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Salem's Lot (2024) · Citizen Frame

• 0:00
  Music.
• 0:18
  You must do Barlow's bidding during the day. And you think the Glick boys are
• 0:24
  all caught up in this, too?
• 0:26
  I think the first boy was a sacrifice to consecrate the grounds for Barlow's arrival.
• 0:33
  The second boy, well, might make it sound like he was attacked after Danny's funeral.
• 0:41
  There is one way we can find out for certain if Danny's still dead. How?
• 0:47
  You want to exhume Danny Clank? Don't you?
• 0:55
  Excited to see a man's faith fail.
• 1:00
  Hey, everybody. Welcome back to another sweet, sweet episode of Citizen Frame.
• 1:05
  It's Halloween month and a half. That's right. Halloween month and a half.
• 1:10
  We're getting there. We're getting there.
• 1:13
  I guess that's what Gary Dobberman said about his film. We're about to talk
• 1:16
  about this was in limbo for a while, about three years, the remake of Salem's Lot.
• 1:24
  Now, there is a longer version of this.
• 1:28
  So I hate reviewing this film because I know the hate is, well,
• 1:31
  it's not getting hate. It's not saying it's okay.
• 1:35
  But the hate that it is getting, it's character development,
• 1:40
  not really the characters. That's kind of the big one.
• 1:43
  I can understand that. But you guys got to keep in mind, A, it's based on a
• 1:47
  Stephen King novel, and B, it's based also on a miniseries.
• 1:51
  So the many series has more leg room to play
• 1:54
  with now what does piss me off is some
• 1:57
  fucking executives in warner brothers decided to
• 2:00
  cut this man's work down there's an hour of
• 2:03
  this that has been edited at least and it shows at least arm yeah so i hope
• 2:10
  when they release on 4k i will pick up a copy that they do a director's cut
• 2:14
  because it's certainly not fair gary dauberman is not is He's not shy with Stephen King.
• 2:21
  He has a very success story with Stephen King. He wrote the two It films that came out.
• 2:27
  So, and he's part of the whole James Wan gang.
• 2:31
  He writes a lot of the horror, the Conjuring franchise, Nuns, so forth.
• 2:35
  But he knows horror quite well, and I actually like a lot of his stuff.
• 2:41
  Some doesn't work. I don't know that.
• 2:43
  But certainly some of it does. And he's definitely the right man to get on board to do this film.
• 2:48
  But yeah, James Wan and Stephen King are actually credited here as executive producers.
• 2:54
  Yeah. Well, Stephen King will always get that credit. And James Wan is the producer
• 2:58
  of this. He wanted to do Salem's Lot.
• 3:02
  So, and he kept in the family. Gary Dobberman is obviously, like I said,
• 3:06
  he's been with the James Wan group, Atomic Monster for quite a while.
• 3:10
  So, so yeah. So, you know, I don't know.
• 3:14
  I don't think it's the film's fault. This has nothing to do with the film,
• 3:17
  why it got benched. this was because HBO was going through a match transition,
• 3:21
  it's no longer HBO Plus, it's not HBO Max there are five, there are,
• 3:26
  cancelling films that are already filmed i think they did
• 3:29
  that with batgirl or something batgirl yes so they're
• 3:32
  just kind of backpedaling on you know we
• 3:35
  saw the original justice league which was terrible then we see the
• 3:38
  director's cut it was fucking a masterpiece it's like
• 3:42
  i don't know some executives in warner brothers don't think
• 3:44
  don't i don't think they know what they're doing it's no no the
• 3:47
  problem is is with so so many
• 3:50
  of these executives is that they don't
• 3:53
  give a fuck about the art of filmmaking or storytelling
• 3:56
  and it's just not in their blood what they
• 3:59
  are is businessmen and they're not very good businessmen
• 4:02
  either i would say and and that's the issue they don't give a single shit all
• 4:07
  they're interested in is dollars and i understand that obviously filmmaking
• 4:11
  is a big business a massive business but whenever it's basically destroying
• 4:17
  the art and the art form, then you have serious issues.
• 4:22
  Yeah. We talked about that recently with 70s, where producers...
• 4:30
  Trust their directors and walked away, let them handle everything.
• 4:35
  And that's where the Spielbergs, the Lucases, all these guys were born,
• 4:40
  you know, the Coppolas and the Scorseses.
• 4:42
  Freakin'. Freakin' were just, you know, what Freakin' got away with was a fucking unheard of.
• 4:48
  I was watching videos about him last night and wow.
• 4:52
  Yeah, so, but, you know, commando filmmaking. We just talked,
• 4:56
  recently just talked about that with George Miller. Yeah.
• 4:59
  And that's gone now. And it's sad because I just hope we get to see the director's
• 5:06
  cut of this film. And if we do, I'll be very pleased.
• 5:09
  But unfortunately, I have to go with what we see. Yes, that's it.
• 5:14
  So, but we're going to jump into it and see what happened.
• 5:18
  Or if Salem's Lot is, you know, the curse that it is.
• 5:25
  Or what do you call it? the curse that has been given since its benching a couple of years ago.
• 5:31
  I think what will also always go against this film anyway will be those who
• 5:38
  are very familiar with the original novel and the 1979 series.
• 5:43
  Maybe even the 1979 series more so
• 5:46
  because there's obvious direct scenes that are
• 5:49
  obviously there's going to be direct scenes that are in both because it's based
• 5:52
  on the same source material and novel but if you sort of scene comparison the
• 5:58
  79 with this this does not come out well okay we'll jump into it as trevor just did,
• 6:09
  fucking hell i haven't even done i can't deal with you anymore i'm gonna bench
• 6:13
  you all right as we know sam's lost based on the 1979 stephen king novel and
• 6:19
  of course the 1979 Tobey Hooper miniseries, both with the same name.
• 6:24
  Strangely enough. Keep in mind, let me finish, please, Trevor.
• 6:27
  Let me fucking finish. Oh, I'm going to beat you with the stick.
• 6:32
  Go for it. Keep in mind before Trevor gives you any opinion whatsoever,
• 6:35
  and I'm saying this aggressively, he liked Return to Salem's Lot.
• 6:40
  Oh, I've got to say something really outlandy here on this about Return to Salem's
• 6:45
  Lot. Why are you still talking over me?
• 6:48
  I have to edit you out now.
• 6:51
  I hate life people i hate life you're
• 6:56
  gonna speak i just give the people what they want go ahead trevor like return
• 7:01
  to salem's lot okay keep that in mind the one of the reviews one of the worst
• 7:06
  review films of all time so don't listen to his opinion so when i i i just i
• 7:13
  can't i can't do this at 9.30 night with you. I just can't.
• 7:17
  I just want to end my life. Where's Barlow?
• 7:23
  Our worst team's Mason.
• 7:25
  Now, we're going to kind of jump into the characters here a little bit.
• 7:31
  And this one, we got Ben Mears, the usual. We got Ben Mears played by Louis
• 7:35
  Pullman, or I like to know him as Bill's little son.
• 7:38
  Ben Mears was played famously by David Soule. You got Mackenzie Lee,
• 7:42
  who's playing Susan Norton, which was played famously by Bonnie Bedelia.
• 7:46
  You've got, then you got the rest of the cast. The only one who's kind of replaced
• 7:50
  is Bill Camp, is Matt Burke. He's replacing Lee Ayer's role.
• 7:55
  He played Jason Burke. He just really changed the name. You've got Spencer Tree
• 7:59
  Clark playing Mike Ryerson, who was famously played by Jeffrey Lewis.
• 8:04
  You've got Starker, who was played originally by James Mason.
• 8:07
  In this one, he's played by a guy I like to see, but I think really,
• 8:10
  really, really underused, is Pilo Azbeck. We talked about him with Samaritan.
• 8:16
  He always plays a pretty good bad guy, so I don't think they should.
• 8:19
  I think they should have utilized that a little more.
• 8:21
  You've got, yeah, just kind of
• 8:23
  a moss bit. And then you've got a couple of people that were written out.
• 8:27
  Again, we don't know if they are the original cut.
• 8:30
  That's what I got so far. Okay. Can I speak? Do you mind? Yeah.
• 8:35
  Oh, you want to interrupt me again before I can even host? Yeah,
• 8:39
  please. No, please. But thank you for asking. Yeah, yeah, no worries.
• 8:42
  Yeah, I mean. If you bring up an ending, if you bring up anything that we haven't
• 8:47
  talked about, I'm going to, I'm going to. I stole the jam out of your donut, right?
• 8:52
  Who the fuck stole the jam? Yeah, exactly.
• 8:56
  No, again, right, obviously the novel is a novel, right? And it's quite a big novel, to say the least.
• 9:03
  That's why, one of the reasons it works so well with the 79,
• 9:07
  here, whenever it's compressed, you're going to lose characters,
• 9:10
  characterization, and it just doesn't work.
• 9:13
  The original and the original novel,
• 9:17
  of course, is basically Dracula meets a soap opera
• 9:19
  set in small town Maine and it
• 9:23
  works it's pulled off in both so it is pulled off greatly you know 100% he can't
• 9:29
  even say it himself it's basically his version of Dracula but set in Maine small
• 9:33
  town Maine Jerusalem's Lot but whenever you compress things remove characters
• 9:38
  and take all of that human drama and characterisation out of it you're not left with much,
• 9:43
  first of all you can't compare this to the original Salem's Lot You can't help
• 9:47
  it, but whenever you're watching it. I don't care.
• 9:49
  That's the problem with people like yourself and other reviewers.
• 9:53
  They're not doing that. That's not fair to this filmmaker.
• 9:56
  Now, this guy is, it's not. But you can't help it?
• 10:00
  So, yeah, you can. If you've seen the original, you cannot have it?
• 10:03
  No, it's because you're close-minded.
• 10:05
  I'm not close-minded. Yes, you are. You're very close-minded.
• 10:07
  I haven't even spoke yet. Let me finish. Especially with remakes.
• 10:12
  This is just not you, Trevor. It's pretty much everybody.
• 10:16
  No, you're not touching the source material. Fuck off. But, first of all, was this necessary?
• 10:22
  But, yes, it's been butchered by the studio. And I feel sorry for the guy who made it.
• 10:27
  I don't say it's butchered. I still think we have a solid movie here.
• 10:31
  I don't. Sorry. That's fine. I'm going to tear. I'll come at you.
• 10:36
  I'll go scene by scene. This is going to be a nine-hour podcast.
• 10:39
  I'll go after it all night long. I'm up for it. Let's do it.
• 10:44
  Oh, Jesus Christ. I'm not. Let's just end this now.
• 10:48
  Fucking hell. I like the opening credits.
• 10:52
  I like the opening credits. And I like how they have a map, and the map says
• 10:57
  you'll trail the blood and the blood's representing all the blood that Barlow
• 11:02
  and Stark are leaving behind.
• 11:04
  But also... And how it leads, until the final credits, says Salem's Lot to Jerusalem's Lot.
• 11:10
  It is kind of a nice little, kind of a quick prequel, I guess you could say.
• 11:14
  Yes, it works very well because actually you also get newspaper clippings of
• 11:17
  the history of the Marston house because the Marston house is a character in
• 11:21
  itself, which we sadly don't see enough of in this as well,
• 11:24
  where it's basically, it's not even connected to vampires as
• 11:27
  such it's just this whole concept of a
• 11:30
  house that is evil and it attracts
• 11:34
  evil because in the backstory there's been all
• 11:36
  these murders over the years happening on it and bad things always happen on
• 11:40
  it and it's almost like evil you know Barlow and Straker were attracted to it
• 11:45
  even subconsciously because of that so we do see little glimpses of this in
• 11:49
  the opening credits with the newspaper clippings and stuff and later on when
• 11:53
  Banes at the library Yeah.
• 11:55
  I mean, that's pretty much embedded, and everyone knows pretty much about the
• 12:00
  Margin House. And I kind of like they take that away.
• 12:03
  They go a different direction. Because my big flaw of the original Salem's Lot is the ending.
• 12:08
  You agree with that. The ending was very rushed and stupid, quite frankly.
• 12:12
  Let's go to Mexico and fight vampires.
• 12:15
  So they kind of tweaked that a bit in this waxy. They tweaked quite a bit, and we'll dive into it.
• 12:20
  But I like the fact they take the Margin House out of it because we've seen
• 12:24
  enough of The Marsden House.
• 12:25
  The remake still stays with source material, the basics, but they make it their own.
• 12:30
  Fright Night is a perfect example. We haven't done it yet, but we'll certainly
• 12:34
  compare Apples to Oranges with the original Fright Night.
• 12:36
  And the new Fright Night, both are fucking great films, but I actually think
• 12:39
  the remake of Fright Night is a better film.
• 12:42
  I think Colin Farrell and David Tennant steal that movie, and they're actually fantastic in it.
• 12:49
  And not to take away from, obviously, Chris Randon,
• 12:54
  We might get to that eventually. Right, we'll argue about that for sure.
• 12:58
  But yes, that's one for the future.
• 13:01
  But I do like some really nice shots throughout this entire film.
• 13:07
  And there's a nice shot where after Strakker, is it Straker or Strakker?
• 13:14
  Straker? Straker. Straker, right? Yes, Straker. I'm confused.
• 13:17
  So Straker gets these guys to move, kind of like the same opening we had in the original. Yes.
• 13:21
  And he pays these guys. And there's a nice shot where one guy's,
• 13:25
  I'm not going to open these doors.
• 13:27
  He's like scared of their, you know, you obviously know that he's scared of the house.
• 13:30
  And he opens up the cellar doors and you just see blackness and he's just looking
• 13:36
  and there's calmness in the background and just blackness.
• 13:40
  And all of a sudden you see this red glow going down the stairs and into the cellar.
• 13:44
  It's a nice little misdirect because it ends up just being the moving van.
• 13:49
  Yeah. It's red lights moving backwards to back up.
• 13:52
  But stuff like that, this film has got a lot of that going for it.
• 13:59
  But, and then there's a shot where he's going to, they're delivering the coffin.
• 14:04
  And then we zoom in on the coffin a little bit and you hear a little noise coming
• 14:09
  out of the coffin and one of the delivery men's eyes go white because he's hypnotizing them. Yes.
• 14:14
  Which I kind of like to see that. I never see the hypnotizing in the last one, the original that is.
• 14:18
  So i do like to see being able
• 14:21
  to trance somebody before he attacks well also going with
• 14:24
  the original novel as well the crosses glow
• 14:28
  in the original novel i believe i mean it's been a long time but yeah so they'll
• 14:32
  have that in here as well which is in keeping with the original i believe which
• 14:36
  you don't which we don't have actually i think in in the 79 version i can't
• 14:42
  remember I think they do glow. Maybe a bit.
• 14:45
  Yeah. I can't remember. But yeah, so I do like that. And they really emphasize that in this one.
• 14:52
  So making his victims vulnerable before he attacks. I do like it.
• 14:56
  I do love the opening credits, not the opening credits, but the song they use, Sundown.
• 15:01
  It's a great song by Gordon Lightfoot.
• 15:04
  And then they give you a slice, they paint, they like to let you know where
• 15:08
  you are. So they give us, during the song, they give you this nice glimpse of the small town here.
• 15:12
  Dog Day Afternoon is playing in the drive-in. It's right there, you know, it's 1975.
• 15:18
  Setting the time for the viewing audience. There's a nice glimpse of Christine in the garage. Yes, yes.
• 15:27
  Also, 1975 was when the original novel was published by Keane.
• 15:31
  Also, just jumping back a bit to the opening credits, the title of Salem's Lot
• 15:36
  is actually the same font as the original novel, the original publication of
• 15:41
  the novel, which was a nice touch.
• 15:44
  Okay, I didn't see that. I wouldn't have caught that, but there you go. That's all right.
• 15:48
  He does a lot of superimposes. So when you go to,
• 15:52
  when you meet the Crockett, the realtor, who had a bigger part in the original, obviously,
• 15:58
  he has this logo and they cut it and they focus in on the logo and they cut
• 16:03
  away and it becomes the stairway over at Ava's house, the one who's,
• 16:07
  you know, he does the rooms for rent. Yes.
• 16:10
  And that's where Ben Mears gets his room. There's a lot of that in this.
• 16:14
  There's also a nice same thing with, he does the same thing with the peanut
• 16:17
  butter and jelly sandwich and stuff like that. Nice cutaways and nice edits
• 16:21
  to move to another, nice transitions to another scene.
• 16:24
  This is full of those. So if you appreciate that kind of style of filmmaking,
• 16:29
  you know, look beyond that this is a remake. This is a remake.
• 16:32
  Maybe find something like that to give it some, this film more worth than people are giving it.
• 16:37
  Because I do think a lot of work did go into it. It's got problems.
• 16:41
  I'm not going to sit there and kiss its ass.
• 16:44
  A couple of big ones to me is Mark and the Glick brothers.
• 16:48
  Now, these guys were key in the original Salem's Lot. The prop,
• 16:52
  now I did like the setup for Mark.
• 16:54
  When you first meet him, he's kind of being bullied, but it shows up he can stand up for himself.
• 16:58
  I was actually okay with that. I just think the character in the original was
• 17:02
  a little more reserved, a little more shy and quiet.
• 17:05
  A little more believable. That would have been a better arc for that character
• 17:09
  to transition into more of a hard ass rather than already being a hard ass.
• 17:16
  Although I would say Mark is probably Overall the most Interesting in this version
• 17:22
  The most interesting and best character Of the entire film I completely disagree
• 17:28
  Burke is the best character I couldn't stand the Glick boys in it I thought
• 17:33
  they were just cutesy Well they're not in it enough to give a shit,
• 17:36
  They're not in it enough to give a shit, you know? But, Burke,
• 17:40
  no, the teacher is by far. No, he's good, yeah.
• 17:44
  They're all there to do their jobs. I mean, people are like,
• 17:47
  oh, I didn't get into characters. Well, no offense. I didn't give a fuck about
• 17:50
  the characters in the original. You should.
• 17:52
  No, nobody did. They're the ones that carried the story. Nobody did.
• 17:56
  I did. No, you didn't. We made fun of them the whole time.
• 17:59
  No, no. Well, Ben Bears. You need to listen to the podcast again,
• 18:02
  okay? And a lot of it as well is to do with the realization.
• 18:04
  The realization, a.k.a.
• 18:06
  The acting, is bland as hell here.
• 18:10
  Oh, but over there. I can't remember the actress's name who plays Susan here,
• 18:14
  but boy, she is annoying.
• 18:18
  She's not really in it enough for me to care. Bonnie Bedelia was not.
• 18:23
  That whole lovey-dovey thing was terrible in the original. We made fun of it.
• 18:29
  No, it's not. It's played quiet. It's played more reserved.
• 18:33
  Oh, I teach it very well. to me and her mum as well her mum makes the movie
• 18:38
  at the end when she goes to the shotgun,
• 18:40
  for me the character of Marcus, well he was always very interesting to me anyway
• 18:45
  because he's like a horror kid and he's become that trope where you know the
• 18:49
  smart-out like kid in a horror film who knows everything so I always liked that
• 18:54
  type of character but I mean don't get me wrong,
• 18:56
  I'm not saying he leapt off the screen but you know out of them all for me I
• 19:02
  found him the most likable the priest is sadly wasted here a lot as well,
• 19:07
  yeah there should be more with him I do
• 19:11
  like his death even though it's off screen because I like when Barlow says something
• 19:14
  to him it's pretty good but in the original novel Barlow makes him drink his
• 19:18
  blood so he can no longer enter a church so I would love to see something like
• 19:22
  that explored but again they don't have the time you know because it's so cut down.
• 19:29
  The scene where Stryker is,
• 19:33
  he approaches the boys and he
• 19:36
  asks them if you want to lift and danny and says no
• 19:39
  we're okay thank you mister and he just
• 19:42
  kind of stares at him for a moment and so
• 19:45
  when there there's a nice setup where they decided to walk through the woods
• 19:48
  and the whole thing is shot where again i'm looking more of the artistic point
• 19:53
  of view rather than comparing it to salem's lot now the original I know Sam
• 19:57
  was always fun because he had the wind picking up and a little fog coming in and the kids get lost,
• 20:03
  confused and dazed where he is. And then he runs into...
• 20:07
  James Mason, any caffeine?
• 20:12
  We got to think of the boys, and it's a nice scene.
• 20:16
  It's kind of like a little misty in the background as sunrise,
• 20:21
  I mean, sunset's coming, and you just see them in the shadows walking through.
• 20:26
  It's almost like cartoonish, almost.
• 20:29
  And then as he's kind of drifting further apart from his brother,
• 20:33
  we see Strucker come right behind him and grab him. I thought that was an effective
• 20:38
  little scene. I liked how they did that.
• 20:40
  Again, they're doing something different. Yes, he gets kidnapped by the same
• 20:43
  guy that you did in the original, but they did something different.
• 20:47
  They just didn't do a copy and paste.
• 20:49
  Because quite frankly, the stuff they do paste from the original kind of doesn't work.
• 20:54
  Exactly, because you're comparing it to the original. But you know what does
• 20:57
  work? But we'll have it later on in the finale, but we'll get to that later on.
• 21:01
  I think that's a good change that they make, but it's probably the strongest
• 21:05
  part of the film, we'll get to that later on but yes,
• 21:09
  I mean anytime I'm watching scenes like this or even later on with you know
• 21:13
  the wrapping Mark's window or you know the stuff with the gravedigger and stuff.
• 21:19
  It's just you can't help it, you're comparing it to the original and it doesn't
• 21:23
  it doesn't compete in any shape or form.
• 21:26
  Yeah but those are very far and few between scenes, there's not that many here that they do that for.
• 21:32
  I'll say one thing, the guy They make it their own. And I'll,
• 21:35
  I'll, I'll, there's another, there's another great scene.
• 21:37
  For instance, we never saw the kid get it. We never saw a little bastard get eaten.
• 21:42
  And so Ralphie, whatever his fucking name was.
• 21:46
  And I love the fact the scene's kind of dragged out a bit and you only,
• 21:50
  you see it through the point of view of his eye, through a little,
• 21:52
  through a, through a knapsack, whatever it is. And. Yeah.
• 21:56
  And then you see Barlow in glimpses as he's coming down to feed on this poor kid.
• 22:01
  And then as he's being fed, you don't see it. You hear it.
• 22:06
  You hear the kid screaming and you hear the breaking of the skin and tearing into him.
• 22:12
  It's actually quite effective. You couldn't do that because you couldn't get
• 22:15
  away with that back in 79 TV.
• 22:17
  But it fucking works. And it does really play well.
• 22:22
  This film is a 15 certificate in the UK.
• 22:25
  I don't know why it is because it should
• 22:28
  be a pg-13 at the most because there's
• 22:32
  very little horror here for a
• 22:34
  horror film and i have to say and i have to be completely honest
• 22:37
  the kurt barlow and straker
• 22:40
  here are incredibly weak whether you've seen the
• 22:43
  original or not and the weekend underused i
• 22:47
  get no pleasure from saying stuff like this i
• 22:50
  want stuff like this to be good but I have
• 22:53
  to be honest no I think you and most
• 22:56
  other people already prejudged this film you do it a lot the other one does
• 23:00
  it I don't I'm just taking it right now I'm seeing this film a lot clearer than
• 23:06
  you guys are because you don't want to you don't want to see it you don't want
• 23:11
  to see it you already judged it right there this is a 15.
• 23:16
  Everything has to be an 18 with you the problem is the original film was PG G.
• 23:22
  So that's shit then? I don't understand your rating system. No,
• 23:24
  what? A PTA? Not in the UK. It was a hard 18.
• 23:28
  Oh, bullshit. It fucking was, and I'm telling you. Salem's Lot.
• 23:32
  I'm fucking telling you, it was. Oh, shit.
• 23:36
  And by today's standards, it's probably G. Not at all. It was a hard 18.
• 23:41
  I'm telling you now. Now, I'm saying that too before.
• 23:44
  Back then, they did slap 18 certificates very casually
• 23:47
  on anything really remotely to do with horror but if
• 23:50
  i i am almost certain in my mind that this was
• 23:52
  a horror 18 when i rented it on video yes it was
• 23:55
  shown on tv but you can also you could also rent it
• 23:58
  on video at the time which i believe was the
• 24:01
  first time i saw it i think i can't remember i might have seen it on the tv
• 24:05
  showing because don't forget tv would have cut it to bits anyway and censored
• 24:09
  out a lot of stuff but but it was definitely an 18 certificate this should this
• 24:15
  version should be at least a PG-13. There's no horror in it.
• 24:20
  Or scares. If we think it's made for kids. This is a lot more violent than the original Salem's Lot.
• 24:27
  Not for me. That's the best thing they say the fuck word like 300 times. Ooh, agey.
• 24:32
  Yeah, again, your reasons don't make any sense.
• 24:37
  So in that case, the original Sam's Lot wasn't violent.
• 24:41
  But it had horror. It had suggested horror.
• 24:45
  Oh my god, it's suggested. That's
• 24:47
  your escape. Because Toby Hooper was directing it and he knew. Oh, okay.
• 24:52
  So you got the guy who directed Texas Chainsaw that makes it horror.
• 24:55
  Okay, got it. No, because he knows what he was doing whenever he was making
• 24:59
  it. He knew what he was doing whenever he was making it.
• 25:01
  And the horror works amazingly effectively, along with the likes of James Mason
• 25:07
  and Reggie Nelder, or Nelder, I'm not sure which way you pronounce it.
• 25:12
  You know, even the scene where Barlow enters Mark's house, you know,
• 25:15
  with his parents, sir, again, it's so effective in the 79.
• 25:19
  Here, it's just, so what? But, you know, this film is, it's just weak and bland. I don't hear it.
• 25:28
  I don't, I just, it's completely forgettable. I'm sorry to say that,
• 25:32
  but that's just my honest opinion on it.
• 25:35
  That's fine. So when Ralphie shows up. Yes. From the dead.
• 25:41
  The teeter-tot scene, they kind of go away from the window scene for this one.
• 25:45
  They want to do something different. And this is where I think they should have done that period.
• 25:49
  Instead of taking bits from the original, I know they wanted to nod the hat,
• 25:53
  and I get that, I suppose.
• 25:54
  But I think it's more damaging to do that than to do something different.
• 25:59
  And they do this with the teeter-totter, which I really enjoyed.
• 26:03
  Again, you're playing with the fog, so you can hide what's in the background.
• 26:06
  And the teeter-totter comes down as if somebody's sitting on it from the other end.
• 26:10
  That's fucking creepy to me. I enjoyed that.
• 26:13
  That's more than all I need to see to be creeped out, kind of replacing the
• 26:18
  scratching at the window, which we will get in a few moments.
• 26:22
  So I do like when he's grabbed from above and then he comes in,
• 26:26
  he's still alive, but obviously it doesn't take and he ends up dying. Yeah.
• 26:31
  But that whole sequence of events, I enjoyed.
• 26:35
  And the great thing about it, what they do on this one, is when Ralphie's gone,
• 26:39
  he disappears, there's a manhunt, and then it says two weeks later.
• 26:45
  The one thing I didn't like about the original Sam's Lot is that I wanted fucking timestamps.
• 26:50
  Because I was getting confused how quick their relationship was moving,
• 26:54
  who was, wait a minute, how many kids are missing now within this time period?
• 26:57
  We never knew. This one at least gives you, and they understand the sense of
• 27:02
  urgency in this one. They understand people are leaving.
• 27:05
  They understand people, kids are dying and the whole town is actually turning.
• 27:10
  But it's thrown so quickly here. When the original, they kept it very simple, which is fine.
• 27:16
  I'm not obviously disrespecting the original, but they went smaller scale.
• 27:20
  With this one, the whole town's being obviously taken over.
• 27:25
  But it just happened so quickly here. this one and we don't see enough of you
• 27:29
  know the town folks leaving or you know what's been happening to them or their
• 27:33
  drama, their lives or anything so therefore because we don't see enough of them we don't care,
• 27:39
  as an audience you know.
• 27:41
  Yeah again I can't speak for what was cut out and what was not but like I said
• 27:46
  if I ever see the original and I see that kind of stuff in it and this man's
• 27:49
  work's been you know that would piss me off because I would love to see a longer
• 27:53
  version of it. I really do.
• 27:56
  Then we got the Mike the Gravedigger scene so they played around with it a little
• 28:00
  bit helped me get me out of the coffin,
• 28:03
  even though that's not a bad scene actually it's not
• 28:06
  a bad little scene they tweak it a little bit than the original he jumps on
• 28:09
  from behind him still got a little creepy and Mike's Spencer Tree Clark's very
• 28:14
  good in it I like I actually like him in it it's tough to replace Jeffrey Lewis
• 28:18
  I think Jeffrey Lewis pulls it off a little better but that's not really Jeffrey
• 28:23
  Lewis has that face Exactly,
• 28:25
  he's creepy looking anyway Yeah,
• 28:28
  so it works better for him,
• 28:30
  He holds his own, but I still like when he just pops up in the coffin and then
• 28:35
  we cut to a commercial break.
• 28:38
  Yes. The pauses. Yeah. I would say, again,
• 28:41
  which makes me think that there is a lot of good stuff left on the cutting room
• 28:46
  floor by whoever, but there's a particular shot whenever it's later on,
• 28:50
  it's a bit later on from here,
• 28:52
  whenever you find out that the town is deserted and many of them have been turned into vampires,
• 28:57
  which we don't see any of, but there's a particular shot
• 29:00
  that really made me think yeah there was potentially
• 29:03
  something good they could have done here but it seems to
• 29:06
  have been cut to shreds where ben and susan
• 29:09
  i think it's susan and the doctor woman basically look back
• 29:13
  and into the town and all the vampires are there like standing on
• 29:15
  the buildings and stuff yeah i love that shot yeah that
• 29:19
  that's the best shot in the film actually and yeah it's a great
• 29:21
  shot but it does explain that that's why it's quiet and they do quite mention
• 29:27
  it quite a bit at times uh quite a bit where is everyone what's going on here
• 29:31
  it would have been an even better and more effective shot if it had had more
• 29:35
  context in that we had actually seen some glimpses of what happened to these
• 29:40
  people or got to know them a bit,
• 29:42
  but we don't need we don't need to see you know people being attacked every
• 29:46
  10 seconds no i know that but it would have certainly added to the drama and
• 29:50
  the tension of whenever we eventually do see this very effective shot,
• 29:54
  it would have made it so much more effective.
• 29:57
  I think he works, instead of glorifying it with violence and stuff like that
• 30:02
  24-7, I think what he does is play with the atmosphere.
• 30:05
  And I think he does do it well. There's nothing wrong with that.
• 30:07
  You're going to use his music.
• 30:09
  When he goes back, is it Mike or Matt?
• 30:15
  Mike. Mike. Was Mike's in the shadows in the bar?
• 30:19
  Yes. And you have Hurdy Gurdy Man by Donovan playing in the background.
• 30:23
  That song has always creeped me out.
• 30:25
  And he walks up to him and you can see the actor sells it quite well.
• 30:31
  Mike says, I'm not feeling like myself. Something's not right.
• 30:35
  And there's a shot where he leans back and his face just alters a bit in the
• 30:42
  shadows and his eyes bulge a bit. Yeah.
• 30:45
  And it's fucking creepy as fuck.
• 30:48
  Now that so and we talked about
• 30:51
  my favorite scenes you know teacher you know
• 30:54
  we always like that scene yeah i
• 30:57
  mean that but again he's making something for
• 31:00
  himself he's doing something different and it works in this scene but again
• 31:05
  people are gonna watch see it they're not gonna see what i saw they're just
• 31:09
  gonna see a man i see in the corner blah blah blah i don't want to watch this
• 31:12
  that's but if you watch that scene you watch it again and you watch it go that's fucking terrifying.
• 31:19
  And it's, I don't know. I think, I think he does a nice job with that.
• 31:25
  And then he takes them back to his place. They can bring him to the docks the next day.
• 31:31
  They play it again when how Mike is so calm and relaxed and monotone.
• 31:41
  And there's Burke as he turns his back on him and he's sitting on the bed and
• 31:48
  all he's going to do is shut the window down.
• 31:50
  As he shuts the window down, the pain blocks our view of his eyes when these
• 31:55
  eyes are shown again we get those glow that glow in the eyes that they give
• 31:59
  us again another effective scene replacing the one I really do enjoy,
• 32:04
  in the original but this works just as well I mean it's not,
• 32:09
  it's not a bad scene I just gave you wonderful,
• 32:15
  both those scenes are good and you're jumping down my throat,
• 32:19
  well I was waiting for you we had a dramatic pause It's not a bad scene,
• 32:23
  but it's no If you bring up Home and Away Jeffrey Lewis,
• 32:26
  I'm sorry, but I can't help it If you have watched the 79 You will not be able
• 32:32
  to Apart from you I don't know what's going on with you But it's only natural
• 32:38
  that you're going to make Comparisons in your brain, whether you like it or not,
• 32:42
  Disagree No, it's not.
• 32:45
  I'm not close-minded Some remakes, I have nothing against remakes Well,
• 32:49
  I do actually have stuff against remakes I am giving you shot by shot of why
• 32:55
  this movie, why this movie sell, why this movie is being underrated.
• 32:59
  I'm giving you shot by shot. And you're like, oh, okay.
• 33:03
  All right. In fact, that's a perfect way to describe most of this.
• 33:08
  No, you didn't, but you're sort of...
• 33:10
  What did I say it was a masterpiece? It's not. It's all right.
• 33:13
  Disagree. Disagree. It is! Because you didn't see it. Wrong.
• 33:18
  Because you didn't see it. You didn't see it. You didn't want to.
• 33:23
  That's why. I mean, it's just... I didn't feel... While it's competently handled
• 33:29
  all round, it's just... There's no real punch to it.
• 33:33
  And there's no real sort of bite. Pun intended.
• 33:38
  Yeah. Don't need a pardon. Pardon the pun.
• 33:42
  No but you don't need that it's subtle
• 33:45
  it works now don't
• 33:48
  keep me wrong there's some problems coming up here but leading up to this because
• 33:54
  the last 45 minutes is where everything kicks off which is a lot better than
• 33:58
  what Salem's Lot gave us Salem's Lot the original just gave us characters there was a point to the.
• 34:06
  Slow burn of the novel and the 79 because you were getting to know the characters
• 34:12
  and then whenever the bad stuff does happen to them, you occur here,
• 34:17
  you don't get to know them enough, but you should,
• 34:20
  I don't, I did it, why do you care?
• 34:22
  I did it we did it I still enjoy myself the more you get to know the characters the more,
• 34:29
  whenever all the vampire stuff happens to them, it's much more effective,
• 34:34
  here it's just you don't know these characters, it's just random characters,
• 34:38
  there could be extras for all the audience
• 34:41
  knows and that's the problem and you
• 34:44
  know what i have no doubt one and the
• 34:47
  director and all the rest of it are mildly pissed off
• 34:50
  at all of the cuts that have went on
• 34:53
  here and no doubt it is connected to why or a big reason why this film was delayed
• 34:58
  there are very possibly other problems but if i was the director of this and
• 35:04
  i've no doubt there were obviously with all films there's always cuts and edits
• 35:08
  but with this if I directed it.
• 35:12
  There's a chance you would be tempted to disown it because there's so much trimming going on here.
• 35:19
  There's usually it's funny when burke
• 35:24
  after this little you know see somebody crawling into into uh his oh what he
• 35:31
  cut into mike's bedroom he runs to get susan and ben okay guys listen they're
• 35:38
  vampires and they're like okay.
• 35:43
  I mean it's like vampires he's fucking serious and she looks at Ben with him
• 35:49
  holding the cross it's just like, again this is all down to being so rushed
• 35:53
  and compressed it's like, oh,
• 35:56
  so it's vampires, okay cool yeah, that's true, I'll give you that one where
• 36:00
  in the original they're believable characters and they eventually come to this
• 36:04
  realisation that they're dealing with vampires whereas, you know,
• 36:09
  in this it's just vampires, okay cool that's a good reason for it,
• 36:12
  let's run with that you know, whereas in real life If someone said that, you'd laugh at them?
• 36:18
  Well, yeah, I think what we're supposed to think is Burke is the town,
• 36:26
  you know, he's the teacher.
• 36:27
  He's smart. He's smarty pants. And then you've got all these disappearing children.
• 36:33
  So they're trying to put the pieces together.
• 36:36
  And he comes up with this. Now, they don't buy it right away. Don't get me wrong.
• 36:40
  They're not sold on it. but when they see
• 36:43
  go up and see mike just sitting there there's
• 36:46
  a nice transition though when they bring in more people
• 36:49
  to the rear did you see that what they did so mike's hands on the floor because
• 36:53
  he's dead supposedly there's a nice line where where burke says it's the transition
• 36:59
  for death for vampires once you die you have to die before you transition and
• 37:06
  that could be minutes or days depending on the dose you got.
• 37:09
  And a lot of little stuff like that about vampires put into this,
• 37:13
  which I kind of enjoyed. I didn't know about.
• 37:14
  But anyways, Mike's hand's on the floor. He's dead. And we pan down.
• 37:20
  They're leaving the room. We see the feet leaving the room. We're under the bed this time.
• 37:23
  And then another pair of feet go toward the hand and pick it up.
• 37:27
  And the camera pans up above the bed. And this is where we meet the doc.
• 37:31
  Nice to see Elfrey Woodward.
• 37:34
  And I like those kind of transitions. is like I mentioned in the beginning of
• 37:37
  the podcast, scene from scene, he has a tendency to do this kind of cool little,
• 37:43
  quick edits or transition shots that really work to sell a new scene.
• 37:49
  But, I still think he's a little bit lazy when it comes to the vampires. Oh, okay, cool.
• 37:57
  I wouldn't have... Greg, thank you. I would have shit my pants.
• 37:59
  If somebody walked up to you, if something bad was going on in your turn and
• 38:03
  then a teacher who you respected came up to you and said, yeah,
• 38:08
  I've worked out what it is.
• 38:09
  It's vampires. You get them fucking sectioned. You know what I mean?
• 38:16
  Well, I understand. I don't think they would disrespect him because he's not a liar.
• 38:22
  He's respected. So I get why they wouldn't handle it that way,
• 38:28
  but there should have been.
• 38:29
  Yeah, exactly. Yeah, there should have been an argument there.
• 38:34
  Have you been drinking? Even if you give us something really quick to pull them in, fine.
• 38:41
  But you needed something, not just others.
• 38:44
  Okay, could. because at this point we don't know we just see a dead guy it ruins
• 38:49
  your immersion in any sort of drama where it just,
• 38:53
  crazy shit happens and it's just accepted there's no drama or conflict here
• 38:57
  and that ruins it so much so you've got.
• 39:03
  Mark gets a visit from Danny this time this time he sticks with the window scene.
• 39:08
  And still not as effective as the original believe
• 39:10
  it or not even though it's a kid on the string and it's
• 39:13
  got the fog but again you didn't catch
• 39:16
  it probably because you're close-minded uh along
• 39:20
  with everyone else the way they do the shot when
• 39:22
  the kid's floating is the they haze out his face and he looked kind of bloated
• 39:28
  kind of like what mike looked like when he was in the shadows and you barely
• 39:33
  see it but it's very creepy the you can't barely see the face almost looks like pig man from long legs,
• 39:40
  but it's it's it's really creepy if
• 39:43
  you catch if you look at it and the way they sell the face being
• 39:46
  all obviously when he comes into the picture it's
• 39:49
  more cleaner and sharper but him being kind
• 39:52
  of hidden behind the face the haze outside
• 39:55
  the window so it is quite creepy but as
• 39:59
  good as i did like it and i'm okay with it still doesn't
• 40:02
  hold a candle the original the original still was creepier i think
• 40:05
  it's because it's the first time i saw it it was like that's more and that's
• 40:08
  where i can't that's hard to get that out of my head oh it's an
• 40:11
  old it's yeah i remember as a kid so that's yeah
• 40:16
  yeah that's but they do try to make it their own and they get a pass because
• 40:21
  they do this they do it different when malfi shows up instead of the window
• 40:24
  thing let's do that twice no they decided to do the teeter-tire thing which
• 40:28
  i think works better so it's a happy medium what this film did but still doesn't
• 40:33
  pull off what toby did back in 79 9.
• 40:37
  I do like the scene where it's kind of funny where you like,
• 40:43
  I remember you liking the original version of 79.
• 40:47
  In the morgue? Where the mother of the Glicks comes back to life.
• 40:53
  I thought this one was pretty good because he's in the sheet the whole time.
• 40:57
  And I did enjoy that. I do enjoy the chaos of it to where they got to figure
• 41:02
  out how to, you know, what about crosses? What do you mean what crosses?
• 41:05
  Or something? The one thing I didn't get was how come everyone knows about Dracula
• 41:12
  and crosses and they all know their Bible when they're about to be attacked by a vampire?
• 41:18
  I can give you some kind of a prayer. To be fair, they are struggling and they're
• 41:24
  just making it up from sort of stuff they've heard maybe in church before.
• 41:28
  They're sort of quoting, they're randomly quoting Psalm 23 and other bits and pieces.
• 41:33
  So to be fair that is addressed yeah but,
• 41:38
  it's an alright scene what did annoy me is when the doctor woman gets bitten
• 41:42
  and all of a sudden she can cure herself with a rabies shot or something why
• 41:47
  didn't they just give a rabies shot to everyone in the town and have to see him today you know,
• 41:53
  well maybe rabies shots are the way to go forward they're dead yeah that's why
• 41:58
  they split up they have to split up again a half hour to get the rest of the
• 42:02
  town's people that they know are still there. She goes to get the mother.
• 42:05
  She goes to talk to the sheriff. He goes to the priest. They're only going to
• 42:09
  the people that they know are still around.
• 42:11
  That's why they do that. They break up.
• 42:15
  But I like when you got Burke again. He's back in the house.
• 42:20
  And if I was Burke, I would not want to be fucking alone in that house.
• 42:24
  I mean, I was like, dude, you just told everyone you're vampires.
• 42:27
  Now you're alone in your house. Get the fuck out of there.
• 42:29
  That didn't make any sense to me while he's back by himself.
• 42:31
  Because obviously Mike comes back but I do like when he says I revoke Lamentis.
• 42:36
  Back us back to the old vampire lore and also the sort of devil lore where they
• 42:41
  can only enter your house if you invite them in.
• 42:43
  Yeah, and they play on that too with Mark. When they get ambushed Mark has to
• 42:48
  go to his, when his parents get ambushed, he runs to his treehouse.
• 42:52
  It's also why the Glickboy is trying to get in through his bedroom window and
• 42:56
  stuff. He can't just like float into his bedroom window.
• 42:59
  He has to be invited in let me in mark let me in mark has to invite him in yeah
• 43:05
  yeah yeah since we're there let's talk about the glicks not the glicks marks the petries scene and,
• 43:16
  Yeah. Yeah. The original is so powerful. This doesn't hold a candle to the original one.
• 43:20
  And the reason I don't like it is, the reason I don't like the original,
• 43:25
  I mean, this version, is because they get bitten and he comes out with his toe
• 43:30
  cut, the father. It's like, okay, that's it.
• 43:34
  But what worked for the original, you didn't see it coming. They push skulls together.
• 43:38
  Yeah. He pops up, bangs or smashes their heads together. Yep.
• 43:41
  Like, yeah, they should have kept that in there. Why not? See,
• 43:44
  their heads get crushed.
• 43:45
  Yeah. And then Mark in the original Why do these off-camera kills?
• 43:49
  Very effectively he goes, I'm going to kill you But here The Mark here is just
• 43:55
  like, whatever You know So what?
• 43:59
  And it's just You know.
• 44:04
  So you don't give a shit You're never introduced to Mark's parents like you are in the original,
• 44:09
  Yeah Because the father was a decent guy But remember
• 44:12
  you had that conversation Why do you like all these horror movies and you
• 44:15
  know blah blah blah yeah it's because this
• 44:18
  is the first time you meet his parents in this version
• 44:21
  you just don't give a shit you're 100 on the
• 44:24
  side of barlow he's just bumping off extras at
• 44:27
  this point you know and the barlow
• 44:30
  here is terribly real i would say yeah i do
• 44:33
  like when he no i think he's all right it's fine it's fine with me there's a
• 44:37
  little cgi in some of his makeup i didn't like more the original was just makeup
• 44:41
  and i like the thangs better in the original creepier and they look less cosmetic
• 44:46
  grossly in place so that's what is more like a sort of,
• 44:51
  a sort of suave straker like
• 44:55
  character european who talks you know and stuff you know has dialogue and stuff
• 44:59
  whereas in the 79 version they turn them into basically nosferatu but here they
• 45:05
  sort of stick with the nosferatu so now i i as i said in the last podcast i haven't seen the 2004,
• 45:12
  one with Rob Lowe and I think subconsciously I didn't want to see it because
• 45:17
  I didn't want it to ruin my memory of the 79 version but I can't really comment
• 45:22
  on that but from what I have read
• 45:24
  up on it they went back to the more the roots of the novel with Barlow.
• 45:30
  Rooker Hauer. Yeah, I can't remember it. I can't remember it.
• 45:34
  Yeah. Rob Lowe, Donald Sutherland, Rooker Hauer.
• 45:38
  Yeah, so I do like the line where he says, or Barlow says to him, sad to see a man.
• 45:43
  But it's even better in the 79 version. And then he just kills him off camera.
• 45:47
  You have James Mason come in, he goes, come on shaman, do your worst.
• 45:52
  And James Mason is fantastic in the scene, you know, where he's taunting the
• 45:55
  priest and you know, and he basically wins over.
• 45:59
  So he does and it's really threatening from James Mason along with the silent but deadly Kurt Bardo.
• 46:06
  Here it's just like, I don't give a fuck. You know?
• 46:09
  I just don't care about these characters or there's no real threat here.
• 46:14
  You know? And see, in there... Not really, no.
• 46:18
  Oh, there's no real threat. No, I'm talking in this version,
• 46:21
  the new version. There's no real threat in the original.
• 46:23
  And I'm saying that the original is major threat.
• 46:27
  It's with James Mason and stuff but James basically I'm talking about the scene
• 46:33
  with Mark's parents in the original which is where James Mason is extremely
• 46:37
  threatening and sinister along with Barlow here you even admitted it yourself
• 46:42
  here it's just like so what you know there's no he's bumping off extras.
• 46:48
  So we get to close to the end where everything starts going to
• 46:51
  shit there's a nice shot where he's outside the
• 46:54
  church Ben and Doc is trying
• 46:57
  to get him to come back in and he
• 47:00
  turns to her and the town's beautiful shot of the town a little
• 47:03
  foggy as we were beginning and streetlights and then
• 47:06
  he turns to her then we turn back and the fog there's fog still there and but
• 47:10
  you see all these vampires all over the roofs and shit it had a very lost boys
• 47:15
  feel which I really enjoyed to see but it's those like they do these a couple
• 47:19
  times they do it a couple times in the film just to let you know the town's
• 47:23
  been taken over this is it and,
• 47:25
  they know at this point they need to get shots which I really like to be honest
• 47:28
  especially the one with them standing on the roofs and stuff but there's no
• 47:33
  build up to it so they're just like thrown in because of presumably the chopping that took place to this,
• 47:41
  When they end up going to, now, instead of doing the Marsden House.
• 47:48
  Now, we forgot to talk about this one scene I was very disappointed in.
• 47:52
  It was when Mark kills Starker.
• 47:56
  And it's so like, I mean, this guy's supposed to be a badass.
• 48:00
  I wanted something more to this one. Yep.
• 48:02
  I thought it was silly. It was like, that's it? A golf club?
• 48:05
  Are you fucking kidding me?
• 48:07
  Take a turn. Bad kids with a fucking club? Yeah.
• 48:10
  That rubbed me the wrong one I mean where was the threat here with it how did
• 48:15
  he die in the original he's killed by I think is he stabbed or something by either Ben or,
• 48:23
  I would have to watch it again but I know it is a little anticlimactic in the
• 48:28
  original as well he's killed in the Marston house towards the finale I remember
• 48:34
  that yeah they're all killed in the Marston house eventually.
• 48:38
  But but i mean it is a little anticlimactic especially
• 48:42
  because james mason is such a great villain in it
• 48:45
  but even here it's even more anticlimactic because it's
• 48:47
  just basically a kid with a stick you know yeah i
• 48:52
  like palu aspect who played him i
• 48:55
  do like him however i think you needed
• 48:58
  again it's all about casting
• 49:01
  i suppose but i think you needed an older person to play that
• 49:04
  role you know you almost needed yeah you
• 49:08
  almost i mean or more suave you
• 49:12
  know like pierce bronson i know that sounds funny but pierce
• 49:15
  bronson would play he plays it no no brosnan would would nail it here he's about
• 49:20
  to camp as well you know and it's a bit like am i watching a carry-on film well
• 49:25
  i don't think it's i don't think it's that camp i mean but yeah he doesn't really
• 49:29
  work no it's not that camp but it's border and all he's got some good he's got
• 49:33
  some good scenes but there's not enough of them,
• 49:35
  you know Max von Schindel, Needful Things, the store owner was creepy in that
• 49:39
  the way he talked to you and the way he was talking to you but he's being condescending
• 49:43
  to you but you don't realize he's being condescending to you that's the kind
• 49:46
  of character I expected to see.
• 49:48
  James Mason nailed that. I mean that's just, well that's James Mason for Christ's sake.
• 49:53
  You can't compare apples to oranges there. Unfortunately you're not going to
• 49:55
  get those kind of actors in these films anymore.
• 49:59
  But I do like how they switch away from the margin house. We've been there, done that. Thank you.
• 50:04
  The complaint that I had of Sam's lot was where it was way too quick ending,
• 50:08
  where it took two minutes.
• 50:10
  Let's set the place on fire and run where this one, they kind of take it outside
• 50:13
  the Mars. Now it's now we've already had a couple of showdowns there.
• 50:16
  Let's now, let's now do the driving, which I really enjoyed the whole thing
• 50:20
  about the sun's going down and the, the driving movie screen is blocking the sun.
• 50:26
  So it's not, it's not, I think it's quite decent and it's a good idea.
• 50:29
  I like that. I like that. I love the idea of the turns folk,
• 50:33
  now vampires, basically using the boots of the cars in the drive-in as makeshift coffins.
• 50:39
  They planted that seed a little bit in the beginning when they went to the drive-in movie. Yeah.
• 50:43
  Yeah, and as they're coming out and Ben's trying to get out of the light,
• 50:49
  Mark, smart kid, knocks down the screen with the car and the sun starts obviously
• 50:56
  burning all the vampires.
• 50:58
  I do like the fight. it's quick but
• 51:01
  the fight with he has with his with his girl
• 51:04
  who turned a lot better than what we got in the fucking original that
• 51:07
  was terrible i was just glad to see her getting bumped off to be honest here
• 51:09
  but i do like the fact when he does finally kill her it's effective it's he
• 51:13
  doesn't want to do it obviously but he has no choice and when he does she turns
• 51:17
  human again well you know briefly yeah and she's crying i thought i that see
• 51:23
  that kind of stuff i i look i recognize i liked.
• 51:26
  And did you shed a tear yourself? I did. I was really upset about it.
• 51:31
  Right. I had a bumper off earlier in real life.
• 51:36
  I didn't like the relationship in the original. So it doesn't matter to me. You know what I mean?
• 51:40
  And that's the, I think the way the director played it here.
• 51:42
  Cause I thought the original, the relationship was, it was laughable.
• 51:47
  But I do like he lead up to Barlow and there's a nice shot of him standing on
• 51:51
  top of the drive-in front of the projector. And he's got this glow.
• 51:56
  And he's obviously hunting down Mark and then obviously it ends real quick with too quick.
• 52:03
  No, it's a lot it's a lot longer death than we got in the first one in the original.
• 52:09
  Yeah. They open it up, stake, dead. Yeah. Well here he just gets one through
• 52:13
  his throat when he's fighting Mark. That's pretty good.
• 52:15
  And then you see his head, you can see Ben's face through his throat and then
• 52:19
  he falls down and that's a good shot.
• 52:20
  That's quite a creative shot that you get from someone like Sam Raimi or something,
• 52:24
  or even Quentin Tarantino.
• 52:26
  I'm not saying, I'm not comparing this guy to them, but I'm just saying it's
• 52:30
  a type of quirky shot that gets from someone like that. No, it is. It's a good shot.
• 52:35
  And then when he stabs him in the heart, his color fades.
• 52:40
  And it's, you know, it's effective. And then, of course, it ends with Sundown,
• 52:45
  the song they're open with.
• 52:47
  There you go. What's your final thoughts?
• 52:51
  Not as good as the original. You know, Reggie's always going to be near and
• 52:54
  dear to my heart, probably because it's more nostalgic for me.
• 52:57
  I want so badly to see the director's cut. So badly. I really think this movie
• 53:02
  deserves the director's cut.
• 53:04
  But maybe we'll get it down the road. I can't review it with,
• 53:07
  I can't do it. I can't review it without...
• 53:10
  I got to review what I saw. It works.
• 53:14
  Listen, the film works as a remake. It's not as good as the original.
• 53:17
  I'll never do that. The original is a classic, always will be,
• 53:20
  probably because I grew up with it. I know it like the back of my hand.
• 53:23
  However, at least what this does, remakes are a dime a dozen,
• 53:29
  and they're just a copy and paste.
• 53:31
  At least this one else had the box. Some of the scenes don't work when they
• 53:34
  play homage to the original.
• 53:36
  I agree with that 100%, but there's some creative shots here.
• 53:39
  There's some fun little planting of
• 53:41
  seeds, some nice little Easter eggs of Christine, some Stephen King nods.
• 53:46
  I liked the Burt character. I liked the Ben character.
• 53:50
  I liked the Doc character. I liked the scenes with Mike really worked.
• 53:56
  I can keep going. It has a lot going for it.
• 54:00
  It's not as good as the original, but this is not a 5 out of 10 film.
• 54:04
  By no way. This is good.
• 54:08
  I give it a high 6. I give it six point
• 54:10
  something I give it a high three or four
• 54:14
  I'm serious come on but I do think that I
• 54:17
  do feel sorry let me finish here the reasons
• 54:20
  being I feel sorry for the director because obviously
• 54:23
  there is some serious studio interference and
• 54:27
  cutting going on but based on this
• 54:30
  version that we have been given I feel it is
• 54:33
  unnecessary bland and completely forgettable
• 54:37
  but at the same time there were some glimpses of some potentially decent stuff
• 54:41
  to be completely fair so i do feel sorry for the director it made me want to
• 54:47
  go and read the original novel again and also watch the 79 one again and also
• 54:52
  made me look forward even more to eagerness for that too.
• 54:56
  That's just honest. But I do feel for the director. Three out of ten. Fuck off.
• 55:02
  All right. Three out of ten. Serious? You're a fucking clueless twat. You're a clueless twat.
• 55:08
  Well, yeah, everybody's mad. You've angered me the Snart Podcast.
• 55:10
  What's a twat? You've angered me the Snart Podcast. How is it spelled? Twat? T-W-O-T?
• 55:14
  It's twat. Twat. I said twat. All right, I'm not doing your little Belfast accent now.
• 55:19
  Like a poise. Hey, mate, you're a twat. Stop being a poise, knob.
• 55:23
  A poise twat. Twat. Fuck off. I hate, I'm never, you're never doing a podcast together.
• 55:31
  As you can tell, Trevor's angered me today. I'm not. Say, Mr.
• 55:37
  Whoa, whoa, calm down. Calm down.
• 55:41
  He's interrupting me the whole time. Very rude to me. Very rude.
• 55:46
  Yeah, right. Guys, check out Salem's Lot. I want you to go see it.
• 55:49
  I hope, I hope you guys do listen to this before seeing it and go,
• 55:52
  I'm going to listen to these guys first.
• 55:54
  And I go, I'm going to listen to Kieran and I'm going to watch it and I'm going
• 55:58
  to check for those special shots he talked about.
• 56:00
  And I had problems where people go, okay, it's not as good as the original which
• 56:03
  I would agree with, but man it does have some cool stuff in there.
• 56:07
  And any horror fan looks for cool stuff. By all means, make up your own minds.
• 56:12
  Or just listen to me. Tell Trevor to go fuck himself.
• 56:19
  Bastard. What? All right. I got to end this because Trevor's been very abusive
• 56:25
  to me this whole podcast.
• 56:27
  I didn't start calling you names. You called me names. You called me twat,
• 56:31
  which is essentially a poised twat. You're a twat.
• 56:36
  All right. Next up, the two Beetlejuices. Then we got a special one, the Westmaster.
• 56:42
  And I think we have to throw another one for a month. We'll probably just do
• 56:45
  Silence of the Lambs or something. Yeah.
• 56:47
  No, wait. Yeah, probably. I don't know. Who cares? We'll talk something out.
• 56:51
  We'll figure it out, people.
• 56:54
  Alright, guys. We're going to have this one. This one's a long one.
• 56:56
  Sorry, I apologize. Most of it is my rant, but you know what?
• 57:00
  I just don't like movies being hated on. It's not fair.
• 57:03
  There's a difference between hating on something and being critical of it. I'm not hating on this.
• 57:08
  I am being honest and critical. and there's a huge difference.
• 57:12
  Three out of ten. I don't hate this film. I'm being honest. Three out of ten.
• 57:16
  Do you hate the film? No, it doesn't. No, there's a difference between being
• 57:19
  critical of something and this isn't a personal attack on anyone.
• 57:24
  We're not getting back on this track. We're not getting back on here.
• 57:26
  It's after an hour. We've been doing this for an hour.
• 57:28
  You've upset me for a whole hour. Oh, so you're admitting you're upset, right?
• 57:34
  All right. I hope Barlow comes to get you. You know what? I'm going to show
• 57:37
  up here. I'm going to scratch your window. here now that's hard.
• 57:44
  I'm hanging on a piece of rope I'm hanging on a piece of rope fucker let me
• 57:49
  in it's freezing in here I just open the window and go fuck away off,
• 57:56
  alright guys we're gonna end this one take care of yourselves,
• 58:00
  it's all good fun people it's all good fun alright take care of yourselves.
• 58:05
  Music.