Latest / Frightmares / Ep. 358 - The Nesting (1981)

Transcript

Ep. 358 - The Nesting (1981) · Frightmares

0:00
Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
0:05
Speaker 1: excessive foul language. Viewer discretion is advised enjoy the show.
0:49
Speaker 2: Welcome back to Frightmares Podcast. I'm your host Austin Procter
0:52
Speaker 2: and joining me today four, Episode three fifty eight is
0:55
Speaker 2: my good friend Michael Ers. How are we doing?
0:58
Speaker 1: I'm doing good?
0:59
Speaker 2: Oh I should probably clips should probably uh, you know,
1:02
Speaker 2: maybe hit record on stream yard that might help.
1:05
Speaker 1: And you didn't get the you didn't get the meat dancing?
1:08
Speaker 2: How do you fucking hit record? I don't want to other.
1:11
Speaker 2: It's a it's a blue button in the corner. That's
1:14
Speaker 2: so dumb. Why is it? I saw the red one
1:16
Speaker 2: down here? Well stop? Oh true? Okay? Or maybe just
1:21
Speaker 2: maybe meet in the middle anyways. Today, on another installment
1:26
Speaker 2: of Hantuary Manner, we're discussing the Nesting from nineteen eighty one,
1:30
Speaker 2: where the third act reveal is more complex than the
1:33
Speaker 2: Pythagorean theorem. It is a doozy let me tell you
1:37
Speaker 2: about that. Uh So, let's see where this one lands
1:41
Speaker 2: on the nightmare index. Of course, we only have one
1:43
Speaker 2: on there now, the Haunting, So this is gonna fall
1:46
Speaker 2: probably below. I don't think this is going to be
1:48
Speaker 2: above The Haunting, because as much as I loved this movie,
1:53
Speaker 2: there are some major flaws with the third act that
1:56
Speaker 2: we will obviously get into later in the review. Though, Yeah,
2:02
Speaker 2: this was a movie.
2:03
Speaker 1: Uh.
2:03
Speaker 2: I forgot to say this on The Haunting because I
2:05
Speaker 2: had so much stuff to set up as that was
2:07
Speaker 2: the first episode of the year. Much like The Haunting,
2:10
Speaker 2: I had never seen this. I had never heard of this,
2:12
Speaker 2: and this is our deep cut of the month. Because
2:16
Speaker 2: it's not that it's not like it's a deep cut
2:17
Speaker 2: because I haven't heard of it, but uh, when I
2:20
Speaker 2: looked up the ratings, I was like, there's not a
2:21
Speaker 2: lot of ratings. The IMDb is, uh, there's not a
2:25
Speaker 2: lot of famous people in this whatsoever. So it's like,
2:28
Speaker 2: I'm gonna use this. Plus Vinegar Syndrome released it, and
2:31
Speaker 2: that's a that qualifies as a deep cut for me.
2:33
Speaker 2: And you hadn't even heard of this movie, so.
2:36
Speaker 1: Like, I feel like maybe it's because when I saw
2:39
Speaker 1: the cover, I'm like, Okay, I feel like I've seen
2:41
Speaker 1: that cover somewhere, right, But no, it's not like when
2:45
Speaker 1: you're like, oh, we're doing the nesting, Like ah, yes,
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Speaker 1: the nest right, and that also is like really shocked
2:50
Speaker 1: that it was a ghost story not about birds. I forgot
2:55
Speaker 1: this was haunted house month. I was like, dude, are
2:56
Speaker 1: you moving the monsters already?
2:58
Speaker 2: We're moving it. We're moving to animals attack in August already, like.
3:05
Speaker 1: The wing serpent or something.
3:06
Speaker 2: Oh man, Oh that's a good one. I have totally
3:09
Speaker 2: forgotten about until you mentioned. So, yeah, this is definitely
3:14
Speaker 2: a haunted house story. And it's actually kind of funny
3:16
Speaker 2: because much like the Haunting where the house only killed women, uh,
3:21
Speaker 2: this house only kills men. And that's fucking hilarious to
3:24
Speaker 2: me because I didn't expect, like it's perfect. It is
3:29
Speaker 2: so perfect, and so yeah, we will get into that
3:33
Speaker 2: very shortly. But let's roll roll into the cold open here. Okay,
3:44
Speaker 2: So this is where we're going to talk about what
3:46
Speaker 2: we've recently watched. I'll kick it over to you. Anything
3:50
Speaker 2: doesn't have to necessarily be horror, you know, bonus points
3:53
Speaker 2: for horror. But what have you been what have you
3:55
Speaker 2: been watching anything good lately?
3:57
Speaker 1: Do you want me just to start just just to
3:59
Speaker 1: count the new year or how far do you want
4:01
Speaker 1: me to go.
4:01
Speaker 2: Back the new year? Yeah, let's just like, what what
4:04
Speaker 2: what so far this year?
4:05
Speaker 1: Yeah? Okay, so it's been a little bit of a
4:09
Speaker 1: uh slow start, you know, like the beginning of the
4:11
Speaker 1: year is always exciting, like oh, we get new letterbox stats,
4:15
Speaker 1: but you don't get it until you've watched ten films.
4:17
Speaker 1: So then you're like, oh, you don't get it until
4:21
Speaker 1: you've watched at least ten films. So like I've met
4:23
Speaker 1: like six, I'm like, I don't know what they're gonna
4:25
Speaker 1: be yet, so I will I. So the only quote
4:31
Speaker 1: unquote horror thing that I've watched besides the Nesting was
4:35
Speaker 1: Stranger Things. We powered through that and the finale and
4:41
Speaker 1: we've we've already talked about it. I I have my qualm,
4:46
Speaker 1: I have my like some like issues with it. But
4:50
Speaker 1: I've never been a person where like, well this this
4:52
Speaker 1: logically doesn't make sense, so I can't enjoy it. Like
4:56
Speaker 1: I one time had a screenwriting uh a friend of
4:59
Speaker 1: mine who taught me a lot about screenwriting, who told
5:03
Speaker 1: me one time that he's like, logic can kill your movie.
5:06
Speaker 1: And he's not saying you should make illogical movies. What
5:09
Speaker 1: he's saying to me is that if you overthink things,
5:12
Speaker 1: just to make everything fit, like make sense. You can
5:15
Speaker 1: sometimes hurt the flow of your narrative. Now if things
5:20
Speaker 1: are too illogical, the same thing can happen. But I
5:22
Speaker 1: get the sentiment that he's saying, you know, because like
5:25
Speaker 1: I was writing a scene. I don't remember what it
5:27
Speaker 1: was about, but I was like, well, that wouldn't happen,
5:29
Speaker 1: and he goes, but does it happening propel your story?
5:34
Speaker 1: And I was like, Okay, I get what you're saying.
5:37
Speaker 1: So I think there's a balancing act, like we're not
5:39
Speaker 1: we're not gonna talk too much more stranger things. But
5:42
Speaker 1: like the fact that there's so many people online who
5:45
Speaker 1: wanted this secret ninth episode was like, how is that
5:47
Speaker 1: gonna make anything better? How is that gonna make it better?
5:50
Speaker 1: Because like people were complaining that Vecna died too easily.
5:53
Speaker 1: I'm like, well, I'm kind of glad because sometimes those
5:56
Speaker 1: thirty to forty minute Marvel fights just just annoyed the
5:59
Speaker 1: shit out of me, Like there's no build up, like
6:03
Speaker 1: not no build up, but like there's it's just I
6:05
Speaker 1: don't care. I don't like, give me something a little
6:07
Speaker 1: more mindful and concise. And then people were like my
6:13
Speaker 1: favorite is like people like why did the byss not
6:15
Speaker 1: have any demo dogs or demo gorgans? And I think
6:18
Speaker 1: someone asked the Duffer brothers the same question and they
6:21
Speaker 1: were like, well, you know, Vecna wasn't expecting people to
6:25
Speaker 1: breach his hidden fucking world, right, So they're like they're
6:28
Speaker 1: probably around there somewhere.
6:30
Speaker 2: Yeah, they didn't care.
6:32
Speaker 1: It's not that deal.
6:33
Speaker 2: I uh said. When Gabby and I talked about our
6:36
Speaker 2: thoughts last episode, I said that about the demo bats,
6:38
Speaker 2: it was like they introduced them just to kill Eddie
6:41
Speaker 2: and then they were gone. And I was like, I mean,
6:43
Speaker 2: I don't care. I just thought I just thought it
6:45
Speaker 2: was funny, like they introduced these new things and then
6:47
Speaker 2: they're just kind of gone. But yeah, he's I.
6:51
Speaker 1: Had a friend at work who was like, she didn't
6:53
Speaker 1: believe that there was gonna be another episode, but she
6:56
Speaker 1: got really into the conspiracy theories behind it. She's like,
6:59
Speaker 1: there's all these inconsistencies, like the like, uh, like the
7:03
Speaker 1: switch that Robin uses is one is a one color
7:06
Speaker 1: and another in one the first time I'm introduced, and
7:09
Speaker 1: then it's a different color in another scene, and those
7:10
Speaker 1: type of things would get fixed in post production. I
7:12
Speaker 1: was like well, let me tell you how much stuff
7:16
Speaker 1: does not get fixed in post production because simply there's
7:19
Speaker 1: not enough time. People forget there is an iconic scene,
7:22
Speaker 1: and anyone out there listening, go watch this. Go watch this.
7:25
Speaker 1: If you've never seen the James Cameron film The Abyss,
7:28
Speaker 1: there's a scene that is still in the movie.
7:30
Speaker 2: You know what you're talking about.
7:31
Speaker 1: I'm so excited off the fucking frame and they kept
7:35
Speaker 1: it in, so you know, shit happens.
7:39
Speaker 2: I think that was my actual review for The Abyss.
7:42
Speaker 2: It had something to do with the camera being on
7:46
Speaker 2: screen and I was like, did we are we? Hello?
7:49
Speaker 2: Let me see? I reviewed as.
7:50
Speaker 1: Oh damn Meta Austin. It's a literal camera wipe.
7:53
Speaker 2: Yeah, I said in my review. Someone really wiped down
7:56
Speaker 2: the camera. Lid's mid scene was my review.
8:00
Speaker 1: So yeah, for everyone out there who is like this,
8:03
Speaker 1: this is a multimillion dollar Properly this wouldn't happen, you know. Sometimes,
8:07
Speaker 1: I'm sure the discrepancy of color with the fucking switch
8:11
Speaker 1: that Robin used, they probably had to quickly shoot it
8:13
Speaker 1: and they just used whatever one they had near them,
8:15
Speaker 1: Like filming is chaotic, and even if they had even
8:20
Speaker 1: they had they had a lot of fucking money and
8:21
Speaker 1: a lot of fucking time. There's still never enough money
8:23
Speaker 1: and there's never enough time.
8:25
Speaker 2: I had problems with continuity in my ten minute short
8:28
Speaker 2: film that I'm editing right now. I couldn't imagine an
8:32
Speaker 2: episodic television series, like there's there's no way. So yeah, yeah, just.
8:36
Speaker 1: Because they're not shooting the ship in order, of course,
8:38
Speaker 1: not no, no, no, of course, they're probably like jumping
8:40
Speaker 1: between the first episode of the final episode within the Yeah,
8:44
Speaker 1: probably not that extreme, but you.
8:45
Speaker 2: Know, they're jumping around, so they probably shoot.
8:48
Speaker 1: They probably shut all the stuff in the squawk at
8:50
Speaker 1: the same time. Just it's get over.
8:52
Speaker 2: Yeah, you got to shoot my location.
8:53
Speaker 1: So anyways, that's the only horror thing that I've watched,
8:56
Speaker 1: and then I'll just rapid fire the other things I
8:57
Speaker 1: watched I watch. I watched Song Song Blue, the new
9:00
Speaker 1: Hugh Jackman film. It is a delightful film. It is
9:05
Speaker 1: also very sad, and it made me very emotional. I
9:10
Speaker 1: will I'm gonna put a I'm gonna put Hugh Jackman
9:13
Speaker 1: under fire just a tiny bit because this movie, Austin,
9:17
Speaker 1: you might not have known this. This movie takes place
9:19
Speaker 1: in the beautiful Milwaukee, Wisconsin, where you will be visiting.
9:22
Speaker 1: You and Hugh Jackman both get to experienced Milwaukee. Hugh
9:26
Speaker 1: Jackman said at our local news station TMJ four that
9:29
Speaker 1: he said, we feel this story, this love story, he said,
9:33
Speaker 1: we love this story about these folk heroes Lightning and Thunder,
9:36
Speaker 1: Mike and Claire. But it's also a love letter to
9:39
Speaker 1: this town. He's never stepped foot in this town until
9:41
Speaker 1: that fucking premiere they shot in New Jersey. Fuck you,
9:44
Speaker 1: Hugh Jackman. I love you, but no.
9:47
Speaker 2: Putting Hugh Jackman on blast. I love it, I have.
9:50
Speaker 1: I love you, Hugh Jackman, and I'd be happy to
9:52
Speaker 1: hash this out with you. Come on one of our podcasts.
9:55
Speaker 1: We'll have an amazing dialogue. We can talk about your
9:59
Speaker 1: favorite which your favorite cheeses that you experienced here in Wisconsin.
10:04
Speaker 1: Watched Oppenheimer, didn't love it, Okay. Watched Hitman, thought that
10:09
Speaker 1: was a fun time. And I watched the animated film Flow,
10:12
Speaker 1: which was a delightful movie.
10:13
Speaker 2: But head yeah, the Auf the animated Oscar winner of
10:17
Speaker 2: last year.
10:17
Speaker 1: Right, yeah, that movie was just delightful. Okay.
10:21
Speaker 2: A couple of things I've watched here. I watched a
10:25
Speaker 2: movie sent over to me by Avy Entertainment called The
10:28
Speaker 2: Shepherd from twenty twenty one. It is wow that that
10:33
Speaker 2: is not the right movie that I logged. That's all right,
10:37
Speaker 2: that's not the right Shepherd. Stand by while I find
10:40
Speaker 2: the correct one. All right, that's gonna be very strange
10:42
Speaker 2: when I have to there. It is twenty twenty. Oh,
10:45
Speaker 2: it's just sorry. It is just Shepherd, not The Shepherd.
10:49
Speaker 2: It is very lighthouse coded from twenty nineteen. But there's
10:54
Speaker 2: no Willem Dafoe asking about you know, if you're fond
10:56
Speaker 2: of his lobster. It's just him and his dog. He
10:58
Speaker 2: goes out there to be a literal shepherd. I didn't
11:02
Speaker 2: think the movie would be, like the title would be
11:04
Speaker 2: so literal. He is tending sheep out there on this
11:07
Speaker 2: island and.
11:08
Speaker 1: Uh god, literal.
11:10
Speaker 2: Yeah, I didn't expect that. I thought it was a metaphor.
11:12
Speaker 2: But he's dealing. It is another movie about grief and trauma,
11:16
Speaker 2: which I do feel is very overplayed, but when done
11:18
Speaker 2: right like this, like this movie was. It had a
11:21
Speaker 2: third act, like you learn a little bit more about
11:23
Speaker 2: what happened, and then you get the final reveal and
11:26
Speaker 2: then the endings and ambiguous I really enjoyed it, and
11:29
Speaker 2: I'm not. It's not because I'm getting three movies or
11:32
Speaker 2: I'm not even getting paid to do this. I reviewed
11:34
Speaker 2: Mutilator too, which was I did not like. I'm not
11:37
Speaker 2: I'm not afraid to give my real opinions on movies,
11:40
Speaker 2: but it was, Yeah, it was a good time. I
11:43
Speaker 2: really enjoyed that one. I don't oh it's it's actually
11:46
Speaker 2: available on Prime. You can watch it on Prime. I
11:48
Speaker 2: gave it a four out of five. I thought it
11:50
Speaker 2: was a good time and then not horror, but I
11:54
Speaker 2: did fine. So I've seen Grumpy Old Men. Love that movie.
11:58
Speaker 2: It's like, it's such a great movie.
12:00
Speaker 1: But I was classic.
12:01
Speaker 2: Yeah, I'd never seen Grumpier Old Men, which was almost
12:06
Speaker 2: funnier than the first one.
12:07
Speaker 1: But oh my god, the second one is so goddamn funny.
12:11
Speaker 2: I think it's a little bit funnier than the first one.
12:14
Speaker 2: But I just like the cold setting of the first one,
12:17
Speaker 2: and I like their how they you know, kind of
12:19
Speaker 2: come together after his you know, they have that scare.
12:22
Speaker 2: And but yeah, great time, Grumpy Old Men four stars,
12:25
Speaker 2: Grumpy Ear Old Men three and a half, and then
12:27
Speaker 2: I finally.
12:28
Speaker 1: What you're saying, though, is I need to. I have
12:31
Speaker 1: both grumpy old men and grumpier old men on VHS,
12:34
Speaker 1: and there's gonna be a tube TV and a VCR
12:37
Speaker 1: in your bedroom Austin. You can watch it as much
12:39
Speaker 1: as you want.
12:39
Speaker 2: Oh okay, I love it. I'm so here for it.
12:42
Speaker 2: Uh yeah, watch the Cold One in a cold setting.
12:46
Speaker 2: And then for my first week of the Cold Movie Challenge,
12:50
Speaker 2: because when we recorded the Haunting, it was like it
12:53
Speaker 2: was like the second of January, so it was like
12:56
Speaker 2: the end of the week, I watched something called Vampire
12:59
Speaker 2: Hunter d it is is anime week. I don't know,
13:03
Speaker 2: I should you know, I should probably say I'm not
13:05
Speaker 2: huge on anime. It's just really not my thing. It's
13:08
Speaker 2: very over the top and just kind of intensely stylized.
13:12
Speaker 2: It's just not my thing. And I tried to put
13:13
Speaker 2: that aside, but.
13:15
Speaker 1: I read everything everyone well.
13:17
Speaker 2: I realized that it's very difficult to engage with the
13:20
Speaker 2: film when the aesthetic itself is something that I actively dislike.
13:23
Speaker 2: It's so it's very hard to push past that. I
13:26
Speaker 2: can see the appeal for anime fans, and I'm clearly
13:29
Speaker 2: in the minority, as this has a three point four
13:32
Speaker 2: out of five. I gave it a two and a half.
13:34
Speaker 2: Like I would probably watch the sequel and see if
13:36
Speaker 2: I like that, but anime is just not my thing.
13:40
Speaker 2: I believe Jason watched the same movie as me. We're
13:43
Speaker 2: trying to kind of like sync up on some of
13:45
Speaker 2: our Cult Movie Challenge watches. If you'd like to check
13:49
Speaker 2: it out, you can search Cult Movie Challenge on letterbox
13:52
Speaker 2: and they have the whole list of It's just like Ooptober.
13:56
Speaker 2: But Jason did watch this three and a half stars,
13:59
Speaker 2: and so he obviously liked it more than I did.
14:02
Speaker 2: He said, horror s if I post apocalyptic gothic western
14:05
Speaker 2: jammed into a single cartoon, it should fall off the rails,
14:09
Speaker 2: but stays clean and tidy for the most part. And
14:11
Speaker 2: he's eighties anime stock sound effects always make me laugh,
14:15
Speaker 2: and it was just unabashedly horny. I should also mention,
14:20
Speaker 2: oh my god, I wasn't expecting that.
14:23
Speaker 1: That's a funny aside real quick. Sure, So I first
14:26
Speaker 1: discovered this movie of much younger age, and I should
14:29
Speaker 1: have seen it because especially I just equated I was young.
14:33
Speaker 1: I was single digits probably oh geez.
14:36
Speaker 2: Okay, yeah, I mean cause it's from nineteen eighty five.
14:38
Speaker 2: I should probably say this is like, yeah, Fortnight.
14:41
Speaker 1: I love the look of eighties anime. It just has
14:45
Speaker 1: a fucking unique vibe to it.
14:47
Speaker 2: It does.
14:48
Speaker 1: But I always used to equate if it was cartoon.
14:51
Speaker 1: It's kids, of course, it's like so it's like I
14:54
Speaker 1: was going through you know, HBO or whatever we had
14:58
Speaker 1: as a kid, and I saw a cartoon and I
15:00
Speaker 1: was like, oh, this is this is a weird looking cartoon.
15:03
Speaker 1: This looks fun. It's like it kind of looks like
15:05
Speaker 1: dragon Ball.
15:06
Speaker 2: Yeah.
15:07
Speaker 1: Sure, And I watched that movie all the way through
15:13
Speaker 1: at a very young age and had quite the awakening. Yeah. Yeah,
15:19
Speaker 1: It's always really stuck with me though, like that's the
15:22
Speaker 1: weird thing. I haven't rewatched it since then. I own
15:24
Speaker 1: I own on VHS and DVD. I've not rewatched it
15:27
Speaker 1: in a very long time, probably since I first bought
15:31
Speaker 1: the bought the DVD. But then I had another experience
15:35
Speaker 1: with another movie that is equally horny and probably a
15:39
Speaker 1: little bit in quite a bit more of salty, which
15:41
Speaker 1: is difficult to watch, called Ninja Scroll. And I saw
15:45
Speaker 1: both of those the wrong time, and I had a
15:50
Speaker 1: crash course of realizing that man just because it's a
15:52
Speaker 1: cartoon doesn't mean it's for me.
15:54
Speaker 2: Yeah. I didn't realize until I was looking at IMDb.
15:58
Speaker 2: I was like, oh, this is an adult ANIMEAB because
16:00
Speaker 2: there's a lot of upskirt shots of women, there's full
16:03
Speaker 2: nude women. I was Okay, I didn't realize what I
16:06
Speaker 2: was signing up for. So that is Vampire Hunter D.
16:10
Speaker 2: It was on shutter. If you'd like to check it out,
16:14
Speaker 2: let's say we do this body count just a fun
16:21
Speaker 2: new name for the IMDb round up, Still the same thing.
16:24
Speaker 2: This is The Nesting from nineteen eighty one, released on
16:28
Speaker 2: May first of that year in the US rated R,
16:31
Speaker 2: but it's really only rated R for the nudity, I
16:33
Speaker 2: assume because it's very tame. We have mild sex and nudity,
16:37
Speaker 2: moderate violence and gore, mild profanity, mild alcohol, drugs and smoking,
16:41
Speaker 2: moderate frightening and intense scenes. So fun fact about this movie.
16:44
Speaker 2: It is an hour and forty three minutes, but the
16:46
Speaker 2: Vinegar Syndrome release, which I bought specifically to watch for
16:50
Speaker 2: this movie or for this podcast, rather has the phobia
16:54
Speaker 2: cut at an hour and forty nine and there's actually
16:57
Speaker 2: two key like two kind of key scenes with the psychologist, therapist,
17:01
Speaker 2: whatever she's talking to that go into a little bit
17:04
Speaker 2: more depth about things that is that are missing from
17:08
Speaker 2: this cut. So I don't know where else. I think
17:10
Speaker 2: Vinegar Syndrome is the only way to watch the Phobia cut,
17:13
Speaker 2: but I could be mistaken listed as.
17:16
Speaker 1: All I'd actually need to buy this movie now, damn it.
17:20
Speaker 2: Like the four K is gorgeous, so even for Joe.
17:23
Speaker 1: I bet you, let me tell you, the version I
17:24
Speaker 1: watched on YouTube.
17:25
Speaker 2: Was not not great. This is listed as a horror
17:28
Speaker 2: mystery thriller directed by armand West, who has only only
17:33
Speaker 2: directed adult films. This is his only stab at a
17:37
Speaker 2: real like you know, a real feature length film, written
17:40
Speaker 2: by Daria Price, who also wrote something called Down of
17:42
Speaker 2: the Mummy from nineteen eighty one, and again written by
17:45
Speaker 2: armand West, who is writing these adult flicks. Composed by
17:49
Speaker 2: Jack Malkin, who has one other credit for the Taking
17:53
Speaker 2: of Christina, which was directed by armand weston so Porno
17:56
Speaker 2: and then this is where things just go completely off
17:58
Speaker 2: the rails because it's also composed by George Scholz. This
18:02
Speaker 2: was his only composer credit. However, he has one hundred
18:06
Speaker 2: and eighty eight Musical Department credits where he played the
18:09
Speaker 2: cello from two thousand and eight or too sorry, I
18:13
Speaker 2: think two thousand and six or five to twenty nineteen for
18:16
Speaker 2: things like March of the Penguins, Trick or Treat from
18:19
Speaker 2: you know, the Horror one, The Happening Anna Belle fifty
18:22
Speaker 2: Shades of Gray.
18:24
Speaker 1: I love when you find weird shit like this.
18:28
Speaker 2: I'm going through this, I'm like, nothing is interesting, and
18:31
Speaker 2: then I get to this guy just fucking playing the cello.
18:33
Speaker 2: I mean, these are just these aren't even the highlights.
18:36
Speaker 2: I just picked out movies I knew, and I knew
18:38
Speaker 2: about ninety percent of them. If you really want a
18:40
Speaker 2: fun time, go look this guy up and go through
18:43
Speaker 2: his movies. I don't think there was a movie I
18:45
Speaker 2: didn't know. He also did ann about Creation, sing Lights Out,
18:50
Speaker 2: and then the last thing he is a credit for
18:52
Speaker 2: is the Star Wars episode nine. I thought that was incredible.
18:56
Speaker 2: Cool cinematographer. Though I believe this name, it's jay aoh
19:01
Speaker 2: so Joe Jao Fernandez.
19:04
Speaker 1: I believe that is a Brazilian name. Correct, Yeah, I
19:11
Speaker 1: think it's Jaol. I would be incorrect.
19:15
Speaker 2: Better what I was gonna say, so we'll say that.
19:17
Speaker 2: So Jao Fernandez he did the cinematography for The Prowler,
19:20
Speaker 2: Children of the Corn and then Friday the Thirteenth, the
19:23
Speaker 2: Final Chapter, which is really cool. Yeah, edited by someone
19:27
Speaker 2: called Tomiko, who is a lady and is credited for
19:30
Speaker 2: something called The Redeemer Son of Satan, but she is
19:34
Speaker 2: credited as Billy as Jack Foster, so I don't know.
19:39
Speaker 1: Redeemer Son of Satan is a wild movie.
19:40
Speaker 2: It's from nineteen seventy eight. I'm gonna check it out.
19:43
Speaker 2: It's on my list because it just sounded wild, starring
19:46
Speaker 2: Robin Groves as Lauren Cochrane. She was also in Silver
19:49
Speaker 2: Bullet as Nan cole Slaw or Coslau. Sorry, Chris Coleslaw
19:54
Speaker 2: cost Las.
19:55
Speaker 1: I think she was also in Star Trek, wasn't she She.
19:58
Speaker 2: Was, Yeah, Christopher loom This is Mark Felton. He has
20:01
Speaker 2: eight other credits for things. Michael David Lay as Daniel Griffith,
20:05
Speaker 2: who was also in I Love This Basic Instinct as
20:08
Speaker 2: detective and then John Carrodine as Colonel Lebrun who has
20:13
Speaker 2: over three hundred and fifty credits, but he was also
20:15
Speaker 2: in another movie that You and I and Amanda did
20:19
Speaker 2: the Howling as Earl Kenton estimated budget of NA worldwide
20:24
Speaker 2: box office gross of NA. Filmed at the Armoir Steinerhouse
20:28
Speaker 2: in irving Irvington, New York, USA. You can watch this
20:31
Speaker 2: on YouTube for free. The quality is not great, but
20:34
Speaker 2: you can also rent it on Amazon for one ninety
20:36
Speaker 2: nine or Apple TV for three ninety nine. I'm assuming
20:40
Speaker 2: one is Standard definition and one is HD. Ear else
20:43
Speaker 2: I fucking hope so, because that's a wild price difference
20:45
Speaker 2: movies that came out around the same time. I am
20:48
Speaker 2: looking this up as we speak on IMDb, so we
20:51
Speaker 2: have give me a second. Oh, we have night Writers,
20:55
Speaker 2: the George Romero, I love night Writer, Fucking Jim. We've
21:01
Speaker 2: got night Hawks, Savage Harvest, we have The Hand, Miss
21:06
Speaker 2: forty five, Bloody Birthday, Graduation Day, Friday, The Third Year, Yeah,
21:12
Speaker 2: Goodyear Friday, The Thirteenth, Part two, Jackie, Jackie Kong right,
21:18
Speaker 2: The Beings, Jackie Kong, Yes, Jackie, Yeah, she did Blood Diner,
21:23
Speaker 2: The Being, We've got the Burning, We've got all everything
21:28
Speaker 2: dead and buried. I mean, we've got so many good
21:31
Speaker 2: things that came out around the same time. Nice Dreams
21:34
Speaker 2: is that Chiachin shows? Nice dreams. Yep, cheach and chaws,
21:36
Speaker 2: nice dreams. It is a great fucking year. IMDb summary.
21:40
Speaker 2: A writer suffering from agoraphobia rents an isolated house so
21:44
Speaker 2: she can concentrate on her writing. She doesn't know that
21:47
Speaker 2: the house is a former brothel and is inhabited by
21:49
Speaker 2: the ghosts of dead prostitutes. So let's get into the autopsy,
21:56
Speaker 2: all right, Michael. Overall thoughts on the Nesting hit me
22:00
Speaker 2: that you got? I know, wasn't it? I love it?
22:03
Speaker 2: It's fucking bloody and icky. What do you got?
22:07
Speaker 1: Overall thoughts on the Nesting Man. I really wanted to
22:10
Speaker 1: like this movie because it's it's set up in a
22:12
Speaker 1: way that I and you know, I'm a I'm a
22:15
Speaker 1: firm believer in that sometimes you're just not in the
22:18
Speaker 1: right headspace to watch a movie or we used to
22:20
Speaker 1: watch that movie, you know, because it has everything that
22:24
Speaker 1: I find fascinating in a film like I love them.
22:26
Speaker 1: I love a movie about an author, even though she
22:28
Speaker 1: spends really no time writing. I love a movie about
22:32
Speaker 1: a big, creepy house, especially one that's weirdly shaped like
22:35
Speaker 1: this isn't this.
22:36
Speaker 2: Is like it's an octagon. Literally, it's an Octagon.
22:39
Speaker 1: Which is dope. I love a movie about hitting ghosts
22:44
Speaker 1: I and I love a movie that just got this
22:47
Speaker 1: this small regional charm like I love like some little
22:51
Speaker 1: things like when they went to went to Abner's house
22:53
Speaker 1: and it just looks like they just used someone's house
22:56
Speaker 1: like it nothing in this movie felt set decorated and
22:58
Speaker 1: feels like they just found it as is in used
23:00
Speaker 1: it and I fucking love that. Or maybe they just
23:02
Speaker 1: have a really talented sent there. I don't know. That's
23:05
Speaker 1: the that's the illusion of movies. People you don't know,
23:08
Speaker 1: you never know. My biggest complaint with the film, though,
23:11
Speaker 1: is the pacing. Just like I watched the shorter cut,
23:15
Speaker 1: which is like an hour and forty three something like
23:18
Speaker 1: that hour forty man. At one point I got to
23:22
Speaker 1: a certain point in the film was like, Okay, this
23:23
Speaker 1: has to be wrapping up, and I was that was
23:26
Speaker 1: maybe like thirty five minutes, Like what the fuck?
23:29
Speaker 2: Oh that's never good.
23:31
Speaker 1: So I didn't love the film because the pacing kind
23:34
Speaker 1: of kept me at arm's length. But I feel like
23:37
Speaker 1: this is a movie I'm gonna return to because there's
23:38
Speaker 1: just enough enough interesting stuff to it's keeping me going,
23:43
Speaker 1: and it kind of reminded me of what scared Jessica
23:46
Speaker 1: of Death, which I do love, and it kind of
23:48
Speaker 1: reminds me of Travis Stevens' film, newer film, The Girl
23:53
Speaker 1: on the Third Floor, and I'm curious if he had
23:56
Speaker 1: seen this.
23:56
Speaker 2: Okay, yeah, I haven't seen that one. I saw that
23:59
Speaker 2: one when it came out, so I can't really my
24:01
Speaker 2: memory is failing me, but I know, I know I
24:04
Speaker 2: remember enjoying that one, so yeah, uh, I mean, I'm
24:08
Speaker 2: right there with you with my overall thoughts. I really
24:10
Speaker 2: like the setup of this movie. There's a lot of
24:13
Speaker 2: just fun camera work. That's a fun location. I think
24:18
Speaker 2: the actress, you know, Robin Groves is an incredibly talented actress,
24:23
Speaker 2: and everyone and everyone else in the movie I feel
24:25
Speaker 2: is incredibly strong. I mean, you know, you've got that one.
24:28
Speaker 2: I think his name was the guy that chased her
24:30
Speaker 2: in the car. He wasn't the strongest, but he had
24:32
Speaker 2: a very minor role, and I just didn't really care.
24:35
Speaker 2: But it's just it's that third acts for me, when
24:39
Speaker 2: they explain everything that you're like, oh my god, I
24:43
Speaker 2: need to I almost had to bust out and know
24:44
Speaker 2: I started writing it down.
24:46
Speaker 1: It was so long.
24:48
Speaker 2: It yeah, too long, too convoluted. It all made sense
24:53
Speaker 2: kind of, but it's it was just so muddied, and
24:57
Speaker 2: I was not expecting that at all. I wanted some
25:00
Speaker 2: thing much simpler and much more fun. So that's my
25:03
Speaker 2: that's my overall thoughts.
25:04
Speaker 1: Yeah, because this is this movie has got the the
25:08
Speaker 1: stylistic tropes that we have come to know and understand
25:12
Speaker 1: for for the genre, and they're all there. And I
25:16
Speaker 1: also appreciate that it felt like the team behind this
25:19
Speaker 1: was trying to make something a little unique, uh, something
25:24
Speaker 1: a little bit more quote unquote classy and gothic. So
25:28
Speaker 1: I appreciate that, But I just I feel like the
25:31
Speaker 1: script probably could have used a couple other I could
25:34
Speaker 1: use another pass or two. They could have tightened up
25:36
Speaker 1: that ending a little bit or even maybe got you know,
25:39
Speaker 1: you have granted you know, I don't know how much
25:42
Speaker 1: time they had John Carrody for he pretty much sat
25:44
Speaker 1: behind a desk the entire time. They probably had him
25:46
Speaker 1: for a day, shot all his shit in one day,
25:48
Speaker 1: But like, I would have paid for an extra day
25:50
Speaker 1: for John Carroty and could like, could we have gotten
25:52
Speaker 1: some more voiceover during that that ending sequence to kind
25:57
Speaker 1: of like because if they would have had some more voiceover,
25:59
Speaker 1: I don't remember was voiceover. That's how little. Like there
26:02
Speaker 1: was so much going on that I was like, you
26:04
Speaker 1: had total get a notepad or zone out. I feel
26:09
Speaker 1: like they could have covered a lot more ground if
26:11
Speaker 1: they would have had a little bit of exposition in
26:12
Speaker 1: that bitch. Yeah.
26:14
Speaker 2: And that's the thing, because I feel the way the
26:16
Speaker 2: movie was set up was incredibly strong, at least in
26:19
Speaker 2: my opinion. You know, you have the guys showing up
26:22
Speaker 2: at the brothel. I mean you don't you if you
26:24
Speaker 2: read the description, you know what's happening. But the guys
26:26
Speaker 2: show up at the brick.
26:27
Speaker 1: I didn't didn't read the description. I just hit play.
26:29
Speaker 2: Oh I love it. Okay even better, so I at
26:31
Speaker 2: least knew the description. But it still doesn't give you
26:34
Speaker 2: away a lot because this happens in the very opening
26:37
Speaker 2: scene where they pull up shoot up this brothel. The
26:40
Speaker 2: title card comes up.
26:42
Speaker 1: And this very interesting way to begin the film, like
26:45
Speaker 1: you just see the outside of the house the car
26:47
Speaker 1: pulls up. It was a little tough on the YouTube
26:49
Speaker 1: stream because it was the blacks were really crushed. I'm
26:52
Speaker 1: sure on that four K looked phenomenal, you know, place
26:55
Speaker 1: gets shot up the nesting like we're like, okay, that's
26:58
Speaker 1: how you fucking pickin.
27:00
Speaker 2: Yeah. And then even when you're introduced to Lauren, you
27:04
Speaker 2: get the sense immediately because I think it does say
27:07
Speaker 2: she has a gooraphobia in the description, but she's trying
27:09
Speaker 2: to just leave her apartment. She goes down She's very anxious,
27:13
Speaker 2: she goes downstairs. And the way they shot this too
27:15
Speaker 2: specifically really gave me a sense of anxiety because they're
27:19
Speaker 2: filming her very tight, almost not like a super close up,
27:22
Speaker 2: but her face is filling most of the frame when
27:25
Speaker 2: they're filming her, and then they flip it around her
27:27
Speaker 2: POV and it's just this wide, disorienting shot of her
27:32
Speaker 2: kind of going down the street in New York and
27:34
Speaker 2: trying to get a cab, not getting in, and then
27:37
Speaker 2: going back upstairs and she's sweating, and I'm like, okay, okay,
27:40
Speaker 2: you have this person who's clearly a gororophobic. I don't
27:42
Speaker 2: know what was going on. I don't know the connection
27:44
Speaker 2: here to the shooting, but it will get there, I'm sure.
27:47
Speaker 1: But they did a good job of kind of building
27:49
Speaker 1: up that anxiety.
27:52
Speaker 2: Like immediately too. I was like, I was like, oh
27:54
Speaker 2: my god, we're five minutes into this and I'm already anxious.
27:57
Speaker 2: And the two scenes that I at least noticed a
27:59
Speaker 2: differ diferen on. It wasn't six minutes difference, but I
28:02
Speaker 2: know these two scenes talking to her therapist are extended
28:06
Speaker 2: in the cut that I have, because there's one thing
28:09
Speaker 2: she says, specifically the second time that they're talking, when
28:13
Speaker 2: she says, I've been trying for years to remember who
28:16
Speaker 2: my mother is and whatever it is she did to me,
28:18
Speaker 2: and I just can't. So I was assuming some sort
28:22
Speaker 2: of repressed traumatic event happened between her and her mom,
28:27
Speaker 2: not that her mom died. And then you know, the
28:31
Speaker 2: grandfather or I guess the grandfather gave away the kid
28:35
Speaker 2: to an orphanage. That doesn't really it didn't make the
28:38
Speaker 2: movie more cohesive for me because it's not in the
28:40
Speaker 2: cut that the other cut, the one hour, forty three
28:43
Speaker 2: minute cut, So I was anticipating an entirely different story
28:48
Speaker 2: arc with Okay, we're gonna find out what happened to
28:50
Speaker 2: her as a kid, and you do, but the connection
28:53
Speaker 2: really I was like, well, your mother didn't do anything.
28:56
Speaker 2: She died. There was nothing that she did to you,
28:59
Speaker 2: and that's what I was expecting.
29:00
Speaker 1: So, yeah, it's not like something like because another movie
29:04
Speaker 1: that this reminded me of was The Changeling with George C. Scotty.
29:08
Speaker 1: But Changeling, while George Scott is not directly involved in
29:12
Speaker 1: the incidents that are happened, like like he's he's involved
29:15
Speaker 1: because he's living in the house. He's it's not like
29:17
Speaker 1: connected to him. He's just helping discover it. Like there
29:20
Speaker 1: are some pretty heinous shit that happened in there, like
29:24
Speaker 1: so it makes sense. Like and then it's not to
29:27
Speaker 1: say that a bunch of people being murdered is in heinous.
29:28
Speaker 1: It just the way that the character talked about her
29:32
Speaker 1: mother and then the events actually happened, you're like, oh.
29:35
Speaker 2: Okay, yeah, it's like all right, so nothing really happened
29:39
Speaker 2: on her fault, but yeah she was wrong place, wrong time.
29:43
Speaker 2: So I thought that was a little Like I said,
29:46
Speaker 2: it just made me. It just gave me expectations of
29:48
Speaker 2: something happening that's entirely different. So obviously Lauren is our
29:52
Speaker 2: main character, and uh, they set it up so quick,
29:57
Speaker 2: so quickly in fact, because by the time they to
30:00
Speaker 2: the house, you know, and she's by the way, she's
30:03
Speaker 2: almost cured of her agoraphobia. In the second session they mentioned,
30:06
Speaker 2: you know, the therapist was like, oh, it's been six weeks,
30:09
Speaker 2: You're doing so great, because apparently the cure for agoraphobia
30:13
Speaker 2: is uh astral projecting or whatever that was she was
30:17
Speaker 2: doing when she imagined herself walking downstairs. Was that in
30:23
Speaker 2: your cut, She's like, after the second thing with the therapist,
30:28
Speaker 2: she's like sitting down on the couch and she's listening
30:30
Speaker 2: to this like you are calm.
30:32
Speaker 1: Yes, yes, that was all in there. It might have
30:35
Speaker 1: played out just a touch different, but that entire set
30:37
Speaker 1: because I remember she afterwards she was like, it's like,
30:41
Speaker 1: you are you are? What was the tape saying you
30:43
Speaker 1: are calm? You are something? I remember her being like, oh,
30:46
Speaker 1: I'm not and she turns it off.
30:47
Speaker 2: Yeah, and so and then you actually see first.
30:51
Speaker 1: A lot of that stuff, A lot of that. Those
30:53
Speaker 1: cinematography choices were really interesting, right.
30:56
Speaker 2: There was a lot of fun stuff cinematically, I thought,
30:58
Speaker 2: especially coming from the cinematographer had worked on, you know,
31:02
Speaker 2: other things that were good. I'm assuming the director kind
31:05
Speaker 2: of trusted the cinematographer to get what he wanted because
31:09
Speaker 2: when you're I don't I don't know how cinematic this
31:11
Speaker 2: man's porn was. I'm not going to go check it out.
31:13
Speaker 1: But well, I have to say though, So Jao, before
31:18
Speaker 1: he moved on to films like The Prowler in Front
31:21
Speaker 1: of the Thirteenth, he was part of the Golden Age
31:26
Speaker 1: of pornography. Oh geez. Okay, so he was a a
31:31
Speaker 1: pornography director or cinematographer. Oh wow, and he actually made
31:37
Speaker 1: a shot a movie called The Devil in Miss Jones.
31:39
Speaker 1: Movie I haven't seen, but according to Wikipedia, Roger Ebert
31:43
Speaker 1: described as being one of the best entries in the
31:46
Speaker 1: entire genre. So wow, he made you know, he made pornography.
31:50
Speaker 1: But just because he make pornography does not does not
31:52
Speaker 1: mean you can't make artful pornography. Nolby Knights knows that
31:56
Speaker 1: you can make something good. That was that was Bert's intention.
32:01
Speaker 2: Okay, so there's definitely some fun choices that I really enjoyed.
32:06
Speaker 2: But because they set it up so quick, I figured,
32:08
Speaker 2: all right, we're gonna get a lot of time to
32:10
Speaker 2: flesh this story out. And while it does get fleshed out,
32:15
Speaker 2: you are questioning everything that's kind of happening as it's
32:18
Speaker 2: going along, you know she's seeing things?
32:21
Speaker 1: Is she not?
32:21
Speaker 2: It almost had the same vibe as the Haunting for
32:24
Speaker 2: a bit, because you're like, is the house haunted or
32:26
Speaker 2: is she crazy? Because we've established that she's neurotic, as
32:30
Speaker 2: she's told her therapist, she's a gooraphobic. There was cigarettes
32:34
Speaker 2: on the table and when she went to show Mark
32:36
Speaker 2: the cigarettes were gone, but the audience saw it too,
32:39
Speaker 2: so I didn't know. I'm like, is she just gonna
32:42
Speaker 2: be crazy? Or is this house going to actually be haunted?
32:44
Speaker 2: But an hour and fifty minutes with like a ten
32:47
Speaker 2: minute setup, they I think they almost set it up
32:50
Speaker 2: too quickly because it's just a bit too long. Not
32:54
Speaker 2: enough happens for me.
32:55
Speaker 1: Its a little tightening.
32:56
Speaker 2: It needs a little tightening with a lot of things.
33:00
Speaker 2: But I got excited because I'm like, oh man, we're
33:02
Speaker 2: gonna spend so much time with this house. It's gonna
33:04
Speaker 2: be spooky. What are we gonna get jump scares?
33:07
Speaker 1: Even though like I came into my initial thoughts a
33:09
Speaker 1: little like there is some really cool shit in that house,
33:15
Speaker 1: Like yeah, yeah, and I should say really cool setups
33:21
Speaker 1: in that house. I don't want to like get to
33:22
Speaker 1: them until we get to them. But there's some really
33:25
Speaker 1: neat shit in that house.
33:26
Speaker 2: Yeah, I really love I love the setting in the
33:28
Speaker 2: house itself because they did shoot it all in that
33:31
Speaker 2: house that was basically.
33:32
Speaker 1: Mean wear shaped, a weird shaped house.
33:34
Speaker 2: Yeah, because it's disorienting for me because typically I like
33:37
Speaker 2: to know if we're gonna if we're gonna stay at
33:40
Speaker 2: a house with the movie. I like to know my
33:41
Speaker 2: way around. But I don't really necessarily need to know
33:45
Speaker 2: that in this movie, because I think it's meant to
33:47
Speaker 2: be kind of disorienting in that fact, uh, with where
33:51
Speaker 2: you are in this house. But I absolutely I did
33:54
Speaker 2: enjoy the plot point of Lauren being a writer, even though,
33:58
Speaker 2: like you said, she does very little right, very little writing,
34:03
Speaker 2: and it's just briefly mentioned in one of her sessions.
34:06
Speaker 1: Like oh are you my manuscript?
34:08
Speaker 2: Oh yeah, you burnt my manuscripted your cigar, And then
34:11
Speaker 2: the therapist was like, are you think do you think
34:13
Speaker 2: you're just anxious about, you know, releasing the new book.
34:16
Speaker 2: But the fun thing I love about her first the
34:19
Speaker 2: book that she's already written, is it's called The Nesting,
34:22
Speaker 2: and it weirdly kind of made it meta in a sense,
34:27
Speaker 2: not really. But it's like it's called The Nesting, and
34:29
Speaker 2: the book in the movie is The Nesting. I just
34:32
Speaker 2: thought that was fun.
34:33
Speaker 1: But I like that.
34:35
Speaker 2: But you know, she had done the book before she
34:38
Speaker 2: got there, and the cover for the book is the
34:41
Speaker 2: exact picture of the house, so I thought she was
34:44
Speaker 2: going to have some psychic connection or something or whatever.
34:48
Speaker 2: And yes, we do find out she was a baby
34:50
Speaker 2: in that house, but that's the only connection really to
34:53
Speaker 2: the house that she has. And she can't remember her dreams.
34:56
Speaker 2: She can't remember what her mother looked like. But it's
35:01
Speaker 2: just bizarre because it's not like she was old enough
35:04
Speaker 2: to have a traumatic response to something that would have
35:07
Speaker 2: been buried deep like a repressed memory. She was an infant,
35:11
Speaker 2: so that doesn't really make sense to me. Of how
35:13
Speaker 2: you wouldn't remember your mother. You were a fucking child,
35:17
Speaker 2: so I don't think you would remember. I mean, my
35:19
Speaker 2: first memories probably don't start until I'm like five or six.
35:23
Speaker 2: Of course, you don't know what your mother looked like.
35:25
Speaker 2: You were too young. So there's just a lot of
35:28
Speaker 2: blood points in this that don't really make sense. I
35:32
Speaker 2: do like some of the dream sequences, though, because they
35:35
Speaker 2: are very strange, And do they actually ever establish what
35:40
Speaker 2: time frame this brothel was like supposed to be from,
35:44
Speaker 2: because it's giving like it's like almost not Victorian. I
35:49
Speaker 2: don't know what time period.
35:50
Speaker 1: I would say based on the cars, I would have
35:52
Speaker 1: to guess like maybe the forties.
35:54
Speaker 2: Damn, like thirties or forties, because they did say something
35:57
Speaker 2: about getting back from a war, maybe World War II two.
36:00
Speaker 1: Yeah, then yes, that would make more sense. I'd say
36:03
Speaker 1: probably the forties. This only takes place in what takes
36:07
Speaker 1: place in the in well it was it came out
36:10
Speaker 1: in nineteen eighty one, so it was shot in the seventies,
36:14
Speaker 1: So let's just say it takes place in the seventies.
36:16
Speaker 1: So that would be depending on what it'd be about
36:19
Speaker 1: thirty years, I'd believe that.
36:21
Speaker 2: Okay, So yeah, you see all these you know, it's
36:24
Speaker 2: clearly set up as a brothel. And then that kind
36:27
Speaker 2: of reinforced my thoughts off maybe she is just crazy
36:29
Speaker 2: because she's having visions, but then they just turned out
36:32
Speaker 2: to be dreams, and I'm like, okay, so she's dreaming
36:35
Speaker 2: about real people in this house. I don't know. It
36:39
Speaker 2: was just very confusing. I don't know how you kind
36:41
Speaker 2: of felt about the dream sequences.
36:42
Speaker 1: Some of them were. I thought they were visually interesting.
36:45
Speaker 1: I just they weren't engaging enough to or they didn't
36:49
Speaker 1: do enough to reinvest me into the picture.
36:53
Speaker 2: Yeah, because it's a very strange the first one, especially
36:56
Speaker 2: because she's sitting on this kind of like fainting couch
36:59
Speaker 2: and all of these men are just coming up to
37:01
Speaker 2: her and staring at her and then walking away and
37:04
Speaker 2: all of this stuff, and it's just I don't know,
37:07
Speaker 2: it's it's I did like when she called her therapist
37:10
Speaker 2: and was like, oh my god, I had a dream
37:11
Speaker 2: that I actually remembered. I wouldn't call that a dream.
37:14
Speaker 2: It seemed more like a nightmare, if you're asking me.
37:17
Speaker 2: But there was some really cool imagery with that dream.
37:20
Speaker 2: Because Mark, her boyfriend, who I fucking did not like
37:24
Speaker 2: this man.
37:25
Speaker 1: I uh so, go out if your listeners are going
37:29
Speaker 1: to know who this man is or be familiar with
37:31
Speaker 1: this man. But he talked like fucking Groucho Marx, where
37:35
Speaker 1: if go go watch a clip of Groucho Mark's best
37:39
Speaker 1: like insults or his best deliveries. He said everything like this,
37:43
Speaker 1: and Mark just kept saying everything like there's going to
37:45
Speaker 1: be a punchline, but never quite did.
37:47
Speaker 2: And he also did a lot of voices too, Almost
37:50
Speaker 2: every time he talked.
37:51
Speaker 1: I feel like he was doing a Groucho Marx impression
37:53
Speaker 1: through the entire film.
37:54
Speaker 2: But thank god he was only in maybe twenty five
37:57
Speaker 2: minutes before he fucks off.
37:58
Speaker 1: And then, no wonder, she does want to be near him.
38:00
Speaker 1: He's annoying.
38:01
Speaker 2: Yeah, he's very annoying. He's very, very punishable for sure.
38:06
Speaker 2: So there is a really cool sequence though, because I
38:08
Speaker 2: mentioned Mark, because he sets up that bead curtain that
38:11
Speaker 2: they find in the closet, and during the dream sequence,
38:15
Speaker 2: she's kind of wrapped in this bead curtain that she
38:18
Speaker 2: breaks free from, and then when she wakes up, she
38:20
Speaker 2: makes eye contact with the bead curtain that falls, and
38:23
Speaker 2: I'm like, oh, okay, okay, I'm seeing some kind of
38:26
Speaker 2: connection to some symbolism here, and that does come back
38:29
Speaker 2: in later in the movie. But I just I was
38:32
Speaker 2: inquisitive about what was going to happen the entire movie,
38:35
Speaker 2: hoping that we would get something good. And then what
38:37
Speaker 2: we get, which well, I'll I did write it down
38:40
Speaker 2: the best I could, and I'm gonna explain it the
38:42
Speaker 2: best I can. It just it just completely like I
38:45
Speaker 2: was at like a three and a half four star.
38:47
Speaker 2: I was like, I'm really enjoying this. And then the
38:50
Speaker 2: pacing was off and then the ending happened. But we
38:52
Speaker 2: did get a really fun car chase that that was
38:55
Speaker 2: unexpected with some Did you not have that in your cut?
38:58
Speaker 1: I don't know if I had a car chase what maybe.
39:01
Speaker 2: That was the like five extra minutes there's like she
39:04
Speaker 2: goes over to oh god, that goofy guy that.
39:10
Speaker 1: So I remember the extended chase sequence of Abner following
39:15
Speaker 1: her and like try car assault her? No on foot?
39:20
Speaker 2: Oh interesting? Okay, So in the cut that I, oh, man,
39:26
Speaker 2: I was really excited to tell So I guess that
39:28
Speaker 2: that's where there's another difference.
39:30
Speaker 1: I should also say when the Abner thing happened, I
39:33
Speaker 1: just kind of checked out because it just felt like
39:35
Speaker 1: it was happening forever. Yeah, but I don't think I
39:37
Speaker 1: would have glossed over a car chase, but you know,
39:40
Speaker 1: weirder things have happened.
39:42
Speaker 2: Yeah. So in the version that I watched, she hops
39:44
Speaker 2: in the car, the you know, flies away, and then
39:48
Speaker 2: he hops in his car and follows her, and they're
39:51
Speaker 2: driving down this dirt road and he's banging into the
39:53
Speaker 2: car and she's trying to get away. It was a
39:55
Speaker 2: really fun car chase with an incredible backing synth score,
40:00
Speaker 2: which kind of brought me back in, brought me back
40:02
Speaker 2: into the film. I was like, Okay, this, this is
40:04
Speaker 2: like fun.
40:05
Speaker 1: Uh.
40:06
Speaker 2: But then that leads us right into the third act
40:08
Speaker 2: where you get that explanation and you're like, oh god,
40:11
Speaker 2: because it's not even just an explanation from one person.
40:14
Speaker 2: We're getting Lauren see and talk to Florinda, who I
40:20
Speaker 2: guess she can talk. Is Florinda even a ghost at
40:23
Speaker 2: this point because she was having an actual conversation with
40:26
Speaker 2: Florinda about things, And then.
40:28
Speaker 1: You've never had conversations with ghost saucetin come on, I.
40:31
Speaker 2: Mean, I guess not recently enough that I would remember,
40:33
Speaker 2: because goodness. And then you're getting you're cutting back to
40:38
Speaker 2: Colonel Lebron telling his side of the story, and let
40:43
Speaker 2: me just let me. I'm gonna try and explain this
40:46
Speaker 2: the best I can, so most convoluted ending explanations. You
40:50
Speaker 2: have Daniel, who is Lebron's quote unquote grandson or grandson
40:57
Speaker 2: or son. You're on metal woman named Florinda. He rented
41:02
Speaker 2: the house to her. He also has a son named Leland,
41:05
Speaker 2: who came back from the war injured. He had a
41:08
Speaker 2: metal plate in his head. He fell in love Leland
41:12
Speaker 2: with a whore at Florinda's brothel, which Lebron could not tolerate,
41:17
Speaker 2: so he sends Leland away to psychiatric care. When he
41:20
Speaker 2: gets out, Leland is still insistent on the marriage and
41:23
Speaker 2: asks Lebron to accept it. He cannot, and especially after
41:28
Speaker 2: you know, Rose, who is the prostitute in question, got pregnant.
41:31
Speaker 2: In an attempt to not have the baby carry the
41:34
Speaker 2: vote the Lebron name, he hires three guys to kidnap
41:38
Speaker 2: the baby. To do what with the baby, I'm not sure.
41:41
Speaker 2: But then things go awry when they get inside because
41:46
Speaker 2: they just kill everyone. And then I thought they were
41:48
Speaker 2: going to light the baby on fire. I thought the
41:51
Speaker 2: same thing, and I was like, whoa, guys, A little.
41:54
Speaker 1: Bit, I don't have like a lot of like hard
41:59
Speaker 1: like Okay, I don't want to see that in the movie,
42:01
Speaker 1: but I would probably draw a line at a baby
42:03
Speaker 1: beat said on fire. That would be pretty fun.
42:05
Speaker 2: Anything that's an infant like kid Death's and movies at
42:08
Speaker 2: a certain age, I'm like, yes, fine, I'm here for it,
42:11
Speaker 2: But an infant is just feels wrong because they are
42:14
Speaker 2: an innocent you know, they they have they have no
42:17
Speaker 2: recollection or they have no idea where they are in
42:20
Speaker 2: this world at that age. So that just seems fucking
42:23
Speaker 2: very wrong. But I guess thought, Okay, so I guess,
42:27
Speaker 2: I guess these three guys take the daughter to Leland,
42:31
Speaker 2: who gives the it's his granddaughter, gives her away, and
42:35
Speaker 2: that daughter or the granddaughter ends up being Lauren. It's
42:39
Speaker 2: just like I sat there and I was like, this
42:41
Speaker 2: is the most complicated explanation because when you see Rose
42:45
Speaker 2: at the end.
42:46
Speaker 1: Of the movie, they're drawing a family tree.
42:48
Speaker 2: Yeah for real, because I because because Daniel realizes that
42:53
Speaker 2: the man he thought was his grandfather this entire time
42:56
Speaker 2: is not actually his grandfather, which I thought was also strange. Yeah,
43:01
Speaker 2: So when you see Rose at the end of the movie,
43:04
Speaker 2: because they do a little cutback scene where Rose and
43:07
Speaker 2: Leland are together, Rose is played by Lauren. So I'm like, Okay,
43:12
Speaker 2: either Lauren is a ghost or Lauren is the is
43:17
Speaker 2: the daughter of this of this bastard child, and that's
43:20
Speaker 2: what it ends up being. So it's it's it just
43:24
Speaker 2: hit me, and I was like, I don't know if
43:26
Speaker 2: I it makes sense, sure, but I mean it's not
43:30
Speaker 2: a very direct line. It was not point A to
43:32
Speaker 2: point B. We made some pit stops along the way
43:35
Speaker 2: and kind of jumbled this together. I don't know, I mean, what,
43:39
Speaker 2: what are you any thoughts on on that ending explanation?
43:43
Speaker 1: This is too much And like, don't get me wrong,
43:45
Speaker 1: I've been there, I've written I've written scripts, man, where
43:48
Speaker 1: like you're as you're writing, like yeah, yeah, this is
43:51
Speaker 1: all gonna be really clear, and you just keep adding
43:53
Speaker 1: details like this happens, because this happens, and you just
43:56
Speaker 1: you get lost in it, and it's just it's too
44:00
Speaker 1: it's too much. It's too much. And I also get
44:04
Speaker 1: it that they were trying to It's felt like they
44:07
Speaker 1: were trying to avoid exposition by showing the events, but
44:12
Speaker 1: exposition does not have to be a dirty word. Sometimes
44:15
Speaker 1: it is necessary. But it just also really fucked the
44:20
Speaker 1: pacing again because once again they're just showing this extended
44:26
Speaker 1: sequence of what happened, and I'm like, where our main characters.
44:31
Speaker 1: I feel like it's been a long time since we've
44:33
Speaker 1: seen any of our main characters. We're still doing this thing.
44:36
Speaker 1: And once again, don't get wrong, there's some great images,
44:38
Speaker 1: like the images of the good old boys with the
44:40
Speaker 1: fucking shotguns going through that. Like, there's some really interesting
44:44
Speaker 1: cinematography and cool stuff happening in this. But I don't
44:47
Speaker 1: know the fact that this movie is an hour and
44:49
Speaker 1: forty three minutes long, and it felt like an eternity
44:53
Speaker 1: and I sat for four and a half hours and
44:55
Speaker 1: watched Kill Bill the whole bloody affair, and it could
44:57
Speaker 1: have sat longer and watched more of it. It's like
45:00
Speaker 1: pacing matters.
45:03
Speaker 2: Pacing matters that third act reveal if you're gonna have
45:06
Speaker 2: one very much matters, and I don't. Yeah, it would
45:10
Speaker 2: have been, and I'm obviously no screen rights, but it
45:13
Speaker 2: would have been. It would have just made more sense
45:15
Speaker 2: to slowly uncover what happened along the way, so we're
45:19
Speaker 2: keeping up with the story in real time, rather than
45:22
Speaker 2: having this story dumped on us that I lost that
45:26
Speaker 2: I lost interest in.
45:27
Speaker 1: Once again, like the Changeling, like George C. Scott was
45:30
Speaker 1: uncovery information as that movie went on, and especially like that,
45:35
Speaker 1: this feels like that would be proper fodder for this movie,
45:38
Speaker 1: especially because she's going through the house. And but then
45:42
Speaker 1: it's also interesting too that both Lauren and Daniel played
45:47
Speaker 1: by Michael David Lally, they're both try to like uncover things,
45:50
Speaker 1: and they're like, it's like they're not working together necessarily.
45:54
Speaker 2: They're really not. And there was that weird moment too
45:56
Speaker 2: between them at the end of the movie where Laura
46:00
Speaker 2: has this dream where they have sex, which I didn't
46:03
Speaker 2: understand the point of something that probably I don't think
46:05
Speaker 2: that was in my version either. Oh wow, Okay, so
46:08
Speaker 2: that's probably why they cut it down to the version
46:10
Speaker 2: that you saw. Yeah, she has this dream where she
46:13
Speaker 2: has sex with Daniel and then he comes over and
46:16
Speaker 2: gives her a flower because I guess something about he
46:18
Speaker 2: had a similar dream or something. I don't know. It
46:21
Speaker 2: almost thought I almost thought that they were going to
46:23
Speaker 2: get together. And I'm like, do we just forget about Mark?
46:25
Speaker 2: I mean, I guess we kind of did, because he
46:26
Speaker 2: was on his way there.
46:28
Speaker 1: And we can forget about Mark.
46:30
Speaker 2: That's fair because he was on his way there and
46:33
Speaker 2: some paranormal shit happens to him, which the rules they
46:37
Speaker 2: don't really establish clear rules in this movie because people
46:41
Speaker 2: have died at the house. That one guy died in
46:43
Speaker 2: the lake, although they did say in the ending explanation
46:47
Speaker 2: that bear bodies were you know, put in the lake,
46:50
Speaker 2: So I guess I can understand that the.
46:52
Speaker 1: Lake made sense once you got that added context.
46:55
Speaker 2: But like, we had no idea where Mark was when
46:58
Speaker 2: he his car died on this dirt road, the you know,
47:01
Speaker 2: the the radio turns on, his hood, shuts clothes, and
47:06
Speaker 2: then we never see him again. So I don't what
47:09
Speaker 2: is there a radius around this house where these ghosts
47:12
Speaker 2: can kill people. It's very strange because even you didn't
47:16
Speaker 2: see this, I guess in the car chase because Abner's
47:19
Speaker 2: driving down the road and he hits like two ghost
47:22
Speaker 2: women that were part of the brothels, So it's like,
47:25
Speaker 2: what is the radius of this? Like can these ghosts
47:28
Speaker 2: just wander wherever? So there really wasn't established rules on exactly.
47:32
Speaker 1: I gotta check. I'm checking this real time. I go
47:36
Speaker 1: for it a car chase, or if I just blanked
47:39
Speaker 1: that shit high.
47:40
Speaker 2: I feel like you and I both like a good
47:42
Speaker 2: card chase. I don't think you would have completely blanked
47:45
Speaker 2: that because it was like a six. It was like
47:47
Speaker 2: like five minutes, I would say, of a pretty decent
47:50
Speaker 2: card chase. I'm not gonna lie. It was pretty decent.
47:54
Speaker 1: All right. There's the death of the caretaker. There's creepy
47:58
Speaker 1: ass Abner. All right, here's Abner jumping on the hood
48:02
Speaker 1: of the car.
48:03
Speaker 2: Yep, it's right after that.
48:04
Speaker 1: All right, Okay, maybe, okay, it looks like there was
48:08
Speaker 1: a car chase, but it doesn't look like either. It's
48:11
Speaker 1: not as long. Hold on, Okay, that was there. I
48:14
Speaker 1: just apparently blanked out. Never mind, Okay, it like honestly,
48:18
Speaker 1: like I Abner was like, you know, turned on her,
48:23
Speaker 1: jumped on the car, and it felt like it was
48:26
Speaker 1: going to become quite a bit more rapey at that point.
48:28
Speaker 1: So I just kind of turned my brain off for
48:29
Speaker 1: a second.
48:30
Speaker 2: And no, that's fair, that's fair.
48:31
Speaker 1: And then like he I remember her her chasing her
48:34
Speaker 1: in the barn, and I was like, why is this
48:37
Speaker 1: still going on? So yeah, I apparently just blanked it out. Yeah, sorry, listener.
48:43
Speaker 1: Sometimes sometimes brain just turns off when you're watching a movie.
48:47
Speaker 2: That's totally fine, because going back to kind of the
48:50
Speaker 2: rapey vibes of this movie, there was a lot of
48:52
Speaker 2: aggression towards women. Obviously, an entire, full, entire brothel full
48:55
Speaker 2: of women died, but even men towards Lauren are is
49:00
Speaker 2: very aggressive. You had Abner who was aggressive.
49:03
Speaker 1: Someone else was a great You had Frank the caretaker.
49:07
Speaker 2: Yeah, who was also aggressive. The only one that wasn't
49:10
Speaker 2: aggressive that I'm confused as to why he died. What
49:15
Speaker 2: or two? Actually Mark was never aggressive towards her and
49:18
Speaker 2: her therapist, I can't remember his name whatever. When he
49:21
Speaker 2: comes to visit her, he falls off the house and
49:23
Speaker 2: gets impaled on like one of the spikes of the.
49:26
Speaker 1: House, which is one of the best sequences of the movie.
49:28
Speaker 2: Oh that was so good. Fun fact too, I watched
49:30
Speaker 2: an interview with Robin Groves on the Vinegar Centron Special
49:33
Speaker 2: Features and she for for those long shots that was
49:37
Speaker 2: actually her of there. They had her secure. Yeah she
49:40
Speaker 2: was go go Robin Groves, Well, she was because she
49:45
Speaker 2: had a chimney to her right that they had her
49:47
Speaker 2: secured to. But everything else that's close up. They built
49:50
Speaker 2: a set on the ground to do. But in the
49:52
Speaker 2: long shot that is actually her doing it. And she
49:55
Speaker 2: was like, she's like, yeah, I guess I was. She's like,
49:58
Speaker 2: I don't really remember doing that, but she apparently that
50:01
Speaker 2: is not a stunt double, which I thought was really cool, said.
50:04
Speaker 1: So can we talk about that sequence for a second, sir, Absolutely,
50:07
Speaker 1: he winds up on the outside of that house because
50:11
Speaker 1: the floorboards collapse in. Are you saying that she couldn't
50:15
Speaker 1: have just gotten back in and just like heaved over
50:18
Speaker 1: those couple floorboards. I guess, Okay, let me think about this. Logically,
50:21
Speaker 1: I feel like the fear would be that, like if
50:24
Speaker 1: I the floorboards broke when I was standing on it,
50:26
Speaker 1: me jumping on it might break him again. But I
50:29
Speaker 1: feel like I would rather take my chance with that
50:31
Speaker 1: than falling off the house.
50:33
Speaker 2: Yeah, I did. I had the same thought process. I thought, Okay,
50:36
Speaker 2: why are we going?
50:37
Speaker 1: I didn't feel like a lot broke, just as like
50:39
Speaker 1: one thing.
50:41
Speaker 2: Yeah, it was a very odd choice to go outside
50:45
Speaker 2: at the highest point of the house, and then she
50:48
Speaker 2: just then God the therapist showed up at that point,
50:52
Speaker 2: because if he didn't, I guess she would have just
50:54
Speaker 2: been stuck up there. It was a very odd choice
50:56
Speaker 2: to go out on that landing up there. I didn't
50:58
Speaker 2: understand that either.
51:00
Speaker 1: For that therapist, though he didn't want to come that weekend, right,
51:03
Speaker 1: She's essentially strong armed him into doing it, and then
51:06
Speaker 1: he died. And I don't think she felt any remorse.
51:08
Speaker 2: Ye, she really she The only time I saw her
51:11
Speaker 2: feel any remorse is that she got a phone call
51:14
Speaker 2: at one point and she was Mark calls her and
51:16
Speaker 2: she's like, how are you doing. It's like, oh, I'm
51:17
Speaker 2: just awful. But that's it. She doesn't say because of
51:20
Speaker 2: the death of this guy. But I found it on
51:24
Speaker 2: my hands, fully on your hands, because you know, I
51:27
Speaker 2: don't want.
51:27
Speaker 1: To point fingers, but yeah, it is.
51:29
Speaker 2: It's kind of on her hands as she forced him
51:32
Speaker 2: to come out there. I mean, I guess I get
51:34
Speaker 2: her logic because she's like seven years at this much
51:37
Speaker 2: money is like twenty seven thousand dollars. Yeah, I get it.
51:40
Speaker 2: But yeah, you did kind of uh.
51:42
Speaker 1: The same time, it's like you were paying for that
51:44
Speaker 1: time not to be on their beck and call true
51:48
Speaker 1: like I used to work in. I used to work
51:49
Speaker 1: in the behavioral health office and I would talk to
51:52
Speaker 1: the therapist and he's like, I used to tell people,
51:54
Speaker 1: tell these people, if you want to talk, make an appointment.
51:57
Speaker 1: I am not here for you to call whenever you
52:00
Speaker 1: need me. That's making a point. Yeah, I'm not here
52:03
Speaker 1: twenty four to seven. You gotta have work. Life balance. Man,
52:06
Speaker 1: We don't know what that Maybe that guy was gonna
52:07
Speaker 1: go see a movie, like maybe he was gonna go
52:09
Speaker 1: see maybe he was gonna go see whatever horror movie
52:12
Speaker 1: that came up that weekend. Now he never got a
52:13
Speaker 1: chance to see it because he's got he's got a
52:15
Speaker 1: fucking weather vane through his eye.
52:18
Speaker 2: Yeah, I just I get why the house killed the
52:21
Speaker 2: men that were aggressive, but the guys that were he's
52:24
Speaker 2: actively trying to help Lauren get back in the house.
52:27
Speaker 2: So I guess I just.
52:28
Speaker 1: Don't think I can think of it as if it's
52:29
Speaker 1: just killing all men, because men are trash and men
52:32
Speaker 1: are reason all these women died.
52:33
Speaker 2: And that's what I think, honestly, outside of the fear
52:37
Speaker 2: of the because I think there's a few like fears
52:39
Speaker 2: in this movie that I wanted to touch on. One
52:41
Speaker 2: is obviously the fear of men that women men.
52:46
Speaker 1: And almost every man in this movie proves that exactly.
52:50
Speaker 2: Like every single man proves that point where men have
52:53
Speaker 2: to be or women have to be so protective of
52:55
Speaker 2: themselves from a like a strange, strange man that they
52:59
Speaker 2: don't know, and that's got to that's a fear that
53:01
Speaker 2: I don't have, and I couldn't imagine living with that
53:03
Speaker 2: fear every day because it's it's gotta be just overwhelming
53:07
Speaker 2: to deal with. So outside of the fear of kind
53:09
Speaker 2: of like men uh, I think it's it's crazy because
53:13
Speaker 2: like the brain is is very interesting and how it
53:16
Speaker 2: can completely mess up your day by you know, she's
53:20
Speaker 2: she's a goorify, she turns out to be a gooraphobic,
53:22
Speaker 2: And how the power of the mind is just fascinating
53:26
Speaker 2: to me that you can be okay one day and
53:29
Speaker 2: then something happens and now I'm afraid to go outside.
53:32
Speaker 2: And apparently you know, according to this therapist in the movie,
53:34
Speaker 2: that's something that you know, something can something can actually
53:37
Speaker 2: trigger agoraphobia. It's not like you're just born with it.
53:40
Speaker 2: So that's another kind of like the fear of the
53:42
Speaker 2: mind and the capability that it has and the power
53:45
Speaker 2: over you. Sometimes you don't even feel like you're in control.
53:49
Speaker 2: I find that horrifying. I mean there's many times where
53:53
Speaker 2: I you just have a thought pop in your head
53:54
Speaker 2: and you're like, what was that thought? Like, I don't
53:58
Speaker 2: like that at all. But another another core feit, of
54:00
Speaker 2: course for this movie is you know, the ghosts and
54:03
Speaker 2: the fear of the unknown and the fear of uh discovering.
54:07
Speaker 2: I mean, I don't know if she was trying to
54:08
Speaker 2: discover her past there, but she did discover you know
54:11
Speaker 2: what actually happened to her? Wait? Did she hold on?
54:15
Speaker 2: Did she actually get explained that she was the daughter?
54:18
Speaker 2: Because we hear it from Lebron, But do does she
54:22
Speaker 2: know that? I can't remember and I just finished this movie.
54:26
Speaker 1: Well she's talking to Florinda. Yeah, Florinda, I imagine, and
54:32
Speaker 1: this is me, this is my this is me, you know,
54:35
Speaker 1: rewriting the movie maybe a little bit. I imagine as
54:41
Speaker 1: Lebron is explaining the story to Daniel, I imagine Florinda
54:45
Speaker 1: is explaining the same story to her.
54:47
Speaker 2: Okay, yeah, I had so tuned out at that point
54:51
Speaker 2: because after the explanation, I was like, all right, well
54:53
Speaker 2: the movies. I did the display and I was like,
54:56
Speaker 2: there's five minutes left. I'm checking out. Because also then
55:00
Speaker 2: car runs through the house, the house gets lit on fire.
55:03
Speaker 1: It was pretty cool, though, I'm not gonna lie.
55:04
Speaker 2: The car cover through the house, right, there was so
55:06
Speaker 2: many cool shots that the shot of the random floating
55:10
Speaker 2: crib that flies out the window, I was like.
55:12
Speaker 1: What are we doing out the window? That was so
55:15
Speaker 1: fucking funny, And there's actually some really clean exity it
55:19
Speaker 1: was yeah, bit, And there's.
55:21
Speaker 2: Some other cool imagery when the caretaker I think his
55:25
Speaker 2: name was Frank, when he starts to be aggressive towards
55:30
Speaker 2: Laura and he gets like lifted up in the air
55:32
Speaker 2: and all this fun like thrown around. There was a
55:35
Speaker 2: lot of cool, like a lot of cool ideas happening
55:39
Speaker 2: in the movie, for sure, but it's just kind of
55:41
Speaker 2: a cohesive mess that doesn't really fit together as well
55:45
Speaker 2: as I wanted to.
55:46
Speaker 1: To, Like I almost want to, like I say this,
55:49
Speaker 1: but I know I'm not actually gonna do it. I
55:52
Speaker 1: would love to take the extended cut of this film
55:54
Speaker 1: and see if I can re edit it to be
55:57
Speaker 1: shorter and little more coherent.
55:59
Speaker 2: Right exactly. I think that if I think that could
56:02
Speaker 2: benefit It's like some movies. You're like this movie, there
56:05
Speaker 2: is like a masterpiece hidden in this movie, but the
56:08
Speaker 2: way that they put it together is not helping.
56:11
Speaker 1: All the elements are there, and the point that I
56:14
Speaker 1: can actually see myself rewatching this just because it is
56:17
Speaker 1: similar to a lot of films that I like, things
56:20
Speaker 1: like once Again My belove at the Changeling or let's
56:23
Speaker 1: just go to death, you know, these low budget late
56:27
Speaker 1: seventies early eighties kind of haunted house jams, because like,
56:31
Speaker 1: let's also be real. Let's you know, I'm on my podcast.
56:33
Speaker 1: I'm big on you know, Grant, we weren't we weren't.
56:37
Speaker 1: We haven't actually been all that negative throughout this We've
56:40
Speaker 1: been pretty complimentary. But like I like to give credit
56:42
Speaker 1: where credit's due. Of course, this one thing that this
56:45
Speaker 1: film does very well is it is it is a
56:47
Speaker 1: haunted house film that does not feel like haunted house
56:50
Speaker 1: films that we get anymore.
56:52
Speaker 2: Exactly.
56:52
Speaker 1: Yes, I feel like every haunted house film nowadays, and
56:57
Speaker 1: this is me also putting films in a box. And
56:59
Speaker 1: I know there's going to be accept the rule because
57:00
Speaker 1: there always are. Every haunted house film nowadays feels like
57:04
Speaker 1: it is pulling from to some extent. And this is
57:09
Speaker 1: just stylistically not in form. Maybe a little bit the shining,
57:12
Speaker 1: but a lot of it's pulling a lot from Amityville horror.
57:18
Speaker 1: It's pulling a lot from poultry.
57:20
Speaker 2: Guys say Polter is the biggest influence in my opinion.
57:24
Speaker 1: And you know, and and James Wand really ran with
57:27
Speaker 1: that when he made The Conjuring. But now every film
57:30
Speaker 1: is just kind of feels like they're all pulling from
57:32
Speaker 1: the same inspirations, which actually, now we're at this point
57:35
Speaker 1: where films are pulling inspiration from The Conjuring, so which
57:39
Speaker 1: is pulling inspirations from older films. So then it's just
57:41
Speaker 1: like it's getting saffering. Actually on the right word, it's
57:46
Speaker 1: getting a little boring. Uh. But you know, like we
57:49
Speaker 1: don't get these kind of messy, weird haunted house films anymore.
57:55
Speaker 2: You're right, it pulls from a lot, but it also
57:57
Speaker 2: feels unique in its own way, because I mean, I
57:59
Speaker 2: don't think I'll ever see another haunted house movie that
58:02
Speaker 2: centers around a brothel. I I don't, I mean, do
58:05
Speaker 2: they exist?
58:07
Speaker 1: Huh it's a girl on the third floor. Okay, but
58:11
Speaker 1: but that's me just being kind of a jerk. But no, realistically,
58:14
Speaker 1: it's not. It's not a setting that's used very often.
58:18
Speaker 1: Right up up until this, I only had could think
58:21
Speaker 1: of girl on the third floor. So like, it's not
58:24
Speaker 1: it's it's it's prime for picking is a good location.
58:28
Speaker 2: Yeah, it's got a great location. The and I will
58:31
Speaker 2: give give vinegar Syndrome props. They always do great on
58:33
Speaker 2: their scans, but this was. This was the first few
58:38
Speaker 2: minutes I was like, this is gonna look. It looks fantastic.
58:42
Speaker 2: It was a very good scan. So the movie looks good,
58:45
Speaker 2: it sounds good. I do enjoy the score when there
58:47
Speaker 2: is a score. I think this The cinematography is very
58:50
Speaker 2: well done. It really just the biggest issue I have
58:52
Speaker 2: is the story and the pacing. Uh you know, but
58:56
Speaker 2: that's okay. It's it's not every movie we're gonna like,
58:59
Speaker 2: and that's it's not I'm not expecting to like every
59:04
Speaker 2: aspect of every movie, but I you know, obviously I
59:06
Speaker 2: want to highlight the things I do like absolutely something
59:09
Speaker 2: that I wanted to read you that I found interesting
59:12
Speaker 2: because with the Vinegar Syndrome release, we got this little
59:14
Speaker 2: book right here.
59:15
Speaker 1: I love that comes with the book.
59:17
Speaker 2: And I'm not going to read this whole thing because
59:19
Speaker 2: it's way too long. But there was something I wanted
59:20
Speaker 2: to highlight that stood out to me about the time
59:24
Speaker 2: period and when this was set. So this is an
59:27
Speaker 2: exerpt from. Her name is Amanda Reis. She wrote Nightmares and.
59:32
Speaker 1: Oh you know her, Oh I don't know a person
59:34
Speaker 1: that is love he work.
59:35
Speaker 2: Okay, so this is called nightmares in the dream House.
59:38
Speaker 2: Looking back the nineteen eighty one horror film The Nesting
59:40
Speaker 2: by Amanda Reis, and I'm going to read you this
59:42
Speaker 2: little excerpt that I found interesting. So in some ways
59:46
Speaker 2: The Nesting is a haunted house story in the most
59:48
Speaker 2: classic sense. The structure is run down, it holds secrets,
59:52
Speaker 2: there are ghosts, but it is also firmly established. In
59:54
Speaker 2: the female Gothic movement of the nineteen seventies, were the
59:57
Speaker 2: most common tropes. Dilapidated buildings, doctors, etc. Are used to
1:00:01
Speaker 2: explore the more potent themes of the female experience of
1:00:05
Speaker 2: the era. The female Gothic movement of the seventies arose
1:00:07
Speaker 2: from the writings of a literary scholar named Ellen Moores,
1:00:10
Speaker 2: who moved the studies of Gothic literature from the works
1:00:14
Speaker 2: of writers like Edgar Allan Poe and Charles Brockden Brown
1:00:17
Speaker 2: to analyze how authors such as Anne Radcliffe and Mary
1:00:20
Speaker 2: Shelley used the heavily defined tropes as coded texts to
1:00:23
Speaker 2: recount the uneased women feel when moving about the world.
1:00:26
Speaker 2: According to Martha Omore's essay, Feminist Gothic Moore's quote focused
1:00:31
Speaker 2: on the entrapment theme of women's gothic writings, suggesting that
1:00:34
Speaker 2: women felt imprisoned within their own bodies. End quote therefore
1:00:37
Speaker 2: ruined castles, family secrets, and female hysteria as written by
1:00:41
Speaker 2: women as a way to examine a different kind of
1:00:44
Speaker 2: subtext in the genre and to explore the resistance against it.
1:00:47
Speaker 2: I thought that was very interesting.
1:00:50
Speaker 1: Yeah. Yeah, And that's the reason I love when places
1:00:54
Speaker 1: like Vinegar Syndrome like give these booklets and these interviews,
1:00:58
Speaker 1: and you know, I think we've all seen on enough
1:01:01
Speaker 1: physical media pages that even though people with physical media
1:01:04
Speaker 1: and not everyone cares about this stuff, but like something
1:01:07
Speaker 1: like that, that's some amazing context and it would make
1:01:10
Speaker 1: me want to completely go and revisit this film.
1:01:14
Speaker 2: Yeah, and that that is a small I mean, this
1:01:16
Speaker 2: thing is probably twelve pages. It is an incredible article
1:01:22
Speaker 2: that kind of put the movie in perspective of for me,
1:01:24
Speaker 2: just a little bit more given given I don't know
1:01:26
Speaker 2: too much about like really, my my horror knowledge starts
1:01:30
Speaker 2: in the eighties, like seventies or a little hit or miss,
1:01:33
Speaker 2: and then beyond that it's very hit or miss.
1:01:35
Speaker 1: So read I'm a big seventies Horror Guy and the.
1:01:40
Speaker 2: Stuff I've watched in the seventies, Like, I still like this.
1:01:43
Speaker 2: This weekend, actually, I'm gonna watch Sunday, I'm gonna watch
1:01:46
Speaker 2: Let's Scare Jestsic Get to Death because I have the
1:01:47
Speaker 2: Vinegar Syndrome release of that, and it was it was
1:01:49
Speaker 2: almost a selection for this this one, but I wanted to.
1:01:52
Speaker 2: I wanted the deep cut to be something that really
1:01:55
Speaker 2: I had literally never heard of, because I had heard
1:01:57
Speaker 2: about Less Scare Jest Get a Death a while ago.
1:02:00
Speaker 2: So I find it interesting. I love Vinegar Syndrome when
1:02:03
Speaker 2: they do stuff. I'm also trying, since I have physical
1:02:05
Speaker 2: copies of all the movies I'm reviewing this year, trying
1:02:08
Speaker 2: to watch commentaries or interviews there. There are so many
1:02:11
Speaker 2: special features on Vinegar Syndromes four K. They have interviews
1:02:15
Speaker 2: with a whole bunch of people. They've got commentary.
1:02:18
Speaker 1: Can I recommend one on here? So I don't have
1:02:20
Speaker 1: the disc but I'm looking at the list of everything.
1:02:22
Speaker 1: Oh yeah, yeah, but the Stating of Desire it's an
1:02:26
Speaker 1: appreciation piece by author Stephen Thrower. Stephen Thrower is one
1:02:29
Speaker 1: of my favorite writers about genre film. Oh okay, this
1:02:33
Speaker 1: amazing book called Nightmare USA that I've been trying to
1:02:36
Speaker 1: get for a good price forever. So it's about a
1:02:39
Speaker 1: thirty minute appreciation piece. But if anyone's gonna like make
1:02:42
Speaker 1: you be like Okay, I need to go back and
1:02:43
Speaker 1: rewatch that that would be it. And then there's also
1:02:46
Speaker 1: a piece on here about the film preservation about how
1:02:50
Speaker 1: they you know, see, like I'm just looking at the
1:02:52
Speaker 1: special features, like I need to buy this just because
1:02:54
Speaker 1: like there's some great shit on here.
1:02:56
Speaker 2: Yeah, it's a very extensive like features that were done
1:03:00
Speaker 2: specifically for this release, which is incredible. So I definitely
1:03:03
Speaker 2: recommend going to check that out. I don't really have
1:03:06
Speaker 2: much else to say about this one. I think we've
1:03:08
Speaker 2: kind of nailed everything we liked that we didn't like.
1:03:11
Speaker 2: I did have a better tagline for this movie that
1:03:14
Speaker 2: I'll say when I get to the tag lines that
1:03:16
Speaker 2: I think you'll really enjoy. I came up with a
1:03:18
Speaker 2: pretty good one. But other than that, I think I
1:03:20
Speaker 2: think I've I think I've kind of tapped out on
1:03:23
Speaker 2: what I had to say. Is there anything that you
1:03:25
Speaker 2: would like to mention that we didn't get to yet?
1:03:27
Speaker 1: Uh No, I think we kind of we we we
1:03:31
Speaker 1: hit all the important stuff, and even though I apparently
1:03:34
Speaker 1: blanked out an entire sequence of this film, that was
1:03:37
Speaker 1: still pretty coherence talked about it. I was a little
1:03:39
Speaker 1: worry when we started. I was like, I don't know
1:03:41
Speaker 1: how Austin felt about it, but am I gonna have
1:03:43
Speaker 1: enough to say? Yeah?
1:03:45
Speaker 2: Yeah, I try to take as many notes, but you know,
1:03:48
Speaker 2: like I told everyone at the beginning of the year,
1:03:50
Speaker 2: we're just gonna kind of let the conversation go. We're
1:03:52
Speaker 2: just over an hour. That's enough time for me. So
1:03:56
Speaker 2: with that being said, we shall move on to the
1:03:59
Speaker 2: final cut. This is the post review stuff here, So
1:04:03
Speaker 2: here we go right away. Tagline is perfect. There are
1:04:06
Speaker 2: a few good ones, but I like the one I
1:04:07
Speaker 2: came up with better. So there was only one thing
1:04:10
Speaker 2: more terrifying than leaving the house dot dot dot staying
1:04:13
Speaker 2: in it. A house that lives and breathes terror, the
1:04:17
Speaker 2: terror that hides inside your mind, and what's outside brings terror.
1:04:21
Speaker 2: What's inside means death. I personally like the night she
1:04:26
Speaker 2: came home, but that's just men. Oh yes, yes, what
1:04:31
Speaker 2: do you get?
1:04:33
Speaker 1: Terror needs a new code of paint man.
1:04:38
Speaker 2: That house was dilapidated, fresh code of paint would do
1:04:42
Speaker 2: that some good.
1:04:43
Speaker 1: Fresh code of horror, fresh coat of horror.
1:04:45
Speaker 2: So there's three really boring trivia facts about this movie
1:04:48
Speaker 2: that I thought I would share.
1:04:50
Speaker 1: A boring trivia fact.
1:04:51
Speaker 2: There's only three that there was three total, so.
1:04:54
Speaker 1: This is fair. This is not a movie that probably
1:04:57
Speaker 1: that vinegar c a dr disc is gonna be the
1:04:59
Speaker 1: most comfort heensive.
1:05:02
Speaker 2: View of this movie one hundred percent. So that's another
1:05:06
Speaker 2: thing that kind of reassured me that this is indeed
1:05:08
Speaker 2: a deep cut. If there's three bits of trivia and
1:05:10
Speaker 2: they suck. This is the final film of Gloria Graham.
1:05:15
Speaker 2: This this is on the section three Video Nasties list,
1:05:19
Speaker 2: And at forty eight minutes there's a shot of a
1:05:22
Speaker 2: book whose cover is partially hidden by a knife. It's
1:05:25
Speaker 2: quote a house possessed by Charity Blackstock. Don't know really
1:05:29
Speaker 2: what that's supposed to mean, but there you go. There
1:05:32
Speaker 2: wasn't even a goof's section for this movie. That's like
1:05:37
Speaker 2: the movie is itself is a goof. So we have
1:05:41
Speaker 2: rated four point nine out of ten on IMDb for
1:05:46
Speaker 2: our purposes of the fear index, that is a two
1:05:48
Speaker 2: point four to five out of five. And then we
1:05:51
Speaker 2: have a two point seven out of five on Letterbox.
1:05:54
Speaker 2: This doesn't even have a critic rating on the Tomato Meter,
1:05:58
Speaker 2: again furthering my deep cut selection here, but it does
1:06:02
Speaker 2: have a thirty one percent audience score. So what did
1:06:06
Speaker 2: you give this, Michael?
1:06:09
Speaker 1: So? Originally I gave this movie a two, which in
1:06:12
Speaker 1: my rating system is it. I didn't really like it,
1:06:15
Speaker 1: but there's some interesting things. Okay, after I sat with
1:06:18
Speaker 1: it a little bit more, I actually did boost up
1:06:19
Speaker 1: to two and a half, which I know is not
1:06:21
Speaker 1: a huge change in distinction, but you know, as I
1:06:25
Speaker 1: sat with it, was like, Okay, this wasn't bad, and
1:06:26
Speaker 1: the fact that I do want to go back to
1:06:28
Speaker 1: it is is I feel like, kind of what made
1:06:32
Speaker 1: that score go back go up?
1:06:33
Speaker 2: Okay, so two point five for you. I ended up
1:06:36
Speaker 2: giving it in a three because I did enjoy a
1:06:39
Speaker 2: lot of it. It's just they they biffed the ending
1:06:42
Speaker 2: and the pacing was a little mixed. So I gave
1:06:45
Speaker 2: it three. So that is going to give us a
1:06:47
Speaker 2: score of a two point six seven out of five
1:06:51
Speaker 2: on the Nightmare Index. So that is going to fall
1:06:53
Speaker 2: below the Haunting, of course, because the Haunting had like
1:06:56
Speaker 2: a three point six three h similar movies according to IMDb.
1:07:00
Speaker 2: We have Murder Rock, we have Virus, Let Scare, Jessica
1:07:04
Speaker 2: to Death, Wolf Yeah, wolf Pack, and Midnight Spares similar movies.
1:07:09
Speaker 2: According to the Letterbox, I love this because this was
1:07:12
Speaker 2: not intentional. But we have The Changeling, The Haunting nineteen
1:07:15
Speaker 2: ninety nine, the Haunting nineteen sixty three, which we just did,
1:07:19
Speaker 2: the Legend of Hell House, and the Woman in Black.
1:07:23
Speaker 1: That's a good one thought.
1:07:24
Speaker 2: That's the one that I own and still need to
1:07:26
Speaker 2: watch this month. Since you know the theme is haunted houses,
1:07:29
Speaker 2: I'm going to be filling a lot of my time
1:07:31
Speaker 2: with haunted house movies. Yeah, so I'm going to be
1:07:34
Speaker 2: doing the Changeling. I need to get that. They have
1:07:37
Speaker 2: a four K Severn right or synaps Yeah, okay, I'm
1:07:40
Speaker 2: gonna buy that.
1:07:41
Speaker 1: It's seven and then that thing is a beauty.
1:07:44
Speaker 2: Okay, then I'm gonna go buy that. Let's do some
1:07:47
Speaker 2: funny reviews here. I've come, you know, stock blocked and
1:07:52
Speaker 2: loaded with my standard five. Yeah, all right, then I
1:07:57
Speaker 2: shall start here. One and a half stars from Justin Martel.
1:08:02
Speaker 2: It's like Spookies without any spookies, all right, This one is.
1:08:07
Speaker 1: A two and a half stars with a heart from
1:08:09
Speaker 1: Horror Syndrome. Okay, never going to a haunted whorehouse ever again.
1:08:15
Speaker 2: Oh that's funny because that kind of lines up with
1:08:17
Speaker 2: this one that I have. Three stars from Robert two, three,
1:08:20
Speaker 2: three nine, now searching Airbnb to see if I can
1:08:23
Speaker 2: book a stay and a haunted brothel.
1:08:26
Speaker 1: All right, next one, I got half star. This is
1:08:29
Speaker 1: a movie. Oh sorry, it's half star by Rowin. This
1:08:32
Speaker 1: is a movie for high people and we were sober.
1:08:36
Speaker 2: Damn. Two stars from Brent Disney. I sort of understand
1:08:43
Speaker 2: why everyone wants to kill Laura. It's just fucked up.
1:08:47
Speaker 1: All right. This is one star by Cartres or Cartrees.
1:08:51
Speaker 1: A haunted brothel would do numbers during Halloween season.
1:08:55
Speaker 2: They're not wrong, that's very accurate. Uh. Three stars from Boofy.
1:09:00
Speaker 2: It's waffley, but the waffles do have some good chunks
1:09:04
Speaker 2: of haunted butter.
1:09:09
Speaker 1: All right, So this is one star by Nicole Degelman.
1:09:14
Speaker 1: Got this recommended by a tour guide for this house.
1:09:17
Speaker 1: The only thing holding this movie together was I got
1:09:20
Speaker 1: to info dump about the folding sink in one of
1:09:22
Speaker 1: the bathrooms. Love it.
1:09:25
Speaker 2: And lastly from me, three and a half stars from
1:09:29
Speaker 2: Catho dur rituals. Okay, did you guys know that the
1:09:34
Speaker 2: cure to agoraphobia is astral projection and renting a weird
1:09:37
Speaker 2: old house?
1:09:38
Speaker 1: I do now?
1:09:38
Speaker 2: Apparently? Yeah, apparently you do?
1:09:40
Speaker 1: Now? All right? All might have been one star reviews,
1:09:42
Speaker 1: but my last one's also one star review by Miriam
1:09:46
Speaker 1: Story eight. It says I was really hoping they'd kill Mark,
1:09:49
Speaker 1: but as the great philosopher Mick Jagger one said, you
1:09:52
Speaker 1: can't always get what you want. You can't.
1:09:56
Speaker 2: Did they not kill Mark?
1:09:57
Speaker 1: No?
1:09:58
Speaker 2: Oh, I thought they did. I mean, he has the
1:10:00
Speaker 2: paranormal experience and then that was he focks off for
1:10:03
Speaker 2: the rest of the movie. So all right, well, uh.
1:10:07
Speaker 2: If you enjoy the show, please rate and review on
1:10:09
Speaker 2: your favorite podcast app of choice. Follow us on Facebook, Instagram, TikTok,
1:10:13
Speaker 2: Slasher Blue Sky, and YouTube at Frimar's podcast. Our email
1:10:17
Speaker 2: is stay Spooky at outlook dot com. You can follow
1:10:20
Speaker 2: me personally on letterbox at doctor Proctor Michael you are
1:10:24
Speaker 2: on letterboxed.
1:10:25
Speaker 1: Yep, I'm there, as Byers ten two thousand and eight.
1:10:29
Speaker 1: You can also find the sultry sounds of my voice
1:10:32
Speaker 1: on my podcast, The Shameless Picture Show. We are currently
1:10:35
Speaker 1: on a little hiatus. Austin is our talented editor. But
1:10:40
Speaker 1: but we're gonna be recorded episode here in about a
1:10:43
Speaker 1: week's time live Austin's comment to Wisconsin. So we're gonna
1:10:47
Speaker 1: record an episode on I'm gonna spoil it, Hudsucker Proxy.
1:10:52
Speaker 1: This is gonna be a fun time, and I'm gonna
1:10:55
Speaker 1: take Austin to the most beautiful theater in all of Milwaukee,
1:10:58
Speaker 1: Wisconsin to see two really movies, or at least hopefully
1:11:01
Speaker 1: they're rad.
1:11:02
Speaker 2: I don't imagine Park Chan, Park Chan Wook or Woon.
1:11:07
Speaker 1: Yeah, I will say it as wook.
1:11:09
Speaker 2: I can't imagine it's it's got a four point two.
1:11:12
Speaker 2: I mean, it's gonna be real hard for me not
1:11:14
Speaker 2: to like that. But we are also seeing something something
1:11:19
Speaker 2: the what of Anlee. I think it's the testament of
1:11:22
Speaker 2: anlely hold On.
1:11:24
Speaker 1: I'm looking it up. It is the testament of in.
1:11:26
Speaker 2: Seventy millimeter, which has been a literal bucket list item
1:11:31
Speaker 2: for me. We just don't have that in Florida, So
1:11:33
Speaker 2: I'm very excited. Uh so be definitely go check out
1:11:37
Speaker 2: that episode. We're gonna be in the same room recording
1:11:39
Speaker 2: a podcast. We had to capture that moment in time.
1:11:41
Speaker 2: It's gonna be a lot of fun, so obviously be
1:11:44
Speaker 2: sure to check out Michael showed, The Shameless Picture Show
1:11:46
Speaker 2: to expand your movie watching podcast, The Dead Eyed Millennial
1:11:51
Speaker 2: Film Club and one Week Rental as well. Next week
1:11:55
Speaker 2: for our modern pick, we're gonna be doing dead Stream
1:11:59
Speaker 2: corey and from twenty twenty two, So until then, stay
1:12:03
Speaker 2: tuned and stay is Ookky