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Warriors… Check your Brain at the Door · Movie Meltdown

• 0:11
  Speaker 1: This is Calvin Reader, and you are listening to Movie Meltdown.
• 0:14
  Speaker 2: I just can't go on.
• 0:35
  Speaker 3: It's showtime.
• 0:36
  Speaker 4: The following feature has been rated R by the Motion
• 0:39
  Speaker 4: Picture Association of America.
• 0:42
  Speaker 2: It is intended for mature audiences and parental discretion is advised.
• 0:46
  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
• 1:16
  Speaker 4: To provide more cooling in the containment chamber.
• 1:18
  Speaker 2: To your stations, we have a rebound.
• 1:21
  Speaker 1: Warriors, come out to play.
• 1:25
  Speaker 2: Music What's up, and welcome to Movie Meltdown. I'm Brian.
• 1:40
  Speaker 2: And I'm George.
• 1:41
  Speaker 1: And we're coming to you live via digital recording from
• 1:43
  Speaker 1: the Oddity Studios, where we are back to make good
• 1:46
  Speaker 1: on a threat.
• 1:47
  Speaker 3: Oh, yeah.
• 1:48
  Speaker 1: In a recent episode, we threatened.
• 1:51
  Speaker 2: To continue our.
• 1:54
  Speaker 1: Let's see. At least the grander scale, more like drive-in
• 1:57
  Speaker 1: grindhouse movies. But if nothing else, our post-apocalyptic series that
• 2:02
  Speaker 1: we're midway into now. The triology of post-apocalyptic nonsense.
• 2:08
  Speaker 2: So we will get to that.
• 2:10
  Speaker 1: But before, to ease our way in, have you seen
• 2:13
  Speaker 1: anything interesting lately?
• 2:15
  Speaker 2: Let's see here. I've seen a bunch of stuff, but
• 2:18
  Speaker 2: I'm trying to think of some things that stick out.
• 2:25
  Speaker 2: So much over the Halloween season, I was trying to
• 2:28
  Speaker 2: catch up on a lot of stuff. So I was
• 2:29
  Speaker 2: watching a lot of found footage movies. I went through
• 2:32
  Speaker 2: all the VHS series. Which, basically, I can't pick a
• 2:37
  Speaker 2: single one that I like, but I like that segment,
• 2:39
  Speaker 2: I like this segment. They're all hit and miss, yeah.
• 2:40
  Speaker 1: It's like you could combine segments from all of them
• 2:43
  Speaker 1: and make an epic, great version. But each one is like, eh,
• 2:47
  Speaker 1: that one's not so great.
• 2:48
  Speaker 2: But I really enjoyed As Above, So Below. I did
• 2:53
  Speaker 2: not see the quality of that one coming.
• 2:54
  Speaker 1: I've heard decent things. I still haven't gotten around to it.
• 2:57
  Speaker 2: Yeah, from the... And the cool thing is from the
• 3:01
  Speaker 2: trailer and some of the ads and stuff like that
• 3:04
  Speaker 2: that were out for it when it was released at
• 3:05
  Speaker 2: the time, it's misleading about what it's really about.
• 3:08
  Speaker 1: Yeah.
• 3:08
  Speaker 2: So it's a cool flick.
• 3:10
  Speaker 1: Sometimes they shoot themselves in the foot on that one.
• 3:12
  Speaker 1: Sometimes they sucker you in that way. And then other
• 3:14
  Speaker 1: times they just do it the wrong way and then
• 3:17
  Speaker 1: nobody goes to see the movie.
• 3:19
  Speaker 2: Yeah, but people think, oh, it's kind of like a
• 3:22
  Speaker 2: ghost thing or a zombie thing because they're down in
• 3:24
  Speaker 2: the catacombs in Paris. Like, no, it's more kind of
• 3:27
  Speaker 2: like if Indiana Jones was a horror movie.
• 3:29
  Speaker 1: I mean, moments of it are, sure.
• 3:32
  Speaker 4: Yeah, yeah.
• 3:33
  Speaker 2: That's kind of a, yeah, that's a feeling of it.
• 3:36
  Speaker 2: But yeah, yeah, so I dug that. The one, though, that,
• 3:40
  Speaker 2: have you seen Skink-a-Marink?
• 3:44
  Speaker 1: I've heard people talk about it many a time. I've
• 3:47
  Speaker 1: even seen it come up on the listings and I
• 3:49
  Speaker 1: was like, all right, need to get to it and
• 3:51
  Speaker 1: haven't done it yet. So I guess I should.
• 3:54
  Speaker 2: Yeah. It's a viewing experience. I will definitely put it
• 4:00
  Speaker 2: down as one of those like badge of honor kind
• 4:02
  Speaker 2: of films. Like you need to see it.
• 4:05
  Speaker 1: You don't want to rewatch?
• 4:07
  Speaker 2: No. No interest whatsoever. Not because it's necessarily a bad film.
• 4:14
  Speaker 2: I think its execution is way overblown. This could have
• 4:18
  Speaker 2: been a short. That gets in troublesome areas sometimes. This
• 4:24
  Speaker 2: literally is the equivalent of the company meeting that could
• 4:28
  Speaker 2: have been in an email. I saw what they were
• 4:33
  Speaker 2: trying to do. I kind of got it, but still
• 4:36
  Speaker 2: at the same time, I found myself very bored and
• 4:40
  Speaker 2: i fast forwarded through the movie which i never did.
• 4:44
  Speaker 1: Doesn't sound too good maybe it's getting itself kicked a
• 4:48
  Speaker 1: little further down that list yeah i'll get to it.
• 4:50
  Speaker 2: Eventually but it's one of those like you need to
• 4:53
  Speaker 2: check it out just like yeah like i don't recommend
• 4:56
  Speaker 2: watching all of the um oh what's the uh the
• 5:00
  Speaker 2: human centipede movies but if you at least see the
• 5:02
  Speaker 2: first one to kind of get the flavor of what's going.
• 5:04
  Speaker 1: On i feel like if you've seen that diagram you're
• 5:06
  Speaker 1: good Also, yeah.
• 5:08
  Speaker 2: Or the South Park episode where they spook you. There
• 5:10
  Speaker 2: you go. Yeah, I've definitely seen the South Park episode.
• 5:12
  Speaker 2: But if you're like me and a glutton for punishment, like,
• 5:14
  Speaker 2: you know, you always heard all the years about, you know,
• 5:17
  Speaker 2: cannibal holocaust. Oh, you got to check this out. So, like,
• 5:20
  Speaker 2: you know, years ago, I'm like, yeah, let's see. And
• 5:23
  Speaker 2: it's like, okay, this is going to be one of
• 5:24
  Speaker 2: those movies that I torture newbies with.
• 5:27
  Speaker 1: I do have that, yeah, I need to get to
• 5:29
  Speaker 1: that eventually mode in my geekdom. You know, I feel
• 5:33
  Speaker 1: like that's part of being a geek is like, yeah,
• 5:35
  Speaker 1: I have to see.
• 5:37
  Speaker 2: You know, the funny thing is, is that if you
• 5:39
  Speaker 2: know any of the behind the scenes stuff of Cannibal Holocaust,
• 5:42
  Speaker 2: if comparison to like a more recent cannibal movie, Green Inferno,
• 5:45
  Speaker 2: the Eli Roth flick.
• 5:46
  Speaker 4: No.
• 5:48
  Speaker 2: Cannibal Holocaust is way more uncomfortable because of like the
• 5:52
  Speaker 2: animal abuse in the movie.
• 5:53
  Speaker 1: Yeah, that's the main part I've heard about over the years.
• 5:56
  Speaker 1: And the main reason I'm like, yeah, I'm not real
• 5:58
  Speaker 1: in a big rush on that one. Because it's all
• 6:01
  Speaker 1: for real happening. You know, it's like they're not murdering
• 6:03
  Speaker 1: real people. They are murdering real animals, so that's a
• 6:07
  Speaker 1: little more bothersome for me. People, you can eat people,
• 6:12
  Speaker 1: kill them, I don't care.
• 6:13
  Speaker 2: Yeah, but I'll say, when you get to Green Inferno,
• 6:14
  Speaker 2: it's like, yeah, every one of those people deserve it,
• 6:17
  Speaker 2: so you're cheering for the cannibals in that movie. Yeah.
• 6:22
  Speaker 2: You know, most movies, aren't you? I really, yeah. I
• 6:26
  Speaker 2: will say, completely on the other side of the spectrum, though,
• 6:29
  Speaker 2: for a comedy, probably one of the best ones I
• 6:32
  Speaker 2: didn't see coming, even though I like their stuff on SNL,
• 6:35
  Speaker 2: but the Please Don't Destroy guys, the current video dudes.
• 6:39
  Speaker 2: I watched the trailer for that recently.
• 6:42
  Speaker 1: I was like, you know, as crazy and over the
• 6:44
  Speaker 1: top as this looks, I might have to watch it.
• 6:47
  Speaker 2: I haven't yet, but. It is a riot. It is
• 6:51
  Speaker 2: nonstop with the jokes. It does give you some breathing room.
• 6:56
  Speaker 2: But it doesn't slow down. A lot of comedies will
• 6:58
  Speaker 2: peter out by the time you get to the end.
• 7:00
  Speaker 2: Maybe they let their heart out a little too much,
• 7:02
  Speaker 2: and so they're getting more wholesome and less funny. And
• 7:05
  Speaker 2: so you're feeling good by the end, but you're not
• 7:07
  Speaker 2: laughing by the end. This movie doesn't fucking stop. Tip
• 7:11
  Speaker 2: of the cap to these guys. Well done.
• 7:14
  Speaker 1: Well, if we're easing our way in with a comedy,
• 7:17
  Speaker 1: and then I'll get to my bigger question that leads
• 7:19
  Speaker 1: to our other discussion. I did watch, this sort of
• 7:23
  Speaker 1: ties in more of our old-timey superhero series. I've seen
• 7:27
  Speaker 1: the original a couple of times now, but I finally
• 7:30
  Speaker 1: found a copy of Once Upon a Deadpool.
• 7:35
  Speaker 2: And I was like from the moment I heard what
• 7:38
  Speaker 2: it was.
• 7:38
  Speaker 1: I was like damn it I'm gonna have to watch
• 7:39
  Speaker 1: that and I finally found a copy because like they
• 7:42
  Speaker 1: don't really do it streaming the whole purpose of it
• 7:44
  Speaker 1: was we're going to put it out we're going to
• 7:46
  Speaker 1: make it a PG-13 version how do we do that
• 7:51
  Speaker 1: and they found this wraparound way that I was like,
• 7:54
  Speaker 1: damn it, I'm going to have to see that. So
• 7:58
  Speaker 1: it's everything I expected it to be. And super bonus
• 8:02
  Speaker 1: points to Fred Savage for being a sport because he
• 8:05
  Speaker 1: has just fully committed to this ridiculous premise.
• 8:10
  Speaker 2: I mean, we know Ryan.
• 8:11
  Speaker 1: Reynolds is a dork and he will do anything and
• 8:13
  Speaker 1: comes up with the most ridiculous ideas.
• 8:15
  Speaker 2: So that didn't surprise me.
• 8:17
  Speaker 1: But the fact that Fred was like, let's do this.
• 8:20
  Speaker 1: And continually had the better jokes of making fun of
• 8:24
  Speaker 1: Deadpool making fun of Marvel.
• 8:26
  Speaker 2: Massively, Sony Marvel even more so.
• 8:30
  Speaker 1: He's like, this is why I like Marvel movies.
• 8:32
  Speaker 2: We are Marvel. You're Sony Marvel.
• 8:36
  Speaker 1: So those are really the best digs in the whole thing.
• 8:40
  Speaker 2: Yeah, it's been a while since I've seen it, but
• 8:43
  Speaker 2: oh yeah, it is brilliant. I am grateful that the
• 8:47
  Speaker 2: new Deadpool movie coming out next summer will be a
• 8:49
  Speaker 2: R-rated Deadpool movie.
• 8:51
  Speaker 1: As was too, but this is a version of it.
• 8:56
  Speaker 2: But yeah, well done on that one too. In the comics,
• 9:01
  Speaker 2: there are times they'll go back and forth. Depending on
• 9:03
  Speaker 2: who the writing and creative team are, they will do
• 9:06
  Speaker 2: some funny... accessible Deadpool stuff that you would be fine
• 9:10
  Speaker 2: with your children reading these things. And then they also do,
• 9:12
  Speaker 2: you know, like the recent, um, they did a recent
• 9:15
  Speaker 2: one shot called, uh, seven slaughters where the storyline was
• 9:19
  Speaker 2: Deadpool is hired to do a job where he has
• 9:21
  Speaker 2: to kill seven people a day for seven days. So
• 9:26
  Speaker 2: it's quite a challenge. He's been issued. Yes. He was
• 9:28
  Speaker 2: given a basically, you know, for like 80 kajillion dollars
• 9:31
  Speaker 2: and all the chimichangas in the world, uh, You know,
• 9:35
  Speaker 2: this is your job. And so I think he had
• 9:37
  Speaker 2: like a certain list of people he had to do.
• 9:38
  Speaker 2: And some of them were going to be a little
• 9:40
  Speaker 2: difficult because they had high security or whatever the case
• 9:43
  Speaker 2: may be. But yeah. And so the fun thing was
• 9:45
  Speaker 2: that each day a different creative team does the day.
• 9:49
  Speaker 2: So it's like a $ 10 book. It's like 80 pages, big,
• 9:52
  Speaker 2: big thing, you know, volume there. But it's really cool.
• 9:54
  Speaker 2: You get like seven mini stories in this thing. And
• 9:56
  Speaker 2: it's all around the same overarching plot.
• 9:59
  Speaker 3: It is.
• 10:00
  Speaker 1: Uh entertaining it does remind me that there's so many
• 10:03
  Speaker 1: of the elements of two i like more than the
• 10:05
  Speaker 1: first like i i feel like i wasn't as impressed
• 10:08
  Speaker 1: with the first one i feel like i came to
• 10:10
  Speaker 1: it late everybody already built it up as like because
• 10:13
  Speaker 1: it was the anti every other superhero movie yeah And
• 10:15
  Speaker 1: super R-rated, which is what they were going for.
• 10:17
  Speaker 2: So I finally watched it and I was like, eh,
• 10:19
  Speaker 2: it's fine. It was fun.
• 10:21
  Speaker 1: But there's so much more that comes into play in
• 10:23
  Speaker 1: that second one. And once again, Josh Brolin is a badass.
• 10:26
  Speaker 2: Like he always is.
• 10:27
  Speaker 1: I'm like, how can you be the biggest villain in
• 10:28
  Speaker 1: two different Marvel movies? Well, I mean, one's Sony Marvel.
• 10:31
  Speaker 2: But still, they're kind of Marvel. There's actually a funny
• 10:34
  Speaker 2: story about that.
• 10:35
  Speaker 3: Oh, Lord.
• 10:36
  Speaker 2: He had, Brolin had a recent interview where somebody asked
• 10:39
  Speaker 2: him about that. How did you end up getting two
• 10:41
  Speaker 2: Marvel roles almost like at the same time?
• 10:43
  Speaker 1: Almost back to back, yeah.
• 10:44
  Speaker 2: And he's like, well, he says, I was cast as
• 10:48
  Speaker 2: Cable a while back. And so that was in production
• 10:51
  Speaker 2: and we had to halt for a little bit like that.
• 10:53
  Speaker 2: But then the Avengers thing came up and they wanted
• 10:55
  Speaker 2: somebody just to do a voiceover. And like I was available, yada, yada, yada.
• 11:00
  Speaker 2: So they just had me do the voiceover. And then
• 11:02
  Speaker 2: all of a sudden people like, oh my gosh, Josh
• 11:04
  Speaker 2: Brolin did the voiceover. And then they realized their main
• 11:07
  Speaker 2: plot is like, we're going to do the, basically once
• 11:09
  Speaker 2: they were finished with the first Avengers movie. Feige and
• 11:13
  Speaker 2: all them behind MCU knew, like, okay, we're going to
• 11:15
  Speaker 2: do the Infinity Gauntlet storyline.
• 11:16
  Speaker 1: Yeah, because the old post-credits does not look like him.
• 11:19
  Speaker 1: It's just a generic Thanos-looking image, and that's all we get.
• 11:23
  Speaker 2: Yeah, we get a big guy in a gold armor
• 11:25
  Speaker 2: with a purple face.
• 11:26
  Speaker 3: Yeah.
• 11:26
  Speaker 2: Yeah, it's a different Thanos. So he was kind of
• 11:29
  Speaker 2: just a footnote. He was like, let's just throw this
• 11:31
  Speaker 2: in here as a fun thing, but maybe or maybe not,
• 11:33
  Speaker 2: we'll do some, we'll see how it goes. And it
• 11:35
  Speaker 2: went well. So they're like, oh, yeah, okay, we are
• 11:38
  Speaker 2: going to do an Infinity Gauntlet.
• 11:39
  Speaker 3: Hey!
• 11:40
  Speaker 2: Josh, what are you doing later? And so he did
• 11:43
  Speaker 2: not expect to end up doing Thanos.
• 11:45
  Speaker 1: Being the biggest villain ever since Darth Vader. So, yeah.
• 11:49
  Speaker 2: So, basically, technically, even though Thanos was released, the Avengers
• 11:53
  Speaker 2: was released first before Deadpool 2, he was technically Cable first.
• 11:56
  Speaker 5: Yeah.
• 11:57
  Speaker 1: Well, and then the other thing I forget every time.
• 12:00
  Speaker 1: And I get into it and I'm like, oh, man. Whew.
• 12:03
  Speaker 1: Sassy beats.
• 12:05
  Speaker 2: I forget every time.
• 12:06
  Speaker 1: I'm like, good God.
• 12:07
  Speaker 2: Anyway. Anyway. I do like the character, but on top
• 12:10
  Speaker 2: of that, I'm constantly distracted. Yeah, she's hot. Yeah.
• 12:12
  Speaker 1: She's so attractive.
• 12:13
  Speaker 2: Anyway. And the Brad Pitt cameo literally was because his
• 12:17
  Speaker 2: kids love Deadpool. And so they were like, wouldn't it
• 12:22
  Speaker 2: be fun if we got like an ultra big celebrity
• 12:25
  Speaker 2: to just come in for this one shot. One flickering
• 12:28
  Speaker 2: image and that's it. Yeah. And so somebody throws out, well, hey,
• 12:33
  Speaker 2: what about Brad Pitt? And Ryan's like, I'll call him.
• 12:36
  Speaker 1: I can do this.
• 12:37
  Speaker 2: I'm Ryan Reynolds. And so Ryan personally called, and he's like, dude,
• 12:40
  Speaker 2: my kids love Deadpool. Yeah. He may have done it
• 12:44
  Speaker 2: for a case of Funyuns or something. He didn't do
• 12:47
  Speaker 2: it for hardly anything. See, what's funny is.
• 12:50
  Speaker 1: Since now we're talking about the Once Upon a Deadpool,
• 12:52
  Speaker 1: like Deadpool 2 makes that joke and that's its own joke.
• 12:56
  Speaker 2: It's like, but that was him. And then that's it.
• 12:58
  Speaker 1: They don't address it. Because of the cutaway portion of
• 13:03
  Speaker 1: Once Upon a Deadpool, then we get to play a
• 13:05
  Speaker 1: whole other joke. You get that second and then it
• 13:07
  Speaker 1: cuts to Fred Savage going, was that?
• 13:10
  Speaker 2: Was that Brad Pitt?
• 13:12
  Speaker 1: So you get, number one, they call out exactly who
• 13:15
  Speaker 1: it was for the one person in the audience who
• 13:17
  Speaker 1: didn't recognize Brad Pitt. But then also we get a
• 13:21
  Speaker 1: whole extra joke that ties into everything that would only
• 13:25
  Speaker 1: be possible after the movie was done.
• 13:27
  Speaker 2: Because then his, not to spoil it, but again, it's
• 13:30
  Speaker 2: Deadpool just making dumb comments. So he's like, how the
• 13:33
  Speaker 2: hell did you get Brad Pitt? And he's like, How
• 13:37
  Speaker 2: did you willingly?
• 13:38
  Speaker 1: He's like, well, I didn't say willingly as he's kidnapped
• 13:41
  Speaker 1: Fred Savage.
• 13:42
  Speaker 3: Right.
• 13:42
  Speaker 1: So then the joke is he has, and again, he
• 13:44
  Speaker 1: rattles it off as only would make sense to you
• 13:47
  Speaker 1: as the audience member. He has Brad Pitt. matt damon
• 13:51
  Speaker 1: and celine dion tied up in his basement and i
• 13:55
  Speaker 1: was like okay the last one would only make sense
• 13:57
  Speaker 1: well after the fact because i'm sure it took him
• 14:00
  Speaker 1: a while to secure that song so i'm like that
• 14:02
  Speaker 1: joke can only be made well after the movie's over
• 14:06
  Speaker 1: with so i i like that we get an extra
• 14:08
  Speaker 1: joke out of that even though it's super like one
• 14:11
  Speaker 1: of the most memorable moments in that movie the first
• 14:14
  Speaker 1: time around but now we get like a second pass
• 14:16
  Speaker 1: And a whole other joke thrown in.
• 14:18
  Speaker 2: And see, I almost think they need to kind of
• 14:19
  Speaker 2: revisit that in the third one because like, okay, obviously
• 14:22
  Speaker 2: he released Fred because Fred played his part, did his thing.
• 14:25
  Speaker 2: Selene was released because she did the song and he
• 14:27
  Speaker 2: was in the video and all that kind of stuff.
• 14:29
  Speaker 2: Where's Matt Damon? I mean, he was there. Unrecognizable almost.
• 14:34
  Speaker 2: But he's there.
• 14:35
  Speaker 1: Like in every movie out there. There's secretly a Matt
• 14:38
  Speaker 1: Damon hiding somewhere in your movie.
• 14:40
  Speaker 2: Yeah, but I don't know. If I'm going to have
• 14:42
  Speaker 2: Matt Damon in a movie, I'm going to be like,
• 14:44
  Speaker 2: you know, It'd be like playing a Brad Pitt. It's like,
• 14:46
  Speaker 2: I'm going to make it known. Like, hey, that's Matt Damon.
• 14:48
  Speaker 2: I mean, technically, he shot that dude. So he can't
• 14:51
  Speaker 2: play that character again. But he can come back as
• 14:54
  Speaker 2: Matt Damon. That's true, yeah. Zombie Matt Damon.
• 14:58
  Speaker 1: So there's our comedy. But the other thing I saw,
• 15:02
  Speaker 1: and technically, I mentioned this on the last episode. So
• 15:05
  Speaker 1: not to repeat myself, but because I wanted to address
• 15:08
  Speaker 1: kind of the bigger thing as we get into this.
• 15:10
  Speaker 3: Mm-hmm.
• 15:10
  Speaker 1: Because I just recently watched Leave the World Behind.
• 15:13
  Speaker 2: Oh, okay. Have you seen that? Not yet. I want to.
• 15:17
  Speaker 2: It's definitely worth seeing. Again, if you're not.
• 15:21
  Speaker 1: And this is the thing. I feel like people on
• 15:22
  Speaker 1: the internets, surprise, they're whiny. Or upset because it's like
• 15:27
  Speaker 1: it's not pinning down exactly what happened. It doesn't give
• 15:31
  Speaker 1: you the entire freaking story and wrap it up with
• 15:33
  Speaker 1: a bow on top of it.
• 15:33
  Speaker 2: Of why the world changed.
• 15:34
  Speaker 1: And hand it to, not even that, like by the
• 15:36
  Speaker 1: time you get to the end, like don't expect everything
• 15:38
  Speaker 1: to be wrapped up in your whole story because then
• 15:41
  Speaker 1: you're going to be like the rest of the internet
• 15:42
  Speaker 1: and you're going to whine the whole time.
• 15:43
  Speaker 2: But I like the ambiguity.
• 15:44
  Speaker 1: Yeah, if you just are there for here's what happened
• 15:47
  Speaker 1: in this amount of time, here's what happened. So I'm like,
• 15:50
  Speaker 1: that's the presentation of this. And I'm like, I kind
• 15:52
  Speaker 1: of like that.
• 15:53
  Speaker 2: And it's sort of making a.
• 15:55
  Speaker 1: Couple of different points along the way. So I'll leave
• 15:57
  Speaker 1: those for you to discover.
• 15:58
  Speaker 6: Cool, okay.
• 15:59
  Speaker 1: But the thing as I got into that and mentioned
• 16:02
  Speaker 1: it last time, because I was almost selling it as
• 16:04
  Speaker 1: like a sub-genre of horror now.
• 16:06
  Speaker 2: Yeah. Which it kind of is. It's not really a
• 16:09
  Speaker 2: horror movie once you get in there, but.
• 16:10
  Speaker 1: It's its own.
• 16:12
  Speaker 2: It's a paranoia thriller.
• 16:13
  Speaker 1: But they start to cross over and they bleed into
• 16:16
  Speaker 1: one thing. So it's like anything that's, the world falling apart,
• 16:21
  Speaker 1: it's like can go any different direction depending on what
• 16:24
  Speaker 1: the incident is that starts this process.
• 16:28
  Speaker 4: Okay.
• 16:28
  Speaker 2: So I was like, cause.
• 16:29
  Speaker 1: Then I was going down last time I was running
• 16:31
  Speaker 1: off like some of the other, like the last of
• 16:32
  Speaker 1: us kind of thing.
• 16:33
  Speaker 2: Like that was huge. Same sort of thing. One little
• 16:37
  Speaker 2: thing gets messed up and guess what?
• 16:39
  Speaker 1: The whole world goes to hell.
• 16:40
  Speaker 2: So we're coming off of like walking dead.
• 16:43
  Speaker 1: But then there was like all those other ones that
• 16:44
  Speaker 1: were big, popular, like bird box and a quiet place.
• 16:47
  Speaker 1: And like, Then we get some sort of creature involved
• 16:50
  Speaker 1: and like now there's a whole new problem that you're
• 16:52
  Speaker 1: fighting with. But I was like, these are all pretty
• 16:55
  Speaker 1: big budget and like pretty giant stars being thrown into
• 16:59
  Speaker 1: them now. So it's like, is this its own? I mean,
• 17:04
  Speaker 1: it's definitely its own subgenre, but it's like several of
• 17:06
  Speaker 1: them crammed into one because you've got like the... post-apocalyptic
• 17:11
  Speaker 1: you know roland emmerich version of let's watch every disaster
• 17:15
  Speaker 1: kill the world or you've got the some incident has
• 17:19
  Speaker 1: happened and now things are going to hell we have
• 17:22
  Speaker 1: to deal with it it's more of a slice of
• 17:23
  Speaker 1: life version which is kind of more of leave the
• 17:26
  Speaker 1: world behind yeah okay um and then you get ones
• 17:29
  Speaker 1: that are very specific that are like a monster or
• 17:31
  Speaker 1: something so like there's many variations but they're all kind
• 17:35
  Speaker 1: of in this bigger picture of the world's falling apart
• 17:38
  Speaker 1: And this is how we're going to deal with it.
• 17:40
  Speaker 1: And each one kind of picks a different way of
• 17:42
  Speaker 1: this is how we're going to deal with it.
• 17:43
  Speaker 2: So, I don't know. What did you think of this?
• 17:46
  Speaker 2: Because it's a very big popular.
• 17:49
  Speaker 1: Like, we're, in a while, going to be talking about
• 17:52
  Speaker 1: a much smaller subgenre that I feel like not everybody
• 17:55
  Speaker 1: came in contact back in 1983. But now I'm like,
• 17:59
  Speaker 1: you know, you got Julia Roberts and... Sandra Bullock and
• 18:03
  Speaker 1: Brad Pitt in these things. And I'm like, this is
• 18:05
  Speaker 1: stuff your mom's going to watch, you know?
• 18:07
  Speaker 4: Right.
• 18:07
  Speaker 1: So, like, it's appealing to a much bigger audience now
• 18:11
  Speaker 1: that I'm like, this is an interesting thing that, like,
• 18:14
  Speaker 1: normal people are on board to watch, you know, Squid
• 18:18
  Speaker 1: Games is another one. Sure. Hey, the world's kind of
• 18:21
  Speaker 1: falling apart, financially speaking, so how about we deal with
• 18:24
  Speaker 1: it in a weird way that creates its own dystopian universe? So,
• 18:28
  Speaker 1: there's all these different varieties, but they're all kind of...
• 18:32
  Speaker 1: leading to the same end of the world place.
• 18:34
  Speaker 2: Sure. And that's what's brilliant about that whole end of
• 18:37
  Speaker 2: the world dystopian or extinction level event or a post-apocalyptic
• 18:46
  Speaker 2: or a Mad Max sort of world. The possibilities are
• 18:51
  Speaker 2: endless of what you could do with it, how it's
• 18:53
  Speaker 2: going to look, what your gimmick is, that sort of
• 18:56
  Speaker 2: thing like that. So that's why you can get a
• 18:58
  Speaker 2: very classy... Like I said, I need to see this
• 19:01
  Speaker 2: movie because it's in my queue. But, like, I mean,
• 19:04
  Speaker 2: you've got, like, you know, Julia Roberts, Mashallah Lee, Kevin Bacon.
• 19:07
  Speaker 2: I can't remember who else is in this movie.
• 19:10
  Speaker 1: Ethan Hawke.
• 19:10
  Speaker 2: Oh, that's right. Ethan Hawke. Yeah. So, I mean, you've got, like,
• 19:13
  Speaker 2: you know, top A-level actors here in a very classy-looking movie. But, like,
• 19:17
  Speaker 2: this is still, like, an end-of-the-world kind of thing here.
• 19:19
  Speaker 2: It is.
• 19:20
  Speaker 1: It's weird because it's very subtle in how it gets
• 19:23
  Speaker 1: into it. It's very measured of, like, okay, we're just
• 19:26
  Speaker 1: going to ease our way into this situation.
• 19:29
  Speaker 3: Mm-hmm.
• 19:29
  Speaker 1: And then, like, things start to change. And then you're like, okay,
• 19:32
  Speaker 1: how do you deal with that? And then, like, bigger
• 19:35
  Speaker 1: things start to change. You're like, okay, now what do
• 19:37
  Speaker 1: you do? So it's like they're very segmented almost. But
• 19:41
  Speaker 1: at the same time, it's like this small scenario, this
• 19:45
  Speaker 1: small group of people. And, like, they're dealing with what
• 19:48
  Speaker 1: they now are, like, it's slowly starting. to dawn on
• 19:50
  Speaker 1: them that this is a much bigger worldwide problem right
• 19:54
  Speaker 1: we're certainly taking over our country again it's almost a
• 19:58
  Speaker 1: little more that's what i said last week it's almost
• 20:00
  Speaker 1: out of today's headlines kind of a thing because at
• 20:03
  Speaker 1: that point they don't know what's going on so they
• 20:04
  Speaker 1: start blaming other countries and like things were being attacked
• 20:08
  Speaker 1: and so like it's a lot of things that could
• 20:11
  Speaker 1: be which again is even more weird that people are
• 20:13
  Speaker 1: like signing on to be like yes i want to
• 20:15
  Speaker 1: watch this movie i was like well this is your
• 20:18
  Speaker 1: everyday life i hate to tell you.
• 20:19
  Speaker 2: Yeah have fun with that sometimes though that kind of
• 20:23
  Speaker 2: works out man just you know a movie that's literally
• 20:27
  Speaker 2: you know talking about the times that we are currently
• 20:30
  Speaker 2: living in sometimes goes over well sometimes they're kind of
• 20:33
  Speaker 2: lost to time but they're rediscovered later.
• 20:35
  Speaker 1: Sometimes they're frighteningly accurate yes they are Looking at you, Idiocracy.
• 20:41
  Speaker 1: But yeah, I was like, okay, this has never happened before.
• 20:45
  Speaker 1: We definitely had our 70s big budget run. I was thinking,
• 20:49
  Speaker 1: I was like, Mega Man, Planet of the Apes, Soylent Green.
• 20:53
  Speaker 1: And I was like, what the hell's going on with
• 20:54
  Speaker 1: Charlton Heston, by the way?
• 20:56
  Speaker 2: He's a very dour guy.
• 20:57
  Speaker 1: His pulse on the end of the world that was
• 21:01
  Speaker 1: the 1970s.
• 21:01
  Speaker 2: Everything is going to die. That was my Charlton Heston.
• 21:07
  Speaker 2: Thank you. Thank you. Don't clap to steal money.
• 21:10
  Speaker 1: Almost as good as Wayne's World.
• 21:12
  Speaker 2: Anyway. Ah, Gordon Street. Bye. I don't know. That's the thing.
• 21:20
  Speaker 1: I was thinking like it seems like it left that
• 21:22
  Speaker 1: big budget. We didn't have near as many like 80s,
• 21:25
  Speaker 1: but we had a ton of cheap ones in the 80s.
• 21:27
  Speaker 2: Oh, yeah. Thanks to our old pals in Australia.
• 21:31
  Speaker 1: We had a million knockoffs that came along and did
• 21:34
  Speaker 1: a bunch of cheap into the world. In many different ways,
• 21:37
  Speaker 1: for many different variety of reasons, with a lot of
• 21:40
  Speaker 1: different cars.
• 21:41
  Speaker 2: So... Sort of cars? There's at least one car in
• 21:47
  Speaker 2: this movie. On that note, I guess we should roll
• 21:50
  Speaker 2: into this week's movie. Yes, let's do. It's time for
• 21:54
  Speaker 2: Sofa Theater.
• 22:01
  Speaker 6: At the beginning of the 21st century, the nuclear holocaust
• 22:04
  Speaker 6: had come to pass and civilization vanished. It was a
• 22:07
  Speaker 6: time of chaos and violence until one day there appeared.
• 22:14
  Speaker 2: The new barbarians.
• 22:21
  Speaker 6: But only we, the Templars, are the ministers of revenge.
• 22:27
  Speaker 1: Run!
• 22:27
  Speaker 4: With all the Templars around, you women are getting rare.
• 22:31
  Speaker 3: What are you doing? I can't stay.
• 22:39
  Speaker 2: In one place for long.
• 22:40
  Speaker 4: So many people are.
• 22:43
  Speaker 2: Running after me. But I would have handled it without
• 22:49
  Speaker 2: your help.
• 22:57
  Speaker 4: Use that anger.
• 22:58
  Speaker 1: It's a trap! What are you here for?
• 23:02
  Speaker 2: I'm here to kill you.
• 23:03
  Speaker 3: The New Barbarian.
• 23:05
  Speaker 2: My damn taxi's gonna break my back. I'm in the wasteland.
• 23:15
  Speaker 6: I'm in the wasteland.
• 23:26
  Speaker 3: I'm in the wasteland.
• 23:32
  Speaker 2: I'm in the wasteland. I'm in the wasteland, mama.
• 23:41
  Speaker 1: You know it's true.
• 23:41
  Speaker 2: No motherfuckers gonna tell me what to do. I'm in
• 23:43
  Speaker 2: the wasteland.
• 23:44
  Speaker 1: This seventh-eater feature is Warriors of the Wasteland, a.k.a.
• 23:48
  Speaker 2: The New Barbarians.
• 23:48
  Speaker 1: The year is 1983. The director, Enzo G.
• 23:51
  Speaker 2: Castuelli. Mamma mia.
• 23:55
  Speaker 1: And the plot, according to IMDB, which I think they
• 23:58
  Speaker 1: just pulled from some random person who felt like writing it.
• 24:01
  Speaker 1: Two mercenaries help wandering caravans fight off an evil and
• 24:05
  Speaker 1: aimless band of white-clad bikers after a nuclear holocaust.
• 24:11
  Speaker 2: I guess.
• 24:12
  Speaker 1: As much as you're going to make a story out
• 24:14
  Speaker 1: of this, sure, that's close enough.
• 24:17
  Speaker 2: That describes 20 minutes of the movie.
• 24:20
  Speaker 1: So with that, spoiler alert, we're about to ruin the
• 24:23
  Speaker 1: hell out of this, but... I don't know how much
• 24:25
  Speaker 1: you're going to ruin. I mean, if you get the concept,
• 24:29
  Speaker 1: you're there. You're along for the ride because there's not
• 24:33
  Speaker 1: a whole lot of other story beats that you're going
• 24:36
  Speaker 1: to get blown for you. There's some moments you're probably
• 24:39
  Speaker 1: not prepared for.
• 24:40
  Speaker 2: All right.
• 24:42
  Speaker 1: Now, on to the future of 2019.
• 24:48
  Speaker 2: Isn't that technically the past? No, this is the future.
• 24:51
  Speaker 1: What are you talking about?
• 24:53
  Speaker 2: We're in 2023 and it doesn't look anything like that.
• 24:55
  Speaker 3: 2019.
• 24:55
  Speaker 2: It's almost like they were wrong. Well, then again, you know,
• 25:00
  Speaker 2: they were in 1983 and they said, let's look ahead
• 25:03
  Speaker 2: to a, you know, the far distant future of 2019
• 25:06
  Speaker 2: of 1990 or well, the, yes, the first, our original
• 25:08
  Speaker 2: Bronx warriors in 1990. And so this is basically barely
• 25:11
  Speaker 2: 20 years removed from Bronx warriors. So, um, Well, from
• 25:23
  Speaker 2: the opening of this film, literally the opening credits, we
• 25:28
  Speaker 2: get a cityscape that is definitely a model. I don't
• 25:34
  Speaker 2: know what you're talking about.
• 25:34
  Speaker 1: That was real.
• 25:35
  Speaker 2: No.
• 25:36
  Speaker 1: And it also might have been the Troma logo.
• 25:38
  Speaker 2: I'm not sure. I think if Lloyd didn't sue these guys,
• 25:42
  Speaker 2: he should have.
• 25:43
  Speaker 1: Because it looks exactly like it.
• 25:46
  Speaker 2: But a white fireball hits the city center, and then
• 25:51
  Speaker 2: the world's worst smoke effect proceeds over the next couple
• 25:56
  Speaker 2: of minutes and credits. What the hell are you saying?
• 25:57
  Speaker 1: Not bad effects.
• 25:59
  Speaker 2: Because we're... my wife and I've subjected my wife to
• 26:04
  Speaker 2: this movie twice.
• 26:05
  Speaker 1: That poor woman.
• 26:06
  Speaker 2: Well, and she has a, she has a certain enjoyment
• 26:09
  Speaker 2: of it for many different reasons as well. We'll go into,
• 26:12
  Speaker 2: but I was going on about the smoke effect in
• 26:15
  Speaker 2: this most recent rewatch. As we're talking about the movie,
• 26:17
  Speaker 2: I was like, notice how like the smoke starts from
• 26:19
  Speaker 2: the top of the screen and then eventually pours down
• 26:22
  Speaker 2: and then fills up everything. And then you can't see
• 26:24
  Speaker 2: anything because the smoke's over there. It's like someone didn't
• 26:27
  Speaker 2: know how a bomb works. Or the smoke.
• 26:30
  Speaker 1: Came from space and this is actually aliens taking over.
• 26:33
  Speaker 1: They're just going to, let's just make them crazy and
• 26:36
  Speaker 1: weird for a while. And then when they kill each
• 26:38
  Speaker 1: other off, we'll take over their dumb planet.
• 26:42
  Speaker 2: But yeah, so basically it just, yeah, it's like, no,
• 26:44
  Speaker 2: the smoke would have come from the explosion and gone
• 26:46
  Speaker 2: up and then spread out. Oh, no.
• 26:50
  Speaker 1: So if we're going by their, I'm using quotes, math,
• 26:54
  Speaker 1: I guess technically that should be taking place in 2010.
• 26:58
  Speaker 1: Because it's 2019 when we start, and they give this
• 27:02
  Speaker 1: nine years since this all happened. So I guess we
• 27:05
  Speaker 1: went from 1990, things were just bad in one part
• 27:09
  Speaker 1: of the world. Everything else seemed to be normal in
• 27:12
  Speaker 1: our last movie of this triology. And then we jump
• 27:17
  Speaker 1: ahead to, I guess, 2010 when the bomb decides we
• 27:20
  Speaker 1: don't know where, we don't know why. They really do
• 27:23
  Speaker 1: not go into backstory on this one.
• 27:24
  Speaker 2: They do not.
• 27:25
  Speaker 1: It's just things blowed up and here we are.
• 27:29
  Speaker 2: You know, the thing that always puzzled me about this,
• 27:32
  Speaker 2: because it's, even though the filmmakers sometimes will say, no,
• 27:36
  Speaker 2: Bronx Warriors and Escape from the Bronx, they're the movies
• 27:38
  Speaker 2: that are there. But then basically people want to lump
• 27:41
  Speaker 2: in New Barbarians as no movies. It is a trilogy
• 27:44
  Speaker 2: because you filmed three movies in a very short period
• 27:48
  Speaker 2: of time using almost the same cast for all three films.
• 27:53
  Speaker 2: And you kind of stuck with the same locations and yada, yada, yada.
• 27:57
  Speaker 2: So it's a fucking trilogy. So it's your fault, Enzo.
• 28:00
  Speaker 1: I'm just saying.
• 28:01
  Speaker 2: Yeah. You just should have released New Barbarians after you
• 28:05
  Speaker 2: released Escape from the Bronx because then it would have
• 28:07
  Speaker 2: made more sense. Yeah.
• 28:09
  Speaker 1: Yeah. And still none of it's not really going to
• 28:12
  Speaker 1: make sense.
• 28:12
  Speaker 2: Of course not.
• 28:13
  Speaker 1: No. Because we still have at least two of our
• 28:15
  Speaker 1: main actors in this movie that are playing entirely different
• 28:19
  Speaker 1: characters from the last movie.
• 28:21
  Speaker 2: Three. Even though they're kind of the exact same characters.
• 28:25
  Speaker 1: But they have a different name and don't acknowledge that
• 28:27
  Speaker 1: any of that stuff in the first movie happened.
• 28:28
  Speaker 4: Yeah.
• 28:29
  Speaker 3: Yeah.
• 28:30
  Speaker 2: Yeah, well, Fred Williamson's character is, you know, he's still
• 28:34
  Speaker 2: a bit of a scoundrel, but he's less of a
• 28:35
  Speaker 2: scoundrel and more of a hero, but doesn't show up
• 28:38
  Speaker 2: until halfway through the movie. And then the other hero
• 28:42
  Speaker 2: of the movie doesn't show up until like a good
• 28:44
  Speaker 2: 15 minutes in. So you're like, who is this about?
• 28:48
  Speaker 2: I'm still not sure. Because you're like, is it about
• 28:51
  Speaker 2: the Templars? Are they the good guys, even though they're
• 28:53
  Speaker 2: obviously the bad guys? Because they're the only people we've
• 28:55
  Speaker 2: seen so far. And then we get Scorpion. Scorpion. Before
• 29:02
  Speaker 2: we get too deep in the movie, another thing that
• 29:05
  Speaker 2: always strikes me funny is we get the terrible explosion,
• 29:08
  Speaker 2: we get past the credits, and I love the theme music, too.
• 29:11
  Speaker 2: Because the theme music almost sounds like it's offbeat and
• 29:14
  Speaker 2: then catches up kind of part of the way through.
• 29:16
  Speaker 2: Which seems about right for this movie. Yeah, because it's
• 29:20
  Speaker 2: very synth-heavy, but it's like a... There's like, oh, wait, wait. Okay,
• 29:24
  Speaker 2: now we're back in syncopation.
• 29:25
  Speaker 1: Is it that same guy that was playing down on
• 29:28
  Speaker 1: the waterfront in the last movie?
• 29:29
  Speaker 2: No, because that dude was good. That guy was actually just.
• 29:32
  Speaker 1: Hanging out on set as we found out then. So
• 29:35
  Speaker 1: maybe he just showed up in the post-apocalyptic future.
• 29:38
  Speaker 2: No, that cat was good. He probably would. never use sense.
• 29:40
  Speaker 1: But by then, he had gotten hit with a lot
• 29:43
  Speaker 1: of radiation. So his rhythm was a little off. And
• 29:46
  Speaker 1: one of those arms was falling off. So that explains it.
• 29:48
  Speaker 3: Maybe.
• 29:49
  Speaker 2: I don't know. But yeah, it's questionable theme music. We're
• 29:53
  Speaker 2: getting shots of our wasteland here. We see smoking craters
• 29:57
  Speaker 2: and all kinds of stuff. So apparently the half-life is
• 29:59
  Speaker 2: still going on. People are above ground and they probably
• 30:02
  Speaker 2: shouldn't be.
• 30:03
  Speaker 1: And let's not overlook the radiation suit with special bubbles.
• 30:07
  Speaker 2: Yes, booby bubbles.
• 30:10
  Speaker 1: Why did we miss that scene is what I want
• 30:12
  Speaker 1: to know.
• 30:12
  Speaker 2: I never missed it. Well, no, I want to see
• 30:15
  Speaker 2: the before. I don't want to see these skeletons in there.
• 30:18
  Speaker 2: You lose the effect of the bubbles. Technically, we are
• 30:21
  Speaker 2: going to get more booby bubbles, but this time it's
• 30:24
  Speaker 2: on the other side of the spectrum. Of course.
• 30:27
  Speaker 1: I'm not looking for those. I wanted the good ones
• 30:29
  Speaker 1: that seem to be in that first suit we saw.
• 30:31
  Speaker 2: But apparently in the far future of 2010 to 2019,
• 30:35
  Speaker 2: whatever kind of time frame we are, We were big
• 30:41
  Speaker 2: fans of concave, clear, plexiglass stuff.
• 30:47
  Speaker 1: And I don't understand the one on the top of
• 30:49
  Speaker 1: the car.
• 30:50
  Speaker 2: Yeah, why do you have the dome on top of
• 30:52
  Speaker 2: your car that's well lit? It lights the inside of
• 30:54
  Speaker 2: the car so when you're driving at night, how do
• 30:57
  Speaker 2: you see out the windows?
• 30:58
  Speaker 1: Snipers can hit you from a mile away because you've
• 31:01
  Speaker 1: lit up your car.
• 31:03
  Speaker 2: But it doesn't even serve a purpose.
• 31:05
  Speaker 1: If later in there she got up there to run
• 31:07
  Speaker 1: a turret gun and could see out the bubble.
• 31:10
  Speaker 2: I'd be like, well, there you go. That's why that's there.
• 31:12
  Speaker 1: But it serves absolutely no purpose. So I'm like, if
• 31:15
  Speaker 1: you took that off, this car is badass. It's got
• 31:18
  Speaker 1: the skull, which I'm pretty sure they get like a
• 31:20
  Speaker 1: bonus every time they cut to the skull. Because there
• 31:23
  Speaker 1: were 487 times we cut back to the skull for
• 31:27
  Speaker 1: no real reason other than just so you know this
• 31:29
  Speaker 1: is his car.
• 31:30
  Speaker 2: Well, if you remember in Bronx Warriors 1990, we had
• 31:33
  Speaker 2: skulls on the motorcycles. But the skulls looked like they
• 31:36
  Speaker 2: were like cheap Halloween skulls. They were. They were, yeah.
• 31:40
  Speaker 2: So this one, at least they painted chrome so it
• 31:43
  Speaker 2: looked like it was metal.
• 31:44
  Speaker 1: So maybe that's why they were so proud of it.
• 31:46
  Speaker 1: They're like, look, it's actually metal.
• 31:48
  Speaker 2: Let's show it a lot more time. And let's also
• 31:50
  Speaker 2: not forget the unnecessary tubes. That started in the hood
• 31:54
  Speaker 2: and went nowhere.
• 31:54
  Speaker 1: The tubes at least seem like they fit the concept
• 31:58
  Speaker 1: of like, here, look, this is a crazy future car.
• 32:02
  Speaker 1: So the tubes in the skull I was all good with. Otherwise,
• 32:05
  Speaker 1: your car is obviously a muscle car.
• 32:07
  Speaker 2: It's badass.
• 32:08
  Speaker 1: But does it need a giant clear dome on the top?
• 32:11
  Speaker 1: Not really.
• 32:13
  Speaker 2: But yes. But yeah, early on, like I said, we
• 32:15
  Speaker 2: establish our main villains, the Templars, led by one, which is...
• 32:20
  Speaker 2: Which one? The one one. Which one? The one.
• 32:24
  Speaker 1: Let's do our Evan Costello.
• 32:26
  Speaker 2: Yeah, the one guy. Which, frankly, George Eastman in this role,
• 32:31
  Speaker 2: I love George Eastman. He is one of those unsung
• 32:34
  Speaker 2: heroes of Grindhouse and drive-in cinema that always ended up
• 32:39
  Speaker 2: playing bad guys, but usually was probably the best actor
• 32:42
  Speaker 2: in the movie unless they had some obvious star in there.
• 32:47
  Speaker 1: If you need to have some scenery sitting around that
• 32:50
  Speaker 1: needs a little gnawing on, you bring George in, you'll
• 32:52
  Speaker 1: be just fine.
• 32:54
  Speaker 2: Yeah, he was just the master of that stuff. So
• 32:56
  Speaker 2: anytime he's a villain in a movie, I'm like, okay,
• 32:59
  Speaker 2: we at least have one good thing. We'll be entertained
• 33:01
  Speaker 2: at some point. Yes. But the thing that really always
• 33:06
  Speaker 2: kind of tickles my fancy is Anil Juralami, who basically
• 33:13
  Speaker 2: is credited as Thomas Moore in this movie, which... If
• 33:18
  Speaker 2: you're Neo in the first movie and then you credit...
• 33:21
  Speaker 2: Why do they think we're not paying attention? But whatever.
• 33:23
  Speaker 1: Obviously we're not because all of their characters have different
• 33:26
  Speaker 1: names for no good reason.
• 33:27
  Speaker 2: So in Bronx Warriors 1990, he was the president of
• 33:31
  Speaker 2: the corporation. Not the United States, but the president of
• 33:34
  Speaker 2: the corporation. Which is even more powerful, obviously. Yeah, yeah.
• 33:37
  Speaker 1: Corporations running.
• 33:38
  Speaker 2: His daughter was taken, all that kind of jazz. In
• 33:41
  Speaker 2: this movie, he's basically the... The Starscream, essentially, if we're
• 33:45
  Speaker 2: going to make an analogy here. The Starscream of the
• 33:46
  Speaker 2: group here. He's the second in command. Always wants to overthrow.
• 33:50
  Speaker 2: Thinks he knows better than one. Under the moniker, his
• 33:53
  Speaker 2: name is Shadow. Which is really... Actually, that's very clever.
• 33:57
  Speaker 2: That's at least.
• 33:58
  Speaker 1: He's got a cool name. Not a cool enough voice
• 34:00
  Speaker 1: to be Starscream.
• 34:01
  Speaker 2: No, not a cool enough voice.
• 34:02
  Speaker 1: Still, he's... He at least seems a little more level-headed
• 34:05
  Speaker 1: than one who seems kind of like an egomaniac and
• 34:09
  Speaker 1: sold on his own crazy whatever. We'll get to that later,
• 34:13
  Speaker 1: I guess.
• 34:13
  Speaker 2: Yeah, he's mad as an owl. Yeah. But the great
• 34:17
  Speaker 2: thing about Shadow in this movie is the hair. Because
• 34:22
  Speaker 2: that hair is like fine, shiny silk like Hulk Hogan
• 34:26
  Speaker 2: from 1984. It is just.
• 34:31
  Speaker 2: Faker than a football bat. What the hell are you saying?
• 34:34
  Speaker 2: It is just glorious. And that is one of my
• 34:36
  Speaker 2: wife's favorite parts of the movie. Anytime this dude's on here,
• 34:39
  Speaker 2: it always looks like the wind machine's blowing. So his
• 34:41
  Speaker 2: hair has got a slight flow to it. It's glorious.
• 34:46
  Speaker 2: What is the upstart that gets killed with the.
• 34:49
  Speaker 1: Reject flock of seagulls?
• 34:51
  Speaker 2: That's Mako. There we go. He's the one I.
• 34:53
  Speaker 1: Was like, yeah, you got kicked out of flock of seagulls, dude.
• 34:56
  Speaker 2: You're close.
• 34:57
  Speaker 1: You're almost there, but you didn't make the cut.
• 34:59
  Speaker 2: He was Massimo Vanni is the name of the actor.
• 35:03
  Speaker 1: Because that's the one that steals the hair thunder first.
• 35:06
  Speaker 1: And then luckily, you know, shadows around the whole rest
• 35:08
  Speaker 1: of the movie get to admire his very special do.
• 35:12
  Speaker 2: Well, Mako goes into business for himself and tries to,
• 35:15
  Speaker 2: you know, be a little overambitious. And I'm going to
• 35:18
  Speaker 2: go take out this guy first. I'll impress my dad. Yeah,
• 35:22
  Speaker 2: I'm going to impress dad and he ends up getting
• 35:24
  Speaker 2: himself killed. Uh, but yeah, so, but yeah, like we
• 35:28
  Speaker 2: established very well the hierarchy of the Templars and we
• 35:32
  Speaker 2: got our villains down. Like this is odd because we
• 35:34
  Speaker 2: have no hero right now. Is there anyone else in
• 35:37
  Speaker 2: this movie? And then we get Scorpion, uh, and hero protagonist,
• 35:45
  Speaker 2: I guess. I'm not so sure about hero. Sometimes I guess. Uh,
• 35:50
  Speaker 2: the actors, uh, Giancarlo Preet, I guess is how you
• 35:53
  Speaker 2: pronounce his name in a But also, fake-ass name, Timothy
• 35:57
  Speaker 2: Brent is how he's credited in this film.
• 36:00
  Speaker 1: Of course.
• 36:01
  Speaker 2: The dude's a good-looking dude. striking features.
• 36:05
  Speaker 1: In a 70s sort of way, which is weird because
• 36:07
  Speaker 1: this was 1983.
• 36:08
  Speaker 2: But they spilled over.
• 36:11
  Speaker 1: There's a lot of 70s leftovers in the 80s.
• 36:13
  Speaker 2: But no, he's kind of like a Starsky kind of
• 36:17
  Speaker 2: look to him, with curly hair and whatnot. He's got
• 36:19
  Speaker 2: a good physique. He's a good looking dude.
• 36:22
  Speaker 1: To me, he looked like the kind of guy who
• 36:24
  Speaker 1: maybe just did a little bit better and didn't end
• 36:28
  Speaker 1: up in porn. Because he kind of looks like the
• 36:31
  Speaker 1: kind of guy who would have been in those early 80s.
• 36:33
  Speaker 2: He could have been, yeah. And I'm like, yeah, maybe.
• 36:37
  Speaker 1: You didn't end up there. You know, I didn't really
• 36:40
  Speaker 1: check into it.
• 36:41
  Speaker 2: I would be fine if you took my mother out
• 36:43
  Speaker 2: for a steak dinner. That's all I'm going to say.
• 36:45
  Speaker 2: But anywho, so our hero shows up, the lone drifter
• 36:49
  Speaker 2: in his muscle car with the unnecessary dome. And you
• 36:53
  Speaker 2: find out later on eventually that he's a former Templar
• 36:56
  Speaker 2: that left him. So you're like, okay, well there's your
• 36:59
  Speaker 2: backstory of why one hates him. That's as much backstory
• 37:01
  Speaker 2: as we get, basically. That's all you need. That's why
• 37:04
  Speaker 2: one hates him so much he left the fold. He
• 37:06
  Speaker 2: disobeyed dad. We get a rescue of our fair maiden
• 37:11
  Speaker 2: who's Alma. That's her screen credit. Anna Kanakis, I think
• 37:17
  Speaker 2: was the actress's name.
• 37:18
  Speaker 1: And I spent the whole movie going, why do I
• 37:19
  Speaker 1: know her? And then I looked her up and I'm like,
• 37:22
  Speaker 1: I have no idea. She looks familiar. She's definitely a
• 37:26
  Speaker 1: a fetching italian lady but oh yeah and and then
• 37:30
  Speaker 1: got to the end and went man she just passed
• 37:32
  Speaker 1: away like no kidding in the last month just passed
• 37:35
  Speaker 1: away wow yeah i had no idea but then i
• 37:38
  Speaker 1: looked i was like trying to look at all the
• 37:39
  Speaker 1: other stuff and she hadn't done a ton recently but
• 37:42
  Speaker 1: there was like one like thing in the last you
• 37:45
  Speaker 1: know 10 years and then i was like and then
• 37:48
  Speaker 1: the death date was like whoa like that just happened
• 37:52
  Speaker 1: so that's that's sad you know because she's she's She
• 37:56
  Speaker 1: was one of the ones I actually was interested in.
• 37:58
  Speaker 1: She didn't really have much to do, unfortunately, but I
• 38:01
  Speaker 1: actually liked her.
• 38:01
  Speaker 2: Or to say. Yeah. Didn't have a lot of lines either.
• 38:04
  Speaker 1: Not a big speaking role, but she had a cool
• 38:07
  Speaker 1: outfit that we didn't get to see enough of.
• 38:09
  Speaker 2: And also, this movie's got hair. Because her hair is
• 38:14
  Speaker 2: just super poofy and full of body. If 1983 had
• 38:18
  Speaker 2: a hairdo and a lot of Aquanet....
• 38:24
  Speaker 1: It was almost, yeah.
• 38:25
  Speaker 2: But, I mean, it's like, how do you... I'm just
• 38:28
  Speaker 2: confused by this, because everybody else looks like shit in
• 38:31
  Speaker 2: the apocalypse, and then you have this, like, amazing hair.
• 38:34
  Speaker 1: Because she's a supermodel.
• 38:37
  Speaker 2: She technically was like Miss Italy, I believe. Yeah, I
• 38:39
  Speaker 2: can believe it. Like I said, she's gorgeous. But yeah,
• 38:42
  Speaker 2: it was just like, again, just the crazy hair. I
• 38:46
  Speaker 2: can buy it with the Templars because, okay, they're the
• 38:50
  Speaker 2: bad guys. They steal from everybody, so they have resources.
• 38:52
  Speaker 2: They probably have.
• 38:53
  Speaker 1: We don't really know where she came from either, like
• 38:55
  Speaker 1: who that other dude was they offed at the beginning.
• 38:58
  Speaker 1: So where did these two random loners, because they weren't
• 39:01
  Speaker 1: with our other group of weirdos and they weren't with
• 39:03
  Speaker 1: the Templars, so they were off on their own. So
• 39:06
  Speaker 1: maybe they just, you know, heisted from the Aquanet factory.
• 39:10
  Speaker 4: Who knows?
• 39:10
  Speaker 2: I mean, I think we find like there's like these,
• 39:12
  Speaker 2: you know, the beginning of the movie, we have one
• 39:14
  Speaker 2: pocket of like a caravan that gets attacked and wiped
• 39:17
  Speaker 2: out by the Templars. And then like later on the movie,
• 39:20
  Speaker 2: there's another caravan that our heroes come upon. And then
• 39:23
  Speaker 2: the Templars are coming after them. And so they basically
• 39:25
  Speaker 2: do a last stand, you know, with those people sort
• 39:27
  Speaker 2: of thing like that. But. yeah, it's like, okay, so
• 39:31
  Speaker 2: this is random. There's no actual civilization. There's no cities.
• 39:35
  Speaker 2: It's just pockets of caravans.
• 39:36
  Speaker 1: The only hope is they're still all– because the first
• 39:40
  Speaker 1: one is trying to find that radio signal.
• 39:42
  Speaker 3: Yeah.
• 39:42
  Speaker 1: And then our next one is also trying to find this.
• 39:44
  Speaker 1: So somewhere out there they think there's a radio signal somewhere.
• 39:46
  Speaker 1: to some piece of civilization that's still operating. Yeah.
• 39:50
  Speaker 2: But as far as we know, that's not really there. Yeah,
• 39:53
  Speaker 2: that's never followed up on.
• 39:54
  Speaker 1: They get radio noise that we think might be it
• 39:57
  Speaker 1: and is never confirmed or denied.
• 39:58
  Speaker 2: It's just kind of like, yeah, this might be something here.
• 40:02
  Speaker 2: And then we drop that note like a bad habit. Yeah.
• 40:08
  Speaker 2: One of the most hilarious things about this film, obviously
• 40:13
  Speaker 2: we are, you know, Aping Mad Max big time in
• 40:17
  Speaker 2: this movie. Or Road Warrior more appropriately.
• 40:20
  Speaker 1: Yeah, definitely more Road Warrior.
• 40:22
  Speaker 2: In this movie. But Road Warrior, of course, George Miller
• 40:26
  Speaker 2: is very well known for his photography. His edge of
• 40:30
  Speaker 2: your seat kind of shooting here. Because you're like, oh,
• 40:34
  Speaker 2: my God, it looks like somebody's, you know, in Mad Max,
• 40:37
  Speaker 2: somebody actually did die. It looks like someone almost died. Oh, wait. Yeah,
• 40:41
  Speaker 2: one dude in Mad Max actually did die. But in
• 40:43
  Speaker 2: every scene you watch of his, like, you look like
• 40:45
  Speaker 2: somebody's about to die. Don't do that. Don't do that.
• 40:49
  Speaker 2: Whereas this film, every car chase scene, every car battle.
• 40:56
  Speaker 2: Car chase.
• 40:57
  Speaker 1: We're using quotes again.
• 40:58
  Speaker 2: Yeah, car quotes. Yeah. Is literally in slow motion.
• 41:02
  Speaker 1: Well, and at best, like when you see them on
• 41:04
  Speaker 1: the road, they look like they're doing about 25.
• 41:06
  Speaker 2: Yeah.
• 41:06
  Speaker 1: Like this is not the fast paced future world I'm
• 41:10
  Speaker 1: used to.
• 41:11
  Speaker 2: And then when like, you know, the Templars are like
• 41:13
  Speaker 2: circling the wagons basically, you know, sort of thing like that.
• 41:18
  Speaker 2: They're going probably like 15 miles an hour. Yeah.
• 41:22
  Speaker 1: And as we sort of alluded to earlier, we've got
• 41:25
  Speaker 1: one badass muscle car and a whole lot of golf carts.
• 41:29
  Speaker 2: Yes.
• 41:29
  Speaker 1: As I was referring to them, the golf carts from hell,
• 41:32
  Speaker 1: because they are future apocalyptic looking vehicles, but they're also
• 41:37
  Speaker 1: more or less golf carts. And occasionally you get a
• 41:40
  Speaker 1: fancy dune buggy. But that's about it. The only real
• 41:43
  Speaker 1: car was his, more or less.
• 41:45
  Speaker 2: Yeah, golf carts with a whole lot of additions and
• 41:48
  Speaker 2: pieces and parts added to it.
• 41:50
  Speaker 1: But not even cool ones.
• 41:52
  Speaker 2: There's so many in more Road Warrior-y kind of movies
• 41:55
  Speaker 2: that are like spikes to stab people.
• 41:57
  Speaker 1: But the best we get is a fan blade, and
• 42:00
  Speaker 1: it's barely sticking off.
• 42:02
  Speaker 2: I was like, the arms almost... You could almost just
• 42:05
  Speaker 2: run them over.
• 42:06
  Speaker 1: The fan blade's not going to do you enough good.
• 42:08
  Speaker 1: You might as well just swerve over that extra six
• 42:11
  Speaker 1: inches that you've got range on that fan blade and
• 42:14
  Speaker 1: just mow them over with the car, really.
• 42:18
  Speaker 2: Also, it's like if you're going only about 15 miles
• 42:21
  Speaker 2: an hour, is it possible to slice anybody? They wouldn't
• 42:26
  Speaker 2: cleave someone in half with this fan blade thing.
• 42:28
  Speaker 1: It's just going to be like a red mark on
• 42:30
  Speaker 1: their neck.
• 42:31
  Speaker 2: It's just like, no, don't do that. Uh, there is
• 42:35
  Speaker 2: a shitload of silver paint that was used in this film. Yeah.
• 42:38
  Speaker 2: Because all the Templar stuff is painted in this shiny silver.
• 42:41
  Speaker 2: You see cars in the background unnecessarily painted. Like, there's
• 42:46
  Speaker 2: a station wagon. That literally has like a porthole, like
• 42:50
  Speaker 2: a slot.
• 42:51
  Speaker 1: Like a tank.
• 42:51
  Speaker 2: Yeah, I did see that one.
• 42:52
  Speaker 1: Because I was like, well, that's almost functional in a
• 42:55
  Speaker 1: battle world. But they don't really call attention to it.
• 42:58
  Speaker 1: They don't use that one much.
• 43:00
  Speaker 2: But it's just paint. Like I said, it's not like
• 43:02
  Speaker 2: it's supposed to be like the entire car is covered
• 43:04
  Speaker 2: in armor. No, it's paint. If you don't look real close,
• 43:07
  Speaker 2: it might be metal. No, it's paint. Don't look real close.
• 43:11
  Speaker 2: Very obviously. Squint and look over there. If you would
• 43:15
  Speaker 2: have put some chrome on it. But no, it's just
• 43:17
  Speaker 2: flat silver paint. I had $ 4.
• 43:20
  Speaker 1: What do you want?
• 43:22
  Speaker 2: Yeah, so there's a lot of that in this movie.
• 43:26
  Speaker 2: And then our.
• 43:29
  Speaker 2: We don't get Fred, basically our big star, Fred Williamson,
• 43:33
  Speaker 2: you know, the darling of blaxploitation in Italian action cinema.
• 43:37
  Speaker 2: Seems to be, according to this director. We don't get
• 43:40
  Speaker 2: him until halfway into the movie. So like, I love it.
• 43:44
  Speaker 2: They have like a pair of drifters of blah, blah, blah, blah, blah.
• 43:47
  Speaker 2: I'm like, they're not a pair. They know each other.
• 43:49
  Speaker 1: Maybe they were counting the girl as the other drifter.
• 43:51
  Speaker 1: And then he's like a random third that shows up.
• 43:54
  Speaker 2: Yeah, it's like, no, they have these guys as the heroes. Like, okay,
• 43:57
  Speaker 2: first off, like, they're not a pair. They obviously know
• 44:01
  Speaker 2: each other. They bicker the whole time. Right. It's like
• 44:03
  Speaker 2: they don't like each other very much, you know, but
• 44:06
  Speaker 2: they somehow do get along against the Templars, but it's
• 44:09
  Speaker 2: kind of like they're the common enemy, but if the
• 44:11
  Speaker 2: Templars weren't there, maybe these dudes would be fighting each other.
• 44:13
  Speaker 2: Could be.
• 44:14
  Speaker 1: I think both of them don't really care enough. If
• 44:17
  Speaker 1: they weren't about to be killed by the Templars, they'd
• 44:19
  Speaker 1: be like, eh, I'm just going to go get laid
• 44:21
  Speaker 1: over here.
• 44:21
  Speaker 3: Yeah.
• 44:24
  Speaker 2: But yeah, so we get Fred Williamson way late in here,
• 44:26
  Speaker 2: and his whole gimmick is he's got a bow and
• 44:29
  Speaker 2: arrow with explosive arrowheads. But this is obviously done by
• 44:34
  Speaker 2: somebody who, A, has never fired a bow and arrow
• 44:36
  Speaker 2: until this movie. Obviously, he practiced. He knows the basics
• 44:41
  Speaker 2: of what he's doing. He's able to fire it off
• 44:43
  Speaker 2: without looking stupid, but everything is in sleaze. Motion.
• 44:50
  Speaker 1: By the time we get to his bow and arrow,
• 44:52
  Speaker 1: we've already passed the point of like from the very beginning,
• 44:55
  Speaker 1: one of my first things is like, these weapons. Because
• 45:00
  Speaker 1: I'm like, number one, the weapons don't make sense with
• 45:03
  Speaker 1: what you're doing with them half the time.
• 45:04
  Speaker 2: Yes. They definitely don't match the sound effects.
• 45:07
  Speaker 3: No.
• 45:07
  Speaker 1: Because we've got a slingshot that makes gun noises.
• 45:11
  Speaker 2: I don't know why.
• 45:11
  Speaker 1: Because it is just a slingshot. We were watching him
• 45:14
  Speaker 1: use it. It's just a slingshot. Yeah. but it sounds
• 45:17
  Speaker 1: like a bullet ricocheting around a canyon.
• 45:19
  Speaker 2: I don't know why.
• 45:20
  Speaker 4: Okay.
• 45:21
  Speaker 2: And then we get to the, from the very.
• 45:23
  Speaker 1: Beginning, we've got the bad guys with their big machine guns.
• 45:26
  Speaker 1: They just look like regular old military issue, like firing bullets,
• 45:30
  Speaker 1: machine guns. And yet they make laser noises.
• 45:33
  Speaker 2: They make pew pew noises.
• 45:33
  Speaker 1: They kind of make a flash like maybe they're doing
• 45:36
  Speaker 1: something else, but I don't know what they're doing. And
• 45:39
  Speaker 1: it doesn't seem like they're firing bullets, except sometimes it
• 45:41
  Speaker 1: does every, I mean, at least the, pistol guns look
• 45:45
  Speaker 1: like laser guns yeah what those they're like there's two
• 45:48
  Speaker 1: or three different ones you see that i'm like that
• 45:50
  Speaker 1: at least looks like a futuristic kind of a gun
• 45:53
  Speaker 1: that might make lasers so i'll let those slide.
• 45:55
  Speaker 2: Yeah george eastman definitely has a laser pistol yeah like
• 45:59
  Speaker 2: it looks like a futuristic.
• 46:00
  Speaker 1: One even scorpions kind of looks like yes scorpions looks
• 46:02
  Speaker 1: a little so like our main villain gun or our
• 46:05
  Speaker 1: main character guns kind of look like future guns When
• 46:09
  Speaker 1: they're the pistols. Everybody's rifle doesn't make any noise.
• 46:11
  Speaker 2: Yeah, the dude in the caravan, protecting the caravan with
• 46:14
  Speaker 2: the M16, that doesn't make pew-pew noises. There's one that's.
• 46:18
  Speaker 1: Kind of Uzi-like that also makes the same pew-pew noise.
• 46:21
  Speaker 1: I was just like, these, no.
• 46:23
  Speaker 2: And this somebody literally has like a six-shooter, like a
• 46:26
  Speaker 2: Saturday Night Special, you know, snub-nosed. 38. and it's making
• 46:30
  Speaker 2: pew-pew noises. No!
• 46:32
  Speaker 1: At least if you went to the trouble to paint
• 46:34
  Speaker 1: your car silver, like if you painted the gun silver,
• 46:37
  Speaker 1: I'd be like, oh, well obviously it's some weird variation
• 46:40
  Speaker 1: that makes pew-pew noises.
• 46:41
  Speaker 2: Or just put some kind of unnecessary attachment to it.
• 46:44
  Speaker 1: Those extra tubes and stuff, and be like, oh, it's
• 46:47
  Speaker 1: a future gun. Now it makes sense that it makes
• 46:49
  Speaker 1: laser noises. But no, they're just regular old firing guns
• 46:53
  Speaker 1: and rifles and M16s and shit.
• 46:54
  Speaker 2: It's like, think G.I. Joe. You slap like... An arm brace,
• 46:58
  Speaker 2: an unnecessary scope, and something to the barrel.
• 47:02
  Speaker 3: Boom.
• 47:02
  Speaker 2: You don't longer have a regular.
• 47:04
  Speaker 4: Pew pew gun.
• 47:04
  Speaker 1: You don't question why they're firing lasers. Obviously, it's a
• 47:07
  Speaker 1: laser gun.
• 47:07
  Speaker 3: It is.
• 47:08
  Speaker 2: Yeah, it looks like a laser gun to me.
• 47:09
  Speaker 1: So then eventually we get to our bow and arrow,
• 47:12
  Speaker 1: which is kind of that same ridiculous concept. Because my
• 47:15
  Speaker 1: main thing, and we see the worst of this by
• 47:18
  Speaker 1: the end of the movie, so I'm kind of jumping ahead,
• 47:20
  Speaker 1: but I'm like, dude. Wouldn't you have those arrows already
• 47:24
  Speaker 1: set up?
• 47:25
  Speaker 2: Right, yes.
• 47:26
  Speaker 1: Have you not watched Hawkeye? I mean, he's got a
• 47:28
  Speaker 1: magical quiver.
• 47:29
  Speaker 2: It does it for him. Like, you don't set it
• 47:32
  Speaker 2: up in the middle of your battle. Like, I think
• 47:35
  Speaker 2: I'm going to.
• 47:35
  Speaker 1: Screw this arrowhead on now. Buddy, what are you doing?
• 47:39
  Speaker 2: I mean, even Rambo, like, in the second one, like,
• 47:42
  Speaker 2: he's busting around his regular arrows. Then when he has
• 47:45
  Speaker 2: to bust out the explosive arrows... Okay, well, I'm going
• 47:48
  Speaker 2: to set this up. I'm going to make these up.
• 47:49
  Speaker 2: But he at least makes those up ahead of time.
• 47:51
  Speaker 2: Gets it all ready to go do the new attack run. Yeah,
• 47:54
  Speaker 2: but like, okay, this is the big fight. I've got
• 47:56
  Speaker 2: to bring out the big guns. So he does some
• 47:57
  Speaker 2: prep work. But yeah, every single time he has to
• 48:00
  Speaker 2: fire an arrow, he has to attach an arrowhead. Time
• 48:03
  Speaker 2: to put an arrowhead on him. Like, really?
• 48:05
  Speaker 1: Is this your first time firing a bow and arrow?
• 48:07
  Speaker 2: And why are they color-coded? They all do the same shit.
• 48:09
  Speaker 2: They do the same thing. He's got red, yellow, green, blue.
• 48:12
  Speaker 2: And they all do the same fucking thing. This one explodes.
• 48:14
  Speaker 2: This one's a smoke arrow. This one, you know, again,
• 48:16
  Speaker 2: Hawkeye's got all kinds of crazy shit.
• 48:18
  Speaker 1: But no, you are no Hawkeye.
• 48:20
  Speaker 2: They all blow up.
• 48:21
  Speaker 3: Yeah.
• 48:22
  Speaker 1: So that was one of the many weapons issues. I
• 48:25
  Speaker 1: was like, what is going on with all of these weapons?
• 48:28
  Speaker 1: Because none of them make any damn sense.
• 48:32
  Speaker 2: What I had talked about before, but it seems like
• 48:34
  Speaker 2: everything is in slow motion. There is some truth behind this.
• 48:38
  Speaker 2: Our friend Enzo, our director extraordinaire, decided that it would
• 48:43
  Speaker 2: be a good idea to shoot every scene simultaneously in 24,
• 48:47
  Speaker 2: let's see, was it, hang on, 24, 55, and 96
• 48:55
  Speaker 2: frames per second. So three different cameras shooting at three
• 48:57
  Speaker 2: different film speeds.
• 48:59
  Speaker 1: For a guy who has obviously little money, this was
• 49:03
  Speaker 1: a lot of wasted money that he, I guess, felt
• 49:06
  Speaker 1: like he was investing in the quality of this film
• 49:09
  Speaker 1: when we run it back.
• 49:09
  Speaker 2: In super slow-mo. Because his idea was, oh, well, like,
• 49:13
  Speaker 2: of course, if you're shooting something in 96, that's going
• 49:15
  Speaker 2: to be super slow-mo. And 24 frames per second, that's
• 49:19
  Speaker 2: fast speed. where it almost looked like it was, like, on, like,
• 49:21
  Speaker 2: videotape as opposed to film, right? And so 55 is somewhere, like,
• 49:26
  Speaker 2: right in the middle, right? So you would think, okay,
• 49:29
  Speaker 2: we're going to see a lot of, like, sped-up stuff
• 49:31
  Speaker 2: and then some slow-motion stuff. We get a whole lot
• 49:33
  Speaker 2: of slow-motion. There's never anything. See, that's more the George Miller.
• 49:38
  Speaker 1: Like his stuff is fast, seems fast, and then he
• 49:41
  Speaker 1: cuts it to seem even faster. Like it's made to
• 49:44
  Speaker 1: be like, oh shit, this is too much. This is
• 49:46
  Speaker 1: the opposite.
• 49:48
  Speaker 2: The only time there's some any given elements where they
• 49:51
  Speaker 2: seem like it's trying to give some quick pacing are
• 49:54
  Speaker 2: quick edits.
• 49:55
  Speaker 1: That's it and it's sometimes really bad quick of course.
• 49:59
  Speaker 2: Yeah but i mean there's there's a lot of quick
• 50:02
  Speaker 2: cuts especially towards the big scene at the end yeah
• 50:05
  Speaker 2: but it's like good god it's like no it's like
• 50:08
  Speaker 2: everything is so slow and boring like you know we
• 50:11
  Speaker 2: get like a one of the go-karts jumps a barricade
• 50:15
  Speaker 2: and unnecessarily wrecks inside the that's the thing i love
• 50:18
  Speaker 2: too this thing you know at 10 miles an hour
• 50:22
  Speaker 2: jumps a ramp goes maybe a good two feet above
• 50:25
  Speaker 2: the ground lands with the thud in the center of
• 50:28
  Speaker 2: the caravan and like he doesn't have like a bunch
• 50:32
  Speaker 2: of guys on there and they all file out and
• 50:34
  Speaker 2: start firing everybody no it's one dude on there he's
• 50:36
  Speaker 2: got like a pistol and he just starts shooting randomly
• 50:39
  Speaker 2: it's like why didn't everybody just like turn around and
• 50:42
  Speaker 2: open fire on that guy I like that.
• 50:46
  Speaker 1: I mean, again, we're assuming all of this is shot
• 50:49
  Speaker 1: somewhere in the wastelands of Italy. There's just a lot
• 50:54
  Speaker 1: of hills was my thing because every time we'd have
• 50:57
  Speaker 1: a golf cart go over a hill and then just rolled.
• 51:00
  Speaker 1: And I'm like, Where is this hilly countryside post-apocalyptic world
• 51:06
  Speaker 1: that you guys are living in? Because every car that
• 51:09
  Speaker 1: they had, every golf cart, would end up just rolling
• 51:11
  Speaker 1: down a hill.
• 51:12
  Speaker 2: This was shot outside of Rome. There you go.
• 51:15
  Speaker 1: A very hilly area outside of Rome. So we can
• 51:19
  Speaker 1: roll some cars down the side of it.
• 51:20
  Speaker 2: A lot of black sand and all that kind of
• 51:22
  Speaker 2: stuff like that. So there you go. There are also some.
• 51:29
  Speaker 2: If there is a nuclear apocalypse and a bomb drops...
• 51:32
  Speaker 2: Or wind. Or wind, yes. Or a large megaton bomb
• 51:37
  Speaker 2: drops in a city center, it will wipe out the
• 51:39
  Speaker 2: city center. But then there's outlying areas that will be
• 51:42
  Speaker 2: affected by maybe the blast radius and radiation, all that
• 51:44
  Speaker 2: kind of jazz. But in outlying further areas, smaller cities
• 51:49
  Speaker 2: that were outside that stuff, there would still be buildings.
• 51:53
  Speaker 2: There would be something. Yeah. Some sort of structure. It
• 51:55
  Speaker 2: could be bombed out, ruined out, whatever else. It doesn't
• 51:58
  Speaker 2: have to be 100% intact, but we would see a building.
• 52:01
  Speaker 2: We get a lot of that in 1990 Bronx Warriors.
• 52:05
  Speaker 2: There are no buildings. Yeah, they just found a neighborhood
• 52:08
  Speaker 2: that was falling apart in that one. Yeah. This one,
• 52:10
  Speaker 2: we had no neighborhood. There was no buildings.
• 52:13
  Speaker 3: Yeah.
• 52:13
  Speaker 2: It's just nothing but flatlands. Just desert.
• 52:17
  Speaker 1: Well, most of them desert, again, until you get to
• 52:19
  Speaker 1: a car chase. Chase, once again, using quotes. So we
• 52:22
  Speaker 1: could roll a car down the side of it. And
• 52:24
  Speaker 1: then suddenly there were hills. But then we were back
• 52:27
  Speaker 1: to just a wasteland of desert-y looking stuff. So we
• 52:36
  Speaker 1: discussed the car. Now how about the special feature on
• 52:39
  Speaker 1: his car? Whereas you hit a button and it jettisons
• 52:43
  Speaker 1: your door. In case maybe someone put an explosive item
• 52:47
  Speaker 1: on your door.
• 52:48
  Speaker 2: Because that happens.
• 52:50
  Speaker 1: Many a week I've been riding to work and have
• 52:51
  Speaker 1: to jettison my door because somebody's placed an explosive on there.
• 52:55
  Speaker 2: I mean, we know he's got a lot of bells
• 52:57
  Speaker 2: and whistles on his car.
• 52:58
  Speaker 1: That one just seems specific to one thing that happened
• 53:02
  Speaker 1: to him right there. And then it never happens again.
• 53:05
  Speaker 1: And we don't go back and get the door. He
• 53:07
  Speaker 1: just doesn't have a door.
• 53:08
  Speaker 2: The door got blown up by the bomb. So, yeah,
• 53:11
  Speaker 2: for the rest of the movie, you are Sans' door
• 53:13
  Speaker 2: on the driver's side.
• 53:14
  Speaker 1: Yeah, sliding himself in there.
• 53:18
  Speaker 2: Yeah, um... And also, we've got to talk about our
• 53:20
  Speaker 2: young mechanic here. Oh, God. Because you can't have a
• 53:24
  Speaker 2: post-apocalyptic movie without a weird, creepy kid.
• 53:27
  Speaker 1: He is a weird-looking kid. No offense, weird kid.
• 53:30
  Speaker 2: I looked him up.
• 53:31
  Speaker 1: He did a few other things around this time, so
• 53:33
  Speaker 1: he was an acting kid in Italy then.
• 53:35
  Speaker 2: Giovanni Fraser.
• 53:36
  Speaker 1: He is a weird-looking kid.
• 53:38
  Speaker 2: Yeah, it's like this perfect blonde-haired, blue-eyed... He looked like
• 53:42
  Speaker 2: the little kid, Brian Bonsal on Family Ties. He always
• 53:47
  Speaker 2: reminded me of that kid. But the voice, I don't
• 53:50
  Speaker 2: know if that was his voice or that was a dub,
• 53:52
  Speaker 2: but it was a weird voice. Of course, George Eastman
• 53:58
  Speaker 2: did his own lines because you could tell it syncs up.
• 54:00
  Speaker 2: Fred Williamson did his. everybody else is dubbed. I'm sure.
• 54:03
  Speaker 2: So I'm sure this kid may be dubbed too. But
• 54:06
  Speaker 2: just the voice actor they chose for the young mechanic,
• 54:09
  Speaker 2: that's all he's named. Yeah. They don't give him a
• 54:11
  Speaker 2: name or he's not like, you know, spark plug or,
• 54:14
  Speaker 2: you know, grease stain or something like that. No, he's
• 54:17
  Speaker 2: just young mechanic.
• 54:18
  Speaker 1: And then i kept trying to figure i was like
• 54:20
  Speaker 1: is he just a kid or is this some weird
• 54:22
  Speaker 1: thing that he's like 60 years old and just happens.
• 54:25
  Speaker 2: To look like that yeah he's like he's like a
• 54:26
  Speaker 2: benjamin button they.
• 54:27
  Speaker 1: Never yeah they never address it he's just a weird
• 54:29
  Speaker 1: kid that knows how to fix cars and drives and
• 54:32
  Speaker 1: like does everything else like he's a grown-up he's.
• 54:34
  Speaker 2: Apparently an inventor because of course he installs the corkscrew
• 54:38
  Speaker 2: device on scorpion's car that is oh so useful It's like, why?
• 54:45
  Speaker 2: It's not like it's on the side. It's like we've
• 54:48
  Speaker 2: seen car movies where you've got blades that come out
• 54:52
  Speaker 2: of the wheels and they shred the other car's tires.
• 54:55
  Speaker 2: It's not like that. That's a functional thing, sure. It's
• 54:58
  Speaker 2: literally like we've got a unicorn horn attached to the
• 55:01
  Speaker 2: front of our car and we're going to joust with somebody.
• 55:05
  Speaker 1: But once again, much like the fan blade, you've got
• 55:07
  Speaker 1: to be pretty damn close to them for it to
• 55:10
  Speaker 1: actually come into play. At that point, can't you just
• 55:12
  Speaker 1: ram into him and run him off the road or something?
• 55:15
  Speaker 1: Do you need a giant corkscrew?
• 55:16
  Speaker 3: I don't know.
• 55:17
  Speaker 2: Yeah, I mean, at least it does have its one use.
• 55:19
  Speaker 1: It does get used before the movie's out.
• 55:21
  Speaker 2: I mean, he creeps up behind. That's the great thing.
• 55:24
  Speaker 2: It's not like I ram into behind there and then
• 55:26
  Speaker 2: the corkscrew comes out and drives and feeds him further. No,
• 55:28
  Speaker 2: it's like I creep up on him and then slowly
• 55:32
  Speaker 2: drive this corkscrew through the back of the car, the
• 55:35
  Speaker 2: back of the chair, and then eventually into Mako. It's like...
• 55:37
  Speaker 2: If I was the Mako guy driving the car and
• 55:40
  Speaker 2: I could see the thing coming, wouldn't I either... Get
• 55:43
  Speaker 2: out of the seat? Drive faster or get out of
• 55:47
  Speaker 2: the seat?
• 55:47
  Speaker 1: Jump out of the seat?
• 55:48
  Speaker 2: Tuck and roll? I just hang there and wait to
• 55:51
  Speaker 2: be gouged.
• 55:53
  Speaker 1: Again, one of the many bad decisions in this movie.
• 55:57
  Speaker 2: But our gun mechanic apparently appears to be a whiz
• 56:01
  Speaker 2: with invention. I guess. It's good to.
• 56:04
  Speaker 1: Have a gimmick, but he's still weird looking.
• 56:07
  Speaker 2: He makes a clear plate like, oh, he's making some
• 56:14
  Speaker 2: bulletproof or explosive proof armor. Cool. Okay. What are we
• 56:17
  Speaker 2: going to do with that? Are we going to put
• 56:18
  Speaker 2: it on the windshields of the car? We're going to
• 56:20
  Speaker 2: do this? No. That would make sense. No, let's not
• 56:23
  Speaker 2: do that. No. We're going to straight up rip off
• 56:26
  Speaker 2: a fistful of dollars, but we're also going to make
• 56:29
  Speaker 2: it really uncomfortable and Very Italian. And slightly homoerotic.
• 56:36
  Speaker 4: Oh, yeah.
• 56:36
  Speaker 1: Most definitely.
• 56:37
  Speaker 2: Yes, sir.
• 56:39
  Speaker 1: Erotic of some sort. I guess depends on what you're into.
• 56:41
  Speaker 1: But that's, I mean, we've already well past that road.
• 56:46
  Speaker 1: By the time we get to the dome suit.
• 56:48
  Speaker 2: Yeah. We'll come back to that. Because there is a
• 56:52
  Speaker 2: lot of homoeroticism in this film. You got, you know,
• 56:54
  Speaker 2: the relationship of one and Shadow. It's like, okay, Shadow
• 56:57
  Speaker 2: wants to overthrow him, but Austin kind of wants to
• 56:59
  Speaker 2: fuck him. It feels that way, yeah. And then you've
• 57:02
  Speaker 2: got also the homoeroticism between Scorpion and what's Fred Williams'
• 57:06
  Speaker 2: character's name? Nadir.
• 57:08
  Speaker 1: Yeah, I mean, they're more bros, but like almost in
• 57:13
  Speaker 1: competition because each of them are hooking up with some
• 57:17
  Speaker 1: girl while the other's like hanging around half the time.
• 57:20
  Speaker 1: So it's like, it's a weird and we don't even
• 57:23
  Speaker 1: know what to do with this relationship.
• 57:24
  Speaker 2: Yeah, but there's definitely a bromance. And let's talk about
• 57:27
  Speaker 2: the hookup scenes there that our titular heroes get. Because
• 57:31
  Speaker 2: Fred Williamson, they get to another caravan place, and the
• 57:36
  Speaker 2: lady he hooks up with has a nice tent house. Yeah,
• 57:41
  Speaker 2: it's a good setup. It looks like she had walls.
• 57:45
  Speaker 2: And definitely some hanging... frilly lace curtain thingies.
• 57:49
  Speaker 1: She's a lady. She wants it to look nice.
• 57:51
  Speaker 2: It was a nice looking bedroom area. I'm like, okay.
• 57:55
  Speaker 2: Then we got Scorpion hooking up with his lady in
• 57:58
  Speaker 2: a clear... It was the shape of a tent, but
• 58:04
  Speaker 2: it looked more like they were going to go tubing.
• 58:07
  Speaker 1: Well, and once again, we need to make everything clear.
• 58:10
  Speaker 2: Yeah, why? Why is everything clear in this movie? Because
• 58:13
  Speaker 2: it's the future. The future is clear.
• 58:17
  Speaker 1: So, yeah, there's nothing more handy than going in the
• 58:20
  Speaker 1: tent to have some privacy so that then everyone around
• 58:23
  Speaker 1: you can watch you do it.
• 58:25
  Speaker 2: And we have the most awkward shadow sex I think
• 58:27
  Speaker 2: I've ever seen in an 80s film.
• 58:30
  Speaker 1: Yeah, that was weird. And, like, once again... oddly intercut
• 58:35
  Speaker 1: of just like but what are we yes why why
• 58:38
  Speaker 1: are we intercutting with other things this is just you're
• 58:41
  Speaker 1: trying to make a creative choice well but it's coming
• 58:43
  Speaker 1: out awkward more than anything.
• 58:44
  Speaker 2: Well basically we're probably pressed for time yeah instead of
• 58:47
  Speaker 2: having the sex scene and then we have the scene
• 58:50
  Speaker 2: where we sit around the fire and get to know
• 58:51
  Speaker 2: each other and express deep feelings because we've now had
• 58:54
  Speaker 2: sex and whatnot. No, no, no. We're going to intercut those.
• 58:58
  Speaker 2: Piece that together. So while we're having sex, then we're
• 59:01
  Speaker 2: going to interrupt it with talking scenes around the fire,
• 59:03
  Speaker 2: then go back to the sex, then back to the fire,
• 59:05
  Speaker 2: back to the sex, back to the fire.
• 59:08
  Speaker 1: Weird choices. Many weird choices are made.
• 59:14
  Speaker 2: Again, that's what I love about these movies. Half the time,
• 59:17
  Speaker 2: none of this shit makes sense, but you just kind
• 59:19
  Speaker 2: of keep going with it.
• 59:20
  Speaker 1: And that's my thing with the Fred Williamson hookup. I
• 59:23
  Speaker 1: was like, because they just get right to it with her.
• 59:26
  Speaker 1: He just met this girl, and we're specifically talking about.
• 59:30
  Speaker 2: A group of, well, I mean, everyone.
• 59:32
  Speaker 1: As it turns out, in the surviving group and the
• 59:35
  Speaker 1: Templars are kind of weird religious-y. So, minorly, they don't
• 59:40
  Speaker 1: really get into it, but there's certainly an overtone of, like,
• 59:43
  Speaker 1: religious craziness.
• 59:45
  Speaker 2: Mm-hmm.
• 59:45
  Speaker 1: Definitely in the Templars. But the other one, like, he's Moses,
• 59:48
  Speaker 1: for God's sakes. I mean, he's specifically, like, they treat
• 59:52
  Speaker 1: him like he's a priest.
• 59:54
  Speaker 3: Yeah.
• 59:54
  Speaker 1: He's wearing a collar. Like, so it seems like this
• 59:56
  Speaker 1: is also run by a religious group.
• 59:58
  Speaker 3: Mm-hmm.
• 59:59
  Speaker 1: Now, what religious group out there doesn't have some sort
• 1:00:02
  Speaker 1: of weird rule about having sex? Because she immediately is like, well,
• 1:00:05
  Speaker 1: I need to be practicing. I need to.
• 1:00:08
  Speaker 2: Get to it on this, I guess, having more offspring
• 1:00:11
  Speaker 2: or something. But I'm like.
• 1:00:13
  Speaker 1: anywhere that there's any sort of religious anything, that's the
• 1:00:18
  Speaker 1: first thing they start making rules about and or abusing.
• 1:00:21
  Speaker 1: It's something to do with sex.
• 1:00:23
  Speaker 2: And not a one on this one. They're like, oh,
• 1:00:26
  Speaker 2: let's get to it. And they do. Well, you got
• 1:00:28
  Speaker 2: to think, though. It's like, this is an Italian-made film.
• 1:00:30
  Speaker 2: And in their sensibilities, maybe they don't have creepy religious
• 1:00:33
  Speaker 2: sex cults. Maybe that's true. I don't know.
• 1:00:36
  Speaker 1: Certainly everywhere else seems to. But Italy is its own
• 1:00:38
  Speaker 1: little place.
• 1:00:39
  Speaker 2: Yeah.
• 1:00:40
  Speaker 1: The world itself and since.
• 1:00:42
  Speaker 2: You brought up the topic of religion in this film
• 1:00:44
  Speaker 2: let's talk about that for a second here because it
• 1:00:47
  Speaker 2: makes sense with the Templars because the history of the
• 1:00:49
  Speaker 2: Templars definitely they are religious knights you know you had
• 1:00:51
  Speaker 2: the Templars and the Hospitallers you know the two different
• 1:00:54
  Speaker 2: knight groups there the Templars always kind of brought up
• 1:00:57
  Speaker 2: a lot because yeah they did bad things The Hospitallers
• 1:01:00
  Speaker 2: were a little better, but not much. But the Templars
• 1:01:02
  Speaker 2: did a lot more bad things. It's kind of everyone
• 1:01:03
  Speaker 2: in the olden days. Yes.
• 1:01:05
  Speaker 1: Everyone kind of sucked.
• 1:01:06
  Speaker 2: The Templars were a larger organization, so they ended up
• 1:01:08
  Speaker 2: being more corrupt at times. But anywho. So they have
• 1:01:12
  Speaker 2: their own little iconography with like one is their somewhat
• 1:01:16
  Speaker 2: religious leader and they have penance for when people are
• 1:01:18
  Speaker 2: bad and sacrifices and burnings of bodies and all kinds
• 1:01:22
  Speaker 2: of stuff like that. makes sense.
• 1:01:24
  Speaker 1: Sure.
• 1:01:24
  Speaker 2: You've got the pocket of people, you know, the second
• 1:01:28
  Speaker 2: caravan group there that's led by your Moses character, which
• 1:01:30
  Speaker 2: I love this guy's outfit. He's got the old school
• 1:01:33
  Speaker 2: kind of priest hat, he's wearing the Roman collar, and
• 1:01:35
  Speaker 2: then everything else is camouflage. But he's not a military
• 1:01:39
  Speaker 2: looking dude, he's not like a buff guy, he's an
• 1:01:42
  Speaker 2: old man. He's just a dude wearing a long coat.
• 1:01:45
  Speaker 2: That happens to be camouflage. And here's a great question,
• 1:01:49
  Speaker 2: why are you wearing green camouflage in a black sand desert?
• 1:01:52
  Speaker 1: The answer is, because it was 1983, and that's really.
• 1:01:57
  Speaker 2: The only camouflage we knew then.
• 1:01:58
  Speaker 1: We didn't get, I mean, popular-wise, it may have existed,
• 1:02:03
  Speaker 1: but nobody ever saw brown camouflage before Desert Storm. So
• 1:02:07
  Speaker 1: it's like, we only knew the Vietnam camo, and then
• 1:02:11
  Speaker 1: as 80s kids, I can't tell you how many.
• 1:02:13
  Speaker 2: Now I wouldn't be dead in.
• 1:02:14
  Speaker 1: It because it means a very specific thing when you're
• 1:02:17
  Speaker 1: out in the world wearing camouflage that I do not
• 1:02:20
  Speaker 1: want to be associated with. But in 1983, it was
• 1:02:24
  Speaker 1: the coolest thing in the world. I was freaking Rambo
• 1:02:26
  Speaker 1: when I had a sleeveless muscle shirt that was also camouflaged.
• 1:02:30
  Speaker 1: which I'm pretty sure I had more than one of.
• 1:02:32
  Speaker 2: Oh, yeah. I had an entire camo head-to-toe outfit.
• 1:02:36
  Speaker 1: I had pants and a jacket that went over it,
• 1:02:38
  Speaker 1: and then a t-shirt to go under that, and I
• 1:02:41
  Speaker 1: think a baseball cap that was also camouflaged.
• 1:02:44
  Speaker 2: Again, anything camouflaged was super cool in the early 80s. Oh,
• 1:02:47
  Speaker 2: I had a cover, and thanks to free giveaways with G.I.
• 1:02:50
  Speaker 2: Joe figures, I also had camo face paint, too. Because
• 1:02:54
  Speaker 2: later on, they would give you, like, here's the green
• 1:02:55
  Speaker 2: and black, or here's the The blue and black for
• 1:02:58
  Speaker 2: urban warfare, kind of stuff like that. You know, things
• 1:03:01
  Speaker 2: like that. So, yes, I had a good amount of
• 1:03:04
  Speaker 2: camo face paint thanks to G.I. Joe figures.
• 1:03:06
  Speaker 1: Again, that's the answer is 1983. It was super cool
• 1:03:10
  Speaker 1: to be wearing your green camo.
• 1:03:12
  Speaker 2: Yeah, anyway, back to our subject of religion. So there's
• 1:03:15
  Speaker 2: a bit of a religious iconography with the preacher, and
• 1:03:18
  Speaker 2: he's got his group of flock and whatnot, but he
• 1:03:21
  Speaker 2: doesn't seem to be a creepy dude. He's a good leader.
• 1:03:24
  Speaker 1: And surprisingly, not overly religious. Like, he's not pushing anything
• 1:03:28
  Speaker 1: on anybody. He just happens to have the collar on,
• 1:03:30
  Speaker 1: and he seems like he wants to take care of
• 1:03:31
  Speaker 1: his people.
• 1:03:33
  Speaker 2: So it's the one of the.
• 1:03:34
  Speaker 1: Few times a religious person comes in and isn't the villain.
• 1:03:37
  Speaker 1: It seems like, oh, he's actually here trying to help people.
• 1:03:40
  Speaker 2: Good for him. But then... when we get, you know,
• 1:03:43
  Speaker 2: Scorpion and Nadir and Alma show up there and then
• 1:03:47
  Speaker 2: basically Nadir is essentially doing some exposition for us here
• 1:03:50
  Speaker 2: to Scorpion that what this God thing is. So you're
• 1:03:55
  Speaker 2: trying to tell me that in less than 20 years
• 1:03:59
  Speaker 2: from movie one to movie two, an apocalypse of nuclear
• 1:04:03
  Speaker 2: bomb drops in there that in less than 20 years,
• 1:04:05
  Speaker 2: we have completely forgotten the concept of God and, Even
• 1:04:10
  Speaker 2: if the fact that all three of the adults having
• 1:04:13
  Speaker 2: this conversation would have been old enough to remember the
• 1:04:17
  Speaker 2: before times. Well, again, before times are nine years ago.
• 1:04:20
  Speaker 2: It's not even 20. Yeah. It was nine years ago
• 1:04:23
  Speaker 2: when this happened.
• 1:04:24
  Speaker 1: So you can't remember back nine years ago when God
• 1:04:27
  Speaker 1: still existed.
• 1:04:29
  Speaker 2: No, no idea what that is. Yeah, that's just like, okay, no.
• 1:04:34
  Speaker 2: It's like, I was fine with everything. And until we
• 1:04:38
  Speaker 2: get to that conversation, like, no. How can we forget
• 1:04:43
  Speaker 2: a major religion in less than, you know, in less
• 1:04:48
  Speaker 2: than 10 years even? Yeah, we'll go with even that,
• 1:04:50
  Speaker 2: in less than 10 years. But.
• 1:04:53
  Speaker 1: There's no way.
• 1:04:56
  Speaker 2: It's not like I'm stumping for Christianity or anything like that,
• 1:04:58
  Speaker 2: but it's literally just kind of like, there's no way
• 1:05:01
  Speaker 2: we've forgotten this at all.
• 1:05:03
  Speaker 1: But there's something else that made no sense. Like that
• 1:05:05
  Speaker 1: next scene, he's referencing something from those times that he
• 1:05:11
  Speaker 1: obviously did still remember. So I was like, it's not
• 1:05:14
  Speaker 1: even being consistent. Like if everyone just, if the smoke
• 1:05:17
  Speaker 1: from the beginning gave them all amnesia and they started
• 1:05:20
  Speaker 1: over from year one, nine years ago, maybe. But like
• 1:05:24
  Speaker 1: then he's referencing stuff from... Back when that would, I
• 1:05:27
  Speaker 1: don't know. It's like, again, inconsistency.
• 1:05:30
  Speaker 2: There's a lot of that. There's about two or three times,
• 1:05:32
  Speaker 2: aside from the God conversation, there's about two or three
• 1:05:34
  Speaker 2: times where we reference, you know, buildings and cities and
• 1:05:38
  Speaker 2: things before and whatnot. But it's like, wait, so you
• 1:05:42
  Speaker 2: remember that, but you don't remember. Yeah, but you don't
• 1:05:44
  Speaker 2: remember what God is.
• 1:05:46
  Speaker 1: Not saying you have to buy into it, but you
• 1:05:48
  Speaker 1: would at least know what the concept was.
• 1:05:49
  Speaker 2: That's like saying, you remember that thing called television where
• 1:05:52
  Speaker 2: we watched shows and things on, you know, and it
• 1:05:55
  Speaker 2: ran our lives?
• 1:05:56
  Speaker 1: At least then you would have your, like, telling the
• 1:05:59
  Speaker 1: story version.
• 1:06:00
  Speaker 2: Like, you would have the new... Yeah. modernized old timey version,
• 1:06:04
  Speaker 2: which is you'd stand in front of everybody. And don't
• 1:06:06
  Speaker 2: they do that?
• 1:06:07
  Speaker 1: Like the third bad max, when the kids are out
• 1:06:09
  Speaker 1: there telling the stories of the olden days, like it's
• 1:06:12
  Speaker 1: their TV show. So that's what it would be. Yeah.
• 1:06:15
  Speaker 1: But no, we don't, we don't have that at all.
• 1:06:17
  Speaker 5: Yeah.
• 1:06:19
  Speaker 2: No, it's yeah. Apparently they're spotty memories of the past, uh,
• 1:06:25
  Speaker 2: interspersed with our, our future. And the thing I love
• 1:06:29
  Speaker 2: is like, okay, so all of our bad guys are
• 1:06:30
  Speaker 2: taken out, uh, And Scorpion is like, all right, I'm
• 1:06:36
  Speaker 2: going to go wander the wasteland again. And Chick's like,
• 1:06:40
  Speaker 2: I'm going to stay here. And Fred's like, yeah, I'm
• 1:06:43
  Speaker 2: going to stay here because I got a side piece
• 1:06:45
  Speaker 2: over here. I got this going on now. So later.
• 1:06:48
  Speaker 2: And then the movie ends. No, literally.
• 1:06:51
  Speaker 1: Bye.
• 1:06:52
  Speaker 2: Three times.
• 1:06:53
  Speaker 1: It's another wonderfully written scene.
• 1:06:55
  Speaker 2: Yes, yes, yes. Bye.
• 1:06:56
  Speaker 4: Just go.
• 1:06:58
  Speaker 2: Trying to get another round here. Get out of the room.
• 1:07:02
  Speaker 3: Go.
• 1:07:03
  Speaker 2: Yeah, Fred Williamson predates Ferris Bueller telling the audience to
• 1:07:07
  Speaker 2: go home.
• 1:07:07
  Speaker 3: Yeah.
• 1:07:08
  Speaker 2: Where he's like, just go. Go.
• 1:07:10
  Speaker 3: Go.
• 1:07:10
  Speaker 2: Got stuff to do. Get out. Laying cable here. Let's go. So, yeah.
• 1:07:17
  Speaker 2: So this movie just sort of ends.
• 1:07:22
  Speaker 1: I mean, you've skipped over the capture of Scorpion in
• 1:07:26
  Speaker 1: the middle there.
• 1:07:26
  Speaker 2: Oh, yes. I feel like you have to address that. Okay, yes, yes.
• 1:07:31
  Speaker 2: I certainly did skip over that. Because what exactly happened
• 1:07:36
  Speaker 2: in that scene?
• 1:07:37
  Speaker 1: I mean, I thought that's what happened. They do not,
• 1:07:42
  Speaker 1: which doesn't make any sense to me. If you're going
• 1:07:44
  Speaker 1: to write that into your movie, just go ahead and
• 1:07:47
  Speaker 1: go there.
• 1:07:47
  Speaker 3: Yeah.
• 1:07:48
  Speaker 2: Especially, it's freaking Italy.
• 1:07:50
  Speaker 1: I mean, their rules are way more lax than America
• 1:07:53
  Speaker 1: at this point. So if you're going to make that happen,
• 1:07:57
  Speaker 1: make it very obvious that's what's going on. I mean,
• 1:07:59
  Speaker 1: that's going to be a big defining moment for your
• 1:08:02
  Speaker 1: character if this is what's going down. Yeah, so I
• 1:08:06
  Speaker 1: think that's what happened.
• 1:08:08
  Speaker 2: If you follow up on the internet, this is how
• 1:08:10
  Speaker 2: people describe it.
• 1:08:13
  Speaker 1: That's what happened.
• 1:08:14
  Speaker 2: So I don't know.
• 1:08:14
  Speaker 1: Do we want to.
• 1:08:16
  Speaker 2: Spell out what happened. It's not pretty. And it's also
• 1:08:19
  Speaker 2: not 100% clear either. So our hero, Scorpion, is captured
• 1:08:25
  Speaker 2: by the Templars. He's beaten up, you know, browbeaten some.
• 1:08:29
  Speaker 2: Then he's basically tied up to this device that we
• 1:08:31
  Speaker 2: previously saw Mako burn his body disposed of previously. But
• 1:08:35
  Speaker 2: he's tied up to it on a different side of it.
• 1:08:37
  Speaker 2: In a different way. In a very different way. You know,
• 1:08:40
  Speaker 2: arms outstretched, you know, kind of, you know, basically, you know,
• 1:08:42
  Speaker 2: hanging sort of thing like that. So you think, Okay,
• 1:08:44
  Speaker 2: he's going to get whipped, beaten, whatever else. He's going
• 1:08:48
  Speaker 2: to get something. And then they do this thing where
• 1:08:51
  Speaker 2: he basically is forced to lunge forward.
• 1:08:53
  Speaker 1: They bend him over, we'll say.
• 1:08:55
  Speaker 2: Literally bending him over at a 90 degree angle.
• 1:08:57
  Speaker 3: Okay, whatever.
• 1:09:00
  Speaker 2: We going to do here? They're looking good. And then
• 1:09:04
  Speaker 2: one basically proceeds to speechify a little bit here, do
• 1:09:07
  Speaker 2: his things and stuff like that.
• 1:09:08
  Speaker 1: As he gets his giant Superman crystal out.
• 1:09:12
  Speaker 2: Yes.
• 1:09:13
  Speaker 1: But he doesn't bring up special images of his dad.
• 1:09:16
  Speaker 1: He uses it to from that half second Slice open
• 1:09:21
  Speaker 1: his pants.
• 1:09:22
  Speaker 2: Yeah.
• 1:09:23
  Speaker 1: You barely can tell. Like, I literally went back and
• 1:09:25
  Speaker 1: was like, is that what I'm looking at? Is that
• 1:09:27
  Speaker 1: what it looks like happened there? He uses that to
• 1:09:32
  Speaker 1: slash open the backside of our pal Scorpion's pants.
• 1:09:35
  Speaker 2: Yeah. So we are meant to assume that basically your
• 1:09:39
  Speaker 2: punishment for leaving us and defying us and killing your
• 1:09:43
  Speaker 2: former brethren and stuff like that is that I'm going
• 1:09:45
  Speaker 2: to bugger you.
• 1:09:46
  Speaker 1: Mm-hmm.
• 1:09:47
  Speaker 2: On this contraption. On this contraption. With everyone watching. The
• 1:09:50
  Speaker 2: whole audience of people, even flowy hair buddy Shadow is
• 1:09:55
  Speaker 2: looking on and kind of, this is going in his
• 1:09:59
  Speaker 2: spank bag. Wasn't he working the lever more or less?
• 1:10:02
  Speaker 4: He was.
• 1:10:02
  Speaker 1: He was pulling the thing that bent him over even more.
• 1:10:05
  Speaker 2: He was, but this moment's definitely going in his spank bag.
• 1:10:08
  Speaker 2: So this is going to be used for later. But nonetheless,
• 1:10:11
  Speaker 2: so we are meant to believe that. It's a lot
• 1:10:14
  Speaker 2: of edits. A lot of editing. A lot of editing.
• 1:10:18
  Speaker 2: We see the bug-eyed, surprised look on Scorpion's face. We
• 1:10:22
  Speaker 2: see the look of evil delight amongst the Templars in one.
• 1:10:28
  Speaker 2: What we don't actually see is the actual raping.
• 1:10:32
  Speaker 1: Well, again, it's the same thing I call out for
• 1:10:36
  Speaker 1: most regular old movies that do this with just general
• 1:10:40
  Speaker 1: sex scenes. It's like half the time there's logistics that
• 1:10:43
  Speaker 1: just don't happen. That I'm like, but if you're going
• 1:10:46
  Speaker 1: to write this into your movie, make it so that
• 1:10:48
  Speaker 1: this could physically be happening. Because, yeah, it's like, okay,
• 1:10:52
  Speaker 1: maybe you slashed that open. You didn't take your pants off.
• 1:10:55
  Speaker 1: You've got a freaking codpiece on, genius. You're not coming
• 1:10:58
  Speaker 1: through there without some maneuvering, which we never see.
• 1:11:01
  Speaker 2: So really, it just seems.
• 1:11:03
  Speaker 1: Like he's dry humping him back there with a giant
• 1:11:05
  Speaker 1: metal codpiece on.
• 1:11:06
  Speaker 2: Yeah. Yeah, because even when you do a shot back
• 1:11:09
  Speaker 2: to Scorpion after the fact is over, he's still wearing
• 1:11:12
  Speaker 2: his pants. They're not like around his ankles or anything
• 1:11:14
  Speaker 2: like that.
• 1:11:14
  Speaker 1: And they never do a cut or never do a
• 1:11:17
  Speaker 1: shot from behind him to see that they're slashed open again.
• 1:11:19
  Speaker 1: It's that one half second that you see something that
• 1:11:22
  Speaker 1: was like that kind of maybe. And then we come
• 1:11:24
  Speaker 1: back to it when it's everything from the front at
• 1:11:26
  Speaker 1: that point. We never see the pants again except him
• 1:11:28
  Speaker 1: laying down from the front where we can't really tell
• 1:11:31
  Speaker 1: what the hell just happened.
• 1:11:31
  Speaker 2: So in a movie that basically spells everything out for
• 1:11:35
  Speaker 2: us in tremendous detail in slow motion, this is the
• 1:11:39
  Speaker 2: one part we got to fucking think about.
• 1:11:41
  Speaker 1: Yeah, they got a little like, I don't know. Suggested?
• 1:11:46
  Speaker 2: They were worried.
• 1:11:47
  Speaker 1: That they were going to, because that's the thing, there
• 1:11:49
  Speaker 1: isn't an edited cut. Like I went looking, I was like,
• 1:11:51
  Speaker 1: is this the dumb American cut that we can't handle? No,
• 1:11:55
  Speaker 1: they were like, contrary to popular belief, this isn't edited.
• 1:11:58
  Speaker 1: Like I think later video releases- They might have cut
• 1:12:02
  Speaker 1: a little of that out for America, but the one
• 1:12:05
  Speaker 1: we're watching, I think, is the way that they edited
• 1:12:08
  Speaker 1: it together in Italy.
• 1:12:09
  Speaker 2: So, I don't know. It doesn't make any damn sense
• 1:12:11
  Speaker 2: to me. I know, especially in a world where deliverance
• 1:12:14
  Speaker 2: already exists. It's like five, six years old. By the
• 1:12:18
  Speaker 2: time this movie comes out, and that scene was way
• 1:12:20
  Speaker 2: more graphic, you knew exactly what was happening to poor
• 1:12:23
  Speaker 2: Ned Beatty.
• 1:12:24
  Speaker 1: So again, I'm not saying you want this to be
• 1:12:27
  Speaker 1: in your movie, but if you're going to write it
• 1:12:29
  Speaker 1: in your movie, just go ahead and put it in there,
• 1:12:31
  Speaker 1: or don't put that in there. Have him tie him up.
• 1:12:34
  Speaker 2: And beat him with a whip and send him off
• 1:12:36
  Speaker 2: on his merry way. Like, why work that in unless.
• 1:12:39
  Speaker 1: You're going to go ahead and just address that, that
• 1:12:41
  Speaker 1: this is what they do. And literally this is not
• 1:12:44
  Speaker 1: brought up any other time in the film.
• 1:12:46
  Speaker 2: Nope. Or even like what would have made like a
• 1:12:49
  Speaker 2: great poetic justice if like, This gouging spiral thing that
• 1:12:53
  Speaker 2: was attached to his car was used to kill one. Like,
• 1:12:56
  Speaker 2: you buggered me with that, I'm going to bugger you
• 1:12:59
  Speaker 2: with this. I've got an attachment for you. Yeah, but no,
• 1:13:02
  Speaker 2: we don't even get that. It's wasted on the third
• 1:13:05
  Speaker 2: in command. But, yeah, so there's that. But the one thing, though,
• 1:13:12
  Speaker 2: we haven't talked about is the body armor. Okay.
• 1:13:17
  Speaker 1: That's, I guess, is like, I'll show you. After you
• 1:13:20
  Speaker 1: do that to me, I'm going to show off my
• 1:13:23
  Speaker 1: hot bod behind some plexiglass.
• 1:13:27
  Speaker 2: Yes, because our young mechanic, apparently he's created bulletproof glass
• 1:13:32
  Speaker 2: or plexiglass or whatever else. It looks like cheap plexiglass. Yeah, yeah.
• 1:13:36
  Speaker 2: We're throwing tacks and darts at it and it's going pop,
• 1:13:39
  Speaker 2: you know, like those little snap pops.
• 1:13:41
  Speaker 1: That's what it looks like, yeah.
• 1:13:42
  Speaker 2: Yeah, yeah. So we're doing that. uh but so instead
• 1:13:45
  Speaker 2: we decided we're going to make some plate armor for
• 1:13:48
  Speaker 2: you kind of literally ripping off this full dollars because
• 1:13:51
  Speaker 2: the fucking scorpion is wearing a poncho yeah he was
• 1:13:54
  Speaker 2: previously not wearing.
• 1:13:55
  Speaker 1: We've never seen him in one he's got the the
• 1:13:57
  Speaker 1: weird green coat with like turtle shells on the on
• 1:14:00
  Speaker 1: the shoulders yeah they're like fabric-y but they're shaped like
• 1:14:04
  Speaker 1: turtle shell so the whole time i'm just like that
• 1:14:06
  Speaker 1: coat i don't He's got turtle.
• 1:14:08
  Speaker 2: Not bad, but it's a weird look for you, man.
• 1:14:11
  Speaker 2: It's turtle power, man. Yeah. If your name was Turtle,
• 1:14:13
  Speaker 2: that would make more sense.
• 1:14:14
  Speaker 1: But you're Scorpion. This jacket doesn't match your animal gimmick,
• 1:14:18
  Speaker 1: but whatever.
• 1:14:19
  Speaker 2: Yeah, yeah. So he's had that on the whole rest
• 1:14:21
  Speaker 2: of the movie.
• 1:14:22
  Speaker 1: But now suddenly when we need this gimmick to work,
• 1:14:25
  Speaker 1: he does a full man with no name ripoff and
• 1:14:28
  Speaker 1: comes out with his poncho on and starts getting killed.
• 1:14:31
  Speaker 2: And we're like, oh, he's dead now. What a shame. Oh, nope.
• 1:14:35
  Speaker 2: Flips it open and we're supposed to be going, great
• 1:14:37
  Speaker 2: freaking flick. Oh, I love this stuff. Yeah. And he's
• 1:14:41
  Speaker 2: wearing basically bubble, clear bubble plate armor. And again, clear.
• 1:14:50
  Speaker 2: And he's not wearing a shirt underneath it. See, that's
• 1:14:53
  Speaker 2: the thing. There's no reason he couldn't just be wearing
• 1:14:56
  Speaker 2: his clothes. Right.
• 1:14:57
  Speaker 1: And then put the armor over top, except it's not
• 1:15:00
  Speaker 1: hot that way. So if you want to get something,
• 1:15:03
  Speaker 1: you know, hey, check out my muscly man body.
• 1:15:06
  Speaker 2: Yeah. Then you take your shirt off before.
• 1:15:08
  Speaker 1: You put clear armor on, obviously.
• 1:15:10
  Speaker 3: Yep.
• 1:15:11
  Speaker 2: And so he's running around in this uncomfortable bubble clear armor.
• 1:15:15
  Speaker 2: Where the shoulders still flop around every time he moves. Yes,
• 1:15:18
  Speaker 2: the shoulders still, they're not very firm on there. Other
• 1:15:21
  Speaker 2: than just at the top.
• 1:15:22
  Speaker 1: But the other connection just kind of flops up and
• 1:15:24
  Speaker 1: down every time he jumps over something.
• 1:15:26
  Speaker 2: Yeah, yeah. That's going to be problematic probably in a
• 1:15:29
  Speaker 2: little bit. But yeah, so he's running around the rest
• 1:15:32
  Speaker 2: of the movie with basically no shirt on and his
• 1:15:33
  Speaker 2: plastic armor. Fighting the bad guys. And then he does get...
• 1:15:38
  Speaker 2: one in the end, but it's like there's no kind
• 1:15:42
  Speaker 2: of like poetic justice. Like even like the way one
• 1:15:44
  Speaker 2: is killed is kind of like there are other henchmen
• 1:15:47
  Speaker 2: who die in much more fantastic ways because their dummies
• 1:15:50
  Speaker 2: are blown apart in slow motion fashion.
• 1:15:54
  Speaker 1: Wait a minute.
• 1:15:54
  Speaker 2: There were dummies in this movie? Oh.
• 1:15:56
  Speaker 1: Because I think that decapitation towards the beginning was a
• 1:15:59
  Speaker 1: real dude that did not at all seem like a
• 1:16:02
  Speaker 1: mechanical twitching dummy.
• 1:16:04
  Speaker 3: Okay.
• 1:16:04
  Speaker 2: Yeah. Well, I do assure you that the first time
• 1:16:07
  Speaker 2: Fred Williamson shows up and fires off an arrow that
• 1:16:11
  Speaker 2: explodes at the guy, what does fly apart off there
• 1:16:15
  Speaker 2: with basically like kind of off to the side with
• 1:16:18
  Speaker 2: like one leg attached and you can see the stuffing
• 1:16:20
  Speaker 2: in the guts, that's dummy.
• 1:16:22
  Speaker 1: The hell you say. The one thing I will give him,
• 1:16:25
  Speaker 1: there are a lot of explosions in this. So if
• 1:16:27
  Speaker 1: you're there for explosions... They do at least deliver that.
• 1:16:31
  Speaker 1: There's a lot of things they drop.
• 1:16:32
  Speaker 2: The ball on. There are a lot of explosions.
• 1:16:33
  Speaker 1: But there are a lot of explosions that you watch
• 1:16:36
  Speaker 1: something roll really slow first and then explode. But eventually
• 1:16:40
  Speaker 1: they do make things explode for you if that's what
• 1:16:42
  Speaker 1: you're thinking.
• 1:16:43
  Speaker 2: Yeah, there are explosions. There are attractive women but no nudity. Yeah, yeah.
• 1:16:46
  Speaker 2: There's almost a little with her when the.
• 1:16:49
  Speaker 1: creepy not a doctor dude is helping her oh yeah
• 1:16:52
  Speaker 1: we get almost a little second of look there you
• 1:16:55
  Speaker 1: go that's it so.
• 1:16:56
  Speaker 2: Yeah i love that i'm not a doctor i'm a
• 1:16:58
  Speaker 2: guy that just builds things and puts stuff together so
• 1:17:01
  Speaker 2: i can do it with people so let me uh
• 1:17:03
  Speaker 2: let me take your top off i don't have any
• 1:17:07
  Speaker 2: training or ever had any training But, yeah.
• 1:17:10
  Speaker 3: Go ahead.
• 1:17:11
  Speaker 2: Get undressed.
• 1:17:11
  Speaker 1: I'll be your doctor.
• 1:17:12
  Speaker 2: I don't even play a doctor on television. Yeah.
• 1:17:15
  Speaker 1: That was an odd reveal, as he's already in the
• 1:17:18
  Speaker 1: middle of fixing her, in quotes, once again.
• 1:17:20
  Speaker 2: Yeah, it's like, wait, you're not a doctor? You've been
• 1:17:24
  Speaker 2: doing what to me the whole time?
• 1:17:25
  Speaker 1: He's like, I don't have any medical training, or training
• 1:17:28
  Speaker 1: of any kind, really. I was like, well, glad they
• 1:17:32
  Speaker 1: gave me to you. That's a great move on my part.
• 1:17:36
  Speaker 4: That's awesome.
• 1:17:37
  Speaker 2: But, yeah, that's just it. Again, I love my drive-in,
• 1:17:42
  Speaker 2: you know, schlocky grindhouse fare. And this one definitely, it
• 1:17:47
  Speaker 2: delivers on so many levels and gives you so much
• 1:17:49
  Speaker 2: more intrinsic value. But good God, it is also like,
• 1:17:54
  Speaker 2: check your brain at the door.
• 1:17:57
  Speaker 1: Well, and of all things, like we don't have a
• 1:17:59
  Speaker 1: big epic death for one.
• 1:18:01
  Speaker 2: Mm-hmm.
• 1:18:02
  Speaker 1: And then we don't really have the two couple get together.
• 1:18:05
  Speaker 1: You'd think that's the way most of these things end. Yeah,
• 1:18:07
  Speaker 1: like she's going to ride off. She just kind of
• 1:18:09
  Speaker 1: is like, oh, well, I'm not dead. That's cool. But
• 1:18:12
  Speaker 1: then instead, let's hold the hand of a child. What
• 1:18:17
  Speaker 1: is the final thing? Like, what is that shot?
• 1:18:20
  Speaker 2: Yeah.
• 1:18:21
  Speaker 1: He's just, that's like the big dramatic moment. I'm like, well,
• 1:18:24
  Speaker 1: if it was him and her, like, they're like, we're
• 1:18:26
  Speaker 1: going to go start a family and bring this world
• 1:18:29
  Speaker 1: back together.
• 1:18:30
  Speaker 3: Yep.
• 1:18:31
  Speaker 2: No, instead he's going to hold the hand of the.
• 1:18:33
  Speaker 1: Weird looking child that's been hanging around him with slingshot
• 1:18:36
  Speaker 1: noises and all of that. What is that?
• 1:18:39
  Speaker 2: Why?
• 1:18:39
  Speaker 1: It just seemed random as hell like everything else in
• 1:18:42
  Speaker 1: this movie.
• 1:18:43
  Speaker 2: Yes, and of course, like so we get that you
• 1:18:44
  Speaker 2: know shot and then it just you know zooms in
• 1:18:47
  Speaker 2: to scorpion's face and then basically we get the still
• 1:18:50
  Speaker 2: of scorpion's face while the credits roll it's like can
• 1:18:53
  Speaker 2: we fade out on that why do we have to still.
• 1:18:55
  Speaker 1: Keep no what the hell is going on here like
• 1:18:58
  Speaker 1: why is that your big closing shot and where are
• 1:19:01
  Speaker 1: we going with this i'm sure it will all be
• 1:19:04
  Speaker 1: cleared up in this third movie in this trilogy nope
• 1:19:07
  Speaker 1: I'm sure Scorpion will return in Dude from the Future 3.
• 1:19:13
  Speaker 2: No, no, no, no.
• 1:19:16
  Speaker 1: I know, I checked already.
• 1:19:17
  Speaker 2: No.
• 1:19:18
  Speaker 1: I'm pretty sure all of, that's the weird drop in
• 1:19:21
  Speaker 1: the ball on this trilogy is like all of our
• 1:19:23
  Speaker 1: repeat characters from this movie then.
• 1:19:25
  Speaker 2: Don't come back. Is that true? All we get is
• 1:19:28
  Speaker 2: the return of Trash, right?
• 1:19:30
  Speaker 3: Yes.
• 1:19:30
  Speaker 2: And everybody else who's been in the other two now disappear. Right. Yeah,
• 1:19:35
  Speaker 2: no George Eastman.
• 1:19:36
  Speaker 1: What the hell is going on?
• 1:19:37
  Speaker 2: Yeah, no Aeneo, no Fred Williamson. What the hell, Aeneo?
• 1:19:44
  Speaker 2: And literally, like I said, these were all shot within, what,
• 1:19:46
  Speaker 2: six to nine months, something like that?
• 1:19:48
  Speaker 4: Yeah, pretty much.
• 1:19:48
  Speaker 2: And the difference between Trash and the first one and
• 1:19:52
  Speaker 2: the third one, like, ooh, somebody partied a lot and
• 1:19:57
  Speaker 2: then they said, roll. And you, wow, dude.
• 1:20:02
  Speaker 1: I mean.
• 1:20:03
  Speaker 2: You should have like went to sleep for a week
• 1:20:04
  Speaker 2: and had some water first.
• 1:20:06
  Speaker 1: You're in a country loaded with pasta and wine. What
• 1:20:09
  Speaker 1: do you think he's going to look like? He's a
• 1:20:11
  Speaker 1: superstar after that first movie, obviously. And then just loading
• 1:20:15
  Speaker 1: him up with pasta and wine and you see what's
• 1:20:17
  Speaker 1: going to happen.
• 1:20:19
  Speaker 2: Yeah, he just looks a little, you know, road hard
• 1:20:22
  Speaker 2: and put away wet by the time you get to
• 1:20:24
  Speaker 2: the third film. And it's like, that was like, How
• 1:20:27
  Speaker 2: much time passed between shoots? Like, good God, dude.
• 1:20:31
  Speaker 1: I don't know, because this one came out within a
• 1:20:33
  Speaker 1: year of the first one.
• 1:20:34
  Speaker 2: Yeah.
• 1:20:36
  Speaker 1: That's after they crammed this middle one in, maybe. I
• 1:20:38
  Speaker 1: don't know what order they actually shot them in, but...
• 1:20:41
  Speaker 1: Within one year's time, all three of these movies are listed, so... No, they.
• 1:20:45
  Speaker 2: Actually did shoot them in order of film. That's literally
• 1:20:48
  Speaker 2: why no one except for... Basically, Trash was not... Like,
• 1:20:52
  Speaker 2: for whatever reason, he was not available. They didn't work
• 1:20:54
  Speaker 2: him into the second film. And then they bring him
• 1:20:57
  Speaker 2: back for the third one with no other cast. And also,
• 1:21:01
  Speaker 2: we went back in time when we get to Escape
• 1:21:04
  Speaker 2: from the Bronx. Because it's a direct sequel to Bronx
• 1:21:06
  Speaker 2: Warriors 1990... Still in the Bronx.
• 1:21:10
  Speaker 1: Yeah, it's not 2010, 2019, post whatever the hell happened.
• 1:21:15
  Speaker 2: Yeah, we're going back now before the nuclear holocaust.
• 1:21:20
  Speaker 1: Enzo, you make my brain hurt.
• 1:21:21
  Speaker 2: So it's like, why couldn't you have just held on
• 1:21:23
  Speaker 2: to New Barbarians and then.
• 1:21:28
  Speaker 2: You know, did escape from the Bronx, released that. And
• 1:21:32
  Speaker 2: then for the third one, we do New Barbarians.
• 1:21:34
  Speaker 1: And maybe cast somebody other than Fred Williamson so it's
• 1:21:37
  Speaker 1: not weird and confusing. Like, George Eastman, you can kind of, like,
• 1:21:40
  Speaker 1: you might not even notice, really. You'd be like, he
• 1:21:43
  Speaker 1: looks kind of, eh, whatever. But, like, Fred Williamson's very
• 1:21:46
  Speaker 1: obviously Fred Williamson.
• 1:21:47
  Speaker 2: Excuse me, they gave Fred Williamson a headband for this movie?
• 1:21:51
  Speaker 2: He's in silk blouses. He obviously rolls up in both
• 1:21:54
  Speaker 2: of these movies. I'm like, look, I'm Fred Williamson. I'm
• 1:21:56
  Speaker 2: here to make this movie. He's in silk shirts and
• 1:22:00
  Speaker 2: sword canes and Bronx Warriors and in New Barbarians. He's
• 1:22:05
  Speaker 2: in no shirt and a headband.
• 1:22:08
  Speaker 1: It just makes things extra confusing.
• 1:22:10
  Speaker 2: I'm just saying. I'm not confused. The headband is all
• 1:22:13
  Speaker 2: we needed. It's like Clark Kent in Superman. Where's Ogre at?
• 1:22:16
  Speaker 1: That's what I want to know.
• 1:22:17
  Speaker 2: Ogre died. No, he's fine.
• 1:22:20
  Speaker 1: Saying ain't so.
• 1:22:21
  Speaker 2: Ogre dad, this isn't a deer. He's got a headband. See,
• 1:22:24
  Speaker 2: that's the difference.
• 1:22:25
  Speaker 1: Is he at least the offspring of Ogre? I feel
• 1:22:27
  Speaker 1: like Ogre probably got around too, so there's probably a
• 1:22:31
  Speaker 1: lot of mutant children that came out 20 years later
• 1:22:34
  Speaker 1: and look just like Ogre.
• 1:22:35
  Speaker 2: Okay, if it makes you feel better, then Nadir is
• 1:22:37
  Speaker 2: the son of Ogre.
• 1:22:38
  Speaker 1: There we go. It all makes sense now.
• 1:22:41
  Speaker 2: There you go. Everything makes sense. That's why he looks
• 1:22:44
  Speaker 2: exactly like Fred Williamson, because, yeah, it is. But no, see,
• 1:22:48
  Speaker 2: in this movie, he's got a headband.
• 1:22:50
  Speaker 4: Yeah, totally different.
• 1:22:51
  Speaker 2: It's like explaining Pac-Man versus Ms.
• 1:22:53
  Speaker 3: Pac-Man.
• 1:22:54
  Speaker 2: See, she's got a bow on her head. She's got
• 1:22:55
  Speaker 2: a bow.
• 1:22:56
  Speaker 1: It does make a lot of difference.
• 1:23:02
  Speaker 2: And I can't wait until we get to Escape from
• 1:23:03
  Speaker 2: the Bronx. I was going to say, we've already set
• 1:23:05
  Speaker 2: up where we're going on this trip. Just let me
• 1:23:08
  Speaker 2: tell you, that's the awesome thing, too, is that New
• 1:23:12
  Speaker 2: Barbarians was so awful that it needed two titles. Because
• 1:23:16
  Speaker 2: in Italy, when it was released in 83, it's the
• 1:23:17
  Speaker 2: New Barbarians. And then when it comes out in the
• 1:23:19
  Speaker 2: States in 84, it's Warriors of the Wasteland. That's the thing.
• 1:23:22
  Speaker 1: It's not like it's wrong and didn't work like you
• 1:23:25
  Speaker 1: could have used either like why i like warriors of
• 1:23:28
  Speaker 1: the wasteland a little better a little more fitting than
• 1:23:31
  Speaker 1: yeah because new barbarians just sounds like you're gonna get
• 1:23:35
  Speaker 1: a conan.
• 1:23:35
  Speaker 2: Knockoff exactly that's probably why it was changed because we
• 1:23:39
  Speaker 2: had so many of these sword and sandal flicks going
• 1:23:41
  Speaker 2: on in the 80s especially in the states that people
• 1:23:45
  Speaker 2: would have thought we're gonna get like a sword and
• 1:23:46
  Speaker 2: sword i certainly would have if i just went by
• 1:23:48
  Speaker 2: the title yeah yeah so it's like okay we gotta
• 1:23:50
  Speaker 2: throw in wasteland in there so we know we're not
• 1:23:52
  Speaker 2: dealing with Swords and shit. We got pop guns and cars.
• 1:23:56
  Speaker 1: We got golf carts from hell.
• 1:23:58
  Speaker 2: Golf carts, yes. Piss golf carts. And one sweet dude buggy.
• 1:24:03
  Speaker 2: And then I think that may have been like a challenger,
• 1:24:07
  Speaker 2: like a late model challenger that was Scorpion's car. It
• 1:24:10
  Speaker 2: was definitely like a GTO kind of V8 sort of
• 1:24:14
  Speaker 2: muscle car kind of look to it.
• 1:24:16
  Speaker 1: It said, but I didn't check the accuracy of what
• 1:24:20
  Speaker 1: they said here. Let's see it.
• 1:24:22
  Speaker 2: It's one of the few. That's the thing.
• 1:24:23
  Speaker 1: There's not a whole lot in IMDb on this.
• 1:24:25
  Speaker 2: No, there isn't. Surprise. There was a box set that
• 1:24:29
  Speaker 2: came out in Italy that has all three movies and
• 1:24:32
  Speaker 2: a lot of supplementary stuff. The people who put it
• 1:24:37
  Speaker 2: together also put a documentary together called Where is Trash?
• 1:24:40
  Speaker 2: Or Looking for Trash or something like that. They do
• 1:24:45
  Speaker 2: the documentary because he was the star. He was in
• 1:24:48
  Speaker 2: several movies. In the 80s. And then literally by the 90s,
• 1:24:54
  Speaker 2: he'd fall face to the earth. And no one knew
• 1:24:56
  Speaker 2: where he was. Well, so the documentary ends unconclusively. And
• 1:25:01
  Speaker 2: then they kept the website going. And then finally. Resurfaced. No,
• 1:25:08
  Speaker 2: the director found out that basically he died in 2013.
• 1:25:12
  Speaker 2: He committed suicide. But he found his grave.
• 1:25:15
  Speaker 1: That's not cool.
• 1:25:16
  Speaker 2: And the ironic thing that his grave was like two
• 1:25:18
  Speaker 2: miles from where he lived. Because he lived overseas and like,
• 1:25:24
  Speaker 2: they may have been in Italy somewhere. But yeah, he's like, yeah,
• 1:25:26
  Speaker 2: like literally this grave site was two miles from my house.
• 1:25:30
  Speaker 2: But yeah, it wasn't like a big, like a little
• 1:25:32
  Speaker 2: plate and stuff like that. It wasn't much. But yeah,
• 1:25:34
  Speaker 2: he apparently died in 2013.
• 1:25:36
  Speaker 1: According to this, I like even on here it says
• 1:25:39
  Speaker 1: appears to be. It says, Scorpion's car appears to be
• 1:25:44
  Speaker 1: a 1967 Pontiac Firebird.
• 1:25:45
  Speaker 2: Oh, okay. Firebird. All right.
• 1:25:46
  Speaker 3: Yeah.
• 1:25:47
  Speaker 2: I was like, all right, if you say so.
• 1:25:48
  Speaker 1: Yeah. Again, like the skull, like the random tubes, not
• 1:25:51
  Speaker 1: the dome.
• 1:25:52
  Speaker 2: Well, it makes sense why I thought it looked like
• 1:25:55
  Speaker 2: a Challenger, because basically every car Pontiac released basically was
• 1:25:58
  Speaker 2: a ripoff of something that a larger company did. Yeah.
• 1:26:03
  Speaker 2: So it's very fitting for this movie. Yes, it's very fitting.
• 1:26:05
  Speaker 2: It's the perfect car for this movie. We couldn't get
• 1:26:07
  Speaker 2: a real Challenger, so let's get the Firebird because it
• 1:26:10
  Speaker 2: was probably $ 1, 000 cheaper.
• 1:26:12
  Speaker 1: Oh, Lord.
• 1:26:13
  Speaker 6: Well.
• 1:26:14
  Speaker 2: But it did have that pop-off door feature. That sure
• 1:26:17
  Speaker 2: came in handy that one time I needed to pop
• 1:26:19
  Speaker 2: off the door.
• 1:26:20
  Speaker 1: Sure did.
• 1:26:21
  Speaker 2: You can't repeat it. You've got to get a new door,
• 1:26:23
  Speaker 2: but hey. It saved them that time.
• 1:26:26
  Speaker 1: That's all that's important. If anything was important in this movie,
• 1:26:30
  Speaker 1: I don't know what it was, but we can pretend
• 1:26:33
  Speaker 1: like it was that.
• 1:26:35
  Speaker 2: I think this did a great job for hairstylists in
• 1:26:39
  Speaker 2: this movie.
• 1:26:40
  Speaker 1: That's where most of the money went, I think.
• 1:26:41
  Speaker 2: Hair and art direction, we put a lot of thought
• 1:26:45
  Speaker 2: into this movie. Not so much the script. Screenwriting, not
• 1:26:49
  Speaker 2: so much. Dialogue, not so much. Cinematography. Editing, not so much.
• 1:26:55
  Speaker 2: But man, that place looked like a wasteland and those
• 1:26:58
  Speaker 2: people's hair looked fabulous.
• 1:27:01
  Speaker 1: Yeah, it was 80s hair gone crazy.
• 1:27:04
  Speaker 3: Yeah.
• 1:27:05
  Speaker 2: Well, at least now we already know where we're headed.
• 1:27:09
  Speaker 2: Back to the Bronx.
• 1:27:10
  Speaker 1: If we need to take a break in between or
• 1:27:13
  Speaker 1: we just come back next time, we can decide. But
• 1:27:16
  Speaker 1: at least you know where we're going eventually. We'll be
• 1:27:19
  Speaker 1: back in the Bronx. Back in time.
• 1:27:21
  Speaker 2: Back in time.
• 1:27:22
  Speaker 1: Back with Trash. Yay, Trash. Until then, I guess, go
• 1:27:29
  Speaker 1: ahead and let people know where you are when you're
• 1:27:31
  Speaker 1: not doing this ridiculousness. You have your own show.
• 1:27:36
  Speaker 2: Oh, I thought you were just like, I'm at my house.
• 1:27:38
  Speaker 2: That's where I'm at.
• 1:27:38
  Speaker 1: You don't have to give out your address. That seems
• 1:27:40
  Speaker 1: like probably a bad idea.
• 1:27:42
  Speaker 2: I mean, you guys want to come visit. I have
• 1:27:46
  Speaker 2: my own podcast, Fanatic Forum. I am live Fridays at
• 1:27:49
  Speaker 2: 7 p.m. Eastern on Facebook and YouTube. Or if you
• 1:27:53
  Speaker 2: don't get to join us live, then you can watch
• 1:27:55
  Speaker 2: on Facebook and YouTube. Or you can listen to anywhere
• 1:27:58
  Speaker 2: you listen to podcasts. I talk new comics, all things geek. Lately,
• 1:28:03
  Speaker 2: I've been doing a film series where I've been talking
• 1:28:05
  Speaker 2: about favorite films. I try to pair films together. So
• 1:28:09
  Speaker 2: what I'm doing this week is my final in the series.
• 1:28:12
  Speaker 2: I'm doing some kind of some neo-noirish stuff. I'm going
• 1:28:15
  Speaker 2: to talk about Rian Johnson's Brick.
• 1:28:21
  Speaker 1: Brick is amazing.
• 1:28:22
  Speaker 2: Brick is amazing. And then another odd noirish film, but
• 1:28:25
  Speaker 2: I'm going back to 1972, the Michael Caine lesser known
• 1:28:29
  Speaker 2: film Pulp.
• 1:28:30
  Speaker 1: I think I remember that title. I might have seen
• 1:28:33
  Speaker 1: the video box, but obviously have not watched it.
• 1:28:36
  Speaker 2: It was basically kind of taking a noirish crime film. film,
• 1:28:41
  Speaker 2: basically a crime writer getting involved in his own sort
• 1:28:44
  Speaker 2: of stuff, but adding a lot of black humor into it,
• 1:28:47
  Speaker 2: and also letting the world know that Mickey Rooney could
• 1:28:51
  Speaker 2: also be not just America's sweetheart, but also America's badass.
• 1:28:57
  Speaker 1: Are you sure?
• 1:28:58
  Speaker 4: Yes.
• 1:28:58
  Speaker 1: I've seen him.
• 1:29:00
  Speaker 2: He can be offensive. He can be obnoxious.
• 1:29:03
  Speaker 1: He can be a sad old man eventually.
• 1:29:05
  Speaker 2: No, not the Mickey Rooney from 60 Minutes. I'm talking
• 1:29:10
  Speaker 2: about the cherub-faced guy who played against Judy Garland in
• 1:29:15
  Speaker 2: lots of films.
• 1:29:15
  Speaker 1: I'm just thinking of him by the time you get
• 1:29:17
  Speaker 1: to his older films.
• 1:29:18
  Speaker 2: Yeah.
• 1:29:19
  Speaker 1: He kept acting all the way up to the end.
• 1:29:21
  Speaker 1: Sure did. But he was just a weird old man.
• 1:29:24
  Speaker 2: By the end. And he would... Do some strange films
• 1:29:27
  Speaker 2: before he was done. But he basically kind of... This
• 1:29:30
  Speaker 2: was a film that basically discovered he could play bad
• 1:29:34
  Speaker 2: guy roles and be very vicious. So you've never seen
• 1:29:39
  Speaker 2: Mickey Rooney like this before. Michael Caine looks suave as hell.
• 1:29:44
  Speaker 1: Michael Caine was in a lot of stuff at this point. Yes.
• 1:29:47
  Speaker 2: Before he broke through over.
• 1:29:48
  Speaker 1: Here anyway, he was just knocking out a lot of
• 1:29:51
  Speaker 1: those movies that are like that mid-range.
• 1:29:53
  Speaker 2: It's like they had a decent budget. They had good acting.
• 1:29:55
  Speaker 1: And like they just sort of flew under the radar
• 1:29:58
  Speaker 1: because there's ones I keep finding. And I'm like, this
• 1:30:00
  Speaker 1: is like a starring role for Michael Caine. And it
• 1:30:02
  Speaker 1: was right before he became Michael Caine in this country.
• 1:30:05
  Speaker 4: Yeah.
• 1:30:06
  Speaker 2: Yeah, he did a lot of stuff. This all came
• 1:30:10
  Speaker 2: out around the same time you had the Ipcris files
• 1:30:14
  Speaker 2: and Get Carter and the Italian job. Just boom, boom, boom, boom, boom.
• 1:30:18
  Speaker 2: He was just churning them. out in the 70s. He
• 1:30:21
  Speaker 2: had a lot of stuff. Yeah, but Pulp is one
• 1:30:24
  Speaker 2: that flew under the radar. It does have its fan base,
• 1:30:26
  Speaker 2: mind you, but yeah, it's one, it's like, you know,
• 1:30:31
  Speaker 2: it was billed as very kind of, the trailer is
• 1:30:33
  Speaker 2: a little misleading because it looks very hip. You think
• 1:30:36
  Speaker 2: it looks like a crime kind of sort of thing
• 1:30:38
  Speaker 2: like that, but then like there's some comedic elements that
• 1:30:40
  Speaker 2: pop up in the trailer that kind of throw you out.
• 1:30:42
  Speaker 2: In the movie, it makes sense and it kind of
• 1:30:44
  Speaker 2: goes on, but in the trailer, it throws you off.
• 1:30:46
  Speaker 2: So like, that's kind of why I think it didn't
• 1:30:48
  Speaker 2: do well or isn't talked about because it kind of
• 1:30:52
  Speaker 2: did mislead the audience in the, in the advertising for it.
• 1:30:54
  Speaker 1: Well, on some of those, again, eventually when they find
• 1:30:57
  Speaker 1: their audience, that's great. But initially when audiences just don't
• 1:31:00
  Speaker 1: know what to do with a movie, sometimes it stops
• 1:31:03
  Speaker 1: right there.
• 1:31:03
  Speaker 2: Like that first wave goes.
• 1:31:05
  Speaker 1: To see it and goes, wait, what, what the hell
• 1:31:07
  Speaker 1: is this? What, what is this movie? And what am
• 1:31:08
  Speaker 1: I supposed to do with it? And that word gets
• 1:31:11
  Speaker 1: out almost immediately. And like, it seems to stop the
• 1:31:13
  Speaker 1: rest of the audiences from coming and it drops off
• 1:31:15
  Speaker 1: the face of the earth. And, Till it resurfaces and
• 1:31:18
  Speaker 1: finds its fan base.
• 1:31:19
  Speaker 2: And also, fun fact, the British alternative rock group Pulp,
• 1:31:24
  Speaker 2: that's where they got the name from. Well, all right.
• 1:31:28
  Speaker 2: That was the inspiration for their name was this film.
• 1:31:31
  Speaker 4: Very pulpy.
• 1:31:33
  Speaker 1: All right. Well, there you go. You know where to
• 1:31:35
  Speaker 1: find him in between now and then. And then we'll
• 1:31:38
  Speaker 1: be back eventually.
• 1:31:40
  Speaker 2: Oh, yes.
• 1:31:40
  Speaker 1: Back at the Bronx.
• 1:31:44
  Speaker 2: Rev up those motorcycles.
• 1:31:45
  Speaker 1: With that, we're going to try to recover from this
• 1:31:48
  Speaker 1: movie and prepare for the next.
• 1:31:52
  Speaker 2: Otherwise, that about does it. We will return next time.
• 1:31:54
  Speaker 2: Same geek feed. Thanks for listening. Litter and fetch my Aquanet.
• 1:31:59
  Speaker 1: And then light it on fire.
• 1:32:29
  Speaker 2: Diamond mine to the factory.
• 1:32:32
  Speaker 3: Everybody's doing what you gotta keep on doing for society.
• 1:32:35
  Speaker 5: Making this world a good place to be. Let there
• 1:32:41
  Speaker 5: never be a diamond to be. Making pants work.
• 1:32:46
  Speaker 3: Is what I'm saying.
• 1:32:48
  Speaker 2: Working for the world around.
• 1:32:50
  Speaker 3: The battle cry don't mess with me.
• 1:32:54
  Speaker 5: I'll travel this world for eternity.
• 1:33:02
  Speaker 3: It seems to me that the powers that.
• 1:33:24
  Speaker 5: Be have Make this a world a good place to be.
• 1:35:08
  Speaker 2: Michelle was just so fascinated with that dude's hair. She's like,
• 1:35:12
  Speaker 2: the first time, she's like, oh my god. I'm like,
• 1:35:14
  Speaker 2: isn't it fabulous?
• 1:35:15
  Speaker 1: I'm way more impressed with hers. There's just so much
• 1:35:17
  Speaker 1: volume to hers.
• 1:35:18
  Speaker 2: And it doesn't move. Yeah, that's what I'm saying.
• 1:35:21
  Speaker 1: Aquanet, it is hardcore shellac down.
• 1:35:23
  Speaker 2: I mean, it is giant and amazing. The amount of
• 1:35:28
  Speaker 2: work she must take every day to go out into
• 1:35:31
  Speaker 2: the wasteland with that hair is just like, hats off
• 1:35:35
  Speaker 2: to you. Think how many bugs are in there.
• 1:35:38
  Speaker 4: This episode is a production of Movie Meltdown, produced and
• 1:35:41
  Speaker 4: edited by The Oddity Studios, with opening music performed by
• 1:35:44
  Speaker 4: The Empires. For more on how to sponsor or support
• 1:35:47
  Speaker 4: the show, email producer at moviemeltdown.com.
• 1:35:50
  Speaker 2: Talk hard! This program is a proud member of the
• 1:35:59
  Speaker 2: Battleship Pretension Fleet.