Latest / Houselights: A Film Director Podcast / Mr. Holmes (2015) - Bill Condon | Houselights #270: Wing of Sherlock

Transcript

Mr. Holmes (2015) - Bill Condon | Houselights #270: Wing of Sherlock · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Palty.
• 0:20
  Speaker 2: Welcome back to House Lights, as we enter the final
• 0:24
  Speaker 2: chamber of the House of Sherlock. An interesting journey that
• 0:27
  Speaker 2: we've had up to this point that we now cap
• 0:29
  Speaker 2: off with a visitation to mister Holmes played by Gandalf himself,
• 0:34
  Speaker 2: Ian McKellen. I promise you that will not be the
• 0:37
  Speaker 2: last Gandalf reference that you hear. And here on House Lights,
• 0:41
  Speaker 2: I am your humble host, the aging memory lapsing host
• 0:46
  Speaker 2: John Mills, joined by my friends, my dear doctor Darren Moser,
• 0:51
  Speaker 2: who wishes I would note all of the things that
• 0:53
  Speaker 2: I forget, like when I'm supposed to host, and my
• 0:56
  Speaker 2: daughtering housemaid friend Tristan Riddell, who keeps everything in order,
• 1:01
  Speaker 2: especially when I drop the teapot or set fire to things.
• 1:04
  Speaker 3: It's very a very ambiguous accent.
• 1:07
  Speaker 2: Would you call it an accent? We'll get into that
• 1:09
  Speaker 2: and more here on house Lights as we come into
• 1:12
  Speaker 2: this twenty fifteen film, which yet again imagines what if
• 1:17
  Speaker 2: Sherlock Holmes were a real person?
• 1:19
  Speaker 4: Why don't we pitch that out there this time?
• 1:22
  Speaker 2: Only this time, instead of meeting Sigmund Freud or encountering
• 1:25
  Speaker 2: ghost hallucinations, We're just gonna go ahead and we're gonna say,
• 1:28
  Speaker 2: you know what, he is actually just an old jerk
• 1:31
  Speaker 2: that might not be so much of a jerk because
• 1:34
  Speaker 2: he just can't remember that he wasn't that much of
• 1:35
  Speaker 2: a jerk.
• 1:36
  Speaker 4: So here we are.
• 1:38
  Speaker 2: This is my first time watching mister Holmes. I believe
• 1:41
  Speaker 2: this is Tristan Darren. This is both your first time
• 1:43
  Speaker 2: watching mister Holmes. Yes, we will get to Laura Linny's
• 1:47
  Speaker 2: quote unquote accent later in the show. But this film
• 1:52
  Speaker 2: is directed by Bill Condon. And Bill Condon actually has
• 1:56
  Speaker 2: quite the career before he comes to mister Holmes, and
• 2:00
  Speaker 2: I recognized his name immediately as the director and I
• 2:04
  Speaker 2: believe writer as well of Gods and Monsters, which is
• 2:07
  Speaker 2: an Ian McKellen movie. So obviously the two have known
• 2:10
  Speaker 2: each other for some time. And so you know, Tristan,
• 2:16
  Speaker 2: I know you're also familiar with Condon and are there yes,
• 2:20
  Speaker 2: standout works that you love of his previous to mister Holmes.
• 2:24
  Speaker 3: It's not so much.
• 2:28
  Speaker 5: It's not so much that there's previous works that I love.
• 2:31
  Speaker 5: It's it's more he has an interesting duality to him
• 2:37
  Speaker 5: because you know, he does something, you know, really small
• 2:40
  Speaker 5: and intimate like Gods of Gods and Monsters, which got
• 2:43
  Speaker 5: him OSCAR nominations, and you know.
• 2:46
  Speaker 4: He won Adapted Screenplay.
• 2:47
  Speaker 3: He actually won, he won, that's right, that's right.
• 2:50
  Speaker 5: Yeah, And I think McKellen got the nomination, he got
• 2:53
  Speaker 5: the one the win, that's right, yep. And then you
• 2:56
  Speaker 5: have something small like Kinsey, but then you know like
• 3:00
  Speaker 5: he's coming at you. With the final two Twilight movies.
• 3:04
  Speaker 3: Out of nowhere.
• 3:06
  Speaker 5: He did dream Girls, which was which was big, everybody
• 3:10
  Speaker 5: was talking about.
• 3:10
  Speaker 3: It, and then he was yeh in the moment it
• 3:13
  Speaker 3: was yes.
• 3:14
  Speaker 5: And then he does Mister Holmes in twenty fifteen, again
• 3:17
  Speaker 5: another very small film. And then right after that, as
• 3:20
  Speaker 5: soon as mister Holmes was done, he ramps up and
• 3:24
  Speaker 5: does Beauty and the Beast, which was a gigantic picture.
• 3:28
  Speaker 5: Garbage movie, but a gigantic picture. And so it's just
• 3:33
  Speaker 5: interesting to look at his filmography. Well, I can't kind
• 3:37
  Speaker 5: of see it go back and forth.
• 3:39
  Speaker 2: I can't believe that you left off that he did
• 3:41
  Speaker 2: the horror sequel Candy Man Farewell to the Flesh, and
• 3:45
  Speaker 2: previous to that another puzzling sequel FX two, which you know.
• 3:50
  Speaker 3: Exactly why I left those off.
• 3:52
  Speaker 2: Oh what, No, I don't know why he would leave
• 3:54
  Speaker 2: either one of those off. They're classics in their own right, honestly.
• 3:58
  Speaker 2: But yeah, it's it is a very interesting filmography. It's
• 4:02
  Speaker 2: very obviously there are works that he feels passionate about
• 4:05
  Speaker 2: and then works that are going to pay the bills.
• 4:08
  Speaker 2: And I got to ask you, Darren, do you think
• 4:12
  Speaker 2: mister Holmes was a passion project or do you think
• 4:14
  Speaker 2: miss he was doing mister Holmes as a favor.
• 4:17
  Speaker 6: That's a good question.
• 4:19
  Speaker 7: I don't know what brought this movie about, but maybe
• 4:25
  Speaker 7: a favorite in I don't know, because it's very small.
• 4:30
  Speaker 7: It's it's not like, this is not the kind of
• 4:33
  Speaker 7: movie you make to make money. It is not going
• 4:37
  Speaker 7: to make a ton of money. And I think it
• 4:40
  Speaker 7: made I mean, it didn't lose. It made thirty million
• 4:43
  Speaker 7: off a ten million budget.
• 4:45
  Speaker 5: It means that's more than I expected it.
• 4:48
  Speaker 7: You know, it's a tiny little movie. But this is
• 4:51
  Speaker 7: a I think you're right. I think this is an
• 4:54
  Speaker 7: acting experience for Ian McKellen.
• 4:58
  Speaker 5: It's Oscar bait is what it is, you know, like
• 5:00
  Speaker 5: it's it's one of those things. And I don't I
• 5:03
  Speaker 5: don't really say that door I shouldn't say. I shouldn't
• 5:05
  Speaker 5: say Oscar bait.
• 5:06
  Speaker 6: But you did, Tristan.
• 5:08
  Speaker 4: Yes, you can't take it back.
• 5:09
  Speaker 7: I know.
• 5:10
  Speaker 5: No, it's it's one of those movies where you're just like,
• 5:12
  Speaker 5: you know, you're not gonna make money off of this.
• 5:14
  Speaker 6: You don't mean in a negative way.
• 5:15
  Speaker 3: It's just there is a connotation there, yeah, like it's
• 5:18
  Speaker 3: it's you.
• 5:19
  Speaker 5: It's a small movie but yet with powerful, powerful performances,
• 5:23
  Speaker 5: and that's what you're gearing towards.
• 5:26
  Speaker 4: You know, performance wise.
• 5:28
  Speaker 3: I wish this was a video podcast. I wish everyone
• 5:32
  Speaker 3: could see.
• 5:34
  Speaker 2: I'll never knock McKellen and I can't remember the young
• 5:38
  Speaker 2: actor's name.
• 5:39
  Speaker 4: I think the boy does fine in the movie.
• 5:42
  Speaker 5: H But honestly, let me rephrase it's it's a movie
• 5:47
  Speaker 5: that's filled with a powerful performance.
• 5:51
  Speaker 4: Yes, there you go, that's a better way to say it.
• 5:54
  Speaker 6: Let me check the boy Milo played Roger.
• 5:57
  Speaker 3: Let me check my wrist there.
• 5:59
  Speaker 5: I was gonna say, once again, this needs to be
• 6:01
  Speaker 5: a video podcast. But to answer your question, Darren or John,
• 6:04
  Speaker 5: this was McKellen's movie first, and McKellen specifically requested Condon.
• 6:10
  Speaker 4: I see.
• 6:11
  Speaker 2: I think that there's definitely something where I can get
• 6:15
  Speaker 2: the sense that they believed that this was a really.
• 6:21
  Speaker 4: Touching film that they were putting together.
• 6:25
  Speaker 2: And I know that's a backhanded compliment because I gotta
• 6:29
  Speaker 2: ask you, Darren, like, I think there are so many
• 6:32
  Speaker 2: structural problems with how they go about telling the story.
• 6:36
  Speaker 2: I think, like the best I could read into it
• 6:39
  Speaker 2: is they're trying to convey the troubled state of mind
• 6:44
  Speaker 2: that he's in in that he keeps losing time, where
• 6:47
  Speaker 2: it's like am I in the past?
• 6:48
  Speaker 6: Am I now?
• 6:49
  Speaker 2: Am I in the future? But I think it's incredibly
• 6:51
  Speaker 2: disorienting for the audience. Do you agree with that or
• 6:54
  Speaker 2: did you think it played well?
• 6:57
  Speaker 6: Yeah?
• 6:59
  Speaker 7: I think there were three layers to this movie, and
• 7:03
  Speaker 7: it probably should have had like one one and a half.
• 7:06
  Speaker 7: You have the notebook, which I think is the strongest layer.
• 7:10
  Speaker 7: Every time they open it and show more dots, it
• 7:13
  Speaker 7: is more impactful than anything else you could show on
• 7:15
  Speaker 7: screen visually, and camera trickery like that just shows like, oh,
• 7:21
  Speaker 7: he's forgetting, Like that tells me more of his mental state.
• 7:25
  Speaker 6: It's an anchor.
• 7:26
  Speaker 7: Then you have the flashbacks of the last case and
• 7:31
  Speaker 7: all of that, and that is where it starts to
• 7:33
  Speaker 7: get kind of convoluted of he's super unreliable narrator, like
• 7:39
  Speaker 7: extremely so that it makes it hard to tell what's
• 7:44
  Speaker 7: going on. And then I think the ten per the
• 7:48
  Speaker 7: third layer that kind of took it too far. I
• 7:52
  Speaker 7: don't know, it just it complicates The other two is
• 7:55
  Speaker 7: the Holmes as a fictional character, but we're gonna pretend
• 8:00
  Speaker 7: these real and the stories you heard are not real,
• 8:04
  Speaker 7: so already now Watson is an unreliable narrator of what
• 8:08
  Speaker 7: else we also might know about this?
• 8:10
  Speaker 3: And I feel like that's it's like a logan.
• 8:13
  Speaker 6: It's like a book too far.
• 8:15
  Speaker 7: Like if they had just taken that out and not
• 8:18
  Speaker 7: even covered it doesn't even matter once it's not even
• 8:20
  Speaker 7: in this movie. Just don't even talk about it. Just
• 8:24
  Speaker 7: have him say, you know, I don't feel like the
• 8:29
  Speaker 7: ending of that last story was right, and I'm going
• 8:31
  Speaker 7: to try to remember it. Just just keep that box small.
• 8:34
  Speaker 7: But because we're adding, oh yeah, and then that's not
• 8:38
  Speaker 7: even what happened anyway, or none of them happened, and
• 8:41
  Speaker 7: it's like, we know that's the angle you're going, but
• 8:44
  Speaker 7: I wish they had spelled it out less and left
• 8:47
  Speaker 7: it so I don't.
• 8:48
  Speaker 3: Know, did you guys, kind of feel that same way
• 8:50
  Speaker 3: where they were kind.
• 8:51
  Speaker 7: Of these layers of reality and some kind of worked
• 8:55
  Speaker 7: and some kind of didn't.
• 8:57
  Speaker 3: But I've heard the word convoluted thrown around a little bit.
• 9:00
  Speaker 5: I No, I didn't really like John, I didn't take
• 9:04
  Speaker 5: your perspective. I didn't get your perspective at all. And
• 9:07
  Speaker 5: I think that's a failing on my part where you said, like, oh,
• 9:10
  Speaker 5: like he's confused on what time it is or what
• 9:13
  Speaker 5: you know, what error he's in, Like I didn't see
• 9:15
  Speaker 5: that as a literal fraction of his mind. I saw
• 9:20
  Speaker 5: it as a stylistic choice of going back back and
• 9:22
  Speaker 5: forth again, not saying that I'm right it, just like
• 9:25
  Speaker 5: that's how it took it. And so I think that's
• 9:28
  Speaker 5: an interesting perspective, which kind of opens it up a
• 9:31
  Speaker 5: little bit more to me. To answer your question, Darren,
• 9:35
  Speaker 5: I the whole Sherlock Holmes is real and not real
• 9:39
  Speaker 5: at the same time. Like we're getting the we're getting
• 9:42
  Speaker 5: the behind the scenes of Sherlock Holmes, like you know,
• 9:46
  Speaker 5: like I made that joke about it like being like Logan,
• 9:49
  Speaker 5: but it kind of is, you know, like because if
• 9:51
  Speaker 5: you're looking at Wolverine and Logan, he holds up an
• 9:54
  Speaker 5: X Men comic book and he says that he's like,
• 9:56
  Speaker 5: he's like, it did happen, but not never like this,
• 9:59
  Speaker 5: not in this way. And now we're dealing with, you know,
• 10:03
  Speaker 5: Professor X with Alzheimer's so oh my gosh, and he
• 10:05
  Speaker 5: played Magneto. Oh my god. There's so many layers. But no,
• 10:09
  Speaker 5: like the No, that didn't bother me at all. In fact,
• 10:12
  Speaker 5: I really liked it, of course. And also getting young
• 10:15
  Speaker 5: Sherlock Holmes as you know, like as on the screen again,
• 10:20
  Speaker 5: I thought was a really nice treat and a really
• 10:22
  Speaker 5: nice Easter egg, because if you've never seen young Sherlock Holmes,
• 10:24
  Speaker 5: it means nothing to you, but if you have, it's fun.
• 10:28
  Speaker 5: I thought the Japanese storyline was I think more in
• 10:32
  Speaker 5: the way than the real fake Sherlock Holmes storyline.
• 10:37
  Speaker 2: Yeah, I think the the larger problem is correct me
• 10:41
  Speaker 2: if I'm wrong, But I'm pretty sure this is based
• 10:42
  Speaker 2: on a book, right, Yeah, yes, this was.
• 10:45
  Speaker 5: Based Yeah, it's a book that came out in two
• 10:47
  Speaker 5: thousand and five and it was written by Mitch and Doyle.
• 10:50
  Speaker 6: Book No, No, it was no.
• 10:52
  Speaker 5: No. It came out in two thousand and five, and
• 10:54
  Speaker 5: it was written by Mitch Cullen, and it's called A
• 10:56
  Speaker 5: Slight Trick of the Mind, which was the original title
• 10:58
  Speaker 5: of the movie, but the and marketing, of course got
• 11:01
  Speaker 5: a hold of it and to the smart thing and.
• 11:05
  Speaker 6: To the base level of what to expect.
• 11:08
  Speaker 2: Yeah, I think that I think I look at this
• 11:12
  Speaker 2: structure and it would work as a book. Like this
• 11:15
  Speaker 2: is one of those adaptations where I'm like, oh, I
• 11:17
  Speaker 2: totally see where the book works, and I think that
• 11:21
  Speaker 2: it speaks to and Tristan. I'm going to throw it
• 11:23
  Speaker 2: all the way back to my legendary reversed Hatred of
• 11:27
  Speaker 2: the Shining, where one of the things that I hung
• 11:30
  Speaker 2: on for a while was like, you know, I was
• 11:32
  Speaker 2: one of those one of those guys that was like,
• 11:34
  Speaker 2: it's nothing like the book neither. But what I've come
• 11:37
  Speaker 2: to appreciate over time is that the adaptation you really
• 11:43
  Speaker 2: need to adapt to the medium, and this, I think
• 11:48
  Speaker 2: does not adapt to the medium. It's too much like
• 11:51
  Speaker 2: I'm going to film the way the book is, and
• 11:53
  Speaker 2: it's like, you can't do that here, guys. You gotta
• 11:56
  Speaker 2: streamline it. You got to make it. You got to
• 11:58
  Speaker 2: make it a more linear or at least arc to
• 12:02
  Speaker 2: follow ye, like, you don't have to tell it in
• 12:05
  Speaker 2: order or anything like that, but you have to make
• 12:08
  Speaker 2: it so that I understand where I'm starting in where
• 12:10
  Speaker 2: I'm ending, because the entire thing, Darren, I don't know
• 12:14
  Speaker 2: if you agree with me, the entire thing. I don't
• 12:15
  Speaker 2: feel like sherl Wock Holmes budgets in this as a character,
• 12:19
  Speaker 2: he starts off and ends in the same place. It's
• 12:22
  Speaker 2: just that something happens that he's sad about. By the end,
• 12:25
  Speaker 2: I don't see him growing anyway.
• 12:27
  Speaker 3: I will disagree a little, he said to me. I'm
• 12:30
  Speaker 3: sorry I.
• 12:32
  Speaker 7: Would disagree a little as far as his arc because
• 12:36
  Speaker 7: I do feel he I'm not gonna go so far
• 12:38
  Speaker 7: as it grows, but I will say he changes a
• 12:42
  Speaker 7: little bit where he's recognizing the inflexibility of his method
• 12:48
  Speaker 7: and his past has caused harm to people and is
• 12:52
  Speaker 7: causing harm to those around him now, and thus that
• 12:56
  Speaker 7: is why he's flexing a bit of giving up the house,
• 13:01
  Speaker 7: writing the letter, you know, and and things like that,
• 13:04
  Speaker 7: like he's realizing he's going to lose these last few
• 13:07
  Speaker 7: people that are connected to him. Again, I'm not saying growth,
• 13:11
  Speaker 7: because I think that's a bit of a maturity that's
• 13:14
  Speaker 7: kind of not there, and he's there. Maybe is enough
• 13:16
  Speaker 7: time for that. But I will say there is a
• 13:19
  Speaker 7: bit of an arc at least in the in the
• 13:22
  Speaker 7: house portion of the story in Sussex.
• 13:25
  Speaker 3: Yeah, you know, in Sussex.
• 13:27
  Speaker 4: I don't know.
• 13:27
  Speaker 6: I don't know.
• 13:29
  Speaker 2: Maybe it's just that. Look, I'll go ahead and say it. Hey,
• 13:31
  Speaker 2: it's just so freaking bored by the end of it
• 13:33
  Speaker 2: that I just didn't notice. I'm sorry, Fine, I'll tear
• 13:37
  Speaker 2: the band aid off right there. I had trouble staying
• 13:39
  Speaker 2: away through this damn thing.
• 13:41
  Speaker 5: I like, Okay, So after I finished, actually I had
• 13:44
  Speaker 5: to break it up into two parts, so I had
• 13:46
  Speaker 5: to watch an hour of it and then watch another
• 13:48
  Speaker 5: hour of it, and you know how parts work. And
• 13:53
  Speaker 5: my wife asked me about it. She's like, so, what
• 13:55
  Speaker 5: do you think of it? And I said, it is.
• 13:58
  Speaker 8: A very quiet British movie, like it's it's a room
• 14:05
  Speaker 8: with a view and a river, you know, like, yeah,
• 14:07
  Speaker 8: it's it's it's yeah, it's this is a very quiet, quiet,
• 14:12
  Speaker 8: contemplative film.
• 14:13
  Speaker 5: Now I want to talk a little bit about like,
• 14:16
  Speaker 5: you know, since we're on the structure and we're on
• 14:17
  Speaker 5: the timeline and everything like that. So we have a
• 14:19
  Speaker 5: seventy four year old man in two time like in
• 14:24
  Speaker 5: two time periods and three stories, and a seventy fo
• 14:28
  Speaker 5: year old man playing a sixty year old and a
• 14:32
  Speaker 5: ninety three year old Okay, Ian McKellen has looked sixty
• 14:37
  Speaker 5: his entire life. Yes, And so Ian McKellen was probably
• 14:42
  Speaker 5: the worst actor physically to play this role in this
• 14:46
  Speaker 5: movie because of that. It's like it's like if you
• 14:50
  Speaker 5: have Patrick Stewart, I mean, go back to Patrick Stewart,
• 14:52
  Speaker 5: I mean they're best friends, like you know, like you're like, oh,
• 14:55
  Speaker 5: season one Jean Luke Baccard and season seven Jean Luke Baccard,
• 15:00
  Speaker 5: then Nemesis Sean Luke McCart. You can see the difference. No,
• 15:03
  Speaker 5: you can't, because it's it's Patrick Sewit is practically ageless.
• 15:07
  Speaker 5: And so the problem is is that it's kind of
• 15:10
  Speaker 5: like watching The Irishman, where you're like, oh, okay, yeah,
• 15:14
  Speaker 5: you have these two or three eighty year old men
• 15:17
  Speaker 5: and they spend millions of dollars to deage them to
• 15:20
  Speaker 5: make them look seventy.
• 15:24
  Speaker 4: Yeah.
• 15:25
  Speaker 2: Yes, well, not to sidetrack, but famously I'm working with
• 15:31
  Speaker 2: The Irishman. I'm going with it, and then de Niro
• 15:33
  Speaker 2: is supposed to be like thirty. He's like, well, he's
• 15:36
  Speaker 2: on the street to beat up a guy, and I'm like,
• 15:38
  Speaker 2: he's walking like an eighty year old. Okay, he stop
• 15:40
  Speaker 2: trying to screw with me here, Like it's like anyway.
• 15:43
  Speaker 5: Oh, it's like Harrison Ford on the train in the
• 15:45
  Speaker 5: latest India movie, where like he's running on the train,
• 15:49
  Speaker 5: but he's got that old man little run.
• 15:51
  Speaker 3: You know, it's just I'm not making fun of him.
• 15:54
  Speaker 3: It's just how it is.
• 15:55
  Speaker 2: I mean, it's just nature, man, It's just it's just
• 15:58
  Speaker 2: the way it is. I I agree with you though,
• 16:01
  Speaker 2: because it's that this is one of those things where
• 16:06
  Speaker 2: I would argue that table of the face replaced stuff
• 16:12
  Speaker 2: that they can do and everything like that. This is
• 16:14
  Speaker 2: your strongest argument for saying, you know, maybe we just
• 16:17
  Speaker 2: cast two different people and we have somebody play the
• 16:20
  Speaker 2: younger one. Audiences aren't stupid, they're not that stupid.
• 16:26
  Speaker 7: We can't maybe cast him as young as your lossibly
• 16:30
  Speaker 7: of just the flashback.
• 16:32
  Speaker 3: And it doesn't have to be his last case.
• 16:34
  Speaker 5: It could be like just a case in the middle
• 16:37
  Speaker 5: where he'd never he'd never got a satisfactory ending, and
• 16:40
  Speaker 5: it just bugged him, you know, like yeah, anyway, but
• 16:42
  Speaker 5: like as we don't rewrite all the time, but yet
• 16:45
  Speaker 5: we do well.
• 16:46
  Speaker 2: I mean it's based on a book, so okay, you
• 16:48
  Speaker 2: have your stricture there, and it's like, but embrace it.
• 16:52
  Speaker 2: Just cast somebody different, give somebody else a shot to say, hey,
• 16:55
  Speaker 2: I played the young yan Michela. That's a CV win
• 16:58
  Speaker 2: right there for somebody. And it's like, I just like,
• 17:02
  Speaker 2: there's this Sian. Yeah, why not.
• 17:08
  Speaker 7: Darren, I mean cast him due to X men, but
• 17:12
  Speaker 7: you're just spitting gold.
• 17:14
  Speaker 5: That would be delightful, That's right, that would have been amazing. Yeah,
• 17:20
  Speaker 5: and then we got to work in you know, like
• 17:22
  Speaker 5: but we have to find a way to work in
• 17:24
  Speaker 5: James McAvoy some.
• 17:26
  Speaker 4: How, somehow.
• 17:27
  Speaker 7: Yes, So it's interesting the I want to talk about
• 17:30
  Speaker 7: the aspect of you know, the last case the end
• 17:33
  Speaker 7: of a of a detective's era, because it reminds me
• 17:36
  Speaker 7: a lot of the you know, David Souchet's performance of
• 17:41
  Speaker 7: her Cool Parrot, which I would just be straight up.
• 17:44
  Speaker 7: I have not watched Curtain, I have not watched the finale.
• 17:47
  Speaker 7: I'm not ready. I don't know when I will cross
• 17:50
  Speaker 7: that bridge. But yeah, that same thing where you as
• 17:55
  Speaker 7: that story progressed and the actor aged it. Man, if
• 17:58
  Speaker 7: you go back and watch series one versus the later season,
• 18:02
  Speaker 7: it is like a rubber band snap of Oh my gosh,
• 18:05
  Speaker 7: their babies.
• 18:06
  Speaker 3: Everyone looks so young.
• 18:08
  Speaker 7: But all that to say, yeah, with Ian McKellen, it's
• 18:13
  Speaker 7: like if you're listening to something and you turn it
• 18:16
  Speaker 7: up to nine, and then you turn it from nine
• 18:18
  Speaker 7: to ten, do you really hear a difference?
• 18:20
  Speaker 6: Like it's so like it's like slightly loud.
• 18:26
  Speaker 7: Like I will say though, I think they did a
• 18:31
  Speaker 7: good job visually.
• 18:32
  Speaker 6: Showing what time he was in.
• 18:35
  Speaker 7: I could tell it was like, Okay, his hair is
• 18:37
  Speaker 7: slipped back in these times, there's less age spots, you know,
• 18:40
  Speaker 7: the way he's carrying himself. I was never confused when
• 18:44
  Speaker 7: watching it, But I totally agree with you. We're looking at,
• 18:47
  Speaker 7: you know, different shades of the gray paint and we
• 18:52
  Speaker 7: can barely tell between them. You know, it's very subtle.
• 18:55
  Speaker 7: But they did a good job of telling you where
• 18:59
  Speaker 7: you were, or it's just not a lot of go
• 19:02
  Speaker 7: off of Now Fastbender walks in and you're like, well,
• 19:05
  Speaker 7: where in the past. Definitely we're in Japan.
• 19:09
  Speaker 2: Well, I mean, you could even make the argument that
• 19:10
  Speaker 2: it would it would underline the fact that Holmes feels
• 19:13
  Speaker 2: like he's not himself anymore, that that person feels different
• 19:16
  Speaker 2: to him now because that's not who he is anymore. Like,
• 19:19
  Speaker 2: I think that could have really underscored it. And I
• 19:22
  Speaker 2: think that because of how and I love the way
• 19:26
  Speaker 2: you said at Trysted where it's like it's such a
• 19:28
  Speaker 2: quiet movie.
• 19:29
  Speaker 4: I think that's why by the.
• 19:31
  Speaker 2: End, like they want me to feel this big swell
• 19:35
  Speaker 2: of emotion and instead I'm just regarding it as well, Okay,
• 19:38
  Speaker 2: this is the story. He's winding down now, but I
• 19:41
  Speaker 2: should be feeling something more than I am. I should
• 19:45
  Speaker 2: and McKellen's giving it as all. He's having a breakdown,
• 19:48
  Speaker 2: he's crying, he's sobbing. He means so much to me,
• 19:51
  Speaker 2: and I'm like, okay, cool, Like I just it just
• 19:55
  Speaker 2: it lands flat. But I know that it can't have
• 19:59
  Speaker 2: landed flat with everybody, obviously, because it did. You know,
• 20:03
  Speaker 2: it made three times its budget, which we all agree, Okay,
• 20:05
  Speaker 2: that means you made the necessary profit for it to
• 20:09
  Speaker 2: be a profitable film. But honestly, this movie's been completely forgotten.
• 20:15
  Speaker 2: I think all three of us were surprised that it
• 20:17
  Speaker 2: existed because we inserted this one because I forget even
• 20:22
  Speaker 2: what was the Christopher Lee one. I watched it and
• 20:24
  Speaker 2: I said to you, guys, I was like, no, no, no,
• 20:26
  Speaker 2: I got to talk about this. I can promise you
• 20:29
  Speaker 2: this one was better than that. Okay, at a minimum,
• 20:32
  Speaker 2: I can promise you it was better than that one. So,
• 20:35
  Speaker 2: but I mean, is this just one of those dust
• 20:38
  Speaker 2: been sort of movies where it's like it happened and
• 20:40
  Speaker 2: nobody's gonna remember it in another ten years.
• 20:43
  Speaker 5: I mean, I don't know if I would go that
• 20:45
  Speaker 5: far and say dust bin, but I think it was
• 20:48
  Speaker 5: a movie for a target demographic at the time that
• 20:52
  Speaker 5: was not us. Like my parents ten years ago watched
• 20:57
  Speaker 5: this as soon as it came out on video, and
• 20:59
  Speaker 5: there huge parole fans. Add that to the tally for
• 21:03
  Speaker 5: this wing. They love mysteries, they love Ian McKellen, and
• 21:08
  Speaker 5: they love slow talkie films and they're old. They were
• 21:14
  Speaker 5: the absolute key demographic for this movie. Like this was
• 21:17
  Speaker 5: the anti Guy Ritchie. I mean it was like, hey,
• 21:20
  Speaker 5: you like Guy Ritchie. Sherlock Holmes with Robert Downey Jr.
• 21:24
  Speaker 3: Don't see this.
• 21:26
  Speaker 4: But see the whole thing about it being Holmes.
• 21:29
  Speaker 2: I don't. I still I don't. I've never read Sherlock
• 21:31
  Speaker 2: Holmes stories. So it's sort of like the same thing
• 21:35
  Speaker 2: that we were talking about with with the Nicholas the
• 21:39
  Speaker 2: seven percent solution, where I'm like, I don't have anything
• 21:42
  Speaker 2: to like tether onto here. So it's like, Oh, Sherlock
• 21:46
  Speaker 2: Holmes is a real guy and he's having trouble remember
• 21:48
  Speaker 2: whether the stories were true, and I'm like, I'm definitely
• 21:50
  Speaker 2: not your key demo because I don't even know, like
• 21:53
  Speaker 2: you could tell me that in one of his stories.
• 21:55
  Speaker 2: It's like, oh, no, what's it got that wrong? I
• 21:56
  Speaker 2: fought flying space apes that came down and they had
• 21:59
  Speaker 2: laser's shooting out their ears. I'd be like, oh that
• 22:01
  Speaker 2: happened in a story. Okay, fine, Well I mean for
• 22:04
  Speaker 2: me to go against.
• 22:05
  Speaker 4: So I don't know.
• 22:07
  Speaker 2: Like basically the question is do they give you enough
• 22:09
  Speaker 2: to care about if you're not a Sherlock Holmes fan
• 22:12
  Speaker 2: or not familiar with the works.
• 22:14
  Speaker 7: I mean, I was surprised when Roger's last name was
• 22:16
  Speaker 7: Moriarty at the end, Like that was a twist I
• 22:19
  Speaker 7: didn't see coming at all. I mean, it did make
• 22:23
  Speaker 7: me think of Christopher Robbin. The the more recent one
• 22:29
  Speaker 7: with the you know with you and Yeah with you
• 22:32
  Speaker 7: and McGregor where maybe he's having a metal breakdown. I
• 22:35
  Speaker 7: don't know, but like as so far as you have
• 22:39
  Speaker 7: a older gentleman figuring out his life and a young
• 22:43
  Speaker 7: boy is in it now the one it's his son.
• 22:46
  Speaker 7: But there's that type of movie. We've seen it several
• 22:50
  Speaker 7: times with the you know, the friendship that develops between
• 22:54
  Speaker 7: you know, a young boy and like a grandpa figure,
• 22:57
  Speaker 7: and they're especially a British boy, like they all look
• 23:01
  Speaker 7: the same, they're obviously all different people. But I definitely
• 23:04
  Speaker 7: felt that with Roger by Milo Parker. And while I
• 23:11
  Speaker 7: liked that part of the story, I felt it added
• 23:14
  Speaker 7: a lot. I can't imagine the movie without that sub
• 23:19
  Speaker 7: story and causing a little bit of change in Sherlock.
• 23:24
  Speaker 7: Like I said before, towards the end of realizing you
• 23:27
  Speaker 7: know the consequences of his actions and such and just
• 23:31
  Speaker 7: how much of a you know, jerky as sometimes, but
• 23:35
  Speaker 7: it was still so slow, like everything just took along,
• 23:43
  Speaker 7: like it felt like this movie took over a week
• 23:45
  Speaker 7: and yet happened in like five months.
• 23:48
  Speaker 6: I don't know. Time has no meaning.
• 23:50
  Speaker 4: See I don't.
• 23:52
  Speaker 2: I want to very much qualify that I don't have
• 23:54
  Speaker 2: a problem with Slow. I'm still the weird guy that
• 23:59
  Speaker 2: will defend and Twin Peaks season three, not vociferously, but
• 24:04
  Speaker 2: I will at least defend it because I'm like, yeah,
• 24:07
  Speaker 2: Lynch gets self indulgent, but sometimes it just really works,
• 24:11
  Speaker 2: and it can work. So I don't have an objection
• 24:14
  Speaker 2: to Slow as a rule. It's just that you need
• 24:18
  Speaker 2: something intriguing enough to keep a person invested. And you know, additionally,
• 24:25
  Speaker 2: like I'm talking about, like I'm not even familiar with
• 24:28
  Speaker 2: the home stories, what would I know to say this
• 24:30
  Speaker 2: was wrong or this was right. There was actually a
• 24:33
  Speaker 2: controversy about this where there was a copyright dispute. The
• 24:37
  Speaker 2: Conan Doyle estate sued them. They settled out of court
• 24:41
  Speaker 2: or something like that.
• 24:42
  Speaker 7: Is that because they just said it's in the public
• 24:44
  Speaker 7: domain enough and it's sort of riginal story and it's
• 24:46
  Speaker 7: not a home story, so we can do whatever. Like
• 24:48
  Speaker 7: I don't know where that angle came from, Like why
• 24:53
  Speaker 7: they felt like they didn't need it and then did well.
• 24:57
  Speaker 2: I find it's interesting they filed a lawsuit against the
• 25:02
  Speaker 2: film for the quote unauthorized copying of copyrighted stories by
• 25:07
  Speaker 2: Arthur Conan Doyle that cover the later life of Sherlock Holmes.
• 25:11
  Speaker 2: They settle out of court before the release of the film,
• 25:15
  Speaker 2: and later editions of the novel on which the film
• 25:19
  Speaker 2: is based now includes a note thanking the estate for
• 25:22
  Speaker 2: permission to use the material. So sort of the Harlan
• 25:26
  Speaker 2: Ellison resolution to the Terminator, where now the credits say
• 25:30
  Speaker 2: in you know, in recognition of the works of Harlan Ellison,
• 25:34
  Speaker 2: James Cameron sorry for he ripped for the fact that
• 25:36
  Speaker 2: he ripped them off. Like, I don't understand why you
• 25:39
  Speaker 2: put the note in the book, Like is it were
• 25:42
  Speaker 2: they unaware that the book was written before the film
• 25:45
  Speaker 2: came out?
• 25:46
  Speaker 4: They can't possibly not have known, right.
• 25:50
  Speaker 7: I Mean it feels more like, hey, there's somebody over there.
• 25:54
  Speaker 7: That's it you can get like it does, doesn't it?
• 25:58
  Speaker 2: And maybe that that cuts over into you know, the
• 26:05
  Speaker 2: profit margin or something like that, which is why we'll
• 26:07
  Speaker 2: never get mister Holmes too.
• 26:09
  Speaker 4: I guess I think there's.
• 26:11
  Speaker 7: Many reasons we're not getting that, and profit margin is
• 26:13
  Speaker 7: not high on the list. Well, one is the age
• 26:16
  Speaker 7: of the main actor.
• 26:17
  Speaker 2: How high on the list would you put the fact
• 26:20
  Speaker 2: that I have to ask the question Laura Lenny was
• 26:23
  Speaker 2: playing an Irish.
• 26:25
  Speaker 6: Woman question, No, I really don't know.
• 26:29
  Speaker 2: I had such a heck of a time pegging that accent.
• 26:33
  Speaker 2: It made virtually it took me out of the movie.
• 26:37
  Speaker 2: And I don't understand why.
• 26:41
  Speaker 7: For me, it was just a Britishy like. I didn't
• 26:44
  Speaker 7: even my brain didn't put the extra effort to try
• 26:46
  Speaker 7: to place it. It was just, oh, you're from over there.
• 26:51
  Speaker 6: But see, I don't know.
• 26:53
  Speaker 2: It sounds maybe it's just I'm too familiar with Laura
• 26:55
  Speaker 2: Lenny's voice or something like that, but I just it
• 26:58
  Speaker 2: sounded like somebody who couldn't quite get the accent. And
• 27:01
  Speaker 2: it's like I've always been in the camp of if
• 27:03
  Speaker 2: he can't quite get the accent, just don't do an accent.
• 27:06
  Speaker 2: But then she obviously would have been more of a
• 27:08
  Speaker 2: fish out of water. And the thing is, I'm not
• 27:10
  Speaker 2: dragging Laura Lenny as an actress. I think she's a
• 27:13
  Speaker 2: terrific actress, a lover. As an actress, I think she's great.
• 27:17
  Speaker 2: I just wish they had spent a little more money
• 27:20
  Speaker 2: on like the dialogue coach to help her out, to
• 27:24
  Speaker 2: get her across the line on the accent because there
• 27:26
  Speaker 2: were moments where it was fine and then there were
• 27:29
  Speaker 2: other moments where it was not, and it's just it's
• 27:32
  Speaker 2: enough to have to have taken me out of it.
• 27:35
  Speaker 2: I mean in terms of the music as well. Carter Burwell,
• 27:42
  Speaker 2: are you familiar with his work?
• 27:45
  Speaker 6: No?
• 27:45
  Speaker 2: No, he did a number of things, including he did
• 27:50
  Speaker 2: Conspiracy Theory, he did Miller's Crossing in Bruges. He actually,
• 27:56
  Speaker 2: here's here's a tie in with Condon. It wasn't the
• 27:58
  Speaker 2: last two, but oh NOI no. He did the music
• 28:01
  Speaker 2: for Twilight Breaking Dawn Part.
• 28:02
  Speaker 6: One and part Chase. So they went on to his
• 28:05
  Speaker 6: buddy back too.
• 28:06
  Speaker 2: But Carter Burwell also did a very terrific score in
• 28:10
  Speaker 2: the past. Tristan, do you want to reveal to the
• 28:12
  Speaker 2: audience what score he did back in the nineties.
• 28:15
  Speaker 4: That was quite fantastic.
• 28:17
  Speaker 3: Are you talking about Rob Roy?
• 28:19
  Speaker 4: I sure am, of course, I am.
• 28:21
  Speaker 3: Okay, one of the greatest scores of all time.
• 28:24
  Speaker 6: Oh so good.
• 28:25
  Speaker 2: That's an amazing score. And he also did the score
• 28:28
  Speaker 2: for a Goofy movie Figure That Out.
• 28:30
  Speaker 3: Which is right, which is also an amazing movie.
• 28:33
  Speaker 4: So Bill Condon, we're like, oh, look at this crazy career.
• 28:37
  Speaker 7: Not like the music parts, just the score, not the
• 28:41
  Speaker 7: singing parts.
• 28:42
  Speaker 4: He did, Yeah, he did.
• 28:45
  Speaker 2: In the same year he did a goofy movie in
• 28:48
  Speaker 2: Rob Roy and he goes on. He does amazing, he does,
• 28:51
  Speaker 2: mister Holmes.
• 28:52
  Speaker 4: I was excited when I saw his name in the credits.
• 28:54
  Speaker 6: I was like, Oh cool.
• 28:55
  Speaker 2: Carter Burwell, score, Tristan. Anything there that's memorable from the
• 29:00
  Speaker 2: score at all?
• 29:01
  Speaker 3: Not a single thing.
• 29:02
  Speaker 5: I couldn't tell you, Like I was kind of hoping
• 29:05
  Speaker 5: that we wouldn't talk about music because I couldn't remember
• 29:08
  Speaker 5: a single note.
• 29:10
  Speaker 3: Okay, wait, no, I take that back. I take it back.
• 29:12
  Speaker 5: I think the scene on the bench that had some
• 29:15
  Speaker 5: fantastic music.
• 29:17
  Speaker 4: That's fair.
• 29:18
  Speaker 5: But that's all I That's that's all I can really say.
• 29:20
  Speaker 5: It is just like that was a really intimate, really.
• 29:23
  Speaker 2: Nice I wouldn't even and yeah it was, Yeah, I
• 29:27
  Speaker 2: just I wouldn't even blame Burwell for it. I don't
• 29:30
  Speaker 2: think the movie gives him a lot to work off of,
• 29:33
  Speaker 2: you know, like Williams. I you know, he he gets
• 29:38
  Speaker 2: movies from Spielberg and Lucas and it's like, oh wow,
• 29:41
  Speaker 2: there's a lot to work with here.
• 29:42
  Speaker 3: I could do this.
• 29:43
  Speaker 2: And any anybody's going to be like that, that's a
• 29:46
  Speaker 2: you know, a composer. I just don't think that there's
• 29:48
  Speaker 2: a lot here for a composer like latch Onto. And
• 29:51
  Speaker 2: I think the score is fine.
• 29:53
  Speaker 6: It's not.
• 29:53
  Speaker 4: I mean, Darren, do you you know, do you agree disagree?
• 29:56
  Speaker 3: Like yeah, I mean, it's just it's a Buyet slow movie.
• 30:01
  Speaker 6: There's not.
• 30:03
  Speaker 7: And like you said, the bench, all the flashbacks really
• 30:07
  Speaker 7: had the score, you know, the leading into the train,
• 30:11
  Speaker 7: even playing the Oh, I want to call it a harpsichord.
• 30:14
  Speaker 7: I know that's not what it's called.
• 30:15
  Speaker 3: The glass bowls like they utilize that.
• 30:18
  Speaker 4: Can they say harmonica?
• 30:20
  Speaker 7: It's it's not the word harmonica. It shouldn't be, but
• 30:24
  Speaker 7: it's no, that's what's close to that. Yeah, they called
• 30:27
  Speaker 7: it a harmonica.
• 30:28
  Speaker 2: Oh well, which totally blew my mind because I'm like, wait, what, No,
• 30:33
  Speaker 2: that's a mouth harp.
• 30:35
  Speaker 4: Wait what are you talking about? But no, yeah, harmonica.
• 30:38
  Speaker 2: So, but it had something to do with like occultism
• 30:41
  Speaker 2: or something like you're supposed to be able to like
• 30:42
  Speaker 2: hear ghosts or something like that.
• 30:45
  Speaker 7: Apparently, like yeah, you dip your fingers in the lead
• 30:48
  Speaker 7: crystal and it makes you kind of go nuts or
• 30:51
  Speaker 7: something yeah, oh.
• 30:54
  Speaker 4: That what it did? It was lead in the water.
• 30:56
  Speaker 7: Well, like, no, there's lead in the crystal. It's like
• 30:59
  Speaker 7: lead glass. And so you're dipping your hands constantly in water,
• 31:04
  Speaker 7: and so it like seeped into you and messed you up.
• 31:09
  Speaker 7: Oh no kidding, So kind of how mad Hatter you know,
• 31:13
  Speaker 7: comes from the whole, like copper band in the in
• 31:15
  Speaker 7: the hat and stuff, same same thing, you know. And
• 31:18
  Speaker 7: in that era especially, it was like, oh yeah, did
• 31:20
  Speaker 7: I go crazy? It's like there's probably a chemical reason
• 31:23
  Speaker 7: for it. Did I Did I miss that in the movie?
• 31:26
  Speaker 4: Did they that?
• 31:28
  Speaker 7: Uh?
• 31:28
  Speaker 2: Okay afterwards, Yeah, I had I had no idea, none whatsoever. Okay,
• 31:35
  Speaker 2: but I do have an idea that I think for
• 31:38
  Speaker 2: you know, the fact that you know it's slow, it's
• 31:41
  Speaker 2: got its pacing issues. The one, the one sop I
• 31:45
  Speaker 2: will throw is that I think that the cinematography is
• 31:48
  Speaker 2: actually pretty good here. I think that there's some good
• 31:53
  Speaker 2: color choices here. It's before everything's too flat in film,
• 31:58
  Speaker 2: so there is some colors separation. Or was I just
• 32:03
  Speaker 2: zoning in and out and I'm just misreading the picture?
• 32:05
  Speaker 2: I mean, like I did, I thought I thought the
• 32:07
  Speaker 2: colored choices were good. I thought it worked pretty well.
• 32:11
  Speaker 2: There was good balance, there was good composition and everything
• 32:14
  Speaker 2: like that. But it's like, you know, nothing to win
• 32:18
  Speaker 2: an oscar over. But I thought it was pretty good,
• 32:20
  Speaker 2: looked pretty good in that sense.
• 32:22
  Speaker 7: Sorry, I just keep getting stuck on Holme's age. It
• 32:26
  Speaker 7: just really is weird to me because this movie is
• 32:28
  Speaker 7: supposedly set in forty seven, yes, where he's ninety three,
• 32:33
  Speaker 7: and that means that he toured Hiroshima like the year before.
• 32:40
  Speaker 3: No, same year, same year, nineteen forty seven.
• 32:44
  Speaker 2: No, No, Hiroshima got bombed in forty five. It was
• 32:47
  Speaker 2: August forty five, so obviously posts that. Yeah, so they
• 32:50
  Speaker 2: would have been had they started bouncing, they had started
• 32:53
  Speaker 2: rebuilding by then.
• 32:54
  Speaker 7: Right, yeah, I mean that was The other thing is
• 32:57
  Speaker 7: when he's there, it makes it look like it happened
• 32:59
  Speaker 7: a week before, like it, which I don't know what
• 33:02
  Speaker 7: I expected it to look like, you know, in that regard,
• 33:05
  Speaker 7: But it was just a very compressed time where I
• 33:12
  Speaker 7: was meant to feel. I thought I was meant to
• 33:14
  Speaker 7: feel that his trip to Japan was closer to the
• 33:19
  Speaker 7: retirement of him than the present, but it didn't.
• 33:23
  Speaker 6: I don't know.
• 33:24
  Speaker 7: It's just again, we're turning the knob between nine and ten,
• 33:28
  Speaker 7: it's it's not. I can't tell the difference. It doesn't
• 33:33
  Speaker 7: go to eleven, just nine and ten.
• 33:35
  Speaker 5: Well, one thing that did you know crank up to
• 33:38
  Speaker 5: eleven for me and John? I know that you use
• 33:42
  Speaker 5: it explicitly said that this did nothing for you. You know,
• 33:47
  Speaker 5: like you were supposed to. You felt like you were
• 33:48
  Speaker 5: supposed to feel something and you didn't. I very much
• 33:52
  Speaker 5: felt something, especially when Roger was revealed when he was
• 33:58
  Speaker 5: laying down and like you say, thought he was dead
• 34:02
  Speaker 5: with all the wasps in his face, like the wasp
• 34:04
  Speaker 5: stings in his face. I literally gasped out loud, like
• 34:09
  Speaker 5: like a child.
• 34:10
  Speaker 3: I was just like like like like that.
• 34:13
  Speaker 5: When when it was when his face was revealed, I
• 34:15
  Speaker 5: literally gassed and held my hands up to my face.
• 34:19
  Speaker 5: I was I wasn't raptured by it. I was just like,
• 34:21
  Speaker 5: oh my god, is he dead. They're telling us he's dead.
• 34:23
  Speaker 5: Roger is dead? What a horrible movie this is? And
• 34:27
  Speaker 5: then like seeing Holmes's reaction to it, you know, like
• 34:32
  Speaker 5: he has that first first little hesitation like oh no,
• 34:35
  Speaker 5: oh no, but then he's like, okay, guy, go make
• 34:38
  Speaker 5: a call, and he completely ignores the mom and.
• 34:42
  Speaker 7: That his worst sin in the entire movie is like,
• 34:46
  Speaker 7: you know, I get walking past her to the phone.
• 34:49
  Speaker 7: I get this, But on your way back you'd be like,
• 34:52
  Speaker 7: come with me, we need to go to him now,
• 34:54
  Speaker 7: that's all you need to do. But instead, and she's
• 34:57
  Speaker 7: totally right for calling him out on it, and she's like,
• 34:59
  Speaker 7: I didn't think it'd make it difference. It's like, man,
• 35:01
  Speaker 7: I am his mother. It's like, what in your mind
• 35:05
  Speaker 7: are you thinking? But yeah, I felt the emotion of
• 35:10
  Speaker 7: that part two I felt. I mean, for me, Roger
• 35:13
  Speaker 7: was the emotional grounding of this movie, that that relationship
• 35:17
  Speaker 7: is what because I don't feel anything for the mom
• 35:21
  Speaker 7: who kills herself in the past, like there's no or
• 35:25
  Speaker 7: the Japanese son who feels abandoned. You know, that's just
• 35:29
  Speaker 7: those are Holmes ghosts. And I like the fact that
• 35:35
  Speaker 7: with Roger I didn't know what was gonna happen, because
• 35:39
  Speaker 7: so many times we watch movies and it's so obvious, like, Okay,
• 35:43
  Speaker 7: this person's got a million points of plot armor. There's
• 35:46
  Speaker 7: no way they're gonna die, or they're or they're part
• 35:49
  Speaker 7: of a franchise, or they're part of something. This was
• 35:51
  Speaker 7: a small enough, fresh enough, new enough story that I
• 35:55
  Speaker 7: was like, oh dang, like not that they couldn't walk
• 35:59
  Speaker 7: it back like they did, but for a while I
• 36:02
  Speaker 7: did not know, and that was a fresh experience.
• 36:06
  Speaker 6: I don't know. I just.
• 36:11
  Speaker 2: I think, I just I think maybe by that point,
• 36:14
  Speaker 2: I was like when he ran out, I think probably
• 36:17
  Speaker 2: for me, I was just like I figured something had
• 36:19
  Speaker 2: happened to him. So I was like, you know, I'm
• 36:23
  Speaker 2: glad that it worked for somebody, because it didn't work
• 36:26
  Speaker 2: for me, because I just considered it inevitable that something
• 36:30
  Speaker 2: was gonna happen to the kid.
• 36:32
  Speaker 6: The innocent youth had problems. Dear God, who could have.
• 36:35
  Speaker 4: Seen that kind I was. I was just anticipating it.
• 36:38
  Speaker 4: I guess too much.
• 36:39
  Speaker 6: And I don't know.
• 36:41
  Speaker 4: I mean, I guess just for me.
• 36:42
  Speaker 2: I mean, it's like I watched it a little while
• 36:45
  Speaker 2: ago to you know, obviously, to prep for this, I'm
• 36:48
  Speaker 2: already starting to just shelve it.
• 36:52
  Speaker 6: Off, urge it from the mind.
• 36:54
  Speaker 2: Yeah, you know, it just sort of like I don't
• 36:56
  Speaker 2: need to save that. You know, it'll be on the
• 36:58
  Speaker 2: hard drive, but I don't necessarily need to look up
• 37:01
  Speaker 2: the file. It can just like sit back there, and
• 37:04
  Speaker 2: I'll recall it if I ever need to sort of thing. So,
• 37:07
  Speaker 2: I mean, obviously i've tipped off where I stand with it,
• 37:10
  Speaker 2: so I'll go ahead and give my rating first on
• 37:12
  Speaker 2: this one. And I'm just gonna go ahead and say,
• 37:14
  Speaker 2: you know, I'm going to give it a two simply
• 37:17
  Speaker 2: because I didn't like it. I thought it was boring,
• 37:20
  Speaker 2: but everybody was given there all. It just didn't come together,
• 37:24
  Speaker 2: and sometimes that happens, so I'm not going to trash it.
• 37:28
  Speaker 2: But at the same time, I just I didn't enjoy this,
• 37:31
  Speaker 2: and you know, even enjoys seems like the wrong type
• 37:35
  Speaker 2: of word for a movie like this, but it just
• 37:37
  Speaker 2: didn't connect. And I just think it didn't gel a
• 37:41
  Speaker 2: lot of talented people and it just didn't work out
• 37:44
  Speaker 2: this time. So two stars from me, I will toss
• 37:48
  Speaker 2: it over to you, Darren. Where did you land?
• 37:51
  Speaker 3: With it?
• 37:52
  Speaker 2: On the much vaunted never to be changed handed down
• 37:57
  Speaker 2: from on high on stone tablets, five star scale.
• 38:00
  Speaker 7: Of white rocks placed out to represent things I'm thinking of. Well,
• 38:05
  Speaker 7: I did want to give a shout out to to
• 38:07
  Speaker 7: Roger Allam as the doctor. I loved his little character
• 38:11
  Speaker 7: every time, he just his little teenye role and you
• 38:15
  Speaker 7: know he's fallen.
• 38:17
  Speaker 3: Uh uh he called it. It was like the ash
• 38:20
  Speaker 3: prick like the ash or ash prickly ash prickly ash.
• 38:25
  Speaker 7: Yeah, it's but I just liked how he was the
• 38:30
  Speaker 7: most grounded character in the entire movie as far as
• 38:33
  Speaker 7: like just getting getting about, you know, his duties.
• 38:38
  Speaker 6: But yeah, all that to say.
• 38:41
  Speaker 7: I'm giving it a one only really because in the
• 38:45
  Speaker 7: comparison with the other Sherlock Holmes that I gave to,
• 38:50
  Speaker 7: I enjoyed those more than this, So I don't equate it.
• 38:55
  Speaker 3: To a to a two and keeping this guard one.
• 38:59
  Speaker 7: I mean, like John said, I'm gonna forget this movie
• 39:03
  Speaker 7: at purge it from my mind. Good lord, Like in
• 39:07
  Speaker 7: about five minutes.
• 39:08
  Speaker 2: I gotta be honest with you, Darren that I oh
• 39:13
  Speaker 2: my gosh, I'm I'm within a hair's breadth of refining
• 39:16
  Speaker 2: down with you.
• 39:16
  Speaker 4: And being like I'm being too nice. But I'm not
• 39:18
  Speaker 4: gonna do that. I'm not gonna do that.
• 39:19
  Speaker 2: I'm gonna stand my ground here until I find out
• 39:22
  Speaker 2: exactly how much I want to disagree with Tristan.
• 39:24
  Speaker 4: Tristan, what did you give it?
• 39:26
  Speaker 3: Man? Oh? Okay?
• 39:29
  Speaker 6: Wow?
• 39:29
  Speaker 3: I feel like man? Am I way off here.
• 39:32
  Speaker 7: Sorry, I swear Tristan, that's what I'm gonna give it.
• 39:36
  Speaker 2: I'm switching to one, Darren. I'm switching a one, just
• 39:39
  Speaker 2: a balance, switching a one.
• 39:42
  Speaker 3: It's so make it.
• 39:45
  Speaker 5: Okay, so like the one of the like I probably
• 39:47
  Speaker 5: would have normally given it a two point two point five.
• 39:51
  Speaker 5: I think I should give it a two point five.
• 39:53
  Speaker 5: But the thing is, I gave Young Sherlock Holmes a
• 39:55
  Speaker 5: two point five, and I liked this way.
• 39:57
  Speaker 3: More than Young Sherlock Holmes.
• 40:00
  Speaker 5: And I think that's the thing is, just like McKellen's
• 40:03
  Speaker 5: performance gives it bumps, it up, it gives it another star,
• 40:07
  Speaker 5: if not a half star, because Ian McKellen's performance is
• 40:11
  Speaker 5: so phenomenal in every single aspect of this movie. And
• 40:16
  Speaker 5: I had a genuine emotional reaction to Rogers, you know,
• 40:20
  Speaker 5: near death experience. And also when McKellen broke down in
• 40:23
  Speaker 5: front of Laura Lenny, like when he was literally on
• 40:27
  Speaker 5: his knees crying like I felt something, and so because
• 40:31
  Speaker 5: that movie, because this movie made me feel something, and
• 40:33
  Speaker 5: we got one fantastic performance. You know, you know, I'm
• 40:37
  Speaker 5: not arguing about the structure. I'm not arguing about you know,
• 40:41
  Speaker 5: how slow it is, how.
• 40:42
  Speaker 6: Boring it is, argue about those points, Tristan's pass.
• 40:48
  Speaker 5: No, I'm not saying it's it's not that it has
• 40:51
  Speaker 5: all those things. But like as we often say, like
• 40:53
  Speaker 5: you know, when you have good, when you have like
• 40:55
  Speaker 5: one really good aspect, sometimes I can make up for
• 40:57
  Speaker 5: the rest. And I feel like this is one of
• 40:59
  Speaker 5: those times, at least for me and the entire time
• 41:04
  Speaker 5: while I was watching it, I felt like we were
• 41:06
  Speaker 5: absolutely robbed as a culture of Ian McKellen playing Charlotte Holmes.
• 41:13
  Speaker 3: Thirty years ago.
• 41:14
  Speaker 2: All Right, that's fair, but that doesn't mean that doesn't
• 41:17
  Speaker 2: mean that this movie is less bad.
• 41:19
  Speaker 5: No, what it means is that's how much his performance
• 41:22
  Speaker 5: impacted me. It's it's the right performancept wrong.
• 41:25
  Speaker 6: I got you, I got you.
• 41:27
  Speaker 3: That's what I'm trying to say.
• 41:28
  Speaker 5: I hear, and so I'm I'm the only reason why
• 41:31
  Speaker 5: I'm not giving this movie a two is because of
• 41:35
  Speaker 5: McKellen's performance.
• 41:36
  Speaker 3: All Right, I'm changing bumping up a star.
• 41:38
  Speaker 2: I'm changing my number back to two. Darren Okay tries
• 41:43
  Speaker 2: to make some good points, and I also like the fact,
• 41:45
  Speaker 2: just like a game show.
• 41:46
  Speaker 6: Now you got to lock in your scores by the end.
• 41:48
  Speaker 6: It doesn't matter.
• 41:49
  Speaker 2: Just no, you know what, I can go back and
• 41:52
  Speaker 2: I can change all of my scores later if I
• 41:54
  Speaker 2: want to. I made reference of the shining before I
• 41:57
  Speaker 2: went from reviling it and giving it zero stars to
• 42:00
  Speaker 2: find make.
• 42:01
  Speaker 7: A back copy of this to save the data from tampering.
• 42:04
  Speaker 2: Okay, you know what, I'll go to chat EPT and
• 42:07
  Speaker 2: I'll tell it to redo the entire thing and it'll
• 42:09
  Speaker 2: just make it all right.
• 42:10
  Speaker 4: That's fine, that's fine.
• 42:12
  Speaker 2: So yeah, so there we are. We got a one,
• 42:14
  Speaker 2: we got a two, we got a three. And so
• 42:16
  Speaker 2: here we are at the end of the House of Sherlock,
• 42:22
  Speaker 2: Wing of Sherlock, Wing of Sherlock. Right, so we're closing
• 42:25
  Speaker 2: out Wing of Sherlock, and I gotta tell you not
• 42:29
  Speaker 2: a moment too soon.
• 42:30
  Speaker 4: So Darren, what's up next?
• 42:32
  Speaker 6: Man?
• 42:33
  Speaker 7: Yeah, we were in that wing maybe a little too long,
• 42:36
  Speaker 7: but that's all right. It's fun to visit a character
• 42:39
  Speaker 7: and all the different aspects of it. But next week
• 42:42
  Speaker 7: we're covering a director famed and acclaimed that we have
• 42:47
  Speaker 7: not seen a lot of. We're going into the House
• 42:50
  Speaker 7: of Kurosawa with the nineteen fifties Rashamon.
• 42:54
  Speaker 6: Next on house lights.
• 42:57
  Speaker 1: Join the revolution. Join the Net Party
• 43:03
  Speaker 8: M