Latest / Citizen Frame / Carry On (2024)

Transcript

Carry On (2024) · Citizen Frame

• 0:00
  Music.
• 0:22
  Just relax, okay? This is how it goes, Ethan.
• 0:27
  Soon, an associate of mine is going to step into your line with a boarding pass
• 0:30
  for North Wind Flight 1850 nonstop to JFK.
• 0:34
  You are going to make sure that his bag clears the machine.
• 0:38
  This is a joke, right? Is anything I just said funny? No.
• 0:44
  If it's any consolation, you are not my first choice. You're not what you're
• 0:47
  supposed to be today, but that is okay. To be honest, it makes my day a little easier.
• 0:52
  Music.
• 0:55
  We'll be right back.
• 1:12
  Alright everybody, welcome back to another sweet, sweet episode of Citizen Frame,
• 1:17
  during Christmas month.
• 1:19
  We dove into a couple of classics, especially that sweet, sweet,
• 1:23
  sweet Christmas at Dollywood, which Trevor thought was a masterpiece in filmmaking.
• 1:27
  Oh, absolutely. You know what I mean? How could you not? You know,
• 1:30
  it's never been done before.
• 1:31
  It broke too many boundaries and, you know, it's just, you know, what can I say?
• 1:38
  Not just a Christmas. I myself prefer Fargo.
• 1:43
  We did a week earlier, but to each their own, Trevor, to each their own. Yeah, well.
• 1:48
  All right. So today we're talking to one that's pretty well hyped and doing
• 1:52
  quite well and good reviews.
• 1:55
  And it is directed by a guy I like to promote. I like his stuff a lot,
• 1:59
  actually. And he's here at Missville with a lot of people.
• 2:02
  But the one thing he does well is he kind of, he's a 90s guy.
• 2:08
  I mean, it shows in a lot of his films, and this has 90s written all over it with the movie Carry On.
• 2:14
  When movies, first things come to mind is Passengers of 57, Die Hard 2,
• 2:19
  even a little bit of Phone Booth in there, and Speed.
• 2:23
  It definitely does feel like it's in that generation. We talk about nostalgia
• 2:27
  quite a bit for cinema, and that's usually nostalgia for, like,
• 2:31
  go back and watch Tango and Cash.
• 2:33
  You're going to love it for nostalgic purposes. 80s is the big nostalgia go-to, essentially.
• 2:39
  Well, that's kind of where I'm going with that.
• 2:42
  Well, this is more than 90s, but yeah, nostalgia can be any,
• 2:45
  it can be 80s, 90s, it can be whenever you want it.
• 2:47
  But what John Culley Sierra does is he definitely pays homage to the 90s and
• 2:55
  it's nostalgic for him, I think.
• 2:58
  Not just a particular film. you could be nostalgic for the genre itself and
• 3:05
  the execution of that genre that makes any sense i get what you're saying i
• 3:09
  mean i totally got 90s vibes from this steven seagal films you know like was
• 3:13
  it called executive decision you know those sorts of ones.
• 3:17
  Yeah exactly i mean other scenes that one with harrison ford where he's the
• 3:23
  president you know when the plane gets hijacked air force one yeah,
• 3:27
  Yeah, yeah. And this has it written all over it.
• 3:31
  But it's all about the execution. So we're going to see what goes here,
• 3:35
  what sticks and what doesn't.
• 3:37
  But listen, this guy, I love his stuff. He started off with horror with House
• 3:42
  of Wax, which is a very good take on the original from 2005.
• 3:45
  He did Then Orphan, which is a great little horror film.
• 3:48
  He did Unknown, Nonstop, Run All Night, The Commuter, all with Liam Neeson.
• 3:54
  If you haven't seen it, Run All Night is a wonderful film with Ed Harris.
• 3:58
  And then Non-Stop is the one with the plane. That's pretty good.
• 4:02
  She did Jungle Cruise, which was okay. And then recently, that terrible Black
• 4:06
  Adam. I haven't seen Black Adam. So I think she decided to go back.
• 4:09
  I don't. I know that Paris Hilton, wasn't she, in House of Wax?
• 4:14
  Yeah, but she dies pretty quickly and it's a good death.
• 4:18
  But yeah so i think he when you look at most of his stuff costs 30 to 60 million
• 4:24
  i think it is now people are like well it's a lot well it's not by today's standards
• 4:28
  especially for action films,
• 4:30
  he's more of a thriller with action peppered in when he does his stuff and there's
• 4:35
  last two outings jungle cruise is okay but black adam was terrible and i think
• 4:40
  he decided to pull back on this big Marvel-esque DC extravaganza as he was working
• 4:45
  with. Jungle Cruise was Disney, I believe.
• 4:47
  And he went back to more, I guess you can say, well, in 60 million,
• 4:52
  there's a lot, but a little more, he put a little more control over this one. More back to Israel.
• 4:59
  Yeah. And I swear by this guy's work. And so I was excited to see it.
• 5:05
  It's got some issues. We'll dive into it.
• 5:10
  As we talk, carry on. Where's my notes? Where the fuck are my notes?
• 5:16
  Where the fuck are my goddamn notes? You fuck, oh, they're there.
• 5:19
  Carry on, Citizen Frame.
• 5:20
  You know, I was disappointed that Sid James and Barbara Windsor and Charles
• 5:24
  Hawthory and Kenneth Williams weren't in this.
• 5:26
  I thought it was a continuation of the classic series. Anybody,
• 5:30
  anybody, which is about 50% of our listeners in the States, that is a comedy
• 5:35
  show from the 70s. Well, more than 60s.
• 5:38
  Okay so they just to let you know if you guys don't know a very silly innuendo
• 5:45
  laden british essentially sex comedies you know there was carry on screaming
• 5:51
  that was the horror one you know carry on up the night i think there was one yeah there was no.
• 5:59
  Carry on up the kyber it was let's move on,
• 6:04
  Let's move on this time, okay? Can we move on now from Carry On? Yeah. Okay.
• 6:09
  Anyways, now they're promoting this as the new Die Hard Christmas movie.
• 6:13
  Let's get something straight, people.
• 6:15
  This isn't Die Hard. Anyone who
• 6:17
  compares this to Die Hard, this is just a marketing toy. Yeah, 100%. Okay?
• 6:20
  This is not Die Hard. This is not the new Christmas Die Hard film.
• 6:24
  It is not. It's a solid little film. We'll talk about it, but this is not Die Hard.
• 6:28
  And the film and the director and the
• 6:31
  producers tried really hard to make this a christmas
• 6:34
  film because every fucking song is christmasy and even during the cool one of
• 6:40
  the best scenes in the film they have last christmas playing by wham and it
• 6:44
  was a little too much thrown in there just like people know oh no this is a
• 6:48
  christmas film because guys it's not a christmas film yeah i mean the So the whole,
• 6:53
  it's like Poundland Die Hard,
• 6:55
  trying too hard to be that type of film.
• 6:58
  Well, no, I wouldn't say Poundland Die Hard. That's a little disrespectful.
• 7:01
  That's, no, it's not Poundland Die Hard. Poundland Die Hard would be a real
• 7:05
  piece of shit from, you know, like the films you like. What, like? What, like?
• 7:12
  Well, give me some examples. That piece of shit. What? Lighthouse.
• 7:16
  The Lighthouse. Return to Salem's Lot.
• 7:18
  You said Return to Salem's Lot. Stop him on Mama's Shoot. I can keep going.
• 7:23
  Yeah yeah you can't what is wrong i won
• 7:26
  i won the argument about a campy silly horror i know
• 7:29
  i know you're like an elevated horror snob so you don't
• 7:32
  like things like you know return to salem slot people any any
• 7:35
  of our listeners will just go hey why is he turning that around on karen it's
• 7:39
  clearly he's the elevator no no no no no no that's exactly what it is with that
• 7:44
  you pretentious return to salem slot and stuff you know what i mean and it's
• 7:49
  a classic yeah a lot of people have a problem with that. Okay,
• 7:52
  let's just jump in this, please.
• 7:54
  All right, we got, I can never pronounce his name. Is it Teron?
• 7:56
  Teron Eagerton, I think.
• 7:58
  He played Robin Hood a few years ago in a really bad version of it.
• 8:02
  I like that film. I like that. That's terrible.
• 8:05
  And I like him in the Gentleman films. I haven't seen those,
• 8:08
  but I have seen the Robin Hood version.
• 8:10
  And they have Jamie Dornan as Will Scarlet, who looks like he's just stepped off like a catwalk.
• 8:15
  You know, it's, yeah. But anyway, it's a different podcast.
• 8:19
  We got Jason Bateman, Sofa, Sophia, or Sofa, who gives a fuck.
• 8:24
  Carson, Danielle, Deadweiler, Theo Rossi.
• 8:28
  The list goes on. Anyways, the story is pretty much copy and paste of any cop
• 8:34
  movie or any down and out guy movie.
• 8:38
  All these acts of films have somebody who wants to do something better for themselves
• 8:42
  or they've lost something that was once near and dear to them.
• 8:46
  It could be a job or a loved one.
• 8:48
  This is pretty much the setup we have for our boy here, Ethan,
• 8:51
  who is about to be a father with the beautiful Carson. She plays Nora.
• 8:59
  And I will say this, she is by far the weak link in this.
• 9:03
  She is terrible, terrible, terrible. Also, in that opening scene where they
• 9:07
  just wake up and they're in bed together, was she fully made up and that she's
• 9:13
  got the full makeup on? Who does that?
• 9:15
  You know, it does jar, but yeah, her acting actually jars even more.
• 9:20
  Well, you see how much some fucking lipsticks he puts on her fucking lips?
• 9:23
  Yes, first thing in the morning.
• 9:25
  Fucking hell. You want to see me first thing in the morning?
• 9:27
  I'm like some sort of neonic doll.
• 9:29
  You put lipstick on your lips in the mirror? It depends on how I'm feeling.
• 9:33
  Oh, it depends if it's a Friday night with Trevor and the boys.
• 9:39
  So, yeah, I mean, she's terrible. But we quickly find out that she tells him,
• 9:46
  I just want you to get that excitement back because he got rejected for going
• 9:51
  into the police academy.
• 9:53
  He hasn't found himself yet. As soon as she said that, I automatically,
• 9:58
  my brain jumped to Mahoney, Steve Guttenberg, and the police academy films,
• 10:04
  Hightower, Proofus and all that.
• 10:08
  Yeah, but that's just where my brain goes to with these things.
• 10:11
  And Zed, and the one that does the funny voices. Yeah.
• 10:16
  So you've got the opening song, Santa Claus is Coming to Town by Bruce Springsteen.
• 10:20
  I mean, they're really throwing this at you. Yeah, it's overkill.
• 10:24
  Yeah, it's overkill. And then we even have the tree lot. He goes to the tree
• 10:28
  lot when we meet the traveler. That's played by Jason Bateman, who is wonderful.
• 10:31
  I like Jason Bateman in this. He plays Cold very good.
• 10:34
  He's the best. No, I actually think there's a couple.
• 10:38
  I'm going to say this right now. The casting of this film, besides Nora, is quite good.
• 10:42
  And I actually think Danielle Deadweiler, she plays the lean-up. the cop.
• 10:47
  I really like her in this. She's alright. And they do a really nice job because there's one flaw.
• 10:54
  If I could pick a flaw from it there's two of them actually.
• 10:57
  One is the conversation between him between Ethan and the traveler gets a little
• 11:02
  elongated. It's a little bit okay can we move on here?
• 11:06
  But it's nice having the cutaway to the FBI and the cops trying to investigate
• 11:11
  what is going on at the LAX and she's a welcoming surprise in that whole scenario
• 11:16
  because when we cut away to her, her scenes are really good.
• 11:19
  Well, she can act I'll say that on like the girlfriend character but well,
• 11:24
  we'll get to it all my issues with the film but I actually think the stuff with
• 11:29
  the Traveller and Taron the scenes where they're talking to each other on the
• 11:34
  sort of, you know, the airpiece thing,
• 11:36
  I actually think they're the best parts of the film.
• 11:39
  Like you mentioned earlier on, definitely phonebrew vibes are but i think they're
• 11:44
  done well and i think they're good for the tension.
• 11:47
  No, they do it well, and they do, even though we know, spoiler alert,
• 11:52
  guys, that's a new release, so fuck off if you're going to be spoiled here because you're about to be.
• 11:56
  He becomes a cop at the end, and you clearly know this whole thing is a setup
• 12:00
  for him to show the past at the end of the film.
• 12:03
  Yeah, it's a 1990s hero's journey, you know? Yeah.
• 12:10
  Now, the intro, this is what I – so the intro, he's running late.
• 12:14
  So what they do is – and it is clever.
• 12:17
  He runs through the airport, and what he does is he runs through the different
• 12:21
  areas of the airport where we're going to be reintroduced to again when he's
• 12:25
  fighting the traveler or fighting Flores.
• 12:28
  So we're going through all these areas. Here's what I don't get.
• 12:31
  It's LAX. It's Christmastime.
• 12:34
  LAX, one of the busiest airsports in the world. It's Christmastime,
• 12:37
  and he's running through all these different areas, luggage handling,
• 12:43
  and we see piles of people putting the luggage up.
• 12:46
  But when it comes to the scenes they film in there when they're fighting each
• 12:48
  other, there's nobody around.
• 12:50
  I've been in LAX that airport and this was during the summer.
• 12:54
  It wasn't even Christmas and it is chock-a-block with people.
• 12:59
  So yeah. Now, it doesn't bother me because the action is good.
• 13:04
  You know what I mean? The execution is fine. I have problems more with other plot holes.
• 13:11
  Well, hold on. And with the 60 million budget, I can understand they can't have thousands of extras.
• 13:18
  So they probably only can work with what they have. But that,
• 13:22
  that was the same thing in diehard too.
• 13:23
  He's fighting on the conveyor belt and stuff. There's nobody else around.
• 13:26
  It's like, where the fuck is everybody? It's Christmas.
• 13:30
  So that, that little thing, that stuff like that gets a pass.
• 13:34
  What doesn't get a pass for me now is that.
• 13:37
  It's a big one. He always seems to leave his station and not get busted for it.
• 13:42
  And also there's way too many conveniences.
• 13:46
  Oh, big time. There's loads of them here. And also whenever he's talking into
• 13:50
  the earpiece, his friends who are sitting right beside him, do they not like
• 13:54
  think, why is he talking to himself? Who is he talking to? You know?
• 13:58
  Well, I didn't think about that. I think they just amplified the sound a bit,
• 14:03
  especially with him talking, just to – because he's kind of mumbling.
• 14:08
  He's not really speaking out loud.
• 14:10
  And with the activity of the airport and the machines, I'll give that a pass.
• 14:14
  There's other stuff. There's too many convenience.
• 14:18
  He takes too many breaks. Those things – LAX, that thing has to be going nonstop.
• 14:23
  He stops that thing way too many times to go to the bathroom,
• 14:27
  sit down and talk to the bad guy for 10 minutes.
• 14:29
  You'd have taken a break whenever their fucking mate is
• 14:32
  murdered and they think he's taking a heart attack but nobody it's
• 14:35
  like for two set of the morning for about two seconds it's like okay
• 14:38
  i get that there was a busy airport and they probably wouldn't have been able
• 14:42
  to you know like stop you know everything but it's like it's just so throwaway
• 14:48
  you know where it's ah you know such and such died there ah you know that that's
• 14:53
  a bit of a bummer anyway we've got work to do you know
• 14:56
  well they do they have to keep going yes I get that but it just seems very throwaway.
• 15:01
  Well, they kind of do when Bateman finally approaches him, the traveler,
• 15:07
  and he sits down telling him because he gives Lionel, the guy you're talking about.
• 15:13
  He gives Lionel a note and the traveler intercepts that note and kills him by
• 15:18
  doing, you know, and so he gives him the speech. You killed him. You killed him.
• 15:22
  Yeah, you killed him. I didn't.
• 15:25
  And it's actually a pretty good scene, actually. And what I do like about it
• 15:29
  is you're right about the conversations and they do flow nicely is how Ethan's
• 15:34
  character starts dissecting who this guy is because of the key words he uses.
• 15:39
  When he talks about he's from Jersey, how'd you know that? Stuff like that.
• 15:44
  Also, I like the scene where he can hear a baby in his vicinity crying,
• 15:48
  but he can also hear echoing in the headpiece.
• 15:51
  So he knows that he's around there somewhere and then he can hear him eating
• 15:55
  something. so he sees a guy eating nachos at a bar and it's mirroring the sound.
• 16:02
  He's a detective, but he like... Well, no, I mean, that's...
• 16:06
  But at least... But that gets a pass.
• 16:09
  At least it makes sense because it is showing that he would make a good cop.
• 16:16
  The only reason he failed it is because we find out he lied on the... What do you call it?
• 16:22
  The lie detector test. for his dad he was covering for his dad or something
• 16:26
  or something like that yeah because yeah his dad had issues or something like
• 16:30
  that yeah yeah it is quite throat way and stuff you know the back story yeah but see that whole.
• 16:38
  But at least they intertwine it well to the ending we know we're going to get
• 16:42
  we know we're going to get this like I just think it's funny how many he beats
• 16:48
  the shit out of him the airport he goes back to his works,
• 16:51
  he beats the shit out of him here, he threatens him, he keeps leaving his post every 10 minutes.
• 16:56
  He gets his buddy Noble fired for drinking because he tells me he's got to get back to his post.
• 17:04
  The good thing about this, you have all these different characters,
• 17:07
  Lionel, Noble, Ron, all these guys, even Ron, the kind of a dick, the dick.
• 17:10
  He's actually a decent enough guy. He's just doing his job.
• 17:14
  They're all decent characters. You like them.
• 17:17
  And that's kind of important as well. You do get to know them pretty quickly,
• 17:21
  especially during the meeting roundup.
• 17:22
  The one of the rapper, you know, the supposed to be like the comic relief.
• 17:25
  He's pretty annoying. Yeah.
• 17:28
  Yeah, he was fucking annoying. Yeah, I wanted him bumped off.
• 17:30
  I'll give you that one. You know?
• 17:31
  There's also a lack of sort of people getting killed here as well,
• 17:35
  you know, to ramp up the tent. Well, that's the whole point.
• 17:38
  Well, you don't need it. No, you do in a film like this. You don't need it.
• 17:41
  For the steak. No, you don't. You have to up the ante. The guys who get it, get it.
• 17:46
  And who else is going to die at this point? Girlfriend. I mean, that's kind of morbid.
• 17:51
  She's pregnant, too. But, you know. You're a sick fuck. She's pretty fucking
• 17:54
  annoying. You're a sick fuck.
• 17:56
  Actually, see the scene where the henchman has the gun.
• 18:01
  He's called the Watcher. He's called the Watcher. Get it right.
• 18:04
  Actually, he's in the Penguin.
• 18:05
  He plays a psychiatrist character in Arkham Asylum in the Penguin. That actor he's in.
• 18:10
  Theo Rossi is his name. But yeah, why does he,
• 18:15
  whenever Tyron brings the girlfriend out into the open, why does he bring her
• 18:19
  out into the open beside the windows just at exactly the perfect position for
• 18:23
  the sniper you'd almost think he
• 18:24
  was in fucking league with the sniper and wanted her bumped off you know,
• 18:29
  but yeah again it's just one of the conveniences here and there's quite a few,
• 18:35
  No, but there's some that work. The scene where he calls 911, right?
• 18:40
  And the minute he did that, I was like, well, they traced that call. Yeah, that works.
• 18:45
  And Lena, the detective, figures that out. Yeah.
• 18:49
  Or the tech guy says there was a call from 911, and he's a TSA operator at LAX.
• 18:56
  That's how they kind of put the pieces together.
• 18:58
  So they plant that scene down. Well, yeah, I agree. And then they use the fact
• 19:01
  he has an iWatch, and they catch him on that.
• 19:04
  So i do like all the little conveniences that
• 19:07
  we would have in today's society use to to you
• 19:10
  know so something like this wouldn't happen they catch him on i
• 19:13
  would have liked him to be blamed more you know for all the the things that
• 19:18
  are going wrong i know they do a bit but i just would have basically in a nutshell
• 19:22
  i was looking more tension and the anti to be ramped ramped up much more i think
• 19:28
  they could have went you know a lot further with that i don't know i I do think the problem,
• 19:33
  some of the tense is taken away is because there's nobody around the scene where
• 19:38
  you have Flores coming through,
• 19:41
  who we find out his partner is the one in the van who's been kidnapped.
• 19:44
  He's that he doesn't want to be there either. He's the one, you know, of the story.
• 19:49
  I have to say, I like that. And it's actually very similar to an episode of
• 19:53
  Black Mirror called Shut Up and Dance.
• 19:56
  Where these people are being blackmailed and forced to commit crimes for someone
• 20:00
  because they have their loved one or they're blackmailing them that they'll.
• 20:03
  Dice the dirt on them, that sort of thing.
• 20:05
  So I actually like that and I would have liked to have seen that developed more
• 20:10
  because that would be actually really good for the likes of Tension and stuff.
• 20:15
  Well, yeah, and they were already going to do that with Noble because they had his wife and kids.
• 20:20
  Well, they were going to take his wife and kids, and then they found out that
• 20:24
  Noble gave up his line work to Ethan. Yeah.
• 20:28
  And that's how Ethan gets thrown into this. And I like how they handle that too.
• 20:31
  And I like how Jason Bateman, just like Kiefer Sutherland, is very calm and
• 20:36
  collect. He's very one note.
• 20:38
  He doesn't show any kind of emotion at all. but the scene that kind of rubbed
• 20:46
  me the wrong way is where he ends up again convenient.
• 20:53
  Everyone's shut down the line. They run to a meeting. We got to quickly do baggage checks.
• 20:58
  The Homeland and the FBI want to look into this. So he quickly gets a hold of
• 21:03
  the key pass and changes the, you know, check the baggage.
• 21:06
  He puts Flora's name in there to show someone to check it. And then he gets
• 21:13
  investigated, so he gets pulled because he's got the board he passed,
• 21:17
  the match, and he gets put in the interrogation room. Nobody else is around.
• 21:21
  He goes in, takes the fake gun, the plastic gun, to his boss's head and says,
• 21:30
  man, you don't know, I got to talk to this guy. What are you doing, man? Put down the gun.
• 21:34
  And Flores panics, stabs him in the throat. But same time, Ron,
• 21:39
  the guy who's kind of, what the fuck's going on? Probably the smartest one in
• 21:41
  the group, to be honest with you.
• 21:43
  He's banging on the door. What the fuck's going on in there?
• 21:46
  And there's so many red flags that Ethan's given out.
• 21:50
  He would have been sworn by the police by now. And this is around the point
• 21:53
  where he learns how to basically disarm the bomb, which will come into play later on.
• 21:59
  And I have to say the rather weak finale. But yes.
• 22:04
  No, I'm okay with the finale, but we'll dive into it. But again,
• 22:07
  the scene had to happen because you just said it.
• 22:10
  They had to plant the seed for him being able to just arm the bomb again.
• 22:13
  They did the same thing in The Rock. Yep.
• 22:16
  They did the same thing in Passage 57. They've all done it. It's all cliche.
• 22:21
  But the whole point is the journey, and I'm having a fucking good time.
• 22:25
  I'm enjoying myself. There's not a boring moment in this film.
• 22:29
  It's got a lot of eye-rolling. well see i don't
• 22:32
  mind the eye rolling stuff and all that sort of thing but but with
• 22:35
  me i was a little bored with
• 22:38
  the the lack of i didn't feel any yes yes
• 22:41
  it's very predictable obviously but when done well you know you know that can
• 22:46
  cover a multitude of sins here there is a blandness to it that i didn't like
• 22:50
  it it feels like a netflix film like a netflix doing a 90s action film and that's,
• 22:56
  you know, it doesn't feel grand or big.
• 22:59
  Taron Egerton, as much as I like him, he's no Bruce Willis. You know what I mean? Oh yeah.
• 23:06
  For a guy who's done the Gentleman films and Robin Hood, but the Elton John, it was different.
• 23:14
  Yeah, but I'm saying he can act. Yeah, he can act. I like nothing against him.
• 23:19
  I probably would have cast in somebody different. Yeah, totally.
• 23:22
  I would have had somebody.
• 23:24
  You don't have to be an action star to be in this. That's the whole point.
• 23:27
  He's a regular dude. And so was Bruce Willis before he did Die Hard.
• 23:32
  So they wanted a regular dude. And that's what they're trying to do. The difference is...
• 23:38
  The presentation. He's, he's, he's, I like the guy, I like the actor,
• 23:43
  but I didn't like his character. I thought he was kind of a baby.
• 23:46
  He's always late for work. His wife's pregnant, working her ass off for him.
• 23:50
  And he's got to find his niche.
• 23:52
  And he was just kind of sulky and kind of. Well, well, well,
• 23:56
  obviously with, with someone like Bruce Willis, or even, I know he's a bit of
• 24:00
  a dick and he can't act, or he certainly comes across as a bit, a bit of a dick.
• 24:03
  Steven Seagal, he still has that certain, at
• 24:07
  least back in the 90s he still had a certain presence
• 24:10
  yeah but i don't want to see him again i don't know i
• 24:13
  know i get that but but at least you know back then you can't deny
• 24:16
  that that's why you know people went to see his films because he
• 24:19
  did have a certain presence nowhere near as good as obviously bruce or arnie
• 24:23
  or whatever but my point is that you do need someone who's a bit more larger
• 24:28
  than life yes it's a regular dude he's playing but you need someone an actor
• 24:33
  who is sort of more over the top and larger than life.
• 24:37
  I can get away with the, there's a lack of one-liners here. I want cheesy one-liners.
• 24:41
  If you're going to have You don't need them. No, I love one of the one-liners.
• 24:46
  And also, you need to keep in mind the one-liners weren't in the 90s,
• 24:49
  nor for the 80s. Yes, I know, but they're still fun.
• 24:51
  This is not an 80s film. And they work totally in this type of film.
• 24:55
  You know, they're a bit of fun.
• 24:56
  No, it would not have worked. It would have ruined it.
• 25:00
  Now, jumping back into it the best
• 25:03
  shot of the film is fucking brilliant it is so beautifully shot i fucking loved
• 25:09
  it and it is the gunfight in the car and it's the best scene and it's yep it
• 25:15
  is the best scene and it's a nice twist i was wondering i should have caught
• 25:18
  it because they've got green logan green i think his name is or green logan one of the two,
• 25:24
  he's kind of an up-and-comer, or he's established, so I'm surprised it was kind of a smaller part.
• 25:29
  But he plays the agent, Alcott, who actually is not being the agent.
• 25:33
  And when they're in their car, and she finds out, she takes out the gun,
• 25:37
  and they're fighting, and they're fighting, and he's fighting each other,
• 25:40
  and you're in the car with them.
• 25:41
  And the way the camera works, you're in that car. You feel like you're in that
• 25:45
  car with them. It's so well done.
• 25:47
  I mean, obviously, there is a far bit of CGI on there, but come on, man.
• 25:52
  Would you stop? Who cares the fuck about the CGI?
• 25:55
  It works. Would you let me finish? Why mention it? I was going to say it's done well.
• 25:59
  But why mention it? Because it's, oh, come on. I mean, it's obvious.
• 26:03
  But it is done well, to be fair. Well, F. So let me finish in future.
• 26:08
  Before you jump in. No, I won't. You always, yeah.
• 26:13
  There's no point. I prefer practical. It's wonderfully shot.
• 26:16
  But the CGI here, it's done well. Oh, yeah.
• 26:19
  You two fuckers get in the car, and we're going to fucking crash you and throw
• 26:22
  you around. Yeah, they should be up for that sort of thing.
• 26:25
  Oh, you're a fucking idiot. Well, it would be like a roller coaster ride, you know what I mean?
• 26:31
  Only with guns on a highway.
• 26:35
  Yeah. This is Danielle's first film and her last. Suffering for our art.
• 26:42
  But that whole car sequence is the film right there for me.
• 26:45
  I mean, that was so fun. Her journey to get to LAX to figure this out is the best.
• 26:51
  I liked her side. I liked that side story. Well, yeah. I mean,
• 26:55
  she can obviously act, and she acts well.
• 26:58
  And also, I actually would have liked to have seen more of that.
• 27:01
  She's actually more of the hero here than Tyron, you know?
• 27:05
  Yes. Yes. She gets a one there.
• 27:08
  Once Homeland, FBI, whoever's there They all start There's no offense,
• 27:14
  the security team here at LAX They're morons They're absolute idiots So they are.
• 27:22
  Oh, Lionel's dead Yeah And then you got the big finale And I do know where,
• 27:29
  Guys, I'm still going with it Before the finale, we'll
• 27:32
  have the Case switch that isn't
• 27:35
  Really a case switch that's still part of the
• 27:38
  finale we're still diving into it
• 27:41
  the finale is like one big and it's fucking
• 27:44
  fun you just sit there for 25 minutes your brain's
• 27:47
  now left your head and you're just going with it but here's Nora and Traveler's
• 27:54
  like okay watch her take her out I've had enough of this fucker and he's running
• 27:59
  he's running in the airport now running after Nora Nora's running through the airport being chased,
• 28:06
  and nobody's helping her. Well, don't leave them to be far. You got the rapper guy.
• 28:10
  You got rapper guy who gets stabbed. And then she leaves the airport. She's still running.
• 28:16
  Doesn't go to the police station or the security office. She just runs away
• 28:19
  outside the airport. And then all of a sudden, he's in the van.
• 28:23
  What the fuck did he get in the van? He gets in the van, starts trying to run her over.
• 28:28
  And then it's just nuts. Then you got Ethan being chased by Flores because Flores
• 28:34
  has been given the command to kill him, which was a nice twist, didn't see that coming.
• 28:38
  And then Flores it is mentioned if you use the gun so many times it could blow
• 28:43
  up in your hand and that's what it does and kills him,
• 28:48
  It just doesn't stop. And there's nobody in the conveyor belt scene.
• 28:52
  There's nobody in the luggage area. There's nobody anywhere.
• 28:55
  I didn't see one body. Well, I mean, it's, you know, yes, it's,
• 29:01
  you know, they do ramp things up a far bit here, you know, towards the finale.
• 29:05
  But there is a lot of plot holes, which you can sort of overlook with films
• 29:08
  like this to be completely fair.
• 29:10
  But again, it does go back to the lack of sort of, there's nothing new, you know.
• 29:16
  While I like the tip of the hat, to like the 90s or
• 29:19
  the 80s action give me something new at the same time and
• 29:22
  this did feel quite overall actually quite bland
• 29:26
  especially at the end on the plane that you
• 29:28
  know the very end the fight is like the worst fight you
• 29:31
  know with him and you know the bateman character no i like that see i like that
• 29:37
  you see give something different and they did they weren't going to go that
• 29:40
  whole cliche big fight sequence on the plane which by the way which by the way
• 29:45
  this film went from kind of low-brow thriller to batshit crazy.
• 29:51
  I mean, Ethan, after Flores' partner shoots the Watcher.
• 29:57
  And then Ethan runs, gets the FBI agent, trust me, there's an agent in there.
• 30:04
  It's going to explode and kill everyone on the plane.
• 30:07
  I got to get to the plane. You got to trust me. And she's like, okay.
• 30:10
  So he leaves, steals one
• 30:13
  of those fucking vehicle on the tarmac
• 30:16
  how the fuck does he know to get
• 30:19
  to that plane and that's where to open it he gets to the
• 30:22
  plane opens the lug and this is good yeah yeah
• 30:25
  i mean this is obviously this is obviously a bit of
• 30:28
  a homage to actually die hard poo where which
• 30:31
  has done so much better where bruce willis jumps on the moving plane but yeah
• 30:36
  i mean where were security at this point you know you have some lunatic running
• 30:40
  up the sort of the runway and jumping on a moving plane did the pilot himself
• 30:44
  not notice that I don't know the planes that have wing mirrors or security or
• 30:48
  something you know within the planes,
• 30:51
  and yeah but to piggyback on what you said earlier the bag switch did happen,
• 30:59
  but you know why he switched the bags? It was a double bluff.
• 31:04
  Because it looked like his bomb bag, right? Where the bomb was on, right?
• 31:09
  He switched them with a bag that's been tagged.
• 31:13
  So what happens is when he tries to put it on the carry-on, which it should
• 31:17
  have fit, it doesn't. And he sees the barcode.
• 31:21
  He knows that his bag's been switched with a tagged bag. So when they get scanned
• 31:26
  to go on the plane, the FBI will see that.
• 31:29
  Okay, that's the flight he's on. Yes.
• 31:31
  That was clever. But whenever we get on the plane, he, personally,
• 31:37
  I would have taken out the bomb.
• 31:40
  He's back to having the bomb bag. It's like a bomb bag, but a bomb.
• 31:45
  So it doesn't make sense. There's a lot of, you know what I mean?
• 31:49
  Cause it turns out he hasn't switched him or maybe he has. I don't know.
• 31:54
  He did. He should, he just changed the case, but they let him take the bomb. Right. Okay.
• 32:00
  Oh, right. Right. which i i don't get why you let him take the bomb i just put
• 32:04
  the case there he never opened it so,
• 32:07
  so so no i think you could have just given that case
• 32:10
  that actually by that logic actually that makes
• 32:13
  sense in terms of there only
• 32:15
  would have been a couple of hundred killed on the plane and
• 32:19
  this is discussed earlier on actually in the dialogue whereas if it
• 32:21
  had went if the bomb had went off in the airport there would
• 32:24
  have been thousands killed so it's like the damage limitation so
• 32:27
  that there is a logic to that actually oh so he
• 32:30
  had no choice but to give it back yeah because he can stop
• 32:33
  about this you know in their conversations their phone booth yes conversation
• 32:37
  you know about so yeah it's like damage limitation where yes obviously completely
• 32:41
  awful if like a couple of hundred people down the plane but it's it's better
• 32:45
  than maybe thousands down in the airport so yes there is a bit of logic there even though but yeah.
• 32:51
  The ending, you say, is kind of bland. I don't. I liked it because it's about
• 32:56
  him being smarter than the traveler because the traveler's whole time has been
• 33:03
  teasing him pretty much,
• 33:04
  oh, so you like your father now and blah, blah, blah, and kind of getting to
• 33:07
  know him and looking into his past and kind of so you're the weak link in the
• 33:12
  relationship, blah, blah, blah.
• 33:13
  But at the end, he ones up him by taking the bomb out and taking the goo and, you know, trick him.
• 33:24
  And he goes, this time I'm one step ahead or something like that.
• 33:27
  And he shoves him into the cooler with the bomb and he obviously gets the nerve
• 33:31
  agent. Is it the conveniently placed cooler just where they are fighting and
• 33:34
  underneath, you know, at the bottom of the plane?
• 33:36
  No, I think he deliberately baited him there because that's what the case was.
• 33:40
  I think they're giving him too much credit.
• 33:42
  No, no, I know the director. The director is solid. I don't,
• 33:46
  there's a lot of issues here. Don't get me wrong, I'm not saying that,
• 33:50
  but no, I think that was planned.
• 33:54
  Well, I would say maybe, you know, I know at the start of this podcast,
• 33:58
  I said, you know, Poundland Die Hard.
• 34:00
  Maybe that was a bit unfair, but I would say it does feel like made for TV,
• 34:05
  made for Netflix, Die Hard, which is basically what it is.
• 34:09
  Yeah, that's, I mean, cheese throne, I had a smile on my face. I enjoyed it.
• 34:14
  And if Netflix puts out more like this, I'll be happy. People seem to be jumping on board with it.
• 34:18
  Because, you know why? Because we want these films back. And hopefully,
• 34:22
  I think Tom Cruise is the only one that gives this to us with Mission Impossible. Yeah, I agree.
• 34:26
  Tom Cruise, yeah. So, yeah. So, I think we need, hopefully this is doing well
• 34:32
  and studios might, well, we could pay $70 million to get something like this
• 34:37
  out. Now, this director is working on the remake of Cliffhanger now.
• 34:40
  So I'm hoping that's pretty good with Pierce Brosnan. With this type of film,
• 34:44
  which obviously can be a lot of fun, you know, these types of films,
• 34:48
  but you do need a big budget and a big star.
• 34:52
  No disrespect to Tyron, but he's not an action star.
• 34:57
  What do you mean big budget? What was wrong with the budget?
• 35:00
  There was nothing wrong with it.
• 35:00
  You need something more grand. This does feel like a sort of,
• 35:04
  you know, made-for-Netflix film, which it is, you know.
• 35:07
  But I think you just need more. I wanted more explosions, more shooting,
• 35:11
  more tension, more crazy shit. A load of one-liners.
• 35:15
  And Fonbo doesn't do that. And
• 35:18
  that's a great film. That's not like an 80s sort of action blockbuster.
• 35:22
  It's sort of a thriller. It's more of a condensed sort of thriller. So it is to me anyway.
• 35:27
  This is more of a thriller. The Last Act is more of an action film.
• 35:31
  But I don't know. I disagree. I think it's well handled, well mixed.
• 35:35
  But yeah, it's got its flaws. but that's sort of the 90s films
• 35:38
  so that's why i'm that's why i'm
• 35:40
  that's why i'm going with it because it's a
• 35:43
  90s film and i love my 90s films too and i like my
• 35:46
  90s action films like the ones i mentioned so it gets
• 35:49
  a pass for me on that one i do think the lead actor nothing against i think
• 35:53
  he's a wonderful actor just there's something about him he was just maybe it
• 35:57
  was the way he's written he's a little whiny baby but i i just felt yeah well
• 36:02
  basically i wanted i almost wanted i I almost wanted somebody.
• 36:08
  To challenge yes he challenged the traveler by
• 36:11
  trying to cheat the system trying to cheat you know call 9-1-1
• 36:14
  uses iWatch that was fun enough but i wanted someone
• 36:17
  to challenge him more as one to one like go fuck yourself i wanted somebody
• 36:22
  you know you needed almost like a Paul Rudd i know i'm just giving you an example
• 36:29
  someone who has a little bit of a comedic timing he's too bland And like a lot of this film overall,
• 36:35
  it is a little bland and it's made for the sort of Netflix and chill sort of
• 36:40
  modern day audience where it's background noise and they're not even properly watching the film.
• 36:47
  They're sitting flicking through their phones and stuff like that.
• 36:51
  It's moronic, all that sort of thing, and it's not the proper way to watch a
• 36:54
  film. and it does feel like it's made for that sort of audience while giving
• 37:00
  you some nostalgia sort of there as well.
• 37:03
  For this type of film, I want someone like Bruce Willis shooting the fuck out
• 37:08
  of bad guys and shooting yippee-ki-yay, motherfucker.
• 37:12
  You know, if you're going to do it, you go all in and you do it right.
• 37:16
  This does feel a bit too Netflix-y for me, so I wouldn't give it a pass for that.
• 37:22
  I mean, don't get me wrong, there are ingredients here. That's fine.
• 37:25
  But it just feels like a missed opportunity and could have been so much better.
• 37:29
  All right. That's fair enough.
• 37:34
  I fucking loved it. I enjoyed it. Fair enough. I'll go on with it. I don't give a fuck.
• 37:38
  The sad thing is I'll never own it because Netflix is a bunch of greedy bastards
• 37:41
  and they won't release their stuff on Blu-ray. That's another issue I have with
• 37:44
  Netflix. So go fuck yourself, Netflix.
• 37:45
  Yeah. And actually, not just Netflix, all streaming companies.
• 37:49
  Well, they all go fuck themselves. Right. So that's it, guys.
• 37:54
  Carry on. Go see it. Or you can't go see it. Just put your lazy ass on the couch.
• 38:00
  It's too bad. You know what? Because I always saw this in the theater,
• 38:03
  and I would have came out going, that was pretty fun.
• 38:06
  Because maybe this film deserves a theater, you know, going to the theater to
• 38:09
  see it. People want to see a good out-of-action film in the theater.
• 38:12
  The best place to see films like this is in the cinema, the theater, you know?
• 38:17
  Yeah. And also, sadly, Kenneth Williams isn't in it going, oh,
• 38:21
  maturing, you know, carry on camping.
• 38:24
  Oh, dear God. Let's fucking end this. I'm done.
• 38:28
  Carry on. I haven't seen one of those pieces. They're good fun.
• 38:31
  They're silly nonsense-like, but they're good fun. So they are.
• 38:35
  All right, guys. We're wrapping this one up. The new issue of Phantasm Gloria is out now.
• 38:42
  Primarily, I have a couple of reviews in it. So just get it for that.
• 38:47
  Works. I'll sign them if you guys want me to sign something for you.
• 38:51
  I'll do that. 20 quid a pop for a signed photo and review from Kieran.
• 38:57
  Yep. It's a pretty good deal. Then you can take it home and throw darts at.
• 39:04
  Fuck yourself. Go fuck yourself. CGI! Fucking fuck.
• 39:10
  Anyways, give us a shout out on the Citizen Frame underscore podcast on Instagram
• 39:17
  and, of course, Facebook.
• 39:18
  This is our last one after Christmas. We are going to be doing Long Kiss Goodnight,
• 39:25
  Shane Black's little film, and Renee Harlan's film.
• 39:29
  Looking forward to that one. I haven't seen that in a few years.
• 39:32
  And then we're going to end with the horribly terrible Tim Allen's The Santa Claus.
• 39:38
  So until then, have a great Christmas.
• 39:42
  Enjoy yourselves. eat a lot of food and watch some NFL games what?
• 39:48
  Have a great Christmas everyone oh there you go Tiny Tim just spoke.
• 39:56
  Music.