Latest / Frightmares / Ep. 400 - Terrified (2017)

Transcript

Ep. 400 - Terrified (2017) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:11
  Speaker 2: Hello, filthy movie lovers. My name is Gentry Austin. And
• 0:16
  Speaker 2: I'm Casey Scott. And we're the hosts of The Sin Syndicate,
• 0:20
  Speaker 2: a film podcast for something weirdos, anti-criterion bros, and Joseph
• 0:26
  Speaker 2: Sarno aficionados. Join us semi-weekly as we peer into the
• 0:31
  Speaker 2: adults-only theaters and sticky-floored cinemas of the golden age of sexploitation.
• 0:37
  Speaker 2: When the morals were loose, the laws were murky, and
• 0:41
  Speaker 2: the intercourse was all simulated. Find us now on the
• 0:45
  Speaker 2: Someone's Favorite Productions podcast network.
• 0:55
  Speaker 1: The following podcast will contain spoilers. tangents, hot takes, and
• 1:00
  Speaker 1: excessive foul language, viewer discretion is advised.
• 1:04
  Speaker 2: Enjoy the show.
• 1:47
  Speaker 3: Welcome back to Frightmares Podcast. I'm your host, Austin Proctor.
• 1:50
  Speaker 3: And joining me today for episode four motherfucking hundred is
• 1:55
  Speaker 3: my good friend, Corey Johnson.
• 1:57
  Speaker 1: Hey-o! I was gonna do 400 of them, but I
• 2:01
  Speaker 1: realized that would take most of the episode.
• 2:05
  Speaker 3: What I'll do is I'll just take the 400 and.
• 2:08
  Speaker 3: Do like. 0, what, 400, and.
• 2:12
  Speaker 1: Just go out like that. We'll see how long.
• 2:14
  Speaker 3: Yeah, yeah, 400. Today, on another installment of Spectember Frights,
• 2:19
  Speaker 3: we're discussing our international pick, Terrified, from 2017, which looks
• 2:26
  Speaker 3: at the concept of a slow burn, and it's like,
• 2:28
  Speaker 3: now fuck that. So let's see where this lands in
• 2:30
  Speaker 3: the Nightmare Index. All right, what have we been watching,
• 2:40
  Speaker 3: my friend? What do you got for me?
• 2:43
  Speaker 1: Main thing that I've seen recently is Buddy, and oh, Buddy,
• 2:49
  Speaker 1: that movie is... A ride. I fucking loved... Every single
• 2:56
  Speaker 1: second of it. I... I'm actually... I loved it so much...
• 3:00
  Speaker 1: I'm not going to... Give away the rating on this episode. Because... Anybody...
• 3:06
  Speaker 1: That has listened to... My recent ratings of movies... Will know...
• 3:12
  Speaker 1: Where it's gonna fall in... My top ten. And I
• 3:15
  Speaker 1: want to leave that... A little bit of a mystery.
• 3:19
  Speaker 1: But goddamn that fucking movie.
• 3:21
  Speaker 2: Like.
• 3:22
  Speaker 1: that's a movie I'm going to buy when it comes,
• 3:25
  Speaker 1: when it comes out. Like I will, I will buy
• 3:27
  Speaker 1: that movie as physical. Wow.
• 3:30
  Speaker 3: I loved it so much. And you're not a, you're
• 3:32
  Speaker 3: not really an avid collector. So that's like a big,
• 3:35
  Speaker 3: that's like big.
• 3:37
  Speaker 1: Although I will say I'm starting to feel some peer
• 3:41
  Speaker 1: pressure because you've been doing it since the inception of
• 3:44
  Speaker 1: this podcast. Kyle, has gotten rid of all streaming and
• 3:52
  Speaker 1: essentially only buys physical media, not just horror. Like he,
• 3:56
  Speaker 1: he just recently bought like Sicario, the entire series of
• 4:01
  Speaker 1: twin peaks. Like he, he's buying series, he's buying movies,
• 4:05
  Speaker 1: all kinds of shit. And then my boy Wesley just
• 4:08
  Speaker 1: started doing it as well. So I'm like, all right,
• 4:10
  Speaker 1: that's three people in my life that are going strictly
• 4:13
  Speaker 1: physical media. Uh, I feel like the universe is trying
• 4:16
  Speaker 1: to tell me something.
• 4:17
  Speaker 2: Yeah.
• 4:17
  Speaker 3: Get at least get it at minimum because I buy
• 4:21
  Speaker 3: stupid random shit all the time for no reason that I,
• 4:23
  Speaker 3: that I've reigned back. But yeah, definitely get like some
• 4:26
  Speaker 3: favorites for sure. Just because you never know. It could
• 4:29
  Speaker 3: be streaming one day and then pulled for me. Like,
• 4:32
  Speaker 3: like hush is my perfect example. Hush was made for
• 4:36
  Speaker 3: Netflix and then they just pulled it one day and
• 4:38
  Speaker 3: it was fucking nowhere. And then screen factory, uh, save
• 4:42
  Speaker 3: the day and release a 4k of it. And not
• 4:45
  Speaker 3: only that, but you get the, I think it's called
• 4:48
  Speaker 3: the hush cut where all you basically experience it. I mean,
• 4:53
  Speaker 3: you kind of already do experience it from Kate Siegel's
• 4:55
  Speaker 3: character's perspective, but all the noises are a little bit
• 4:58
  Speaker 3: heightened and a little bit more dull than moment. It's
• 5:00
  Speaker 3: a really fun cut. And they took out most of this.
• 5:03
  Speaker 1: Yeah.
• 5:03
  Speaker 3: The hush cut or the shush cut is really cool. So, um,
• 5:07
  Speaker 3: but yeah, uh, definitely buy, buy some of your favorites.
• 5:10
  Speaker 3: So buddy, uh, big W for you. I love, I
• 5:13
  Speaker 3: love hearing that. It was pretty solid. I definitely want
• 5:16
  Speaker 3: another rewatch for, uh, you know, just more perspective on it,
• 5:20
  Speaker 3: but I, I did give it a four out of
• 5:22
  Speaker 3: the gate.
• 5:22
  Speaker 1: So, yeah. And it was, it was one of those movies,
• 5:25
  Speaker 1: like I've said this before on the podcast. I don't remember.
• 5:28
  Speaker 1: It's been a while, but every now and again, you
• 5:32
  Speaker 1: get a piece of media where you're like, Oh, yeah.
• 5:36
  Speaker 1: That was made for me and me specifically.
• 5:39
  Speaker 3: 100%.
• 5:40
  Speaker 1: And, buddy, because I was such an Adult Swim delinquent
• 5:47
  Speaker 1: as a young man, like, I remember... So there are
• 5:51
  Speaker 1: two things. One of my favorite bands when I was
• 5:55
  Speaker 1: a kid was Breaking Benjamin. And there was a online
• 6:00
  Speaker 1: radio show that would do like a Breaking Benjamin listening
• 6:07
  Speaker 1: party at like three in the morning on the internet.
• 6:10
  Speaker 1: Oh my God. So I would stay up, watch Adult
• 6:13
  Speaker 1: Swim until that radio show came on, and then listen
• 6:17
  Speaker 1: to like two and a half hours of Breaking Benjamin
• 6:19
  Speaker 1: every Saturday. So adult swim holds a very special place
• 6:24
  Speaker 1: in my heart because I grew up in the inception
• 6:29
  Speaker 1: of like what it was, didn't understand it. And then
• 6:33
  Speaker 1: came back to it as like a young adult and
• 6:36
  Speaker 1: kind of the target audience and revisited all the stuff
• 6:40
  Speaker 1: that I didn't understand as a kid. And I was like, Oh,
• 6:45
  Speaker 1: I get it now. So to have buddy served up
• 6:49
  Speaker 1: to me, Where I am now in my life with
• 6:54
  Speaker 1: all of that same energy but just distilled down to
• 6:59
  Speaker 1: it's everything that was perfect about what we were trying
• 7:03
  Speaker 1: to do originally.
• 7:05
  Speaker 2: Yeah.
• 7:05
  Speaker 1: And then we just got the recipe and copied it exactly.
• 7:09
  Speaker 1: I was like, this movie, it just hits. It hits
• 7:12
  Speaker 1: me in such a special way.
• 7:15
  Speaker 3: It's not too many cooks. It's one perfect fucking chef.
• 7:19
  Speaker 3: That's what it is. You know, that man is cooking.
• 7:22
  Speaker 3: So it's funny you mentioned that because as a, you know,
• 7:26
  Speaker 3: we're about the same age. I think you're three years
• 7:28
  Speaker 3: younger than me. But I also grew up in the
• 7:30
  Speaker 3: age of, you know, the adult swim and all that stuff.
• 7:33
  Speaker 3: And I remember specifically, it's a very weird, just kind
• 7:36
  Speaker 3: of bubble memory of watching C-Lab 2021 and being like,
• 7:41
  Speaker 3: I don't fucking get this at all.
• 7:44
  Speaker 1: See, and that was me for Space Goes Coast to Coast.
• 7:48
  Speaker 3: See, and I liked that one. I also liked, oh,
• 7:50
  Speaker 3: what was that one? Oh, this is going to drive
• 7:53
  Speaker 3: me crazy. It was like dangerous fucking... It was an animal.
• 7:58
  Speaker 1: Oh, Harvey danger. Uh, no.
• 8:01
  Speaker 2: Yeah.
• 8:01
  Speaker 1: Yeah. It was, it was hard. Uh, Oh, Harvey Birdman
• 8:04
  Speaker 1: attorney at law.
• 8:05
  Speaker 2: Oh no.
• 8:05
  Speaker 3: It's another one. I'll find it while we're looking. That
• 8:08
  Speaker 3: is one that I watched, but I didn't get a
• 8:10
  Speaker 3: lot of them. And I kind of was just like,
• 8:12
  Speaker 3: they're whatever. So I didn't have that attachment like you did.
• 8:16
  Speaker 3: And you're, and you're right. When a movie comes out,
• 8:18
  Speaker 3: that feels like it's literally a catering truck pulling up
• 8:21
  Speaker 3: to your house with exactly what you want. It's gonna
• 8:24
  Speaker 3: hit a lot harder, but for me, I didn't grow
• 8:26
  Speaker 3: up in a lot of the Adult Swim and Frisky Dango,
• 8:30
  Speaker 3: that's what it was.
• 8:31
  Speaker 1: Or Frisky Dingo. Frisky Dingo. Yes, okay.
• 8:34
  Speaker 3: Yeah, that was one of my favorites because I was like,
• 8:36
  Speaker 3: what the fuck is this?
• 8:38
  Speaker 1: See, and the thing that allowed me to have this
• 8:42
  Speaker 1: movie hit even harder than it technically should have was
• 8:47
  Speaker 1: I went into this movie, like I had no idea
• 8:51
  Speaker 1: what it was actually going to be, but I kept
• 8:54
  Speaker 1: hearing too many cooks, too many cooks, Casper Kelly, blah, blah, blah.
• 8:58
  Speaker 1: So I'm like, okay, I get the energy of what
• 9:01
  Speaker 1: I'm going into. So while I don't know what to expect,
• 9:05
  Speaker 1: I have an understanding of, of the energy that I
• 9:08
  Speaker 1: should come to expect. Yes. So sitting in the theater,
• 9:13
  Speaker 1: we are very clearly some of the oldest people in
• 9:17
  Speaker 1: the theater when we're going to see this. Interesting. It's
• 9:21
  Speaker 1: a bunch of, like, 20-somethings and, like, a couple of teens.
• 9:28
  Speaker 2: Huh.
• 9:29
  Speaker 1: Remember, it's kind of a nowhere place in Virginia. In
• 9:33
  Speaker 1: theaters right now, we have, like, mutiny cars, the 20th
• 9:39
  Speaker 1: anniversary re-release. Like it's, it's kind of just a bunch
• 9:43
  Speaker 1: of garbage. So people are looking for, you know, something decent. Um,
• 9:50
  Speaker 1: so we're, we're some of the oldest people there and
• 9:52
  Speaker 1: the trailers and the, black screen comes up for the
• 9:58
  Speaker 1: opening of Buddy. And that 45 seconds of silence. Black
• 10:04
  Speaker 1: screen silence. So quiet that somebody in the back of
• 10:08
  Speaker 1: the theater got nervous at how quiet it was and went, Like,
• 10:13
  Speaker 1: could not handle the silence. And then the movie starts.
• 10:17
  Speaker 1: And I look over and I look over at Jessica
• 10:21
  Speaker 1: and her face just sold the experience because for the
• 10:27
  Speaker 1: first 10 minutes of the movie, I am switching between
• 10:31
  Speaker 1: intently watching the movie and looking over at my partner's
• 10:35
  Speaker 1: face because the range of emotions going across her face
• 10:41
  Speaker 1: is Was so gold. It went from confusion to terror
• 10:47
  Speaker 1: to sorrow to back to confusion. And then once she
• 10:53
  Speaker 1: finally learned that all you had to do was let go,
• 10:57
  Speaker 1: it switched from this range of emotions to, oh my God,
• 11:01
  Speaker 1: I'm having the best time ever. She went through the
• 11:04
  Speaker 1: five stages of grief. Oh, it was... absolutely phenomenal. And
• 11:09
  Speaker 1: for the rest of the movie, every now and again,
• 11:12
  Speaker 1: I just look over at her and it was like every,
• 11:16
  Speaker 1: every funny moment that I wanted to hit for her.
• 11:19
  Speaker 1: hit on the level that it was hitting for me.
• 11:22
  Speaker 1: And we both walked out of this theater like, what
• 11:24
  Speaker 1: the fuck was that? That was amazing. Oh, that's always good.
• 11:27
  Speaker 1: That's always good. And y'all have heard me talk about
• 11:31
  Speaker 1: Jessica and how she watches movies. This, by all accounts
• 11:35
  Speaker 1: on the scoreboard, was not a movie she should have
• 11:38
  Speaker 1: liked at all. But it was... absurd enough and creative
• 11:45
  Speaker 1: and unique enough. And the comedy hit so hard that
• 11:50
  Speaker 1: she gave it just across the board. She said, it's
• 11:54
  Speaker 1: a borderline perfect movie. Oh my God. Yeah.
• 11:58
  Speaker 3: And, and, and the thing I love about Jessica is
• 12:00
  Speaker 3: I genuinely, I, I want to decipher the, this woman's
• 12:06
  Speaker 3: tastes so badly, but like, I cannot figure out if
• 12:09
  Speaker 3: she's going to like.
• 12:10
  Speaker 1: Something or if she's not. I've been trying to do
• 12:12
  Speaker 1: it for three years. Can't do it. Can't fucking do it.
• 12:15
  Speaker 3: But I love it because it's like, it's like, I'll
• 12:17
  Speaker 3: never know. And then when I hear it, it's always
• 12:19
  Speaker 3: the most exciting news because I literally, I'm like, I
• 12:23
  Speaker 3: don't know. I don't know if she's going to like it.
• 12:25
  Speaker 1: Yeah. Like, like she, she has come full circle in the,
• 12:30
  Speaker 1: obsession was a terrible movie and they should not have
• 12:32
  Speaker 1: made that. That was offensive to, it was so good,
• 12:36
  Speaker 1: but I can never watch it again. Yeah. Like it.
• 12:39
  Speaker 2: Yeah. Yeah.
• 12:39
  Speaker 1: Yeah.
• 12:41
  Speaker 3: That makes sense.
• 12:42
  Speaker 1: Uh, all right.
• 12:42
  Speaker 3: So buddy, I love, I love the hype for buddy.
• 12:45
  Speaker 3: It's made some good money. I believe we're at the
• 12:47
  Speaker 3: $ 10 million mark now. I think they made it for
• 12:49
  Speaker 3: about two, something like that. And, uh, that's incredible. Uh,
• 12:54
  Speaker 3: anything else you want to mention before I rattle off some, uh,
• 12:56
  Speaker 3: some shit I've been watching.
• 12:58
  Speaker 1: No, that's it.
• 12:59
  Speaker 3: That was the highlight. I don't think you're going to
• 13:01
  Speaker 3: top that, so I'll tell you what I have been
• 13:04
  Speaker 3: watching here. I do need to pull up my notes
• 13:07
  Speaker 3: because I'm like a week behind on rating shit. All right,
• 13:11
  Speaker 3: so first and foremost, I rewatched The Dark and the
• 13:15
  Speaker 3: Wicked because I adore that movie. And if you haven't
• 13:20
  Speaker 3: seen The Dark and the Wicked, it's something... I'm making
• 13:23
  Speaker 3: a list, by the way, of movies that we haven't
• 13:25
  Speaker 3: covered that I want to cover. And this made that
• 13:28
  Speaker 3: list because I don't think it's talked about enough. If
• 13:31
  Speaker 3: you've seen it, you know it's a fucking incredible story.
• 13:36
  Speaker 3: And it is very bleak. It is a very feel-bad movie.
• 13:38
  Speaker 3: Much like Terrified.
• 13:39
  Speaker 1: This is like a... Feel-bad movie.
• 13:41
  Speaker 3: Yeah, Terrified is like a fuck-you movie. And not in like...
• 13:45
  Speaker 3: We'll get into it. And then Rewatch. So that one
• 13:48
  Speaker 3: got garnered a four and a half because I do
• 13:50
  Speaker 3: believe it's a... I think that's a masterpiece. Then I
• 13:53
  Speaker 3: followed that up the next day with Taking of Deborah Logan, which...
• 13:56
  Speaker 3: Have we covered?
• 13:57
  Speaker 1: I can't remember. Not only have we covered it, I
• 14:02
  Speaker 1: think we did it in the first handful of episodes
• 14:06
  Speaker 1: where it was just kind of like run through it. Okay.
• 14:09
  Speaker 1: And then we did it as a full treatment. And
• 14:13
  Speaker 1: I'm pretty sure we've used it on one of our,
• 14:17
  Speaker 1: like as a backing on one of our just like
• 14:21
  Speaker 1: random episodes. Okay. It's gotten full play now. At least once.
• 14:26
  Speaker 3: I'm like, I feel like we have, but I really
• 14:29
  Speaker 3: can't remember.
• 14:30
  Speaker 1: We also did it in a much different format.
• 14:34
  Speaker 3: That's true.
• 14:36
  Speaker 1: We could give it the new format treatment and it
• 14:39
  Speaker 1: would probably be just as fresh aside from our opinions
• 14:43
  Speaker 1: on it.
• 14:43
  Speaker 3: Yeah, because my opinion is never going to change on that.
• 14:46
  Speaker 3: So I'm going to scroll through and figure out if we,
• 14:49
  Speaker 3: I feel like we have, but I just can't remember.
• 14:51
  Speaker 1: If we have, it's been, it was a while ago. Yeah,
• 14:55
  Speaker 1: it was within, I think it was within the first
• 14:58
  Speaker 1: hundred episodes.
• 15:00
  Speaker 3: Oh, okay, yeah. So if we haven't done that, then
• 15:02
  Speaker 3: that'll go on the list too. And then I watched
• 15:05
  Speaker 3: a brand new Korean sci-fi, it's called Hope. And it's
• 15:11
  Speaker 3: the same director who did The Wailing. This movie, I
• 15:15
  Speaker 3: don't even, it's like I couldn't even comprehend it. It
• 15:18
  Speaker 3: was so, like, fucking South Korea, dude. You guys are crazy.
• 15:21
  Speaker 1: I love you.
• 15:22
  Speaker 3: And I don't really want to give too much away.
• 15:24
  Speaker 3: I think it's a movie you just need to go
• 15:26
  Speaker 3: watch and go in with an open mind because you're
• 15:29
  Speaker 3: never going to expect what's going to happen. watched Butterfly Kisses,
• 15:33
  Speaker 3: which I also added to the list of movies that
• 15:35
  Speaker 3: we need to review because I do hold on.
• 15:37
  Speaker 1: I could have sworn we've done that before. Not a
• 15:39
  Speaker 1: full episode on it. Not a full episode?
• 15:41
  Speaker 3: Not a full episode.
• 15:42
  Speaker 1: I'm down to do a full treatment on that.
• 15:45
  Speaker 3: Dude, it is a movie and a movie and a movie.
• 15:47
  Speaker 3: It's fucking, it's nuts. While also technically being a mockumentary? Yes, exactly.
• 15:55
  Speaker 3: And it's one of the coolest movies Like urban legends
• 16:00
  Speaker 3: about that like or what lores about the blinking man
• 16:02
  Speaker 3: like that it peeping Tom. It's the coolest shit So
• 16:05
  Speaker 3: that one got a four and a half rewatch Satan
• 16:08
  Speaker 3: slaves one and two Five star forced four and a
• 16:11
  Speaker 3: half star and then our movie today also I'm gonna
• 16:13
  Speaker 3: bury the lead now because I feel like it's something
• 16:16
  Speaker 3: to be excited about but yeah Joko Anwar I got
• 16:18
  Speaker 3: in contact with him after I saw his post on
• 16:21
  Speaker 3: Instagram about Satan slaves three and And I was like, hey, Joko,
• 16:24
  Speaker 3: you know, hope you're doing well. I would really love
• 16:28
  Speaker 3: to have you back on the show to talk about
• 16:30
  Speaker 3: your latest installment as I adore not only your work,
• 16:33
  Speaker 3: but the Satan Slaves movies. And I can't believe we're
• 16:36
  Speaker 3: getting a third one. And he was like, I'd love
• 16:37
  Speaker 3: to be back on the show, you know, like when
• 16:39
  Speaker 3: the time's right, we'll make it happen. And I'm like,
• 16:40
  Speaker 3: this man is like, I can't.
• 16:44
  Speaker 1: And it's funny you mentioned that because like three days ago,
• 16:47
  Speaker 1: I was like, you know what? It's time to re-listen
• 16:49
  Speaker 1: to his interview.
• 16:50
  Speaker 3: Yeah.
• 16:51
  Speaker 1: And once again, I was just like, Fuck, this man's
• 16:55
  Speaker 1: a goddamn genius. He's a genius.
• 16:57
  Speaker 3: But yeah, so that's something to be looking forward to.
• 16:59
  Speaker 3: I also have some other interviews coming out later this year.
• 17:02
  Speaker 3: But yeah, let's move on to Terrified here because I'm
• 17:06
  Speaker 3: very excited to talk about it. This is the body count.
• 17:11
  Speaker 3: All right. So as I just mentioned, Terrified from 2017
• 17:15
  Speaker 3: was not released until October 11th in the U.S. in 2018.
• 17:19
  Speaker 3: So it took a little bit to get here.
• 17:21
  Speaker 1: Not a surprise.
• 17:21
  Speaker 3: It's from Argentina. Argentina. Not rated, no sex and nudity,
• 17:25
  Speaker 3: moderate violence and gore, moderate profanity, mild alcohol, drugs, and smoking,
• 17:29
  Speaker 3: and severe frightening and intense scenes. Coming in at a
• 17:31
  Speaker 3: brisk one hour, 27 minutes, listed as a straight horror, delisted,
• 17:37
  Speaker 3: directed by Damien, I believe it's Damien Rugna. He directed
• 17:44
  Speaker 3: Tambien Lovi, which is a short film from Satanic Hispanics,
• 17:47
  Speaker 3: and When Evil Lurks. It was also written by the
• 17:50
  Speaker 3: same man who also wrote When Evil Lurks. He composed
• 17:53
  Speaker 3: this as well. He composed two other movies that I
• 17:56
  Speaker 3: did not recognize. I assume they're Argentinian. Cinematography by Mariano Suarez,
• 18:01
  Speaker 3: who also did the cinematography for When Evil Lurks, and
• 18:04
  Speaker 3: then edited by Lionel Cornistein, who also edited When Evil Lurks.
• 18:09
  Speaker 3: Starring Maximilian, I think it's Guillaume, as Comisario Fuentes. He
• 18:14
  Speaker 3: only has eight credits for movies, but.
• 18:16
  Speaker 1: He has a whopping.
• 18:18
  Speaker 3: 1,375 episode credits for TV. This man fucking works.
• 18:26
  Speaker 1: My God.
• 18:27
  Speaker 3: Then we have Norberto Gonzalez as Mario Juano. He's only
• 18:31
  Speaker 3: been in this movie. That's the only movie he's done,
• 18:34
  Speaker 3: which is crazy, but he also has a lot of
• 18:36
  Speaker 3: TV credits, 189 episodes. I added them all up. Elvira
• 18:40
  Speaker 3: Oneta as Dr. Maura Albrecht, who only has 46, I'm sorry,
• 18:44
  Speaker 3: who has 46 credits, but nothing that I recognized. George L.W.
• 18:48
  Speaker 3: Lewis as Rosenstock, who was literally only in this movie,
• 18:51
  Speaker 3: and that baffles me because dude was a rock star.
• 18:54
  Speaker 3: Juliet Valina as Alicia, only 29 credits, nothing I recognize.
• 18:58
  Speaker 3: And then the one person who played Walter Carabaglia, Damien Solomon.
• 19:03
  Speaker 3: He was in When Evil Lurks as Jimmy. I believe
• 19:05
  Speaker 3: Jimmy was the main character of When Evil Lurks. Estimated
• 19:09
  Speaker 3: budget of NA grossing $ 367, 000 total. Filmed in Argentina. I
• 19:15
  Speaker 3: assume Buenos Aires because that is where Damien is from.
• 19:19
  Speaker 3: You can watch this on Shudder, AMC Plus, and Plex.
• 19:22
  Speaker 3: Movies that came out around the same time. We have
• 19:24
  Speaker 3: a wide variety of stuff. Green Book, Bohemian Rhapsody, the
• 19:28
  Speaker 3: first Venom movie. Fantastic Beasts of Crimes of Grindelwald. I
• 19:32
  Speaker 3: didn't fucking realize they were making those in 2018.
• 19:34
  Speaker 1: Jesus Christ.
• 19:35
  Speaker 3: Ralph Breaks the Internet, Bad Times at the El Royale, Overlord,
• 19:39
  Speaker 3: which I've added to the list of movies to review,
• 19:41
  Speaker 3: The Grinch, but the, you know, Benedict Cumberbund, whatever his
• 19:45
  Speaker 3: name is, Apostle, The Perfection, The Klovich Killer, Goosebumps 200. 200, Halloween, Hellfest,
• 19:51
  Speaker 3: Hell House LLC, to The Abaddon Hotel, and The Headhunter.
• 19:56
  Speaker 3: IMDb summary, driven by a need to uncover the truth
• 19:58
  Speaker 3: behind a violent haunting in Buenos Aires.
• 20:01
  Speaker 1: Oh, there you go.
• 20:02
  Speaker 3: Retired police officer, Fuentes, faces a visible supernatural threat that
• 20:06
  Speaker 3: forces him to question his sanity and survival. Let's roll
• 20:09
  Speaker 3: into the autopsy. All right, Corey, this is a movie
• 20:14
  Speaker 3: that I know we both watched for the first time
• 20:17
  Speaker 3: around the same time, and we both loved it. I
• 20:20
  Speaker 3: still love it. What are your overall thoughts for Terrified?
• 20:24
  Speaker 1: What the fuck is this movie? Is it aliens? Is
• 20:27
  Speaker 1: it ghosts? What is this fake science? And why do
• 20:33
  Speaker 1: you have me in a chokehold? I can't breathe.
• 20:38
  Speaker 3: I can't even follow that up. I mean, legitimately same thing.
• 20:43
  Speaker 3: What the fuck is this movie? We don't get like,
• 20:46
  Speaker 3: you don't even get an explanation at the end. And
• 20:48
  Speaker 3: I don't really feel like that's a spoiler, but like.
• 20:51
  Speaker 1: So, so you, you do, but you don't, you get a,
• 20:55
  Speaker 1: you get a very half-hearted explanation from Dr. Albrecht. And
• 21:00
  Speaker 1: then they're just like, deal with that. That's the answer. Yeah.
• 21:05
  Speaker 1: Deal with it. Like we know this much. And that's
• 21:08
  Speaker 1: how much you know. And that's how much we know.
• 21:10
  Speaker 2: Fun.
• 21:11
  Speaker 3: This movie seriously starts off so violently and ends not
• 21:16
  Speaker 3: as violently, but let's just get into this goddamn thing
• 21:20
  Speaker 3: because my God, much like Ari Aster and some other
• 21:24
  Speaker 3: filmmakers out there, I don't know what happened to Damien
• 21:28
  Speaker 3: Rugna as a child. but my God, he's taking it
• 21:31
  Speaker 3: out on me and I did nothing to this man.
• 21:34
  Speaker 3: So I think the way I want to talk about
• 21:36
  Speaker 3: this movie is really just, I want to just go
• 21:39
  Speaker 3: through like we used to do. We used to just
• 21:41
  Speaker 3: like go through the movie and explain it because honestly,
• 21:45
  Speaker 3: there's not enough information for me to confirm or deny
• 21:49
  Speaker 3: anything that's happening because Because we are only given, like,
• 21:52
  Speaker 3: a slice of the orange, as, you know, Albrecht would say,
• 21:56
  Speaker 3: because she has this orange theory. So I kind of
• 21:58
  Speaker 3: just want to go through the movie. I don't know.
• 22:01
  Speaker 3: Or did you have somewhere maybe you wanted to start?
• 22:04
  Speaker 1: I mean, the best way to do it, I guess,
• 22:07
  Speaker 1: it would be, like, go through every major event that happens.
• 22:12
  Speaker 1: Because I do feel like the magic of this movie is...
• 22:17
  Speaker 1: how it gets from instance to instance, because yes, the
• 22:23
  Speaker 1: scares are scary. Oh my God. But they... They don't
• 22:30
  Speaker 1: really matter without the lead up to them, which is
• 22:33
  Speaker 1: normally complete. Like, normally it's like, oh, the scares are
• 22:37
  Speaker 1: what matter and how we got to them. Who cares
• 22:42
  Speaker 1: why this fucking bitch is walking down a dark hallway?
• 22:44
  Speaker 1: Doesn't matter.
• 22:45
  Speaker 3: Doesn't matter.
• 22:46
  Speaker 1: It's the scare that happens after. But without any of
• 22:49
  Speaker 1: the lead ups happening. To make you question why we're
• 22:55
  Speaker 1: doing what we're doing to get to the scare. The
• 22:58
  Speaker 1: scare doesn't really matter. Like the window scene doesn't matter
• 23:04
  Speaker 1: without that predicating phone call. Or like.
• 23:09
  Speaker 3: The predicating phone call.
• 23:11
  Speaker 1: Oh, oh, when.
• 23:13
  Speaker 3: Like John O'Colin... Fuentes.
• 23:15
  Speaker 1: Fuentes. Yes. Like without that phone call... The window scare
• 23:22
  Speaker 1: doesn't hit as hard.
• 23:24
  Speaker 3: Yeah.
• 23:24
  Speaker 1: For without Blumetti knocking on the wall saying, hey, keep
• 23:31
  Speaker 1: that shit down. I can hear you through the wall.
• 23:34
  Speaker 1: His girlfriend's death.
• 23:36
  Speaker 2: Oh.
• 23:36
  Speaker 1: Doesn't matter as much. You're right. It's everything that leads
• 23:42
  Speaker 1: up to the scare that makes the scare good. Even Dr.
• 23:46
  Speaker 3: Albrecht, when she's sitting there and she gives them the
• 23:48
  Speaker 3: explanation and Fuentes is like, can we stop this? And
• 23:51
  Speaker 3: she says no. And then she just fucking gets her
• 23:54
  Speaker 3: neck snapped.
• 23:55
  Speaker 2: You're like.
• 23:56
  Speaker 1: Like we can't stop this. Like you're right. You're right.
• 23:59
  Speaker 1: Everything that happens directly before a scare.
• 24:02
  Speaker 3: Oh, that's, that is a very good point because it's
• 24:05
  Speaker 3: like not contextualizing the scare, but it's giving a reason
• 24:09
  Speaker 3: for that scare, which you're right. Typically because, because instead
• 24:15
  Speaker 3: of being a contextual scare, It's an anti-contextual scare because
• 24:21
  Speaker 3: it's one of those things that it happens almost so
• 24:26
  Speaker 3: directly after.
• 24:28
  Speaker 1: It's very carrot and stick. It's like, oh, here you go,
• 24:32
  Speaker 1: hit you in the face. Oh, here you go, hit
• 24:34
  Speaker 1: you in the face. And then the movie goes, why
• 24:36
  Speaker 1: are you hitting yourself? And you're like, but I'm not.
• 24:39
  Speaker 3: But I'm not.
• 24:40
  Speaker 1: Why are you gaslighting me?
• 24:43
  Speaker 3: Alright, well, let's at least go through the opening here,
• 24:45
  Speaker 3: because I do, you know, we have to start with
• 24:49
  Speaker 3: the opening, because eventually, Juan, which I found out his name,
• 24:53
  Speaker 3: I had, you know, subtitles on, obviously, and at one point,
• 24:56
  Speaker 3: I'm like, they're literally only calling him Blue Medi, and
• 24:59
  Speaker 3: in the credits, there are no last names, and I'm like,
• 25:02
  Speaker 3: what the fuck is our main guy's name?
• 25:03
  Speaker 1: Yeah.
• 25:04
  Speaker 3: When at some point he's talking like, and there's another
• 25:07
  Speaker 3: scene happening where he wishes them luck on their investigation.
• 25:10
  Speaker 3: And it said Juan. And I was like, okay, it's Juan.
• 25:13
  Speaker 1: Got it.
• 25:13
  Speaker 3: So the movie starts out and they're pulling third act
• 25:18
  Speaker 3: shit in the opening scene. This is third act shit
• 25:21
  Speaker 3: we're doing because I think it's Clara, which is Juan's
• 25:26
  Speaker 3: wife or Juan's girlfriend, whatever. It just immediately focuses in
• 25:31
  Speaker 3: on her in the kitchen, the sink is draining, and
• 25:33
  Speaker 3: she thinks she hears something. Which, at the end of
• 25:36
  Speaker 3: the movie, when they explain the whole water thing, contextualizes that,
• 25:40
  Speaker 3: which I really enjoyed.
• 25:42
  Speaker 1: Sort of. Sort of.
• 25:44
  Speaker 3: I'm saying it contextualizes it in the sense of like, oh,
• 25:47
  Speaker 3: that's why she was hearing things in the drain because
• 25:50
  Speaker 3: of how they travel. But we don't know why they
• 25:52
  Speaker 3: travel that way.
• 25:53
  Speaker 1: So.
• 25:54
  Speaker 3: She thinks he's hearing something. Juan comes home and he's like, hey,
• 25:58
  Speaker 3: where's dinner? You know, do we need to order out?
• 26:00
  Speaker 1: Whatever.
• 26:00
  Speaker 3: It's like, no, no, no. I heard voices in the sink.
• 26:02
  Speaker 3: And he's not the stereotypical, like, all right, shut up.
• 26:06
  Speaker 3: But he's like, okay. And he goes over there. He's like,
• 26:09
  Speaker 3: I don't, I don't hear anything.
• 26:12
  Speaker 1: But he gives it, the thing I appreciate about it
• 26:15
  Speaker 1: is when, and this happens with every character too, which is,
• 26:21
  Speaker 1: I don't know if it gives it a layer of
• 26:25
  Speaker 1: believability or it actually takes a layer of believability away. Okay.
• 26:31
  Speaker 1: Every character... as soon as you give them some type
• 26:37
  Speaker 1: of earnest projection of what you're saying, they're at least
• 26:41
  Speaker 1: going to investigate to try and believe you. Yeah. Like
• 26:46
  Speaker 1: it happens with wanting Clara. It happens with Walter and Dr. Albrecht.
• 26:52
  Speaker 2: Yep.
• 26:53
  Speaker 1: It happens with Fuentes and Yano. Yeah. Like every character goes, no,
• 26:59
  Speaker 1: but you have to believe me. And the next character goes,
• 27:03
  Speaker 1: All right, well, at least show me. You're right. No
• 27:05
  Speaker 1: one ever brushes anyone off. Now there will, there will
• 27:09
  Speaker 1: definitely be times where they'll go, yeah, shit's happening. We
• 27:12
  Speaker 1: don't understand it. Let's try and figure it out.
• 27:14
  Speaker 2: Right.
• 27:15
  Speaker 1: Like they're not going to give you an answer, but
• 27:17
  Speaker 1: they're at least going to say, Hey, you want to
• 27:20
  Speaker 1: check it out gang?
• 27:23
  Speaker 3: So yeah, you're right.
• 27:24
  Speaker 1: You're right.
• 27:24
  Speaker 3: Because he does go over there. He does give it
• 27:26
  Speaker 3: the old college try as they say. And he's, you know,
• 27:29
  Speaker 3: it's like, I don't hear anything. What are you thinking
• 27:32
  Speaker 3: you're hearing? And she's like, the voices are saying they
• 27:34
  Speaker 3: want to kill me. And boy, should they have listened
• 27:38
  Speaker 3: to that warning because the title card pops up and
• 27:42
  Speaker 3: Juan wakes up in the middle of the night, or sorry,
• 27:43
  Speaker 3: Clara wakes up in the middle of the night to
• 27:45
  Speaker 3: go to the restroom. And then Juan hears who he
• 27:48
  Speaker 3: thinks is Walter renovating his house at 5 a.m. And
• 27:50
  Speaker 3: he's like, you bastard, been banging on the wall. Because
• 27:53
  Speaker 3: what he's hearing is thumping and he assumes it's Walter.
• 27:56
  Speaker 3: So he goes outside to Walter's house, rings the thing.
• 27:59
  Speaker 3: No one's answering. Someone like, I think someone picks up,
• 28:01
  Speaker 3: but then doesn't answer. Then he goes back inside and
• 28:03
  Speaker 3: he still hears the thumping. And as he's walking by
• 28:06
  Speaker 3: the bathroom, he's like, hold on, that's coming. That's not Walter.
• 28:11
  Speaker 3: And then he opens the door to his wife suspended
• 28:15
  Speaker 3: in midair and then just yeeting back and forth between
• 28:20
  Speaker 3: the fucking bathroom tiles. Ah, no one was prepared for that.
• 28:25
  Speaker 3: When I saw that the first time, I audibly gasped
• 28:28
  Speaker 3: so loud and had to pause it because I was like,
• 28:31
  Speaker 3: what the fuck is actually happening? That is one of
• 28:35
  Speaker 3: the craziest scenes in a horror movie. Like, what do
• 28:39
  Speaker 3: you do when you walk into that?
• 28:40
  Speaker 1: What the fuck?
• 28:41
  Speaker 3: I mean, he even sits there one. He just sits there.
• 28:44
  Speaker 1: And in my mind, there's like a solid three Mississippis
• 28:47
  Speaker 1: before he starts reacting. And I'm like, man, so real, though.
• 28:50
  Speaker 1: So natural.
• 28:51
  Speaker 2: Right.
• 28:51
  Speaker 1: That's so real.
• 28:52
  Speaker 3: Because I wasn't even being like, bro, why are you
• 28:54
  Speaker 3: not helping? Because I would be like, what? am I dreaming?
• 28:58
  Speaker 3: Like what's happening?
• 29:00
  Speaker 1: And the guy that does the acting, he does it
• 29:02
  Speaker 1: really well because you can see on his face, like
• 29:05
  Speaker 1: I almost believe like they didn't tell him what he
• 29:08
  Speaker 1: was going to walk into the bathroom. Like they were like,
• 29:10
  Speaker 1: all right, your, your wife, girlfriend's going to be dead.
• 29:14
  Speaker 1: And that's it. They weren't going to show him how
• 29:17
  Speaker 1: she was going to be dead. So he gets in
• 29:20
  Speaker 1: there and he's like, how is she floating? Okay. She's floating.
• 29:23
  Speaker 3: Okay.
• 29:24
  Speaker 1: Why is she bloody? Oh, wait, she's dead. Oh, shit, Clara.
• 29:29
  Speaker 1: He has to rationalize every level of bizarro that's happening
• 29:35
  Speaker 1: to then get to the concern. Right, your brain is
• 29:38
  Speaker 1: firing all these synapses.
• 29:40
  Speaker 3: Like in fucking lightning speed, trying to rationalize what's happening.
• 29:45
  Speaker 3: And then you're like, Oh fuck, I should probably help.
• 29:47
  Speaker 3: Like that was the most real reaction. And I like
• 29:50
  Speaker 3: that idea too. It's speculation, but I do like that
• 29:53
  Speaker 3: idea because there are times in cinema and directing where,
• 29:57
  Speaker 3: the director will tell you the scene. Alien is my
• 30:01
  Speaker 3: perfect example, right? No one in the scene where the
• 30:03
  Speaker 3: chestburster comes out knew that was happening, and everyone, that's
• 30:08
  Speaker 3: their genuine reaction. And I love that fun fact.
• 30:12
  Speaker 1: Or like when the kids from the Goonies first see
• 30:14
  Speaker 1: the pirate ship for the first time. Yeah. They didn't
• 30:17
  Speaker 1: tell them that it was gonna be a full-size, actual,
• 30:20
  Speaker 1: built-out pirate ship.
• 30:22
  Speaker 3: And that's the best way to get an authentic reaction.
• 30:25
  Speaker 3: And even just like the facial, there's a lot of
• 30:29
  Speaker 3: face acting in this movie, which conveys emotion, obviously. And
• 30:34
  Speaker 3: I think that was one of the highlights for me
• 30:36
  Speaker 3: is because you can tell, especially Fuentes, because he goes
• 30:40
  Speaker 3: from kind of being this disgruntled cop, like he's about
• 30:43
  Speaker 3: to retire and he's like just kind of done with things.
• 30:45
  Speaker 3: And then he's thrust into this situation. And by the
• 30:47
  Speaker 3: end of it, it's just like, oh my God, his
• 30:50
  Speaker 3: face throughout the entire movie has changed. But even with Juan,
• 30:54
  Speaker 3: even with Rosenberg, Rosenthal, Rosen who? Fucking Rosenstock. Their face
• 31:04
  Speaker 3: acting is so good. So that's like the opening to
• 31:06
  Speaker 3: this movie. But could you imagine trying to explain that
• 31:09
  Speaker 3: to the cops? I mean, what do you do? Oh, hey,
• 31:11
  Speaker 3: my wife died. How'd she die? This invisible thing was
• 31:14
  Speaker 3: pushing her back and forth on the bathroom wall. Yeah, sure, buddy.
• 31:17
  Speaker 3: And that's why he ends up in... Not a mental...
• 31:20
  Speaker 3: It's like a psychiatric hospital because... He's being charged with
• 31:24
  Speaker 3: the murder, but they obviously think this man is crazy
• 31:27
  Speaker 3: for the level of his wife is dead in this
• 31:31
  Speaker 3: grotesque fashion. But it's an absolutely great way to start
• 31:34
  Speaker 3: this movie because it immediately establishes that whatever we're dealing
• 31:37
  Speaker 3: with is not really interested in spooky shadows and creaking doors.
• 31:42
  Speaker 3: It is Going to grab you by the ankles and
• 31:45
  Speaker 3: throw you the fuck around. And importantly, we don't even
• 31:48
  Speaker 3: understand what's going on. And we never understand fully what's
• 31:51
  Speaker 3: going on.
• 31:52
  Speaker 1: And see, I agree with that to a point. Sure.
• 31:56
  Speaker 1: But at the same time, Alicia and Walter definitely get haunted.
• 32:05
  Speaker 1: Because Walter has the creepy naked man that's just tormenting him.
• 32:12
  Speaker 2: Right.
• 32:12
  Speaker 1: For some reason. Yeah. And Alicia at least has her
• 32:16
  Speaker 1: kid that maybe not is tormenting. Maybe it's there as
• 32:21
  Speaker 1: like a beacon to take her over. I'm still unsure
• 32:26
  Speaker 1: about that.
• 32:26
  Speaker 2: Right.
• 32:26
  Speaker 1: But like it seems like. Answer-seeking people get the violence.
• 32:33
  Speaker 1: The people that are just trying to live with it
• 32:37
  Speaker 1: get the haunting aspect of it. Like, there seems to
• 32:41
  Speaker 1: be a targeted maliciousness toward certain characters. Because, like... Albrecht, uh,
• 32:50
  Speaker 1: Yano and Rosenstock all get, and, um, Juan all get
• 32:57
  Speaker 1: directed violence and, uh, uh, uh, Funes all get direct violence.
• 33:03
  Speaker 1: Anybody that's just trying to like deal with it, they
• 33:09
  Speaker 1: all just get like regular spooky Yuki haunting stuff. But
• 33:13
  Speaker 1: like everybody else, any, anybody that's like a protagonist, uh,
• 33:17
  Speaker 1: in this movie gets directed malicious violence against them.
• 33:22
  Speaker 3: Well, what was the malicious violence against Juan? Because he
• 33:26
  Speaker 3: was in the psychiatric hospital for most of the movie.
• 33:29
  Speaker 3: The only thing that really happened to him was he
• 33:31
  Speaker 3: saw Clara. Is that what you mean?
• 33:35
  Speaker 1: Yeah, because he's trying to get Walter to stop doing
• 33:41
  Speaker 1: all this shit. He's asking questions. So because he's asking questions...
• 33:47
  Speaker 1: We're going to need him for some answers later. So
• 33:49
  Speaker 1: instead of killing him, kill his wife. The punishment is
• 33:53
  Speaker 1: we'll kill your wife. And then because nobody else seemingly
• 33:58
  Speaker 1: in the movie has any other attachment, we're going to
• 34:01
  Speaker 1: kill you.
• 34:01
  Speaker 3: Okay.
• 34:03
  Speaker 1: And with Funes, they go, all right, we're going to
• 34:08
  Speaker 1: kill Alicia and then we're going to kill you.
• 34:11
  Speaker 3: They don't kill Funes. Funes lights everything on fire, and
• 34:15
  Speaker 3: at the end of the movie, they say he is a.
• 34:17
  Speaker 1: But they're trying to kill him, though. He just gets away.
• 34:21
  Speaker 3: But are they, though? Are they trying to kill him?
• 34:23
  Speaker 3: Because that creature that snaps Albrecht's neck comes out of
• 34:28
  Speaker 3: the wall, doesn't attack him, and then Alicia comes in,
• 34:32
  Speaker 3: explains the whole thing that I'll explain later, because it's
• 34:34
  Speaker 3: a plot twist, and then he gets out.
• 34:37
  Speaker 1: So here is my theory craft behind that.
• 34:42
  Speaker 3: Because he wasn't trying to investigate. He was just there
• 34:45
  Speaker 3: and he kept saying how he wanted to leave and
• 34:48
  Speaker 3: leave and leave. Like he didn't want the answers.
• 34:51
  Speaker 1: But he does start after the knife scene with Rosenstock.
• 34:59
  Speaker 1: He does start taking a much more active approach.
• 35:02
  Speaker 3: Yeah.
• 35:02
  Speaker 1: Here is why I think they are, or why he
• 35:07
  Speaker 1: gets away. It's because of his medical issues. He's got
• 35:12
  Speaker 1: a blood coagulant problem and he's deaf, which I completely forgot.
• 35:18
  Speaker 1: He was deaf until they reveal it with the, with
• 35:22
  Speaker 1: the hearing aid scene.
• 35:23
  Speaker 2: Yeah.
• 35:23
  Speaker 3: He can't hear out of the right ear at all.
• 35:28
  Speaker 1: So blood hat, it's a liquid. Has water in it...
• 35:33
  Speaker 1: If your blood coagulates randomly... It doesn't have a consistent flow...
• 35:39
  Speaker 1: So it's not seeping into him... And because he's deaf
• 35:43
  Speaker 1: in the right ear... Fun fact... Your right ear processes
• 35:48
  Speaker 1: speech better... Your left ear processes music better... Shut the
• 35:54
  Speaker 1: fuck up. What? That's a scientific fact. What? Your ears
• 35:59
  Speaker 1: hear different styles of audio differently. What? So because he's
• 36:06
  Speaker 1: deaf in one ear and his blood coagulates randomly, the
• 36:11
  Speaker 1: spookiness can't fluctuate through his body as properly. So maybe
• 36:18
  Speaker 1: they can't take him over like they do with all
• 36:21
  Speaker 1: the others.
• 36:23
  Speaker 2: Or.
• 36:23
  Speaker 1: That's my theory.
• 36:24
  Speaker 3: Or not even an or, but like in addition to
• 36:27
  Speaker 3: what you're saying, because of the whole... Because if you remember, okay,
• 36:31
  Speaker 3: going back just shortly to the Rosenstock and Fuentes scene
• 36:34
  Speaker 3: in the cabinet, when that knife goes into Rosenstock's hand
• 36:40
  Speaker 3: and they start... And something in there starts sucking up
• 36:42
  Speaker 3: the blood. They clearly crave blood in some way. And
• 36:47
  Speaker 3: why would they want to take the body of someone
• 36:49
  Speaker 3: who has a blood coagulation problem?
• 36:51
  Speaker 1: That.
• 36:52
  Speaker 3: that's gotta be some sort of relevance because what you're saying,
• 36:56
  Speaker 3: it makes absolute sense. If that ghost or demon or
• 37:00
  Speaker 3: whatever these things are, they need that blood, then yeah,
• 37:03
  Speaker 3: you're not gonna wanna take blood that's gonna clot because
• 37:05
  Speaker 3: essentially these things I feel like are taking over these bodies.
• 37:11
  Speaker 1: It does seem body snatchery.
• 37:14
  Speaker 2: Right.
• 37:14
  Speaker 1: But that also makes me wonder, is the naked man
• 37:19
  Speaker 1: a body snatched victim or is that just the corporeal
• 37:23
  Speaker 1: form of whatever? Because it seems to be the naked
• 37:28
  Speaker 1: man is the same creature that gets a hold, that
• 37:33
  Speaker 1: comes out of the wall.
• 37:35
  Speaker 3: Yeah, well, there is the only difference I can tell
• 37:38
  Speaker 3: between the naked guy under the bed and the creature
• 37:42
  Speaker 3: coming out of the wall is that the creature coming
• 37:44
  Speaker 3: out of the wall had this long, janky fucking hand.
• 37:48
  Speaker 1: That might be the actual form of it, though.
• 37:53
  Speaker 2: Ooh.
• 37:55
  Speaker 1: And we also do not know if this is a
• 37:59
  Speaker 1: deadite situation where there's multiple of these things to be
• 38:03
  Speaker 1: able to take over multiple people. Or if it's like
• 38:08
  Speaker 1: hive mindy situation where it's one being, but since it
• 38:13
  Speaker 1: travels through water, it can like break itself apart. and
• 38:18
  Speaker 1: work its shit through a larger area.
• 38:23
  Speaker 3: Well, that brings me to this point, which is perfect,
• 38:25
  Speaker 3: because the explanation that Albrecht gives is they study a
• 38:32
  Speaker 3: possible balance, coexisting dimensions organized like segments of an orange.
• 38:37
  Speaker 3: She says there are life in both dimensions, and water
• 38:40
  Speaker 3: serves as a channel for these microscopic beings. These beings
• 38:44
  Speaker 3: can gather together Form nests, reproduce, and use human bodies. So, yeah,
• 38:52
  Speaker 3: I think that's exactly what's going on. You have these...
• 38:55
  Speaker 3: It's entirely possible that all of these spooky things met up,
• 38:58
  Speaker 3: and if they can reproduce, then that's why so many people...
• 39:00
  Speaker 3: It's like an infected neighborhood. It's like fucking contagion, almost. And, like,
• 39:05
  Speaker 3: this isn't so much even ghost as it.
• 39:07
  Speaker 1: Is, like, this.
• 39:08
  Speaker 3: virus or disease that's spreading through water and reproducing and
• 39:14
  Speaker 3: like fucking it's it's insane.
• 39:16
  Speaker 1: And then with that being a thing can we then
• 39:23
  Speaker 1: not say that maybe just maybe this is a tainted
• 39:29
  Speaker 1: water supply and none of this is actually happening? That
• 39:35
  Speaker 1: crossed my mind. And the only reason I say that
• 39:37
  Speaker 1: it's not is because outside cops like Guzman and whatever
• 39:44
  Speaker 1: the other guy is at the very end of the
• 39:46
  Speaker 1: movie are they're very much saying like, yo, this is,
• 39:49
  Speaker 1: this is strange occurrences. We don't understand what's going on.
• 39:53
  Speaker 1: So the whole tainted water supply thing, obviously not true,
• 39:57
  Speaker 1: but it reads as like a Salem, which trials ergot poisoning,
• 40:03
  Speaker 1: like the people that are affected are the people that
• 40:06
  Speaker 1: are affected and nothing else is happening to anybody. It's
• 40:09
  Speaker 1: just the chair throw that happens at the very end
• 40:12
  Speaker 1: of the movie that kind of sends that out. But,
• 40:16
  Speaker 1: That could all be in Juan's mind. We don't fucking know.
• 40:19
  Speaker 3: Right. Because they do talk about it. So once we
• 40:23
  Speaker 3: get the cold, like, I guess the cold open, and
• 40:25
  Speaker 3: then we cut to Juan at the psychiatric facility, who's
• 40:29
  Speaker 3: being interviewed by the three main people, Albrecht, Rosenstock, and Fuentes.
• 40:36
  Speaker 3: Or Rosenstock, Albrecht. No, no, Rosenstock's not there. Sorry. It's Fuentes, Albrecht, and... Oh,
• 40:42
  Speaker 3: my God.
• 40:43
  Speaker 1: And Yano.
• 40:43
  Speaker 3: And Yano. There we go. Yano.
• 40:45
  Speaker 2: Yeah.
• 40:45
  Speaker 3: So it's Yano and Albrecht and Fuentes. And this is
• 40:50
  Speaker 3: where the movie kind of takes a timeline shift, which
• 40:52
  Speaker 3: I really enjoyed. Because they're interviewing him. And then we
• 40:55
  Speaker 3: kind of go back in time a bit. But they
• 40:57
  Speaker 3: do mention to him in that first interview that there
• 40:59
  Speaker 3: was a similar case in the United States in 1998.
• 41:03
  Speaker 3: But we don't get any more information. We just know
• 41:06
  Speaker 3: that this has happened somewhere else for some reason. And
• 41:11
  Speaker 3: that's it. No more explanation.
• 41:13
  Speaker 1: That's it.
• 41:14
  Speaker 3: Which is very interesting to me.
• 41:17
  Speaker 1: I don't know why we would.
• 41:19
  Speaker 3: Bring it up if we're not going to come back
• 41:21
  Speaker 3: to it other than to establish that this isn't an
• 41:23
  Speaker 3: isolated incident and it can happen anywhere.
• 41:26
  Speaker 1: It's because we don't have fucking time to explain. We
• 41:29
  Speaker 1: got to cram this entire story in an hour and
• 41:32
  Speaker 1: 27 minutes and that's including credits. So it's actually like
• 41:36
  Speaker 1: an hour, 20 minutes.
• 41:37
  Speaker 2: Yeah.
• 41:39
  Speaker 1: This movie, I will say the pacing was so fast,
• 41:44
  Speaker 1: it almost was a disservice to the movie. They needed
• 41:49
  Speaker 1: like six extra minutes of something. Because I remember I
• 41:55
  Speaker 1: had to pause to go use the bathroom. And I
• 41:58
  Speaker 1: was like, man, they're really ramping up. like going into
• 42:03
  Speaker 1: the third act kind of energy. So paused it. And
• 42:08
  Speaker 1: I was like, Holy shit, there's 20 minutes left in
• 42:10
  Speaker 1: the movie. What the fuck? Like it was screaming by
• 42:14
  Speaker 1: so fast. I did not realize how close to the
• 42:17
  Speaker 1: end of the movie I was. And then I said,
• 42:20
  Speaker 1: there is not enough time to resolve what you guys
• 42:24
  Speaker 1: are doing. You have 20 minutes left. And out of
• 42:28
  Speaker 1: that 20 minutes, I know five of those minutes are credits.
• 42:31
  Speaker 1: You have 15 minutes left.
• 42:33
  Speaker 3: Yeah, the first time I paused was at 44, and
• 42:35
  Speaker 3: I went, are you kidding me? We've already gone through
• 42:38
  Speaker 3: 45 minutes of this movie? I do feel, and it
• 42:42
  Speaker 3: could have come down to budgetary things. They might have
• 42:46
  Speaker 3: not been able to do more things that they wanted.
• 42:48
  Speaker 3: But at the same time, I know that more explanation
• 42:52
  Speaker 3: on things can weaken the effect because... You get the
• 42:56
  Speaker 3: explanation and you're like, oh, well, okay. So I think
• 43:00
  Speaker 3: it works in the movie's favor to be as ambiguous
• 43:04
  Speaker 3: as it is because they don't understand them and we
• 43:07
  Speaker 3: don't understand them.
• 43:08
  Speaker 1: I like that. Like, you know what I mean? No,
• 43:11
  Speaker 1: I do too. It's one of those like six of one,
• 43:14
  Speaker 1: half dozen of the other.
• 43:15
  Speaker 2: Yeah.
• 43:15
  Speaker 1: Like in some aspects, it works really, really fucking well.
• 43:19
  Speaker 1: But in other aspects, it's like, okay. But as a viewer,
• 43:24
  Speaker 1: I am owed something. Yeah, I want a little breadcrumb. Like,
• 43:30
  Speaker 1: you can't give me a line that tells me what
• 43:34
  Speaker 1: you think it is and then not give me the definitive.
• 43:39
  Speaker 3: Right.
• 43:39
  Speaker 1: Because now you've said something about it. And if you're
• 43:43
  Speaker 1: going to say something about it, you either have to confirm, like,
• 43:46
  Speaker 1: I don't care if you say, this is what we
• 43:48
  Speaker 1: think it is. And then at the end of the movie,
• 43:50
  Speaker 1: you show me that that's not what it was. And
• 43:53
  Speaker 1: then it's a big mystery, but they don't even give
• 43:56
  Speaker 1: you that resolution. They just say, Hey, we think it's
• 44:00
  Speaker 1: something up with the water.
• 44:01
  Speaker 2: Okay.
• 44:02
  Speaker 1: That's it. We're not going to tell you what we
• 44:06
  Speaker 1: think it is with the water. We're just going to say, hey,
• 44:09
  Speaker 1: it might be this thing that uses water. Maybe. There
• 44:13
  Speaker 1: you go. Well, yeah.
• 44:14
  Speaker 3: Cause that's the theory that they're studying. And then, and
• 44:18
  Speaker 3: she also says to, to not, and by the way, Dr.
• 44:21
  Speaker 3: Albrecht is way too fucking calm during this entire thing.
• 44:24
  Speaker 3: It's her, her level of calmness was like unsettling me like, dude,
• 44:27
  Speaker 3: you're too calm. But she says at one point, don't
• 44:30
  Speaker 3: believe everything you see tonight. And I feel like that's
• 44:33
  Speaker 3: a very key for a statement because by the end
• 44:37
  Speaker 3: of the movie, uh, I was wondering if for some reason,
• 44:43
  Speaker 3: none of this happened. Fuentes hallucinated all of this, set
• 44:48
  Speaker 3: everything on fire with all, with whoever was inside that
• 44:52
  Speaker 3: were alive and fucking fled because now he's being looked for.
• 44:57
  Speaker 3: And it's possible that this entity attached itself to Juan
• 45:02
  Speaker 3: at the very beginning of this movie, but that doesn't
• 45:04
  Speaker 3: really track the, Because nothing paranormal happens until he says,
• 45:09
  Speaker 3: who's that man behind you? Did he come with you?
• 45:12
  Speaker 3: And they were like, who's, what do you mean? He's like,
• 45:15
  Speaker 3: it's Fuenna or it's Rosenstock, but his face is all
• 45:19
  Speaker 3: burned and they don't see anything behind them. And then
• 45:22
  Speaker 3: the chair goes out. So it's like, was some part
• 45:25
  Speaker 3: of this a hallucination? Was this, and also that when
• 45:29
  Speaker 3: they come back to interview him, those officers, it's been
• 45:31
  Speaker 3: a fucking year too, right? He literally says, do you
• 45:35
  Speaker 3: remember these people that came in a year ago? And
• 45:37
  Speaker 3: I was like, oh, fucking year ago.
• 45:40
  Speaker 1: Okay. What? This, this leads me into, I'm going to
• 45:44
  Speaker 1: say my only gripe of the movie. And it's such
• 45:48
  Speaker 1: a bullshit nitpicky thing.
• 45:50
  Speaker 3: Give it to me. I want it. Tell me.
• 45:53
  Speaker 1: The most petty thing ever. When somebody is doing a
• 45:58
  Speaker 1: recording for like record keeping or evidentiary purposes. You are
• 46:04
  Speaker 1: never once, not ever going to say it is October
• 46:08
  Speaker 1: 2nd of the current year. If I listen to this
• 46:12
  Speaker 1: next year, this is not an accurate record. Who said that?
• 46:18
  Speaker 1: At the very end of the movie, the interviewer that
• 46:22
  Speaker 1: is talking to Juan, he goes, I'm so-and-so. This is
• 46:27
  Speaker 1: Officer Guzman. Just so you know, whatever you say doesn't
• 46:30
  Speaker 1: have any legal standing. And then he hits record and
• 46:33
  Speaker 1: he goes, it is October 2nd of the current year.
• 46:37
  Speaker 1: And we're speaking to Juan, what's his face?
• 46:41
  Speaker 2: Blumetti.
• 46:41
  Speaker 3: Blumetti.
• 46:42
  Speaker 1: Blumetti. do you remember seeing these three people meeting these
• 46:47
  Speaker 1: three people a year ago? Yeah. And they never say
• 46:50
  Speaker 1: what the current year is. And I'm like, Oh, what
• 46:54
  Speaker 1: the fuck? They're using this audio recording as record keeping.
• 46:58
  Speaker 1: That's not accurate record keeping.
• 47:01
  Speaker 3: No, I mean, you're not wrong, but this movie just
• 47:05
  Speaker 3: makes me think so much.
• 47:08
  Speaker 1: It's just layers and layers of, but why did you
• 47:12
  Speaker 1: do it this way? But it's not infuriating in the
• 47:16
  Speaker 1: sense of that was a bad choice. I don't understand this.
• 47:19
  Speaker 1: It's why did you do this this way? And then
• 47:23
  Speaker 1: not tell me why you're doing it. Because obviously that
• 47:26
  Speaker 1: line is written that way for a specific reason. But
• 47:31
  Speaker 1: I don't know what the reason is.
• 47:33
  Speaker 3: Well, and the other thing, too, at the ending of
• 47:36
  Speaker 3: that move at the at the ending when they're in
• 47:39
  Speaker 3: that room is they also tell them that the investigators
• 47:45
  Speaker 3: believe he may be involved with Claire's death. They explain
• 47:49
  Speaker 3: that forensics forensic. police found Juan's fingerprints mixed with his
• 47:54
  Speaker 3: wife's blood, not just in the bathroom, all over the house,
• 47:56
  Speaker 3: but they never finished the thought because he interrupts them
• 47:59
  Speaker 3: and says, did you bring, did he come with you?
• 48:02
  Speaker 1: So it's like, why did also, why did they say that?
• 48:04
  Speaker 1: What does that mean?
• 48:05
  Speaker 3: They don't further explain why the fingerprints are everywhere.
• 48:08
  Speaker 1: And I, and I'm totally fine. I'm really fine with
• 48:11
  Speaker 1: all the ambiguity.
• 48:13
  Speaker 3: But I, and I, cause I feel like this is
• 48:15
  Speaker 3: all intentional, but I'm not sure how to decipher it
• 48:18
  Speaker 3: and what Damien Rugna is trying to say.
• 48:21
  Speaker 1: Because they're not telling, like, yes, it's intentional, but they're
• 48:24
  Speaker 1: not telling us what the intention is.
• 48:27
  Speaker 3: Right. So it's like, I know there's connective tissue here.
• 48:30
  Speaker 3: I know all of this is done from a well
• 48:33
  Speaker 3: thought out or from a well-planned perspective. a storyboard screenplay
• 48:38
  Speaker 3: from a very good director, but I'm just not picking
• 48:41
  Speaker 3: up on this. Maybe the subtleties I'm missing. I don't know.
• 48:45
  Speaker 3: I would love to talk to Damien Ragna, but also
• 48:47
  Speaker 3: I'm terrified of him at the same time because both
• 48:50
  Speaker 3: of the movies he's made have absolutely just rocked me
• 48:54
  Speaker 3: to my core.
• 48:54
  Speaker 1: I mean, I mean, shit, reach out to Eduardo. He
• 48:58
  Speaker 1: probably knows him. Fun fact.
• 49:00
  Speaker 3: When I did the satanic Hispanics episode, I had a,
• 49:04
  Speaker 3: four of the five directors. The only one who couldn't
• 49:06
  Speaker 3: make it was Damien. And I told him, I was like,
• 49:08
  Speaker 3: you know what? That's probably for the best because he genuinely,
• 49:12
  Speaker 3: I don't know if I could look that man in
• 49:13
  Speaker 3: the face and ask him questions because he's traumatized me. Uh,
• 49:17
  Speaker 3: so they, they do, we do know each other. And
• 49:19
  Speaker 3: eventually I would like to reach out to him and
• 49:22
  Speaker 3: I like see if he can contextualize it for me.
• 49:24
  Speaker 3: Cause I'm a dumb, dumb, much like, uh, grave torture.
• 49:27
  Speaker 3: It was, uh, when we were talking to him about
• 49:30
  Speaker 3: that and we were speculating and he was like, watch
• 49:32
  Speaker 3: the movie again.
• 49:33
  Speaker 1: And I'm like, I love you. Listen to this one
• 49:37
  Speaker 1: piece of dialogue that is going to recontextualize the entire movie.
• 49:42
  Speaker 2: Yeah.
• 49:42
  Speaker 1: And it's only that one piece of dialogue that you
• 49:45
  Speaker 1: need to pay attention to. And I'm like, I love
• 49:46
  Speaker 1: you for not giving me the answer.
• 49:48
  Speaker 3: I love that, but also I kind of want the answer,
• 49:51
  Speaker 3: but no, that was the best answer I got from him.
• 49:53
  Speaker 3: But this movie does beg a lot of questions and
• 49:56
  Speaker 3: it does raise a lot of Uh, like, like I said,
• 49:59
  Speaker 3: just like, what are we doing here? But let's talk
• 50:02
  Speaker 3: about some of the spooky shit because this is where
• 50:04
  Speaker 3: obviously where this movie excels. Like you said, I like
• 50:06
  Speaker 3: what you brought up that every scare has like this
• 50:09
  Speaker 3: direct kind of meaningful setup, if you will. Um, the
• 50:15
  Speaker 3: first one that we really get outside of Clara going
• 50:18
  Speaker 3: back and forth is from Walter's perspective. We cut back
• 50:21
  Speaker 3: in time to before, uh, Clara has died and Walter's
• 50:25
  Speaker 3: trying to get a hold of Albrecht and basically they're
• 50:28
  Speaker 3: shutting him down. You know, they're like call back later, blah, blah, blah.
• 50:32
  Speaker 3: She needs evidence, whatever. So he's like, fine, I'll fucking
• 50:34
  Speaker 3: get you evidence. And this is one of my favorite
• 50:36
  Speaker 3: parts of a movie. When someone is suspecting that there
• 50:39
  Speaker 3: is something happening in the house and they actually get
• 50:43
  Speaker 3: proof of it on fucking camera, because that's why Albrecht
• 50:46
  Speaker 3: is there. Albrecht is there because she saw Walter's footage and,
• 50:50
  Speaker 3: And I love that. So we see, and that's the
• 50:53
  Speaker 3: thing I was going to send you. Did you catch
• 50:55
  Speaker 3: the face under the bed the first time he peeked down?
• 50:59
  Speaker 1: Yes. Holy shit.
• 51:01
  Speaker 3: I didn't catch that the first few times I watched
• 51:04
  Speaker 3: this because it's so quick. Because Walter looks under the bed,
• 51:07
  Speaker 3: and as he lowers the little blanket down and raises
• 51:11
  Speaker 3: his head, right as the camera starts, you know, kind
• 51:14
  Speaker 3: of panning up, this face just turns over in the dark.
• 51:18
  Speaker 3: And I was like, oh, God.
• 51:20
  Speaker 1: Oh, see, I thought you were talking about, so there's
• 51:24
  Speaker 1: a whole other- Face scene that you might, it's when
• 51:30
  Speaker 1: he flips his legs off the bed and goes to
• 51:34
  Speaker 1: stand up when he walks and like the cameras facing
• 51:38
  Speaker 1: him and the bed and it's like a full body
• 51:40
  Speaker 1: shot and he stands up and moves away as he
• 51:42
  Speaker 1: stands up. You can see the head under the bed
• 51:47
  Speaker 1: kind of pushed back a little bit. That's what I
• 51:50
  Speaker 1: thought you were talking about.
• 51:53
  Speaker 3: Oh, no.
• 51:53
  Speaker 1: Yeah.
• 51:53
  Speaker 3: When he looks under, because his bed starts shifting ever
• 51:56
  Speaker 3: so slightly and he is laying there. Yeah. So the
• 52:00
  Speaker 3: face turns over and then he tries to go to,
• 52:04
  Speaker 3: I believe he tries to go to bed. but he
• 52:06
  Speaker 3: sets up the camera and he angles it down from
• 52:09
  Speaker 3: his wardrobe to his bed. And the thing that he
• 52:13
  Speaker 3: captures is horrifying. The thing we saw underneath his bed,
• 52:18
  Speaker 3: we see in.
• 52:19
  Speaker 1: Its full form, it crawls out.
• 52:22
  Speaker 3: All jangly and fucking stands over him and watches him sleep.
• 52:28
  Speaker 3: And then just like fucks off into the wardrobe. Like
• 52:30
  Speaker 3: he's putting away a coat. Like I'm going to go
• 52:32
  Speaker 3: in here now. And he sees this footage and like
• 52:36
  Speaker 3: the next day, cause the camera has fallen and we
• 52:38
  Speaker 3: get even more scared because as he's watching the footage,
• 52:41
  Speaker 3: motherfucker pops up behind him. And I'm like, this movie
• 52:43
  Speaker 3: is so icky.
• 52:46
  Speaker 1: Like, I will say on that, on that same kind
• 52:51
  Speaker 1: of note, I do feel like they introduced a world
• 52:55
  Speaker 1: mechanic from, That they then essentially fucked off and never
• 53:00
  Speaker 1: mentioned again. And I feel like it was a really
• 53:02
  Speaker 1: missed opportunity. Like how you can only see these things
• 53:06
  Speaker 1: from certain angles. You have to change your perspective. Which, yes, cool.
• 53:12
  Speaker 1: They did it with the window scare. Absolutely perfect. But
• 53:16
  Speaker 1: I feel like they could have... done a whole lot
• 53:20
  Speaker 1: more with ooh something spooky happening let me just change
• 53:24
  Speaker 1: the angle so I can see what's actually going on
• 53:27
  Speaker 1: but they only use it like once or twice and
• 53:29
  Speaker 1: I feel like it's a like it's a world mechanic
• 53:31
  Speaker 1: that they could have gotten a whole lot more use
• 53:33
  Speaker 1: out of.
• 53:34
  Speaker 3: Well the Rosenstock does mention the two reality thing the
• 53:38
  Speaker 3: darkness and light and how there's these distinct realities occupying
• 53:42
  Speaker 3: the same physical space and time, which I really liked.
• 53:46
  Speaker 3: So it's basically the movie peeling back reality and discovering
• 53:50
  Speaker 3: that another reality is directly under ours. And I think
• 53:54
  Speaker 3: that that representation of the man being under the bed
• 53:57
  Speaker 3: is great. it's almost like these two existences are on
• 54:03
  Speaker 3: the same plane and occasionally they seep into one another.
• 54:07
  Speaker 3: That's the impression that I got. And darkness and light
• 54:10
  Speaker 3: has a lot to do with it because most of
• 54:12
  Speaker 3: the time, Every time we see that entity in Walter's room,
• 54:16
  Speaker 3: the lamp is unplugged. The fucking thing unplugs the lamp,
• 54:18
  Speaker 3: and then we see him. So I think it's a
• 54:20
  Speaker 3: matter of darkness and light, because also when Albrecht is
• 54:24
  Speaker 3: looking in the crack in the wall, there's light behind her,
• 54:27
  Speaker 3: but there's no light in the fucking wall. So it's
• 54:29
  Speaker 3: like these things kind of manifest in the darkness, it appears.
• 54:33
  Speaker 3: At least to me.
• 54:35
  Speaker 1: But I guess that's... That's where it starts getting a
• 54:39
  Speaker 1: little shaky. Okay, do they... They manifest in darkness, but
• 54:43
  Speaker 1: they breed in water, which is translucent. Or completely, like,
• 54:49
  Speaker 1: transparent if it's clean water. And it's seemingly running through, like,
• 54:54
  Speaker 1: city pipes, so it's clean, filtered water. So is it
• 54:58
  Speaker 1: they breed in darkness, or they breed and travel through
• 55:02
  Speaker 1: this thing? But I guess they're coming through the drains.
• 55:04
  Speaker 1: It's dark in the drains. I don't know. It's... it
• 55:08
  Speaker 1: starts getting like pulling at threads, too many questions.
• 55:12
  Speaker 2: Right.
• 55:12
  Speaker 3: There, there, there is a lot of questions for sure.
• 55:15
  Speaker 3: I mean, I can't, I can't disagree with that. There
• 55:17
  Speaker 3: are a lot of questions. And like I said, I
• 55:20
  Speaker 3: do like the ambiguity. I do like all that, but
• 55:23
  Speaker 3: there is a limit to where I'm like, all right.
• 55:25
  Speaker 3: And I don't, it doesn't hold me back from my
• 55:27
  Speaker 3: rating because I genuinely just, I love the story progression
• 55:30
  Speaker 3: and how everything gets paid off. But a couple other good,
• 55:35
  Speaker 3: I mean, this isn't even a fucking scare, but the
• 55:38
  Speaker 3: kid who just gets fucking creamed by that bus, just
• 55:42
  Speaker 3: absolutely demolished.
• 55:46
  Speaker 1: And then the thing that I told you right after
• 55:48
  Speaker 1: that you didn't even notice, did you go back and
• 55:51
  Speaker 1: see it happen? I did, I did, I had to.
• 55:54
  Speaker 1: The bus destroys this kid, and then as everybody's coming up,
• 55:58
  Speaker 1: you see the bus driver just get out and book
• 56:01
  Speaker 1: it the opposite direction.
• 56:02
  Speaker 2: Book it.
• 56:02
  Speaker 3: Yeah, Damien Ragnar really hates kids because between this scene
• 56:06
  Speaker 3: and the dog scene from When Evil Lurks, this man
• 56:09
  Speaker 3: does not like children. Also, in this movie, we have
• 56:12
  Speaker 3: a child who resurrects himself, well, resurrects, but gets out
• 56:15
  Speaker 3: of his own grave to sit at the table, and
• 56:17
  Speaker 3: you're like, man. Or, or, or....
• 56:23
  Speaker 1: Does he actually? What do you mean? Because we see
• 56:28
  Speaker 1: after they take him to the cemetery... And they bury
• 56:34
  Speaker 1: him in concrete. Yeah. Alicia went back and got him.
• 56:38
  Speaker 3: So you think she just brought him home the first time?
• 56:41
  Speaker 1: Maybe. Oh, my God. Fucking maybe. No, I mean. Because
• 56:47
  Speaker 1: she brought him back at the end of the movie.
• 56:49
  Speaker 1: Why didn't she bring him back the first time?
• 56:50
  Speaker 2: Oh.
• 56:52
  Speaker 1: This just goes into, what if just everybody is drinking
• 56:58
  Speaker 1: fucking tainted water? Alicia might have actually just been crazy,
• 57:04
  Speaker 1: and then she kills herself because she realizes she's actually
• 57:07
  Speaker 1: fucking crazy because she brought her dead son back again.
• 57:09
  Speaker 1: Wait a second. It was like a moment of clarity thing.
• 57:13
  Speaker 3: Wait a second.
• 57:15
  Speaker 1: All the paranormal scientists, they're all old, They're all doing
• 57:20
  Speaker 1: wacky ass experiments that seemingly go nowhere. Yano is working
• 57:27
  Speaker 1: exclusively with water. Yeah. Albrecht is working with exclusively magnets.
• 57:34
  Speaker 1: None of these scientific things have anything to do with
• 57:37
  Speaker 1: each other visually. And Rosenstock just has a bunch of fucking.
• 57:43
  Speaker 3: Electronics.
• 57:44
  Speaker 1: Gadgets.
• 57:45
  Speaker 3: Yeah, gadgets and gizmos. Okay, so... fuck I'm for I'm
• 57:49
  Speaker 3: not remembering the timeline.
• 57:50
  Speaker 1: And this is and plus with the shower running with
• 57:56
  Speaker 1: Clara that's a whole other level of tainted water because
• 58:01
  Speaker 1: if she's if the showers running steams going I'm sure
• 58:06
  Speaker 1: the ventilation is you get some steam smell with it
• 58:11
  Speaker 1: what if this is all just tainted ass fucking water.
• 58:17
  Speaker 3: Okay, I'm going to come back to this because I
• 58:20
  Speaker 3: had an aha moment, but I don't know if I'm right.
• 58:23
  Speaker 3: Tainted water, come back to that. Did the bus incident
• 58:27
  Speaker 3: happen before we saw the events at Walter's house? So
• 58:34
  Speaker 3: I think the events happened at Walter's house right before.
• 58:39
  Speaker 1: No, no, no. So the events have already happened at
• 58:43
  Speaker 1: Walter's house because Walter has secluded himself and put up
• 58:47
  Speaker 1: like a barricade. And the kid drinks tainted water. Oh,
• 58:54
  Speaker 1: there we go. Because he's like, stay away from the water.
• 58:57
  Speaker 1: Go away, go away. And that's what makes the kid
• 59:00
  Speaker 1: back up and get hit by the bus.
• 59:03
  Speaker 3: Oh my God, oh my God, oh my God. Because yeah,
• 59:05
  Speaker 3: I was thinking originally, when I didn't have the timeline correct,
• 59:09
  Speaker 3: I was thinking, maybe if if if Alicia did bring
• 59:13
  Speaker 3: the kid back because she got hit by the bus
• 59:15
  Speaker 3: maybe that was the thing but no it's the water
• 59:17
  Speaker 3: he drank the water too it's oh that's what it
• 59:20
  Speaker 3: is do we see do we see Walter drinking water
• 59:23
  Speaker 3: at any moment in time I don't know I wasn't
• 59:27
  Speaker 3: specifically paying attention to who was drinking water.
• 59:30
  Speaker 1: We don't, but we can only be led to assume
• 59:33
  Speaker 1: that because he's saying, I'm on sleeping medication and it's
• 59:37
  Speaker 1: not working, you don't take medication without water.
• 59:40
  Speaker 3: And he's telling him to get away and to not
• 59:42
  Speaker 3: drink the water. Oh my fucking God. I think we
• 59:47
  Speaker 3: are cracking this fucking movie.
• 59:49
  Speaker 1: Except for not, because it's only questions.
• 59:51
  Speaker 3: Well, it's speculation, but it's speculation I feel is definitely
• 59:55
  Speaker 3: adding up in some sort of cohesive way, because immediately
• 59:59
  Speaker 3: after that kid drinks the water, fucking plowed by a bus, dude,
• 1:00:03
  Speaker 3: get fucked. And then if she did dig him up
• 1:00:06
  Speaker 3: and bring him back the first time, that's not gonna
• 1:00:08
  Speaker 3: help any of the fucking possession and spiritual demon shit.
• 1:00:12
  Speaker 3: That's not gonna help, because then they put him... back
• 1:00:15
  Speaker 3: in this fucking fridge. And he's clearly still somewhat like
• 1:00:20
  Speaker 3: alive because he tilts his head towards the friend that
• 1:00:23
  Speaker 3: comes over. You can hear him crying in the cooler
• 1:00:26
  Speaker 3: and then the fucking cooler is shaking. So there's something
• 1:00:29
  Speaker 3: fucking going on with that kid. He might not be alive,
• 1:00:31
  Speaker 3: but he's definitely not dead. Fucking Jesus.
• 1:00:34
  Speaker 1: This movie. God damn.
• 1:00:38
  Speaker 3: Anyways, yeah, the tainted water. I mean, we kind of
• 1:00:40
  Speaker 3: already went back to that already. I mean, that's what
• 1:00:43
  Speaker 3: it has to be. Because she sets it up to
• 1:00:45
  Speaker 3: say that these things travel through water. And if they're
• 1:00:48
  Speaker 3: traveling through water and people are drinking that water, then
• 1:00:51
  Speaker 3: that is how those entities or demons can take over
• 1:00:56
  Speaker 3: another person's body. I mean, plain and simple. That's what
• 1:00:59
  Speaker 3: it is. And the people that are investigating it, like
• 1:01:02
  Speaker 3: you said, they don't want them to finally figure it out.
• 1:01:06
  Speaker 3: So they kill them.
• 1:01:07
  Speaker 1: I mean, like, that's what we got to go with.
• 1:01:09
  Speaker 3: I mean, that's what we got to go with. Finally here,
• 1:01:13
  Speaker 3: let's wrap up because we have to talk about literally
• 1:01:16
  Speaker 3: what I call the greatest jump scare of all time.
• 1:01:19
  Speaker 3: And I do not mean that like, I mean that,
• 1:01:22
  Speaker 3: I will say that fully with my whole chest.
• 1:01:25
  Speaker 1: And I will add one caveat to that. Okay. Is technically,
• 1:01:33
  Speaker 1: It's a fake out jump scare Because jump scares In
• 1:01:37
  Speaker 1: media have followed Such a traditional formula That you And
• 1:01:43
  Speaker 1: it's always on three You get the one, the two
• 1:01:47
  Speaker 1: And on the third You get the jump scare Almost
• 1:01:51
  Speaker 1: always And if it's not that It's a fake out
• 1:01:55
  Speaker 1: with a black cat We understand that And they give
• 1:02:01
  Speaker 1: you the one, the two, the three. You get the respite.
• 1:02:06
  Speaker 1: And on the and coming back, you get that blurred
• 1:02:10
  Speaker 1: out fucking face. And you're like, no. Yeah.
• 1:02:14
  Speaker 3: So when Yano is calling Fuentes across the street because
• 1:02:18
  Speaker 3: Fuentes is like, I am done. There is spooky shit
• 1:02:22
  Speaker 3: happening here. Yano's like, who, where are you? And he's like,
• 1:02:26
  Speaker 3: I'm in the house. He's like, well, who, who's in
• 1:02:29
  Speaker 3: the kitchen? Like there's, there's someone in the kitchen and
• 1:02:31
  Speaker 3: you're right. Like you said, Fuentes is like, okay, I'm
• 1:02:34
  Speaker 3: walking around. I don't see anybody. And you get Yano's view.
• 1:02:39
  Speaker 3: And it's this double, I mean, if you've seen, if
• 1:02:41
  Speaker 3: you've listened to this, you've seen the movie, but I have,
• 1:02:43
  Speaker 3: I have heard people just listen to the episode and
• 1:02:46
  Speaker 3: don't watch the movies. So I will explain it. It's
• 1:02:49
  Speaker 3: basically a double window, whatever you want to call it,
• 1:02:54
  Speaker 3: with a dividing line down the middle, like a metal
• 1:02:56
  Speaker 3: divider down the middle. So it's two windows. And Yano
• 1:03:00
  Speaker 3: is like, okay, I see him on this side, but
• 1:03:02
  Speaker 3: then he's not. It's like, it's the weirdest thing. I
• 1:03:04
  Speaker 3: can see him over here and not over here. And
• 1:03:06
  Speaker 3: you get, I think it's like maybe four or five, right?
• 1:03:11
  Speaker 1: And one thing that we have to mention with this
• 1:03:15
  Speaker 1: scare is Five minutes beforehand, Dr. Rosenblatt, Rosenstock, whatever. Rosenblatt.
• 1:03:24
  Speaker 1: He has just explained the alternate viewpoint thing as a
• 1:03:30
  Speaker 1: throwaway line.
• 1:03:32
  Speaker 3: The darkness, yeah, the darkness, the light.
• 1:03:34
  Speaker 1: And then as Yano is transitioning from left pain to
• 1:03:39
  Speaker 1: right pain, left pain to right pain, you're seeing the
• 1:03:42
  Speaker 1: different viewpoint because not only is he changing... his side
• 1:03:47
  Speaker 1: to side, he is also ever so slightly changing the
• 1:03:52
  Speaker 1: angle of what, cause he's kind of, he's kind of
• 1:03:55
  Speaker 1: cocking his head to the right, cocking his head to
• 1:03:57
  Speaker 1: the left. So he's getting like an ever so slight angle.
• 1:04:01
  Speaker 1: And as soon as he transitions past that middle divider, the,
• 1:04:06
  Speaker 1: the thing that he's seeing is gone.
• 1:04:08
  Speaker 3: Yeah. So that's what happens. He goes back and forth,
• 1:04:11
  Speaker 3: back and forth. And I should, I should also say
• 1:04:13
  Speaker 3: for anyone, you know, for, for everyone listening that, This
• 1:04:16
  Speaker 3: is across the street, right?
• 1:04:18
  Speaker 1: We are.
• 1:04:19
  Speaker 3: Yano is completely across an entire-ass street in this neighborhood.
• 1:04:24
  Speaker 3: And he's, like, a little tiny thing in, like, the
• 1:04:27
  Speaker 3: top left of the corner. You can see him there
• 1:04:29
  Speaker 3: in kind of gangly. So when we get the actual
• 1:04:32
  Speaker 3: jump scare where we're like, he's not supposed to be
• 1:04:35
  Speaker 3: there because this is, like, the fourth time, he is
• 1:04:39
  Speaker 3: at the glass.
• 1:04:40
  Speaker 1: So it goes from.
• 1:04:40
  Speaker 3: 50 to 60 feet away, maybe more, to two inches away.
• 1:04:45
  Speaker 3: And today, I know the jump scare is coming.
• 1:04:50
  Speaker 1: Gets me every time.
• 1:04:50
  Speaker 3: I jumped out of my chair. I went, oh, like that.
• 1:04:54
  Speaker 3: My wife came in to check on me. She was like,
• 1:04:56
  Speaker 3: are you good?
• 1:04:57
  Speaker 1: It's like the chair jump scare at the very end.
• 1:05:01
  Speaker 1: I know it's going to happen. I know that's how
• 1:05:04
  Speaker 1: the movie ends. And you fling the chair at me
• 1:05:07
  Speaker 1: straight to the camera and I go, huh?
• 1:05:10
  Speaker 2: Yeah.
• 1:05:10
  Speaker 1: So, yeah.
• 1:05:13
  Speaker 3: Uh, I mean, we didn't even go into fucking Alicia
• 1:05:15
  Speaker 3: and Fuentes being, being, uh, like their ex, their exes.
• 1:05:18
  Speaker 3: They used to be married. You know, Alicia says at
• 1:05:22
  Speaker 3: one point you tried to tell me all this wasn't real.
• 1:05:24
  Speaker 3: You tried to hide him from me. I saw the
• 1:05:26
  Speaker 3: video of you taking him. Like, why are you trying
• 1:05:28
  Speaker 3: to take my baby? That whole thing comes at the
• 1:05:30
  Speaker 3: end and it's like this plot twist. I was like,
• 1:05:32
  Speaker 3: oh my God, I didn't even, what the hell is happening?
• 1:05:34
  Speaker 3: That's his ex-wife. Well, no, I guess you do hear
• 1:05:37
  Speaker 3: that their ex is on the phone call when Yano
• 1:05:39
  Speaker 3: is investigating. So it sets that up. And then when
• 1:05:42
  Speaker 3: they finally meet, you're like, oh God, what's happening? This
• 1:05:44
  Speaker 3: movie's fucking crazy, okay? It is so fucking crazy. And
• 1:05:48
  Speaker 3: then are we to believe that this is his son?
• 1:05:52
  Speaker 1: Yeah. Yeah. So is he just so jaded that he
• 1:05:58
  Speaker 1: just brushes that whole section of his history out?
• 1:06:03
  Speaker 3: What whole section?
• 1:06:06
  Speaker 1: So, like, okay. Patricio is Fuentes' son. How are you
• 1:06:12
  Speaker 1: just so easily throwing him in a cooler?
• 1:06:16
  Speaker 3: He didn't, though. Fuentes didn't. Yano and Dr. Albrecht did.
• 1:06:20
  Speaker 3: Fuentes came back.
• 1:06:21
  Speaker 2: Oh, yeah.
• 1:06:22
  Speaker 1: Yeah, because he goes to the cemetery.
• 1:06:24
  Speaker 3: Fuentes came back, and he was like, where did he go?
• 1:06:27
  Speaker 3: Because he didn't want to move him. He was like,
• 1:06:29
  Speaker 3: don't move that kid. Like, don't move him. Because I
• 1:06:32
  Speaker 3: don't think, Yano definitely didn't know, because he hears that
• 1:06:35
  Speaker 3: message and turns around like, excuse me?
• 1:06:38
  Speaker 1: Hold on. They're exes? You're right. They're exes?
• 1:06:40
  Speaker 2: Oh, wait.
• 1:06:41
  Speaker 1: Hold on. There's a video of the kids? There's so
• 1:06:44
  Speaker 1: much fucking dialogue in this movie.
• 1:06:46
  Speaker 3: There is a lot of dialogue. So, honestly, I could
• 1:06:49
  Speaker 3: probably talk about this movie for another 30 minutes, but
• 1:06:51
  Speaker 3: I don't want to go on too long. Final thoughts, comments, concerns,
• 1:06:56
  Speaker 3: anything else you'd like to mention?
• 1:06:58
  Speaker 1: I mean, this is one of those movies that no
• 1:07:00
  Speaker 1: matter how many times you watch it, it somehow always
• 1:07:03
  Speaker 1: stays fresh because you're either going to figure something out
• 1:07:08
  Speaker 1: about this movie that may or may not be true,
• 1:07:11
  Speaker 1: or you're going to develop a whole nother layer of
• 1:07:15
  Speaker 1: questions that you know won't get answered and you're just
• 1:07:18
  Speaker 1: going to sit and speculate on for the next 20 minutes. Yep,
• 1:07:22
  Speaker 1: I agree.
• 1:07:23
  Speaker 3: I do think this, while it does have some decent ratings,
• 1:07:26
  Speaker 3: I do feel more people need to see this. And
• 1:07:29
  Speaker 3: of course, when Terrifier came out, it's never not confusing
• 1:07:32
  Speaker 3: to have a movie called Terrified and Terrifier.
• 1:07:35
  Speaker 1: Speaking of that name, I did appreciate that we got the,
• 1:07:41
  Speaker 1: they said the title of the movie.
• 1:07:43
  Speaker 2: Yeah.
• 1:07:44
  Speaker 1: Oh, Fuentes goes, what do you mean? I'm not scared.
• 1:07:47
  Speaker 1: I'm terrified. I was like, hey. You said it. I
• 1:07:51
  Speaker 1: love it.
• 1:07:52
  Speaker 3: Yeah, that was pretty good. All right, so that is
• 1:07:53
  Speaker 3: Terrified from 2017. Go check it out if you haven't.
• 1:07:57
  Speaker 3: Let's go into the final cut. All right, so taglines.
• 1:08:01
  Speaker 3: There's only one, and it's fucking fantastic. They're in your house,
• 1:08:04
  Speaker 3: and they're watching you. I love that. That's great. There
• 1:08:07
  Speaker 3: was like three things of trivia, but only really one
• 1:08:10
  Speaker 3: that was anything of value. Apparently, Del Toro planned to
• 1:08:14
  Speaker 3: produce an English-language remake of the film for Fox Searchlight after...
• 1:08:19
  Speaker 3: a screening at the Brussels International Film Festival. Director Damian
• 1:08:22
  Speaker 3: Rugna attached himself to direct a new version, but the
• 1:08:25
  Speaker 3: project stalled following the acquisition of 21st Century Fox by Disney.
• 1:08:29
  Speaker 3: Fuck you, Disney. I swear to God, I don't really
• 1:08:33
  Speaker 3: need remakes, but a Del Toro produced remake with the
• 1:08:37
  Speaker 3: same director?
• 1:08:38
  Speaker 1: Let's go. Probably the only way that it would have worked.
• 1:08:42
  Speaker 1: Let's go. Oh, man.
• 1:08:44
  Speaker 3: And then there was one goof, fucking at 13 minutes,
• 1:08:46
  Speaker 3: 45 seconds. When Walter lays his head back onto his bed,
• 1:08:50
  Speaker 3: a boom mic is visible in the mirror behind him
• 1:08:52
  Speaker 3: or whatever. So here we go. Rated 6.5 out of 10,
• 1:08:55
  Speaker 3: which equivalents to a 3.25 on the nightmare index. here
• 1:09:00
  Speaker 3: uh it has a aggregate score of 3.12 on letterboxd
• 1:09:04
  Speaker 3: 82 on the tomato meter and a 68 audience score
• 1:09:07
  Speaker 3: what are we giving this one cory.
• 1:09:14
  Speaker 1: I gave it a four.
• 1:09:15
  Speaker 3: All right, I have bumped mine from a four to
• 1:09:18
  Speaker 3: a five, or sorry, from a four to a four
• 1:09:20
  Speaker 3: and a half because ultimately the only thing I didn't like,
• 1:09:22
  Speaker 3: or the only thing that I have a critique about
• 1:09:25
  Speaker 3: Some of that CG was wonky as fuck.
• 1:09:29
  Speaker 1: And I get it. It's low budget. I was so
• 1:09:32
  Speaker 1: willing to not even bring it up because everything that
• 1:09:37
  Speaker 1: surrounds the wonky CG is so fucking good. So I
• 1:09:41
  Speaker 1: was like, okay, just don't even bring it up. Nobody
• 1:09:44
  Speaker 1: needs to know. But yeah, no, some of that CG
• 1:09:47
  Speaker 1: was really fucking bad.
• 1:09:49
  Speaker 3: To me, that's the only thing holding this movie back.
• 1:09:52
  Speaker 3: All my questions aside, I love the ride this movie
• 1:09:55
  Speaker 3: takes you on. So that gives us a 3.71 out
• 1:10:00
  Speaker 3: of 5. I forgot to include the Nightmare Index on
• 1:10:03
  Speaker 3: this sheet, unfortunately, but I know The Haunting is at
• 1:10:05
  Speaker 3: like a 3.63, so it's going to be up there, honestly.
• 1:10:09
  Speaker 3: It's going to be up there for sure. Similar movies
• 1:10:12
  Speaker 3: according to IMDb. We have Winnie the Lorks, of course.
• 1:10:15
  Speaker 3: The Dark and the Wicked, funny enough, I just watched.
• 1:10:18
  Speaker 3: Gonjium Haunted Asylum, we've already done an episode on that.
• 1:10:20
  Speaker 3: Go check it out. Caveat and Hell House LLC, similar
• 1:10:25
  Speaker 3: movies according to Letterboxd. We have Insidious, Undertone, The Conjuring, Sinister,
• 1:10:30
  Speaker 3: Paranormal Activity, and The Conjuring 2. Let's do some funny
• 1:10:34
  Speaker 3: reviews and get the fuck out of here.
• 1:10:39
  Speaker 1: So I have five with an Eric Cloud special. Oh, shit.
• 1:10:47
  Speaker 1: I love it. So a half-star review from Sig. This
• 1:10:53
  Speaker 1: movie is straight cheeks, bruh. Ong Paget, I mean, look
• 1:10:59
  Speaker 1: at that poster. And after doing some Googling, Ong Paget
• 1:11:03
  Speaker 1: is some other language for look how ugly.
• 1:11:07
  Speaker 3: Oh my, they were not a fan of this. I
• 1:11:14
  Speaker 3: was looking for some other ones just because I didn't
• 1:11:17
  Speaker 3: have too many, but I picked this one because of
• 1:11:19
  Speaker 3: how you opened, and it was four stars from Jersey. Okay, genuinely,
• 1:11:24
  Speaker 3: what the hell? Because that's basically what you said.
• 1:11:30
  Speaker 1: So I picked this one. So reviews for this one
• 1:11:33
  Speaker 1: is hard because a bunch of them are just not
• 1:11:36
  Speaker 1: in our language.
• 1:11:37
  Speaker 3: Yeah, true.
• 1:11:38
  Speaker 1: But this one... While probably unintentional, is wildly relevant.
• 1:11:44
  Speaker 3: To the movie.
• 1:11:45
  Speaker 1: Wildly. A half-star review from Trebor JW Dogwater.
• 1:11:56
  Speaker 3: I've never understood the diss of dog water.
• 1:11:59
  Speaker 1: I don't. Like their water bowl? No, it's because the
• 1:12:07
  Speaker 1: general meme of dogs drinking out of the toilet is
• 1:12:11
  Speaker 1: toilet water. It's shit. It's shit.
• 1:12:14
  Speaker 3: Well, that's funny because that goes right into this one
• 1:12:16
  Speaker 3: because it's a review that doesn't make any sense and
• 1:12:18
  Speaker 3: I always love those. One star from John. I didn't
• 1:12:21
  Speaker 3: understand a shit. A shit or just shit?
• 1:12:26
  Speaker 1: Okay, buddy. Keeping on with the shit theme, a five-star,
• 1:12:34
  Speaker 1: no heart, from SCL Fish Love, I shat my pants.
• 1:12:45
  Speaker 3: Oh, let's see here. I have, where did it go? Okay,
• 1:12:51
  Speaker 3: three stars from Aurora. A dead kid sits at my
• 1:12:54
  Speaker 3: kitchen table. I don't care if he's my kid. I'm
• 1:12:56
  Speaker 3: moving the fuck out of the house.
• 1:13:01
  Speaker 1: A five star and a heart from Typer K30. Let
• 1:13:05
  Speaker 1: the poor guy retire. No, he was so close.
• 1:13:10
  Speaker 3: Could you imagine? I think that's like my biggest takeaway
• 1:13:13
  Speaker 3: from this movie is this man was so close to retiring.
• 1:13:17
  Speaker 3: He was so close.
• 1:13:19
  Speaker 1: Uh, here we go.
• 1:13:20
  Speaker 3: Three and a half. What a name. Three and a
• 1:13:23
  Speaker 3: half stars from a circus rat. Lord help me if
• 1:13:26
  Speaker 3: I ever have to open a cabinet again.
• 1:13:33
  Speaker 1: And then this one is from Eric. It's a little
• 1:13:37
  Speaker 1: bit long, but I feel like I need to read
• 1:13:39
  Speaker 1: the whole thing to get the true Eric Cloudness of it.
• 1:13:43
  Speaker 3: We always gotta.
• 1:13:46
  Speaker 1: A four star and a heart from Eric Cloud. Love it.
• 1:13:51
  Speaker 1: Ghost stories are rarely my bag. I just can't get
• 1:13:53
  Speaker 1: behind entities crossing the boundaries of life and death to
• 1:13:57
  Speaker 1: slowly close or open a door. Luckily, this movie grounds
• 1:14:01
  Speaker 1: its scares and rings significant chills with smart mythology and
• 1:14:06
  Speaker 1: a mature cast able to convey wisdom while being frightened. And,
• 1:14:11
  Speaker 1: if you read Mark Carroll's slanderous review that claims I
• 1:14:14
  Speaker 1: screamed at one point, I would like to clarify that
• 1:14:16
  Speaker 1: it was a high-pitched battle cry as I saw danger
• 1:14:19
  Speaker 1: and was preparing to defend my wife. Oh, shit. I
• 1:14:28
  Speaker 1: think that's all.
• 1:14:29
  Speaker 3: I don't think I had another one. I'm trying to... Yeah,
• 1:14:34
  Speaker 3: you're right. All of these are just either in another
• 1:14:37
  Speaker 3: language or fucking paragraphs. My God.
• 1:14:40
  Speaker 1: Yeah. People, like, I get it. Here we go. It's
• 1:14:44
  Speaker 1: what Letterboxd is for. No, for sure. But motherfuckers, stop
• 1:14:49
  Speaker 1: writing your dissertation for your college film class in the comments.
• 1:14:54
  Speaker 1: I just want a funny review. Yeah. If I'm looking
• 1:14:59
  Speaker 1: for your take on what this movie is, I will
• 1:15:02
  Speaker 1: find whatever website you have that you post this shit on.
• 1:15:06
  Speaker 2: Sure.
• 1:15:07
  Speaker 1: Because if you're writing that kind of a long review,
• 1:15:09
  Speaker 1: you have a website.
• 1:15:11
  Speaker 2: Yeah.
• 1:15:11
  Speaker 1: We have a podcast.
• 1:15:12
  Speaker 3: The only time I ever write a long review is
• 1:15:15
  Speaker 3: for Hooptober and the CMC Challenge, but I don't do that.
• 1:15:19
  Speaker 3: Usually it's a quippy one-liner. And the last one I
• 1:15:21
  Speaker 3: have here, four and a half stars from Zara Gwynn.
• 1:15:24
  Speaker 3: I have a load of boxes under my bed specifically
• 1:15:27
  Speaker 3: so paranormal entities can't.
• 1:15:28
  Speaker 1: Hide underneath it. Alrighty then.
• 1:15:32
  Speaker 3: If you enjoy the show, please rate and review on
• 1:15:35
  Speaker 3: your favorite podcast app of choice. Follow us on all
• 1:15:37
  Speaker 3: social media, Facebook, Instagram, TikTok, Slasher, although I really have
• 1:15:42
  Speaker 3: stopped posting there. That's too much. Threads and YouTube at
• 1:15:45
  Speaker 3: Frightmares Podcast. Email stayspookyatoutlook.com. If you want to follow me
• 1:15:49
  Speaker 3: personally on Letterboxd, I am Dr. Proctor, all one word.
• 1:15:53
  Speaker 1: Corey, you are? Frightmares Corey. Booyah!
• 1:15:57
  Speaker 3: If you'd like to expand your movie podcast listening, be
• 1:15:59
  Speaker 3: sure to check out The Shameless Picture Show, The Dead-Eyed
• 1:16:02
  Speaker 3: Millennial Film Club, and One Week Rental as well. I
• 1:16:05
  Speaker 3: have to say that one slow every time because I
• 1:16:07
  Speaker 3: slur it if I say it fast. Like, I love
• 1:16:10
  Speaker 3: the name, but my brain can't fucking say it. Next week,
• 1:16:14
  Speaker 3: Derek and I will be doing Death Ship from 1980
• 1:16:18
  Speaker 3: as our wild card pick. It is streaming on Prime
• 1:16:22
  Speaker 3: and Screambox. I believe Ghost Ship is kind of loosely
• 1:16:26
  Speaker 3: based off of Death Ship. And Death Ship has got
• 1:16:30
  Speaker 3: the Nazi ghosts or something. So hopefully they get the
• 1:16:34
  Speaker 3: shit kicked out of them. But anyways, until next week, guys,
• 1:16:38
  Speaker 3: stay tuned and stay spooky. Thank you for listening.
• 1:17:19
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:17:23
  Speaker 1: please select the link in the description.