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The Movie That Ended Pirate Movies - The Wrong Guy (1997) vs. Cutthroat Island (1995) · Meet Your Double Feature | Movie Reviews & Forgotten Films

• 0:09
  Tonight on Meet Your Double feature, Nelson Hibbert thinks
• 0:13
  he's been framed for murder, but the police already have the real
• 0:16
  killer in their sights. Hijinks and Hilarity ensue as
• 0:20
  Nelson tries to flee the country in the wrong guy.
• 0:24
  Then Morgan Adams searches for her grandfather's hidden
• 0:27
  treasure, but evil pirates and the British Navy conspire to
• 0:31
  reach it first. Swashbuckling action ensues in
• 0:35
  Cutthroat Island. It's a bombastic 90s double
• 0:39
  feature, and it starts right now.
• 0:50
  Hello and welcome to Meet Your Double Feature, a double-blind
• 0:53
  movie review podcast. My name is Thomas, joined as
• 0:56
  always by my brother Frank. Frank, how are you?
• 0:58
  Excited to be here. Excited to be here.
• 1:01
  He says that every time, so he must mean it.
• 1:04
  If you've never listened to our show before, just throw you
• 1:09
  under the bus as soon as we start.
• 1:12
  No. Anyway, no, we're excited.
• 1:14
  It's real. It's just, there's no other way
• 1:15
  to say it. There's no other way.
• 1:19
  There's no other way. There's not other words for
• 1:22
  that, there's just one. Anyway, if you've never listened
• 1:25
  to Beat Your Double Feature before, the way our show works
• 1:27
  is that we're going to give you 2 back-to-back movie reviews
• 1:30
  tonight. Frank and I have both selected a
• 1:32
  movie for the other to watch that neither of us had seen
• 1:35
  previously, but that we think that the other person would
• 1:37
  like. So we're going to talk about
• 1:38
  those two films tonight, give each one a score out of 10, and
• 1:41
  whoever gave the better blind movie recommendation is declared
• 1:44
  the winner for the episode. We also have been keeping track
• 1:47
  of scores throughout Season 1, which is what we're calling this
• 1:50
  string of episodes now about 90s films.
• 1:53
  And we're actually, this is the penultimate episode, Frank.
• 1:55
  After tonight, we'll pick one more pair of films.
• 1:58
  And then after we review those, we'll have like a Season 1
• 2:01
  winner. Yeah, it's going to be me.
• 2:03
  I think we already decided that off camera, you know, like.
• 2:07
  Pretty sure you asked me to watch Cutthroat Island for
• 2:10
  tonight, so we'll see how that affects the scoring.
• 2:12
  Did you like it? We'll find out after our
• 2:14
  intermission because you're going first with the film.
• 2:17
  I asked you to watch 1997 the wrong guy.
• 2:21
  So I I say this almost every time.
• 2:24
  I don't exactly remember what stood out about this movie to
• 2:27
  me. Again, I haven't seen it, but I
• 2:30
  think I was just hoping to at some point in this first season
• 2:33
  give you like a straight up comedy to watch because we've
• 2:36
  done comedy drama a couple of times, but not just like
• 2:39
  straight up comedy. And this one, I've never heard
• 2:41
  of it. A lot of people seem to like it,
• 2:43
  so curious how it turned out. Yeah, this this is definitely
• 2:47
  the first just traditional comedy film we've done on the
• 2:52
  show, which I think it's going to make it a little difficult to
• 2:55
  talk about and and review because it's it's just it's the
• 3:00
  type of film where it is just it has its basic premise.
• 3:04
  And then from there it is a series of gags.
• 3:10
  But I will say right off the top that it is funny.
• 3:12
  It it's like which is a good a good sign.
• 3:18
  Like for a comedy film. No, but this one is I feel like
• 3:25
  it almost fits the bill the most for kind of what was part of the
• 3:30
  original premise for this first season of forgotten 90s films.
• 3:34
  I feel like this is like exactly that.
• 3:38
  This is like a film that like was a Canadian film.
• 3:42
  It was a directive video release.
• 3:45
  So. Oh, interesting.
• 3:46
  Yeah. This did not have a theatrical
• 3:48
  release, so it probably did not have a large audience, like when
• 3:54
  it was originally made. And And, you know, people would
• 3:57
  have really only seen this, like if they saw it at like a local
• 4:00
  video store, presumably. But it is sort of similar to how
• 4:06
  like there will be like SNL performers that will like then
• 4:11
  make movies based on their characters from SNL sometimes.
• 4:16
  Oh gosh, yeah, there's like a dozen of those.
• 4:18
  Yeah, exactly. This is almost like that, but
• 4:23
  for the Canadian sketch comedy show The Kids in the Hall.
• 4:27
  OK, I did know that it was Dave Foley.
• 4:30
  I don't really know Kids in the Hall, but I just I know that
• 4:32
  name. So that tracks with what I
• 4:35
  expected. Would you say just ballpark, is
• 4:39
  this a better effort than some of those?
• 4:40
  Is it better than Night at the Roxbury?
• 4:42
  Oh. Man, Night at Roxbury is such an
• 4:45
  interesting one to bring up because that movie is
• 4:46
  objectively very bad, but I I do have sort of a soft spot for it.
• 4:52
  Yeah, well, those are the two kinds of ways to succeed with
• 4:55
  comedy. Like, you can make a genuinely
• 4:57
  well crafted comedy, or you can kind of like bubble your way
• 5:00
  through a bad one that ends up being funny in ways you maybe
• 5:03
  didn't intend. This one is actually like quite
• 5:08
  competent. It's definitely better than A
• 5:10
  Night at the Roxbury, which to me is what makes it feel like an
• 5:14
  actual hidden gem of this era in a way.
• 5:19
  Because I from what I'm not super familiar with Kids in the
• 5:21
  Hall either, but from what I understand, they were a pretty
• 5:26
  influential like sketch comedy group that maybe did not like
• 5:30
  reach the level of prominence as some other ones or, or similar
• 5:35
  types of like sketch comedy shows.
• 5:38
  But yeah, the the lead in this film, like you said, is Dave
• 5:41
  Foley. He was also one of the main
• 5:42
  writers personally, and maybe some other people as well would
• 5:46
  be most familiar with him as the voice of Flick from Bug's Life.
• 5:52
  Oh. I did not know that.
• 5:54
  Oh OK, now I can picture the voice so that helps.
• 5:57
  He has a very distinctive voice and like I've always thought
• 6:02
  that about like especially about that character flick, like he
• 6:05
  has a really good kind of like like he always plays these kind
• 6:09
  of like meek characters, but his voice, especially in Bug's Life,
• 6:14
  sort of has that like kind of heroic undertone to it.
• 6:17
  So like I kind of recognized his voice right away when this movie
• 6:20
  started. And so and, and I feel like he
• 6:23
  really carries the movie with his like comedic performance.
• 6:29
  I guess the premise of the film, it's it's a really, this is one
• 6:33
  of my first notes here too. It's it's, it's like a really
• 6:38
  fun premise. And I, I think it was from what
• 6:42
  I read, it was like expanded on from like a bit that Dave Foley
• 6:49
  had written for the Kids in the Hall show.
• 6:52
  Essentially, it's our lead character gets into an argument
• 6:56
  with his boss because he was supposed to get promoted, but
• 6:59
  then he gives it to some other guy and it's the way that this
• 7:03
  is revealed. I think this is going to be
• 7:04
  there's going to be a good amount of this review of just me
• 7:06
  retelling jokes from the movie, but there's.
• 7:08
  Some good ones there. I like that you tell me the
• 7:11
  funny and I'll be like but. But it's the reason he gets
• 7:16
  passed over for the promotion because it's like revealed that
• 7:18
  he's like dating the boss's daughter.
• 7:20
  So he thinks he's like a shoe in for this promotion, but then the
• 7:24
  boss gives it to this other guy and he's like, yeah, you're
• 7:27
  dating my daughter, but he's dating my other daughter.
• 7:29
  And she's my favorite and. So.
• 7:33
  That's like gives it to the other guy.
• 7:35
  See. That's funny.
• 7:36
  It is funny. And so like, they're in this
• 7:39
  like meeting and, you know, Dave Foley's character, he's like, he
• 7:41
  gets so mad. He's like, I am going to kill
• 7:43
  you. And then, you know, he, he like
• 7:46
  storms out and then like later he comes back into his boss's
• 7:48
  office and he's like, you know, ready to like chew him out and
• 7:51
  like stand up for himself. And then like his boss has like
• 7:54
  a knife in his back And they fully like tries to like pull it
• 7:58
  out and gets his, the blood all over him.
• 8:01
  And then he runs away thinking that people are going to suspect
• 8:05
  him of having killed his boss. But then like the immediate next
• 8:10
  scene is like the police, like watching the security footage
• 8:14
  and they're just like, so who's that guy that found the body and
• 8:16
  then ran away? So like immediately they just
• 8:19
  like like he thinks he's on the run, but they know right away
• 8:25
  that it's not him. And so and that's the rest of
• 8:29
  the movie. I mean, it's just like it's it's
• 8:31
  him running away. And then there's like the person
• 8:34
  that actually murdered his boss was somebody that was hired by
• 8:40
  the other guy who actually got the promotion.
• 8:43
  And so that guy is like actually running away from the police.
• 8:46
  And Dave Foley keeps like, inadvertently running into him.
• 8:50
  So that guy thinks that Dave Foley is like chasing him.
• 8:55
  See, that's like scripted comedy.
• 8:57
  That's like funny on paper comedy.
• 9:00
  It's funny on paper and it's and it's funny on screen too,
• 9:03
  because like they they brought in like some great performers
• 9:08
  like for this too, because one of my favorite parts is the the
• 9:14
  lead detective that's like on the case is played by David
• 9:20
  Higgins, who I guess you and I would probably be most familiar
• 9:24
  with him as the neighbor Craig on Malcolm in the Middle.
• 9:30
  Oh OK, You know what's weird? My movie has a Malcolm in the
• 9:33
  Middle connection. Oh, really?
• 9:34
  Oh, great. That's a good show.
• 9:35
  That's a really good show, actually.
• 9:37
  Sorry, Malcolm in the Middle episode of the podcast.
• 9:39
  Yeah, yeah, they're bringing it back.
• 9:41
  By the way, They're they're rebooting Malcolm in the Middle.
• 9:43
  Oh yeah, yeah, yeah. This episode brought to you by
• 9:46
  NBC I. Think it's on.
• 9:49
  I think it's on Disney. Oh, OK, whatever, Continue.
• 9:53
  Whatever. But he's hilarious.
• 9:56
  I mean, he's he's, he's always, yeah, he's funny on Malcolm in
• 9:58
  the Middle as well. But he's, he's honestly one of
• 10:01
  the best parts of this movie. Because this, this actually ties
• 10:06
  into the discussion we had about the prophecy where I was talking
• 10:12
  about like, like movie detectives, you know, and like
• 10:16
  how how they go about things and like just are seemingly doing
• 10:20
  whatever they want. Because his whole character
• 10:24
  throughout this movie is like, he just doesn't really care.
• 10:29
  And he keeps trying to like, like, he keeps going to like,
• 10:32
  restaurants and like strip clubs and kind of trying to play it
• 10:35
  off like he's investigating this case.
• 10:39
  Like, he's like, well, we'll have to get into the killer's
• 10:42
  mind. So let's go see what he ate at
• 10:43
  this restaurant over here. Yeah.
• 10:48
  That is good. And I'm like, this is what I'm
• 10:49
  talking about. This is like, there's no like,
• 10:52
  like how does this work if you're like a detective?
• 10:55
  Like I really am curious as to what the day-to-day for an
• 10:58
  actual like police detective would be.
• 11:00
  Because this is what movies make it seem like is they they can
• 11:02
  just go do whatever they want and play it off like they're,
• 11:06
  you know. Investigating movie detectives
• 11:09
  are like simultaneously working 24/7 in a way that feels
• 11:13
  impossible while also doing whatever they want at their own
• 11:16
  speed all the time. It's like, I think if you just
• 11:19
  put in like a focused 9 to 5, you'd actually get a lot more
• 11:22
  done. Right.
• 11:23
  Right. Exactly.
• 11:25
  Yeah. He's just like, at one point
• 11:26
  he's just like, man, we're never going to catch this guy.
• 11:29
  Well, I give up. He's just like.
• 11:35
  So that's like that's like the style of humor it is.
• 11:38
  It's kind of hard to place in terms of like comparing it to
• 11:43
  something else, but it it does feel like sort of like that kind
• 11:46
  of sketch almost improv style throughout.
• 11:50
  But it it at the same time as a very like, like you said, it's
• 11:54
  it's it plays well on paper too. It's like a tightly written
• 11:59
  script and it's a good mix of like visual comedy and just like
• 12:05
  dialogue and word play stuff. Is it like is it like a clean
• 12:10
  comedy or is it more like AR rated comedy?
• 12:13
  That is actually a good question because early on this was
• 12:17
  actually a note I had written down is that it feels like a
• 12:24
  family friendly type comedy. And I was and I was kind of
• 12:30
  trying to keep an eye out. Like I don't, I don't know what
• 12:32
  the rating is for this film actually.
• 12:34
  And I don't know if that's different considering it was a
• 12:37
  directive video release either. I I don't know if that got rated
• 12:39
  the same way by like the what is that organization?
• 12:42
  Is that the MP? AM PAAI mean it.
• 12:44
  Would. Have.
• 12:45
  It would have the same system, but it's possible that I don't
• 12:48
  know. Maybe those aren't scrutinized
• 12:50
  as heavily. Who's to say?
• 12:51
  Who could ever know that? Who could?
• 12:53
  There's no way. There's no way.
• 12:54
  To. There's no way to verify.
• 12:56
  Yeah, this was probably like, it was definitely not R rated.
• 13:01
  It was probably PG13 if anything.
• 13:03
  OK, which does feel very 90s again, kind of the like, you
• 13:07
  know, not for children, but like approachable comedy films that
• 13:12
  just don't get made anymore. Like the only room in theatrical
• 13:16
  releases now for comedies usually is like R rated comedies
• 13:19
  because those have more of a niche.
• 13:21
  Yeah, exactly this. This is this is the type of film
• 13:23
  that probably wouldn't be made today unless it was, you know,
• 13:26
  maybe I don't know, even released in a similar format
• 13:29
  where it wasn't getting like a wider release because it it it
• 13:33
  it's a lot of like, you know, that's funny.
• 13:37
  Yeah, yeah, yeah. Not a gut busting kind of humor.
• 13:40
  Yeah, yeah, I, I did catch myself laughing out loud a a few
• 13:43
  times throughout it, which is a good sign.
• 13:45
  You know, it, it just kind of maintained that like, like what
• 13:49
  was the like we were talking about Rushmore recently and like
• 13:52
  you mentioned in that episode that one has is more of just
• 13:55
  like a humorous tone as opposed to just like actual like jokes
• 14:00
  that make you laugh out loud. Yeah, Rushmore was just aiming
• 14:04
  for, like, amusing, not so much funny.
• 14:06
  Yes, exactly. This is interesting in that it's
• 14:10
  like that is it's sole intention is is to make its audience
• 14:15
  laugh, but it feels very timely in in a way that like I wouldn't
• 14:20
  mind seeing this type of comedy film like make a comeback.
• 14:24
  I feel like comedy films in general aren't made as much
• 14:26
  anymore at least like traditional ones because a lot
• 14:31
  of films have become like multi hyphenated like a like the fact
• 14:34
  that like Marvel movies have so much of that like kind of shoot
• 14:38
  in comedy. Well, it's part of it is I think
• 14:40
  that people like going to the movies has become a much less
• 14:43
  accessible form of entertainment, both because you
• 14:46
  have decent alternatives at home and because it costs a lot of
• 14:48
  money. So people generally want to or I
• 14:51
  don't know, like this is kind of a chicken in the egg thing
• 14:53
  because movie studios made this, made this move strategically and
• 14:57
  that audience has reacted to it. We're like, you really only feel
• 14:59
  like it's worth going to the theater to see a very theatrical
• 15:02
  type movie, something that's bombastic and loud and
• 15:05
  expensive, whereas a lot of people might just skip a comedy
• 15:09
  and wait for it to be on video anyway.
• 15:13
  Sure, yeah. And even then, I mean, there's
• 15:16
  just such a plethora of of things to watch, even like at
• 15:20
  home streaming, that it would be hard to place where this type of
• 15:26
  like comedy movie would land in that landscape in that it would
• 15:31
  pull eyes towards it as opposed to something else.
• 15:34
  It'd be like a streaming original, maybe like some sort
• 15:37
  of Apple original film of some kind.
• 15:41
  I guess the closest like modern comparison I could have to this
• 15:44
  would be that recent Tim Robinson movie Friendship.
• 15:48
  Yes, yes, exactly. And even Friendship had more of
• 15:52
  an angle to it and that it was playing on like modern indie
• 15:55
  drama tropes while also being like a comedy.
• 15:59
  I think this the wrong guy is like so earnest.
• 16:02
  It just seems like a very like, yeah, come see a funny goofy
• 16:05
  movie. Not a Goofy movie though,
• 16:07
  because that's about a dog. That's that's The Goofy Movie.
• 16:11
  That's the goofy. No, it's actually called A Goofy
• 16:13
  Movie. You're right.
• 16:14
  Actually, that's funnier. I get it now, I understand the
• 16:16
  title. This whole episode, this whole
• 16:21
  happy episode, is just, I was trying to explain how comedy
• 16:23
  works. It's funnier when you explain
• 16:25
  it. They say the thing and then it's
• 16:27
  not what I expected so I could fall.
• 16:31
  Yeah, yeah, it, well, it's interesting though, because when
• 16:34
  I was watching it it and because it it wasn't like a lot of
• 16:38
  modern comedy that people would be more familiar with now where
• 16:43
  it feels like it it's pushing boundaries as far as possible.
• 16:48
  This almost felt like like childish in a way, 'cause it's
• 16:53
  like this is clearly a film for adults, but given how like tame
• 16:57
  the comedy is, it put it in this interesting place, kind of like
• 17:02
  looking back on it, if that makes sense.
• 17:04
  Like when this when this came out in 1997, I don't think it
• 17:07
  would have felt that odd, but like looking back on it and then
• 17:10
  like seeing the trajectory of like more modern comedy films
• 17:14
  and TV. It, it does land in a weird
• 17:17
  place, but I like it. I I like appreciated it for
• 17:21
  being that I think. It sounds like that makes it
• 17:24
  feel like more of a time capsule, like more of a specific
• 17:27
  to that era of filmmaking. And I'm sure visually that's
• 17:30
  reinforced too. Like 90s films are in a very
• 17:32
  recognizable point in time filmmaking wise because it's
• 17:36
  just like where technology had reached a certain point but had
• 17:39
  not become like we didn't have like all-encompassing CG touch
• 17:43
  ups on films. We didn't have that kind of like
• 17:45
  modern desaturated look. It was just like the tail end of
• 17:49
  like purely almost analog filmmaking.
• 17:53
  Yeah, or almost kind of like the perfect intersection between
• 17:57
  that analog style and more modern digital style, 'cause you
• 18:00
  were getting sort of a blend of both during that era and even
• 18:05
  more so into like the later 90s, which was interesting for the
• 18:10
  time. And I feel that's why, like I
• 18:12
  said at the beginning, I, I feel like this one really fits the
• 18:15
  idea that we had for this season of like what's just like a
• 18:18
  movie? Because like there was so there,
• 18:20
  you could kind of come out with anything in that time.
• 18:23
  And, and it could, the reach it would have in terms of finding
• 18:28
  an audience was, was really varied, which is still always
• 18:32
  been true. But like, it's, I feel like
• 18:33
  especially in the 90s, there was stuff like this that was like
• 18:37
  actually a sort of hidden gem that maybe fewer, very few
• 18:41
  people seen, you know, similar to like that's, that's what I
• 18:44
  think the the kids in the hall comedy group is as well.
• 18:47
  I think, I think they probably have a very dedicated fan base,
• 18:50
  but they're not, you know, especially being like a Canadian
• 18:53
  comedy group too, Like they might not have the same audience
• 18:58
  as like a even like a mad TV or something, you know, comparable
• 19:02
  to that. Yeah, definitely in the, you
• 19:05
  know, as viewers in the US would would know them much more
• 19:08
  sparsely. I think maybe even in Canada
• 19:10
  they probably have a stronger like home based audience.
• 19:13
  But it sounds like even there it didn't go theatrical, right.
• 19:15
  It just was a home release even in its original market.
• 19:18
  Yeah, yeah, which is interesting, you know, but that
• 19:23
  again, that's kind of what I appreciate about it too.
• 19:25
  It's just like it this because because I you know, I was doing
• 19:28
  some reading about it afterwards and like they Foley and the
• 19:30
  other writers of the film, like they're very proud of it.
• 19:34
  They've said like they they think this is one of their best
• 19:37
  works that they've done. Oh, wow.
• 19:40
  Yeah, yeah. And I don't disagree.
• 19:41
  I mean, like it it's it's you know, again, it's hard to kind
• 19:44
  of get into without just like repeating all the jokes.
• 19:47
  But like I was mentioning a little bit before it it I'm, I'm
• 19:51
  always a big fan of like, like visual comedy that sort of like
• 19:56
  Chaplain esque presentation or it's almost, it almost feels
• 20:00
  like Looney Tunes at times as well.
• 20:02
  Oh yeah, yeah, that's that's probably the most easy to
• 20:04
  understand connection for a lot of audiences.
• 20:06
  Just like cartoon logic for like visual gags.
• 20:09
  Yeah, yeah. There's just one great scene I'm
• 20:12
  thinking of where like, you know, he's on the run and
• 20:15
  there's like a train coming and he he kind of climbs up onto
• 20:19
  this thing and he's like getting ready to like jump.
• 20:22
  On the train as as it's going by and it just builds it up for so
• 20:26
  long, you know, cuz you're just like, how is this going to like
• 20:29
  in your mind? You're like, how is this going
• 20:30
  to go wrong for him? He's going to jump onto the
• 20:34
  strain like what's going to happen?
• 20:36
  And as the train's going by, he like jumps into like an open
• 20:41
  like boxcar and then just rolls through and goes out the other
• 20:45
  side of the train. And it's just like that to me,
• 20:51
  that's like, that's like like Looney Tunes right there.
• 20:53
  It's just like it's set it up in a way where you're anticipating
• 20:56
  something and then it's still sort of subverted expectations
• 20:59
  because it's like, well, that's not what I thought was going to
• 21:01
  happen When he would like jump on.
• 21:04
  And then it's like the gag keeps going from there because then
• 21:06
  he's like chasing the train and like trying to grab onto it.
• 21:10
  And then he like after like a bunch of effort, he finally
• 21:13
  does. And then when he finally does
• 21:15
  it, the train just comes to a stop anyway.
• 21:16
  So he could have just gone. That is such an underappreciated
• 21:23
  type of comedy like you're saying, and that it's not, I
• 21:26
  think it doesn't play as well in advertising.
• 21:28
  Like I think those comedies you're talking about that are a
• 21:30
  little bit more like boundary pushing.
• 21:32
  That's how you can sell that content to an audience at a
• 21:35
  glance. But it's so much more of a buy
• 21:37
  in to even sit down to start watching something like this
• 21:40
  where the jokes are a little more slow to be built up and
• 21:43
  then kind of pay off in a different way.
• 21:45
  Yeah, because there's there's, there's no, I guess like
• 21:49
  elevator pitch to audiences in a sense with this type of movie.
• 21:53
  It's just like, it's a funny movie.
• 21:55
  It's a funny guy doing funny things, funny movie, you know,
• 21:58
  like. You guys in the mood for one of
• 22:00
  those funny guy movies? I got just the thing.
• 22:03
  Comedy. Comedy.
• 22:10
  That did not register as words. To me, well, it's somebody who's
• 22:15
  so unfamiliar, you see, with comedy.
• 22:17
  They don't even know how to pronounce it now that you've
• 22:19
  explained it. Now it's where we go.
• 22:21
  Exactly. That's how it works.
• 22:24
  Explain it until it's not at all funny anymore.
• 22:27
  Hey, that's how it works. Welcome back to how funny with
• 22:30
  not how funny, but like how is it funny?
• 22:33
  See the junk is like took words out.
• 22:38
  Yeah, so, so I I, like I said, I almost don't even know how else
• 22:43
  to describe the film really, because it's just like the the
• 22:48
  narrative is so simple. He for almost the entire runtime
• 22:52
  of of the film, like he thinks he's on the run.
• 22:56
  He eventually like makes his way to this like small town where he
• 23:01
  meets Jennifer Tilley, who I'm sure anyone who heard her voice
• 23:09
  would recognize it instantly. I don't know if you if you are
• 23:13
  just. I know the name and I know I
• 23:15
  know which that's what stuff she's been in, but I can't
• 23:17
  recall any of it right now so. She's Mike Wazowski's girlfriend
• 23:21
  from Monsters Inc. Oh, yeah, yeah, yeah, yeah.
• 23:24
  OK, OK. That place is it.
• 23:26
  Yes, yes, I think that'll probably help a lot of people.
• 23:29
  But she she has an extremely distinctive, like breathy.
• 23:32
  She's just like she's done. She's done a lot of dramatic
• 23:35
  roles too. But she's a great comedic actor.
• 23:37
  And her character was kind of reminding me of, oh, now I'm
• 23:41
  forgetting this actor's name. I think it's, is it Paul Rubens?
• 23:44
  You remember rat race? Paul Rubens is Pee Wee Herman.
• 23:48
  Oh, OK, so. Who are you thinking of?
• 23:51
  Who is it? So are you thinking of Mr. Bean?
• 23:53
  Yes. Thank you.
• 23:53
  Mr. Bean? Yeah, Yeah.
• 23:54
  That's that's Rowan Atkinson. Rowan Atkinson?
• 23:56
  Yes. OK.
• 23:57
  So his character in Rat Race who had like narcolepsy, it's it's
• 24:01
  the same thing here for Jennifer Tilly, where like she picks him
• 24:06
  up hitch hiking on the road and then she just like falls asleep
• 24:09
  and like crashes their car. And then she you know, she wakes
• 24:15
  up and she's like, oh, I had, you know, I had one of my spells
• 24:17
  again. And he's like, she's like, yeah,
• 24:19
  let me, you know, take you into town.
• 24:20
  And he's like, do you want me to drive?
• 24:21
  And she's like, no, don't be silly.
• 24:22
  You don't know the way. And then she just drives away.
• 24:24
  So. Like.
• 24:28
  So yeah, there's a lot of that. It's just it's just one of those
• 24:30
  like jokes per minute type movies.
• 24:33
  Absolutely. And and.
• 24:34
  A classic kind of like almost road trip style premise.
• 24:37
  Like there's a lot of getting from A to B type comedy which is
• 24:40
  very similar to several things. But the first thing that comes
• 24:43
  to mind for me is like Dumb and Dumber.
• 24:45
  Oh, totally that. That's a good comparison
• 24:47
  actually, in both in terms of like the time period and like
• 24:50
  style of comedy. I would guess too, like between
• 24:54
  those two Dumb and Dumber in this movie and and both movies,
• 24:58
  again, like a lot of it is carried by the cast, you know,
• 25:01
  and like their performances because like Dave Foley and
• 25:06
  Jennifer Tilley have like really great chemistry, even though she
• 25:09
  shows up more so in the later half of the film.
• 25:12
  And and like I said, that lead detective, like he was probably
• 25:14
  just my favorite part. Like it's just like his his bit
• 25:17
  was so redundant, but it like never got old.
• 25:20
  They just kept finding new ways to.
• 25:24
  To like. I don't know, show his like
• 25:27
  laziness or ineptitude. Well, it's good when you can
• 25:30
  like. Prime the audience for a certain
• 25:32
  bit, because like you said, when that's almost the Looney Tune
• 25:34
  style as well is It's not that the joke comes out of nowhere,
• 25:37
  it's that they give you just enough of a pause that you know
• 25:40
  what you assume the joke is and they let you start to fill it in
• 25:43
  just so they can undercut it in a different way.
• 25:45
  Yes, yes. Exactly.
• 25:47
  Exactly which so so this like I understand why they're so proud
• 25:51
  of this film because they should be.
• 25:53
  It works on a lot of levels and it's like a mix of different
• 25:58
  comedic styles that that all blend together really well too.
• 26:02
  Like, you know, I I I described the whole train bit, but like
• 26:04
  one of my favorite parts actually is, is the it's the
• 26:09
  climax of the film. So I guess we can just get into
• 26:12
  to that. Basically, they're next
• 26:14
  spoilers. Yes, they're next spoilers for
• 26:17
  this very simple comedy premise, but you.
• 26:21
  Don't want to ruin it for anybody.
• 26:22
  Yeah, yeah. He, he eventually him and
• 26:26
  Jennifer Tilley, they'd like get caught by like the bad guy, the
• 26:29
  guy that actually killed his boss, you know, and he's like
• 26:33
  holding them hostage. And he's like talking to the
• 26:35
  lead detective and like the police.
• 26:37
  And he's like telling them what he wants, like in in exchange
• 26:40
  for the hostages. And he's like listing stuff off.
• 26:43
  And then like Dave Foley's like next to him and he just kind of
• 26:45
  chimes in. He's like, and ask for a
• 26:46
  helicopter. And the guy he's just like kind
• 26:48
  of absent mindedly goes like and a helicopter and he's like,
• 26:51
  wait, I don't need help. Why don't, why don't I need a
• 26:52
  helicopter? And then Dave Foley's like,
• 26:54
  well, I just want to ride in one.
• 26:59
  But then the police, they like, that's like the one thing that
• 27:03
  they, like, capitulate to. They're just like immediately,
• 27:06
  like right away. They're like, all right, your
• 27:08
  helicopter's on the way. And he's like, no, no, no, I
• 27:09
  don't, I don't need a helicopter.
• 27:11
  And they're like, it's too late. It's already on the way.
• 27:12
  See. That's awesome because that's.
• 27:15
  Like, again, plays with expectations cause in any
• 27:18
  hostage movie, they always get to the port of asking for a
• 27:22
  helicopter that, you know, as the audience is never going to
• 27:24
  arrive because it's like, what would that even look like?
• 27:27
  Like, even in a real hostage negotiation, they almost never
• 27:29
  get away. Yeah.
• 27:30
  Because they always want like, well, I need a safe ride to the
• 27:33
  airport and then I'm flying to another country and they just
• 27:35
  never get to that point. So that's awesome that they're
• 27:38
  just like, oh, here it is, here's your helicopter.
• 27:40
  They just keep. It's like they're almost trying
• 27:42
  to like. Force it on him.
• 27:43
  At that point, he's like, I told you, I don't want the helicopter
• 27:47
  and like, well, we'll cancel the helicopter if you let the
• 27:49
  hostage. So it's just like.
• 27:53
  That's really funny. This is right up our alley.
• 27:55
  I think this is our our speed of comedy for sure.
• 27:59
  It totally is. And yeah, yeah, so, and like I
• 28:01
  said, that's that's like the end of the film.
• 28:03
  But you know, there's other like fun kind of this is this is the
• 28:08
  second time this movie's come up on the podcast.
• 28:10
  But there's there's like a whole.
• 28:11
  They do like a whole It's a Wonderful Life bit where I
• 28:16
  swear, I don't know if they recreated it or used the same
• 28:19
  set, but at one point when he's in this small town with Jennifer
• 28:23
  Tilly, like he gets a job with her dad at like a savings loan
• 28:28
  building and they they walk in and it's like literally like the
• 28:33
  same set from It's a Wonderful Life.
• 28:36
  Oh, really? Yeah.
• 28:38
  Like it looks identical. And then they do a whole bit
• 28:41
  where like the townspeople are like coming in and they're kind
• 28:44
  of recreating that scene where like the townspeople are like
• 28:46
  trying to pull all their money out of the bank.
• 28:48
  And, and her dad, the owner, he's got, he's like, you know,
• 28:52
  he's doing that that whole George Bailey thing.
• 28:53
  And he's like, well, you know, we gave you this money so you
• 28:55
  could start your business or whatever.
• 28:57
  And he's, he's talking to one of the guys in town.
• 28:58
  He's like, you know, we gave you that money and then foreclosed
• 29:01
  on you because you started a jewellery store.
• 29:02
  And that was like a really bad idea.
• 29:09
  What is? It with I feel like there's a
• 29:10
  lot of comedy people who are tickled by the story of It's A
• 29:15
  Wonderful Life because I've only seen a lot of references to it
• 29:18
  in comedies. There's a whole SNL skit with
• 29:21
  Dana Garvey where he's doing the George Bailey voice and like
• 29:24
  they get to what is the end of the actual movie where like the
• 29:26
  day is saved. But then he like continues and
• 29:29
  he's like, wait a minute, that old Man Potter took all the
• 29:31
  money. He's the reason we are in the
• 29:32
  situation. And then it just cuts to them
• 29:34
  storming his house. Like it's like Frankenstein.
• 29:36
  It's like beating the crap out. Of him they're throwing like a.
• 29:39
  Like a dummy around the room. I.
• 29:43
  Think there's just a lot of people who find that story,
• 29:45
  like, amusing in a way that, like, they always try to expand
• 29:47
  on. Yeah, yeah, no.
• 29:49
  Absolutely. I mean, that's like you and I
• 29:52
  watch that movie every year and we always find something new to
• 29:54
  like riff on while we're watching it.
• 29:56
  I guess that's part of it. It's.
• 29:58
  It's a movie that for a certain generation like would they would
• 30:01
  see it on TV every holiday season because it was just like
• 30:04
  a really common one to put on. And so it's just that like
• 30:06
  shared vocabulary, like I'm sure in 97 that it's a wonderful life
• 30:10
  bit killed, whereas now some people wouldn't get it.
• 30:12
  Oh, which is a shame. I.
• 30:13
  Mean. But like I said, it's the second
• 30:15
  time because there was also in, you know, the movie that we
• 30:19
  watched that I can't remember the name of.
• 30:21
  Honestly, I forgot, I don't remember.
• 30:23
  Where else this popped up? It was the.
• 30:25
  Michael J Fox movie that we Watched.
• 30:27
  Oh, Doc Hollywood. Yeah, I wanted to say.
• 30:29
  City slickers. That's he's not even in that
• 30:31
  movie. That's just he's not even in
• 30:32
  that movie. Yeah.
• 30:34
  The Billy Crystal movie. Yeah, well.
• 30:36
  Mike Wazowski, you know this review is.
• 30:39
  More than any we've done so far just turned into Remember this
• 30:41
  other movie? Whatever this other movie.
• 30:44
  But but I feel like. That is like I kind of knew that
• 30:50
  going in because it, it's just, it's, it's that type of movie
• 30:54
  and it's like comedy is something that obviously evolves
• 30:57
  and inspires other types of comedy.
• 31:00
  And I think this is exactly that.
• 31:03
  Like I, it, it makes me think of like the Eric Andre show, how I
• 31:11
  read recently that like when he was like writing, like the first
• 31:14
  season of that show, he was watching Space Coast coast to
• 31:18
  coast from Cartoon Network and that was like a huge inspiration
• 31:22
  for his show. So I feel like it's just like
• 31:24
  you maybe more so than other like genres.
• 31:28
  You can kind of see like comedy DNA it throughout other films
• 31:32
  and sort of how it's like evolved and inspired other
• 31:35
  things. And so this feels like a a
• 31:40
  missing link of sorts for that style of comedy.
• 31:44
  You know where it That's a great pitch.
• 31:46
  Because I think a lot of people who are fans of that kind of
• 31:48
  thing will be very curious to watch this one.
• 31:51
  Yeah, exactly like it's. It's it's an easy one to
• 31:53
  recommend to like if you knew somebody that that already liked
• 31:58
  similar types of comedy films, they wouldn't be disappointed by
• 32:01
  this one because it's just like I said it, it blends a lot of
• 32:05
  different like types and styles of comedy really well.
• 32:08
  Like, you know, it has the visual gags.
• 32:09
  It has that like sort of word play humor.
• 32:12
  There was another that like one of the other ones that just like
• 32:16
  caught me off guard and had me laughing out loud was like one
• 32:19
  point there's like a truck driver and he's just like
• 32:21
  listening to the radio and it's playing, you know, like jazz
• 32:23
  music. And then it's kind of that
• 32:25
  classic thing where like, you know, the radio DJ comes in
• 32:29
  afterwards and he's just like, that was jazz some kind of jazz
• 32:34
  it's. Like and then it and then it
• 32:43
  leads into like a, you know? Like AI don't know, like a news
• 32:46
  report or something that kind of fills in like what Dave Foley's
• 32:48
  up to, but it's just like little stuff like that, you know, where
• 32:51
  it's just like that kind of like jokes per minute type style
• 32:55
  where it's just like you just got to throw a lot of little
• 32:57
  things in there. That's awesome.
• 33:00
  I so far have not actually gone back and watched any of the
• 33:03
  movies I recommended to you for the show.
• 33:05
  If there was going to be 1, this would definitely be in
• 33:08
  contention. Like, I think maybe after Season
• 33:10
  1 is done, I'll go back and watch a couple of them.
• 33:12
  But this is like, the easiest sell, like you said, because I
• 33:15
  think that listening to it is funny and then going in to watch
• 33:17
  it would just be that and more. So I'm on board.
• 33:21
  I'm glad you liked it. Yeah.
• 33:22
  Yeah. Totally.
• 33:24
  Like I said at the beginning, I feel like maybe more so than
• 33:28
  than in any other film we've done this season, this, it's the
• 33:32
  premise, the best. I think of just like a forgotten
• 33:35
  90s movie that that is worth revisiting.
• 33:40
  There you go. That is the premise of Season 1.
• 33:43
  I, I feel like we can kind of just wrap it there, right?
• 33:46
  I mean, I'm sure there's more we could say, but is there any like
• 33:48
  specific closing thoughts or should we just end on a solid
• 33:52
  thumbs up recommendation for the wrong guy?
• 33:55
  Yeah, I think if I. I can get into anything else
• 33:57
  when we do the the sort of final wrap up for this one.
• 34:00
  But yeah, this very just solid comedy that I appreciated.
• 34:05
  Yeah, you know. What this is a wholesome.
• 34:07
  Review I feel like a lot of our stuff we're picking things apart
• 34:09
  we're making mean jokes we're picking on random artists and
• 34:13
  creatives this one good job yeah and again I'll.
• 34:16
  I'll get into this a little bit more towards the end, but it's
• 34:18
  just like sort of like what I said with Gamera.
• 34:21
  When I watch Gamera, it's like this succeeded in exactly what
• 34:25
  it was trying to be. That's hard to pick apart 'cause
• 34:30
  you're almost rooting for that type of movie, you know?
• 34:32
  In that sense, absolutely, especially.
• 34:34
  When like this, that's like a smaller release, probably a
• 34:36
  lower budget film just made by some earnest comedians.
• 34:40
  Like, nothing bad to say, it sounds like.
• 34:42
  Yeah, exactly. Yeah.
• 34:43
  It wasn't a perfect film, but it was good.
• 34:46
  It was very good. Awesome.
• 34:47
  Well. With that, I guess we'll head
• 34:49
  into our intermission. When we return, I'm going to
• 34:53
  talk about the exact opposite of that.
• 34:55
  Stay tuned for Cutthroat Island. All
• 35:08
  right, coming back. From the other side of the
• 35:10
  break, Frank, now I get to talk about the movie you asked me to
• 35:13
  watch, 1995 Cutthroat Island. Oh, why did you ask me to watch
• 35:18
  Cutthroat Island? You know.
• 35:21
  Why? Cuz it's so good a pirate.
• 35:27
  If only if. Only it was cuz it was so good.
• 35:30
  I think you knew when you picked it that it was like a record box
• 35:33
  office bomb, right? I didn't know that.
• 35:35
  I I. I knew that that's that's part
• 35:38
  of the reason I picked it honestly, because OK, so here's
• 35:40
  this is what I this is what I knew about the movie going in.
• 35:43
  OK, Your Honor, yes. For the record.
• 35:47
  This is why it was interesting to me was because according to
• 35:52
  what I saw online, it is almost single handedly the reason that
• 35:57
  there was a stretch of time where studios were not making
• 36:00
  pirate movies like pirate themed, like swashbuckler
• 36:04
  movies. Because they made this one and
• 36:07
  it bombed so bad that I guess they just decided like nobody
• 36:12
  wants that. Like audiences don't care about
• 36:15
  pirates. And it wasn't until 2003 when
• 36:18
  the first Pirates of the Caribbean movie came out that I
• 36:22
  guess they decided it was OK to make pirate movies again.
• 36:24
  Although even that, since then, I think it's only been that
• 36:27
  franchise that has really that was sort of a unique.
• 36:30
  Win. I do think that audience tastes
• 36:32
  for a lot of fantasy and science fiction stuff have always been
• 36:35
  tenuous. Like up until Game of Thrones
• 36:37
  came out fantasy was a hard sell in general for like film and
• 36:40
  television. But then since then it's been a
• 36:41
  lot easier. 90s and 2000s though.
• 36:44
  Like I get it, cut throat island.
• 36:46
  You undersold how big of a of a screw up cutthroat island was.
• 36:49
  It at one time was in the Guinness Book of World Records
• 36:52
  for being the biggest box office bomb in film history.
• 36:56
  Adjusted for inflation, it's still in the top like four or
• 36:59
  five and of the ones, sorry, go ahead.
• 37:03
  No, I was that's. Awesome.
• 37:04
  That's great. Love that for you and.
• 37:10
  What I saw was like. It's hard to actually say for
• 37:13
  certain, because film budgets are not the most transparent
• 37:16
  thing. It's hard to know exactly how
• 37:17
  much money was spent on a film, to know how much of a loss it
• 37:19
  was. But of the ones commonly cited
• 37:22
  as famous bombs, this one made so much less money than all
• 37:25
  those other films. Like, it's not that it was the
• 37:28
  most expensive and it didn't recoup.
• 37:30
  There's examples of films that made $300 million at the box
• 37:33
  office but were so expensive that they lost money cuts.
• 37:36
  Rhode Island had a box office return of like $18 million, so
• 37:41
  much less than everything else on the list.
• 37:44
  See this to me? Like when I hear that, I feel
• 37:47
  like there's more to this story because I feel like there was a
• 37:49
  very similar like circumstance with I always get these two
• 37:55
  movies confused. There was it was the Disney
• 37:57
  animated film, though. Is was it Treasure Planet?
• 37:59
  I think it was Treasure Planet was a Disney animated film that
• 38:03
  the creators had been pushing for, for years.
• 38:06
  And because of like a falling out they had with some
• 38:09
  executives like the advertising and like time that the film was
• 38:15
  released, it was like the the company like purposefully buried
• 38:18
  the film upon release. And so it was like a box office
• 38:21
  failure for that reason. But it was also pirate themed
• 38:24
  because it was like a, it was like a space sci-fi.
• 38:26
  But it's obviously based on Treasure Island.
• 38:29
  That's true there. Is some precedent, even before
• 38:31
  cut Third Island that like pirate films had been flopping
• 38:34
  for like 20 years, like through the 70s, through the 90s, there
• 38:36
  was multiple cases of pirate films not making their money
• 38:39
  back. So it was sort of a last straw,
• 38:41
  but it was also the worst straw, if that makes sense.
• 38:44
  Well, but but I was going. To say more so like in that
• 38:46
  point with like Treasure Island, that felt almost intentional.
• 38:50
  And I do think or wonder, I should say like with this, this
• 38:53
  movie, if there isn't more to that story as to like, like, why
• 38:58
  like this bombed so historically bad.
• 39:00
  I feel like there's more to that which I haven't looked into.
• 39:03
  So there's a lot to it. There's a lot to what colored
• 39:07
  people's expectations of the movie, but also things that
• 39:10
  affected the end result of what the movie is like.
• 39:12
  Treasure Island or Planet Fun animated movie like not great
• 39:16
  but you know, fun to watch. Cutthroat Island is a big mess
• 39:18
  and it's like a unbelievable mess because of just the
• 39:21
  circumstances of how it was produced.
• 39:23
  Notably, in addition to being like a record box office bomb,
• 39:26
  it collapsed. A film studio called Karelko
• 39:29
  Pictures that had been previously had made had produced
• 39:32
  like Terminator 2 and the first 3 Rambo movies.
• 39:35
  Like a notable film studio that had been struggling already and
• 39:39
  and bet everything on rebounding was Cutthroat Island, and it
• 39:43
  bombed so hard that they just ceased to exist.
• 39:48
  Whoopsie. Yeah, whoopsie.
• 39:50
  The reason is the director of the film, Rennie Harlan, whose
• 39:55
  name I know but I couldn't tell you what else he's done, was
• 39:58
  very invested in the film. He had been wanting to make like
• 40:01
  a pirate film his whole life because he likes pirate stories
• 40:03
  as a kid. At the time the movie was being
• 40:06
  produced, he was married to Geena Davis, who is the star of
• 40:10
  the movie. Yes.
• 40:11
  He. Wanted.
• 40:12
  To get her in the role and essentially argued with Kuroko
• 40:15
  Pictures to put her as the lead because he was trying to make a
• 40:18
  move for her career to get her out of doing exclusively like
• 40:21
  comedies and dramas and try to make her more of like an action
• 40:24
  adventure star. Because tonally, Cutthroat
• 40:27
  Island is in the same vein as like Pirates of the Caribbean or
• 40:29
  The Mummy. Or is it just like an action
• 40:31
  adventure movie? And I think he thought that
• 40:33
  would be a good role, like boost her stock in Hollywood or
• 40:37
  something, which I don't disagree.
• 40:38
  Jamie Davis is great. I could see her being great in
• 40:42
  that type of role, yeah. You would think so.
• 40:47
  It goes on. So this was happening for a long
• 40:50
  time leading up to the production was like already
• 40:53
  getting set to begin. The other lead in the film, who
• 40:56
  in the final version is Matthew Modine, who we just saw or you
• 40:59
  just saw in Memphis Belle, which I think is funny. back-to-back
• 41:02
  mode. Dean's.
• 41:02
  Oh, yeah. OK.
• 41:04
  That role. That Matthew Modine plays was
• 41:06
  originally supposed to go to Michael Douglas and Michael
• 41:09
  Douglas was like invested in the film, but he had two conditions
• 41:12
  to get it made. He needed to film it like
• 41:14
  immediately because he had other commitments coming up and he had
• 41:18
  it in his contract that he his character needed to have equal
• 41:21
  screen time to Geena Davis character.
• 41:23
  And then at some point in the pre production process, the
• 41:26
  script was getting rewritten and it started to focus more and
• 41:29
  more on Geena Davis. And it's like, boy, I wonder why
• 41:31
  she's the one married to like the writer director.
• 41:34
  And so Michael Douglas backed out of the movie and then that
• 41:37
  caused a scramble that like, ruined the production because
• 41:41
  the director, Renee Harlan, then had to run out and scramble to
• 41:44
  find a new lead. And during that time, they had
• 41:47
  to start, like, building sets without him.
• 41:49
  And they like, finished the script without him.
• 41:51
  And by the time he got back and had Matthew Modine ready, he
• 41:53
  like, didn't like what he saw and started trying to make
• 41:55
  changes while they were already about to start filming.
• 41:57
  Big disaster. Also his wife Geena Davis was
• 42:00
  trying to get out of the movie, which is like a super funny.
• 42:04
  Why though? Because she just.
• 42:07
  Was like once Michael Douglas backed out, I think she saw that
• 42:10
  it was like the movie was sunk and didn't want to be in it
• 42:13
  anymore, but was like forced to stay on because she'd already
• 42:16
  been contracted to play the lead.
• 42:18
  And so Geena Davis in Cutthroat Island gives one of the worst
• 42:24
  acting performances in a major film I've ever seen from an
• 42:27
  established actor, to the point where I'm pretty sure she bombed
• 42:30
  it on purpose. Oh really?
• 42:34
  I can't think of any other. Explanation for how bad every
• 42:37
  single line read is for Geena Davis's character.
• 42:40
  She's supposed to be a pirate from birth.
• 42:44
  She grew up on a pirate ship, her dad was a pirate, she's
• 42:46
  taken over the crew of her old dead dad pirate.
• 42:49
  And she delivers lines like she works in an accounting office
• 42:53
  but still has them written on the page as like kind of pirate
• 42:57
  slang. So I can't remember the example
• 43:01
  offhand, but she has a line at one point early on where she's
• 43:03
  just like them be fair odds don't you think?
• 43:06
  And it's a very like piratey phrase, but she just says it's
• 43:08
  like them. Be fair odds, don't you think?
• 43:11
  And she like, looks at her. Hand.
• 43:13
  Argh, argh. Yeah, Metis.
• 43:18
  It's abysmal. I think that everything about
• 43:21
  Cutthroat Island that doesn't work could have been salvage a
• 43:23
  little with a fun lead performance from Geena Davis,
• 43:27
  who I'm certain was capable of giving one.
• 43:30
  Because she's great and like everything else she's ever been
• 43:32
  in. And I don't think it's really
• 43:33
  that much of A stretch on her range to be like, play a cool
• 43:37
  pirate captain. But she just doesn't act in the
• 43:40
  movie. She says her lines, she does a
• 43:42
  bunch of stunts and she just does refuses to perform or even
• 43:47
  like solidify what her character is.
• 43:49
  And it's extremely distracting. And it's seemingly all as a
• 43:53
  result of these like behind the scenes issues that affected the
• 43:55
  movie before it began. Well, I mean, it sounds like.
• 43:57
  Also, if her husband was the director.
• 44:01
  So I mean, like, in a lot of ways, that's the director's main
• 44:04
  role on set is to communicate with the actors.
• 44:08
  So sounds like if she was trying to get out of doing this movie,
• 44:12
  like, there may have been, yeah, some kind of communication
• 44:16
  breakdown or, or outright disagreement between her and her
• 44:19
  husband. Like I don't.
• 44:20
  Know it it the thing I looked up to say was married at the time.
• 44:24
  I don't know if this like they got divorced soon after or if it
• 44:27
  was way later or what the actual impact was on their marriage.
• 44:29
  But the movie gets so ruined by the fact that you have to spend
• 44:33
  so much time with Geena Davis and she's doing such a bad job.
• 44:35
  Like worse than I know she's capable of doing.
• 44:39
  She should easily be able to give a like semblance of a
• 44:42
  performance as this pirate woman and instead just kind of refuses
• 44:46
  to the point where I'm like, this is straight up
• 44:48
  unprofessional behavior if that's what happened.
• 44:52
  Oh, that's a bummer. That is a bummer.
• 44:54
  Because I was hoping it was like, bad for other reasons as
• 44:58
  opposed to Davis. I mean, it's interesting, I
• 45:01
  guess, if that's actually what happened, it's remarkable.
• 45:04
  That a movie that's so visibly expensive, like it's not as
• 45:08
  expensive as some of these other historical movie flops, but it's
• 45:11
  a big expensive like impressive looking movie.
• 45:14
  Like the production design. They film out on real pirate
• 45:17
  ships. It looks like 90s Pirates of the
• 45:19
  Caribbean which should be like an easy win to be like hey
• 45:23
  imagine if Pirates came out in like 1995 and everything about
• 45:26
  it sucked. In the mean, imagine Jack
• 45:28
  Sparrow just being like Yar I be Johnny Depp like.
• 45:32
  It just doesn't doesn't work, that's what.
• 45:36
  He says in the movie he's Johnny Depp.
• 45:38
  I be Johnny Depp. And they're like, that's not
• 45:40
  your line. And he's like, I be Davy Jones
• 45:42
  and I'm like, no, Mr. Depp, please.
• 45:46
  I'm trying to think if there's any other key details in
• 45:49
  addition to those problems. Something I noticed throughout
• 45:52
  the film is that given they were in these like impressive
• 45:55
  locations with like actually filming on like islands and in
• 45:58
  jungles and stuff, I thought that the cinematography in
• 46:00
  Cutthroat Island was kind of weak.
• 46:02
  And I did learn from reading about it afterwards that at some
• 46:05
  point the director, like the first person who was hired, is
• 46:08
  like the cinematographer like broke his leg while filming and
• 46:12
  had to be replaced, so he's out. In addition to that, the lead
• 46:16
  camera operator got into a fight with the director and was fired
• 46:20
  and everybody sided with the camera operator.
• 46:22
  So like two dozen crew members quit when when the director
• 46:25
  fired this camera guy. Wow.
• 46:28
  A lot of this, it's sounding more and more like a lot of this
• 46:30
  is falling on the director, like he lost control of this
• 46:36
  production or was there was a scrutiny.
• 46:39
  Literally. Yeah, better than that.
• 46:41
  Than that. Do you think the.
• 46:44
  The the DP, the cinematographer, do you think he broke his leg on
• 46:48
  purpose to to get out of making? The movie, he's just like up in
• 46:53
  one. Of those like big camera rigged
• 46:54
  chairs and he's just looking down like I could take a fall.
• 46:59
  He's an actual pirate. This is not historically
• 47:03
  accurate. Like Mr. Harlan.
• 47:06
  Peg like Jerry fell off his fell out of the crow's nest and says
• 47:09
  he can't film the movie anymore. He says he broke his leg, but
• 47:12
  then he looks and he like he broke the wooden leg.
• 47:14
  He broke his peg leg. I can't do it.
• 47:17
  I gotta go. And then he's just.
• 47:19
  Like throw him overboard and then, yeah, it's a pirate scene.
• 47:21
  The whole thing is a pirate scene.
• 47:22
  You get it. You get.
• 47:23
  It we don't need to, we don't need to make this.
• 47:26
  An audio drama, you understand the bit.
• 47:30
  So yeah, cut to Rhode Island had nothing working in its favor and
• 47:35
  the end result is a movie that clearly had a lot of time put
• 47:38
  into it and a lot of the work done was very professional and
• 47:40
  high quality. But what this leads to is, like,
• 47:43
  nothing about the movie is, like, funny, bad, you know,
• 47:46
  like, sometimes people try to make something and they're,
• 47:49
  like, inept in some way or, like, unable to physically
• 47:52
  produce what they wanted it to look like.
• 47:54
  So it looks kind of funny. This is just, like, sad.
• 47:57
  Yeah. I mean it.
• 47:58
  It honestly, I think this would be like, not that anyone would
• 48:03
  really care, I guess, but you know, general audiences, they'll
• 48:06
  go see a movie and if they don't like it, it's it's I feel like
• 48:10
  sometimes hard for them to articulate why, especially if
• 48:13
  it's like a big budget film. And I feel like this is a good
• 48:17
  example of like looking, like you said, like taking just a big
• 48:21
  budget film that has all these moving parts and I guess showing
• 48:26
  how difficult it is to still make that work and make a good
• 48:30
  film out of it. Like, because it could easily be
• 48:33
  this bad all the time or much, much worse even.
• 48:37
  Yeah, I mean. That kind of sums up the
• 48:40
  production hurdles. I think that a lot of this too
• 48:42
  was very public before the movie came out.
• 48:44
  Like I think it was a bit of a hot gossip at the time that the
• 48:47
  movie was a mess. And so I think in interviews
• 48:49
  since Renee Harlan has claimed that the movie is actually
• 48:51
  pretty good, but then nobody wanted to see it because they
• 48:53
  heard it was a mess. And I got to say, no, the movie
• 48:57
  is very bad. That's.
• 48:59
  Yeah, well that. I feel like that if if that's
• 49:02
  true, then that sort of explains the box office performance
• 49:06
  because something performing that badly must have, like you
• 49:09
  said, had negative word of mouth going in right, People would at.
• 49:13
  Least give it a shot if it's a big budget.
• 49:16
  Like I don't know what time I'm I'm guessing this was a summer
• 49:18
  blockbuster movie. Given the premise.
• 49:20
  I can't imagine people wouldn't at least give that more of a
• 49:23
  shot on like, opening weekend and then find out that it's bad.
• 49:26
  Yeah, because I could see you could.
• 49:27
  Easily cut a trailer for this. That would look exciting.
• 49:30
  I imagine if there's enough action sequences in there,
• 49:33
  there's a. Lot of impressive stunts.
• 49:34
  There is a surprising amount of explosions.
• 49:36
  It looks like Michael Bay made this movie.
• 49:38
  It's littered with unmotivated explosions.
• 49:41
  You know what I mean? Like where you're just like,
• 49:42
  wait, what is that? Why did that blow?
• 49:45
  Up like there's a bit at one point.
• 49:47
  Where I'm going to get into the actual story here in a minute,
• 49:49
  but just this jump ahead a little bit.
• 49:51
  There's a point where Geena Davis and Matthew Modine are are
• 49:54
  trying to escape like the British Navy, very similar to
• 49:56
  the opening of like Pirates of the Caribbean one.
• 49:58
  And they're riding through Port Royal because we're still in
• 50:00
  Port Royal for some reason. It's the same as that.
• 50:04
  And there's a ship on the on the shoreline that is firing cannons
• 50:08
  at them, like on the dock, like on the in front of all these
• 50:12
  buildings. And so the cannon fire is
• 50:14
  hitting the buildings and making those explode.
• 50:18
  But the way it was set up, you see the explosions like come
• 50:21
  from inside the building, like there's no impact on the
• 50:24
  facades. They just explode from within.
• 50:27
  And it's like, what kind of neuron laser did this pirate
• 50:31
  ship? Well, that wasn't at all.
• 50:35
  That was a bomb building. Obviously they shot a building
• 50:37
  full of bombs. He shot he.
• 50:39
  Shot a cannonball through an open window and it landed in a
• 50:42
  building full of bombs in the building blue.
• 50:44
  Yeah, it's. Common stuff, really.
• 50:46
  I don't know what you're confused about.
• 50:47
  So the whole movie's littered. With that, yeah.
• 50:50
  My question is, did you see ways in which this film visually may
• 50:57
  have inspired the Pirates of the Caribbean movies though?
• 51:00
  Because that to me is interesting if, you know, this
• 51:02
  movie was a complete failure in a lot of ways, but may have in a
• 51:07
  different way almost been a jumping off point for those
• 51:09
  movies. You know, it's funny.
• 51:11
  It's funny you. Say that at one point in
• 51:13
  production the script was. They tried to sell the script to
• 51:17
  Disney as Pirates of the Caribbean because that ride at
• 51:20
  Disney World already existed. And they were like, we have a
• 51:23
  pirate script. Maybe you could produce this and
• 51:25
  call it Pirates of the Caribbean.
• 51:26
  And they turned it down and then years later they made their own.
• 51:29
  So there is a direct connection there.
• 51:31
  They're like, hey, that's a good idea.
• 51:32
  We should make a. Pirates of the Caribbean movie.
• 51:34
  Not that. Not this one, though.
• 51:35
  This one looks. Like a big mess.
• 51:39
  So yeah, there's a connection. That there's a common thread.
• 51:42
  It feels like somebody made an AI it like typed into an AI like
• 51:47
  make Pirates of the Caribbean. But it's 1995 and it sucks.
• 51:51
  That sucks, yeah. Yeah.
• 51:54
  I mean, I, yeah, I feel like there's like we were talking
• 51:56
  about in the previous film that sort of, you know, maybe lesser
• 52:01
  known properties that inspired bigger ones that maybe more
• 52:04
  familiar with. I feel like part of the DNA of
• 52:07
  this movie is probably still in Pirates of the Caribbean or like
• 52:11
  you said, maybe even part of the reason that those films exist in
• 52:14
  the 1st place could be. Yeah.
• 52:16
  I don't know, like, what if that thread carried all the way
• 52:19
  through to 2003 and then they were like, we're going to make
• 52:21
  it ourselves? But it is interesting knowing
• 52:23
  that at one point in time this was going to be Pirates of the
• 52:25
  Caribbean and how it existing and failing could have prevented
• 52:29
  the real Pirates trilogy from ever being made.
• 52:31
  Yeah. And so and you also said what
• 52:34
  Michael Douglas was the original lead, yes, which is which?
• 52:37
  Sounds really weird to me because he seems like he'd be
• 52:39
  too old in 95 to play that character, but was am I?
• 52:42
  Misremembering. Is his dad not like Kirk
• 52:45
  Douglas, who was like a pirate movie guy?
• 52:49
  Gosh. I'd have to look that up to be
• 52:50
  certain, but that sounds correct.
• 52:52
  I'm gonna do that. Right now, just to confirm.
• 52:55
  Yeah, yeah. Scallywag, what'd you call?
• 53:00
  Me. Kirk Douglas film.
• 53:04
  That was just like the first thing that came to mind when you
• 53:06
  mentioned that, that he was in it.
• 53:08
  I it seemed like it was sort of like a type of almost like
• 53:11
  legacy casting. Yeah, maybe it would have been.
• 53:13
  Really. Good.
• 53:14
  I mean, it sounds like the issue with Douglas and the scripting
• 53:18
  and stuff is probably just like a Hollywood contracting thing.
• 53:20
  Like I'm sure it was just negotiated to be that way
• 53:22
  because he wanted to be like an equal lead.
• 53:24
  As the movie ends up. The character that Matthew
• 53:28
  Modine plays is definitely not given equal time in a way no
• 53:31
  one's given time. Like this movie runs for like 2
• 53:33
  hours and somehow nothing happens.
• 53:36
  That's the worst. It's so frustrating.
• 53:38
  Like the editing. Let's, let's get into the
• 53:40
  actual, like, rhythm of the story, OK, Cut Thread Island,
• 53:42
  big production mess. We know that.
• 53:43
  If we accept all of that, what did we actually get?
• 53:46
  So the movie opens with a very confusingly edited sequence
• 53:51
  where Geena Davis, whose character's name, I think is
• 53:55
  Morgan Adams. It's a good pirate name.
• 53:57
  It's a good pirate name. Morgan Adams.
• 54:00
  She's having this scene where she, like, wakes up in bed with
• 54:03
  this British Navy guy. And he's doing the thing where
• 54:06
  he's trying to, like, call her back to bed, like, oh, I had
• 54:08
  such a good time. Like, why do you have to go?
• 54:10
  And she's just, like, putting her stuff back on.
• 54:12
  And then he, like, reveals that he actually is in the Navy
• 54:17
  because she doesn't know this. And he's like, there to capture
• 54:19
  her because she's already a wanted pirate.
• 54:21
  He's like, little did you know that I kind of tricked you into
• 54:23
  bed with me and I'm here to, like, get you captured.
• 54:25
  And he pulls a gun on her. And then she says, like, oh, I
• 54:29
  already knew you were going to do that.
• 54:31
  And then she tells him that she took the like, I don't know what
• 54:34
  you'd call it. It's like a little old timey
• 54:35
  gun. So she says, like the balls out
• 54:36
  of the gun, like the bullets. And so he has a really weak
• 54:40
  line. Where she says I took your balls
• 54:41
  and then leaves, which is awful. But then that scene's playing
• 54:45
  out and I'm like, OK, so she knew that she was being tricked
• 54:49
  and must therefore be there to steal from the Navy.
• 54:53
  No, no, that's it. She just wanted to have sex with
• 54:55
  that guy. But he's like, don't worry, you
• 54:57
  can't capture me. I'm leaving.
• 54:58
  There was no ulterior goal. Like there's no, she just wanted
• 55:03
  to sleep with this guy and was like, ah, but he's going to try
• 55:05
  to arrest me, so I'll just take the bullets out of his.
• 55:07
  Gun, right, yeah, absolutely. And a better movie that would
• 55:11
  have led into your sort of opening like action sequence
• 55:15
  that kind of shows how good a pirate she is.
• 55:17
  And like she's where like he looks over.
• 55:19
  On the bedside and then he's like, Oh no, the like important
• 55:22
  Mac Guffin map thing is missing and then she's like running away
• 55:25
  and he's like, I'll get you Morgan.
• 55:30
  So. Yeah, instead, Geena Davis just
• 55:33
  wanted to get laid, which is like, good for her.
• 55:36
  You go queen, but it's like you. Could have picked somebody.
• 55:40
  Else. So she goes on.
• 55:43
  She gets on a horse. She meets up with like the rest
• 55:45
  of her key pirate crew members, one of whom in a early
• 55:49
  appearance is the older brother for Malcolm in the Middle,
• 55:52
  Francis OH. Awesome, yeah.
• 55:57
  So I thought that was funny. That we both had a Malcolm in
• 55:59
  the Middle. Sorry, you were.
• 56:01
  Just like yeah anyway. I just mean like, it's not that.
• 56:07
  Notable but I was like I've never seen these actors in other
• 56:10
  movies but then you saw one in in the wrong guy and there was 1
• 56:13
  here in Cut the Rhode Island. True, that's right.
• 56:15
  Sorry, yes, I forgot you mentioned.
• 56:16
  There was there was a Malcolm in the Middle.
• 56:19
  I get it now. Sorry, I wasn't.
• 56:20
  Listening. What are we doing?
• 56:24
  So she meets up with her crew, the guy from Malcolm in the
• 56:27
  Middle is there and they're riding away on horses.
• 56:30
  And you get this like opening music sting.
• 56:32
  And it's like really impressive cinematography at the beginning
• 56:34
  of them riding along the beach on these cool like islands.
• 56:36
  And I think they filmed it like Thailand or Malta or something.
• 56:39
  Really, really pretty shots. But there's dialogue overlaid on
• 56:43
  them where her crewmen are like, Oh no, Morgan, the evil pirate
• 56:48
  crew is here. They've captured your dad, our
• 56:50
  captain. They're going to kill him.
• 56:52
  And so in the same sequence where she's still leaving the
• 56:54
  house where she slept with that dude for no reason, she's like,
• 56:58
  oh, no, my dad's going to die. And so now her decision making
• 57:00
  looks even worse because it's like Morgan, because this all
• 57:04
  happened at the same time, I guess.
• 57:05
  And so then she's like riding along the beach.
• 57:07
  There's a dude in like a tiny little like diggy rowboat who
• 57:10
  she kicks in the face and I'm like, I hope that was a pirate
• 57:12
  and not just some fisherman. And then she takes the rowboat
• 57:15
  and tries to row it over to the bad guys ship.
• 57:18
  And this is where we meet our villain, played by Frank
• 57:20
  Langella. His name's Dog.
• 57:23
  I don't know why. What's up, dog?
• 57:24
  I mean, there's a couple of dog jokes in the movie.
• 57:26
  Like I think at the end of the movie when Geena Davis kills
• 57:29
  him, she literally says like bad dog and then like shoots A
• 57:32
  cannonball at him. And I was like, again, what
• 57:33
  movie do you think you're in? Gosh, that's honestly that's all
• 57:37
  you need to say about this. Movie.
• 57:39
  He has one too. He has some other dog.
• 57:42
  Related pun. But like this, this family tree
• 57:45
  is confusing. So at the beginning of the
• 57:46
  movie, they give you this clear implication that Dog knows
• 57:50
  Morgan's dad and that they probably used to sail together,
• 57:53
  but now they're enemies. And they need like the premise
• 57:56
  of the movie is that they need these three pieces of a map in
• 57:58
  order to find a buried treasure. Her dad had one, her uncle has
• 58:01
  one, and Dog has the third one. And then he keeps saying stuff
• 58:05
  to her like, oh, your old uncle Dog.
• 58:07
  And for like half the movie I'm like, oh, he's just like being
• 58:11
  coy. But then at the end I'm like,
• 58:11
  oh, no, that is her uncle too. That like that was her dad's
• 58:14
  brother. So which means that the
• 58:15
  characters, these three brothers were named like Harry, Mordecai
• 58:20
  and Dog, which it's. Like we named the dog Indiana?
• 58:26
  Yeah. Exactly.
• 58:27
  Yeah, we named the third kid after the.
• 58:29
  First thing we saw when he was born.
• 58:32
  So that part's really strange. And not very clearly
• 58:34
  articulated, but all of this is. This all happens in like 2
• 58:36
  minutes. She wakes up, she slept at the
• 58:38
  guy, she took the bullets out of his gun.
• 58:39
  She rides away, she meets the crew, kicks the guy in the face,
• 58:42
  goes to save her dad, completely fails.
• 58:45
  Her dad is murdered. Oh, oh, oh, and this is.
• 58:49
  Another just like small thing. Where you can tell the script is
• 58:51
  falling apart and wasn't finished because throughout this
• 58:53
  whole sequence, they're trying to knock the dad overboard.
• 58:56
  They're trying to find out where his piece of the map is.
• 58:58
  He won't tell them. So Franklin Gel is like, oh,
• 59:01
  your daughter must have it. So they knock him overboard.
• 59:03
  She tries to get him into the boat.
• 59:04
  They're trying to escape, but then he gets like shot in the
• 59:07
  back. So dad's not going to make it.
• 59:09
  They have like a sad moment together.
• 59:10
  We just met these characters, so we don't care at all.
• 59:13
  And during this whole scene, Geena Davis calls him father
• 59:16
  over and over and over again. She just says, like, father no.
• 59:20
  But then later, after he's dead for the rest of the movie, she
• 59:23
  calls him Harry. Like, I'm sorry, are you like,
• 59:26
  less intimate with your dad now because he's dead?
• 59:28
  You're going to call him by his first name?
• 59:31
  Call him by his his full government name now.
• 59:33
  Yeah, Harry. Bad Dog Mccree.
• 59:35
  Or whatever, like it just it's a.
• 59:38
  It's a classic example of just like no script.
• 59:40
  Continuity. Anyway, this leads to one of the
• 59:43
  weirdest things in the movie and possibly the only bit of like, I
• 59:46
  don't know, the only thing that gives the movie character and
• 59:48
  makes it anything more than like a total boring romp is that her
• 59:51
  dad's dying. They're like on a beach now
• 59:54
  she's saying her goodbyes to him and he's like, Morgan, before I
• 59:58
  die, I need you to shave my head.
• 1:00:01
  And as the audience, you're like, well, what are they
• 1:00:02
  talking about? And then a couple scenes later,
• 1:00:05
  we have this interaction where Morgan's back on the pirate ship
• 1:00:07
  that was her dad's. And she's like, I need to take
• 1:00:10
  charge of this crew so that I can lead them after this
• 1:00:13
  treasure, but they probably won't respect me because I'm a
• 1:00:15
  woman, so I need to win them over.
• 1:00:17
  And so they're like, she's arguing with this, like, first
• 1:00:19
  make guy who wants to be captain too.
• 1:00:21
  And then she's like, I have a third of the map that we need.
• 1:00:24
  And she holds it up. And it's revealed that the map,
• 1:00:27
  her dad's third of the map, was tattooed on his head.
• 1:00:30
  So she scalloped him to show the map at his request.
• 1:00:36
  And I was like, what on earth is this?
• 1:00:40
  And the thing that totally sells it, it's very like tanned at
• 1:00:44
  this point. So it just kind of looks like a
• 1:00:45
  leather map of some kind. But she literally took it off
• 1:00:47
  the top of his head. And throughout this entire scene
• 1:00:50
  where she's waving it around and they're having a conversation
• 1:00:52
  about what's on it, somebody at Post Production added like a
• 1:00:56
  little Foley sound so that when she's waving the scalp head
• 1:00:59
  around, it makes this little kind of like gurgly flapping
• 1:01:01
  noise. That's so gross.
• 1:01:04
  Gosh, this seems like. Like.
• 1:01:08
  The. Writers or or film makers just
• 1:01:10
  like didn't really understand how to make pirates like
• 1:01:16
  appealing lead characters. Like they're like, yeah, pirates
• 1:01:19
  do weird stuff and have weird rituals like that.
• 1:01:23
  And just leaning more into that than into like the fun, like
• 1:01:27
  kind of roguish pirate archetypes.
• 1:01:30
  Yes. Most successful pirate media
• 1:01:33
  frames. Them as like free spirited
• 1:01:35
  people trying to live a life of like adventure under the
• 1:01:39
  oppressive thumb of usually like the Navy or some fictional
• 1:01:43
  government force. And so you're inherently
• 1:01:45
  motivated because the government is always bad.
• 1:01:47
  And these people, the good pirates at least are like
• 1:01:50
  helpful and free spirited and they just want to sail the seas.
• 1:01:53
  These people are awful. Like Geena Davis scalloped her
• 1:01:55
  dead dad and is just hanging his skin map around and it's just
• 1:01:58
  like, let's go. It's so weird.
• 1:02:02
  And again, Geena Davis isn't emphasizing.
• 1:02:04
  Anything in her performance. So it's like delivered in this
• 1:02:06
  weirdly, like detached way, like she's a serial killer.
• 1:02:09
  Yeah. And I'm like, you know what?
• 1:02:10
  I would. I would buy that the.
• 1:02:12
  Like, roguish pirate crew sails under her because they're afraid
• 1:02:15
  that they're going to get scalped next, which would just
• 1:02:17
  be a very funny beat to continue the movie on.
• 1:02:18
  But the movie is not a comedy on purpose.
• 1:02:20
  So we just carry on. And instead it's like, well,
• 1:02:24
  dad's Skinhead map, it's like Latin on it.
• 1:02:28
  So we have to find. Someone who can read Latin?
• 1:02:32
  And that's what leads them to Matthew Modine, who is the very
• 1:02:35
  generic like roguish, charming thief archetype.
• 1:02:40
  And they just find him in jail being sold as a slave.
• 1:02:43
  And then they have to like bid to win him as a slave so that
• 1:02:46
  they can run off and then have him help them with the map.
• 1:02:48
  Wait, because he understands that he can read it.
• 1:02:51
  They. Somehow find out that like
• 1:02:53
  there's a guy being. Held out at the slave auction
• 1:02:55
  who they're convinced can read Latin because Matthew would Dean
• 1:02:59
  supposed to just be this kind of, like, charming guy who can
• 1:03:01
  blend into any crowd and is always trying to steal stuff.
• 1:03:04
  And that's your other lead in the movie.
• 1:03:05
  And that's the romantic interest for Geena Davis is that they
• 1:03:08
  free him. You know, he's a thief.
• 1:03:10
  So the whole time they're like, is he going to help Geena Davis
• 1:03:12
  or is he going to try to steal this secret treasure for
• 1:03:14
  himself? And that's, like, the anchoring
• 1:03:17
  point, although there's multiple beats in the story that could
• 1:03:19
  have emphasized that he doesn't have to be there and could
• 1:03:21
  betray them. But if they don't, like, he just
• 1:03:23
  helps them very willingly and honestly for a long time.
• 1:03:26
  And then the movie remembers that he's supposed to be, like,
• 1:03:28
  treacherous. And then there's, like, scenes
• 1:03:29
  afterwards. Whole thing's a big mess.
• 1:03:31
  Well, yeah. And like.
• 1:03:34
  I do wonder, since he was brought in later and that held
• 1:03:36
  up the production, that must have affected how his character
• 1:03:40
  was written into the story and also his performance and some
• 1:03:44
  costuming even, like so many little things that would have
• 1:03:47
  gone into like the presentation of that character.
• 1:03:49
  Yeah, he really like sometimes watching cutthroat.
• 1:03:52
  Island, it feels like you're watching someone filming a movie
• 1:03:54
  in a movie where like all of a sudden someone's going to yell
• 1:03:57
  cut and then Genevis is going to walk off set like as her actual
• 1:03:59
  character in the story. Oh wait, shoot, she'd walk.
• 1:04:03
  Off set and not be Geena. Davis.
• 1:04:05
  She would still be Captain Morgan.
• 1:04:06
  No, no, no. Like like, you know how you make
• 1:04:08
  movies about actors? And then you like show them
• 1:04:11
  filming something and then you like cut and then like, OK,
• 1:04:13
  who's this person? Actually, it's just so wooden at
• 1:04:16
  times, which is funny contrasted against some very impressive
• 1:04:19
  stunt work and action set pieces and and just general production
• 1:04:23
  design. I I can't even really think of
• 1:04:26
  how it's like the story has so few beats.
• 1:04:28
  They get the they get the scalped map and then they go
• 1:04:32
  visit Geena Davis's uncle for his part of the map.
• 1:04:34
  Which his third of the map is also not a regular map.
• 1:04:38
  It's like this bronze half circle with his part of the map
• 1:04:43
  engraved onto it. Which is really weird because
• 1:04:46
  1/3 of the map is a man's head, the other third is like a bronze
• 1:04:51
  disc. And then dog the bad guy, guess
• 1:04:53
  what? His half what his third of the
• 1:04:54
  map is made out of a regular map.
• 1:04:57
  Wanna. Guess it's just a regular.
• 1:05:00
  Canvas. Map like does it.
• 1:05:02
  Make sense? So there's literally.
• 1:05:04
  They ran out of ideas. There's literally a scene where
• 1:05:06
  the main characters. Get all three.
• 1:05:08
  And they're like piercing together.
• 1:05:10
  And one of the thirds is in three dimensions because it's
• 1:05:13
  like a giant hemisphere, like hemisphere.
• 1:05:15
  And then it's like skin map, map, map.
• 1:05:18
  And it's like, hey, guys, why didn't we all just use paper
• 1:05:20
  maps? Yeah, well, also what is this?
• 1:05:23
  Are they looking for the one? Piece like what is this treasure
• 1:05:25
  who buried this? Like why is there such a what's
• 1:05:28
  this map system? I believe it's the movie only
• 1:05:31
  says this once and then forgets. About it.
• 1:05:32
  But it's supposed to be their dad's treasure.
• 1:05:34
  So Geena Davis's grandfather's treasure.
• 1:05:37
  OK, He couldn't have just like, told them.
• 1:05:40
  Where it was now. And that's The funny thing.
• 1:05:41
  We get all of the characters. To Cutthroat Island where the
• 1:05:45
  where the treasure is like an hour in and they all just kind
• 1:05:47
  of follow each other there. So like, we didn't really need
• 1:05:49
  the map part anyway. You could have just had Geena
• 1:05:52
  Davis get the map of her dad's head, then just have everyone
• 1:05:56
  else like follow her to get there.
• 1:05:57
  Because there's a subplot to get the Navy involved where one of
• 1:06:01
  the people on Captain Morgan Adams ship is an author who's
• 1:06:06
  just like travels around the world with pirates and like
• 1:06:09
  writes about their adventures to to make like novels.
• 1:06:12
  And so he gets pulled aside by the Navy, who are like, hey, if
• 1:06:17
  you lead us along, we'll let you live.
• 1:06:20
  But otherwise, we're going to like, try you as a pirate and
• 1:06:22
  get you killed. And so that's how we get the
• 1:06:24
  Navy to the island. And the dog just follows the
• 1:06:27
  rest of the cast to the island. Everybody goes to the island,
• 1:06:29
  even though we had this whole thing about a map and like, X
• 1:06:31
  marks the spot. They're like whatever X is over
• 1:06:33
  there, follow me. Yeah, well, you said the script
• 1:06:39
  went. Through several rewrites too,
• 1:06:41
  like during production, I think either during or like right
• 1:06:44
  before I believe they started. Filming without the script
• 1:06:46
  finished. Yeah, yeah.
• 1:06:48
  That's the, IT feels like it it that's.
• 1:06:50
  What it feels like they'll they'll introduce plot beats and
• 1:06:52
  then resolve them. Like, immediately afterwards,
• 1:06:55
  like, there's a scene where they go to visit Geena Davis's uncle.
• 1:07:00
  Dog Pirate catches up to him. There's a big melee.
• 1:07:02
  And in the melee, Matthew Modine gets away with the uncle's third
• 1:07:06
  of the map, the big disc. And then Geena Davis is
• 1:07:08
  convinced that he has it because she knows that he's like a
• 1:07:11
  rogue. And so they have this whole
• 1:07:12
  interaction that's supposed to be full of romantic tension
• 1:07:15
  where they're, like, getting all close to each other.
• 1:07:17
  And she's like, I know you have the other third of the map.
• 1:07:19
  I need you to give it to me. And he's like, I promise I
• 1:07:20
  don't. And then she leaves.
• 1:07:23
  About 20 seconds pass in the movie, and we cut to another
• 1:07:26
  scene that's like, later that night of Matthew Modine trying
• 1:07:29
  to, like, use both parts of the map to find out where it is.
• 1:07:31
  And then she catches him, and she's like, I knew you had the
• 1:07:32
  map. It's like, we just talked about
• 1:07:36
  this. There was nothing in between.
• 1:07:38
  They're like, I wonder if he has the map.
• 1:07:40
  He has the map Like, Oh yeah. Well, that's unfortunate.
• 1:07:46
  Yeah. I can't even like.
• 1:07:49
  There's so many weird lines. The only person who feels like
• 1:07:52
  they're trying to like, salvage it is Frank Langella as dog.
• 1:07:56
  Like, he growls every single line because he's a dog, I
• 1:07:58
  guess. He like, growls all of his
• 1:08:00
  dialogue and tries to play it all like silly.
• 1:08:03
  You know, that's like a thing. You'll have like a good actor in
• 1:08:05
  a bad movie and they'll try to really, like, ham it up to make
• 1:08:07
  up for it. And he does that a little, but
• 1:08:09
  it's not really that entertaining.
• 1:08:11
  Well, it just, it sounds like nobody.
• 1:08:13
  Was on the same page here, You know, like, even just talking
• 1:08:17
  about those three, like Jane Davis, Matthew Nodine and Frank
• 1:08:21
  Langella, it seems like those 3 all thought they were in
• 1:08:24
  different movies. Yeah.
• 1:08:26
  And it's just not like, congealing at all.
• 1:08:30
  And this, I don't know, it's just, it sounds like a very
• 1:08:34
  troubled production, which, like you said, like near the
• 1:08:38
  beginning, like that can sometimes lead to something
• 1:08:41
  that's like, fun that's like, so bad it's good in a way,
• 1:08:44
  absolutely. But this just seems like sort of
• 1:08:47
  a headache because it's just, yeah.
• 1:08:50
  Because ultimately, too much of a mess.
• 1:08:52
  Ultimately. The people involved were too
• 1:08:54
  competent to stitch together like a bizarre enough movie.
• 1:08:57
  So what you get is just like a tape together movie made as best
• 1:09:01
  they could with what they were able to shoot.
• 1:09:03
  And that just leads as very boring because they're trying to
• 1:09:05
  do it by the numbers, but they don't have all the numbers.
• 1:09:08
  So it's just not fun to watch. Where it's like a true dumpster
• 1:09:12
  fire mess of a movie can sometimes be really
• 1:09:14
  entertaining. That Rhode Island is just
• 1:09:16
  frustratingly boring. So much so that my phone died
• 1:09:19
  about 2/3 of the way through and I was like, Oh no, I can't take
• 1:09:22
  notes anymore. I just didn't even care.
• 1:09:24
  I just watched the rest. I just completely.
• 1:09:28
  Resigned. I'm remembering stuff now
• 1:09:30
  because I didn't write it down. So there's these two.
• 1:09:33
  I keep calling him Navy. I assume they're.
• 1:09:35
  The British Navy like. Navy officer guys akin to the
• 1:09:37
  ones and Pirates of the Caribbean.
• 1:09:38
  One of them is like in charge and he has this younger guy who
• 1:09:41
  he's always like guiding and telling what to do.
• 1:09:44
  And it's almost played as if this is like his nephew or
• 1:09:47
  something, some sort of like nepotism hire.
• 1:09:49
  And these two characters come in and out of the movie and the
• 1:09:51
  older Navy guys like trying to get to the island to get part of
• 1:09:54
  the treasure. And then towards the end of the
• 1:09:56
  movie, The younger Navy guy like betrays the Navy and joins the
• 1:09:59
  pirates for no no reason. Like nobody even mistreated him
• 1:10:05
  like he was not. It's played akin to those guys
• 1:10:08
  in Pirates of the Caribbean where like the Navy's mean to
• 1:10:10
  them and so they like realize they'd rather be pirates.
• 1:10:13
  This guy just like turned coats for literally no reason after 0
• 1:10:17
  setup. And then at the end of the movie
• 1:10:19
  he's just hanging out with Geena Davis.
• 1:10:20
  Wow. Wow, that that's actually one of
• 1:10:23
  the more. Shocking things you've told me
• 1:10:24
  about this movie, like what? Where did that come from?
• 1:10:27
  It's set up like. Tonally you have this impression
• 1:10:30
  of like. The older Navy guys always like
• 1:10:32
  belligerent towards him and and making him giving him a hard
• 1:10:35
  time. He never does.
• 1:10:37
  He's like relatively chill. He just gives him orders.
• 1:10:40
  There's nothing bad about it at all.
• 1:10:42
  And then at the end he's like, I hate these guys.
• 1:10:45
  It's like why see this also feels.
• 1:10:49
  Like this is something we've talked about in the past too,
• 1:10:51
  but like when you get into post production and it's just kind of
• 1:10:53
  like, well, what do we have here?
• 1:10:55
  Like how do we piece this together into a movie?
• 1:10:59
  And maybe those scenes got cut that would explain that or were
• 1:11:04
  never even shot in the 1st place.
• 1:11:06
  But they shot the resolution of that character's arc and you
• 1:11:09
  can't get around it because he's physically there in the scene
• 1:11:12
  at. The end.
• 1:11:12
  Yeah, exactly. So you just kind of have to
• 1:11:15
  shove it in. There like yeah, because I feel
• 1:11:17
  like this is not always the case, but generally speaking,
• 1:11:19
  like those like so bad it's good movies are usually ironically
• 1:11:25
  the ones that that have a clear vision of what they want to be.
• 1:11:28
  It's just what that vision is. It's like ridiculous or bad or
• 1:11:31
  like unattainable, like relative to the resources they.
• 1:11:34
  Have totally totally like and that's why it's funny.
• 1:11:37
  Because it's almost endearing in a way.
• 1:11:39
  Where is this? Just feels like there was a lot
• 1:11:43
  of a lot of money and a lot of ego and a lot of production
• 1:11:48
  hurdles and it just never knew what it wanted to be.
• 1:11:53
  Like I said, the three leads sound like they are in three
• 1:11:57
  different movies and and have no idea what the tone is or even
• 1:12:00
  what their characters are supposed to be and the the story
• 1:12:03
  is so flat and advances. At such a snail's pace that by
• 1:12:07
  the time it's over, I was watching this with my wife and
• 1:12:09
  she said when it was over that she felt, quote, elated because
• 1:12:12
  the credits started like, not like.
• 1:12:16
  What a good experience but like. Oh my God, I can leave now.
• 1:12:19
  Yeah, yeah, yeah, yeah. That's that's what the the
• 1:12:22
  director. Meant where he's like, yeah,
• 1:12:23
  yeah, it's actually pretty good if you watch it like you'll,
• 1:12:25
  you'll appreciate your life, appreciate the rest of your
• 1:12:27
  life. Yeah, you'll step.
• 1:12:28
  Outside and be like, oh gosh, the.
• 1:12:29
  Sun. Yeah, now I'm looking at the
• 1:12:34
  Wikipedia page for this movie. And I do see that there was a
• 1:12:36
  video game tie in. Have we?
• 1:12:38
  Oh, I should have started with that.
• 1:12:39
  So in our. Started with well in our episode
• 1:12:43
  9. We talked about the no escape.
• 1:12:45
  Video game and I ended up doing a little let's play off camera
• 1:12:48
  and putting the footage in the episode on YouTube.
• 1:12:51
  I'm going to pre empt that this time.
• 1:12:52
  So if you've been watching this on YouTube, hopefully you'll
• 1:12:54
  have like this whole half of the episode.
• 1:12:56
  It's just going to be me trying to play Cutthroat Island for
• 1:12:58
  SNES. Yes, yes, good.
• 1:13:02
  Stuff I I want to see that myself.
• 1:13:04
  If the movie we review has a Super Nintendo game, we will.
• 1:13:07
  Find a way to play it. Yeah, this is the second one.
• 1:13:12
  Yeah, I think at least 2. Unless we missed them.
• 1:13:14
  Yeah, I. Don't think Rushmore had.
• 1:13:16
  One, I know we talked about that, don't think there was a.
• 1:13:18
  Rushmore game anyway, Cutthroat Island sucks so yar.
• 1:13:29
  How did the movie end? What was what was?
• 1:13:31
  No, the review's over the. Review's over, the movie's done.
• 1:13:34
  Never mind. Just never mind.
• 1:13:36
  Goodbye. Well, how do you think she says
• 1:13:39
  bad? Dog and hits him with a
• 1:13:40
  cannonball. Oh, oh, oh, you're right.
• 1:13:42
  You already told me. Yeah.
• 1:13:43
  So and what? And then they just like, get the
• 1:13:45
  treasure and sail away. Like, is there no like, yeah,
• 1:13:48
  that last crusade. They try to do the Last Crusade.
• 1:13:52
  Ending but then they undermine it because towards the end all
• 1:13:55
  the treasures aboard dog ship and Matthew Modine goes below
• 1:13:59
  decks to try to like take it back and then he gets like
• 1:14:02
  pinned underneath it because the ship's rocking and there's like
• 1:14:06
  cannon fire and stuff so there's a whole beat at the end where
• 1:14:08
  Geena Davis because she loves him now for some reason has to
• 1:14:12
  save him and then she like dives under the water and you hear him
• 1:14:15
  be like we can't like it's all too heavy we can't save the
• 1:14:18
  treasure we got to save ourselves and so they're like
• 1:14:21
  floating in the water at the end and he's like well we didn't get
• 1:14:23
  any of the money but at least we have each other and then Geena
• 1:14:26
  Davis is like no don't worry I got the money and then should we
• 1:14:28
  find out that she like tied something to it so it would
• 1:14:30
  float to the surface no, she did it all right and she very.
• 1:14:34
  Flatly, just like, don't worry, I have the money now, yo ho.
• 1:14:39
  And then it plays the pardon, which is actually what I was.
• 1:14:42
  Trying to to hum there, but you. Called it Indian.
• 1:14:46
  I thought you meant the in the Last crusade where they.
• 1:14:48
  Leave without the. Thing, but they like ride off
• 1:14:50
  into the right, right? Yeah, I guess both works, yeah.
• 1:14:54
  Yeah, that's it. That's the end.
• 1:14:56
  Oh. All right, Yeah, that OK, that
• 1:14:58
  dog I did on a very. Sad.
• 1:15:00
  Yeah. And then the the credits rolled.
• 1:15:02
  Everybody claps because they could, they could leave.
• 1:15:04
  Now they're like, we're running out the door.
• 1:15:06
  Yeah. OK.
• 1:15:07
  So what I'm hearing is you really liked it was really.
• 1:15:09
  Good. Really good, yeah.
• 1:15:13
  Well. Scores.
• 1:15:19
  Oh yeah, sure. All right, Frank, after some
• 1:15:27
  thrilling conversations. About a movie you really liked
• 1:15:29
  and another one I really didn't. Let's move into wrap up and
• 1:15:33
  scoring for episode 11. Over to you.
• 1:15:36
  Yes, that the wrong guy. I I enjoyed it and and I feel
• 1:15:42
  like this. This is I.
• 1:15:44
  Think you've given this score once before, but this for me, I
• 1:15:49
  think is, is, is a 7 out of 10. Oh, it's a 7 out of 10.
• 1:15:53
  The elusive 7. I think it's a 7 out of 10
• 1:15:55
  'cause it's just. Like a movie, it's just like,
• 1:16:01
  it's just like that. Like like I like.
• 1:16:03
  I was saying in comparing it to, like, Gamera, it absolutely
• 1:16:07
  succeeded in what it was trying to be, and it wasn't the best
• 1:16:13
  version of that thing I've ever seen.
• 1:16:16
  You know, I think like a 10 out of 10 movie that would be
• 1:16:21
  similar to this one in a very similar category would be like
• 1:16:24
  Clue, the 80s Clue. Yeah, yeah.
• 1:16:29
  Like that to me would. Be like a 10 out of 10 version
• 1:16:32
  of this. And this is like the seven out
• 1:16:33
  of 10. Yeah, like a good effort, but it
• 1:16:36
  feels like it. Didn't it didn't aim very high.
• 1:16:38
  It was a simple story. Yeah, that's a good day.
• 1:16:41
  But it yeah, absolutely. And.
• 1:16:43
  But it executed on it well, and it was likable and enjoyable and
• 1:16:49
  funny at. Times.
• 1:16:50
  And so it just kind of it it like nailed that sort of like
• 1:16:55
  middle of the road comedy approach, inoffensive, just very
• 1:16:58
  straightforward. That's a good seven.
• 1:17:00
  You know you want a movie just. That, you know, you're going to
• 1:17:03
  not hate, but you're not looking for anything like it's going to
• 1:17:06
  blow your mind. Wrong guy.
• 1:17:08
  Yeah, exactly. Perfect.
• 1:17:10
  It's worth checking out. Definitely a recommend.
• 1:17:12
  OK, good to know. Cut throat Island.
• 1:17:16
  I went back and forth on this a little because we're in the
• 1:17:20
  dregs, you know, we're not given a high score.
• 1:17:22
  We're below 5. But it's like, it did too many
• 1:17:26
  things correctly to like, completely sandbag it as like A1
• 1:17:30
  or A2. Like the production design is
• 1:17:32
  really good, the music is very good, the costumes and
• 1:17:37
  everything look cool. Like the movie is misusing all
• 1:17:39
  of its resources. But at a fundamental level you
• 1:17:42
  are seeing an action adventure movie and those are inherently
• 1:17:46
  likeable. This movie fights so hard to
• 1:17:48
  make it unlikeable. Like it tries so hard to make
• 1:17:52
  the. Idea of a swashbuckling.
• 1:17:53
  Pirate the lamest thing ever and mostly succeeds, but I still
• 1:17:58
  think I would give Cutthroat Island a three out of 10, which
• 1:18:00
  is maybe crazy that it's not our lowest rated movie.
• 1:18:03
  I I disliked Sphere in our previous episode even more than
• 1:18:06
  this because fear was just like hollow and empty and
• 1:18:09
  frustrating, whereas Cutthroat Island I at least had the
• 1:18:12
  experience of like jaw-dropping disbelief and what a mess it
• 1:18:16
  was. Yeah.
• 1:18:20
  It's it's, I mean. Honestly, between the two,
• 1:18:23
  between Sphere and this film, like I think both of them I
• 1:18:27
  guess are are examples of what I was mentioning earlier of just
• 1:18:30
  like you can have a lot of talent attached, you can put a
• 1:18:34
  lot of money into the budget of the film and like it can still
• 1:18:39
  be a visual spectacle and none of that matters if it's just not
• 1:18:44
  a good story or doesn't have the right direction or artistic
• 1:18:47
  intention. Character sandbags the whole
• 1:18:49
  movie and decides they don't. Want to be in it and so they
• 1:18:51
  just don't act in it. Yeah, absolutely.
• 1:18:55
  I sphere was more. Surprising because I thought
• 1:18:57
  that that one would just be like, I don't know, what is
• 1:19:00
  this, you know, just like kind of a random sci-fi movie.
• 1:19:02
  This one has the like, the most well known thing about this
• 1:19:05
  movie is that it's bad. Yeah.
• 1:19:08
  Or, or at least that it didn't make any money.
• 1:19:11
  Box office failure bankrupted a studio.
• 1:19:13
  Possibly ended a marriage? We can't say.
• 1:19:15
  Possibly, Most likely. Maybe a few in the audience.
• 1:19:18
  We don't. Know.
• 1:19:21
  Check why did you take? Me to see this movie.
• 1:19:22
  The last straw How many pirate films?
• 1:19:25
  Steve Not until 2000. Three while I watched another
• 1:19:29
  pirate film. But it won't be with you.
• 1:19:34
  Aw. Yeah, 3 out of 10. 3 out of 10.
• 1:19:38
  On the grifter scale on. The grifter scale right down
• 1:19:41
  there. With grifter we have run the.
• 1:19:43
  Gambit I think we've had every score except for A1.
• 1:19:46
  We've had two through 10. Howdy.
• 1:19:48
  Very curious to see a one. Because like.
• 1:19:50
  A1 in its own way would be like almost like 2 noteworthy, you
• 1:19:57
  know like it's like what would something have to do to be like
• 1:20:00
  AI mean A zero is also an option too.
• 1:20:02
  We could go even go into the negatives if we want, but I
• 1:20:04
  think it would have to become about intention like negatives.
• 1:20:07
  I think A0 or A1 would be like, what's that movie Triumph of the
• 1:20:12
  Will? What's that like Nazi propaganda
• 1:20:13
  movie? I'm not sure.
• 1:20:15
  Yeah, yeah, yeah, that one. Would be like negative points.
• 1:20:18
  Because it's like, yeah, really. I just checked this movie.
• 1:20:20
  It was actually so. I think it was.
• 1:20:22
  Actually like a landmark. Documentary in terms.
• 1:20:24
  Of the filmmaking. Or like there's ADW Griffith
• 1:20:27
  movie called something from like the 1910s that's like a Ku Klux
• 1:20:32
  Klan movie that like genuinely like brought that.
• 1:20:35
  Oh, I thought that was the one you were talking about.
• 1:20:37
  Trying for the will is a like. Is about them filming.
• 1:20:40
  Like Nazi rallies in Germany. Oh yes, yes, sorry.
• 1:20:43
  So if you had like an irresponsible documentary or
• 1:20:46
  something that promoted very like harmful beliefs or
• 1:20:50
  something that would crater you. But like if you're just a big
• 1:20:52
  stupid movie, you're probably going to bought about it like a
• 1:20:54
  two or three. Sure, sure.
• 1:20:56
  I mean, honestly, yeah. Like.
• 1:20:59
  Or, or I guess it would just have to be something that like
• 1:21:00
  really upset you to the point that it was so like a movie that
• 1:21:04
  like had my name on the screen and then just someone saying
• 1:21:06
  you're. Stupid like, over and over
• 1:21:08
  again. I might, yeah.
• 1:21:12
  I just shocked sphere was so bad.
• 1:21:14
  Sphere was. Crazy Sphere is the lowest rated
• 1:21:16
  movie of the season and. Will hopefully stay that way.
• 1:21:19
  Yeah, I guess looking ahead. So this is the end of episode
• 1:21:22
  11. Our upcoming episode in two
• 1:21:24
  weeks will be the end of Season 1 finale of Season 1.
• 1:21:27
  We will declare a winner for that episode, but also an
• 1:21:29
  overall winner for the scores across all 12 movies we've each
• 1:21:33
  recommended. And so with that in mind, Frank,
• 1:21:35
  you're currently down 6 points in the Season 1 totals.
• 1:21:38
  I thought it would be more severe because of how bad
• 1:21:41
  Cutthroat Island was. But this is winnable.
• 1:21:43
  If you pick a really good movie for next time and you beat me
• 1:21:46
  out by like 6 or 7 points, you could still win the whole thing.
• 1:21:49
  Yeah, that's true. And keep in mind, whoever loses
• 1:21:54
  Season 1 has to watch all of the prophecy movies that we talked
• 1:21:58
  about in our Halloween episode. Frank is seen the first one, but
• 1:22:02
  there's four more. Yeah, yeah, that seemed like.
• 1:22:06
  Really fun until like now that it's like I'm on the precipice
• 1:22:10
  of losing. Just like I thought this was
• 1:22:13
  funny when there would be no consequences.
• 1:22:14
  Shoot, got to watch all these prophecy movies.
• 1:22:19
  That's going to be your work in our off.
• 1:22:21
  Well, we won't have an offseason.
• 1:22:22
  We're not going to skip any episodes, but between episodes
• 1:22:24
  Season 1 and Season 2, somebody's going to be watching
• 1:22:27
  a lot of prophecies anyway that mind.
• 1:22:31
  I guess I win the. Episode cause the movie I picked
• 1:22:34
  with got a better score than the one that you recommended.
• 1:22:36
  So I will go first for next time and then Frankie, you better
• 1:22:39
  pick a great movie. So when I was typing in
• 1:22:44
  cutthroat island, I was watching on Tubi to like free with ads
• 1:22:47
  streaming site because that has a lot of these ones we've picked
• 1:22:49
  for the show. And as I was typing in cutthroat
• 1:22:52
  island a movie popped up called the cutting edge along with much
• 1:22:56
  like prophecy, like 6 sequels, all called the cutting edge.
• 1:22:59
  And I was reading it. I was like, what's this?
• 1:23:02
  It's a romance movie about, like a figure skater woman and a guy
• 1:23:07
  who plays hockey. And I'm sure you can see where
• 1:23:09
  that's going. No, explain it to me.
• 1:23:11
  Yeah. So it's like, you see, he has
• 1:23:12
  to. Ice Skate.
• 1:23:13
  And then you'll see, you'll see it's the movie you're watching,
• 1:23:17
  so it looks like a really basic sports.
• 1:23:20
  Romance. Movie from 1992 and I would have
• 1:23:24
  gone right past it except that I saw that the person who wrote
• 1:23:27
  the movie is Tony Gilroy. Who, some people might know, is
• 1:23:31
  the guy who wrote Andor, the Star Wars show.
• 1:23:36
  Oh. So.
• 1:23:37
  Tony Gilroy. Who more recently?
• 1:23:39
  Has written the extremely critically acclaimed political
• 1:23:43
  thriller drama Andor for Disney. Got his start.
• 1:23:47
  His first writing credit for a feature film is 1992's The
• 1:23:50
  Cutting Edge, and I just find the disparity between those two
• 1:23:54
  things so funny that I can't help but recommend it.
• 1:24:00
  I mean. So he's the lead writer.
• 1:24:02
  On Andor for Andor and for the movie Rogue One that preceded.
• 1:24:07
  It and other like movies that you would recognize but he's
• 1:24:10
  like the lead creative behind Andor.
• 1:24:13
  Cool. All right.
• 1:24:14
  Yeah. So I mean.
• 1:24:15
  Andor's great, I think. You maybe haven't.
• 1:24:18
  Seen it yet but I I really enjoyed that show.
• 1:24:20
  I saw it on the verse. I'm not done, but I've watched.
• 1:24:22
  A lot of it. OK, cool.
• 1:24:24
  The cutting edge, all right. Yeah, that's all right.
• 1:24:27
  That's your closer, that's your closing argument.
• 1:24:29
  Yeah. Your Honor, my closing thoughts,
• 1:24:31
  it was not going. To be this, but I couldn't help
• 1:24:33
  but recommend it just because of the and OR connection is too
• 1:24:36
  funny. All right, Yeah, all right.
• 1:24:38
  Cool. I'll check.
• 1:24:39
  It out all right, What do you got for me?
• 1:24:42
  So it's DW. Griffith, it's.
• 1:24:47
  A really cool movie, just want you to check it out.
• 1:24:53
  This one I. Feel like can we pull up the
• 1:24:59
  rules? Can we pull up My God, put the
• 1:25:00
  rules graphic up again? What's the rules question?
• 1:25:08
  Rule. Book.
• 1:25:08
  On this one. No, I think this counts.
• 1:25:11
  I think this counts 11 episodes then does not understand the
• 1:25:16
  game I. Understand it completely this.
• 1:25:21
  Is I'm going with a big. Swing OK, this is my closing.
• 1:25:23
  Argument all right, this this is a made for TV movie pilot wait
• 1:25:30
  for a television series it's a. It's a.
• 1:25:35
  Feature film made. For television that was supposed
• 1:25:38
  to kick off ATV show. That did caught kick off ATV
• 1:25:41
  show. Oh, it did.
• 1:25:43
  Yes, OK, this is 1993 Babylon 5, The Gathering.
• 1:25:49
  What the? What is the?
• 1:25:54
  Babylon 5 is a. Sci-fi television show that from
• 1:26:01
  my understanding is very similar to what this is.
• 1:26:05
  What people have said is very similar to Deep Space 9.
• 1:26:09
  We do like some deep space night Star Trek.
• 1:26:11
  That's. Okay, let him cook everybody,
• 1:26:14
  this is my big swing, my 6. Let's let him cook, yeah?
• 1:26:20
  Babylon 5. The Gathering.
• 1:26:22
  Was the Yeah feature film pilot that launched the television
• 1:26:28
  series that came after, so it has the full cast of the TV
• 1:26:31
  series I. Think some of the lead roles
• 1:26:34
  change in between. Because it was like a pilot to
• 1:26:36
  like sell the show. Oh, interesting.
• 1:26:38
  So after the movie, I I don't know if it's the same characters
• 1:26:45
  with different actors or they just switch out, but they
• 1:26:47
  definitely switch out some of the leads between this movie and
• 1:26:50
  then like the first episode of the series.
• 1:26:52
  OK, that's fun. I've definitely seen there's
• 1:26:54
  been a. Number of examples of like, film
• 1:26:56
  releases that became shows afterwards.
• 1:26:58
  I think Stargate had a movie first.
• 1:27:02
  Yeah, yeah. Buffy the Vampire Slayer,
• 1:27:05
  although that was sort of a retooled TV show afterwards.
• 1:27:08
  Same thing, though. Yeah, they it was the movie, and
• 1:27:10
  then they changed the cast. And then had the show Babylon
• 1:27:13
  fight, I could not have guessed that in a million trips, not
• 1:27:15
  once. Like I had a list of probably 20
• 1:27:18
  movies always on hand in case like something I picked didn't
• 1:27:20
  work or wasn't available. Not once have you ever picked
• 1:27:24
  something that I also wrote down.
• 1:27:25
  It's so funny to me that looking for the same thing, we found 24
• 1:27:29
  completely different films. Yeah, it's pretty cool.
• 1:27:33
  Actually, yeah, that's good Internet.
• 1:27:36
  Weird, weird. OK.
• 1:27:39
  Babylon 5 so our season. Finale for underrated forgotten
• 1:27:45
  films of the 1990s is a sports drama, romance with actors no
• 1:27:50
  one's ever heard of and a made for TV pilot for ATV show.
• 1:27:55
  Yeah, yeah, this is. What people want, yeah.
• 1:27:58
  Maybe there should have been a 10 episode season.
• 1:28:05
  OK, well, you know what? That's exciting.
• 1:28:08
  TuneIn In two weeks we will give you our Season 1 finale and then
• 1:28:12
  programming note. The episode after that will be a
• 1:28:14
  Season 1 recap, which would be a great way to jump in if you've
• 1:28:17
  only listened to some of the episodes or if you've heard them
• 1:28:19
  all. We're going to go back and
• 1:28:20
  revisit all 24 films and probably rank them to figure out
• 1:28:23
  the definitive forgotten films of the 1990s.
• 1:28:26
  Which ones are the best? Yeah, that'll be fun.
• 1:28:28
  I'm I'm looking forward to the the.
• 1:28:30
  Retrospective Frank, I'm going to keep you on the horn this
• 1:28:32
  time while we go through our. Social media call outs at the
• 1:28:35
  end because I keep forgetting to do these and then forgetting to
• 1:28:37
  record them afterwards. So if you enjoyed our show,
• 1:28:40
  First off, thank you for listening.
• 1:28:41
  We appreciate the support. If you enjoyed the show, please
• 1:28:44
  feel free to follow us on all major podcast platforms.
• 1:28:47
  You can also find links to everything through our website
• 1:28:49
  meetyourdoublefeature.com or to follow our socials we are on
• 1:28:52
  Instagram at Meet Your Double Feature and on Blue Sky at mydf
• 1:28:57
  pod. All is one word.
• 1:28:59
  Frankie, you got anything to plug before we close out?
• 1:29:02
  Yeah, I I think you queued me up for this last week and.
• 1:29:04
  Then I went like deer in the headlights and forgot but.
• 1:29:10
  You can also check out. Sardonic Motion Pictures
• 1:29:13
  website, which is the production company that the Independent
• 1:29:18
  film that I Co produced with my good friend Austin, who we've
• 1:29:22
  talked about. We'll we'll we'll probably try
• 1:29:23
  and have him on the show soon at some point.
• 1:29:27
  But yeah, you can check out that Our film just finished its
• 1:29:31
  festival season. And what's the movie called?
• 1:29:34
  Nate, Mariah. In Venice it is.
• 1:29:37
  Our feature film debut, Which we're very excited about and it
• 1:29:44
  we're very excited to have it scream at several different
• 1:29:48
  festivals all over the country. So that was really cool.
• 1:29:50
  And but if you want updates about that, about when that's
• 1:29:53
  going to be appearing on streaming platforms early next
• 1:29:57
  year, then you can check out the website.
• 1:29:59
  And then also, you know, if you want to stay updated on any of
• 1:30:02
  our future projects that will be on there as well.
• 1:30:04
  Both of those links to the Meet Your Double Feature website and
• 1:30:06
  the Sardonic. MP website.
• 1:30:08
  Those are in the description for this episode on all platforms.
• 1:30:11
  You can always go down there to find those with that.
• 1:30:13
  Thank you so much again for watching.
• 1:30:14
  We will be back in two weeks and before we go, Frank, you're
• 1:30:17
  going to close this out on something.
• 1:30:18
  Uh oh, uh oh. Christopher Walken does the
• 1:30:28
  outros. Oh, I see in the studio.
• 1:30:31
  Annoying. I was trying to do him, but he.
• 1:30:36
  Was trying to walk in the studio.
• 1:30:37
  Realizing that he was in the studio, that is.
• 1:30:40
  Some avant-garde improv work that's.
• 1:30:42
  Him being like, oh wait, it's a mirror.
• 1:30:43
  It's I'm reflected in the glass. It's like.
• 1:30:47
  A fun house like. A fun.
• 1:30:51
  One. All right, that's it.
• 1:30:52
  Cut the feed. Cut the feed.
• 1:30:53
  The show's over. I'll see you in two weeks.
• 1:30:55
  Bye bye. Coming up next, it's Babylon 5.
• 1:31:11
  The Gathering followed by the Cutting Edge on Meet Your double
• 1:31:15
  features.