okay, so this everyone's real riled up
• 44:02
  Speaker 2: for what's taking place over several months, and I know
• 44:05
  Speaker 2: a kid died, but also that dragging it out across
• 44:09
  Speaker 2: that many months makes that tension feel really odd, like
• 44:15
  Speaker 2: if this thing has been killing periodically for months, but
• 44:19
  Speaker 2: now we're all pissed off, and now we're all gonna
• 44:24
  Speaker 2: go out and form a posse to find whatever it is.
• 44:28
  Speaker 4: Today's the day, because because the cops aren't doing anything.
• 44:32
  Speaker 2: And the kid died, and it just because it takes
• 44:34
  Speaker 2: place over such a long time, that tension feels like
• 44:38
  Speaker 2: there was no tension. Everybody form a posse, and then
• 44:41
  Speaker 2: we're back to no tension.
• 44:43
  Speaker 4: I feel that for the town, well yeah, I feel
• 44:46
  Speaker 4: that the kid's death was really what set people like
• 44:50
  Speaker 4: on fire, like all right, Well, you guys, this is
• 44:52
  Speaker 4: like the third death, and however, many weeks or months
• 44:55
  Speaker 4: nothing is happening. A kid has died. Yeah, like we've there,
• 44:59
  Speaker 4: we got do something about this, like what's going on?
• 45:01
  Speaker 2: Yeah, this thing this takes place almost like at least
• 45:05
  Speaker 2: six months, So the tension building for the town feels
• 45:10
  Speaker 2: really it really could have helped with a better, clearer
• 45:14
  Speaker 2: timeline like that would have done a lot for the movie,
• 45:16
  Speaker 2: because I think that's what makes it also feel slower,
• 45:18
  Speaker 2: is if you're watching it and you're trying to figure
• 45:21
  Speaker 2: out what the hell the timeline is, and you're like, oh,
• 45:23
  Speaker 2: this has been going on for like months, is something
• 45:25
  Speaker 2: gonna like happen happen because we're four months into this story,
• 45:30
  Speaker 2: I guess, and nothing's happened except people are dying.
• 45:34
  Speaker 4: Well yeah, And I do feel Stephen King does know
• 45:40
  Speaker 4: how to kind of make it make a town feel alive.
• 45:44
  Speaker 4: But it is a little weird here because again there's
• 45:47
  Speaker 4: no set timeline. But when characters rile together and try
• 45:54
  Speaker 4: to stop this madness, I think that's where Stephen King shines.
• 45:58
  Speaker 4: It didn't really mean for that to be a pun,
• 46:00
  Speaker 4: but it is. And his small, his small town storytelling
• 46:05
  Speaker 4: is literally the best. You know. I've always believed that
• 46:10
  Speaker 4: Stephen King's greatest characters aren't like Penny Wise or Jack
• 46:15
  Speaker 4: Taurians or Randall Flags, it's his towns. King has such
• 46:19
  Speaker 4: an incredible ability to create places that feel like they've
• 46:21
  Speaker 4: existed long before our story has begun. And in this case,
• 46:25
  Speaker 4: Tarker's Mill isn't just a collection of houses. It's a
• 46:28
  Speaker 4: functioning community. People know, people know each other, They gossip,
• 46:31
  Speaker 4: they argue, they all attend church, they shop at the
• 46:33
  Speaker 4: same stories, blah blah blah. Feels lived in. And I
• 46:36
  Speaker 4: think Stephen King does a great job at that. And
• 46:39
  Speaker 4: I think that's one of the reasons why his horror
• 46:41
  Speaker 4: works so well. Yeah, it's because a lot of his
• 46:44
  Speaker 4: movies are set in these small towns or or isolated places.
• 46:48
  Speaker 4: If Silver Bullet took place in this major city, the
• 46:51
  Speaker 4: murders would still be tragic, but it wouldn't feel as personal.
• 46:55
  Speaker 4: In a place like Tarker's Mill, every death kind of
• 46:57
  Speaker 4: sends out these shockwaves throughout the community because everyone has
• 47:00
  Speaker 4: a connection with the victim, so it feels a lot
• 47:03
  Speaker 4: more emotional.
• 47:05
  Speaker 2: Yeah. Yeah, And I think Stephen King always has a
• 47:08
  Speaker 2: strong root and finding something real that everyone can connect
• 47:14
  Speaker 2: to on some level.
• 47:16
  Speaker 4: What do you feel that's that's this so like in this.
• 47:19
  Speaker 2: Instance, it's like that that feels like a real town
• 47:21
  Speaker 2: that would exist. That's why I was.
• 47:23
  Speaker 4: Saying the great name to Tarker's Mill is such a
• 47:26
  Speaker 4: great name.
• 47:27
  Speaker 2: That's why I was saying. The connection between characters felt
• 47:30
  Speaker 2: really weak for them being family, they didn't feel very
• 47:35
  Speaker 2: familiar a lot of the time, Like the uncle with
• 47:42
  Speaker 2: my uncle read with Marty that that felt like, you know,
• 47:45
  Speaker 2: that felt real. And there's the small moments with Marty.
• 47:49
  Speaker 4: And Jane, Yeah Jane, the sister Yeah yeah.
• 47:52
  Speaker 2: Jane, And that felt but like the parents just there
• 47:56
  Speaker 2: there feels like they're they might as well not exist,
• 47:59
  Speaker 2: they're so detached from each other. And so I think
• 48:04
  Speaker 2: that hurt that story for me. But yeah, with Stephen
• 48:08
  Speaker 2: King's stories, like you take a family with a struggling
• 48:12
  Speaker 2: dynamic and then you isolate them. People know a family
• 48:16
  Speaker 2: where someone's dealing with an issue and what you know,
• 48:19
  Speaker 2: and the spouse has to try to cope and there's
• 48:21
  Speaker 2: still a kid involved. That's that's a real thing. That
• 48:24
  Speaker 2: that that is a you go into any neighborhood, and
• 48:28
  Speaker 2: that family exists somewhere in that neighborhood, and you know,
• 48:33
  Speaker 2: kids bond bonding together and going out on adventures and
• 48:39
  Speaker 2: having that summer where things. When you grow up it
• 48:41
  Speaker 2: just doesn't feel like it really happened, But when you
• 48:43
  Speaker 2: were a kid, it feels like the most real moment
• 48:46
  Speaker 2: of your whole life. That's something most people have experienced. Yeah,
• 48:51
  Speaker 2: and then you add a clown or then you add
• 48:53
  Speaker 2: finding a dead body. You know. He takes these things
• 48:57
  Speaker 2: that feel very human, very real, and then add something
• 49:01
  Speaker 2: to them, like the loss of a child that is
• 49:03
  Speaker 2: a real thing, that is something many people can connect with.
• 49:08
  Speaker 4: What's that one from that cemetery? Oh oh yeah, yeah, Kate.
• 49:11
  Speaker 2: And then you add but what if you could bring
• 49:13
  Speaker 2: him back?
• 49:14
  Speaker 4: Yeah?
• 49:15
  Speaker 2: And I think that's where Stephen King is really strong,
• 49:18
  Speaker 2: is taking these really core feelings that you know something
• 49:23
  Speaker 2: either you've experienced it or you know somebody who has. Yeah,
• 49:27
  Speaker 2: and then you add to that. And that's what I
• 49:30
  Speaker 2: think Stephen King is best at well.
• 49:33
  Speaker 4: And I honestly think I don't know. I think the
• 49:36
  Speaker 4: family deserves a little bit more credit then maybe you
• 49:39
  Speaker 4: might be giving it because in horror, especially crazier features.
• 49:42
  Speaker 4: It's easy to treat the human characters as you know,
• 49:46
  Speaker 4: bodies waiting in line to just be claimed by the monster.
• 49:50
  Speaker 4: But I feel like Marty and Jane, they feel like
• 49:52
  Speaker 4: genuine siblings. They their relationship isn't overly sentimental, and that's
• 49:57
  Speaker 4: what makes it believable. Jane gets annoyed with Marty. Marty
• 50:00
  Speaker 4: knows how to push Jane's buttons. They tease each other,
• 50:03
  Speaker 4: they argue, they occasionally drive each other crazy, But then
• 50:06
  Speaker 4: underneath all that is real affection. The whole thing with
• 50:09
  Speaker 4: the money and the panty hosset situation, when the danger
• 50:14
  Speaker 4: becomes personal, I buy into their bond because the movie
• 50:17
  Speaker 4: has already done the work to establish them as feeling
• 50:20
  Speaker 4: like genuine siblings.
• 50:21
  Speaker 2: Oh No, Like I said, there was moments with them
• 50:24
  Speaker 2: that felt really true and wrong true as siblings. It's
• 50:28
  Speaker 2: just like there are moments where Jane is repeatedly getting
• 50:33
  Speaker 2: crapped on by her parents for anything. It's like her
• 50:36
  Speaker 2: parents like the parents don't exist except when they're telling
• 50:41
  Speaker 2: her she's doing something wrong.
• 50:43
  Speaker 4: Well, I think that's kind of from her perspective, So
• 50:46
  Speaker 4: it would that would make a lot of sense that
• 50:48
  Speaker 4: she has a negative impression of them given her age.
• 50:51
  Speaker 2: Yeah, And I feel like if we had seen more
• 50:54
  Speaker 2: balance in that somewhere, even in some small moments where
• 50:57
  Speaker 2: her parents talk to her connected with her, I think
• 51:00
  Speaker 2: I would it would have felt like a more natural
• 51:03
  Speaker 2: family dynamic. Like we've talked about Poltergeist. The thing that
• 51:06
  Speaker 2: make Poultergeist so great is that feels like a real family,
• 51:11
  Speaker 2: that feels like a family you would go have a
• 51:14
  Speaker 2: barbecue with. They have the right level of connection and
• 51:19
  Speaker 2: love and playfulness yea, and they feel so genuine. The
• 51:24
  Speaker 2: parents here feel like you could they were copied and
• 51:27
  Speaker 2: pasted into this story, and that makes the family dynamic
• 51:31
  Speaker 2: feel weaker overall, because you have these parents who only
• 51:35
  Speaker 2: talk to shit on Jane or Uncle Red.
• 51:39
  Speaker 4: Well. There's also instances where Marty's father is extremely overprotective,
• 51:43
  Speaker 4: constantly worrying about what his son in, what his son
• 51:46
  Speaker 4: can and can't do, and his mother is often finding
• 51:49
  Speaker 4: herself caught between Marty's independence and protecting him from a
• 51:52
  Speaker 4: world that can be so cruel. So I think when
• 51:54
  Speaker 4: you have a kid that's a paraplegic, you are in
• 51:57
  Speaker 4: this very bizarre spot with the thing I just mentioned
• 52:00
  Speaker 4: that that kid is kind of your main focus, and
• 52:03
  Speaker 4: that's probably what Jane feels like. She's left to the
• 52:06
  Speaker 4: wayside because Marty is again he's a paraplegic, and they're
• 52:11
  Speaker 4: so worried about what he can and can't do.
• 52:13
  Speaker 2: And I'm gonna see you on that, okay.
• 52:15
  Speaker 4: And raise raise me.
• 52:18
  Speaker 2: Then why the fuck would they give him a wheelchair
• 52:22
  Speaker 2: with a motor to attached to it and not even
• 52:24
  Speaker 2: make him wear any sort of safety restraints or helmet.
• 52:28
  Speaker 4: Counterpoint, they gave him a motorized wheelchair that didn't go
• 52:31
  Speaker 4: that fast. Uncle Red gave him the fucking motorcycle.
• 52:35
  Speaker 2: But they're letting him take it on two lane roads.
• 52:37
  Speaker 2: They are telling him he can take it to and
• 52:39
  Speaker 2: from school, which means they are fine with him taking
• 52:44
  Speaker 2: an illegal motorized.
• 52:46
  Speaker 4: Devoids the seventies.
• 52:48
  Speaker 2: Yeah, but no, they're that worried that if his sister
• 52:52
  Speaker 2: picks on him, she immediately gets pounced on. But they
• 52:55
  Speaker 2: don't give him any safety measures on his motor a
• 53:00
  Speaker 2: rised wheelchair, and then they just let him go to
• 53:02
  Speaker 2: and fro as he pleases, and he is personally responsible
• 53:05
  Speaker 2: for putting gas in that fucking thing. Yeah, you're worried
• 53:10
  Speaker 2: about his safety, but you're let you have no fucking
• 53:12
  Speaker 2: clue where this kid is he does, and you literally
• 53:15
  Speaker 2: have him in a motorized device without safety equipment, So
• 53:19
  Speaker 2: like do That's what I'm saying, Like, they don't feel
• 53:22
  Speaker 2: if because you, if you're that protective over your kid
• 53:25
  Speaker 2: that you won't even let someone bad mouth him, You're
• 53:27
  Speaker 2: not letting your kid anywhere near something like that. He's
• 53:30
  Speaker 2: already paraplegic and that chair is one second away from
• 53:36
  Speaker 2: breaking his neck and full on paralyzing him, and they
• 53:41
  Speaker 2: just let him go wherever with it. So there can't
• 53:43
  Speaker 2: they can't be that friggin concerned about it. So I'm
• 53:46
  Speaker 2: saying they don't feel like authentic parents, and I think
• 53:49
  Speaker 2: that's what hurt the overall dynamic of the characters for me.
• 53:54
  Speaker 4: Fine, can you agree that the family drama never overshadows
• 53:57
  Speaker 4: the horror and the horror doesn't erase a family dynamic. Yeah,
• 54:02
  Speaker 4: so at least it's balanced in some sort of way.
• 54:05
  Speaker 2: Yeah, they're the siblings sticking together when times are tough.
• 54:10
  Speaker 2: It's very on brand for siblings. Like my brother and
• 54:12
  Speaker 2: I used to bug the but Jesus out of each other.
• 54:15
  Speaker 2: But if I was scared, my brother would be there
• 54:18
  Speaker 2: for me. My brother sat with me on the phone
• 54:20
  Speaker 2: when I was having distressing situations and talked me through it,
• 54:25
  Speaker 2: even though as kids he would make fun of me constantly.
• 54:29
  Speaker 2: There's a line, and these siblings know that line, like
• 54:32
  Speaker 2: you you bug the shit out of each other, but
• 54:36
  Speaker 2: you're still right, or die for your sibling. And I
• 54:39
  Speaker 2: think that really works. And Uncle Red does feel like
• 54:42
  Speaker 2: that uncle who rolls in just to do a bunch
• 54:45
  Speaker 2: of waggy shit, probably cause a little trouble and then
• 54:48
  Speaker 2: dip out of town again. Yeah, but yeah, they think
• 54:54
  Speaker 2: I would have And I think if they had, he
• 54:57
  Speaker 2: didn't believe them so much in this movie, like you
• 54:59
  Speaker 2: didn't believe them up till the damn thing. I like
• 55:01
  Speaker 2: kool aid man through the damn wall. Yeah, I mean yeah,
• 55:05
  Speaker 2: And I think that only works because they're kids, right,
• 55:09
  Speaker 2: because if they were full grown adults, it really would
• 55:11
  Speaker 2: have pissed me off that they he didn't believe them.
• 55:13
  Speaker 4: Yeah, and I and I really enjoy Uncle Red. He's
• 55:16
  Speaker 4: he sounds like a terrible idea on paper. He's loud,
• 55:19
  Speaker 4: he's impulsive, he drinks too much, pilling inappropriate jokes, but
• 55:23
  Speaker 4: uh huh, so he's Gary Busey, but he kind of
• 55:28
  Speaker 4: turns into the emotional heart of the film. And even
• 55:32
  Speaker 4: though he doesn't stop drinking entirely, I really do appreciate
• 55:35
  Speaker 4: when he's called on his shit by Nan and it's like,
• 55:40
  Speaker 4: you cannot he's impressionable. You can't just be drinking around him.
• 55:43
  Speaker 4: He does stop drinking in front of him there at
• 55:45
  Speaker 4: that moment in the church too, where he goes to
• 55:47
  Speaker 4: like when they have like the forecaskets of all the
• 55:49
  Speaker 4: people that have died, and he pulls out a flask
• 55:52
  Speaker 4: and then he looks over at Marty and then he
• 55:54
  Speaker 4: puts the flashback. I was like, Okay, so he's he's
• 55:56
  Speaker 4: at least being respectful of not drinking around the kid.
• 56:00
  Speaker 4: But he's just like that fun uncle that everybody wants
• 56:02
  Speaker 4: to have. And he builds him this really cool motorcycle wheelchair,
• 56:08
  Speaker 4: which is literally one of the most badass things that
• 56:10
  Speaker 4: has ever come out of the eighties. It is probably
• 56:14
  Speaker 4: one of the coolest vehicles and like horror history, i'd say,
• 56:18
  Speaker 4: or like you at least from the eighties or whatever
• 56:20
  Speaker 4: it is. You know, it's a rocket shaped motorized engine
• 56:23
  Speaker 4: pulling wheelies and shit flying by cars on the road.
• 56:27
  Speaker 4: It's such a great like, I just like what it
• 56:31
  Speaker 4: represents because they're you know, throughout the movie, Marty's constantly
• 56:33
  Speaker 4: being told what he can't do, and then his wheelchair
• 56:37
  Speaker 4: becomes this thing of I mean, it's dangerous, but it
• 56:43
  Speaker 4: stop with the faces. But you know, he can, He's
• 56:47
  Speaker 4: racing around, he's exploring, he go he goes places nobody
• 56:50
  Speaker 4: expects him to. This, like the silver bullet kind of
• 56:53
  Speaker 4: becomes a symbol of independence for for Marty. And also,
• 56:57
  Speaker 4: you know, silver bullet is right on brand with those
• 57:00
  Speaker 4: you know, the whole thing about werewolves and the silver bullets,
• 57:03
  Speaker 4: so double meaning on the name. But yeah, I really
• 57:06
  Speaker 4: enjoy I really enjoy that. I think the whole design
• 57:10
  Speaker 4: of the wheelchair is is a lot of fun, even
• 57:13
  Speaker 4: though it's completely unsafe. But going back to what I
• 57:20
  Speaker 4: was sa the werewolf itself, because obviously that's the you know,
• 57:23
  Speaker 4: the main topic in hand here. For much of the movie,
• 57:27
  Speaker 4: like I mentioned, the werewolf exists in fragments, a claw,
• 57:30
  Speaker 4: a scru you know, like a scratch, a silhouette, a
• 57:33
  Speaker 4: blur rushing in the darkness. And because the movie withholds
• 57:37
  Speaker 4: the full reveal, I feel that every attack feels unpredictable,
• 57:41
  Speaker 4: especially when that what is he goes to up to
• 57:46
  Speaker 4: that lady's house who's pregnant and like the out of wedlock,
• 57:50
  Speaker 4: and and the guy is like, this is your problem.
• 57:53
  Speaker 4: You have the baby, and you're like classic man being
• 57:56
  Speaker 4: a piece of shit. Now, I don't know, Oh that's right.
• 58:01
  Speaker 4: I guess he would know that because he is the priest. Yeah,
• 58:05
  Speaker 4: so I'm sure that's why he went there. But I
• 58:07
  Speaker 4: don't know how he knew that she was planning on
• 58:09
  Speaker 4: killing herself.
• 58:10
  Speaker 2: Because I'm guessing heard.
• 58:12
  Speaker 4: Okay, because the whole reason he kills her is to
• 58:15
  Speaker 4: save her from purgatory or hell or whatever, because they're Catholics,
• 58:20
  Speaker 4: so you know, suicide and that religion is not viewed
• 58:24
  Speaker 4: very well. So he went there to kill her so
• 58:25
  Speaker 4: he could save her soul. And I love this idea
• 58:28
  Speaker 4: of weaponizing religion through werewolf ism. That's fucking so insane, as.
• 58:33
  Speaker 2: Like, yeah, no, you can't commit suicide, but I can
• 58:35
  Speaker 2: do murder, Yeah.
• 58:37
  Speaker 4: I can do murder. Well, it was to save her soul,
• 58:40
  Speaker 4: so apparent. I just I absolutely love that. I feel
• 58:45
  Speaker 4: like the approach here kind of mirrors Jaws, and you know,
• 58:50
  Speaker 4: Spielberg understands, and hiding the shark made it more frightening
• 58:53
  Speaker 4: than showing it, even if technical limitations played a role.
• 58:57
  Speaker 4: But here it's a guy in a suit, and that's
• 58:59
  Speaker 4: what I love about it. There it's a guy to
• 59:01
  Speaker 4: suit with an animatronic face, so they don't really have
• 59:04
  Speaker 4: a reason to hide it. But I feel them hiding
• 59:08
  Speaker 4: it and only showing in glimpses only works. It works
• 59:12
  Speaker 4: better because by the time you get that full reveal
• 59:14
  Speaker 4: in the attic and you see the werewolf, you know,
• 59:17
  Speaker 4: with the shot out eye and the fireworks. I think
• 59:19
  Speaker 4: it's just so effective and you get a good enough transformation.
• 59:24
  Speaker 4: Is it the best? Absolutely not, but it is still
• 59:27
  Speaker 4: a transformation. Nonetheless, I would argue that the transformation back
• 59:32
  Speaker 4: into a human was better fun. That was fun. You
• 59:35
  Speaker 4: don't typically see that in every werewolf movie, like American
• 59:39
  Speaker 4: WORLF in London. He just gets, you know, spoilers for
• 59:41
  Speaker 4: that movie. He gets shot and then the next scene
• 59:44
  Speaker 4: is just him as a as a na.
• 59:45
  Speaker 2: Which is pretty typical vampire or not vampire werewolf movies.
• 59:49
  Speaker 2: Is they are werewolf cut away, cut back?
• 59:53
  Speaker 4: Yeah, But I love the like d transformation that they
• 59:56
  Speaker 4: have in uh in this movie, Like, like I said, is
• 1:00:03
  Speaker 4: the werewolf transformation on the same level as Rick Baker's
• 1:00:06
  Speaker 4: American werewof Lena Know? Is that as grotesque and animalistic
• 1:00:09
  Speaker 4: as the creature's in the Howling? Also? No, but it
• 1:00:11
  Speaker 4: doesn't need to be. Like at this point, this is
• 1:00:13
  Speaker 4: nineteen eighty five. We've seen great transformations before. This is
• 1:00:16
  Speaker 4: a transformation that works well enough, gives you enough glimpses
• 1:00:21
  Speaker 4: of him transforming, and then you get the full creature.
• 1:00:24
  Speaker 4: And I think it works very well. And the fact
• 1:00:26
  Speaker 4: that again it is the Reverend that's been doing this
• 1:00:30
  Speaker 4: the entire time is such a great aspect of the
• 1:00:34
  Speaker 4: film because it reframes everything you've watched up to this point. Now,
• 1:00:38
  Speaker 4: you said you didn't see it coming, but it did
• 1:00:40
  Speaker 4: make sense because he was the only one to have
• 1:00:42
  Speaker 4: that dream about werewolves in the church.
• 1:00:44
  Speaker 2: Yeah, that was very specific a dream to have.
• 1:00:47
  Speaker 4: Did you have? But but you said when you saw
• 1:00:50
  Speaker 4: it because you know that Jane eventually goes looking around
• 1:00:52
  Speaker 4: town for someone with damage to their eye because Marty
• 1:00:56
  Speaker 4: lit a fire or Marty right, Yeah, Marty let a
• 1:00:58
  Speaker 4: firework off and it hit the werewolf's eyes. So they're
• 1:01:01
  Speaker 4: going around and Jane's like, I can't believe he made
• 1:01:03
  Speaker 4: me do that. I'm never going to find this person.
• 1:01:06
  Speaker 4: And the way they reveal it to is so good
• 1:01:08
  Speaker 4: because the reverence like, oh yeah, I just go in
• 1:01:10
  Speaker 4: there and grab the bottles, and then the camera, you know,
• 1:01:13
  Speaker 4: Dolly's over and it's him doing some gardening and then bam,
• 1:01:16
  Speaker 4: patch on the eye and you're like, oh shit, he
• 1:01:18
  Speaker 4: is the werewolf. So did that reveal work for you?
• 1:01:22
  Speaker 4: Is that something you liked or disliked or what are your.
• 1:01:26
  Speaker 2: Thoughts once they didn't show him his because every other
• 1:01:31
  Speaker 2: time you saw him, you just straight up it was
• 1:01:33
  Speaker 2: here he is standing.
• 1:01:34
  Speaker 4: In there because he kind of he did like a
• 1:01:35
  Speaker 4: half turn to talk to her in your.
• 1:01:37
  Speaker 2: Yeah, so once he does, he's bending down, facing away
• 1:01:40
  Speaker 2: from her, doesn't turn.
• 1:01:41
  Speaker 4: I'm like, well werewolf, Well yeah, but I'm saying like.
• 1:01:46
  Speaker 2: And I thought that was fun because yeah, after a while,
• 1:01:49
  Speaker 2: they were really building up the whole, like her looking
• 1:01:52
  Speaker 2: into everybody's eyes, which apparently they found the craziest eyed
• 1:01:56
  Speaker 2: people for this. Everybody was making crazy eyes at her.
• 1:02:00
  Speaker 4: You'd seen everyone before, they look normal, but now when
• 1:02:03
  Speaker 4: she's looking in their eyes, we're all just.
• 1:02:04
  Speaker 2: Like everybody's stones, what is happening? That was fun? Yeah,
• 1:02:11
  Speaker 2: but once he didn't turn around, I'm like, well, werewolf, yeah,
• 1:02:14
  Speaker 2: were wolf man? Were wolf?
• 1:02:17
  Speaker 4: Well, And I love it because it's like it's like
• 1:02:19
  Speaker 4: Stephen King's asking the question, what if the people were
• 1:02:21
  Speaker 4: supposed to trust the most are the ones we should
• 1:02:23
  Speaker 4: actually be fearing And that plays on many levels.
• 1:02:27
  Speaker 2: With the pastor yeah.
• 1:02:30
  Speaker 4: Especially today's climate with you know.
• 1:02:32
  Speaker 2: Yeah, were wolves have kind of chew options when it
• 1:02:35
  Speaker 2: comes to who's the werewolf. It can either be a
• 1:02:37
  Speaker 2: story about someone uh fighting the thing they can't control
• 1:02:42
  Speaker 2: and try finding time to try to save themselves from
• 1:02:46
  Speaker 2: the fate that's about to befall them, or it's a
• 1:02:51
  Speaker 2: who is it? Because where wolves are people during the day,
• 1:02:54
  Speaker 2: it's not vampires vampires who's never coming out at night
• 1:02:59
  Speaker 2: or who don't know who never coming out during the daytime,
• 1:03:01
  Speaker 2: who's not eating? Who can you it's proving that person
• 1:03:06
  Speaker 2: who's doing suspicious shit is the vampire. Werewolves you can't
• 1:03:10
  Speaker 2: tell who it is when they're werewolf in so that's true.
• 1:03:15
  Speaker 2: It's always a who could it be? Who is it
• 1:03:18
  Speaker 2: that you? And it's always a person you've trusted or
• 1:03:22
  Speaker 2: has been close to you and you've just never noticed.
• 1:03:26
  Speaker 4: Well, I had the notes. How do you undo here?
• 1:03:30
  Speaker 4: I just had the notes that said Marty, oh, yeah,
• 1:03:34
  Speaker 4: doesn't he think it's a werewolf when he runs into
• 1:03:36
  Speaker 4: the fucking werewolf? Isn't that when Marty's like, it's a werewolf?
• 1:03:39
  Speaker 2: Yeah? But before that he said, I think what if
• 1:03:41
  Speaker 2: it was a werewolf? And it was like, yeah, because
• 1:03:45
  Speaker 2: once you're face to face with a fucking werewolf, yeah,
• 1:03:47
  Speaker 2: it's yeah, the big wolf man thing, that's probably were wolf.
• 1:03:51
  Speaker 2: But I'm saying prior to that, he was like, anyways,
• 1:03:53
  Speaker 2: I'm kind of thinking it's a werewolf. And I'm like,
• 1:03:55
  Speaker 2: all right, did I black out for part of this conversation?
• 1:03:57
  Speaker 2: And where did he get that?
• 1:03:59
  Speaker 4: Maybe I did.
• 1:04:00
  Speaker 2: It could be that the attacks were happening on the
• 1:04:02
  Speaker 2: full moon or whatever, which means he's a very observant kid.
• 1:04:05
  Speaker 2: If that's what happened, oh yeah, because most kids would
• 1:04:08
  Speaker 2: be like, yeah, those attacks happen at times.
• 1:04:11
  Speaker 4: At times and things.
• 1:04:12
  Speaker 2: I mean, when you're that age, it's like Halloween happens
• 1:04:16
  Speaker 2: every ten years, because you're like, God, when will it
• 1:04:19
  Speaker 2: be Halloween again? And for us it's like, oh shit,
• 1:04:23
  Speaker 2: Halloween's like three months from now. That's like in twenty minutes.
• 1:04:26
  Speaker 4: Right, Well, speaking of Halloween, that's where this movie decides
• 1:04:32
  Speaker 4: to end, which is a great choice, even though, and
• 1:04:37
  Speaker 4: that's one of my other problems with this movie. Ending
• 1:04:39
  Speaker 4: is very quick.
• 1:04:42
  Speaker 2: Yes, it's so fast, A little fast. I say, we
• 1:04:45
  Speaker 2: spent a lot of time building up for this, and
• 1:04:47
  Speaker 2: it's like, all right, bank bank boom, and we're out
• 1:04:49
  Speaker 2: of here, over bye.
• 1:04:51
  Speaker 4: But not before Gary Busey gets thrown into every piece
• 1:04:54
  Speaker 4: of fucking furniture in that house, like a cabinet, a mirror,
• 1:05:01
  Speaker 4: another cabinet. Maybe it was the same one, just reversed shots.
• 1:05:06
  Speaker 2: But yeah, ten to twelve mirrors in that room.
• 1:05:09
  Speaker 4: Yeah. But the thing I love about even though it
• 1:05:12
  Speaker 4: is very short lived, the thing I love about it
• 1:05:14
  Speaker 4: is that they use the silver bullet created by the
• 1:05:17
  Speaker 4: guy at the gun store, and they when Marty uses it,
• 1:05:22
  Speaker 4: he shoots him in the other eye. So he's already
• 1:05:25
  Speaker 4: got eye trauma from the firework, and then he gets
• 1:05:27
  Speaker 4: a silver bullet and the other eye. And I thought
• 1:05:30
  Speaker 4: that was fucking great. I was like, fucking iye, trauma
• 1:05:33
  Speaker 4: is the theme of this movie, apparently.
• 1:05:36
  Speaker 2: Yeah, but it was just so fast. He's like, he
• 1:05:39
  Speaker 2: busts in there like the kool Aid man, throws Gary
• 1:05:42
  Speaker 2: Beausey around while the two kids try not to get murderated.
• 1:05:47
  Speaker 2: In between times, Gary Beausey stands back up to get
• 1:05:49
  Speaker 2: thrown around some more, and then they're like, seriously, I
• 1:05:54
  Speaker 2: mean the werewolf doesn't even try to dodge that shot.
• 1:05:57
  Speaker 2: He just stands there and he's like, yeah, could you
• 1:06:00
  Speaker 2: I need to just goot a little to the right
• 1:06:02
  Speaker 2: because I'm trying to line this up point blank at
• 1:06:04
  Speaker 2: your face. I can't aim because my legs don't work,
• 1:06:08
  Speaker 2: So if you could just get a little closer, that
• 1:06:10
  Speaker 2: would be great.
• 1:06:12
  Speaker 4: My libs they don't work.
• 1:06:14
  Speaker 2: It was just so funny to me. I was like, Damn,
• 1:06:16
  Speaker 2: has that kid shot a gun ever? Because any person
• 1:06:19
  Speaker 2: on planet Earth who's never shot a gun before is
• 1:06:21
  Speaker 2: not hitting their target on the first run.
• 1:06:23
  Speaker 4: And that was a pretty big gun. I'm just saying
• 1:06:27
  Speaker 4: that I.
• 1:06:27
  Speaker 2: Things should have popped him in the fucking face.
• 1:06:29
  Speaker 4: Yeah, I don't recall there being any recoil on that.
• 1:06:33
  Speaker 2: But yeah, there was no recoil. And again they loaded
• 1:06:38
  Speaker 2: it expertly, got it and it's a revolver, I can
• 1:06:42
  Speaker 2: tell you I've held guns before. I couldn't, for the
• 1:06:46
  Speaker 2: life of you tell you how to get the bullet
• 1:06:50
  Speaker 2: to the appropriate spot on a revolver on the first run.
• 1:06:53
  Speaker 4: It's very simple. You throw it in there and you
• 1:06:56
  Speaker 4: just spin it until line's up, and then you pull
• 1:06:59
  Speaker 4: the hammer.
• 1:06:59
  Speaker 2: But the assumption is that they know that they know
• 1:07:03
  Speaker 2: how to pull the hammer back, they know how to
• 1:07:05
  Speaker 2: aim it shoot it.
• 1:07:06
  Speaker 4: Seventies dude.
• 1:07:08
  Speaker 2: I mean, to be fair, that his overprotective parents are
• 1:07:11
  Speaker 2: letting him run around on a thing that should essentially
• 1:07:14
  Speaker 2: kill him, So wh wouldn't they let him play with guns?
• 1:07:15
  Speaker 2: I mean, he's he's lighting fucking fireworks half an inch
• 1:07:18
  Speaker 2: from his face, so he's clearly not that worried about death.
• 1:07:22
  Speaker 4: I knew how to use guns at a very young age.
• 1:07:24
  Speaker 4: I mean I didn't. My dad didn't have uh fucking revolvers,
• 1:07:29
  Speaker 4: but he had guns, and I knew how to load
• 1:07:31
  Speaker 4: and unload them and clean them and stuff like that,
• 1:07:33
  Speaker 4: so it's not that uncommon.
• 1:07:35
  Speaker 2: The only time I got the gun speech was when
• 1:07:37
  Speaker 2: my parents lived in an apartment complex and my dad's like,
• 1:07:39
  Speaker 2: just in case, here's how you kill people. I'm like,
• 1:07:42
  Speaker 2: oh wow, cool, dad, Thanks thanks for that safety first.
• 1:07:48
  Speaker 4: Couple things I want to mention here, and then we'll
• 1:07:51
  Speaker 4: wrap up because I think we've covered this, uh pretty well.
• 1:07:58
  Speaker 4: Two scenes I really enjoyed. I really enjoyed the fog
• 1:08:01
  Speaker 4: scene where everyone's out there in this field and there's
• 1:08:05
  Speaker 4: this thick layer of fog and the werewolf is essentially
• 1:08:09
  Speaker 4: reaching up and pulling people down. That was an incredible scene.
• 1:08:13
  Speaker 4: I also really enjoyed the Church nightmare because you get
• 1:08:17
  Speaker 4: a whole bunch of werewolf transformations in that, and it
• 1:08:20
  Speaker 4: almost felt like they were doing that to just kind of,
• 1:08:22
  Speaker 4: you know, since we're only gonna get the one from
• 1:08:25
  Speaker 4: the preacher, let's just have a whole bunch of random
• 1:08:27
  Speaker 4: people turning into werewolves. That was a lot of fun.
• 1:08:30
  Speaker 4: The lighting was also really fun there as well. That
• 1:08:32
  Speaker 4: was another great scene. A couple of things that didn't work.
• 1:08:35
  Speaker 4: Like I mentioned, the timeline feels a little fuzzy. I
• 1:08:37
  Speaker 4: do have trivia on that, but it was like, has
• 1:08:40
  Speaker 4: this been weeks months? What's going on? The narerration doesn't
• 1:08:44
  Speaker 4: always trust the audience. As I mentioned earlier, I like
• 1:08:47
  Speaker 4: James's narration to a point, but I don't feel like
• 1:08:50
  Speaker 4: it was necessary. And again I haven't read Cycle of
• 1:08:53
  Speaker 4: the Werewolf. It's not a major flaw, but it's a
• 1:08:55
  Speaker 4: creative choice that just didn't really click for me. There's
• 1:08:58
  Speaker 4: also a lot of you know, ablest language in this
• 1:09:01
  Speaker 4: People were kind of just throwing that scootsmagee. Yeah, throwing
• 1:09:06
  Speaker 4: that at at Marty there, which which which wasn't great.
• 1:09:10
  Speaker 4: And also Marty apparently has superpowers because he's fucking climbing trees.
• 1:09:13
  Speaker 4: He's climbing out a second story window. Every time that happened,
• 1:09:17
  Speaker 4: I'm like, are we sure the werewolf is in the
• 1:09:19
  Speaker 4: second most unbelievable thing in this movie? Are we impressed
• 1:09:23
  Speaker 4: with the upper body strength of this kid?
• 1:09:25
  Speaker 2: I really want you to think about how he got
• 1:09:27
  Speaker 2: into that tree in the first place, because it is hot,
• 1:09:30
  Speaker 2: that branch is higher up than his arm reach.
• 1:09:32
  Speaker 4: Yeah, because when Jane gets him down, she literally has
• 1:09:35
  Speaker 4: about three feet before he his butt is in the chair.
• 1:09:38
  Speaker 4: And I'm like, Dad, doesn't make any sense.
• 1:09:40
  Speaker 2: You have to have some function in your leg for that. Now.
• 1:09:43
  Speaker 2: I'm not saying that there aren't people wheelchairs who can
• 1:09:45
  Speaker 2: do absolutely crazy things. I'm saying what he did did
• 1:09:50
  Speaker 2: not feel believable.
• 1:09:51
  Speaker 4: No, no, no, no, no.
• 1:09:52
  Speaker 2: Because there are some people who absolutely do a lot
• 1:09:55
  Speaker 2: with just arms right.
• 1:09:57
  Speaker 4: And then of course the eighties had you know, incredible
• 1:10:01
  Speaker 4: run of werewolf films. You had American Werewolf, you had
• 1:10:03
  Speaker 4: The Howling, you had Teen Wolf, which is more of
• 1:10:05
  Speaker 4: a coming of age comedy. But I feel Silver Bullet
• 1:10:08
  Speaker 4: occupies a completely different lane. It is less interested in
• 1:10:12
  Speaker 4: showcasing the monster than it is exploring the community forced
• 1:10:16
  Speaker 4: to live alongside it. It is essentially Stephen King's version
• 1:10:19
  Speaker 4: of a classic universal monster filtered through the fascination with
• 1:10:23
  Speaker 4: childhood memory in small town America. And I think that's
• 1:10:27
  Speaker 4: why it works. It's not trying to outdo Rick Baker's effects,
• 1:10:31
  Speaker 4: it's not trying to reinvent werewolf mythology. It is simply
• 1:10:35
  Speaker 4: telling a really good Stephen King story that happens to
• 1:10:38
  Speaker 4: feature a werewolf. And honestly, I think that's enough. I'm
• 1:10:41
  Speaker 4: pretty sure that's the only werewolf move the thing he's done.
• 1:10:45
  Speaker 4: I think he's written so much stuff, but anyways, I
• 1:10:50
  Speaker 4: think that is all I have. Is that all you have?
• 1:10:55
  Speaker 2: Ye?
• 1:10:56
  Speaker 4: So? Yeah, And the reason I picked this is because
• 1:10:59
  Speaker 4: it's never going to be the first werewolf movie people mention,
• 1:11:04
  Speaker 4: but I think it deserves to be part of the conversation.
• 1:11:07
  Speaker 4: You know it has it has it, you know it
• 1:11:09
  Speaker 4: has its warts. But more than forty years later, I
• 1:11:12
  Speaker 4: still think it's an extremely underrated werewolf movie that if
• 1:11:17
  Speaker 4: you haven't seen, you should see. So with all of
• 1:11:19
  Speaker 4: that being said, let's move on to the final cut taglines.
• 1:11:24
  Speaker 4: It started in May in a small town, and every
• 1:11:27
  Speaker 4: month after that, whenever the moon was full, it came back.
• 1:11:30
  Speaker 4: Whenever darkness falls, terror rises, part human, part wolf, total terror,
• 1:11:35
  Speaker 4: and he makes evil an event.
• 1:11:38
  Speaker 2: These are all terrible taglines, Yeah, they are first one
• 1:11:41
  Speaker 2: is so long, According to director Daniel attayas Gary Busey
• 1:11:45
  Speaker 2: ad libbed a great deal.
• 1:11:47
  Speaker 4: For instance, when Uncle Red is in the gun shop.
• 1:11:50
  Speaker 4: At has checked with Stephen King, who said okay for
• 1:11:52
  Speaker 4: these ad lib scenes to be included. Shooting started without
• 1:11:56
  Speaker 4: a proper wearwolf suit.
• 1:11:57
  Speaker 2: I believe that.
• 1:11:58
  Speaker 4: Yeah, I believe that too. Complete construction of the werewolf
• 1:12:01
  Speaker 4: costume took three months after finalization of the shape and
• 1:12:04
  Speaker 4: design using three dimensional clay heads. The entire costume was
• 1:12:07
  Speaker 4: made of foam and polyurethane and was covered with actual
• 1:12:11
  Speaker 4: bear hair.
• 1:12:11
  Speaker 2: And I believe that.
• 1:12:13
  Speaker 4: The head of the costume was mechanically operated by six
• 1:12:15
  Speaker 4: people from a distance of up to thirty feet away.
• 1:12:19
  Speaker 4: Brady's father mentions the Harmony Hill Cemetery. This is another
• 1:12:22
  Speaker 4: tie in to a Stephen King adaptation Salem's Lot nineteen
• 1:12:26
  Speaker 4: seventy nine, and in Cycle of the Werewolf, the story
• 1:12:30
  Speaker 4: on which this film is based, the events take place
• 1:12:32
  Speaker 4: over the course of a year. A murder was committed
• 1:12:35
  Speaker 4: by the werewolf once a month. In the film, the
• 1:12:38
  Speaker 4: murders occur over the course of several months from spring
• 1:12:41
  Speaker 4: to autumn.
• 1:12:42
  Speaker 2: Yeah, there you go, extremely unclear.
• 1:12:44
  Speaker 4: Some great fucking goofs here. Oh my god. A shopkeeper
• 1:12:47
  Speaker 4: places a sign in this window announcing the availability of
• 1:12:50
  Speaker 4: Remington shotguns in single action and double action. Shotguns may
• 1:12:54
  Speaker 4: may either be single or double barrel, but they are
• 1:12:57
  Speaker 4: never described as single or double action. Only revolvers and
• 1:13:01
  Speaker 4: certain automatic pistols are described in this way. The newspaper
• 1:13:05
  Speaker 4: date showing Friday, September eighth, nineteen eighty That date actually
• 1:13:09
  Speaker 4: fell on a Monday, Thanks NERD. When Jane goes into
• 1:13:13
  Speaker 4: Reverend Lowe's garage, among the large pile of empisoda containers
• 1:13:16
  Speaker 4: are some diet coke cans. Diet coke did not exist
• 1:13:18
  Speaker 4: in nineteen seventy six, in which the movie in which
• 1:13:21
  Speaker 4: the In the year the movie Black, the year in
• 1:13:27
  Speaker 4: which the movie is set, mister Fairton was a witness
• 1:13:30
  Speaker 4: to the mastacre of the Lynch Mob in the swamp.
• 1:13:32
  Speaker 4: He saw people being tossed around and ripped apart by
• 1:13:35
  Speaker 4: something not human. He even saw large hairy claws ripping
• 1:13:39
  Speaker 4: apart mister Aspinall's face. But still people think it's an
• 1:13:43
  Speaker 4: ordinary psycho killer when he can verify that it's not human.
• 1:13:47
  Speaker 4: The only other time he's shown, he's acting calmly, as
• 1:13:51
  Speaker 4: if nothing ever happened. At the very least he should
• 1:13:54
  Speaker 4: be scared enough to move or stay indoors.
• 1:13:58
  Speaker 2: I'd agree with that feeling.
• 1:14:00
  Speaker 4: Righted six point four out of ten on IMDb for
• 1:14:03
  Speaker 4: our purposes of the Nightmare index, that is a three
• 1:14:06
  Speaker 4: point two out of five, also having a three point
• 1:14:09
  Speaker 4: two out of five on Letterbox, forty percent on the
• 1:14:12
  Speaker 4: Tomato Meter, fifty percent audience score. None of these people
• 1:14:15
  Speaker 4: understand the assignment. What did you give this three and
• 1:14:17
  Speaker 4: a half. I'll take a three and a half right now.
• 1:14:20
  Speaker 4: It stands at a four for me, but it could
• 1:14:22
  Speaker 4: probably go up. But we'll keep it at a four
• 1:14:26
  Speaker 4: for now. That gives us a nightmare index of three
• 1:14:29
  Speaker 4: point four eight, which means this is sitting at the
• 1:14:35
  Speaker 4: number twelve spots, just above the resurrected at a three
• 1:14:41
  Speaker 4: point four to five, and just underneath dead Stream at
• 1:14:44
  Speaker 4: a three point six three. That feels honestly like a
• 1:14:47
  Speaker 4: very good spot for this movie. Similar movies according to
• 1:14:51
  Speaker 4: IMDb these all make sense, Kat's Eye, Kujo, Graveyard Shift,
• 1:14:57
  Speaker 4: Needful Things, and creep Show All Things done by st
• 1:15:00
  Speaker 4: Even King.
• 1:15:00
  Speaker 2: Yeah.
• 1:15:01
  Speaker 4: I don't know what the fuck Letterbox is on. But
• 1:15:04
  Speaker 4: similar movies according to Letterbox, Children of the Corn, Sure, Jeepers, Creepers,
• 1:15:09
  Speaker 4: A Nightmare on Elm Street twenty ten, A Nightmare on
• 1:15:13
  Speaker 4: Elm Street nineteen eighty four, and Halloween nineteen seventy eight.
• 1:15:18
  Speaker 2: That's fucking what something attacking children?
• 1:15:23
  Speaker 4: I guess I don't know. Man, he has some funny reviews.
• 1:15:27
  Speaker 4: How many you have?
• 1:15:27
  Speaker 2: Three?
• 1:15:28
  Speaker 4: Three? I've got four, So I guess I'll go first.
• 1:15:32
  Speaker 4: Let's see three stars from Patrick Williams. Do you have
• 1:15:36
  Speaker 4: that one?
• 1:15:36
  Speaker 3: Ye?
• 1:15:37
  Speaker 4: Perfect? I wish the third act was a little longer
• 1:15:40
  Speaker 4: because the conceit of quote, we literally only have one
• 1:15:43
  Speaker 4: silver bullet in that and that's it is so good.
• 1:15:46
  Speaker 2: Yeah. Four and a half stars from Mikayla. The Reverend
• 1:15:51
  Speaker 2: is giving Killian Murphy, which is hilarious because I also
• 1:15:55
  Speaker 2: thought that will Oh my good. I was like, if
• 1:15:59
  Speaker 2: we remade this, Illa Murphy would be this character because
• 1:16:01
  Speaker 2: he looks just like him.
• 1:16:02
  Speaker 4: That's it. I was. It wasn't like it was driving
• 1:16:05
  Speaker 4: me crazy, but the entire movie, it was like, he
• 1:16:07
  Speaker 4: looks like someone and I was well, and I looked
• 1:16:09
  Speaker 4: it up and I was like, oh, he was in
• 1:16:11
  Speaker 4: Twin Peaks. That's why I know him. No, it's it's
• 1:16:13
  Speaker 4: killing Murrh.
• 1:16:14
  Speaker 2: Yeah, because I thought that while I was watching the
• 1:16:15
  Speaker 2: movie too, I was like, oh somebody else saw it. Okay. Cool.
• 1:16:20
  Speaker 4: Four stars from Jason Alley or Ally because he's got
• 1:16:23
  Speaker 4: a Pride flag, Corey Ham in a rocket powered wheelchair,
• 1:16:27
  Speaker 4: and Gary Busey has his drunk uncle versus a werewolf
• 1:16:30
  Speaker 4: and a story by Stephen King. Good times. It's slow
• 1:16:34
  Speaker 4: in some spots, but mostly it's a blast.
• 1:16:36
  Speaker 2: Yeah. Two and a half stars from Anthony His name
• 1:16:41
  Speaker 2: is Tiny. Okay when you order the howling werewolf costume
• 1:16:45
  Speaker 2: from Timu.
• 1:16:47
  Speaker 4: Oh that fucking that. No, I will die on this hill.
• 1:16:51
  Speaker 4: That fucking werewolf is a ten out of ten werewolf?
• 1:16:54
  Speaker 4: Oh okay, all right, whatever. The three and a half
• 1:16:59
  Speaker 4: stars from Lucy micro Dos and Catholicism by feeling cryptically
• 1:17:03
  Speaker 4: remorseful without cause.
• 1:17:08
  Speaker 2: Three and a half stars from Bummer Buddy.
• 1:17:10
  Speaker 4: Ah damn it.
• 1:17:11
  Speaker 2: Yeah, I knew that was good, all right. If I
• 1:17:13
  Speaker 2: were a drag queen, my name would be Harry Bucy.
• 1:17:19
  Speaker 4: That's a good one. Yeah, that's a good one. If
• 1:17:22
  Speaker 4: you enjoy the show, please rate and review on your
• 1:17:24
  Speaker 4: favorite podcast app of choice. Follow us on Facebook, Instagram, TikTok,
• 1:17:28
  Speaker 4: Slasher Threads, and YouTube. But Frightmar's podcasts, our Email Stayspooky
• 1:17:32
  Speaker 4: outlook dot com. You can also follow me personally on
• 1:17:35
  Speaker 4: letterbox at doctor.
• 1:17:36
  Speaker 2: Proctor You are Watson LMP ninety boo.
• 1:17:40
  Speaker 4: Yeah. If you'd like to expand your movie podcast listening,
• 1:17:42
  Speaker 4: be sure to check out The Shameless Picture Show, The
• 1:17:45
  Speaker 4: Dead Eyed Millennial Film Club, and One Week Rental as well.
• 1:17:49
  Speaker 4: Next week, Derek and I will be doing The Wolfman
• 1:17:52
  Speaker 4: from twenty ten as our deep cut pick. It is
• 1:17:55
  Speaker 4: streaming on Cinemax, HBO Max and YouTube TV. And I
• 1:17:58
  Speaker 4: know every I'm already probably pissing everybody else off. How
• 1:18:01
  Speaker 4: is the Wolfman from twenty ten a deep cut? Explain
• 1:18:04
  Speaker 4: to them, Gabby, why what is our argument with why
• 1:18:08
  Speaker 4: this is a deep cut?
• 1:18:09
  Speaker 2: Only a deep cut? Because despite being a large production,
• 1:18:13
  Speaker 2: big budget film with huge names, with absolutely huge names,
• 1:18:18
  Speaker 2: nobody talks about this movie anymore. No, like it just
• 1:18:21
  Speaker 2: kind of happened and then blipped out of existence.
• 1:18:25
  Speaker 4: Correct.
• 1:18:26
  Speaker 2: And I remember seeing it in theaters, so I just
• 1:18:29
  Speaker 2: want to give it a rewatch to see what I
• 1:18:30
  Speaker 2: think of it now.
• 1:18:31
  Speaker 4: And Derek also saw it in theaters and that was
• 1:18:34
  Speaker 4: the last time he saw it. I haven't seen it.
• 1:18:36
  Speaker 4: I didn't even know it was a movie until Screen
• 1:18:39
  Speaker 4: Factory put out the four K a while back, and
• 1:18:41
  Speaker 4: I bought it because I was like, fuck, yeah, I
• 1:18:42
  Speaker 4: want to see this. These all these names look great.
• 1:18:45
  Speaker 4: So that is why we're considering this our deep.
• 1:18:47
  Speaker 2: Cut, because it is it is something that got lost
• 1:18:50
  Speaker 2: to time.
• 1:18:50
  Speaker 4: Yeah, it's very popular. If you look at the ratings
• 1:18:53
  Speaker 4: on IMDb, it's got a lot of ratings. But everyone
• 1:18:55
  Speaker 4: has just forgotten about this, I feel. So until next week, guys,
• 1:18:58
  Speaker 4: stay tuned and stay spooky.
• 1:19:03
  Speaker 1: Yeah, thank you for listening to hear more shows from
• 1:19:39
  Speaker 1: the Someone's Favorite Productions podcast network. Please select the link
• 1:19:43
  Speaker 1: in the description