Latest / Frightmares / Ep. 375 - Let The Right One In (2008)

Transcript

Ep. 375 - Let The Right One In (2008) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:08
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:12
  Speaker 1: excessive foul language.
• 0:14
  Speaker 2: Viewer discretion is advised enjoy the show.
• 0:56
  Speaker 3: Welcome back to Frightmar's podcast. I'm your host Austin Proctor
• 0:59
  Speaker 3: and joining me to for episode three seventy five is
• 1:01
  Speaker 3: my good friend Ryan Verel, first time on the show.
• 1:05
  Speaker 3: How are we doing today?
• 1:06
  Speaker 2: First off, I still don't understand how that's possible after
• 1:09
  Speaker 2: having listened many many times and wanting to do this
• 1:12
  Speaker 2: for a while, but excited to be here. Thank you, sir.
• 1:14
  Speaker 3: Yes, I'm very glad we made this happen. Unfortunately, Michael
• 1:18
  Speaker 3: was supposed to be on this show, and then I realized,
• 1:20
  Speaker 3: oh shit, the mk E Film Fest is happening this weekend,
• 1:24
  Speaker 3: so he doesn't have time. So I went to the
• 1:26
  Speaker 3: discord and I was like, somebody helped me, and Ryan
• 1:29
  Speaker 3: is like, hit me up. Perfect timing so well.
• 1:32
  Speaker 2: And this is a movie that I've adored for years
• 1:34
  Speaker 2: and I've not talked about a long time, so kind
• 1:35
  Speaker 2: of eager to just shoot the shit about it.
• 1:39
  Speaker 3: Interesting. I love it. So today, on another installment of
• 1:42
  Speaker 3: Vampril's bite. We are discussing our international pick let the
• 1:45
  Speaker 3: Right One in from two thousand and eight, a movie
• 1:48
  Speaker 3: that lives in a world where Kleenex apparently do not
• 1:51
  Speaker 3: exist or Oscar does not know about Kleenex. Let's see
• 1:56
  Speaker 3: where this lands on the Nightmare Index, all right, so
• 2:03
  Speaker 3: I've got some I've got some reports from the corrections department.
• 2:06
  Speaker 2: Here.
• 2:07
  Speaker 3: Renfield actually landed at number five on the Nightmare Index.
• 2:11
  Speaker 3: In between Reanimator at a three point eighty four and
• 2:14
  Speaker 3: Dead and Buried at a three point nine to one.
• 2:16
  Speaker 3: Renfield has a three point nine. Also, we have our
• 2:19
  Speaker 3: first change to the Nightmare Index because after watching Fright Night,
• 2:23
  Speaker 3: I finally watched Fright Night Part two, which I had
• 2:26
  Speaker 3: never seen, and then the twenty eleven remake, so ratings
• 2:30
  Speaker 3: have changed. I have bummed the original Fright Night to
• 2:32
  Speaker 3: a four point five out of five. Fright Night the
• 2:35
  Speaker 3: remake was a four because I was not expecting it
• 2:38
  Speaker 3: to be that good. Fright Night Part two three and
• 2:40
  Speaker 3: a half. So this means Fright Night goes from seventh
• 2:43
  Speaker 3: place with a three point seven eight to fifth place
• 2:46
  Speaker 3: and is tied with Renfield for a three point nine
• 2:49
  Speaker 3: out of five so that is from the corrections departments.
• 2:53
  Speaker 3: Let's talk about some things we've watched. You mentioned that
• 2:56
  Speaker 3: you went to Panicfest. Is that correct?
• 3:00
  Speaker 2: I did. Panic Fest is in Kansas City every April,
• 3:03
  Speaker 2: and oh man, it was a very good year.
• 3:06
  Speaker 3: I love it. So let's talk some highlights here.
• 3:09
  Speaker 2: Well, lots of early stuff for big studio titles that
• 3:12
  Speaker 2: was kind of like the big story this year. There
• 3:13
  Speaker 2: was usually it's a very indie focus festival, and there's
• 3:16
  Speaker 2: still a lot of that, but the big standouts. We
• 3:19
  Speaker 2: got to see Obsession early. We got to see Hocum early,
• 3:23
  Speaker 2: and then one that I did not mention to you.
• 3:24
  Speaker 2: I don't know if it's on your radar yet, but
• 3:26
  Speaker 2: we got to see Leviticus early, another Neon film coming
• 3:30
  Speaker 2: out this summer that's kind of like a queer it
• 3:33
  Speaker 2: follows in a way.
• 3:35
  Speaker 3: Interesting.
• 3:36
  Speaker 2: Yeah, it's very interesting. And then for those into the
• 3:41
  Speaker 2: very I don't want to say new but like getting
• 3:44
  Speaker 2: more and more popular, the Asian like Gore heavy action
• 3:49
  Speaker 2: beat him up fests that have been coming out. I
• 3:52
  Speaker 2: got to see The Furious early and that movie is freaking.
• 3:55
  Speaker 3: Red Ooh, Gabby showed me the trailer for that one,
• 4:00
  Speaker 3: like a couple days ago, and it looks really fucking good.
• 4:03
  Speaker 2: It's incredible, genuinely great, and I really hope people check
• 4:07
  Speaker 2: it out because it is worth it.
• 4:09
  Speaker 3: Okay, So I'm looking up Leveticus because I'm curious. Two
• 4:13
  Speaker 3: teenage boys must escape a violent entity that takes the
• 4:16
  Speaker 3: form of the person they desire most each other. That
• 4:20
  Speaker 3: sounds horrifying, like I couldn't imagine. Oh that is very
• 4:25
  Speaker 3: it follows, but it's not anybody, it's the person they
• 4:28
  Speaker 3: desire most. Okay, that's exactly I like that. So obviously
• 4:32
  Speaker 3: we won't go into spoilers on any of these. I
• 4:35
  Speaker 3: just want to know, like, I just want to know
• 4:37
  Speaker 3: just a smidge about Obsession. I mean what, because that's
• 4:41
  Speaker 3: like my most anticipated for this year. Correct Curry Barker, who,
• 4:44
  Speaker 3: by the way, is just been announced that he is
• 4:47
  Speaker 3: directing the A twenty four Texas Chainsaw Massacre. And I
• 4:50
  Speaker 3: almost cried yesterday. I was so excited, so obsessioned. I
• 4:55
  Speaker 3: don't know, what did you like? Brief overall thoughts on Obsession.
• 4:58
  Speaker 2: So overall thoughts, I'll say, first of all, they have
• 5:01
  Speaker 2: an incredible trailer, and I know that a lot of
• 5:03
  Speaker 2: us have been talking about that trailer for a long
• 5:05
  Speaker 2: time because it leaves a lot of questions rather than spoilers,
• 5:08
  Speaker 2: which I think is much better. In this case, the
• 5:12
  Speaker 2: film itself is I will say, much more unsettling than scary.
• 5:17
  Speaker 2: It's definitely one of those modern like cringe terror movies
• 5:22
  Speaker 2: in a way. And the big thing that I will
• 5:25
  Speaker 2: leave people with is the female lead in this movie
• 5:27
  Speaker 2: gives a Tony Collette hereditary level performance. And Okay, I
• 5:36
  Speaker 2: at first I walked out not knowing if I loved
• 5:38
  Speaker 2: the movie or kind of felt kind of cold on it,
• 5:41
  Speaker 2: and then I realized about a week later it was
• 5:43
  Speaker 2: still the only thing I was thinking about.
• 5:45
  Speaker 3: Okay, all right, that is exactly the amount of information
• 5:49
  Speaker 3: I needed. Fun. Fun that you mentioned Hocum because I
• 5:52
  Speaker 3: saw at AMC's Scream Unseen on Monday or Tuesday. This
• 5:56
  Speaker 3: week they played Hocum, so we can talk about that
• 5:59
  Speaker 3: a little bit. See no spoilers. That was when I
• 6:02
  Speaker 3: was looking forward to Damien McCarthy. He did Oddity, which
• 6:06
  Speaker 3: was I think from two years ago, maybe the year before.
• 6:09
  Speaker 3: I really loved Oddity. I don't think I've seen caveats.
• 6:14
  Speaker 3: I think I'm always confusing that with that one with Calverae,
• 6:17
  Speaker 3: which is another French horror movie, and I don't know
• 6:20
  Speaker 3: which one I've seen, so I need to actually go
• 6:21
  Speaker 3: watch Caveat. But Hokum for me, I think they marketed
• 6:25
  Speaker 3: that movie in the most perfect way because it went
• 6:29
  Speaker 3: in a direction that I did not see happening at
• 6:32
  Speaker 3: all for me. For me, it was very reminiscent of
• 6:35
  Speaker 3: the shining this creepy hotel and the image that they show,
• 6:40
  Speaker 3: the creepy image that they show is just not what
• 6:42
  Speaker 3: I thought. It was good. It was very very well
• 6:45
  Speaker 3: done and contained and isolated. I loved it. I gave
• 6:51
  Speaker 3: it a I gave it a five out of five.
• 6:53
  Speaker 3: I had no issue with any part of the movie.
• 6:56
  Speaker 3: It absolutely blew me away. So what about you? How
• 6:59
  Speaker 3: did Hokum hit you?
• 7:01
  Speaker 2: I am a super novice here, I must be honest
• 7:04
  Speaker 2: to admit publicly, I still have not seen Oddity or Caveat. Okay,
• 7:08
  Speaker 2: So this was my first Damien McCarthy, and after hearing
• 7:10
  Speaker 2: everybody hype up Oddity for years, I walked out of
• 7:15
  Speaker 2: Hokum going I need to watch audit. This was very good,
• 7:19
  Speaker 2: very well done. Adam Scott played the exact level of
• 7:22
  Speaker 2: straight man for most of the movie kind of like
• 7:25
  Speaker 2: a very easy guy to beat up in a psychological way,
• 7:30
  Speaker 2: not not a physical way for the most part. This
• 7:33
  Speaker 2: kind of the opposite of what we just talked about
• 7:34
  Speaker 2: with the Obsession. I do think there's a couple of
• 7:36
  Speaker 2: things in this trailer that they absolutely should have left
• 7:39
  Speaker 2: out and took away from the film itself. And being
• 7:43
  Speaker 2: somebody that runs a distribution company, I think about trailers
• 7:46
  Speaker 2: a lot. True and yeah, hokum, I think it is
• 7:49
  Speaker 2: an example of like a C minus trailer and Obsession
• 7:52
  Speaker 2: is borderline a plus trailer?
• 7:54
  Speaker 3: Interesting? Okay, what parts do you think they should have
• 7:58
  Speaker 3: left out? Or is that or is that gonna go
• 8:00
  Speaker 3: into too much spoiler territory?
• 8:01
  Speaker 2: Do you think the lift part, the reveal of what is? Okay,
• 8:06
  Speaker 2: the lift should not have been in any of the trailers?
• 8:09
  Speaker 3: Okay, correct? All right? I think I only saw I
• 8:12
  Speaker 3: think I only saw one. I think it was the
• 8:13
  Speaker 3: initial one that I saw, because I know they released
• 8:16
  Speaker 3: a couple. That's my problem with especially with The Mummy,
• 8:20
  Speaker 3: because I watched that over the weekend. Too many trailers.
• 8:24
  Speaker 3: They had three different trailers for one movie, put out
• 8:27
  Speaker 3: put out a teaser. You know something very quick and easy,
• 8:31
  Speaker 3: and then one trailer and then leave it because the
• 8:33
  Speaker 3: problem is with putting out multiple variations of trailers, they
• 8:37
  Speaker 3: gave away a lot of the Mummy. It still worked
• 8:39
  Speaker 3: for me, and apparently they're the only one that works
• 8:41
  Speaker 3: for But Yeah, that's what I can't stand is when
• 8:44
  Speaker 3: they put those pivotal moments in trailers. It's like, we
• 8:47
  Speaker 3: gotta avoid that because they're not going to hit the
• 8:49
  Speaker 3: same if we know it from the trailer so well.
• 8:52
  Speaker 2: And that's why I mean this week, you know talking
• 8:54
  Speaker 2: about trailer is the Evil dead Burn trailer finally released online.
• 8:57
  Speaker 2: And I think this is an example of an incredible
• 8:59
  Speaker 2: tree too, because if if anything, there's kind of nothing
• 9:03
  Speaker 2: revealed on the trailer itself. It's a one shot even
• 9:06
  Speaker 2: and that alone, there's there's no cuts, there's nothing to
• 9:08
  Speaker 2: speculate on. It's literally just oh, this is terrifying, and
• 9:12
  Speaker 2: yet I don't really know why.
• 9:14
  Speaker 3: Yeah, my buddy, my buddy Corey, the other host on
• 9:18
  Speaker 3: this show, he watched it and he said he's like like,
• 9:23
  Speaker 3: if this what did he say?
• 9:25
  Speaker 2: Oh?
• 9:25
  Speaker 3: Yeah, He's like, like, if the movie does this, shit,
• 9:27
  Speaker 3: I don't even need crazy gore. That got me fired
• 9:30
  Speaker 3: up and then he's like, you know what, that trailer
• 9:31
  Speaker 3: was disrespectful, like in a good way, because I'm like, yeah,
• 9:35
  Speaker 3: it was a one shot. Madness is happening. You're following
• 9:39
  Speaker 3: someone crawling on the ground, and then Evil Dead Burn
• 9:42
  Speaker 3: comes up on the side that I mean, perfect fucking trailer.
• 9:46
  Speaker 3: Teaser trailer.
• 9:47
  Speaker 2: Yeah.
• 9:47
  Speaker 3: So I hope they don't reveal too too much more
• 9:50
  Speaker 3: because at this point, especially with Evil Dead it is
• 9:52
  Speaker 3: an established franchise. We the name alone should be drawing
• 9:57
  Speaker 3: people to the theater, you know what I mean, Like,
• 9:59
  Speaker 3: at least that's my opinion.
• 10:01
  Speaker 2: It's an established franchise without any bad movies. Correct. I
• 10:05
  Speaker 2: do want to highlight that.
• 10:06
  Speaker 3: Correct, That is absolutely correct. I mean I'm not huge
• 10:09
  Speaker 3: on Army of Darkness, but it is not bad by
• 10:11
  Speaker 3: any means. Every single movie has at least I think
• 10:15
  Speaker 3: a three point five or higher from me, Like, that's incredible,
• 10:19
  Speaker 3: So I think, yeah, would you have to.
• 10:21
  Speaker 2: Say the more exciting thing for me? Did you hear
• 10:23
  Speaker 2: what the director said about Evil Dead Burn, like to
• 10:25
  Speaker 2: get people hyped up for this his big quote this week?
• 10:28
  Speaker 3: I don't think I did.
• 10:30
  Speaker 2: Okay, So listen to this and just think about how chilling.
• 10:34
  Speaker 2: This phrase leaves you. It's a horror and survival film
• 10:39
  Speaker 2: on a very reduced timeline, with the race against time aspect,
• 10:43
  Speaker 2: which doesn't prevent moments of relief. There's probably more humor
• 10:46
  Speaker 2: than in the Fettialvarez remake that came out in twenty thirteen. However,
• 10:51
  Speaker 2: it gets close to it. On the horror side. It's
• 10:54
  Speaker 2: perhaps the least bloody of the Evil Dead films, but
• 10:57
  Speaker 2: undoubtedly the most violent and brutal. Let's say, I'm aiming
• 11:02
  Speaker 2: more for the discomfort of the famous teeth on the
• 11:05
  Speaker 2: sidewalk scene from American History X than excessive gore.
• 11:08
  Speaker 3: Oh, I literally not even getting I have goosebumps. I fright.
• 11:12
  Speaker 3: I right? And who's this director? I don't even think
• 11:17
  Speaker 3: I've seen any of his other films.
• 11:20
  Speaker 2: You likely have, you just don't associate them with his name.
• 11:23
  Speaker 2: This is Sebastian vanichik Okay. Obviously, that is already in
• 11:29
  Speaker 2: a situation where because it's a foreign name, a lot
• 11:31
  Speaker 2: of people are not going to memorize that name because
• 11:33
  Speaker 2: it's more than three and a half syllables. But the
• 11:38
  Speaker 2: big thing, and if I remember right, I think I
• 11:40
  Speaker 2: remember you having watched his movie Infested from twenty twenty three.
• 11:44
  Speaker 3: Oh he did Infested, Okay, yes, and I have seen that, okay, Yeah.
• 11:49
  Speaker 2: And that's what got Ramy interested in him. Other than that,
• 11:52
  Speaker 2: he's only done a couple of shorts, so he's not
• 11:55
  Speaker 2: done too too much. I love.
• 11:57
  Speaker 3: We are getting just this wave recent of new directors
• 12:02
  Speaker 3: that are Zach Kraiger for example, comes out swinging with
• 12:05
  Speaker 3: two huge movies. Damian McCarthy for me, I know, he
• 12:09
  Speaker 3: did Caveat but Oddity and Hokum, I mean, and then
• 12:13
  Speaker 3: of course Curry Barker. He's done some shorts on YouTube
• 12:17
  Speaker 3: and he did Milk and Cereal, which is about an
• 12:19
  Speaker 3: hour and six minutes. But we've got a lot of
• 12:22
  Speaker 3: just fresh faces and horror and I and I'm and
• 12:24
  Speaker 3: they're bringing the goods. So yeah, it's very exciting. Man.
• 12:30
  Speaker 3: I am so excited for Obsession that's not till May,
• 12:33
  Speaker 3: and then Evil Dead is July, I want to say,
• 12:38
  Speaker 3: early July. So we've got some good stuff on the
• 12:40
  Speaker 3: horizon here. I mean, I am also excited for Insidia six,
• 12:44
  Speaker 3: but that is just solely based on the trailer I
• 12:47
  Speaker 3: saw and the fact that we are not following the
• 12:49
  Speaker 3: same family. This seems to be a completely new timeline,
• 12:53
  Speaker 3: and that's exactly what this franchise needs. We need to
• 12:55
  Speaker 3: step away from what we already have established move on
• 12:59
  Speaker 3: to a different story. So a lot of good things.
• 13:01
  Speaker 2: Also need to move away from the Tiptoe by the
• 13:03
  Speaker 2: Windows song.
• 13:04
  Speaker 3: Come on, Yeah, I think it's time. I do think
• 13:06
  Speaker 3: it's time. I always have the thought though, of like,
• 13:09
  Speaker 3: what would Tiny Tim think if he were alive to
• 13:11
  Speaker 3: see that? Like, I don't think he made that movie
• 13:14
  Speaker 3: with the anticipation that it was gonna be one of
• 13:16
  Speaker 3: the main themes of a horror fringe.
• 13:19
  Speaker 2: Not even a little bit. And I say that as
• 13:21
  Speaker 2: somebody who literally on my live streams every week right
• 13:24
  Speaker 2: now has a poster in a light up poster frame
• 13:27
  Speaker 2: of Tiny Tim's makeup face behind me. So you know
• 13:31
  Speaker 2: I love his shit.
• 13:32
  Speaker 3: Oh it's amazing.
• 13:34
  Speaker 2: I'm one of maybe three people in the world that
• 13:36
  Speaker 2: can say that.
• 13:39
  Speaker 3: A couple things for me real quick. I have missed
• 13:41
  Speaker 3: out on talking about my cult movie challenges, so I'm
• 13:45
  Speaker 3: gonna catch up on those rather quickly here. So I
• 13:49
  Speaker 3: think it was Republic Pictures Week from a couple of
• 13:53
  Speaker 3: weeks back. I did a movie called The Crime of
• 13:55
  Speaker 3: doctor Cresby, and let me tell you, the plot sounded
• 13:59
  Speaker 3: a lot more interesting than what we actually got. So
• 14:03
  Speaker 3: the plot, for anyone who hasn't heard of it, is
• 14:06
  Speaker 3: achrazy scientist and vinces a serum that induces a catatonic state,
• 14:10
  Speaker 3: and anyone who gets the injection. He uses the serum
• 14:13
  Speaker 3: to paralyze his enemies in order to bury them alive.
• 14:17
  Speaker 3: That is a very very harsh misrepresentation of what happened
• 14:22
  Speaker 3: in this movie. It kind of YadA YadA for about
• 14:25
  Speaker 3: forty minutes, and then the last it's only a fifty
• 14:27
  Speaker 3: nine minute movie, and then the last fifteen minutes, I
• 14:30
  Speaker 3: was like, that was pretty good. Don't recommend it, honestly,
• 14:34
  Speaker 3: not what It also has the tagline it starts where
• 14:37
  Speaker 3: Frankenstein left off, and it couldn't be further from anything
• 14:41
  Speaker 3: regarding Frankenstein. So I think that's just a very very
• 14:45
  Speaker 3: mismarketed movie. Next, we have a movie called Phase four,
• 14:49
  Speaker 3: and this was the seventies Disaster Week. I picked this
• 14:53
  Speaker 3: one because I had the Vinegar Syndrome release of it,
• 14:57
  Speaker 3: but I hadn't watched it yet, and I solely because
• 15:00
  Speaker 3: of the fact that it had a three point five
• 15:03
  Speaker 3: and if a Vinegar Syndrome release has that high of
• 15:06
  Speaker 3: a rating, I know it's gonna be good. Typically they're
• 15:09
  Speaker 3: pretty low and I'll still buy them. But I don't
• 15:12
  Speaker 3: even want to describe this movie. It's just it's ants attacking.
• 15:14
  Speaker 3: That's what I'm gonna leave you with. I've never i
• 15:17
  Speaker 3: haven't been this fascinated by such a isolated movie before.
• 15:22
  Speaker 3: From nineteen seventy four, directed by Saul Bass. He actually
• 15:25
  Speaker 3: did a lot of title designs for Alfred Hitchcock, like
• 15:29
  Speaker 3: Psycho Vertigo, north By Northwest, so he did a lot
• 15:33
  Speaker 3: of title sequences, and the title sequence in this is amazing.
• 15:37
  Speaker 3: There's a lot of great visual effects. Gave that one
• 15:40
  Speaker 3: a four and a half. And then, lastly, for Dick Miller,
• 15:43
  Speaker 3: week I watched a Bucket of Blood, directed by Roger Corman.
• 15:46
  Speaker 3: I had never seen this. I had heard about it,
• 15:49
  Speaker 3: but I didn't know what it was about, and honestly
• 15:52
  Speaker 3: not what I was expecting. But it was fascinating. Dick Miller,
• 15:56
  Speaker 3: It's so good. It started off and I'm just like, Okay,
• 16:01
  Speaker 3: this is listened as a horror movie. It's primarily a comedy,
• 16:04
  Speaker 3: but there's the movie went on. This one's only an hour.
• 16:06
  Speaker 3: In like six minutes. As the movie went on, I
• 16:08
  Speaker 3: was like, this is really one original, especially since it
• 16:13
  Speaker 3: was nineteen fifty nine. I mean, this feels way ahead
• 16:15
  Speaker 3: of its time. And Dick Miller was fantastic. I have
• 16:19
  Speaker 3: only seen him in small roles here and there, you know,
• 16:23
  Speaker 3: like in The Howling or Chopping Mall or whatever. And
• 16:26
  Speaker 3: funny enough, the character that he plays in a Bucket
• 16:30
  Speaker 3: of Blood is the same name that he plays in
• 16:33
  Speaker 3: Chopping Mall in the Howling, Like he has the same
• 16:36
  Speaker 3: character name. So there's like this little mini universe where
• 16:41
  Speaker 3: he's just the same character in all of these small movies.
• 16:43
  Speaker 3: I thought that was very interesting. So that's what I've
• 16:46
  Speaker 3: watched for cult movie challenges. I would talk about The Mummy,
• 16:50
  Speaker 3: but I've already made a TikTok. I've already made an
• 16:52
  Speaker 3: hour and a half long discussion about it with Corey
• 16:54
  Speaker 3: that'll be posted soon, and I'm gonna be reviewing it
• 16:57
  Speaker 3: with my friend Derek. I don't get the hate. I
• 16:59
  Speaker 3: think people need to chill. It is not an Evil
• 17:01
  Speaker 3: Dead Rise ripoff, and that's where I'll leave it at.
• 17:04
  Speaker 3: Everyone just keeps saying, oh, it's Evil Dead Rise to
• 17:07
  Speaker 3: me it's not. Go check the TikTok. I gave you
• 17:09
  Speaker 3: six reasons why it's not. And then before we move
• 17:12
  Speaker 3: on to the body count, obviously, I want to talk
• 17:15
  Speaker 3: a little bit about Ryan because he's a jack of
• 17:18
  Speaker 3: all trades here. I mean, what don't you do? At
• 17:21
  Speaker 3: this point? I feel like the things that you don't
• 17:24
  Speaker 3: do would be a shorter list. Honestly, you're not what.
• 17:29
  Speaker 2: I said, I'm not in a band anymore.
• 17:31
  Speaker 3: Okay, all right, so you recently? So you when did
• 17:35
  Speaker 3: you started Someone's Favorite Productions? When did you start the
• 17:38
  Speaker 3: podcast group?
• 17:39
  Speaker 2: Here? A fall of twenty twenty four.
• 17:43
  Speaker 3: Okay, so pretty recent and he's been adding to that
• 17:46
  Speaker 3: for since then. I mean, what do you have? Thirty
• 17:49
  Speaker 3: or thirty shows? Now?
• 17:50
  Speaker 2: Yeah, we're just over thirty shows active on the network
• 17:53
  Speaker 2: I believe, or around thirty shows with one that just
• 17:56
  Speaker 2: launched this week. We've got another one about to launch
• 17:58
  Speaker 2: here soon, and then one within the next six or
• 18:01
  Speaker 2: eight weeks. So yeah, just constantly kind of growing. And
• 18:05
  Speaker 2: one of those two that I just teased is actually
• 18:07
  Speaker 2: gonna be me being heavily involved in it yet another one.
• 18:09
  Speaker 3: So how many do you have at this point?
• 18:13
  Speaker 2: I think three or four. Uh, and then there's one
• 18:17
  Speaker 2: that or no, there's two well technically as three that
• 18:21
  Speaker 2: are just not active anymore, that are on the network
• 18:22
  Speaker 2: as well. And then yeah, it's it's a lot. It's
• 18:27
  Speaker 2: it's too much.
• 18:28
  Speaker 3: It's a lot. So he he he does a lot
• 18:30
  Speaker 3: of podcasting, is uh. Someone's Favorite Productions has a vast library.
• 18:34
  Speaker 3: I mean, we're talking two podcasts about audio commentaries. I
• 18:39
  Speaker 3: didn't even know there was one out there. There there
• 18:41
  Speaker 3: are two, just so many different you know, You've got
• 18:46
  Speaker 3: Tumbleweeds and Tumbleweeds and.
• 18:49
  Speaker 2: Something beat Cowboys.
• 18:49
  Speaker 3: There we go all Western stuff. I mean, there's literally
• 18:53
  Speaker 3: something for everyone on Someone's Favorite Production. And then recently
• 18:56
  Speaker 3: you started a production company and I remember you talking
• 19:00
  Speaker 3: on Michael's podcast Shameless Picture Show about how it was
• 19:03
  Speaker 3: kind of a joke at first between you and some
• 19:05
  Speaker 3: friends and then oh, now here we are and we're
• 19:07
  Speaker 3: releasing things and this is gaining traction. So what what's
• 19:13
  Speaker 3: the plan for you and Antenna, Like, what what is
• 19:16
  Speaker 3: your goal? I guess you want to say with the
• 19:18
  Speaker 3: production company overall, well.
• 19:20
  Speaker 2: And to make to make it more this podcast centric
• 19:23
  Speaker 2: that friend that you're alluding to, and this is going
• 19:25
  Speaker 2: to sound like I'm name dropping. I promise I'm not.
• 19:27
  Speaker 2: But the person that that joke was with was with
• 19:30
  Speaker 2: Francis Galopi, who is currently in New Zealand directing Evil
• 19:34
  Speaker 2: Dead Wrath. So Francis Gloopy is the co owner of
• 19:37
  Speaker 2: Antenna with me wow wow to uh, never mind, I
• 19:43
  Speaker 2: probably shouldn't say that next sentence. We'll all say that
• 19:45
  Speaker 2: after the recording, gotcha. So that joke with Francis Gloopy
• 19:49
  Speaker 2: kind of devolved in a way where I was interviewing him.
• 19:51
  Speaker 2: We were geeking out about like supplemental features and old
• 19:54
  Speaker 2: Criterion releases that we loved and stuff like that, and
• 19:56
  Speaker 2: he said, man, should you and I start a Blu
• 19:58
  Speaker 2: ray company? And I was like, ah, yeah, wait, are
• 20:00
  Speaker 2: you serious? And I showed up at his house three
• 20:04
  Speaker 2: months later and like produced a full business plan proposal wow,
• 20:08
  Speaker 2: and he just kind of silently nodded his head and
• 20:11
  Speaker 2: after a few minutes went all right, I'm in. This
• 20:14
  Speaker 2: is gold and Antenna is now a full service distribution company.
• 20:18
  Speaker 2: We launched publicly in January of twenty twenty six. I've
• 20:21
  Speaker 2: been working behind the scenes on this for almost two
• 20:24
  Speaker 2: full years. I've got our third part of the Tripod
• 20:27
  Speaker 2: as mister Billy Ray Bruton, who is an incredible film programmer.
• 20:31
  Speaker 2: He's worked in film festivals for almost twenty years. And
• 20:34
  Speaker 2: we have our first theatrical release coming out in just
• 20:38
  Speaker 2: under a month, Stolen Kingdom, which is a documentary about
• 20:42
  Speaker 2: Disney fanatics who went to Disney World, got off of
• 20:45
  Speaker 2: rides and went urban exploring to the back parts of
• 20:47
  Speaker 2: the lot that they weren't supposed to. Some of them
• 20:49
  Speaker 2: started stealing some things and now there's some mystery and
• 20:51
  Speaker 2: intrigue involved in it. It ends up being a documentary
• 20:54
  Speaker 2: about urban exploring about love of Disney and that whole
• 20:58
  Speaker 2: like backlot world they have, but it sort of evolves
• 21:02
  Speaker 2: into this genuine true crime documentary. Like there's CCTV footage
• 21:06
  Speaker 2: in this documentary. There's people full blown admitting to crimes
• 21:09
  Speaker 2: in this documentary, and it it plays like a comedy.
• 21:13
  Speaker 2: It is like the most uproariously funny documentary I've ever seen.
• 21:18
  Speaker 2: It's incredible. We are going on a full twenty one
• 21:21
  Speaker 2: city national road show in May from May twenty first
• 21:24
  Speaker 2: to June fourteenth, where we're gonna have the filmmakers in
• 21:27
  Speaker 2: person with the film. You can watch it as some
• 21:29
  Speaker 2: of the biggest picture houses in the US, places like
• 21:31
  Speaker 2: the Music Box in Chicago, Smadcastle, Kevin Smith's Theater in
• 21:35
  Speaker 2: New Jersey, We're playing New York City, We're playing the
• 21:37
  Speaker 2: enz In in Orlando for a week before we go
• 21:39
  Speaker 2: on tour.
• 21:40
  Speaker 3: Let's go. That's like, yeah, ten minutes from my house, dude.
• 21:44
  Speaker 2: It is there going to be everywhere. And then on
• 21:46
  Speaker 2: top of that, during that road show, it's gonna be
• 21:48
  Speaker 2: playing literally like more than one hundred and fifty other
• 21:52
  Speaker 2: theaters across Loves. It's gonna be a worldwide release eventually.
• 21:55
  Speaker 2: But the crazy thing is everybody's like, oh my god,
• 21:57
  Speaker 2: you've got this film. Yeah, that's not it. We have
• 22:00
  Speaker 2: theatrical releases planned from now until next June. At the
• 22:03
  Speaker 2: very least. We've got a huge slate coming. We've got
• 22:07
  Speaker 2: films that are going to blow some people away that
• 22:09
  Speaker 2: we have attached to us. For such a new company,
• 22:11
  Speaker 2: it's wild. But the bigger, more exciting part for me
• 22:15
  Speaker 2: because of the life that I live, is starting this fall.
• 22:18
  Speaker 2: Our first physical media release will be coming out somewhere
• 22:21
  Speaker 2: around October November December. ISSU you'll be able to hear
• 22:23
  Speaker 2: about that. It is something that's going to be hopefully
• 22:26
  Speaker 2: exciting for quite a few people. I'm very excited to
• 22:28
  Speaker 2: release it, and we just sort of finalized our first
• 22:32
  Speaker 2: three releases, which I'm very very happy to see what
• 22:35
  Speaker 2: we're ending up with. And it's gonna be a unique slate.
• 22:38
  Speaker 2: It's really just stuff that we love. It's not just horror,
• 22:40
  Speaker 2: it's not just genre. It's not just contemporary films either.
• 22:43
  Speaker 2: It's all across the board, stuff that will make people happy,
• 22:46
  Speaker 2: stuff that will make people excited hopefully to buy physical media. Again.
• 22:50
  Speaker 3: I love that, and I know you think you mentioned
• 22:52
  Speaker 3: primarily you are focusing on like newer movies that haven't
• 22:56
  Speaker 3: got the love, But really what you're saying is anything
• 22:59
  Speaker 3: is on the tape if we can get our hands on.
• 23:01
  Speaker 2: It well, and beyond that, there's stuff that people are
• 23:06
  Speaker 2: going to see a physical release from that they're going
• 23:08
  Speaker 2: to think was never even possible to see on a disc,
• 23:12
  Speaker 2: which is very exciting.
• 23:13
  Speaker 3: I love that. Yeah, I remember the announcement of that
• 23:16
  Speaker 3: and I got very excited, and it seems like things
• 23:18
  Speaker 3: are taking off in the best way possible. So I
• 23:20
  Speaker 3: am over the moon for you, and I cannot wait
• 23:23
  Speaker 3: to see where this goes because yeah, we need to
• 23:26
  Speaker 3: preserve physical media and you are actively doing that. So
• 23:30
  Speaker 3: I salute you, sir, and you're best your service to
• 23:33
  Speaker 3: the physical media community. I feel like I'm missing something.
• 23:37
  Speaker 3: Someone's favorite productions and Tender Releasing was there.
• 23:40
  Speaker 2: Disconnected, There we go Avocate, there you go.
• 23:43
  Speaker 3: Goodness gracious, yeah, disconnected. You can follow them all over
• 23:48
  Speaker 3: social media. They do weekly shows. And then of course
• 23:51
  Speaker 3: the Physical Media Advocate, which also kind of started off
• 23:54
  Speaker 3: not as a joke, but as like what like six
• 23:58
  Speaker 3: page pdf that people read and they were like, no,
• 24:00
  Speaker 3: we want more of this.
• 24:02
  Speaker 2: Do more.
• 24:03
  Speaker 3: You're like yeah, And.
• 24:05
  Speaker 2: Now we're up to like some of our issues are
• 24:08
  Speaker 2: somewhere between fifty and sixty pages that come out every
• 24:10
  Speaker 2: single month. We're on sale in stores in four different
• 24:14
  Speaker 2: countries now, which is mind blowing to me, and across
• 24:17
  Speaker 2: the US it's in like fifteen or sixteen different stores
• 24:19
  Speaker 2: and growing kind of like every other month. Right now,
• 24:21
  Speaker 2: it's wild beyond that kind of an exclusive tease because
• 24:25
  Speaker 2: I've not announced this anywhere else. We've got our first
• 24:29
  Speaker 2: special issue coming out this year that's not a part
• 24:31
  Speaker 2: of our monthly issues. It's like our Sports Illustrated swimsuit issue.
• 24:35
  Speaker 2: And the big thing is you're not even going to
• 24:38
  Speaker 2: be allowed to buy it in those stores or on Amazon.
• 24:41
  Speaker 2: It's going to be from one individual entity. But there's
• 24:44
  Speaker 2: going to be plenty of copies celebrating a certain anniversary
• 24:47
  Speaker 2: of something. So keep your eyes peeled.
• 24:49
  Speaker 3: Okay, all right, I'm trying to think of anniversaries and
• 24:52
  Speaker 3: I'm like, you know, that's just not going to do
• 24:54
  Speaker 3: me any good because there's a lot coming up, and
• 24:56
  Speaker 3: I'm sure it's not specifically horror related because the physical
• 25:00
  Speaker 3: The Advocate covers pretty much everything I wrote. I wrote
• 25:04
  Speaker 3: something for the one I think it was the last
• 25:06
  Speaker 3: issue Baptized in Blood, my experience with religion and horror,
• 25:10
  Speaker 3: and then I'm also doing one for the lgbt Q
• 25:13
  Speaker 3: kind of copy of that during Pride Month, which I'm
• 25:17
  Speaker 3: very excited for. I've been working on that very hard.
• 25:20
  Speaker 3: And it's just funny how I came to think about
• 25:23
  Speaker 3: the idea, because I was just I had just watched
• 25:25
  Speaker 3: that movie and we watched the remake of it, and
• 25:29
  Speaker 3: now we're watching the mini series and I'm like, I
• 25:32
  Speaker 3: think I have an idea for something that would be
• 25:34
  Speaker 3: really interesting because this character is fascinating to me in
• 25:37
  Speaker 3: her progression over all these years. So go check Ryan
• 25:42
  Speaker 3: out everywhere, my God. At the end of the episode,
• 25:45
  Speaker 3: we will do all the plugs and all the places
• 25:47
  Speaker 3: you can find him. Unless you have anything else, we
• 25:50
  Speaker 3: can roll into the body count here, No anything else
• 25:56
  Speaker 3: you want to announce or tease?
• 25:58
  Speaker 2: No, I think that's already okay, all.
• 26:00
  Speaker 3: Right, too much, so let's roll into the body count.
• 26:03
  Speaker 3: Then blast my ears drums off every time? All right?
• 26:10
  Speaker 3: This is let the right one in from two thousand
• 26:12
  Speaker 3: and eight, released on December twelfth of that year in
• 26:15
  Speaker 3: the US. It is rated R for some bloody violence,
• 26:17
  Speaker 3: including disturbing images, brief nudity and language, mild sex and nudity,
• 26:22
  Speaker 3: severe violence and gore, mild profanity, mild alcohol, drugs and smoking,
• 26:27
  Speaker 3: and moderate frightening and intense scenes, coming in at an
• 26:30
  Speaker 3: hour and fifty four minutes. Listed as a drama fantasy,
• 26:33
  Speaker 3: horror romance. Directed by Thomas Alfredson. The only thing I
• 26:38
  Speaker 3: recognized that he directed was Tinker Taylor Soldier Spy. That's
• 26:42
  Speaker 3: a tough one to say, but he also directed something
• 26:45
  Speaker 3: called The Snowman. Doesn't have great ratings, but it has
• 26:48
  Speaker 3: Michael Fassbender and Rebecca Ferguson.
• 26:51
  Speaker 2: So, speaking of physical media, kegl Over Beet released that
• 26:54
  Speaker 2: on four K and I will say it is one
• 26:57
  Speaker 2: of the worst movies ever made.
• 26:58
  Speaker 3: Oh no, I'm still gonna buy it. I'm still gonna
• 27:02
  Speaker 3: buy it.
• 27:03
  Speaker 2: I mean it'll be eighteen dollars on sales.
• 27:05
  Speaker 3: Yeah, why not? Written by John asv day lying Vist. Sorry,
• 27:10
  Speaker 3: these are Swedish names. I am doing my best. He
• 27:13
  Speaker 3: actually wrote the novel of Let the Right One End,
• 27:16
  Speaker 3: and he has done some other Swedish movies and TV
• 27:18
  Speaker 3: that that I just haven't heard of. Composed by Johan Soderkvist,
• 27:23
  Speaker 3: who also composed Madam Webb. Cinematography by Hoyt van Houdema,
• 27:29
  Speaker 3: so they really got lazy with his first name. He
• 27:32
  Speaker 3: also did the cinematography for Interstellar, Nope, and Oppenheimer, so
• 27:37
  Speaker 3: he has gone up in the world. I would say
• 27:39
  Speaker 3: he's also doing apparently yeah, and also the upcoming Odyssey
• 27:45
  Speaker 3: from Christopher Nolan. He seems to be Nolan's guy from
• 27:49
  Speaker 3: Interstellar and on. Edited by two people, the director Thomas Alfredson,
• 27:54
  Speaker 3: who has mostly edited short films, and then Dino john
• 27:59
  Speaker 3: Sator who all so edited Tinker told see I can't
• 28:02
  Speaker 3: even say it. Tinker Taylor's soldier Spy Ugh starring care
• 28:07
  Speaker 3: headed Brandt as Oscar. This is actually his first acting
• 28:11
  Speaker 3: credit and he only did one other movie called Cubans Ball,
• 28:14
  Speaker 3: so he did not do much after acting after this movie.
• 28:17
  Speaker 3: Lena Lee Anderson is now is it?
• 28:20
  Speaker 2: Is it?
• 28:20
  Speaker 3: Ellie? Is that how it's pronounced?
• 28:22
  Speaker 2: Or ee it's Eely?
• 28:24
  Speaker 3: Okay? Yeah. This was also her first credit ever, and
• 28:27
  Speaker 3: she only did two other movies after this, so I
• 28:29
  Speaker 3: find that very interesting that they were in a pretty
• 28:32
  Speaker 3: popular movie and then just didn't do much else. We
• 28:36
  Speaker 3: have per Ragnar as Hakan. He has a lot of
• 28:39
  Speaker 3: credits for TV about forty compared to nineteen movies. Then
• 28:44
  Speaker 3: we have Henry Dallas Eric only thirteen credits, nothing I recognize.
• 28:48
  Speaker 3: That's kind of part for the course with some with
• 28:50
  Speaker 3: some foreign films that we do. And then Karen Bergquist
• 28:54
  Speaker 3: as Yvonne with twenty eight credits and nothing I recognized.
• 28:57
  Speaker 3: Estimate a budget of four million, grossing eleven point two million.
• 29:03
  Speaker 3: Filmed in Stockholm, Sweden. You can watch this on Prime
• 29:07
  Speaker 3: if you do a free trial for Monsters and Nightmares
• 29:09
  Speaker 3: and then just cancel it. But now, of course, after
• 29:12
  Speaker 3: I've told people to do that on the last episode.
• 29:14
  Speaker 3: It's on Plex now. So that's fun. Movies that came
• 29:17
  Speaker 3: out around the same time. We have a very odd
• 29:20
  Speaker 3: blend of movies. Twilight, Thanks, Killing Yes Man, The Daily Earth,
• 29:25
  Speaker 3: Stood Still, Seven Pounds, Marley and Me, Paul Blart, Mall Coop,
• 29:31
  Speaker 3: My Bloody Valenzine, The Unborn, and a movie I did
• 29:34
  Speaker 3: not know even existed, but The Butterfly Effect. Three Revelations.
• 29:41
  Speaker 3: I didn't know there was three of them. So there
• 29:43
  Speaker 3: you go. IMDb summary. A bullied boy forms a unique
• 29:47
  Speaker 3: friendship with his new neighbor, a peculiar, peculiar girl with
• 29:51
  Speaker 3: a dark secret. Let's roll in to the autopsy. All right,
• 29:57
  Speaker 3: So you've said you enjoy this movie, but it's been
• 29:59
  Speaker 3: a while since you've revisited at what are your overall
• 30:03
  Speaker 3: thoughts on the movie as a whole?
• 30:05
  Speaker 2: Overall? I am interested in so many aspects of the
• 30:09
  Speaker 2: discourse on this movie. I mean, there's a lot of
• 30:11
  Speaker 2: people who came out when this first came out and
• 30:14
  Speaker 2: talked about this beautiful love story between children, and there's
• 30:18
  Speaker 2: people that looked at this as a I hate to
• 30:22
  Speaker 2: say it like this, but like a pedophilia fever dream. Yep,
• 30:25
  Speaker 2: there's a lot of people who watched a movie like
• 30:27
  Speaker 2: this and said it was a boring slog. There's a
• 30:30
  Speaker 2: lot of people that watched this movie and said it
• 30:32
  Speaker 2: was an art house masterpiece. And somehow I watched this
• 30:36
  Speaker 2: movie in twenty twenty six and think, yeah, they're all
• 30:39
  Speaker 2: kind of right. Yeah, I mean, it's truly a wonderful movie.
• 30:43
  Speaker 2: But at the same time, it is like this really
• 30:46
  Speaker 2: beautiful story about friendship in a relationship that should not
• 30:49
  Speaker 2: exist because it's wrong at the heart of it. It
• 30:52
  Speaker 2: is beautifully told, it is wonderfully shot. Obviously, Hoyt got
• 30:57
  Speaker 2: famous for a reason. This is one of the films
• 31:00
  Speaker 2: Meet Him become an incredible DP. It is in a
• 31:04
  Speaker 2: way it is a touch long in the tooth, especially
• 31:07
  Speaker 2: in the second act. It probably could have shed fifteen
• 31:10
  Speaker 2: minutes and been absolutely golden. But at the same time,
• 31:13
  Speaker 2: I still walk away going that was kind of a masterpiece.
• 31:17
  Speaker 2: Like it's so artfully told and made and just tender
• 31:22
  Speaker 2: in the way they approach everything. It's it is a
• 31:25
  Speaker 2: like forbidden love story for multiple reasons, and that's why
• 31:29
  Speaker 2: for especially for Ellie or Ee, it is it is
• 31:34
  Speaker 2: a tragedy. It is something that is wrought like it's
• 31:37
  Speaker 2: truly like a grooming relationship. Well, we'll get into all that,
• 31:41
  Speaker 2: I'm sure.
• 31:43
  Speaker 3: So my overall thoughts, I know I had seen the
• 31:46
  Speaker 3: rit or, sorry, the remake Let Me In with Chloe
• 31:48
  Speaker 3: Grace Moretz. I'm a sucker for her. I just love
• 31:51
  Speaker 3: her in movies. I think she's a I think she's
• 31:53
  Speaker 3: a great actress. I couldn't remember if i'd seen Let
• 31:57
  Speaker 3: the Right One In, and watching it, I'm like, I
• 31:59
  Speaker 3: feel I have, but I might just be remembering the remake. It.
• 32:04
  Speaker 3: This movie was very interesting, and I'm very, very divided
• 32:07
  Speaker 3: on it because I feel it was beautifully told, it
• 32:10
  Speaker 3: was beautifully shot, but I just feel like there is
• 32:14
  Speaker 3: I think, like you said, there's this weird disc well
• 32:16
  Speaker 3: not discourse, what's the word I'm looking for. There's this
• 32:19
  Speaker 3: disconnect that the remake doesn't have. Everything feels a little
• 32:24
  Speaker 3: more connected in the remake, and like I can connect
• 32:28
  Speaker 3: to this person or that person. There's everyone in Let
• 32:31
  Speaker 3: the Right One In feels so disconnected from each other,
• 32:34
  Speaker 3: and I don't know if that's the point of it.
• 32:37
  Speaker 3: So maybe through the through this conversation, we'll figure it out,
• 32:40
  Speaker 3: because I'm still I'm on the fence on if I
• 32:43
  Speaker 3: if I really enjoyed it, or if I just thought
• 32:45
  Speaker 3: it was a little bland for me, Like maybe it's
• 32:48
  Speaker 3: entirely possible this just I'm not the target audience, you
• 32:51
  Speaker 3: know what I mean, Like this just isn't a movie
• 32:53
  Speaker 3: for me. But like I said, I'm kind of hoping
• 32:55
  Speaker 3: we by the end of this get to where I'm like, Okay,
• 32:58
  Speaker 3: yes I do, or maybe it's just not for me.
• 33:02
  Speaker 3: So where I wanted to start because I thought this
• 33:05
  Speaker 3: was very interesting since we are on Vampire month, I
• 33:07
  Speaker 3: wanted to kind of briefly go over some foreign vampire
• 33:10
  Speaker 3: movies because honestly, there's not a lot out there that
• 33:15
  Speaker 3: are instantly recognizable. I filtered IMDb and of course I've
• 33:19
  Speaker 3: got I got about you know. I included every country
• 33:22
  Speaker 3: except for the United States, but it still included the
• 33:24
  Speaker 3: United States because there are some that are you know,
• 33:28
  Speaker 3: United States and Japan or whatever. So I narrowed down
• 33:31
  Speaker 3: to like a few movies here because obviously you have
• 33:34
  Speaker 3: the original No s Farratu nineteen twenty two in Germany.
• 33:37
  Speaker 3: You have Vampires from nineteen seventy four UK knows Faratu
• 33:41
  Speaker 3: the Vampire again in Germany, and then the Vampire Hunter series.
• 33:45
  Speaker 3: You have Vampire Hunter D and then Bloodlust. Those are
• 33:50
  Speaker 3: both from Japan. Thirst South Korea by Zantium, which I
• 33:54
  Speaker 3: didn't know was a vampire movie, but after reading the
• 33:58
  Speaker 3: description it is from The Only Lovers Left Alive, which
• 34:02
  Speaker 3: is a very underrated vampire movie. I love that one
• 34:06
  Speaker 3: that's from the UK. Rigor Mortis from the Hong Kong,
• 34:09
  Speaker 3: from the Hong Kong. From Hong Kong, A girl walks
• 34:12
  Speaker 3: home alone at night, that's actually from Iran or Iran,
• 34:15
  Speaker 3: and then What we Do in the Shadows from New
• 34:17
  Speaker 3: Zealand and Blood Red Sky. Those are about the only
• 34:20
  Speaker 3: ones that stood out to me. There was about a
• 34:22
  Speaker 3: few hundred, but I mean they were all just very niche,
• 34:25
  Speaker 3: very you know, like poorly rated. So I find it
• 34:28
  Speaker 3: very interesting that there's not very many iterations of vampire
• 34:34
  Speaker 3: movies except from Germany. They seem to pump out the most.
• 34:37
  Speaker 3: And I guess that makes sense because that's kind of
• 34:39
  Speaker 3: where the vampire originated from, you know, no Speratu being
• 34:43
  Speaker 3: the unofficial adaptation of Dracula, that's why all the names
• 34:46
  Speaker 3: were changed. But the thing I find most interesting and
• 34:49
  Speaker 3: maybe you can provide some insight on this is why
• 34:53
  Speaker 3: it see vampires feel so like so French to me,
• 34:57
  Speaker 3: and I wonder why they don't. There's not very many
• 35:00
  Speaker 3: French vampire films. I don't know if you have any
• 35:04
  Speaker 3: any answer to that, because you know, the French are
• 35:07
  Speaker 3: very open, They're very open with their sexuality, and vampires
• 35:10
  Speaker 3: are horny as fuck. I mean they are like traditional
• 35:13
  Speaker 3: vampires are just horny. So I'm trying to wonder why
• 35:18
  Speaker 3: they don't dive into that, and Gabby mentioned it might
• 35:20
  Speaker 3: be because of the fact that they are so free
• 35:22
  Speaker 3: with their body and sexuality that it wouldn't appeal to
• 35:25
  Speaker 3: the people in France. It feels so much more geared
• 35:29
  Speaker 3: toward American audiences. But you know, I mean, God, I
• 35:33
  Speaker 3: filtered through Americans or vampire movies and there was like
• 35:37
  Speaker 3: four hundred and sixty seven, So I guess it just
• 35:39
  Speaker 3: seems to be that America is more interested in vampires
• 35:43
  Speaker 3: than most other countries. So I just found that interesting.
• 35:46
  Speaker 3: And of course you have our movie today, which is
• 35:47
  Speaker 3: probably the most highly rated vampire from Sweden, and it
• 35:51
  Speaker 3: seems to be the only one that Sweden put out
• 35:55
  Speaker 3: it's like they put out this huge hit, everyone loved it,
• 35:57
  Speaker 3: and then that's where they were like, all right, we
• 35:59
  Speaker 3: did our one. That's it, We're gonna stop.
• 36:02
  Speaker 2: Yeah. So very interesting that there are some French vampire movies.
• 36:07
  Speaker 2: I mean, you could argue that genre. Lan certainly did
• 36:11
  Speaker 2: some of those, some that are at least adjacent that
• 36:13
  Speaker 2: new Luke Bassan film Dracula just came out right year,
• 36:18
  Speaker 2: that's right. It's supposed to be pretty decent. Is really
• 36:20
  Speaker 2: good from a couple of years ago. The vord Loac
• 36:23
  Speaker 2: I believe it is how you say it, the Vordilac.
• 36:25
  Speaker 2: I believe that one was French, and that's supposed to
• 36:27
  Speaker 2: be like really great. It's supposed to be sort of
• 36:29
  Speaker 2: like very French like art house like white painted faces,
• 36:34
  Speaker 2: type of like uh seventeen hundred, sixteen hundred type of feeling. Okay,
• 36:40
  Speaker 2: I'm trying to think. Wasn't there one that just came
• 36:43
  Speaker 2: out like humanist vampire something. I believe that was.
• 36:47
  Speaker 3: French humanist vampire seeking something companion, yes, seeking consenting a
• 36:55
  Speaker 3: human or something. Yes, that one came out. What was
• 36:58
  Speaker 3: that one? Yeah? See I just feeled on IMDb. So
• 37:01
  Speaker 3: it's like it's kind of hit or miss there, because
• 37:03
  Speaker 3: that's the rist. It's like the best way I could
• 37:05
  Speaker 3: do it without googling. But yeah, I think that actually
• 37:08
  Speaker 3: might have been French. I am currently checking as we speak.
• 37:12
  Speaker 3: Oh yeah, scenting consenting suicidal person. Let's see here, Are
• 37:17
  Speaker 3: you French? Because I think it actually was, because that
• 37:20
  Speaker 3: movie was fucking beautiful. If you haven't seen Humanist Vampire,
• 37:24
  Speaker 3: it is so good. Country of origin we have Canada? Huh.
• 37:31
  Speaker 2: Maybe it's French Canada.
• 37:33
  Speaker 3: Oh, it could be. It could be the French Canadian side. Yeah,
• 37:36
  Speaker 3: because okay, the language is French, country of origin Canada,
• 37:40
  Speaker 3: So yes, French, French Canadian. Okay, so close enough, I'll
• 37:43
  Speaker 3: take that.
• 37:44
  Speaker 2: Okay, So that's I thought I remembered it being associated
• 37:47
  Speaker 2: with that. But maybe the biggest one that we probably
• 37:49
  Speaker 2: should call out because I believe I probably should have
• 37:53
  Speaker 2: looked this up beforehand, but I believe the original nineteen
• 37:56
  Speaker 2: thirties Vampire, I believe that is French. I think it's
• 38:00
  Speaker 2: Dryer was the director on that one?
• 38:02
  Speaker 3: For me?
• 38:03
  Speaker 2: The one that came out through Yeah, thirty two, thirty three,
• 38:05
  Speaker 2: something like that.
• 38:06
  Speaker 3: Okay, let's see here. Fantasy horror countries of origin German
• 38:13
  Speaker 3: and France, so are German.
• 38:14
  Speaker 2: It's a co production.
• 38:15
  Speaker 3: It's a co production, Okay, okay, So there are more
• 38:17
  Speaker 3: out there than I thought, and that I'm glad we
• 38:20
  Speaker 3: got to the to the end of that because I
• 38:22
  Speaker 3: was like, man, I'm not finding very many French horror movies.
• 38:25
  Speaker 3: But yeah, I still find it fascinating that there is
• 38:28
  Speaker 3: a like a myriad of vampire movies from other countries.
• 38:31
  Speaker 3: But again, the ones that are recognizable, it's just a
• 38:35
  Speaker 3: very short list. So you know, my wife loves vampire
• 38:39
  Speaker 3: movies and we watched this one together last night. She
• 38:42
  Speaker 3: was tired, so I don't know if that affected her
• 38:45
  Speaker 3: her feelings on it, but she was not really into
• 38:48
  Speaker 3: this one. Now now it's time for me to get
• 38:53
  Speaker 3: to where I have an answer on if this like
• 38:55
  Speaker 3: if I like this one for me, because something about
• 38:58
  Speaker 3: this movie is it's kind of deceptive. Right on the surface,
• 39:02
  Speaker 3: it is very quiet, it's minimal, it feels almost gentle
• 39:06
  Speaker 3: in places. This movie does not scream horror in the
• 39:10
  Speaker 3: way most films do. I don't think there's an immediate
• 39:13
  Speaker 3: sense of urgency other than eally needing blood to survive,
• 39:19
  Speaker 3: and there's not really even a constant escalation. It's not
• 39:23
  Speaker 3: trying to grab you by the throat and get your
• 39:26
  Speaker 3: attention it is. It's just they're kind of like lingering,
• 39:31
  Speaker 3: you know what I mean. Like it's not aggressive, it's
• 39:33
  Speaker 3: not overtly violent, although when you know when the violence happens,
• 39:37
  Speaker 3: it does. It does work because it's kind of shocking you.
• 39:41
  Speaker 3: You're watching this minimalist movie and then someone gets attacked
• 39:44
  Speaker 3: and you're like, the horror hits really well when it happens.
• 39:48
  Speaker 2: I feel, at least, Yeah, the art of that lingering
• 39:53
  Speaker 2: dread is kind of where I see this linging lingering
• 39:56
  Speaker 2: in my mind as a masterpiece. And that's primarily into
• 39:59
  Speaker 2: it being a Swedish film. I don't think this movie
• 40:03
  Speaker 2: works if you shoot it in Brooklyn, in Atlanta and
• 40:07
  Speaker 2: something like that. Like the art of it being so
• 40:12
  Speaker 2: impossibly cold that there's a foot plus of snow everywhere,
• 40:17
  Speaker 2: that everybody speaking, even when they're indoors, sometimes is so
• 40:20
  Speaker 2: cold that you can see their breath. The fact that
• 40:23
  Speaker 2: every single person that you see in this movie is
• 40:25
  Speaker 2: basically by themselves, unless they're a roving little band of
• 40:28
  Speaker 2: bullies coming after our main character. It's such an isolated,
• 40:34
  Speaker 2: constant terror that you are lonely, that you're stuck, that
• 40:39
  Speaker 2: you're left alone while your parents are at work, that
• 40:41
  Speaker 2: you're going outside to play on a playground in a
• 40:44
  Speaker 2: courtyard of an apartment building while it's nine degrees outside
• 40:48
  Speaker 2: of fair Neight, Like everything about this is just so impossibly,
• 40:54
  Speaker 2: like being slowed to a point of borderline death constantly
• 40:58
  Speaker 2: is where so much of this is interesting for me.
• 41:01
  Speaker 2: And that's that's what makes so much of this movie possible.
• 41:04
  Speaker 2: Because you get people walking alone home. You get people
• 41:08
  Speaker 2: that you can put into a river and they don't
• 41:12
  Speaker 2: find their body for a long period of time until
• 41:14
  Speaker 2: they're frozen block of ice that you can see somebody
• 41:17
  Speaker 2: that's outside and go, oh, that's pretty fucking weird and
• 41:20
  Speaker 2: creepy that there's just two kids holding still on a
• 41:22
  Speaker 2: playground at night time where it's constantly dark and everything
• 41:27
  Speaker 2: looks so cold that if you go outside for more
• 41:29
  Speaker 2: than ten minutes, you're going to be that block of ice.
• 41:31
  Speaker 2: It's just right, this weird, unsettling sort of why is
• 41:35
  Speaker 2: this happening like this?
• 41:36
  Speaker 3: No, And you're right, and it's and I like to
• 41:38
  Speaker 3: think about before EEE showed up, I mean it must
• 41:42
  Speaker 3: have just been Oscar out there. There's no other kids
• 41:44
  Speaker 3: in that fucking block right at all, so he must
• 41:46
  Speaker 3: have just been sitting out there, messing with the Rubik's cube,
• 41:50
  Speaker 3: kind of looking in on the neighbors, doing whatever. And
• 41:52
  Speaker 3: then of course Elee shows up, I'd say about the
• 41:55
  Speaker 3: same time. They both show up pretty quick, and both
• 41:57
  Speaker 3: iterations of the movie Chloe Garius Moretz and Richard Jenkins, who,
• 42:06
  Speaker 3: by the way, I think is brilliant in that film.
• 42:08
  Speaker 3: He is so good in that movie. So the timeline
• 42:11
  Speaker 3: is actually very on beat or very on the same pace,
• 42:15
  Speaker 3: and they hit a lot of the same beats. But
• 42:17
  Speaker 3: it's like Oscar and his mom are so disconnected. Oscar
• 42:21
  Speaker 3: and we actually get to see Oscar's dad in this movie.
• 42:24
  Speaker 3: The only time we get any mention of other kids
• 42:29
  Speaker 3: name I can't remember is a phone call at one point.
• 42:32
  Speaker 3: That's it. We actually get to see Oscar hang out
• 42:35
  Speaker 3: with his dad twice, and I don't know what that
• 42:39
  Speaker 3: was exactly for. Is it to show the disconnect between
• 42:42
  Speaker 3: them as well, because besides doing this the tubing outside,
• 42:46
  Speaker 3: they really seem very disconnected too. He even had that
• 42:48
  Speaker 3: friend come over and then they just started drinking and smoking,
• 42:51
  Speaker 3: and Oscar was like, I guess I'm just gonna sit
• 42:55
  Speaker 3: over here in the corner. So I'm wondering why they
• 42:57
  Speaker 3: even brought the father into a couple of scenes because
• 43:01
  Speaker 3: it just didn't feel like to me, it didn't feel
• 43:03
  Speaker 3: like it did anything for the movie. But maybe you can.
• 43:07
  Speaker 2: To me, that adds to the last thing we just
• 43:09
  Speaker 2: talked about is he's a child of a strained marriage.
• 43:11
  Speaker 2: He's the child of a parental relationship that doesn't feel
• 43:16
  Speaker 2: very loving. So it just adds to that isolating feeling. Okay,
• 43:19
  Speaker 2: nobody cares. Even the people that should by default care,
• 43:23
  Speaker 2: are so disconnected that he feels separate from everybody in
• 43:26
  Speaker 2: his life.
• 43:27
  Speaker 3: And of course at the same time between his mother
• 43:29
  Speaker 3: and his father, who are just so disconnected. He's also
• 43:33
  Speaker 3: being bullied at school by one kid primarily, but he's
• 43:36
  Speaker 3: got his little gang of people that are there kind
• 43:39
  Speaker 3: of tormenting him. And so this kid really is isolated, lonely,
• 43:45
  Speaker 3: has nobody. And that's why I feel like he takes
• 43:47
  Speaker 3: an interest in Elie, even though she states right up
• 43:50
  Speaker 3: front we can't be friends, and he's like, well why not,
• 43:52
  Speaker 3: just like we just can't, you know, like that's the
• 43:55
  Speaker 3: end of it. So you go from that to them
• 44:00
  Speaker 3: slowly starting this connection. And it's really weird because I
• 44:03
  Speaker 3: feel like their relationship progressed a lot quicker in this
• 44:08
  Speaker 3: version than it did And Let Me In. But at
• 44:11
  Speaker 3: the same point, halfway through the movie, you get that
• 44:14
  Speaker 3: scene with Elie's father in the hospital who is burned
• 44:18
  Speaker 3: himself with acid and then falls out of the window.
• 44:20
  Speaker 3: That happened at the same exact time fifty two minutes
• 44:24
  Speaker 3: in both movies, because they're both hour fifty four hour
• 44:27
  Speaker 3: fifty six. So I found that pretty fascinating. But their
• 44:29
  Speaker 3: relationship didn't seem to have the connection that Abby and
• 44:37
  Speaker 3: I can't remember his name, I'll look it up in
• 44:39
  Speaker 3: a second had and Let Me In? And is that
• 44:41
  Speaker 3: The point is that? Is that what the American version
• 44:45
  Speaker 3: was trying to do was was give it more connection.
• 44:48
  Speaker 3: I feel like that's what it had to be doing,
• 44:51
  Speaker 3: because even these two kids who are hanging out all
• 44:53
  Speaker 3: the time, they still feel disconnected, like so disconnected.
• 44:59
  Speaker 2: One thing, I don't know if you look too much
• 45:02
  Speaker 2: into this, but one of the biggest differences between the
• 45:05
  Speaker 2: remake and the original is how gendered the main relationship
• 45:09
  Speaker 2: is and let the right one in the book itself Eely,
• 45:13
  Speaker 2: we don't know for sure. Well, I guess I should
• 45:17
  Speaker 2: say the book is fairly explicit about it being that
• 45:20
  Speaker 2: Ee was a boy at one part, and there was
• 45:24
  Speaker 2: a attack that literally castrated Ely and it led to
• 45:28
  Speaker 2: this whole situation. And so not only is there an
• 45:31
  Speaker 2: age gap, but it's also a homosexual or transsexual type
• 45:36
  Speaker 2: of feeling approach to this relationship that it feels like
• 45:42
  Speaker 2: it's somebody perhaps trying to take advantage of appearing to
• 45:47
  Speaker 2: be younger to make a situation grooming happen where they're
• 45:51
  Speaker 2: just looking for a caretaker to happen. But in the remake,
• 45:54
  Speaker 2: it's very obvious that Chlory Gracemretz is a female, that
• 45:58
  Speaker 2: the other part antagonist is a male, and that they
• 46:01
  Speaker 2: are being taken advantage of by this person in a
• 46:04
  Speaker 2: very different state of power looking for somebody to be
• 46:07
  Speaker 2: a caretaker, looking for somebody that can go murder people
• 46:11
  Speaker 2: on their behalf, And that to me is a really
• 46:15
  Speaker 2: unique way to approach us, but obviously makes like the
• 46:18
  Speaker 2: way that it's written even maybe more like questionable on well,
• 46:22
  Speaker 2: this might even feel a little more icky at this
• 46:24
  Speaker 2: point depending on how you want to spin that and
• 46:26
  Speaker 2: what their actual intent of that was. But perhaps the
• 46:30
  Speaker 2: other thing that we could look at it is maybe
• 46:33
  Speaker 2: the actual core tragedy of this film is not our
• 46:36
  Speaker 2: main character, but actually that Richard Jenkins character, that caretaker character,
• 46:41
  Speaker 2: that individual that clearly was likely groomed sixty five years ago,
• 46:46
  Speaker 2: who's now so trapped that the main like death defying
• 46:51
  Speaker 2: portion of this film is when he can't escape except
• 46:55
  Speaker 2: by death, so he pours acid on his own face.
• 46:57
  Speaker 2: And that hospital scene of jumping out of the window
• 47:02
  Speaker 2: is so unique and tragic when you think about it. Yeah,
• 47:05
  Speaker 2: that might just be like the crux of this whole
• 47:08
  Speaker 2: film because now the second half of the movie it
• 47:11
  Speaker 2: matters a lot still, obviously because our main like innocent
• 47:15
  Speaker 2: child here is about to be taken advantage of. But
• 47:18
  Speaker 2: now it is only brought to be like poignant because
• 47:22
  Speaker 2: you realize he's just about to live. The first half
• 47:24
  Speaker 2: of the movie just has the older individual.
• 47:26
  Speaker 3: You know, that's that's a very very good point because
• 47:30
  Speaker 3: in the remake you actually get to see his name's Owen.
• 47:33
  Speaker 3: In the remake, you actually get to see him find
• 47:36
  Speaker 3: a picture of Abby and someone that's close to her age,
• 47:41
  Speaker 3: which is presumably the father Richard Jenkins, So you're right,
• 47:46
  Speaker 3: I mean, how many times has she done this where
• 47:49
  Speaker 3: she's found a boy that is a similar age to her,
• 47:52
  Speaker 3: because she says she's about twelve in both movies and
• 47:56
  Speaker 3: groomed them and then they just do this until they
• 47:59
  Speaker 3: can't do it anymore, and it's like, well, I have
• 48:01
  Speaker 3: to survive. She's not great at killing. I mean she's
• 48:05
  Speaker 3: only twelve years old. Yeah, she has some pretty pretty
• 48:10
  Speaker 3: good power, but she's only twelve. There's not much she
• 48:13
  Speaker 3: can do in attaining blood without really arising suspicion. So
• 48:18
  Speaker 3: I think it is Honestly, I think the crux of
• 48:20
  Speaker 3: this movie might be the father character because he's been
• 48:24
  Speaker 3: doing this for god knows how long, and I do
• 48:28
  Speaker 3: like Richard Jenkins. We get a little bit more of
• 48:30
  Speaker 3: that father in Let Me In, because he struggles with
• 48:35
  Speaker 3: the first kill that we see. He goes back and
• 48:38
  Speaker 3: Abby is like, why can't you do this? And he's like,
• 48:41
  Speaker 3: I think I'm just getting too old for this. So
• 48:44
  Speaker 3: he's been doing this for so long and he's like,
• 48:46
  Speaker 3: I am not. I'm at a point where I can't
• 48:48
  Speaker 3: do this anymore. And I think the acid scene is
• 48:52
  Speaker 3: a lot more effective. It's obviously more theatrical. And let
• 48:55
  Speaker 3: me in when he gets in the car wreck and
• 48:58
  Speaker 3: he is literally trapped in the car and then has
• 48:59
  Speaker 3: to pour the acid on himself. And this one, let
• 49:03
  Speaker 3: the Right One in. He has a young boy strung
• 49:07
  Speaker 3: up in the gym at a school, which, like, I
• 49:11
  Speaker 3: was questioning this man this entire time. The first kill
• 49:13
  Speaker 3: we see is in the forest, which was brightly lit,
• 49:17
  Speaker 3: which felt odd, and then the next one is like
• 49:19
  Speaker 3: at a school. I'm like, maybe you're getting too old
• 49:22
  Speaker 3: for this too, because the places you're trying to do
• 49:24
  Speaker 3: this are not very ideal for attaining this blood. But yeah,
• 49:29
  Speaker 3: then he pours the acid on his face and we
• 49:31
  Speaker 3: both have that moment of him in the hospital, you know,
• 49:34
  Speaker 3: he's basically unrecognizable, and she takes the you know, the
• 49:38
  Speaker 3: blood from him so he can give her one last
• 49:41
  Speaker 3: thing before he falls out of the window. And the
• 49:44
  Speaker 3: window falling scene and Let the Right One In was
• 49:48
  Speaker 3: a little bit more graphic because he doesn't just fall
• 49:50
  Speaker 3: straight to the ground. He fucking hits that like canopy,
• 49:54
  Speaker 3: like bam, and then goes on the ground and it
• 49:57
  Speaker 3: is such a gut wrenching scene. I mean that that
• 49:59
  Speaker 3: scene to like I said, it happens about halfway through
• 50:01
  Speaker 3: the movie, and it hits you on a hit in
• 50:05
  Speaker 3: both movies just hit me on such an emotional level.
• 50:07
  Speaker 3: But that's when Ee starts to be more you know,
• 50:12
  Speaker 3: buddy buddy with Oscar and Owen. So you know he's
• 50:18
  Speaker 3: doomed because he has no other but no other person,
• 50:22
  Speaker 3: not even his parents. So what else would you do
• 50:25
  Speaker 3: besides be with the person that wants to you know,
• 50:29
  Speaker 3: at least she says she wants to be with him. Yeah,
• 50:33
  Speaker 3: that is that's a I'm looking at it from that
• 50:35
  Speaker 3: way now, and I have a whole new kind of
• 50:38
  Speaker 3: perspective on the movie. When you when you brought that up,
• 50:40
  Speaker 3: that was an extremely good point.
• 50:42
  Speaker 2: Well, and the other aspect of the caretaker thing about
• 50:44
  Speaker 2: how I mean just how bumbling radiotic he is, about
• 50:47
  Speaker 2: how he's doing these kills. What you got to think
• 50:49
  Speaker 2: about too. The beginning of this movie is them moving
• 50:52
  Speaker 2: into this apartment building. How many times have they moved
• 50:54
  Speaker 2: over the last sixty years, So how many times has
• 50:56
  Speaker 2: he gotten caught or about to get caught? So he's
• 50:59
  Speaker 2: had to go to a different place. They've not lived
• 51:00
  Speaker 2: in Sweden their entire lives, or at least this part
• 51:02
  Speaker 2: of Sweden they've I mean that this easily could have gone,
• 51:06
  Speaker 2: you know, all over Europe, this could have been all
• 51:09
  Speaker 2: over the world. This could have been something that they've
• 51:11
  Speaker 2: moved every three years, and it's just kind it could
• 51:15
  Speaker 2: be even more often that it's just I'm about to
• 51:17
  Speaker 2: get caught. Time to leave, and it's just a completely
• 51:20
  Speaker 2: different world when you realize, yeah, this guy just does
• 51:23
  Speaker 2: not give a shit at all.
• 51:25
  Speaker 3: Like, yeah, in any way, in any way, yeah, because
• 51:28
  Speaker 3: I mean, at first glance, it does feel innocent. You know,
• 51:31
  Speaker 3: you have these two lonely kids finding each other, two
• 51:34
  Speaker 3: outsiders connecting in this world that doesn't seem to have
• 51:37
  Speaker 3: room for either one of them. One obviously is a vampire.
• 51:41
  Speaker 3: One is a kid that gets bullied. And then the
• 51:44
  Speaker 3: longer you stay with it, the more that feeling starts
• 51:45
  Speaker 3: to shift because Eli isn't Ellie isn't just another lonely kid.
• 51:50
  Speaker 3: She is something ancient. She is at a base level,
• 51:54
  Speaker 3: something predatory that fundamentally does not operate under human rules.
• 51:59
  Speaker 3: But the connect still feels real, and that I think
• 52:02
  Speaker 3: that's what makes it uncomfortable, because these two people should
• 52:05
  Speaker 3: not be together or be anywhere near each other. And
• 52:08
  Speaker 3: I think that's what makes it uncomfortable, because now that
• 52:10
  Speaker 3: you know, and do they state her actual age? Do they?
• 52:14
  Speaker 3: Because she said she's about twelve, But I mean, I
• 52:16
  Speaker 3: don't know if they actually put a number on how old.
• 52:18
  Speaker 3: I don't think so, but I mean it's got to
• 52:20
  Speaker 3: be a few hundred years. So it's like the question
• 52:24
  Speaker 3: is is like, is this companionship or is this just
• 52:26
  Speaker 3: dependency between Ely and Oscar? And I think it's more
• 52:30
  Speaker 3: dependency on her part, unbeknownst to him, of course. And
• 52:34
  Speaker 3: I don't really think he thinks he's being groomed. I
• 52:37
  Speaker 3: don't know if he's old enough or aware enough to
• 52:40
  Speaker 3: know exactly what that is. He just knows someone likes
• 52:43
  Speaker 3: him because she says she does, and he goes to
• 52:46
  Speaker 3: the point of basically leaving everything behind and going wherever
• 52:52
  Speaker 3: with her. And how the movie ends like that is
• 52:54
  Speaker 3: like so bleak, you know, because you feel sorry for Oscar,
• 52:58
  Speaker 3: but at the same time you feel feel good for
• 53:00
  Speaker 3: him because he's free of people who don't care about him.
• 53:03
  Speaker 3: But I mean, how much does Eli actually care about him?
• 53:08
  Speaker 3: That's why?
• 53:08
  Speaker 2: And That's why it's not it's not a dependency thing.
• 53:11
  Speaker 2: It's a codependency thing because she needs him for caretaking. Yeah,
• 53:14
  Speaker 2: and he needs her for validation. Essentially, he needs her
• 53:17
  Speaker 2: to to survive, he needs her to feel any value
• 53:20
  Speaker 2: in himself, because without her, he's the victim of a bully.
• 53:23
  Speaker 2: He's the victim of a failing relationship through his parents' marriage.
• 53:27
  Speaker 2: He's a victim of isolation being in this tiny town
• 53:30
  Speaker 2: in Sweden. He's a victim of uh, you know, this
• 53:33
  Speaker 2: frozen hellscape of nobody cares. Even my teachers don't treat
• 53:36
  Speaker 2: me properly. And if she's not there to protect him
• 53:40
  Speaker 2: and literally kill for him, and he's gonna have to
• 53:42
  Speaker 2: kill for her. He's he's like genuinely worried about being killed.
• 53:46
  Speaker 2: And as you can see through a couple of scenes,
• 53:48
  Speaker 2: specifically the lake scene, oh yeah, he very well could
• 53:51
  Speaker 2: have been killed by his beliefs.
• 53:53
  Speaker 3: Yeah, And and what she tells him is is good advice,
• 53:56
  Speaker 3: I think, you know, because it just you know, you
• 53:59
  Speaker 3: eventually have to stand up to a bully. You know.
• 54:01
  Speaker 3: He's like, you got to hit back, you got to
• 54:02
  Speaker 3: hit back harder. I think he might have went a
• 54:04
  Speaker 3: little too hard smacking someone in the face with a pole.
• 54:07
  Speaker 3: That's just me. But then of course the younger the
• 54:10
  Speaker 3: older brother gets involved, and something that I preferred over
• 54:15
  Speaker 3: the original is that and let me in. You can
• 54:19
  Speaker 3: tell that the older brother that gets involved is bullying
• 54:23
  Speaker 3: his younger brother, saying the exact same thing that the
• 54:27
  Speaker 3: bully says to Owen. So I kind of like that
• 54:30
  Speaker 3: a little bit more because he's like, oh, now I understand,
• 54:32
  Speaker 3: it's like a chain of bullying. He's getting bullied, so
• 54:36
  Speaker 3: he takes that bullying out on someone who is weak
• 54:39
  Speaker 3: and feeble. So I like that a little bit more.
• 54:41
  Speaker 3: But the endgame was still the same when they both
• 54:43
  Speaker 3: end up in the pool, or you know, when both
• 54:44
  Speaker 3: characters end up in the pool and it's like, stand
• 54:47
  Speaker 3: here for three minutes, it'll be a little nick or
• 54:49
  Speaker 3: I take your eye out like an eye for an ear.
• 54:52
  Speaker 3: And it had it not been for Elee coming back
• 54:55
  Speaker 3: to destroy all of those people, and wow, the arms
• 54:59
  Speaker 3: floating down, the head floating down, that that was a
• 55:02
  Speaker 3: very crazy scene. And I like how they didn't They
• 55:05
  Speaker 3: showed it from the underwater perspective, which I think was
• 55:08
  Speaker 3: perfect because if they showed the actual carnage. I don't
• 55:11
  Speaker 3: feel like it would have fit into the movie. I
• 55:13
  Speaker 3: feel showing it how they did was perfect because you
• 55:15
  Speaker 3: get just enough to be like, whatever is happening up
• 55:18
  Speaker 3: there is very violent, and we're only getting the perspective
• 55:22
  Speaker 3: of Owen or Oscar under the water. So I think
• 55:25
  Speaker 3: that was I think that was the best way to
• 55:27
  Speaker 3: do it. But yeah, I mean he came very close
• 55:29
  Speaker 3: to being injured or being killed because that older brother
• 55:34
  Speaker 3: was out for blood, and even the kids behind him
• 55:36
  Speaker 3: were like, all right, like that's enough, Like we're done,
• 55:38
  Speaker 3: and he's like, no, we're not done.
• 55:41
  Speaker 2: Yeah.
• 55:41
  Speaker 3: So high schoolers with knives, it's never a never a
• 55:44
  Speaker 3: good combination.
• 55:46
  Speaker 2: Well, if it was shot in the America, i'd have
• 55:49
  Speaker 2: to be high schoolers with an even worse weapons. That's
• 55:51
  Speaker 2: weird school shootings. The big thing, this pool scene is
• 55:56
  Speaker 2: the thing that people remember from this movie because it's
• 55:58
  Speaker 2: the last thing that hits you hard. It is beautifully shot,
• 56:02
  Speaker 2: It is wonderful. Did you happen to be able to
• 56:04
  Speaker 2: see the behind the scenes on this Ooh No, I
• 56:07
  Speaker 2: did not. So for those that don't know and have
• 56:10
  Speaker 2: seen this movie before, there is a very short behind
• 56:13
  Speaker 2: the scenes on many of the blue rays that have
• 56:15
  Speaker 2: been released on this before. It's maybe like five to
• 56:18
  Speaker 2: seven minutes, but most of it, like eighty percent of
• 56:20
  Speaker 2: it is just on this pool scene. It was all
• 56:23
  Speaker 2: done practically. Wow. They had a rig where the actual
• 56:28
  Speaker 2: child that was like probably thirteen to fifteen years old, yeah,
• 56:32
  Speaker 2: was hooked up to it, kicking his legs properly in
• 56:34
  Speaker 2: the water to look like he was being dragged. So
• 56:37
  Speaker 2: he was literally in this like sling, being carried very
• 56:41
  Speaker 2: quickly through the water, kicking his feet, and then lift
• 56:43
  Speaker 2: it up very quickly at the end when she reaches
• 56:47
  Speaker 2: down to Oscar's head after the arm floats down, they
• 56:50
  Speaker 2: literally dropped a fake arm in front of Oscar's face
• 56:53
  Speaker 2: and had Eli there to lift his head up. She
• 56:56
  Speaker 2: was just sitting there in a bathing suit waiting to
• 56:58
  Speaker 2: do it. It was still her so that it can
• 57:00
  Speaker 2: be her actual arm. All of it was done with
• 57:03
  Speaker 2: like a mindset of we want this to be authentic,
• 57:06
  Speaker 2: we want this to be appropriately sized, because if somebody
• 57:09
  Speaker 2: else's hand did it or fit with CGI, it would
• 57:11
  Speaker 2: have looked awful. But it is such an effective scene
• 57:15
  Speaker 2: And I really wanted to point this out because this
• 57:18
  Speaker 2: just shows proper writing, like you have to understand the
• 57:20
  Speaker 2: tone of your film. Any other filmmaker that was up
• 57:23
  Speaker 2: and coming might be tempted here to go it's a
• 57:26
  Speaker 2: last thing, like do we want to go kind of
• 57:29
  Speaker 2: like big and bold and show the carnage? Finally, No, like,
• 57:33
  Speaker 2: there's an appropriate way to write this, to film this,
• 57:37
  Speaker 2: to make this tender and careful still in a very
• 57:42
  Speaker 2: unique way, which is still brutal as shit, Like they
• 57:44
  Speaker 2: dropped a fake head in this pool and it's incredible
• 57:49
  Speaker 2: and all of that is done so beautifully because it
• 57:52
  Speaker 2: was actually captured on film the way that they wanted to.
• 57:56
  Speaker 2: It's this is such a magnificent way to end this movie.
• 57:59
  Speaker 3: Yeah, I mean I saw the head float down. I
• 58:02
  Speaker 3: was like, oh shit. And then even I don't think
• 58:04
  Speaker 3: they cut away so obviously, I guess they had to
• 58:07
  Speaker 3: have had the fake han there the whole time, because
• 58:10
  Speaker 3: it's it's looking at Oscar and then all of a sudden,
• 58:12
  Speaker 3: the arm just falls down, and I was like, wait,
• 58:14
  Speaker 3: wasn't that has that changed? Did they swap out an arm?
• 58:18
  Speaker 3: Like that was very impressive. So you have a head
• 58:20
  Speaker 3: float down, you had the kid kicking, the arm falls down,
• 58:23
  Speaker 3: and then of course, Eli pulls him up and smiles
• 58:26
  Speaker 3: at him, and I thought the movie was gonna end
• 58:28
  Speaker 3: there because it cuts to the snow, which is how
• 58:30
  Speaker 3: the movie opens on all the snow, and I was like, wait,
• 58:33
  Speaker 3: did Let Me into a different ending? And no, they
• 58:37
  Speaker 3: similar not exactly the same, but they use the Morse
• 58:40
  Speaker 3: code in the original movie. I don't think they do
• 58:43
  Speaker 3: that in the remake. But then you have them just
• 58:46
  Speaker 3: going off into where the sunset, like I don't know,
• 58:51
  Speaker 3: you have them going somewhere, and I think that was
• 58:55
  Speaker 3: It is a very good way to in the movie, because,
• 58:58
  Speaker 3: like I said, you are worried about him, but he
• 59:01
  Speaker 3: at least got away from people who just didn't give
• 59:04
  Speaker 3: a shit about him. No one really seemed to care
• 59:06
  Speaker 3: about this kid. I don't think he had one single
• 59:09
  Speaker 3: friend at school, you know, the teachers kind of just
• 59:13
  Speaker 3: treated him like whatever. I think the only person and
• 59:15
  Speaker 3: they made this a lot more evident in Let Me
• 59:17
  Speaker 3: In was the strength trainer whatever his name was, where
• 59:21
  Speaker 3: he wants to go get tough. He actually was working
• 59:24
  Speaker 3: with him and trying to, you know, help him out.
• 59:26
  Speaker 3: I think that was really the only person that seemed
• 59:30
  Speaker 3: somewhat interested in helping him. Do what he wanted to achieve,
• 59:33
  Speaker 3: but everyone else kind of just wrote him off as
• 59:36
  Speaker 3: a person. So and then of course you have Elee.
• 59:40
  Speaker 3: You know, she's the where did my notes go?
• 59:43
  Speaker 2: There we go?
• 59:44
  Speaker 3: I think I do think in this movie she is
• 59:47
  Speaker 3: one of the most effective vampire portrayals because it strips
• 59:50
  Speaker 3: everything down associated with modern vampires, much like the movie
• 59:56
  Speaker 3: we just did, Afflicted. It strips every everything away, you know,
• 1:00:01
  Speaker 3: I mean outside of the love interest. But the love
• 1:00:03
  Speaker 3: interest in vampire movies is typically someone re you know,
• 1:00:06
  Speaker 3: they're like, oh you are my love reincarnated. But you
• 1:00:10
  Speaker 3: don't have all of the modern trappings of the typical vampire.
• 1:00:13
  Speaker 3: There's no glamour, there's no real seduction here. It's just
• 1:00:18
  Speaker 3: her surviving. And I love a stripped down vampire movie.
• 1:00:21
  Speaker 3: The only thing we get in relation to what hurts
• 1:00:25
  Speaker 3: her is sunlight. To my knowledge, I don't think they
• 1:00:28
  Speaker 3: give us anything else, like garlic, holy water, crosses or
• 1:00:31
  Speaker 3: any of that. It's just it's just sunlight, which is
• 1:00:33
  Speaker 3: the basic one that you get. But then when Eli
• 1:00:37
  Speaker 3: needs to feed, it is you know, it's not elegant,
• 1:00:39
  Speaker 3: it's messy, it's uncomfortable, it doesn't really necessarily stylize it
• 1:00:43
  Speaker 3: or lean into it, especially when she attacks the guy
• 1:00:47
  Speaker 3: I think his name is lack or lock, when he
• 1:00:50
  Speaker 3: goes investigating and finds her in that tub and pulls
• 1:00:52
  Speaker 3: it back. The camera is outside the bathroom the whole time,
• 1:00:56
  Speaker 3: and the biggest thing we get is him putting his
• 1:00:59
  Speaker 3: arm on the side the wall and then dragging his
• 1:01:02
  Speaker 3: arm down, And that's really all you get. But you
• 1:01:04
  Speaker 3: it's more about. I think it's more about the implication
• 1:01:06
  Speaker 3: of what's going on in there. They don't need to
• 1:01:08
  Speaker 3: show you. You can you know by the sounds you're
• 1:01:11
  Speaker 3: hearing and the blood you see on the wall, and
• 1:01:14
  Speaker 3: and let me and they definitely give you a little
• 1:01:16
  Speaker 3: bit more dramatic. I think that's what they did differently,
• 1:01:20
  Speaker 3: is they they upped the level of gore a bit
• 1:01:22
  Speaker 3: and they made it a little more theatrical, which isn't
• 1:01:25
  Speaker 3: a problem. They have to do something different with a remake.
• 1:01:28
  Speaker 3: You can't just do it beat for beat or else
• 1:01:30
  Speaker 3: it's gonna you know, everyone's gonna complain. But I think
• 1:01:33
  Speaker 3: that's what works so much about this is they commit
• 1:01:35
  Speaker 3: to the tone in, let the right one in, and
• 1:01:37
  Speaker 3: they don't stray away from it. At all, even when
• 1:01:41
  Speaker 3: horror strikes. The only exception to that one, I think though,
• 1:01:44
  Speaker 3: is when that lady gets set on fire. That was
• 1:01:46
  Speaker 3: the only really just like WHOA was like holy shit.
• 1:01:52
  Speaker 3: That was the most like my eyes widened and I
• 1:01:55
  Speaker 3: was like holy shit. So I think that's probably. Yeah,
• 1:01:58
  Speaker 3: it's a crazy scene, especial because in let the right
• 1:02:01
  Speaker 3: one in, she asks for the curtains to be opened
• 1:02:05
  Speaker 3: and let me in. They just happen to open them accidentally.
• 1:02:08
  Speaker 3: So I love the small change there is what I
• 1:02:11
  Speaker 3: really love. But I don't know. I feel like it
• 1:02:14
  Speaker 3: does commit to as tone and does not stray away
• 1:02:16
  Speaker 3: from it, which is good directing, good writing. I mean,
• 1:02:20
  Speaker 3: that's what makes the movie good, I think, and at
• 1:02:22
  Speaker 3: least in my agreeing.
• 1:02:23
  Speaker 2: Yeah, And the other part of this that I wanted
• 1:02:26
  Speaker 2: to highlight, other than the scene that you brought up
• 1:02:29
  Speaker 2: is the basement scene. I think this really kind of
• 1:02:32
  Speaker 2: encapsulates all of what they're trying to do with the
• 1:02:35
  Speaker 2: idea of vampires here because it is it is like
• 1:02:39
  Speaker 2: classically scary in a way like I don't know a
• 1:02:42
  Speaker 2: better way to say that, I guess, but it's so
• 1:02:44
  Speaker 2: unique because there's like three main things that happen down
• 1:02:48
  Speaker 2: there that kind of stick with me, or at least
• 1:02:51
  Speaker 2: one is you see that actual, like very practical glint
• 1:02:55
  Speaker 2: in her eyes for the first time of like we're
• 1:02:58
  Speaker 2: alone and there's a shimmer there and you're like, oh shit,
• 1:03:01
  Speaker 2: like she could rip him apart right now, right, so
• 1:03:05
  Speaker 2: we're on edge. And then the other aspect is she
• 1:03:08
  Speaker 2: is seen in this brief like very stereotypical ray of
• 1:03:13
  Speaker 2: light and her actual age is shown for a moment
• 1:03:15
  Speaker 2: she looks like she's suddenly one hundred and eighty four
• 1:03:18
  Speaker 2: years old, and it's so well done and genuinely innerving
• 1:03:21
  Speaker 2: because you realize, I've been staring at this fourteen year
• 1:03:24
  Speaker 2: old girl and I was not ready to see like
• 1:03:27
  Speaker 2: Isabelle Furman from Orphan for a moment like completely unveiled
• 1:03:31
  Speaker 2: in this little ray of light, and that was great.
• 1:03:34
  Speaker 2: So it's super unsettling. But I mean, the actual fear
• 1:03:36
  Speaker 2: here is Oscar unknowingly puts himself in a place of
• 1:03:40
  Speaker 2: danger because he cuts his own hand and is like,
• 1:03:42
  Speaker 2: all right, it's time for a blood pact. I've got
• 1:03:44
  Speaker 2: somebody on my side. Let's cut you, let's shakes, let's bond,
• 1:03:48
  Speaker 2: And the moment that he does that she starts essentially
• 1:03:51
  Speaker 2: foaming at the mouth and be like, dude, you're screwed.
• 1:03:53
  Speaker 2: You need to leave right now. Yes, and that I
• 1:03:56
  Speaker 2: mean for like a very hungry vampire. I don't know
• 1:04:00
  Speaker 2: that that's been portrayed that well on film, in maybe
• 1:04:04
  Speaker 2: any other movie.
• 1:04:05
  Speaker 3: Yeah, because she doesn't go for him, she goes for
• 1:04:07
  Speaker 3: the blood on the ground, looks upright, has that we
• 1:04:10
  Speaker 3: like the crazy rage, and it's like, you need to
• 1:04:14
  Speaker 3: leave instead of just going right for his hand. And
• 1:04:17
  Speaker 3: something else that I don't think has ever been on
• 1:04:21
  Speaker 3: a vampire film before is on that same note, is
• 1:04:25
  Speaker 3: when she's like, may I come in? And he says, okay,
• 1:04:28
  Speaker 3: that's the other vampire Laura they included, and he says,
• 1:04:31
  Speaker 3: why do I need to invite you in? Just come
• 1:04:33
  Speaker 3: on in. So she reluctantly comes out, like comes on in,
• 1:04:36
  Speaker 3: but then she just starts bleeding from every orifice of
• 1:04:39
  Speaker 3: her face and it's like, oh my god, no, no, no, okay,
• 1:04:42
  Speaker 3: I can't recall a time where that has been done. Typically,
• 1:04:45
  Speaker 3: if they say you can't come in, they don't come in,
• 1:04:48
  Speaker 3: so I can't. Yeah, actually getting to see that, like,
• 1:04:50
  Speaker 3: oh shit, you're just gonna start bleeding until you die.
• 1:04:53
  Speaker 3: I was like, okay, I like that. So there's two
• 1:04:56
  Speaker 3: things that they added to this movie that aren't typically
• 1:04:59
  Speaker 3: or forever you know, in vampire movies, because if someone
• 1:05:02
  Speaker 3: cuts themselves are usually pretty screwed. But I think the
• 1:05:08
  Speaker 3: necessity for needing Oscar outweighs her lust for blood, because
• 1:05:13
  Speaker 3: if she's like, if I kill him, then I'm really
• 1:05:16
  Speaker 3: screwed because who else am I gonna buddy up to
• 1:05:18
  Speaker 3: now now that Father's gone. That's my speculation. Of course,
• 1:05:22
  Speaker 3: I don't know how true that is, but I'm assuming
• 1:05:26
  Speaker 3: that she had to really weigh the options here and
• 1:05:30
  Speaker 3: say get out before I kill you, because I need you.
• 1:05:34
  Speaker 2: Absolutely.
• 1:05:34
  Speaker 3: You are someone that I that I need here. Okay,
• 1:05:37
  Speaker 3: So this has definitely gotten me more on a path
• 1:05:40
  Speaker 3: of understanding this film. I think it was the wrong
• 1:05:45
  Speaker 3: because I did watch Let Me In first, just based
• 1:05:49
  Speaker 3: solely on the facts of the ratings. I knew people
• 1:05:51
  Speaker 3: talked highly of it, but I was like, let me
• 1:05:53
  Speaker 3: watch the the remake first because it's got a three
• 1:05:57
  Speaker 3: point three, and then go to this one because it
• 1:05:59
  Speaker 3: has a four. I think I needed to do that
• 1:06:01
  Speaker 3: in reverse order, and I think I might do that
• 1:06:04
  Speaker 3: in the in the in the suit in the near future,
• 1:06:06
  Speaker 3: just to see if my opinion changes, Because as it
• 1:06:09
  Speaker 3: stands right now, I appreciate this movie. I do think
• 1:06:12
  Speaker 3: it is genuinely a fantastic movie. But I find myself
• 1:06:17
  Speaker 3: just liking Let Me In. Not much more, but just
• 1:06:20
  Speaker 3: slightly more. Maybe it's because it is a you know,
• 1:06:24
  Speaker 3: it's little americanized. There's a little bit more tension that happens.
• 1:06:28
  Speaker 3: There are some more thrilling moments, like how they open
• 1:06:31
  Speaker 3: with Richard Jenkins's character, well, you don't know it's him,
• 1:06:35
  Speaker 3: but he's in the he's in the ambulance and they're
• 1:06:38
  Speaker 3: going to the hospital, and then that scene wraps around
• 1:06:41
  Speaker 3: to the scene in the hospital where he gives her
• 1:06:44
  Speaker 3: the blood and then he falls. I also really liked
• 1:06:47
  Speaker 3: the detective aspect from Let Me In, because you have
• 1:06:50
  Speaker 3: the cop who is trying to catch who's doing this,
• 1:06:53
  Speaker 3: as opposed to just the random friends that you know,
• 1:06:57
  Speaker 3: their buddy dies and they try to figure it out.
• 1:06:59
  Speaker 3: I like the detective aspect just a little bit more
• 1:07:02
  Speaker 3: than the friend aspect because it just seemed weird how
• 1:07:05
  Speaker 3: he was able to track her down, whereas a cop
• 1:07:08
  Speaker 3: has leads and all of this stuff, right, But I
• 1:07:12
  Speaker 3: mean that's just me. For some reason, I typically prefer remakes.
• 1:07:16
  Speaker 3: I don't know if that's a problem with me or
• 1:07:18
  Speaker 3: if it's just my taste. I know, I got into
• 1:07:21
  Speaker 3: horror so late in the game. You know, it really
• 1:07:25
  Speaker 3: wasn't until Saw that I started to really gravitate towards
• 1:07:29
  Speaker 3: horror movies. And I typically saw remakes before I saw
• 1:07:33
  Speaker 3: the original film. So I have the connection with that
• 1:07:36
  Speaker 3: first one that I really like, and then of course
• 1:07:38
  Speaker 3: they're going to be different in many ways, and I'm like, well,
• 1:07:40
  Speaker 3: I like the other one more, but I can't deny
• 1:07:43
  Speaker 3: that let the right one in after talking it is.
• 1:07:47
  Speaker 3: It is a fantastic movie. I will not deny that.
• 1:07:50
  Speaker 3: It's just a completely different tone. But they hit the
• 1:07:54
  Speaker 3: same They hit a lot of the same beats. It's
• 1:07:56
  Speaker 3: very rare that a remake can hit all the important
• 1:08:00
  Speaker 3: beats while doing something completely different at the same time.
• 1:08:04
  Speaker 3: Like that doesn't happen a lot. Usually remakes are wildly different,
• 1:08:08
  Speaker 3: or it's a carbon copy, like like Psycho. You know,
• 1:08:11
  Speaker 3: they shot for shot remake with Psycho basically, so I
• 1:08:15
  Speaker 3: think these both stand on their own, and it's like,
• 1:08:18
  Speaker 3: what mood. Are you in Are you in kind of
• 1:08:19
  Speaker 3: a more melancholy, relaxed mood? Put on let the right
• 1:08:23
  Speaker 3: one in? Are you in a more kind of intense mood?
• 1:08:26
  Speaker 3: You want to you want to have a little bit
• 1:08:27
  Speaker 3: more action. You put let me you put let me
• 1:08:29
  Speaker 3: in on ye. So yeah, I think that's where I'm
• 1:08:32
  Speaker 3: standing with that. Oh I cannot forget to mention though,
• 1:08:35
  Speaker 3: the only part of this movie that was really jarring
• 1:08:37
  Speaker 3: were those fucking cgied cats.
• 1:08:39
  Speaker 2: Oh my hate scene, hate.
• 1:08:44
  Speaker 3: My good lord. Everything up to that point, I was like, oh,
• 1:08:47
  Speaker 3: we're uh, we're doing this okay.
• 1:08:50
  Speaker 2: That the reality is that didn't need to be in
• 1:08:52
  Speaker 2: the movie.
• 1:08:53
  Speaker 3: You didn't at all.
• 1:08:54
  Speaker 2: You could have had some other moment of like I
• 1:08:57
  Speaker 2: don't know, like bats being flying in somewhere.
• 1:09:00
  Speaker 3: That could have been something. But the cats was really
• 1:09:03
  Speaker 3: funny because I had read some of the reviews before
• 1:09:06
  Speaker 3: I watched it, and I was like, all those cats
• 1:09:08
  Speaker 3: look real, I don't see. Oh oh there they are
• 1:09:11
  Speaker 3: now now now they're fake. Now they're fake.
• 1:09:16
  Speaker 2: There's one scene where a cat opens its mouth really big,
• 1:09:19
  Speaker 2: and this is gonna be a joke for you and
• 1:09:21
  Speaker 2: me and like six people listening. But Yeah, it looks
• 1:09:24
  Speaker 2: like the screen factory cover for pet Cemetery Too in
• 1:09:27
  Speaker 2: that it's so bad.
• 1:09:29
  Speaker 3: Yes, Oh, you're exactly correct in that artwork. Also, if
• 1:09:34
  Speaker 3: you haven't seen pet Cemetery Too honestly underrated sequel, it's good.
• 1:09:38
  Speaker 2: Yeah.
• 1:09:39
  Speaker 3: Clancy Brown as the villain is fucking topp tier.
• 1:09:42
  Speaker 2: I love it.
• 1:09:44
  Speaker 3: Is there anything else that you wanted to highlight or
• 1:09:47
  Speaker 3: that we didn't get to that you'd like to mention? Here,
• 1:09:49
  Speaker 3: I'm getting towards the end of my notes. I have
• 1:09:51
  Speaker 3: a couple more things, but I want to make sure
• 1:09:53
  Speaker 3: you hit every you know, little bullet point that you had.
• 1:09:57
  Speaker 2: Two recommendations. One, do not watch the ub for let
• 1:10:00
  Speaker 2: the right one in. Watch the subtitle version. The dub
• 1:10:03
  Speaker 2: is fucking atrocious. Not only does it sound bad, it's
• 1:10:07
  Speaker 2: Swedish originally, and so the lips moving at like eight
• 1:10:12
  Speaker 2: hundred syllables per word is quite unnerving and makes it
• 1:10:16
  Speaker 2: if you listen to the dub, it makes it feel
• 1:10:17
  Speaker 2: so much worse. But the other big thing, I did
• 1:10:20
  Speaker 2: not defend let me in all that much, but I
• 1:10:22
  Speaker 2: will say, incredible car crash scene and let me in.
• 1:10:25
  Speaker 2: It's one of the best car crash scenes in any movies.
• 1:10:27
  Speaker 2: It's so manic and realistic and terrifying, maybe only second
• 1:10:34
  Speaker 2: to something like Titan, which I love. The car crash
• 1:10:39
  Speaker 2: scene is incredible.
• 1:10:41
  Speaker 3: She's coming out with a new movie too, by the way,
• 1:10:44
  Speaker 3: Julia du Carnot.
• 1:10:47
  Speaker 2: It's called Alpha. It's been out in the UK already,
• 1:10:50
  Speaker 2: just got announced on Physical Beatia in the US today,
• 1:10:51
  Speaker 2: But I would suggest getting the UK one. It's four
• 1:10:53
  Speaker 2: K and it's a press disc. The US one is
• 1:10:56
  Speaker 2: just a crappy kr Yeah. I love Raw, I love
• 1:11:00
  Speaker 2: I love Titane. She's she's a very interesting director. But yeah,
• 1:11:03
  Speaker 2: I was watching that car crash scene and it's just like,
• 1:11:07
  Speaker 2: I don't know how they.
• 1:11:09
  Speaker 3: Did that because it's a it's a one shot once
• 1:11:13
  Speaker 3: he spins around and gets hit and falls, I'm like,
• 1:11:15
  Speaker 3: how the hell did they do this very very good
• 1:11:19
  Speaker 3: car crash scene that was such a manic part of
• 1:11:21
  Speaker 3: that movie. So my final thoughts here are you know,
• 1:11:25
  Speaker 3: let the right one end is not loud. It really
• 1:11:28
  Speaker 3: doesn't demand your attention. It does not try to overwhelm you.
• 1:11:31
  Speaker 3: It quietly builds something unsettling and then lets you sit
• 1:11:34
  Speaker 3: with it long after it ends. It's not just a
• 1:11:37
  Speaker 3: vampire movie. It's a movie about loneliness, dependency, and the
• 1:11:40
  Speaker 3: thin line between connection and control. And also I wanted
• 1:11:44
  Speaker 3: to say all of the people rating this one star
• 1:11:47
  Speaker 3: for pedophilia, just stop. Okay, I understand it's not ideal,
• 1:11:53
  Speaker 3: it's very odd, but I don't I don't think people
• 1:11:56
  Speaker 3: realize that was not the you know, lower half of
• 1:12:00
  Speaker 3: an actual fucking twelve year old. It was a mannequin. Okay.
• 1:12:03
  Speaker 2: It's also a very surface level take of this film.
• 1:12:06
  Speaker 3: Right, it's very surface level. You can't just say one
• 1:12:08
  Speaker 3: star for pedophilia, like, okay, yes, it's it's also foreign movies.
• 1:12:13
  Speaker 3: Foreign movies are just a little bit different. Okay, they
• 1:12:16
  Speaker 3: just are. But it was it was a mannequin, and
• 1:12:18
  Speaker 3: it was there because, like you said in the book,
• 1:12:21
  Speaker 3: it was it was gone into much more detail that
• 1:12:23
  Speaker 3: there was some form of castration. So it was to
• 1:12:25
  Speaker 3: show that she did not have a specific specific genitals.
• 1:12:30
  Speaker 3: It was she she's essentially this gender fluid person, you know,
• 1:12:35
  Speaker 3: like they're asexual, most likely asexual. Yeah, so it's you know,
• 1:12:38
  Speaker 3: she That's why she said would you still like me
• 1:12:41
  Speaker 3: if I was a boy? Because I guess technically at
• 1:12:43
  Speaker 3: one point she was and he's like, yeah, I guess so.
• 1:12:45
  Speaker 3: And that's a beat that they hit in the the
• 1:12:48
  Speaker 3: remake as well. So yeah, with that being said, that
• 1:12:52
  Speaker 3: is let the right one in from two thousand and eight.
• 1:12:56
  Speaker 3: Let's roll into the final cuts here, So taglines, there's
• 1:13:02
  Speaker 3: only one tagline we have that is Eli is twelve
• 1:13:05
  Speaker 3: years old. She's been twelve for over two hundred years
• 1:13:08
  Speaker 3: and she just moved in next door. Okay, so apparently
• 1:13:10
  Speaker 3: two hundred years old. There we go, Trivia, I've got
• 1:13:14
  Speaker 3: a couple. Several tricks were used to create the right
• 1:13:17
  Speaker 3: sound effects for some of the gorrier scenes. Biting into
• 1:13:20
  Speaker 3: sausages was used to replicate biting into skin and flesh,
• 1:13:24
  Speaker 3: Drinking yogurt was used to sound like drinking blood, and
• 1:13:27
  Speaker 3: the sound effect of children blinking was made by the
• 1:13:31
  Speaker 3: skin of grapes rubbing together in an almost blinking motion.
• 1:13:34
  Speaker 3: So there you go. The word vampires only mentioned one
• 1:13:37
  Speaker 3: time in the film, despite being asked twice by Oscar.
• 1:13:41
  Speaker 3: Eale never reveals her true age, but it is often
• 1:13:43
  Speaker 3: speculated she is around two hundred to three hundred years old,
• 1:13:47
  Speaker 3: and almost every scene in the movie contains the color
• 1:13:50
  Speaker 3: red or red orange, a clear reference to the blood
• 1:13:54
  Speaker 3: the only food Elie can consume. I've got one petty
• 1:13:58
  Speaker 3: goof here, which I love, a petty goof. As Oscar
• 1:14:01
  Speaker 3: is looking at his clipbook with old newspaper articles, a
• 1:14:05
  Speaker 3: serial number used why the Sweetest Police is Visible. That
• 1:14:08
  Speaker 3: number ends in ninety five, which means crime was committed
• 1:14:11
  Speaker 3: in nineteen ninety five. However, the movie is set in
• 1:14:13
  Speaker 3: nineteen eighty two. Whatever, dude, someone is.
• 1:14:16
  Speaker 2: Maybe it's eighteen ninety five.
• 1:14:18
  Speaker 3: There you go find Yeah, it ends in ninety five.
• 1:14:20
  Speaker 3: It doesn't say nineteen Jesus, so obviously.
• 1:14:24
  Speaker 2: It was eighteen ninety five, the crime would have been
• 1:14:25
  Speaker 2: very different.
• 1:14:26
  Speaker 3: That's true. That's very true. So we have rated seven
• 1:14:30
  Speaker 3: point eight out of ten on IMDb for our purposes
• 1:14:33
  Speaker 3: of the Nightmare index. That is a three point nine
• 1:14:37
  Speaker 3: out of five U four point zero out of five
• 1:14:41
  Speaker 3: on the letterboxed. We've got a ninety eight percent on
• 1:14:45
  Speaker 3: the Tomato meter and a ninety percent audience score. What
• 1:14:49
  Speaker 3: would you give this as a star rating?
• 1:14:52
  Speaker 2: First off, kind of surprised. That seems quite especially run tomatoes.
• 1:14:56
  Speaker 3: That is quite high for what I ninety eight, Yeah,
• 1:14:59
  Speaker 3: at ninety percent wild, So this is.
• 1:15:02
  Speaker 2: Where it gets interesting. For me. If you ask me
• 1:15:04
  Speaker 2: a week and a half ago, I would have said
• 1:15:05
  Speaker 2: four and a half stars, one of my favorite vampire
• 1:15:07
  Speaker 2: movies of all time. After this watch, I'm gonna say
• 1:15:10
  Speaker 2: four stars. Not that it is a bad movie, not
• 1:15:13
  Speaker 2: that it is anything. I think I've grown as a
• 1:15:16
  Speaker 2: film lover film viewer, and the big thing got that
• 1:15:21
  Speaker 2: cat scene took me way out.
• 1:15:22
  Speaker 3: Yeah, yeah, that's fair. I'm also gonna give this one
• 1:15:26
  Speaker 3: a four as well, so that means this is a
• 1:15:29
  Speaker 3: frightmare certified slap and we have a nightmare index of
• 1:15:36
  Speaker 3: three point nine eight, So that is going to take
• 1:15:40
  Speaker 3: the one, two, three, number four spot just above dead
• 1:15:45
  Speaker 3: and Buried at a three point nine to one and
• 1:15:48
  Speaker 3: undertrained to busan at a four point two zero. So
• 1:15:52
  Speaker 3: that is way up there. Love that I know you
• 1:15:56
  Speaker 3: sent me the funny reviews. I probably should have specified
• 1:15:59
  Speaker 3: that we we will read our funny reviews.
• 1:16:02
  Speaker 2: I'm ready. I just wanted you to be able to access.
• 1:16:05
  Speaker 3: Okay, okay, all right, I got you. So did you
• 1:16:07
  Speaker 3: have two or three? I can't remember.
• 1:16:08
  Speaker 2: I've got three.
• 1:16:09
  Speaker 3: Three, Okay, I think I've got four? Well I did
• 1:16:12
  Speaker 3: have there there, I have four. So I'll go first
• 1:16:15
  Speaker 3: first one here we have five stars from Francis. This
• 1:16:21
  Speaker 3: is a pretty good movie, but why is that kid
• 1:16:23
  Speaker 3: swimming with his mouth wide open in the pool?
• 1:16:26
  Speaker 2: So true? That and all the snot that he puts
• 1:16:29
  Speaker 2: out kill the pool.
• 1:16:32
  Speaker 3: Get a cleanex.
• 1:16:35
  Speaker 2: I got a four star from Malaria that just simply
• 1:16:37
  Speaker 2: says I love rom coms fair enough.
• 1:16:42
  Speaker 3: Foreign half stars from Zara. He certainly did let the
• 1:16:45
  Speaker 3: right one in.
• 1:16:48
  Speaker 2: On the nose. My four and a half star is
• 1:16:51
  Speaker 2: from Crash Jetco. This is serially the most that's not
• 1:16:54
  Speaker 2: a word, seriously, the most adorable movie I've ever seen.
• 1:16:58
  Speaker 2: Another very surf level.
• 1:17:00
  Speaker 3: Take Yeah, yeah, yeah, two stars. Bro just closing the
• 1:17:04
  Speaker 3: door while his girlfriend is attacking that guy had me hollering.
• 1:17:10
  Speaker 2: My favorite though, reading all of the reviews for this
• 1:17:12
  Speaker 2: film four stars from Rosie Ramden. The blonde one looks
• 1:17:16
  Speaker 2: like Sandra Huler, The brunette one looks like Blade Let's go.
• 1:17:21
  Speaker 3: That's a good one. Also, this one kind of I
• 1:17:26
  Speaker 3: don't know if this is racist or not, but it's
• 1:17:28
  Speaker 3: one and a half stars from Adrien and it says
• 1:17:30
  Speaker 3: I do not trust kids, especially if they are white.
• 1:17:35
  Speaker 2: I mean, in a horror movie. Fair that's that's fair.
• 1:17:38
  Speaker 3: Okay, that's totally fair. All right, Ryan, promote yourself. Where
• 1:17:43
  Speaker 3: can everybody find you? Plug whatever you want to plug?
• 1:17:48
  Speaker 2: Take it away, Jesus, I'm gonna need some oxygen, okay.
• 1:17:52
  Speaker 2: So you can find me under the name of the Disconnected,
• 1:17:54
  Speaker 2: under any single social media that you are on. I
• 1:17:57
  Speaker 2: believe I'm on all of them. If not, you can,
• 1:18:00
  Speaker 2: I mean you can definitely not find me on true
• 1:18:01
  Speaker 2: social but check out patreon dot com slash disconnected. The
• 1:18:04
  Speaker 2: big thing there is you can buy my magazine subscriptions
• 1:18:07
  Speaker 2: so it's sent to you every single month through the Patreon.
• 1:18:09
  Speaker 2: That magazine is called the Physical Media Advocate. You can
• 1:18:12
  Speaker 2: get that anywhere you buy books on Amazon dot com.
• 1:18:15
  Speaker 2: That's a joke. You can also get it in about
• 1:18:18
  Speaker 2: fifteen sixteen stores in the US, mostly like record video store,
• 1:18:22
  Speaker 2: stuff like that in a few other countries, which is
• 1:18:25
  Speaker 2: crazy Canada, the UK, couple in Australia. Check that out
• 1:18:29
  Speaker 2: on someone's Favorite Productions dot com. You can see the
• 1:18:31
  Speaker 2: list of stores there physically. The other big thing though,
• 1:18:35
  Speaker 2: is antenna releasing everywhere that you watch movies, which hopefully
• 1:18:38
  Speaker 2: is on a movie theater or on a VOD platform,
• 1:18:41
  Speaker 2: but most importantly for me, on disc. In the near future,
• 1:18:45
  Speaker 2: you will be able to see Antenna Releasing productions releases,
• 1:18:48
  Speaker 2: including our own in house production. We just announced this
• 1:18:50
  Speaker 2: last week that we were putting out a film directed
• 1:18:52
  Speaker 2: by the one and only Graham Skipper called Organinim and
• 1:18:55
  Speaker 2: it will blow you away. You should hopefully be able
• 1:18:59
  Speaker 2: to see that later this year, already in theaters, not
• 1:19:03
  Speaker 2: only in theaters like a festival premiere, across all theaters
• 1:19:07
  Speaker 2: plus physical media next year.
• 1:19:09
  Speaker 3: I'm so excited. I love when a new production car
• 1:19:13
  Speaker 3: you know, distribution company comes out because I'm like, well,
• 1:19:15
  Speaker 3: I'm collecting everything from fucking day one, so you will
• 1:19:19
  Speaker 3: have my money for every release that you put out,
• 1:19:22
  Speaker 3: because it is so exciting not only to see things
• 1:19:24
  Speaker 3: that I probably have never heard of, but also to
• 1:19:26
  Speaker 3: support independent distribution companies. If you are a fan of
• 1:19:30
  Speaker 3: physical media, please check them out, keep up with them
• 1:19:33
  Speaker 3: on social media. And I'm very, very excited to see
• 1:19:38
  Speaker 3: The Stolen Kingdom at the end Zeon. I love the Nzeon.
• 1:19:42
  Speaker 3: It's a great theater. If you're in the Orlando area,
• 1:19:45
  Speaker 3: check it out. They have a lot of throwback films,
• 1:19:47
  Speaker 3: they have a lot of new films every now and again,
• 1:19:50
  Speaker 3: but it is a great I wouldn't say historic theater,
• 1:19:53
  Speaker 3: but it's been around for a minute, so definitely check
• 1:19:55
  Speaker 3: that out.
• 1:19:56
  Speaker 2: One more tease for you, just because I'm feeling comfortable.
• 1:20:00
  Speaker 2: Both of our first two releases coming out on physical
• 1:20:03
  Speaker 2: media are post two thousand horror movies that have never
• 1:20:07
  Speaker 2: been released on home video.
• 1:20:09
  Speaker 3: A whole whole post two thousand horror movies. Okay, we'll
• 1:20:12
  Speaker 3: get some specul I will get a speculation list that
• 1:20:15
  Speaker 3: is very exciting. So if you like the show, please
• 1:20:19
  Speaker 3: rate and review on your favorite podcast app of choice.
• 1:20:22
  Speaker 3: Follow us on Facebook, Instagram, TikTok, Slasher Threads, and YouTube
• 1:20:26
  Speaker 3: at Frightmares Podcast. Our email is stay Spooky at outlook
• 1:20:29
  Speaker 3: dot com. If you want to follow me personally on letterbox,
• 1:20:32
  Speaker 3: you can follow me at doctor Proctor. I assume you
• 1:20:35
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• 1:20:36
  Speaker 2: This I do. It is The Disconnected or you can
• 1:20:39
  Speaker 2: also follow Antenna for Films.
• 1:20:41
  Speaker 3: Oh, I'll have to follow that one. Okay. If you
• 1:20:44
  Speaker 3: like to expand your movie podcast listening, be sure to
• 1:20:46
  Speaker 3: check out The Shameless Picture Show, The Dead Eyed Millennial
• 1:20:49
  Speaker 3: Film Club, One Week Rental, and The Disconnected. You do
• 1:20:54
  Speaker 3: because you put out the weekly live streams on the
• 1:20:57
  Speaker 3: podcast platform. Correct, of course.
• 1:21:00
  Speaker 2: Absolutely. Not only that, if you go through our archives
• 1:21:03
  Speaker 2: over years, I've interviewed quite a lot of incredible people
• 1:21:07
  Speaker 2: from the home video world and filmmakers, including names you
• 1:21:11
  Speaker 2: may have heard of like Sean Baker, Brian Usna, Josh Rubin.
• 1:21:15
  Speaker 2: There's some really fun interviews there, so go kind of deep.
• 1:21:18
  Speaker 2: There's one that I really love with Joe Lynch where
• 1:21:21
  Speaker 2: he's got a moment where he's like, damn, like nobody's
• 1:21:23
  Speaker 2: ever talked to me about this, and it's it's really special,
• 1:21:25
  Speaker 2: So go check it out.
• 1:21:26
  Speaker 3: Yeah, go listen to the back catalog there, and of
• 1:21:29
  Speaker 3: course do not forget to go and check out the
• 1:21:32
  Speaker 3: vast library of someone's favorite productions there are. There's a
• 1:21:35
  Speaker 3: podcast for you on there, I can assure you. Next week,
• 1:21:40
  Speaker 3: the last week of Vampril's Bite, Gabby and I will
• 1:21:43
  Speaker 3: be doing Vampire in Brooklyn from nineteen ninety five as
• 1:21:47
  Speaker 3: our wild card pick because neither one of us has
• 1:21:50
  Speaker 3: seen it and it has a two point five out
• 1:21:52
  Speaker 3: of five. If you'd like to check it out, it
• 1:21:54
  Speaker 3: is streaming on TOUB. So until then, guys, stay tunes
• 1:21:58
  Speaker 3: and stay Spooky.
• 1:22:03
  Speaker 1: Yeah, Thank you for listening. To hear more shows from
• 1:22:39
  Speaker 1: the Someone's Favorite Productions podcast network. Please select the link
• 1:22:43
  Speaker 1: in the description