Latest / Critically Acclaimed Network / Critically Acclaimed #364 | Faces of Death, Hamlet (2026), Exit 8, ChaO, Outcome, Chime

Transcript

Critically Acclaimed #364 | Faces of Death, Hamlet (2026), Exit 8, ChaO, Outcome, Chime · Critically Acclaimed Network

0:11
[SPEAKER_04]: Greetings friends.
0:12
[SPEAKER_04]: Welcome back to critically acclaims.
0:14
[SPEAKER_04]: The film review podcast where William is in charge of the sound effects.
0:20
[SPEAKER_04]: That was supposed to be a duck.
0:22
[SPEAKER_04]: Oh, it was a goose.
0:25
[SPEAKER_04]: My name is Whitney Sybold.
0:26
[SPEAKER_04]: I'm a film critic.
0:27
[SPEAKER_04]: I contribute to slash film with me as always is my far more intelligent and far more articulate co-host.
0:33
[SPEAKER_04]: Really, I'm why don't you introduce yourself.
0:35
[SPEAKER_01]: I will, y'all.
0:37
[SPEAKER_01]: Um... My name is William Bibbiani.
0:39
[SPEAKER_01]: I'm a film critic.
0:41
[SPEAKER_01]: I write for the rap and everybody calls me Debbs.
0:43
[SPEAKER_01]: And we are reviewing some films.
0:46
[SPEAKER_01]: We sure are.
0:47
[SPEAKER_01]: Yes.
0:47
[SPEAKER_04]: Some interesting ones this way.
0:49
[SPEAKER_01]: Oh, yeah.
0:49
[SPEAKER_04]: Unlike usual.
0:50
[SPEAKER_04]: Well, sometimes it's a boring move, we try to make it up, that's all right.
0:55
[SPEAKER_04]: I know we went on and on about it, but we did talk about the Super Mario Galaxy moving.
0:58
[SPEAKER_04]: Yeah, like I said, it's a long time talking about how there's nothing to talk about in that moving.
1:02
[SPEAKER_01]: That's a good point that is good irony right there.
1:05
[SPEAKER_01]: We try, I think, on the show, and every once in a while, I'm very, very conscious of how my voice dramatically shifts in pitch.
1:15
[SPEAKER_01]: in mid-sentence sometimes and I just did it and I was just like, you know who I think it's no, but I think my movie is quite good.
1:25
[SPEAKER_01]: Well that's that's volume, but no, I think one thing we try to do is we try to cover the biggest movies of the week, but we always try to like see as much as we can and see all kinds of different films, so and that is that sure enough is true.
1:40
[SPEAKER_01]: this week because this week we have got reviews of this episode is a little later than usual we had a very special episode of snack fam debut on Monday we sure did snack fam is my fam
1:55
[SPEAKER_04]: Yes, my wife and my son together again for the second time actually It's the first time which would be funny, but what was gonna say they're their whole lives Well, I'm at a podcast.
2:07
[SPEAKER_04]: Why they've done this the second episode second episode of SNAP Yes, you're wife and your son Angie and my son is Henry they have decided to start a podcast where they taste limited edition snacks
2:21
[SPEAKER_04]: that you see them at, usually the check out of the grocery store.
2:24
[SPEAKER_04]: It says, like, limited edition.
2:25
[SPEAKER_01]: Try new, falafel flavored Oreos.
2:28
[SPEAKER_04]: Yeah, whatever it is.
2:30
[SPEAKER_04]: And, I mean, Oreos, a prime offender.
2:32
[SPEAKER_04]: Oh, they have all kinds of weird Oreo flavor.
2:34
[SPEAKER_04]: They cannot stop themselves.
2:36
[SPEAKER_04]: Sometimes it's like, it's like, banana cream pie.
2:38
[SPEAKER_04]: I want to try that.
2:39
[SPEAKER_04]: That sounds good.
2:39
[SPEAKER_04]: Yeah.
2:39
[SPEAKER_04]: Swedish fish.
2:40
[SPEAKER_04]: I don't want to try that.
2:41
[SPEAKER_04]: That wasn't as bad as you might think.
2:43
[SPEAKER_04]: You had this weed as you were.
2:44
[SPEAKER_04]: I couldn't resist the seed fish.
2:46
[SPEAKER_04]: See, this is a great topic because we're already talking about it.
2:49
[SPEAKER_03]: Good night.
2:50
[SPEAKER_04]: And for Easter, they tried some, I think, was mango, chamois, eeps.
2:56
[SPEAKER_01]: Mango chili or something like that.
2:58
[SPEAKER_04]: Mango chili peeps.
2:59
[SPEAKER_04]: Yeah, that sounds not good to me.
3:03
[SPEAKER_04]: But I'm not going to spoil it.
3:05
[SPEAKER_04]: You'll have to listen to their podcast to figure out what they thought of it.
3:07
[SPEAKER_04]: But yeah, listen listen to them trying these snacks.
3:10
[SPEAKER_04]: My son is, uh,
3:12
[SPEAKER_04]: 10 as of the recording.
3:14
[SPEAKER_04]: Yes, by the time you hear this, he'll be 11.
3:18
[SPEAKER_01]: Oh, that's a power drive.
3:20
[SPEAKER_04]: It is.
3:21
[SPEAKER_01]: Yeah, you only get only get one of those a decade.
3:23
[SPEAKER_01]: So you got to enjoy it.
3:24
[SPEAKER_04]: I suppose so.
3:26
[SPEAKER_04]: Yeah.
3:26
[SPEAKER_04]: Once you get much older, you got a couple more.
3:29
[SPEAKER_01]: Yeah, you can hit 111.
3:30
[SPEAKER_01]: You do great.
3:33
[SPEAKER_04]: But yeah, they're they're going to be doing all of that.
3:36
[SPEAKER_04]: They're going to be continuing on.
3:38
[SPEAKER_04]: We even have like
3:39
[SPEAKER_04]: snacks in the house that they're good they intend to taste it for the first time on the podcast Yeah, it as it so happens M&M's is having one of those like trial periods Oh, I saw some of those.
3:50
[SPEAKER_04]: I've every couple of years The M&M's company will put out like four flavors at once and the best selling will like remain in the cannon And the rotation yeah, kind of produce more of those.
4:01
[SPEAKER_01]: Do you remember doing what any of them are this year?
4:02
[SPEAKER_04]: I remember one of them is like lemon meringue pie, which I'm very intrigued by.
4:06
[SPEAKER_04]: That doesn't sound bad.
4:07
[SPEAKER_01]: No, that sounds pretty good.
4:09
[SPEAKER_04]: I'm maybe I'm strange in this regard, but I've always liked lemon desserts.
4:14
[SPEAKER_01]: Oh, say a lot of people don't.
4:15
[SPEAKER_01]: No, I love lemon desserts.
4:16
[SPEAKER_01]: Wait, the way that my heart is through lemon desserts.
4:19
[SPEAKER_01]: From what I understand, I also properly punctuated texts.
4:23
[SPEAKER_04]: Hey, with a period.
4:24
[SPEAKER_01]: Oh my god.
4:25
[SPEAKER_01]: That's the nothing aggravates me more aside from like, you know, in justice, but like in terms of like a day-to-day bullshit thing.
4:32
[SPEAKER_01]: Just put up put up come on in there Why is my rotation marks please?
4:37
[SPEAKER_01]: Yeah, I don't understand it.
4:38
[SPEAKER_04]: What's your inflection?
4:39
[SPEAKER_04]: I don't know.
4:40
[SPEAKER_04]: I can't understand what you're ready.
4:42
[SPEAKER_04]: That's what we have emoji for
4:45
[SPEAKER_01]: No, it's like you could put a statement to then put like a little sarcastic winky bass but that changes the tone of the tone but that that that that's on inflection that that is like Tone I want to know like you know the severity of what's going on like kind of that I want to know
5:03
[SPEAKER_01]: Which part of the sentence is more important than the other part that kind of thing, but in any case snack family can listen to the first two episodes They're on our feed right now and stick around because that might spin off into its own separate thing and you can Oh, yeah, I don't know for there and subscribe, and we'll of course let you know when that happens But in the meantime Whitney and I yes Snackless We'll be reviewing the following films this week.
5:28
[SPEAKER_01]: We'll be reviewing Faces of death.
5:32
[SPEAKER_01]: Oh, yeah
5:33
[SPEAKER_01]: Hamlet, a new Hamlet, a new Hamlet.
5:36
[SPEAKER_01]: Yes, Hamlots, that's a lot of that.
5:39
[SPEAKER_01]: A lot of that.
5:40
[SPEAKER_01]: A lot of that.
5:41
[SPEAKER_01]: Exit 8, New Horrible, Exit 8.
5:44
[SPEAKER_01]: The Mermaid Syfy, Anime, Romance, Chow, spoke with a zero.
5:51
[SPEAKER_01]: Orcissus is an uppercase, oh, yeah, and a film that I am vaguely aware of called Outcome, big stars.
6:00
[SPEAKER_01]: It's a Keanu Reeves latest project.
6:02
[SPEAKER_01]: Okay.
6:02
[SPEAKER_01]: Well, and then a film from Kyoshi Kurosawa, one of the best horror movie horror movie directors alive.
6:10
[SPEAKER_01]: That is only playing in theaters, and it's allegedly never come into home video, but I have my doubts on what it's playing.
6:17
[SPEAKER_01]: Why?
6:18
[SPEAKER_01]: On that note,
6:20
[SPEAKER_01]: kind of not a big week for like blockbusters.
6:23
[SPEAKER_01]: So we're going to start with the film that is a bit near and dear to us, at least we have a certain affinity for the lore of it.
6:33
[SPEAKER_01]: Faces of death.
6:34
[SPEAKER_01]: That's right.
6:34
[SPEAKER_01]: Well, we have a personal connection a little bit and that we met the creator of the original
6:49
[SPEAKER_01]: a hugely significant cult or curie over 1978, called Faces of Death, which was purported to be.
6:59
[SPEAKER_01]: Like this was the selling point, a bunch of stuff films.
7:02
[SPEAKER_01]: Yeah, real death on camera.
7:04
[SPEAKER_01]: Yeah, and we were talking like people and animals, and it turns out,
7:09
[SPEAKER_01]: even though the legend of faces of death is that it was real, and it was filmed in a very matter of fact.
7:15
[SPEAKER_01]: It's a great take out of a stock.
7:16
[SPEAKER_01]: The majority of the footage in it was faked, just convincingly so there was some news real footage and stuff that was real, but there's a majority of footage like dramatized.
7:26
[SPEAKER_04]: War time footage and there is some like actual death on camera in those segments.
7:31
[SPEAKER_04]: But no one involved in the production killed someone to make it.
7:34
[SPEAKER_04]: No, and that's an urban myth as far as anybody knows that's never happened where someone has been deliberately killed for the specific purposes of a camera.
7:48
[SPEAKER_04]: You could argue that there's like public execution videos that fit that bill.
7:53
[SPEAKER_04]: Right, but for the photos of cinema.
7:54
[SPEAKER_04]: Yeah, for the purpose of cinema, that's still an urban myth.
7:57
[SPEAKER_01]: There's a lot of movies that are about that.
7:59
[SPEAKER_01]: like it's if that really happened, uh, the, uh, the, uh, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no
8:15
[SPEAKER_01]: which is 100% terrifying, brilliant motion picture you have to see it, but what was that one with Maria Bello about the snuff film, Maria Bello, it was called like, not Jennifer's body.
8:29
[SPEAKER_01]: I didn't see that.
8:30
[SPEAKER_01]: Yeah, let me, let me look at that.
8:31
[SPEAKER_01]: I'll keep going on faces, that's something.
8:33
[SPEAKER_01]: When Whitney and I were kids,
8:36
[SPEAKER_01]: There was a lot more scarcity in movies.
8:38
[SPEAKER_01]: We had video stores, but video stores had very limited stock.
8:42
[SPEAKER_01]: And also there were a lot of movies that weren't on video or that you couldn't get or extremely scarce or were only available like pirated.
8:49
[SPEAKER_01]: And so I remember when I was a kid, there would be like, you know, kids would be like talking on the playground in a circle, hush tones about like movie urban legends basically.
8:58
[SPEAKER_01]: And they went from like the kind of,
9:00
[SPEAKER_01]: whimsical and banal like the old theory that if you watch King Kong vs. Godzilla the original movie from the early 60s, uh, in the American cut King Kong wins, but in the Japanese cut Godzilla.
9:18
[SPEAKER_01]: And that was bullshit.
9:19
[SPEAKER_01]: Yeah.
9:19
[SPEAKER_01]: King Kong always won because at that point in the Godzilla franchise, Godzilla was still the villain.
9:25
[SPEAKER_01]: But that was the rumor it had spread and
9:30
[SPEAKER_01]: I wouldn't say most often, but it's one of the things that we talked about as a very in our eyes literally cursed object.
9:39
[SPEAKER_01]: Like if you were at your tower records and they had faces of death, you would like look at it as scances though like
9:45
[SPEAKER_01]: you were in like a bookstore and they had an actual necronomicon you would be like uh... i'm not touching that the ten foot of the pole but i'm fascinated the maria bello film was called downloading nancy it came out in 2008 no memory of that that's fascinating um...
10:00
[SPEAKER_01]: there are several sequels of faces of death.
10:02
[SPEAKER_01]: John Allen Schwartz would spend later years of his life being a film critic.
10:06
[SPEAKER_01]: We met him at several screenings and we even did a podcast with many, many years ago.
10:10
[SPEAKER_04]: Yeah, he and his wife had their own podcast, their own, yeah, Joan Schwartz.
10:14
[SPEAKER_04]: And she's still working.
10:16
[SPEAKER_04]: He passed away.
10:18
[SPEAKER_04]: But they were called the two Jews on film and their podcast was fantastic.
10:22
[SPEAKER_04]: Oh, yeah.
10:22
[SPEAKER_01]: Just a bunch of like just she is was very bright and fascinated and he's very gloomy as you can imagine.
10:31
[SPEAKER_01]: Yeah, just a very very serious man.
10:33
[SPEAKER_04]: And but yeah, they had a great dynamic and rest in peace John Allen Schwartz.
10:37
[SPEAKER_01]: Yeah, we went terribly close, but we knew him and he was nice.
10:40
[SPEAKER_01]: And there had been talk for a while about some kind of
10:44
[SPEAKER_01]: update of faces of death.
10:46
[SPEAKER_01]: And now we have a new film, which is not a remake, but is about how fucked up it would be to actually try to remake faces of death.
10:57
[SPEAKER_04]: I'll say this, this new faces of death is a better comment on the way we consume horror movies than the last couple of screen movies.
11:05
[SPEAKER_04]: I think that's fair.
11:05
[SPEAKER_04]: No, the last few screen movies that the
11:08
[SPEAKER_04]: I thought some of them, but like the commentary is like an afterthought in those movies.
11:12
[SPEAKER_01]: Well, they started to become more commentary about what just what the film industry is doing in general, as opposed to commenting about what the horror genre is doing.
11:20
[SPEAKER_01]: And whereas this new faces of death, which was co-written and directed by Daniel Goldhaber, is a very intelligent piece of filmmaking.
11:29
[SPEAKER_01]: If you don't know that name,
11:31
[SPEAKER_01]: you should.
11:32
[SPEAKER_01]: I think he's one of the best filmmakers work in today.
11:34
[SPEAKER_01]: He did a brilliant horror film called Cam, which was a film about a Cam girl.
11:42
[SPEAKER_01]: It's fantastic mood.
11:43
[SPEAKER_01]: It's about a Cam girl, sex worker, very respectful to sex workers who discovers and she's got like an only fans account that she basically has a doppelganger.
11:53
[SPEAKER_01]: that is yeah putting up alternate footage of her yeah and is kind of destroying her life and boy what a great conclusion it has it's fantastic film and then he also made the movie that in as I see it is the movie one battle after another
12:08
[SPEAKER_01]: wanted to be it's how to blow up a pipeline if you haven't seen how to blow up a pipeline it is a movie about how to blow up a pipeline a group of environmental activists realize that nothing they're doing is working they actually have to resort to pretty severe measures so they decide to blow up a pipeline but they're trying to do it without hurting anybody and it is a movie that strongly advocates
12:35
[SPEAKER_01]: for blowing up pipeline, which is a very bold take.
12:39
[SPEAKER_01]: And it was a surprise that wasn't more controversial, but I guess not enough people saw it.
12:43
[SPEAKER_01]: It is a very morally complicated film, brilliantly written and conceived, very suspenseful.
12:49
[SPEAKER_01]: I think it is the closest thing that American cinema has produced to something like Battle of Algiers and certainly the last generation.
12:58
[SPEAKER_01]: a bolt.
12:59
[SPEAKER_01]: I stand by it.
12:59
[SPEAKER_01]: I think it's a truly a genuinely revolutionary film.
13:03
[SPEAKER_01]: He also did a quibi.
13:05
[SPEAKER_04]: He did a quibi, did a the Colorado segment of 50 states of fright.
13:09
[SPEAKER_04]: Oh, I didn't see that.
13:10
[SPEAKER_04]: What was the Colorado segment?
13:11
[SPEAKER_04]: Uh, I forgot.
13:13
[SPEAKER_04]: The only one who's really concerned with was the Michigan one because it's a Miami-Directed dollar.
13:18
[SPEAKER_01]: 50 states of fright was going to be an anthology series in which there was a different horror movie based on the legend or lore or history of every state in the union.
13:28
[SPEAKER_01]: And I don't think they got very far.
13:30
[SPEAKER_01]: into the state.
13:32
[SPEAKER_04]: No, I was just counting the states.
13:33
[SPEAKER_04]: Let's say 1, 2, 3, 4, 5.
13:36
[SPEAKER_04]: They did 7 at the state.
13:37
[SPEAKER_01]: That's pretty good.
13:38
[SPEAKER_01]: That's pretty good.
13:39
[SPEAKER_01]: That's pretty good.
13:40
[SPEAKER_01]: It's about 1, 7th of the way through.
13:41
[SPEAKER_01]: I would like to think that when they were done, they would have been like that's too warm.
13:49
[SPEAKER_01]: I think it bombed some respect, huh?
13:50
[SPEAKER_01]: Let's do the American station on an Antarctica.
13:53
[SPEAKER_01]: Let's do a few of the others.
13:54
[SPEAKER_01]: And in case I think Daniel Goldhaper is brilliant and I don't think faces of death is his best movie because I think in trying to make this a pure horror film, he falls into some cliches that make the film a little less ingenious, but so much of this movie, Fuffin Rocks.
14:12
[SPEAKER_04]: When they start speaking the themes of the film out loud, it becomes a little,
14:17
[SPEAKER_04]: Try it.
14:18
[SPEAKER_04]: Well, try it.
14:19
[SPEAKER_04]: But up until then, I think the commentary is pretty strong.
14:22
[SPEAKER_04]: In fact, the opening sequence is really strong in this movie.
14:25
[SPEAKER_04]: Yeah, because it
14:27
[SPEAKER_04]: Star's a character, what is the character's name?
14:29
[SPEAKER_04]: Margo.
14:31
[SPEAKER_04]: Yeah.
14:32
[SPEAKER_03]: Playboy.
14:32
[SPEAKER_04]: Barbie Ferria from... Barbie Ferraria.
14:35
[SPEAKER_04]: She's fantastic in this.
14:37
[SPEAKER_04]: Yeah.
14:37
[SPEAKER_04]: She's really fat.
14:38
[SPEAKER_04]: She's from... She's one of the euphoria's.
14:42
[SPEAKER_04]: And the euphoria's are all back together, and the new season of euphoria.
14:46
[SPEAKER_01]: That's great.
14:47
[SPEAKER_01]: I like that they call them building euphoria.
14:49
[SPEAKER_01]: It's like it's Josie and the pussycats.
14:51
[SPEAKER_04]: Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and the Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya and Zindaya Zindaya and Zindaya Zindaya Zindaya Zindaya Z
15:15
[SPEAKER_01]: Yeah.
15:16
[SPEAKER_01]: Or, uh, and she can look like that.
15:18
[SPEAKER_01]: And she can choose.
15:19
[SPEAKER_01]: And she can choose.
15:19
[SPEAKER_04]: Or allow.
15:20
[SPEAKER_01]: A ban allow or do more research.
15:21
[SPEAKER_01]: And in the opening, we see a whole bunch of videos.
15:24
[SPEAKER_01]: Some of them are very violent.
15:26
[SPEAKER_01]: Some of them are very sexual.
15:28
[SPEAKER_01]: Uh, and honestly, trying to figure out the rationale.
15:32
[SPEAKER_01]: Cause golly, she's following a corporate mandate.
15:34
[SPEAKER_01]: Trying to figure out the rationale of what goes through and what doesn't is mind-boggling.
15:38
[SPEAKER_01]: She's like, here's something really violent.
15:40
[SPEAKER_01]: She's just right, probably fake, allowed.
15:42
[SPEAKER_01]: And then here's someone who's actually saying, like, okay, opioid addiction is a serious problem in this country.
15:49
[SPEAKER_01]: So I'm just doing a video right now to show you how to properly use Narcanicase someone you know, it's an overdose and immediately banned.
15:56
[SPEAKER_01]: Drug content can't do that.
15:58
[SPEAKER_03]: Oh my god.
15:59
[SPEAKER_04]: And the commentary comes through right away.
16:02
[SPEAKER_04]: And also, we learn in a later scene that she has to stay on that cycle,
16:08
[SPEAKER_04]: Constantly like eight hours a day if she stops doing it.
16:11
[SPEAKER_04]: I think for like a one minute something appears on her screens And hey, you've been active for a minute or you wait a second slide exaggeration, but yeah, it's exaggeration, but that's kind of it's a psychologically damaging deluge of a job and She starts seeing these like really violent videos
16:31
[SPEAKER_04]: And this kind of have made the cycles online anyway.
16:35
[SPEAKER_04]: And this actually goes all the way back to the 90s when you could see like, or even the 80s where you could see like, skate, wipe out videos.
16:42
[SPEAKER_04]: So people would follow over and actually hurt themselves.
16:44
[SPEAKER_01]: Yeah, they used to actually just like sell those at like skate shops and like comic book stores with this homemade, like, oh, I totally wasted on my board.
16:53
[SPEAKER_04]: And people don't like know a little bit about video editing so they just put together all of these white ballots where people are getting hurt.
16:59
[SPEAKER_04]: and sell them in the compilation videos.
17:01
[SPEAKER_04]: That's kind of where Jack asks came from.
17:02
[SPEAKER_03]: Yeah.
17:03
[SPEAKER_04]: Was the sort of wipeout of his head?
17:04
[SPEAKER_03]: Literally, we're Jack.
17:05
[SPEAKER_04]: Yeah, like what if what if all our skater buddies just heard ourselves on purpose?
17:08
[SPEAKER_04]: That's Jack asks.
17:12
[SPEAKER_04]: And so, people are still doing that with these video sharing sites.
17:15
[SPEAKER_04]: People follow where people get hurt.
17:16
[SPEAKER_04]: Sometimes people are hurt very grievously, but you can still watch the video online.
17:20
[SPEAKER_04]: Yeah.
17:21
[SPEAKER_04]: Some people saw the Charlie Kirk video without even trying.
17:24
[SPEAKER_01]: Yeah, because it was just, people have auto play on.
17:27
[SPEAKER_01]: And there's no tomato that's scrolled.
17:29
[SPEAKER_01]: There it was.
17:30
[SPEAKER_01]: And that's very, that's a very upsetting thing.
17:35
[SPEAKER_04]: to just in general just that act of violence because all of that stuff's just floating out there and you were looking at this content moderators like here's sexy here's a kitten here's something kid friendly here's somebody getting murdered all these things are kind of just washing over you and this wave of meaningless content yeah
17:53
[SPEAKER_04]: And I'm getting from just this opening montage that faces of death from 1978, however legendary it is, is kidn play.
18:04
[SPEAKER_04]: It's nothing anymore.
18:05
[SPEAKER_04]: We are now all faces of death filmmakers.
18:09
[SPEAKER_01]: Or at least in enthusiasts.
18:10
[SPEAKER_01]: Yeah, like this used to be over touch tones.
18:12
[SPEAKER_01]: And now we'd see eight of them a day just to think about it.
18:15
[SPEAKER_04]: And we learn later on that Margo, the character,
18:19
[SPEAKER_04]: Also became kind of notorious because of a violent video.
18:23
[SPEAKER_01]: Yeah, she was doing some sort of just one of those bullshit.
18:27
[SPEAKER_01]: Everyone's doing the same thing like planking and she was doing one with a friend of hers and a friend of hers died on camera and the video got out and now everyone knows her as the girl from that video and she very specifically doesn't have a smartphone anymore and doesn't even on a laptop at all, she's completely unplugged.
18:44
[SPEAKER_04]: So, you can understand why she would take that job, but then also you can't understand why she would take that job.
18:49
[SPEAKER_01]: Well, she later explains that like she thought that like she would be doing some good, you know, I can prevent these sorts of upsetting things from being disseminated in an unfair way, but, but it, yeah.
19:04
[SPEAKER_04]: Throughout the movie we're also seeing her constantly drinking coffee, and she has a little bag of like pet pills like caffeine pills of some kind So what we're learning is there is this
19:15
[SPEAKER_01]: incredible a sense of exploitation people are being forced to work really really hard yeah to get snuff films to the public yeah just to make sure you see them and oh if the movie had just been that that would have been incredibly strong there you could there's a short film in there that could have been very effective but what the plot kicks in when she starts seeing videos that are if you're fan of or I don't know if you can't really I don't know people would sometimes tell us fans of phases of death but if you're
19:44
[SPEAKER_01]: Some gloomy golf kids are all right.
19:46
[SPEAKER_01]: I feel like there's a lot of people who know it.
19:48
[SPEAKER_01]: Who wouldn't call themselves a fan But like regardless if you know faces of death original faces of death You might immediately recognize that what they are doing here is they are recreating a scene from faces of death including the original voice-over from faces of death But they have real people in it
20:05
[SPEAKER_01]: and there's one about it with a guy like getting his head hit with hammers for example it's very upsetting but it's all very artistically shot so she's willing to give it some film grain there's some editing lighting she's willing to give it the benefit of the doubt and say this is probably staged
20:21
[SPEAKER_01]: But she keeps seeing them, and they're also not all from the same account so they can't be tracked, a lot of red flags, and she starts becoming obsessed with the possibility that these might be real and starts investigating outside of work trying to track down who was doing that.
20:38
[SPEAKER_01]: Which is verboten, according to our job.
20:40
[SPEAKER_01]: Yeah, meanwhile, we also see the killer played by Daker Montgomery, or Doc Ray Montgomery, I don't know.
20:51
[SPEAKER_01]: He is kidnapping people and staging faces of death.
20:55
[SPEAKER_01]: He's doing it for real.
20:56
[SPEAKER_01]: Yeah.
20:56
[SPEAKER_01]: And he is.
20:57
[SPEAKER_01]: He considers himself quite the filmmaker.
21:00
[SPEAKER_01]: There's a bit in the movie where he has put up one of his, you know, horrible murder videos.
21:05
[SPEAKER_01]: And he's.
21:07
[SPEAKER_01]: enjoying the comments section and then he sees someone being critical of his movie and then he logs in as another user to defend himself this filmmaker who is a good filmmaker yeah and there's just really amazing moment which I know all too well where I'm not that I've ever done like I've never created a fake account I've I've had someone like kind of
21:28
[SPEAKER_01]: like be mean to me on one account so I blocked them and then they apparently they had like 20 volts.
21:34
[SPEAKER_03]: Oh no.
21:34
[SPEAKER_01]: They just kept coming after me coming after me coming after me with the exact same like mean thing they said and I just blocked them all until it was done but it took weeks.
21:42
[SPEAKER_01]: Jeez.
21:42
[SPEAKER_01]: It was ridiculous.
21:42
[SPEAKER_01]: Some people have those but um but I have agonized over like how many exclamation points to use in a text or a comment and he's like and he writes and he's defending himself and he writes three exclamation points and he's like
21:54
[SPEAKER_01]: No, that's too much.
21:56
[SPEAKER_01]: They bring to town a lawn and he's like, that's not enough.
21:58
[SPEAKER_01]: Two, the porridge, gold, he likes to eat.
22:01
[SPEAKER_01]: Love it.
22:02
[SPEAKER_01]: He's so insecure about his art.
22:04
[SPEAKER_04]: And there is a scene leader on where a violent video goes up.
22:10
[SPEAKER_04]: And he immediately starts checking on the hit count.
22:13
[SPEAKER_04]: There's other people in the room, and there's violence going on.
22:16
[SPEAKER_04]: He's lost a check on his hit count.
22:17
[SPEAKER_04]: Yeah.
22:21
[SPEAKER_04]: Of course these characters are going to intersect at some point and I won't say he's investigating him He I don't want to ruin a lot of the surprises But yeah, we just kind of see him stalking and kidnapping some other victims They're finally filmed
22:35
[SPEAKER_01]: I think the cinematography is incredibly stark and freaky in this movie.
22:39
[SPEAKER_01]: Like it's just, it really is uncomfortably, almost cubrician.
22:45
[SPEAKER_01]: And it's matter of factness.
22:47
[SPEAKER_04]: Something they don't really address in this movie is that he, um, I love.
22:52
[SPEAKER_04]: He looks like a, they make him up to look like Jeffrey Dhammer.
22:56
[SPEAKER_04]: Yeah.
22:56
[SPEAKER_04]: He looks like a serial killer with the glasses in the hair.
22:59
[SPEAKER_01]: And there's even like a scene very late in the movie, which is very clearly inspired by some of the really happened the Jeffrey Dhammer.
23:04
[SPEAKER_04]: If you know some of the stories, yeah.
23:07
[SPEAKER_04]: And yet all of his victims are women or non-white characters, and that's not something that I think this film is quite deaf enough to handle.
23:16
[SPEAKER_01]: Well, I think one of the early victims, like before we see him actually doing it, like in the videos, I think one of those guys was white.
23:22
[SPEAKER_01]: Yeah, but in one of the videos.
23:24
[SPEAKER_04]: But yeah, no, it's a fair point, yeah.
23:26
[SPEAKER_04]: I wish the film had been a little bit.
23:31
[SPEAKER_04]: more willing to come up with a lot of wiser about the kind of racial and gendered dynamic that was going on.
23:36
[SPEAKER_04]: And when he finally gives his speech, it's, it sounds exactly like something Matthew Lillard would have said in the original screen, you know, 40 years ago or 30 years ago at this point.
23:48
[SPEAKER_01]: It really is like, what if Matthew Lillard and Skeetel Rick in that movie?
23:54
[SPEAKER_01]: What if they were good film students?
23:57
[SPEAKER_04]: Oh, like they were.
23:57
[SPEAKER_04]: Well, the film students, they were turning their interest in murder into a film.
24:01
[SPEAKER_01]: Like, one of the killers, at least one, no, I think two of the killers in the screen franchise turned out to be people who are actually interested in making movies.
24:09
[SPEAKER_01]: Oh, yeah.
24:09
[SPEAKER_01]: We don't know if they were any good.
24:11
[SPEAKER_04]: That's something that's in two and three.
24:13
[SPEAKER_01]: Yeah, but we don't know if they were any good.
24:16
[SPEAKER_04]: That's true.
24:17
[SPEAKER_01]: Yeah, like, I guess the guy, I guess maybe, but like, I guess arguably it's besides the point, but I think it's in this one, it isn't besides the point because it's actually about, like,
24:32
[SPEAKER_01]: it's about like what it means to like try to recreate faces of death to try to bring back that mistake in a world in which there is no mistake towards any of this.
24:43
[SPEAKER_04]: It's all just content.
24:44
[SPEAKER_04]: And that could have been a commentary where the idea is he's putting all these things out there and he's being ignored.
24:52
[SPEAKER_04]: The motivation to get a lot of hits on one certain website I suppose that's relatable, but it seems like not the least bit timely It could have had that same theme 15 years ago.
25:04
[SPEAKER_01]: I feel like the reason you do that like the reason why a lot Well, it's something we'll just want attention obviously.
25:09
[SPEAKER_01]: That's just a human, but I feel like if you're really obsessed with getting like a lot like a huge audience On a social media YouTube TikTok whatever
25:19
[SPEAKER_01]: You probably want to attract sponsors.
25:23
[SPEAKER_01]: Right.
25:24
[SPEAKER_01]: A lot of people do this with the hope of making doing it for a living.
25:27
[SPEAKER_01]: Yeah.
25:27
[SPEAKER_01]: The influencer is an actual job.
25:30
[SPEAKER_01]: Some people make a lot of money doing.
25:32
[SPEAKER_01]: It is.
25:34
[SPEAKER_01]: And some people biggerly get by doing it as well.
25:36
[SPEAKER_01]: I think that's more likely.
25:37
[SPEAKER_01]: I think that's more common.
25:38
[SPEAKER_01]: But I don't know how you monetize this.
25:43
[SPEAKER_01]: Yeah.
25:43
[SPEAKER_01]: That could have been an interesting comment.
25:47
[SPEAKER_01]: Yeah, no, that's a good point.
25:49
[SPEAKER_01]: I feel like I don't know.
25:53
[SPEAKER_01]: I feel like there's almost a version of this.
25:56
[SPEAKER_01]: There's almost an interpretation of this that's about like how how a horror filmmaker is desperate to get noticed in an overcrowded marketplace as well.
26:03
[SPEAKER_04]: Yeah, there was a scene early on because the Margo character has has a roommate.
26:11
[SPEAKER_04]: and he's kind of a queer stereotype roommate and he's a horror fit as well.
26:16
[SPEAKER_04]: He also meets a bit of a grizzly fate, but which is another trope that I hate.
26:21
[SPEAKER_01]: Yeah, there's some tropes in here that make it a little less clever than it should be.
26:25
[SPEAKER_04]: But there is a scene early on where
26:28
[SPEAKER_04]: She catches him because he's, yeah, that's hard not.
26:31
[SPEAKER_04]: He's the one who owns the VHS of face of death.
26:33
[SPEAKER_01]: Which is a buy.
26:34
[SPEAKER_01]: That's hard to find.
26:35
[SPEAKER_01]: She just finds out that face of death is a thing.
26:37
[SPEAKER_01]: And she just looks at their shelf and they're like, oh, we have that.
26:40
[SPEAKER_01]: Oh, yeah.
26:42
[SPEAKER_04]: But he's watching, I think it might be Wizard of Gore.
26:45
[SPEAKER_04]: It's a Herschelgorn Lewis film.
26:48
[SPEAKER_04]: And Herschelgorn Lewis, rather famously, had no money to work with.
26:53
[SPEAKER_04]: But he wanted to stand out in this marketplace
26:59
[SPEAKER_04]: fake blood is cheap so he just up to the blood quotient he did made the more violent and gory and that was a point and that was yeah and hertual garden was to this day stand out for that uh he said not so it's with gory uh yeah he's called the godfather of gory and
27:15
[SPEAKER_04]: In seeing that, I expected the filmmakers to also go in that direction.
27:19
[SPEAKER_04]: It's like in order to stand out, you actually have to kill people on camera.
27:22
[SPEAKER_04]: You've got to kill yourself to make it this way in this town.
27:26
[SPEAKER_04]: It's an old-daffy duckline, but I kind of hoped that that was going to be the comments that in order to get people's pulses racing just a little bit.
27:38
[SPEAKER_04]: All of a sudden you had to go to a logical extreme.
27:41
[SPEAKER_01]: I really like that's not not the comment and I think like one thing that Daniel Goldhabeer is doing is allowing as much of the text to have as many different interpretations as possible while still remaining on theme, like none of these themes contradict each other.
27:56
[SPEAKER_01]: So whatever sort of approach you have here, whatever aspect of this narrative intrigues you, whether you're interested in sort of the the
28:07
[SPEAKER_01]: of all of these like pellet-sized streaming sites, or whether you're interested in the sort of impossibility of getting a horror movie noticed in this marketplace, or in how it is possible to transform pre-existing art in a way that is fascinating in the literal sense of this movie, but in a meta-textual sense, also extremely irresponsible.
28:32
[SPEAKER_01]: Yeah.
28:33
[SPEAKER_01]: There's a lot going on.
28:35
[SPEAKER_01]: I respect the Daniel Goldhaver, really any horror filmmaker.
28:39
[SPEAKER_01]: I don't want to say they could have phoned this end, but you didn't have to make it super interesting.
28:45
[SPEAKER_01]: Yeah, there's a very boring but serviceable version of this movie that someone could have met.
28:51
[SPEAKER_01]: Oh someone's trying to remake the faces of death and oh we've got a couple of detectives on the case and like one of them had a sister who died from swallowing too much VHS magnetic tape and that really fucked them up and he's got to overcome that by strangling the guy at the end with VHS magnetic tape and it's like ha ha ha ha.
29:11
[SPEAKER_01]: I have overcome my baggage and then it turns out it was all degust and he was like damn it and then yeah That would be like
29:20
[SPEAKER_01]: watchable, but it would be very ridiculous and it would make a lot much of an impact.
29:26
[SPEAKER_04]: There's some commentary here, although I feel, and I appreciate any film that is going to sort of interrogate the way we interact with media.
29:34
[SPEAKER_04]: I like films that are like essays about themselves.
29:37
[SPEAKER_01]: Yeah, and I can still be a movie and an essay.
29:39
[SPEAKER_04]: Yeah, and I feel like that has there are a lot deeper ideas that this could have explored.
29:44
[SPEAKER_04]: But I at least appreciate that they put some of those ideas in there.
29:48
[SPEAKER_04]: I feel like the second half Yeah, it becomes a little bit more cliche ridden.
29:51
[SPEAKER_04]: I think it becomes a lot simpler than it lets on in the first half the first half is incredibly intriguing
29:56
[SPEAKER_01]: I hate it, to use a crit word, it's evolving, it's very easy to get wrapped up in this movie initially, and well, it kind of filters down as a sort of a conventional, fucked up and gory, but like conventional slash movie conclusion, it's like, oh, I got the drop on you, yeah, you in this time, there's a really awkward set up and pay off.
30:19
[SPEAKER_04]: Yeah, that is just sort of like set up late in the mood.
30:22
[SPEAKER_01]: It's set up late in the morning and the killer is that his undoing and I don't tell you exactly how or how he's undone or if he dies or not, but he makes a very foolish decision that like and I don't want him to succeed to be clear.
30:36
[SPEAKER_01]: He's a very bad man, but at the same time it's like, you know, you.
30:41
[SPEAKER_01]: everything you did took a lot of intelligence and effort evil, but intelligence and effort you were not lazy you didn't like not cover your bases otherwise you would never gotten away with this for so long and then but because the movie has to end at some point he just completely overlook something incredibly obvious just so the movie can end and that's fine it's fine but also could have been better yeah
31:08
[SPEAKER_04]: There's a good set-ups and payoffs.
31:10
[SPEAKER_04]: I like all the character stuff.
31:11
[SPEAKER_04]: I think the the Marko character is actually like complex and interesting and I think Or be really good performance.
31:19
[SPEAKER_04]: What do I do with horror protagonists in a while?
31:21
[SPEAKER_01]: Yeah, I think I just had very interesting flawed fascinating person
31:24
[SPEAKER_04]: Because we expect our protagonists to have a little bit of, especially in horror movies, like a little bit of a personal emotional wound of some kind.
31:34
[SPEAKER_01]: Something that the horror will connect to on a personal level.
31:37
[SPEAKER_04]: I feel like this film is actually very ginger about revealing what that is and how she connects to it.
31:42
[SPEAKER_04]: We actually see her unraveling in a very natural way as the film goes on.
31:46
[SPEAKER_04]: So yeah, all of that is is really a spot on.
31:50
[SPEAKER_04]: She has some really good coworker characters.
31:52
[SPEAKER_04]: I like the actor played her boss I like that he's Flawed in a very human way.
31:58
[SPEAKER_04]: It's like hey, can you leave your office?
32:01
[SPEAKER_04]: Abandoned for a little bit.
32:02
[SPEAKER_04]: I got you some tickets and he just looks at us like
32:05
[SPEAKER_04]: I'm not made a stall, and he's just an easy office, that's great.
32:08
[SPEAKER_01]: No, she has a coworker played by Charlie XCX, if anyone just takes his intrigues by that.
32:13
[SPEAKER_04]: It's a random cameo.
32:14
[SPEAKER_04]: She has nothing to do with the podcast.
32:16
[SPEAKER_01]: She has like two maybe three scenes, and she's just sort of there to give a little bit.
32:20
[SPEAKER_04]: She's kind of a mean girl in the office, and that's her role role.
32:23
[SPEAKER_01]: She helps make the work environment less sterile, and show that not everyone is taking this as seriously as our protagonist is, but they should.
32:32
[SPEAKER_04]: Yeah.
32:33
[SPEAKER_04]: I saw three films in a week that all have Charlie XCX connected to them in some way.
32:39
[SPEAKER_01]: Oh.
32:40
[SPEAKER_04]: Yeah.
32:40
[SPEAKER_01]: Did you see weathering heights again?
32:43
[SPEAKER_04]: Well, she did well during a high-serlier this year.
32:44
[SPEAKER_01]: Yeah, they did the music for it.
32:45
[SPEAKER_04]: She did, uh, there's a film coming out that will be reviewing on the next episode.
32:50
[SPEAKER_04]: I'll call Mother Mary, where she did some music for that one.
32:52
[SPEAKER_01]: Oh, that's right.
32:53
[SPEAKER_01]: She did do that then, Mary.
32:54
[SPEAKER_04]: And, uh, she's in a Polish film called Erupp.
32:57
[SPEAKER_04]: So, I think it's pronounced and, uh, yes, she's one of the main characters in that one.
33:00
[SPEAKER_01]: Wasn't she kind of a documentary or quasi-documentary about, like, her career or her concert?
33:06
[SPEAKER_01]: Oh, yeah.
33:07
[SPEAKER_01]: Yeah, there was a Charlie X. I remember that actually came out.
33:09
[SPEAKER_01]: I just played festivals, but, yeah.
33:12
[SPEAKER_04]: Yeah, so she's out there.
33:13
[SPEAKER_01]: She's moving into movies to quote Will Farrell and Zulander.
33:17
[SPEAKER_04]: She's so hot right now Yeah, and it's over projects are coming out at the same time and I I think the first time I consciously was aware that I was listening to your music was in weather I am getting old And surely surely in the summer of 2013 You heard Iggy Zalias fancy, right?
33:38
[SPEAKER_04]: Yes, she's saying hook.
33:39
[SPEAKER_04]: That was truly XX
33:42
[SPEAKER_04]: So you know her.
33:43
[SPEAKER_02]: I will get for her.
33:44
[SPEAKER_01]: If by the way, if you're laughing, smurking, because I've decided really out of touch, it will happen to you.
33:53
[SPEAKER_01]: Maybe not soon, it will happen to you, so try to enjoy it.
33:59
[SPEAKER_01]: We should move on, speaking of remakes.
34:03
[SPEAKER_01]: We have a re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re re
34:23
[SPEAKER_01]: This is a new version of Hamlet takes place in the modern day, but it's a but it's Shakespeare's language Shakespeare's language judiciously edited, but Shakespeare's language and this one stars Riz Ahmed as get this Hamlet Hamlet
34:38
[SPEAKER_04]: The star cross lover who killed Shakespeare's dad?
34:43
[SPEAKER_04]: Oh, I don't know.
34:46
[SPEAKER_04]: You're just making stuff up.
34:47
[SPEAKER_04]: I'm just making stuff up.
34:48
[SPEAKER_04]: OK. No, I have my, uh, is, you know, the the melancholy dane, um, only this time melancholy dane sounds like a garage band.
34:55
[SPEAKER_04]: I'm sure it's been done.
34:56
[SPEAKER_04]: It has to have been done.
34:57
[SPEAKER_04]: Every single line from Hamlet has been turned to do a band name at some point.
35:02
[SPEAKER_04]: I'm looking at the melancholy daines.
35:04
[SPEAKER_04]: See, that's all right.
35:05
[SPEAKER_01]: Melancholy daines.
35:07
[SPEAKER_01]: Melancholy.
35:08
[SPEAKER_04]: But...
35:10
[SPEAKER_04]: In this version they remix the story a little bit more than usual the plot is usual Hamlet's father has recently been killed he is in a state of mourning and his uncle has taken all of his father's power and and also his father's wife Hamlet's mom yes and they're getting man and they've in the play they've
35:31
[SPEAKER_04]: gotten married already.
35:32
[SPEAKER_04]: This is a film where he actually attends the wedding.
35:35
[SPEAKER_04]: The action starts.
35:37
[SPEAKER_04]: He sees the ghost of his father who says, you need to get revenge for my killing.
35:43
[SPEAKER_04]: My brother killed me and now it's your job to kill your own uncle.
35:47
[SPEAKER_04]: Yeah.
35:49
[SPEAKER_04]: You know, commit Regicide and familial murder.
35:52
[SPEAKER_04]: Uncle sigh.
35:53
[SPEAKER_01]: I don't know what for that.
35:55
[SPEAKER_01]: Yeah.
35:56
[SPEAKER_01]: There's Patrick's side.
35:59
[SPEAKER_04]: There's
36:01
[SPEAKER_04]: I know the word for killing your ant or no killing your wife is exor aside.
36:06
[SPEAKER_04]: There's all kinds of fun words.
36:07
[SPEAKER_01]: That's a mouthful.
36:10
[SPEAKER_01]: Isn't it just?
36:11
[SPEAKER_04]: You think you're considering that like every time.
36:14
[SPEAKER_01]: Every time like they watch an episode of law and order, it's someone dies.
36:18
[SPEAKER_01]: The first person they always look at is the spouse.
36:20
[SPEAKER_01]: Male female doesn't matter.
36:22
[SPEAKER_01]: You would think there would be a more useful word.
36:26
[SPEAKER_01]: for something that comes up somewhat frequently in the murder business.
36:32
[SPEAKER_04]: Yeah, I don't hear that word in cop shows too much, just for my Latin teacher.
36:35
[SPEAKER_04]: That should definitely be an episode.
36:36
[SPEAKER_04]: Which now I'm suspicious of my Latin teachers.
36:38
[SPEAKER_04]: Yeah, which is the word for murdering your wife.
36:40
[SPEAKER_01]: By the way, I couldn't find any bands.
36:42
[SPEAKER_01]: I obviously, there might be some out there that aren't done of a big online presence, but I found a band called The Blue Danes, The Blue Danes, which is a synonym.
36:50
[SPEAKER_01]: But I think the melancholy Danes is available so knock yourselves out, guys.
36:54
[SPEAKER_01]: Just post bluedains.
36:55
[SPEAKER_04]: It's like a riff on blue sweet.
36:58
[SPEAKER_04]: I don't know who did hooked on a feeling maybe.
37:02
[SPEAKER_04]: Okay.
37:02
[SPEAKER_04]: I believe it.
37:04
[SPEAKER_04]: But so yeah, in this version of Hamlick's, he talks to the ghost of his father.
37:10
[SPEAKER_04]: Uh, and then goes to the wedding.
37:12
[SPEAKER_04]: Yeah.
37:12
[SPEAKER_04]: So I think that adds a really interesting dynamic to it where he actually is already motivated And witnessing the wedding motivates him further.
37:20
[SPEAKER_04]: Yeah, actually changes the character arc a little.
37:22
[SPEAKER_01]: No, no, it's a really smart change.
37:23
[SPEAKER_01]: Again, ham one of them.
37:27
[SPEAKER_01]: big instigating plot points of the original text of Hamlet is that his father died and his uncle immediately remarried his mom like didn't even go through a morning process way too fast which is one of the first red flags that this is not okay not only is this weird it's not okay
37:44
[SPEAKER_01]: Setting it up that the wedding is going to happen is actually really smart because it gives a lot more of a through line in the first chunk of the play and the play with in a play that Hamlet puts on Mimicking the events of his father's death as he understands them that it was a murder
38:02
[SPEAKER_01]: for his uncle to see and then react to.
38:06
[SPEAKER_01]: So Hamlet can see if you think he really did it or not.
38:09
[SPEAKER_01]: Staging that play at the wedding as like a performance.
38:13
[SPEAKER_01]: Ah, special performance for my uncle and my mom.
38:17
[SPEAKER_01]: That's good drama and the staging in this version is fantastic.
38:21
[SPEAKER_01]: Well, I love the mouse trap in this movie.
38:24
[SPEAKER_04]: Riz Ahmed and all these other characters are of Indian heritage.
38:28
[SPEAKER_04]: So a lot of the iconography we're seeing is from Indian culture.
38:32
[SPEAKER_04]: So the mouse trap is like a Bollywood dance song and dance number.
38:36
[SPEAKER_04]: Yeah, so it's actually a musical version of the most, but a really morbid one.
38:40
[SPEAKER_01]: Yes, like it not because hey listen When you watch Hamlet, and it's like we're gonna put out a really melancholy play for you guys and you realize that like when Shakespeare was making plays There were two kinds of plays.
38:50
[SPEAKER_01]: Melancholy is not Really fucked up or not.
38:54
[SPEAKER_01]: That was kind of no, is there a marriage at the end or is there a matter at the end?
38:58
[SPEAKER_01]: Yeah, that's so like you're a tragedy So like you know you flip a coin you're gonna get one of those plays, but
39:03
[SPEAKER_01]: the murder plays really inappropriate for a wedding.
39:07
[SPEAKER_01]: Like right in the middle of it, like, you know, okay, the best man wanted to say a few words.
39:13
[SPEAKER_01]: Here's your murder play.
39:14
[SPEAKER_01]: And now the brain of honor wants to say a few words.
39:16
[SPEAKER_01]: Like what are we doing?
39:17
[SPEAKER_01]: It's that much more wrong and fucked up that that exists.
39:20
[SPEAKER_01]: It's great change.
39:22
[SPEAKER_04]: Shiba Chata plays Gertrude in this version and I love what they did with Gertrude.
39:27
[SPEAKER_04]: I feel like in most productions of Hamlet and even in the text, Gertrude doesn't have a lot of her own agency.
39:33
[SPEAKER_04]: That's Hamlet's Mom.
39:35
[SPEAKER_04]: And of course she has agency in this.
39:37
[SPEAKER_04]: She agreed to marry the uncle.
39:39
[SPEAKER_04]: Yeah, I've seen versions where she was actually a co-conspirator with Claudius.
39:43
[SPEAKER_01]: Yes, I've seen that too.
39:44
[SPEAKER_04]: To kill the old Hamlet.
39:46
[SPEAKER_04]: I've seen versions where she is like kind of guilt-ridden.
39:51
[SPEAKER_04]: I've seen plenty of versions where it's kind of a Freudian or a lot of Freudian.
39:56
[SPEAKER_04]: It's such a common interpretation that's tiresome at this point.
40:00
[SPEAKER_04]: In this one, she's racked by guilt.
40:02
[SPEAKER_04]: but also has agency she explains that she chose to do this and it's not to the marriage and late in the play she actually starts to feel a little bit guilt not for rushing the marriage but for the chaos that's going on around her so by the time we get to the end
40:20
[SPEAKER_01]: She does something very different.
40:22
[SPEAKER_04]: Very different and I don't want to read this movie, but I love that change.
40:26
[SPEAKER_04]: But that's a great change.
40:27
[SPEAKER_01]: That's a great change.
40:27
[SPEAKER_01]: So many songs.
40:28
[SPEAKER_01]: Every single song of a family, you're watching Hamlet, but you're also watching what they changed.
40:33
[SPEAKER_01]: Just to see what this is, yeah, they all affect the plot.
40:36
[SPEAKER_04]: The play was was first performed in 1600.
40:38
[SPEAKER_04]: It's
40:39
[SPEAKER_04]: It was contrived at the time.
40:42
[SPEAKER_04]: It was based on a...
40:43
[SPEAKER_01]: It's actually not very tightly plotted.
40:45
[SPEAKER_01]: No.
40:46
[SPEAKER_04]: But it was based on a very popular genre of plays.
40:49
[SPEAKER_04]: The revenge tragedy.
40:50
[SPEAKER_04]: We're very big in England at the time.
40:52
[SPEAKER_04]: And they had a collection of tropes that Shakespeare was very specifically undermining.
40:57
[SPEAKER_04]: It was actually kind of satirizing a lot of these revenge comedies.
41:00
[SPEAKER_04]: What would happen if we had a revenge comedy?
41:02
[SPEAKER_04]: Revenge tragedy.
41:03
[SPEAKER_04]: Yeah.
41:04
[SPEAKER_04]: What would happen if the hero of a revenge tragedy?
41:06
[SPEAKER_04]: somebody who has to go after the bad guy and kill them and that's the satisfying ending.
41:11
[SPEAKER_04]: What if they had a conscience?
41:13
[SPEAKER_01]: Yeah, that's what you have to, you have to exact revenge and kill all these people.
41:17
[SPEAKER_01]: What if instead of going, told the Charles Bronze and Death Witch, I'm fucking going for it?
41:21
[SPEAKER_01]: What if he was like,
41:23
[SPEAKER_01]: But then I'll go to hell, but then that's not nice.
41:26
[SPEAKER_01]: But if I'm wrong, it's a ghost.
41:28
[SPEAKER_01]: Yeah, what if he's fucking with me?
41:30
[SPEAKER_01]: What if I'm just mad?
41:32
[SPEAKER_01]: Like a lot of people say that.
41:33
[SPEAKER_01]: Okay, I just do that.
41:33
[SPEAKER_04]: He's like, he's so neurotic.
41:35
[SPEAKER_04]: Your professor might even have said, Oh, Hamlet is an indecisive character.
41:38
[SPEAKER_04]: It's not an indecisive character.
41:39
[SPEAKER_04]: He's a moral character.
41:40
[SPEAKER_04]: Yeah, he's wrestling with a very difficult decision that he cannot come back from.
41:45
[SPEAKER_04]: And I feel like that's the element that Rizamet is really capturing.
41:49
[SPEAKER_04]: This idea that he's, he doesn't really want to do that.
41:54
[SPEAKER_04]: Even though the ghost of his father is super natural thing happened, you would think that would be enough.
41:59
[SPEAKER_04]: Like go, go kid, it's like,
42:01
[SPEAKER_04]: Wait, a ghost just told me to commit murder.
42:03
[SPEAKER_04]: I'm gonna sound insane.
42:05
[SPEAKER_01]: I'm suffering through a lot of grief Maybe that's not real One very smart change that they did in this and I don't think this works for every version of Hamlet But for the version that they're telling.
42:13
[SPEAKER_01]: Ah, this is a good change We don't see anything that Hamlet doesn't see
42:19
[SPEAKER_01]: and yeah none of the scenes without him which means we we miss quite a few significant scenes and lines of dialogue to that I know itself be true not in here but yeah it gives hamlets sort of paranoia a lot more potential credence that make like when we see Gertrude and Claudius
42:41
[SPEAKER_01]: They seem like they're in love when we see a lot of this interact with everybody.
42:45
[SPEAKER_01]: It seems like he genuinely cares and like is he genuinely guilty We don't see him like confessed to a murder and this one like so like is he like cut that's it Yeah, which is interesting choice because I'm glad it was there for that, but like
42:58
[SPEAKER_01]: Maybe he didn't do it.
42:59
[SPEAKER_01]: Maybe this version of Claudius actually loves Hamlet very deeply.
43:05
[SPEAKER_04]: In only in Hamlet only seeing Claudius and Gertrude from the Hamlet scenes, it does make their relationship seem a little bit more human.
43:15
[SPEAKER_04]: Yeah.
43:15
[SPEAKER_04]: Although in robbing polonius of his scenes, it kind of weakens that character.
43:19
[SPEAKER_01]: A polonius is much more of a non-character.
43:21
[SPEAKER_04]: Yeah, we have Timothy Spall, a great actor playing polonius in this version, which was confusing to me because Timothy Spall played Rosencrantz in Brana's version.
43:29
[SPEAKER_04]: Yeah.
43:31
[SPEAKER_04]: But yeah, he, he, our little boy is grown up.
43:35
[SPEAKER_04]: Timothy Spall, he's finally an actor.
43:39
[SPEAKER_04]: to me these fall is a fantastic one of the best of his generation and has been for doubt we're kidding, we're being ironic Mr. Spall, if you're listening I know you are I admire you greatly You were great in Mr. Turner Yeah, he was fantastic in Mr. Turner Yes he was He gave a great performance without speaking a lot of it Yes How are you feeling?
44:04
[SPEAKER_04]: Really, he just gave me a whole speech there.
44:06
[SPEAKER_04]: I was fantastic.
44:07
[SPEAKER_03]: Yeah.
44:08
[SPEAKER_04]: Yeah, unfortunately, because his part was caught, like he's just in the background of a lot of scenes.
44:12
[SPEAKER_04]: He's just like a, like a Butler almost in this one.
44:14
[SPEAKER_04]: Yeah.
44:15
[SPEAKER_04]: But another thing they did was to sort of streamline it a little bit.
44:20
[SPEAKER_04]: They got rid of a lot of the contrivances, a lot of the supporting characters are gone.
44:24
[SPEAKER_04]: Rosencrantz and Gilden Stern were folded into Lairty.
44:28
[SPEAKER_04]: Lairties.
44:29
[SPEAKER_03]: Yeah.
44:29
[SPEAKER_04]: Horatio is gone.
44:34
[SPEAKER_04]: And yeah, and now the scenes where he was ordinarily talking to Horatio, he's not talking to a filia, and I think they did, and let me call up all these actors.
44:43
[SPEAKER_01]: The Morphid Clark plays a filia.
44:45
[SPEAKER_01]: Yeah.
44:45
[SPEAKER_01]: I might be pronouncing that right.
44:46
[SPEAKER_04]: More Morphid.
44:47
[SPEAKER_01]: Morphid Clark.
44:48
[SPEAKER_01]: Sorry.
44:49
[SPEAKER_01]: She plays a filia.
44:50
[SPEAKER_04]: So when you give her all-win plays laterties, art of my league plays, um,
44:54
[SPEAKER_01]: I was talking about what that does to each of these two characters.
44:57
[SPEAKER_01]: So the combining Rosencrantz and Guilden Stern with Lairties, who in the original play, leaves the play at like around the end of Act 1 beginning of Act 2 and doesn't come back until Act 5.
45:09
[SPEAKER_01]: Yeah.
45:09
[SPEAKER_01]: Here he's around the whole time.
45:11
[SPEAKER_01]: So we're going to cause that kind of just, is neither here nor there plot-wise.
45:15
[SPEAKER_01]: So keep them around fine.
45:16
[SPEAKER_01]: But he doesn't have any dialogue with Hamlet.
45:18
[SPEAKER_01]: So if we give him some of Rosa Grants and Guilden's turns dialogue, we establish more of a relationship between Hamlet and Leirty's.
45:24
[SPEAKER_01]: So that when they come to conflict at the end, there's a little bit more oomph in that relationship that works fine.
45:33
[SPEAKER_01]: I think combining her ratio and Ophelia is an interesting idea on paper.
45:38
[SPEAKER_01]: because Hamlet has a very respectful regard for Horatio.
45:43
[SPEAKER_01]: They're good friends, but there's nothing fraught about them, there's no politics involved, there's no intrigue.
45:49
[SPEAKER_01]: Horatio was just a smart guy and he's kind of Hamlet's gym any cricket.
45:55
[SPEAKER_01]: Giving that to Ophelia deepens their relationship that the idea that they had, not just like in a fair, but that they actually had a really close, something that they're also friends and the decision to being lovers.
46:08
[SPEAKER_01]: But the problem with that though, is that there isn't a clean segue
46:15
[SPEAKER_01]: between that warm, respectful regard and the get thee to a nunnery scene.
46:23
[SPEAKER_01]: Well, that kind of just comes out of nowhere dramatically.
46:26
[SPEAKER_04]: It's really, I've seen so many productions of Hamlet that whiff this and this version does it as well.
46:31
[SPEAKER_04]: The, I'm going to put on an antique disposition, I'm gonna pretend like I'm kind of a cook just to see how people around, if I keep everybody off balance, they'll tell me the truth, that could stuff.
46:40
[SPEAKER_04]: That is handled very poorly in most versions of Hamlet.
46:43
[SPEAKER_04]: I've seen, and it also doesn't work here, because Rizokmet is in total mourning serious mode, the entire time.
46:52
[SPEAKER_04]: He's not a whimsical version of Hamlet.
46:54
[SPEAKER_04]: No.
46:54
[SPEAKER_04]: So when he says he's going to put on an antique disposition, I don't see it ever come out.
46:58
[SPEAKER_01]: Then he actually say the words, I'm going to put on an antique disposition.
47:00
[SPEAKER_01]: Because he doesn't have the impression.
47:01
[SPEAKER_04]: They change the word antique, but I think he says, like, wild disposition.
47:05
[SPEAKER_04]: Like, he'd used a more modern one.
47:06
[SPEAKER_01]: I feel like what his interpretation of Hamlet was.
47:10
[SPEAKER_01]: was that that wasn't a con.
47:14
[SPEAKER_01]: That wasn't an act.
47:15
[SPEAKER_01]: Hamlet is genuinely losing his mind.
47:19
[SPEAKER_01]: He's going completely off the deep and gradually, gradually.
47:23
[SPEAKER_01]: And it hits a crescendo at the wedding when he is completely acting out in wildly inappropriate ways, even if no one died.
47:34
[SPEAKER_01]: And I think that works for his character, but
47:38
[SPEAKER_01]: It doesn't make sense with how he treats a failure.
47:41
[SPEAKER_01]: Okay, that's it.
47:42
[SPEAKER_01]: So my interpretation was that wasn't in this version and act that was genuine.
47:46
[SPEAKER_01]: I don't think rhythm would place that really well.
47:48
[SPEAKER_01]: But...
47:50
[SPEAKER_01]: And fortunately, that there's one thing that doesn't fall together very well.
47:54
[SPEAKER_01]: I think the to be or not to be speech, the way that they stage it is like a scene out of a particular scene at a fight club is very thrilling.
48:02
[SPEAKER_01]: And they did one, I want to say what they did, they did one thing with Forten Ross that I thought was really neat.
48:08
[SPEAKER_04]: It was a novel approach to Forten Bros.
48:10
[SPEAKER_04]: Yes, it takes place in modern day.
48:12
[SPEAKER_04]: I believe they were like real estate tycoons rather than you.
48:16
[SPEAKER_01]: Yeah, they'd like build the city.
48:18
[SPEAKER_04]: Also, it was not a kingdom, it was like the real estate firm.
48:22
[SPEAKER_04]: And how do you stage a rival country?
48:26
[SPEAKER_04]: Is it another real estate firm?
48:28
[SPEAKER_04]: No, it's actually something a little different.
48:29
[SPEAKER_01]: Well, the social movement.
48:30
[SPEAKER_01]: Yeah.
48:31
[SPEAKER_01]: Yeah.
48:31
[SPEAKER_01]: So what they do with Forten Bros is clever.
48:33
[SPEAKER_01]: And I think I actually really ties it all together really, really well.
48:37
[SPEAKER_01]: As I said before, I think every production of Hamlet, once you know Hamlet, once you know Romeo and Juliet, once you've seen a half dozen productions of each and you know the text, if not in a scholarly way, pretty damn well, you are familiar with this material.
48:53
[SPEAKER_01]: What we're looking at as much as anything when we see the movie is, hey, does it work?
48:56
[SPEAKER_01]: Is the acting good?
48:57
[SPEAKER_01]: Is it, well, pays, shot, all that stuff?
48:59
[SPEAKER_01]: And then this is a good Hamlet.
49:00
[SPEAKER_01]: Um, but we're looking at what did you do with it.
49:04
[SPEAKER_01]: Yeah.
49:04
[SPEAKER_01]: I think this is one of the things that we see.
49:06
[SPEAKER_04]: It's like Dracula or yeah, what is the story we've seen?
49:09
[SPEAKER_01]: I think it's in smaller ways.
49:10
[SPEAKER_01]: Like if you look at like, um, all the very superhero movies.
49:14
[SPEAKER_01]: And it's like, oh, there we go.
49:15
[SPEAKER_01]: How are we going to, we're going to show Spider-Man's origin again.
49:18
[SPEAKER_01]: We kind of nailed it the first time, but this is a new Spider-Man, and it's really important to him.
49:24
[SPEAKER_01]: So we're going to do it again, but we made a bunch of choices and amazing Spider-Man, which mean it didn't hit very hard.
49:30
[SPEAKER_01]: And then in the Marvel version, they just didn't show it, and then they kind of showed it anyway.
49:35
[SPEAKER_01]: Oh, they kind of threw it into the wall, yeah.
49:36
[SPEAKER_01]: They threw it into the third movie, and immediately an unexpected way.
49:39
[SPEAKER_01]: And a way that actually thinks things kind of works in interestingly, so like we spent two movies with Uncle Ben, and then he died.
49:46
[SPEAKER_01]: Yeah, that's interesting.
49:48
[SPEAKER_01]: We had no way of knowing they were going there and maybe that wasn't the plan all along, but we're looking at how each of these stories tells it differently.
49:56
[SPEAKER_01]: One of the reasons that I think it's frustrating to see the death of the Wayne family in Batman V Superman is, and there's not that it's like badly done or anything, it's just that Zack Snyder didn't have a new take on it, he just showed it in slow motion.
50:10
[SPEAKER_01]: And as a stake, yeah, which is,
50:13
[SPEAKER_01]: just not interesting.
50:14
[SPEAKER_01]: Like there's no reason to show it again at that point.
50:17
[SPEAKER_01]: You're not actually showing us anything new.
50:20
[SPEAKER_01]: Like the Tim Burton one didn't even show it except really brief flashback towards the end.
50:24
[SPEAKER_01]: It was all just like and then turns on in the paper his parents died.
50:27
[SPEAKER_01]: Fucked up, right?
50:29
[SPEAKER_01]: How you show these things what you choose not to show matters the more familiar people are with the text.
50:35
[SPEAKER_01]: And I think this production of
50:41
[SPEAKER_04]: Oh, interesting.
50:41
[SPEAKER_01]: Like, that takes place in or around the present.
50:44
[SPEAKER_01]: And a lot of people really love that Ethan Hawke version.
50:48
[SPEAKER_01]: Michael Alma Raida directed that one.
50:49
[SPEAKER_01]: Yeah, I don't think that one never really works for me.
50:52
[SPEAKER_01]: I need to revisit it.
50:53
[SPEAKER_01]: I haven't watched it a long time.
50:54
[SPEAKER_04]: It has a great cast, but it's a little sleepy.
50:57
[SPEAKER_04]: Yeah.
50:58
[SPEAKER_04]: And a lot of the themes are things you'd covered first during college.
51:02
[SPEAKER_04]: Like, there's not an interesting
51:04
[SPEAKER_04]: novel approach to the material.
51:07
[SPEAKER_01]: It's just all stylish.
51:08
[SPEAKER_01]: You know, the only really novel thing that they did was they made Hamlet a filmmaker Yeah, who shot the film the mouse trap as opposed to put on the play and he gets to have one of his big film festival and also he gets to have one of his big speeches in a blackbuster video
51:23
[SPEAKER_01]: Which is funny.
51:24
[SPEAKER_01]: That's fun.
51:25
[SPEAKER_01]: That's like that's an interesting sort of take.
51:28
[SPEAKER_04]: Oh, Phelia was a I was a photographer and rather when she in the madness scene rather than scattering flowers She's scattering polaroids of flowers.
51:36
[SPEAKER_01]: I thought that was cute.
51:36
[SPEAKER_01]: Do you remember?
51:37
[SPEAKER_01]: I think this is how it works.
51:39
[SPEAKER_01]: I think it's in the scene where he's in blockbuster video.
51:42
[SPEAKER_01]: Do you remember what movie is playing in the background?
51:44
[SPEAKER_01]: Oh, was it one of Malcolm Michael on the radar's movies?
51:47
[SPEAKER_04]: No, which one was a crow city of angels.
51:50
[SPEAKER_04]: Oh, God.
51:51
[SPEAKER_04]: Yeah, which would be my last story.
51:55
[SPEAKER_01]: Oh, there.
51:58
[SPEAKER_04]: Oh, no, what?
52:04
[SPEAKER_01]: It's hard.
52:09
[SPEAKER_04]: But I also like the staging of Hamlet.
52:11
[SPEAKER_04]: It's because the dialogue is so trim, we're not delving too deeply, but I appreciate the changes.
52:18
[SPEAKER_04]: I'm focused on the changes, like you said.
52:20
[SPEAKER_04]: Uh, I think the performances are all across the board.
52:22
[SPEAKER_04]: Great.
52:23
[SPEAKER_04]: Like, they're evenly air to you.
52:25
[SPEAKER_04]: So it's like, does not have a lot to do in the plot.
52:27
[SPEAKER_04]: I think even he's good.
52:29
[SPEAKER_04]: The way the movie ends gives him some real moments.
52:32
[SPEAKER_01]: I love the way they stage the ending.
52:33
[SPEAKER_01]: But yeah, I think I really well done.
52:35
[SPEAKER_04]: I think, uh, Riz Ahmed and, um, uh, the Morphith.
52:39
[SPEAKER_04]: The more of the more of the car gets good, but I was going to say she's a Chewbacchada, the play is Gertrude.
52:44
[SPEAKER_01]: I think she's Chewbacchadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadad
53:05
[SPEAKER_04]: He's been in a lot of big Hollywood blockbusters.
53:09
[SPEAKER_04]: He was in like the live-action version of the little mermaid, for instance.
53:13
[SPEAKER_04]: But he was in that wasn't it.
53:15
[SPEAKER_04]: It's just quite a lot of side characters.
53:18
[SPEAKER_01]: It's okay.
53:18
[SPEAKER_04]: You don't need to keep the ball in your head.
53:20
[SPEAKER_01]: I really don't.
53:21
[SPEAKER_01]: I don't need to keep that all in my head.
53:24
[SPEAKER_01]: We should move on.
53:25
[SPEAKER_01]: Yeah.
53:25
[SPEAKER_01]: We have another adaptation.
53:28
[SPEAKER_01]: This time was something that has only been adapted the ones.
53:30
[SPEAKER_01]: This is the first time.
53:31
[SPEAKER_01]: Something tells me it probably won't.
53:34
[SPEAKER_01]: be hamlet and be restaged over and over again for the next 500 years, but I do think it's a really interesting film, it is exit eight, which is an adaptation of video game.
53:46
[SPEAKER_01]: The video game is what is my understanding when a new genre forms, there might be a couple of different names for the genre sort of fighting for dominance, which one's going to catch hold, but I've heard it referred to as the anomaly hunt genre, where you walk through
54:04
[SPEAKER_01]: a liminal space and you've got to walk through many times and you're looking to see if something is off, possibly in a scary way, could be a madout, could be a madout, could be scary, but you're looking for something
54:19
[SPEAKER_01]: new something strange something bizarre and if you see something bizarre you go back the way you came and and you end up in the same room over again and if you don't see something bizarre you keep moving forward until you reach the end of the game and typically you're only supposed to do this like I don't know eight or ten times
54:36
[SPEAKER_01]: Exit 8, I didn't play the game, but the game is a guy stuck in a subway, specifically a hallway in a subway.
54:44
[SPEAKER_04]: In the movie, we see him on the subway.
54:47
[SPEAKER_04]: We set up that his ex-girl, he gets a call from his ex-girlfriend saying that she's pregnant with his child.
54:54
[SPEAKER_01]: Yes, and she hasn't decided what to do yet.
54:56
[SPEAKER_04]: And she doesn't, she doesn't know what to do, and he's broken up with her.
55:00
[SPEAKER_04]: He doesn't really know what to do either.
55:01
[SPEAKER_04]: He's a very indecisive guy in the impression.
55:03
[SPEAKER_04]: The first part of the movie we get a lot of sort of like first-person camera work where we're like the camera looks down at his hands The soundtrack changes when he puts in an earbud and He's sort of lost in this like really bustling Japanese subway I guess starts going down a hallway and Realizes he's in a hallway has never been before and there's no people in there, which is a little creepy.
55:23
[SPEAKER_04]: Yeah Even though he was even though there was a huge crowd of second-a-go and they say Go out exit eight and he keeps rounding a corner, but he's walking down this hallway
55:33
[SPEAKER_04]: always going forward.
55:34
[SPEAKER_03]: Yeah.
55:34
[SPEAKER_04]: And the camera work is great because we're always behind him.
55:36
[SPEAKER_04]: It's unbroken.
55:37
[SPEAKER_03]: Yeah.
55:37
[SPEAKER_04]: And he goes to around a corner and then we realize he's gone around the same corner like three or four times.
55:42
[SPEAKER_01]: The posters are the same.
55:43
[SPEAKER_01]: The same one guy walks behind the same point.
55:46
[SPEAKER_01]: And there's always a sign that says exit one, never any other exit.
55:50
[SPEAKER_01]: Or it's exit zero.
55:51
[SPEAKER_01]: It's exit zero.
55:52
[SPEAKER_01]: And then he, even when he goes back, he finds his up going through the same hallway and not in reverse.
55:58
[SPEAKER_01]: No, it's like he's still going forward.
55:59
[SPEAKER_01]: So he's trapped in a constant loop.
56:03
[SPEAKER_04]: And I don't know how big the set was.
56:05
[SPEAKER_04]: I like to think that they constructed something really elaborate.
56:08
[SPEAKER_01]: Yeah.
56:08
[SPEAKER_04]: But I think it was just clever, special effects.
56:10
[SPEAKER_04]: Because when he goes back the other way, and the tall way is changed.
56:12
[SPEAKER_01]: I mean, if I were them, I don't know what they did.
56:14
[SPEAKER_01]: If I were them, considering it's not a huge set, I would have constructed like maybe three.
56:19
[SPEAKER_01]: Yeah, together, you know, just say that you have options, stuff you want to do a lot of stuff in one take.
56:24
[SPEAKER_01]: But yeah, so he is walking through the hallway.
56:26
[SPEAKER_01]: He realizes he's stuck in.
56:27
[SPEAKER_01]: Finally, he takes a close look at one sign.
56:29
[SPEAKER_01]: And clearly, this is a supernatural thing.
56:33
[SPEAKER_01]: And but Kudos to whoever set up this supernatural thing, because they wanted to play fair.
56:38
[SPEAKER_01]: So they gave them some instructions.
56:39
[SPEAKER_04]: There's a sign on the wall that gives us the rules of this movie.
56:42
[SPEAKER_01]: Yeah, and you know what?
56:44
[SPEAKER_01]: It's in the elegant, but it gets the job done.
56:46
[SPEAKER_01]: And I don't care.
56:49
[SPEAKER_04]: We need to know what the rules are.
56:50
[SPEAKER_04]: Unfortunately, the reason this thing exists is never really made 100% clear.
56:55
[SPEAKER_01]: No, it's kind of groundhog day rules where this guy needs to go through a personal change.
57:01
[SPEAKER_01]: And once he does, he could leave.
57:02
[SPEAKER_01]: And if he doesn't successfully do that, he might be stuck there for eternity.
57:07
[SPEAKER_01]: But the rules are basically, you have to leave through exit eight.
57:12
[SPEAKER_01]: walk forward if you don't see any anomalies if you see an anomaly walk backward yeah and then eventually you will if you do that correctly eight times you'll get through and he starts passing a sign and then it the the number goes up like he's gone to the next level yeah two six six six six six six six and when he sees level zero it's like oh shoot I missed something
57:30
[SPEAKER_01]: Now, the photography in this movie is really excellent because the hallway is very stark and we always see almost all of it.
57:37
[SPEAKER_01]: So we are engaged.
57:40
[SPEAKER_01]: We are doing like the find the difference highlights magazine puzzle with this guy.
57:46
[SPEAKER_01]: And so we can see that he missed that the light fixtures are wrong.
57:51
[SPEAKER_01]: Right.
57:51
[SPEAKER_01]: And we're like, no, turn around, you idiot.
57:54
[SPEAKER_01]: and then sometimes things are really subtle like he walks by and nothing happens but then just to be sure he walks back and now the eyes on the posters are following and which is very uncanny in a very subtle creepy way there's a lot of good creepy moments like that and um
58:09
[SPEAKER_04]: Uh, when he, when he stops and turns around this guy who's like, just sort of walking down the hallway, this other person, uh, he's still like sort of clearly like a robot or a supernatural thing is just standing behind him smiling and I'm not gonna do anything.
58:22
[SPEAKER_01]: And that's an anomaly.
58:23
[SPEAKER_01]: That's what we happen.
58:24
[SPEAKER_01]: So a lot of horror in order to shock you gives you some sense of your reality gives you some sense of your
58:32
[SPEAKER_01]: space.
58:32
[SPEAKER_01]: You'll understand a lot of horror movies, for example, looks even movie like the strangers.
58:37
[SPEAKER_01]: We see a lot of the inside of a house.
58:39
[SPEAKER_01]: We know what everything is inside the house.
58:40
[SPEAKER_01]: You have a big wide shot with our protagonist in the foreground, maybe they're on the phone.
58:45
[SPEAKER_01]: And then they turn to the right and the camera follows them.
58:49
[SPEAKER_01]: And when we turn back now, there's someone in the background.
58:52
[SPEAKER_01]: That's terrifying because you thought you understood this space.
58:56
[SPEAKER_01]: If you're wondering around your own house, let's say you're alone at home, right?
59:01
[SPEAKER_01]: You know where everything is.
59:03
[SPEAKER_01]: You know that if you take this left corner into your kitchen, you're gonna see your kitchen.
59:07
[SPEAKER_01]: You have seen that kitchen going around that corner in that exact same shot, if you will, countless times.
59:14
[SPEAKER_01]: So if all of a sudden you were just not paying attention, you were on your phone, you were thinking about work and then you turned around and there was a guy in a skull mask,
59:24
[SPEAKER_01]: Right even if he was doing nothing that's the scariest fucking thing you've ever seen because you knew what was supposed to be there And that's that's supposed to be there and that's a big fucking question mark And that's most like haunted house stories like when They leave yeah, I think it's a pulter guys for six cents are both They leave their kitchen and then when they come back all the chairs are stacked up.
59:45
[SPEAKER_01]: Yeah, that's like that's not supposed They're not supposed to be stacked That's scary
59:51
[SPEAKER_01]: There, that's this movie and it doesn't very well.
59:54
[SPEAKER_04]: It doesn't very well for about 40 minutes.
59:58
[SPEAKER_04]: It's a short film, it's a short film, it's a short film, it's a short film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's a film, it's
1:00:17
[SPEAKER_04]: It cuts away from the action at one point, which was, I think, a big mistake.
1:00:20
[SPEAKER_04]: We didn't have to stay in that hallway throughout the whole movie.
1:00:23
[SPEAKER_04]: And also, I got frustrated with the protagonist.
1:00:29
[SPEAKER_04]: He's walking down the hallway, he's looking for anomalies, trying to find something that helps him turn around.
1:00:34
[SPEAKER_04]: He gets help from another character at some point.
1:00:36
[SPEAKER_04]: Cool.
1:00:36
[SPEAKER_04]: I think I was fine with that.
1:00:38
[SPEAKER_04]: But as he's going through this time and time again, he must go down that hallway like 20, 30 times in the movie.
1:00:45
[SPEAKER_04]: Give it back, yeah.
1:00:47
[SPEAKER_04]: He now knows the rules as well as we do there's an anomaly go back He like starts moving forward.
1:00:55
[SPEAKER_04]: He sees like a gigantic like a really noticeable anomaly in this time The whole way is completely yellow clearly anomaly.
1:01:02
[SPEAKER_04]: Yeah He pauses and he's scared for a moment and the camera kind of like stays there and he kind of collapses like
1:01:08
[SPEAKER_01]: Just turn around.
1:01:09
[SPEAKER_01]: Well, it's initially scary, isn't that?
1:01:10
[SPEAKER_01]: Again, he knows his space.
1:01:11
[SPEAKER_01]: That's scary.
1:01:12
[SPEAKER_01]: He's waiting for someone to scare him.
1:01:14
[SPEAKER_01]: He's gone to, he's been forced into a haunted house.
1:01:18
[SPEAKER_01]: Like a universal studio's haunted house.
1:01:21
[SPEAKER_01]: It doesn't know what the rules are.
1:01:22
[SPEAKER_04]: Yeah, there's a bit.
1:01:23
[SPEAKER_04]: He passes a door in at one point.
1:01:24
[SPEAKER_04]: It's like, here's a noise on the other side of the door.
1:01:27
[SPEAKER_04]: And he stops to open it.
1:01:28
[SPEAKER_04]: It's like, no, just go the other way.
1:01:29
[SPEAKER_04]: They found the other one.
1:01:30
[SPEAKER_04]: You found the anomaly.
1:01:31
[SPEAKER_04]: You're good.
1:01:32
[SPEAKER_01]: That's the trick here, because it seems like,
1:01:36
[SPEAKER_04]: And I understand that this is sort of a phenomenon of somebody who's watching a horror movie.
1:01:40
[SPEAKER_04]: People act illogically.
1:01:41
[SPEAKER_04]: Exactly.
1:01:42
[SPEAKER_04]: Because they're scared.
1:01:43
[SPEAKER_04]: But this is such a structured movie and he has the rules as well as we do.
1:01:47
[SPEAKER_04]: Exactly.
1:01:47
[SPEAKER_04]: That for him to stop and check out the scary thing is illogically even in the course, even within the world of the movie.
1:01:55
[SPEAKER_01]: that's you're not wrong about that and I think you you hit the nail on the head we in the audience we feel safe in the audience we have a certain amount of objectivity and we can comfortably say don't do that that's a logical that's also a of you when we're watching horror movies just like in screen we understand the tropes of a horror movie so we understand when a character does something foolish we have this
1:02:15
[SPEAKER_04]: Yeah, it's like, you know, you know the killer's outside, so don't go outside.
1:02:18
[SPEAKER_01]: Now the best horror movies will get you inside the protagonist's Ted's face, so if they make a fool's decision, we know why.
1:02:24
[SPEAKER_01]: Yeah.
1:02:24
[SPEAKER_01]: We understand why they're not not thinking rationally because they are not an irrational state.
1:02:29
[SPEAKER_01]: They didn't know they were in a horror movie.
1:02:31
[SPEAKER_01]: Yeah.
1:02:31
[SPEAKER_01]: This is fucking scary to them.
1:02:33
[SPEAKER_01]: They were not prepared for this.
1:02:36
[SPEAKER_01]: And I think they do a good job and exit aid of getting me into this character and how he is himself in his life.
1:02:45
[SPEAKER_01]: in a liminal state.
1:02:47
[SPEAKER_01]: He is on the cusp of being.
1:02:53
[SPEAKER_01]: He was given, you just told like his girlfriend says, I'm, I found it on pregnant.
1:02:56
[SPEAKER_01]: I don't know if I'm going to keep it.
1:02:57
[SPEAKER_01]: What do you think we should do?
1:03:00
[SPEAKER_01]: And he doesn't have an answer to that.
1:03:02
[SPEAKER_01]: He is a, a Schrodinger's cat at the moment.
1:03:06
[SPEAKER_01]: He has a life and he doesn't have a life.
1:03:08
[SPEAKER_01]: right now.
1:03:09
[SPEAKER_01]: And he has to come to that conclusion.
1:03:12
[SPEAKER_01]: And what we are seeing here is a literalization of that.
1:03:15
[SPEAKER_01]: And I think that works.
1:03:17
[SPEAKER_01]: I think it's very effective.
1:03:19
[SPEAKER_01]: Would it have been more effective as an outer limits episode?
1:03:21
[SPEAKER_01]: Sure.
1:03:22
[SPEAKER_01]: Yeah, fair enough.
1:03:23
[SPEAKER_01]: But I actually think they do a pretty good job as a standing this.
1:03:25
[SPEAKER_01]: Over the course of it, I think the wrinkles that they add over time give the piece a little bit more depth, a little bit more tragedy.
1:03:34
[SPEAKER_01]: And I think ultimately it is
1:03:37
[SPEAKER_01]: Pretty dang scary, and I think the ending works very, very well.
1:03:40
[SPEAKER_01]: I do agree with your point that because the protagonist is given logical rules.
1:03:49
[SPEAKER_01]: The critique that he's behavingologically is more valid, but at the same time, this is his life.
1:03:57
[SPEAKER_01]: He's just thrown, found himself thrown into this bizarre, like it took Bill Murray a couple of days to figure it out.
1:04:03
[SPEAKER_01]: You know, like, I thought I'm some slack and proud of that.
1:04:06
[SPEAKER_04]: I don't know, I just feel like if you're finally in, when you find that you're definitely in a supernatural situation, it's like your, your life's rules are now temporarily suspended.
1:04:15
[SPEAKER_03]: Yeah.
1:04:15
[SPEAKER_04]: He's worried about getting somewhere on time.
1:04:16
[SPEAKER_04]: It's like, well, you know what, now you have an organic excuse.
1:04:19
[SPEAKER_04]: Well, it's going to be hard to explain your boss.
1:04:21
[SPEAKER_01]: Yeah, so I'm trying to get stuck in that turn.
1:04:23
[SPEAKER_01]: I got stuck in that eternal loop on the subway You know that eternal loop and they're like, yeah, we've all had some personal growth this week We all went through the eternal loop
1:04:32
[SPEAKER_04]: What had been a great year that he finally shows up and got your three days late where were you?
1:04:35
[SPEAKER_04]: I thought the hallway.
1:04:37
[SPEAKER_04]: Oh, the endless hallway.
1:04:38
[SPEAKER_01]: Yeah, yeah, yeah Did you see the little with the rat with an eyeball on its back?
1:04:42
[SPEAKER_01]: I did see that one.
1:04:43
[SPEAKER_01]: That one was fucked Did I have those in a cage somewhere?
1:04:47
[SPEAKER_01]: We really have those who was putting this on that's something I do think about when I watch a movie like this because if the fuck how did I get set up?
1:04:55
[SPEAKER_01]: uh... what sort of orchestrate like it's it's not all gay rules it's just about the personal uh... you can leave when you figure out your ship basically and
1:05:05
[SPEAKER_01]: The movie itself is a literalization of that personal journey.
1:05:09
[SPEAKER_01]: Fine, but when you have very specific rules given to you like in print Someone set that up for you And yeah, it's the director.
1:05:18
[SPEAKER_01]: Yeah, it's the video game.
1:05:20
[SPEAKER_01]: Yeah, we're taking the mechanics of a video game We're finding way for them to work and I think they did a noble job.
1:05:24
[SPEAKER_01]: I actually think this is one of the best video game adaptations I've seen because it is not a carbon copy of a pre-existing movie
1:05:31
[SPEAKER_01]: because they think they did a good job of finding some personal depth in a pretty straightforward mechanic.
1:05:39
[SPEAKER_01]: And yeah, maybe that would say it's welcome a little bit.
1:05:41
[SPEAKER_01]: I was more involved longer than you were.
1:05:43
[SPEAKER_01]: But I still think this is a very, very strong take on the type of video game that people haven't been adapting lately.
1:05:50
[SPEAKER_01]: Um, so that is, that is very, very cool.
1:05:53
[SPEAKER_04]: Importantly, it's scary, or it's just, it's at least spooky for like, yeah, the first half.
1:05:57
[SPEAKER_01]: I think it's a good one.
1:05:59
[SPEAKER_04]: Yeah, I think once it starts to, like, they try to ramp up the action by the end in ways that I thought weren't very convincing, but I reminded me of, um, what was, what was that John Q.
1:06:07
[SPEAKER_01]: Sex, Stephen King movie?
1:06:08
[SPEAKER_01]: Um, 14 o'clock, 14 o'clock, 14 o'clock, 14 o'clock, great idea for, for a horror movie.
1:06:13
[SPEAKER_01]: It is a haunted house movie that takes place in one hotel room.
1:06:15
[SPEAKER_04]: Only that room is haunted.
1:06:16
[SPEAKER_01]: Yeah, that you get to that hotel room, 10 minutes into the movie, and then we're stuck in that room for forever.
1:06:21
[SPEAKER_01]: And initially it's really, really great.
1:06:23
[SPEAKER_01]: How are we going to be clever about this?
1:06:24
[SPEAKER_01]: How do we...
1:06:24
[SPEAKER_01]: But by the end of the movie, we have nothing left to do, but like, flood to the entire room.
1:06:31
[SPEAKER_01]: And it starts to feel a little bit like we ran out of scary ideas and we're just going to do big stuff.
1:06:36
[SPEAKER_04]: I feel like exit eight isn't, isn't good as a feature film, but yeah, if it were an episode of the Outer Limits, we're like 30 minute Twilight Zone episode.
1:06:44
[SPEAKER_04]: I think it would have been fantastic.
1:06:45
[SPEAKER_04]: We'd still be talking about a decades later.
1:06:47
[SPEAKER_04]: So it's such a keen concept that I think it's kind of grabs you.
1:06:54
[SPEAKER_01]: Yeah, I don't disagree with some of your critiques, but I liked it a lot more than you did.
1:06:57
[SPEAKER_01]: Okay, so I'll say that right now.
1:06:59
[SPEAKER_01]: All right, with three more films, I saw two, one and I move on to Chow.
1:07:04
[SPEAKER_01]: Okay, yeah, I'll see you in that one.
1:07:05
[SPEAKER_01]: Yeah, Chow is a new anime film, and it is yet another take.
1:07:11
[SPEAKER_01]: on, uh, I don't know if it's directly a riff on little mermaid, but it's a little mermaid ish.
1:07:17
[SPEAKER_01]: It's about a guy and the mermaid who falls in love with them.
1:07:20
[SPEAKER_01]: The guy, uh, the movie opens in the future, possibly an alternate reality, where more people and land people live side by side.
1:07:32
[SPEAKER_01]: But where would they live?
1:07:34
[SPEAKER_01]: On earth.
1:07:35
[SPEAKER_01]: That, but not point to some more people, the little mermaid
1:07:41
[SPEAKER_01]: Don't you?
1:07:42
[SPEAKER_01]: Oh, I guess she's fixing her head up and goes and like, I wanna be... All right.
1:07:48
[SPEAKER_01]: All right.
1:07:48
[SPEAKER_04]: She's got gills.
1:07:49
[SPEAKER_04]: I think her gills are in her hips.
1:07:51
[SPEAKER_04]: So for waste is below water.
1:07:52
[SPEAKER_01]: Yeah.
1:07:54
[SPEAKER_01]: And also she can do it.
1:07:55
[SPEAKER_01]: Also she's fucking magic.
1:07:58
[SPEAKER_01]: No, let's not forget this is fucking magic.
1:08:00
[SPEAKER_01]: So we're gonna let it slide.
1:08:01
[SPEAKER_04]: I am applying reality to an unrealistic thing.
1:08:05
[SPEAKER_01]: I understand that.
1:08:05
[SPEAKER_01]: My point means of comic juxtaposition.
1:08:07
[SPEAKER_01]: I understand that.
1:08:08
[SPEAKER_01]: My point is the movie actually does have some fun with that.
1:08:12
[SPEAKER_01]: The beginning of the movie is not to be the protagonist.
1:08:15
[SPEAKER_01]: He's more like the reporter and citizen cane finding out the true story.
1:08:19
[SPEAKER_01]: But there's a reporter who is late for an assignment.
1:08:22
[SPEAKER_01]: And he's on
1:08:23
[SPEAKER_01]: like a double-decker buster something and he's like oh I'm gonna be late and it turns out there are these like giant jets of fast running water disfloating through the sky and it's like everywhere yeah so he jumps into one of these currents and someone says hey that's only for more people and he goes they just like they'll get their fast but I better hold my breath
1:08:43
[SPEAKER_01]: And so what he ends up discovering that was he finds a guy who is the reason more people in human people have joined their cultures.
1:08:54
[SPEAKER_01]: It turns out that humans and more people have known they have existed for generations.
1:08:58
[SPEAKER_01]: Many, many, many years.
1:08:59
[SPEAKER_01]: But they've not had a great relationship.
1:09:02
[SPEAKER_01]: But one of the reasons in a great relationship is that, and this is so specific, it almost feels like a joke,
1:09:10
[SPEAKER_01]: ships.
1:09:10
[SPEAKER_01]: We use a lot of ships to transport stuff and more people surprisingly okay with us eating fish because they eat fish too.
1:09:18
[SPEAKER_01]: Yeah, you think that might be weird, but like no, they're cool with that.
1:09:21
[SPEAKER_01]: Look, we have legs, right?
1:09:22
[SPEAKER_01]: Yeah.
1:09:23
[SPEAKER_01]: We also eat things with legs.
1:09:24
[SPEAKER_01]: That's fine.
1:09:25
[SPEAKER_01]: I'm just saying there's a version of this where more people like don't eat any fish.
1:09:28
[SPEAKER_01]: We only eat see we've done here or something like that, but I'm
1:09:32
[SPEAKER_01]: but they really don't like that all of our ships have those fast moving propellers.
1:09:37
[SPEAKER_01]: Those are more people get caught in that.
1:09:38
[SPEAKER_01]: Yeah, sick of the murder person.
1:09:40
[SPEAKER_01]: So the main character, this guy, the guy of the end is being interviewed, he has invented a new propulsion system for ships that don't use that propeller and are safe for more people.
1:09:55
[SPEAKER_01]: And his boss says, okay, is that faster than a propeller?
1:09:59
[SPEAKER_01]: He's like, no.
1:10:00
[SPEAKER_01]: is it cheaper than a propeller?
1:10:02
[SPEAKER_01]: And he's like, no, get the fuck out of my office.
1:10:07
[SPEAKER_01]: He demotes him from like a guy in the research department to like a janitor on his personal yacht.
1:10:14
[SPEAKER_01]: Meanwhile, the King of the Murr people was having a meeting with that business man, and it didn't go well, and he's furious.
1:10:23
[SPEAKER_01]: And he walks past the guy's yacht.
1:10:25
[SPEAKER_01]: Well, our guy's swab in the deck.
1:10:27
[SPEAKER_01]: There's like a huge wave, and he's just so angry, there's like a huge wave move or whatever like that.
1:10:32
[SPEAKER_01]: And our hero gets completely soaking wet, and then a giant fish eats him.
1:10:37
[SPEAKER_01]: And then he wakes up in the hospital.
1:10:39
[SPEAKER_01]: And it turns out to be live in the fish for a week or that's a good question, okay, why why?
1:10:43
[SPEAKER_01]: Why except in the hospital engaged?
1:10:47
[SPEAKER_01]: It turns out that fish, that fish is the king's daughter, okay, she's deeply in love with him and they are now engaged and now his boss is like, I love you, you're my favorite employee, we're absolutely making your invention.
1:11:02
[SPEAKER_01]: because this means we can do business with the Murray people.
1:11:06
[SPEAKER_01]: And now everyone in the world is just like you got to marry that chick dude.
1:11:11
[SPEAKER_01]: you gotta marry her.
1:11:13
[SPEAKER_01]: I don't you don't love her.
1:11:14
[SPEAKER_01]: He's not even really into fish people, but you gotta.
1:11:17
[SPEAKER_01]: It's like it's like an early Ernst Loubitch movie.
1:11:20
[SPEAKER_01]: Like the smiling Lieutenant or something really like you accidentally made like Google eyes at a royal and now you're married and you have no control over the situation at all.
1:11:29
[SPEAKER_01]: And she is really cute because she's just a big goldfish.
1:11:34
[SPEAKER_01]: She doesn't even have the MIR parts, are the people parts I guess, she has a big gold face and she's very adorable and she loves in the pieces and he has no idea what's going on and what we find in a mechanic that can be fucked up if done wrong.
1:11:50
[SPEAKER_01]: Merpeople will let you see the half-and-half version of them if they trust you, otherwise you just see a fish.
1:11:58
[SPEAKER_01]: Okay, okay, there's a shallow hal version of that where like the merversion is like, but the merperson version is what he's attracted to.
1:12:07
[SPEAKER_01]: But because that's the real her that he's seeing, the fish is the disguise.
1:12:12
[SPEAKER_01]: that kind of works, but there's always bristle that the whole shallow how thing where I see the person inside of you and the person inside of you is conventionally attractive so I don't have to go through any actual personal growth.
1:12:27
[SPEAKER_04]: Yeah, it's, I mean, I understand them, metaphor they're going for there, but yeah, we actually put it visually on screen, it doesn't play.
1:12:33
[SPEAKER_01]: Oh, because they end up having like a whole bunch of fat jokes anyway, so like that movie's really at the critical.
1:12:38
[SPEAKER_01]: Here it works better, but it still feel like it's a weird mechanic,
1:12:42
[SPEAKER_01]: In any case, they get married, she's really in love with him, he still doesn't understand what the hell is happening.
1:12:50
[SPEAKER_01]: And over the course of the story, we find out a lot more about them and what going on, and we get really invested in their relationship, and she's an adorable character on a million levels.
1:12:59
[SPEAKER_01]: Also, his best friend, Bakes, Robots, and there's at least one scene where the Merwife is in a mechsuit.
1:13:07
[SPEAKER_01]: And I'm like, wow.
1:13:09
[SPEAKER_01]: Yes, well, you know where this movie lives.
1:13:12
[SPEAKER_04]: I love this.
1:13:13
[SPEAKER_04]: That is how SpongeBob was able to interact with Sandy Cheeks.
1:13:18
[SPEAKER_01]: Yeah, she will she wore that Scoop suit that you'd think that that would be why, but no, there's actually an entirely different reason Which is in that next suit.
1:13:26
[SPEAKER_01]: It's not fixed so that she can live on land.
1:13:28
[SPEAKER_01]: Oh, okay.
1:13:29
[SPEAKER_01]: It seems completely random when it happens But then later on the movie some stuff is revealed and it all makes perfect sense.
1:13:35
[SPEAKER_01]: All right
1:13:36
[SPEAKER_01]: I love the way this movie is animated.
1:13:38
[SPEAKER_01]: It's very, very vibrant, very, uh, uh, what story I'm like for expressionistic.
1:13:44
[SPEAKER_01]: A lot of characters have very warped, uh, physiology even the humans, just to sort of expand on their strangeness or on their personality.
1:13:54
[SPEAKER_01]: There's just one plot point.
1:13:57
[SPEAKER_01]: later on there's like a big car chase everything's gone wrong we have to get my my wife back kind of thing and um a guy gets thrown like through the air like through magic like team rocket like off into the horizon and then several weeks go by in the plot and then right when we desperately need something to happen that guy finally lands
1:14:19
[SPEAKER_01]: That's the that's the solution to that plot point.
1:14:22
[SPEAKER_01]: So it's very bizarre.
1:14:23
[SPEAKER_01]: It's very very playful in a lot of ways It really grew on me.
1:14:28
[SPEAKER_01]: I think this is a gorgeous animated motion picture The plot has some wonky bits, but overall it comes together and I got really invested in the story It's hardly my favorite anime film in recent years, but It's really good and I think none of people are talking about this one and I hope people check it out
1:14:46
[SPEAKER_01]: That sounds fascinating.
1:14:49
[SPEAKER_01]: So tell me about outcome.
1:14:53
[SPEAKER_04]: This is one of those classic case of,
1:14:57
[SPEAKER_04]: what you would think would be a high profile production, but it's just sort of being swept onto streaming without much fanfare.
1:15:02
[SPEAKER_04]: It's on Apple.
1:15:03
[SPEAKER_04]: It's on Apple.
1:15:04
[SPEAKER_04]: That's why.
1:15:04
[SPEAKER_04]: This is Apple.
1:15:06
[SPEAKER_01]: Billion dollars on something and not tell anybody.
1:15:08
[SPEAKER_04]: This one was co-written and directed by and stars, Jonah Hill.
1:15:14
[SPEAKER_04]: It's not his first feature for him.
1:15:15
[SPEAKER_04]: He also did that film.
1:15:16
[SPEAKER_04]: I think it's called Mid-Dineties.
1:15:17
[SPEAKER_03]: Yeah.
1:15:18
[SPEAKER_04]: I didn't see that.
1:15:19
[SPEAKER_04]: He's directed one other.
1:15:20
[SPEAKER_04]: But yeah.
1:15:25
[SPEAKER_04]: His written a story for Keanu Reeves, which is kind of a riff on Keanu Reeves.
1:15:32
[SPEAKER_04]: Okay.
1:15:33
[SPEAKER_04]: Keanu Reeves plays a big, big movie star in his name is Thin Norief, Reef Hawk.
1:15:42
[SPEAKER_04]: That's the character's name.
1:15:43
[SPEAKER_04]: Oh, even the name makes me laugh.
1:15:45
[SPEAKER_04]: And Reef Hawk is a very Keyon Reeves, like movie star.
1:15:48
[SPEAKER_04]: Reef Hawk is touted as one of the nicest guys in Hollywood.
1:15:53
[SPEAKER_04]: Reef Hawk is celebrated and popular everywhere he goes.
1:15:56
[SPEAKER_04]: He loves the attention.
1:15:58
[SPEAKER_04]: He's very protective of his image.
1:16:00
[SPEAKER_04]: And at the beginning of this movie, he's making his comeback after a five-year absence.
1:16:06
[SPEAKER_04]: During those five years, he was actually getting sober, turns out he had a really horrendous substance problem.
1:16:12
[SPEAKER_04]: Whatever the substance was, he had it, and he had to spend five years, he spent most of his time with his two best friends.
1:16:18
[SPEAKER_04]: One of those played by Cameron Diaz.
1:16:21
[SPEAKER_04]: who, yeah, only it's kind of a bit.
1:16:22
[SPEAKER_04]: And they are very, feeling Minnesota reunion.
1:16:25
[SPEAKER_04]: There you go.
1:16:26
[SPEAKER_04]: They, and his relationship with his two best friends is interesting because they know who he was during his wild time, but they also really appreciate that he's trying to be clean and they're there for him.
1:16:37
[SPEAKER_04]: But they're also kind of like party kids who just want to joke around, just the drugs are no longer part of it.
1:16:45
[SPEAKER_04]: Jonah Hill plays his agent and Jonah Hill,
1:16:49
[SPEAKER_04]: is a fucking obnoxious escapee from like a meld Brooks movie.
1:16:56
[SPEAKER_01]: I don't know.
1:16:57
[SPEAKER_04]: Like he gives himself this big cartoony beard and these fake teeth and he's constantly referring and shattering and talking about how he all of the things he does in Hollywood.
1:17:06
[SPEAKER_04]: It turns out he's like a fixer, he waits for movie starts to misbehave and then handles their misbehave here and tries to like spin it and cover it up.
1:17:14
[SPEAKER_01]: That's to be clear.
1:17:16
[SPEAKER_01]: the rest of the characters in the movie are not Mel Brooks.
1:17:19
[SPEAKER_04]: No, I'll just the Jonah Hill character.
1:17:21
[SPEAKER_04]: And whenever he's on screen, this film is deaf.
1:17:24
[SPEAKER_04]: He is not funny.
1:17:26
[SPEAKER_04]: And he's trying to play this really broad archetype.
1:17:29
[SPEAKER_04]: Meanwhile, when we cut to Keanu Reeves and when he has his own scenes, he's actually like really kind of honest and melancholy.
1:17:36
[SPEAKER_04]: There's a scene he has early in the film where he gets to talk to his neighbor, who's played by David Spade.
1:17:41
[SPEAKER_04]: Okay, and it's only one scene.
1:17:44
[SPEAKER_04]: David Spade, like only has this thing early on.
1:17:46
[SPEAKER_04]: He shows a leader in the movie.
1:17:47
[SPEAKER_04]: Well, as well, but Small part.
1:17:50
[SPEAKER_04]: Yeah, it's a small part.
1:17:51
[SPEAKER_04]: They have a really brief conversation.
1:17:52
[SPEAKER_04]: David Spade is an expectant father as much younger girlfriend as pregnant and You can just see How tired
1:18:02
[SPEAKER_04]: these man are of just sort of coping with life they've been worn down the characters of the act the character okay just so we're clear i don't know i think we sang like we're worried about they would spit no characters okay but you know david spade can play that because he sees it always plays kind of a weary uh that's kind of his comedy persona is the sort of weary sarcastic character
1:18:21
[SPEAKER_01]: Yeah, like this again.
1:18:23
[SPEAKER_04]: Yeah, now he's just sort of doing that as this man in his 50s and it's like, this is actually a really affecting scene.
1:18:29
[SPEAKER_04]: I wouldn't think I would have said this in the 90s between 200 Reeves and David Spade.
1:18:34
[SPEAKER_04]: That's an interesting combo.
1:18:35
[SPEAKER_04]: Yeah, yeah.
1:18:37
[SPEAKER_04]: It's brief, but it's great.
1:18:38
[SPEAKER_04]: That's good.
1:18:39
[SPEAKER_04]: And all of a sudden, he gets a call from an anonymous source saying that they have a video of him.
1:18:45
[SPEAKER_04]: Brief talk.
1:18:47
[SPEAKER_04]: Okay.
1:18:48
[SPEAKER_04]: What happens in this video?
1:18:49
[SPEAKER_04]: We don't actually see the video and we don't know.
1:18:51
[SPEAKER_04]: But we know that he doesn't want it out.
1:18:54
[SPEAKER_04]: Something incriminating or embarrassing happened on this video.
1:18:59
[SPEAKER_04]: And he doesn't know who sent it.
1:19:01
[SPEAKER_04]: So he actually has to start figuring out who hates him.
1:19:06
[SPEAKER_04]: It's a little bit like Khashay, it's like a Hollywood version of Khashay.
1:19:11
[SPEAKER_04]: But it becomes a little bit more sentimental than that.
1:19:14
[SPEAKER_04]: Because he has to figure out who's trying to blackmail him, essentially.
1:19:19
[SPEAKER_04]: But at first, he doesn't know who it could be because he's so widely beloved.
1:19:23
[SPEAKER_04]: He's as beloved as Keanu Reeves has beloved.
1:19:25
[SPEAKER_04]: right so literally but but he goes to his personal assistant and says you have to be completely honest with me who hates me and just like everybody you've ever interacted with hates you your personal trainers all hey oh no you're a former assistants hate you your mother who knows those dogs you adopted hate you like uh what and so yet it's not so mind you he's he starts going on this like existential crisis i really acted out when i was on drugs
1:19:50
[SPEAKER_04]: I have to apologize.
1:19:52
[SPEAKER_04]: He goes to his ex-girlfriend and they have these really soulful scenes about how he realizes he is responsible for a lot.
1:20:00
[SPEAKER_04]: He never really acknowledged or took responsibility for.
1:20:03
[SPEAKER_04]: He goes on this apology tour and it starts to become this really affecting very
1:20:10
[SPEAKER_04]: weirdly meaningful introspection that Keanu Reeves seems to be doing for himself.
1:20:16
[SPEAKER_04]: He is looking at sort of parts in his life that he's not proud of and trying to apologize for them.
1:20:20
[SPEAKER_04]: Even though he is deeply beloved, I love that emotional dynamic.
1:20:24
[SPEAKER_04]: And it all falls apart when Jonah Hill comes back on string.
1:20:28
[SPEAKER_04]: Because he comes back and he starts doing that goofy stick again.
1:20:31
[SPEAKER_04]: He tries to play it up and...
1:20:32
[SPEAKER_01]: And he directed it.
1:20:33
[SPEAKER_04]: He did this on purpose.
1:20:35
[SPEAKER_04]: Yeah, and I guess he's trying to sort of make a commentary on the Hollowness of Hollywood.
1:20:41
[SPEAKER_04]: He's trying to vacillate between sort of a a more emotional tone and a brightly comedic tone.
1:20:48
[SPEAKER_04]: And some filmmakers can do that James Elbrook's does that well.
1:20:50
[SPEAKER_04]: When he does it well, a Billy Wilder,
1:21:02
[SPEAKER_04]: So I don't I wish he had cast a different actor in that part.
1:21:06
[SPEAKER_04]: I wish he didn't play it that way There's a scene where he gathers around a bunch of like star lawyers or on a table and says these are you this is your team And they're gonna do it for you.
1:21:15
[SPEAKER_04]: What if I was played by liver and Cox?
1:21:19
[SPEAKER_04]: Like so that yeah, there's all these like weird celebrity cameos in here See Cameron Diaz on Matt Bomer is the other best friend.
1:21:26
[SPEAKER_04]: Okay.
1:21:27
[SPEAKER_04]: Yeah, David Spade
1:21:29
[SPEAKER_04]: Susan Luchi plays the bomb character, and I love the scene between him and the mom because she is only known for raising him.
1:21:39
[SPEAKER_04]: She's known as Reef Hawks' mom, and she talks about how she sacrificed everything because when he was a kid, he wanted to be an actor, and he's been an actor since he was a kid.
1:21:47
[SPEAKER_04]: He was being able to star when he was dancing on the tonight show in the 80s.
1:21:51
[SPEAKER_04]: And they have this really bizarre scene where they're trying to open up to each other.
1:21:56
[SPEAKER_04]: She's confessing how much of a drain he was on her life.
1:21:59
[SPEAKER_04]: All on the set of a reality show with cameras watching.
1:22:02
[SPEAKER_04]: So for her, this is all an angle and for him, he's actually trying to be genuine, and they don't know where to find middle ground anymore.
1:22:08
[SPEAKER_04]: So there's a lot of really fascinating stuff going on in this movie.
1:22:13
[SPEAKER_04]: And it's completely ruined by the directors' performance.
1:22:15
[SPEAKER_01]: There's something you mentioned over this movie that intrigues me and again, I didn't get sense to see this I'm just going off of what you told me, but the idea that there was this plot point Someone has a tape and incriminating tape of some kind.
1:22:26
[SPEAKER_01]: Yeah, and that's why you have to Search within yourself and see got everyone you've ever wrong.
1:22:32
[UNKNOWN]: Yeah
1:22:32
[SPEAKER_01]: but this is a guy who has just gone through like drug rehab.
1:22:37
[SPEAKER_04]: Now that's one of the 12 steps.
1:22:39
[SPEAKER_04]: I think it's the final step.
1:22:40
[SPEAKER_01]: No, it's the night.
1:22:41
[SPEAKER_01]: I look at that load as I want to be able to talk about.
1:22:43
[SPEAKER_01]: Yeah, it's make a mess.
1:22:46
[SPEAKER_01]: I have issues with the way that like the 12 step alcoholics anonymous program works or something.
1:22:54
[SPEAKER_01]: I think there's some philosophical issues I have with it.
1:22:55
[SPEAKER_01]: But the basic principle is fine.
1:22:57
[SPEAKER_01]: And it's interesting to me that this guy who didn't necessarily go through the 12 steps, that's not necessarily what he did.
1:23:05
[SPEAKER_04]: Yeah, it doesn't have a chip.
1:23:07
[SPEAKER_04]: Yeah, I don't think he went to like meetings.
1:23:09
[SPEAKER_04]: I think just with the help of his friends, he got sober.
1:23:11
[SPEAKER_04]: Yeah, so we want to detox him.
1:23:13
[SPEAKER_04]: So this is fine.
1:23:19
[SPEAKER_01]: creating an allegory for that one step of the 12-step program, when you could have just had him go through that, because I don't think he was literally doing it, and he wasn't doing it.
1:23:32
[SPEAKER_01]: He was literally doing it.
1:23:35
[SPEAKER_01]: Is there more of a point to that or is that just kind of gilding the lily a little bit?
1:23:40
[SPEAKER_01]: I guess it's just gilding the lily a little bit.
1:23:42
[SPEAKER_01]: Yeah, he strikes me a little bit.
1:23:43
[SPEAKER_01]: They don't not very clean.
1:23:44
[SPEAKER_04]: They don't say that he went through like an official 12 step program that he's been sober for a while.
1:23:49
[SPEAKER_04]: And that he's been and he's been sober for years and he doesn't want to backslide.
1:23:53
[SPEAKER_04]: Luckily there isn't that contrived moment where he's like he's given drugs and he has to like,
1:23:58
[SPEAKER_04]: I hate that moment.
1:24:03
[SPEAKER_04]: I mean it's a real thing.
1:24:05
[SPEAKER_01]: It's definitely a real thing, but it's a temptation.
1:24:07
[SPEAKER_04]: I understand that's a real thing and I understand it's a really heavy dramatic thing, but it happens so frequently in movies.
1:24:14
[SPEAKER_04]: Right.
1:24:15
[SPEAKER_04]: it's like having a character die in the third act in a very contrived way it's like people do die or sometimes it really bad times and that's really tragic but in the movie it's forced or we can meet a character when they're in the midst of mourning a personal loss that happens in every action film it's like when you have a personal loss that's real and that's something that is if done well in a film it can be very affecting yeah but you're just using it as a short one but if you're just using it as short hand it just becomes a plot point the exact same
1:24:41
[SPEAKER_04]: So yeah, the the the moment of will they won't there's now I'm only criticizing it as a plot point Yeah, I'm not saying that people don't have that real-life start off.
1:24:49
[SPEAKER_01]: No fair enough.
1:24:50
[SPEAKER_01]: I would I All right, and then the last one we're gonna talk about oh one more thing.
1:24:54
[SPEAKER_04]: Oh, sorry.
1:24:55
[SPEAKER_04]: I forgot One a specific other cameo That I was really surprised by it's very brief
1:25:02
[SPEAKER_04]: It's Martin Scorsese.
1:25:05
[SPEAKER_04]: He plays the agent to child stars that he stole or see him, and he's like, what happens is I make kids famous and they drift off and they never call me again, and that hurts my heart.
1:25:18
[SPEAKER_04]: And there's a great bet where he calls up later and says, Hey, Martin Scorsese, how are you doing?
1:25:23
[SPEAKER_04]: What are you talking about?
1:25:24
[SPEAKER_04]: Why are you calling me?
1:25:25
[SPEAKER_04]: I'm just asking, how is your day?
1:25:27
[SPEAKER_04]: What's your angle here?
1:25:28
[SPEAKER_04]: How is your day?
1:25:29
[SPEAKER_04]: I don't understand.
1:25:30
[SPEAKER_01]: Like it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's
1:25:41
[SPEAKER_01]: Um, I think his earliest like significant performance was in taxi driver as this one guy who's like stalking his wife.
1:25:48
[SPEAKER_01]: His cheating wife.
1:25:50
[SPEAKER_04]: One of his clients.
1:25:51
[SPEAKER_01]: Yeah, but he only did that because the actor didn't show up that day or something and he was the only one who knew the part.
1:25:56
[SPEAKER_01]: But he occasionally acts.
1:25:59
[SPEAKER_01]: If you've ever seen Robert Redford's quiz show, he plays like one of the executives behind like
1:26:05
[SPEAKER_01]: uh... the sponsors of the it the quishow was a movie about uh... a very famous very popular trivia show in the nineteen fifties that it turns out was rigged and it was a huge scandal at the time and marks for says he plays one of the
1:26:22
[SPEAKER_01]: Guy, big mucking amongst my sponsors.
1:26:24
[SPEAKER_01]: He has a speech at the end of that movie that is chillin That's like epic level great acting like he's a really good actor and I'm glad he Directs don't get me wrong, but I wish he acted more Like when you're not directing, would you mind just coming in for a minute?
1:26:42
[SPEAKER_01]: Yeah, he's just doing a good quick seeing because you're fantastic and everything
1:26:45
[SPEAKER_04]: The last time I saw him act was in the studio, but he was playing himself in that one.
1:26:48
[SPEAKER_04]: So here's the first time in a long time where I've seen him just play a character and he does a good job.
1:26:53
[SPEAKER_01]: I saw him in a movie last year that I don't think has distribution left.
1:26:58
[SPEAKER_01]: It was the latest film from Jillian Schnabel, what I said, it's what the hell was it called?
1:27:14
[SPEAKER_01]: She's not good at it, but Mars Crusader plays a Jewish scholar in it, which is a very odd choice for one of the most Catholic filmmakers in history.
1:27:25
[SPEAKER_01]: But how was that called?
1:27:30
[SPEAKER_01]: I don't remember.
1:27:30
[SPEAKER_01]: Anyway, it exists and it's extremely pretentious.
1:27:35
[SPEAKER_01]: If it ever comes out, I'll talk about it in more detail.
1:27:38
[SPEAKER_01]: All right, there's one last film, and it's actually a short film.
1:27:41
[SPEAKER_01]: So you're going to be short.
1:27:43
[SPEAKER_01]: Kiyoshi Kurosawa.
1:27:45
[SPEAKER_01]: If you do not know the name Kiyoshi Kurosawa, no relation to a Kira Kurosawa, just the same name.
1:27:52
[SPEAKER_01]: He's one of the best horror film makers alive.
1:27:55
[SPEAKER_01]: If you've ever seen a pulse, not the American remake, which is very bad.
1:28:00
[SPEAKER_01]: But the original Japanese movie, that movie is fucking terrifying.
1:28:04
[SPEAKER_01]: And he directed, excuse me, a psychological horror film called Kure.
1:28:09
[SPEAKER_01]: Sorry, Kure, what did I say all weird?
1:28:11
[SPEAKER_01]: cure in the 1990s, that is about a mysterious and easy act man who is wandering around talking to people and after he talks to people, they kill people.
1:28:25
[SPEAKER_01]: And the movie uses like the techniques of hypnosis in the film as a filmmaking style.
1:28:32
[SPEAKER_01]: It is truly unsettling.
1:28:35
[SPEAKER_01]: brilliant filmmaker in a lot of ways and he's married to a lot of movies and I haven't seen enough of him unfortunately.
1:28:40
[SPEAKER_01]: He has a relatively new remake of one of his movies called the Serpent's Path, which I wasn't able to see, but it was screening with a movie called Chime, which I needed to go see and I was able to check out.
1:28:57
[SPEAKER_01]: It will allegedly never be on home video.
1:29:01
[SPEAKER_01]: It will never be on streaming.
1:29:03
[SPEAKER_01]: It will never be on DVD Which is weird because before it played in a theater along with this movie The Serpent's Path It was an NFT.
1:29:16
[SPEAKER_01]: Oh God.
1:29:17
[SPEAKER_01]: I don't know
1:29:19
[SPEAKER_01]: if they just put a dump truck, a money outside Kiyoshikuris house, or he just thought it was interesting.
1:29:25
[SPEAKER_01]: I don't know, I don't know the genesis of this at all.
1:29:28
[SPEAKER_01]: But I did remember hearing about this movie when that was suggested, and I was like, don't do that.
1:29:35
[SPEAKER_04]: And I really thought it was just like, yeah, another thing in the future.
1:29:39
[SPEAKER_01]: Maybe, I don't know.
1:29:40
[SPEAKER_01]: But like, he did a 45 minute short horror of movie.
1:29:43
[SPEAKER_01]: And it was supposed to be only for people who really love non-fungible tokens.
1:29:48
[SPEAKER_01]: Do you like fungible tokens?
1:29:49
[SPEAKER_01]: Fuck you.
1:29:51
[SPEAKER_01]: Only non-fungible tokens.
1:29:53
[SPEAKER_01]: And I thought I never gave you a chance.
1:29:55
[SPEAKER_04]: Fungibility sucks.
1:29:56
[SPEAKER_01]: Yeah, but apparently, we finally hit the point where we all agree that NFTs were told fucking bullshit.
1:30:00
[SPEAKER_01]: And they decided to at the very least screen the movie and theaters.
1:30:03
[SPEAKER_01]: So you can finally sing a chime.
1:30:06
[SPEAKER_01]: And time is a freaking little thumb.
1:30:09
[SPEAKER_01]: So I was a film about a chef he teaches cooking classes and there was a guy in his class And at first it's a little bit like Bartleby the scrivner this is one guy in his class He was just like I don't I don't want to do it that way He's like well if you just make little cuts on the top of the breadloaf, you know the steam will escape Well, I want to stab it All right, man not yourself out like you know if you overcook your rice you're not gonna That's not gonna be it's not gonna be moist enough and he's like
1:30:36
[SPEAKER_01]: over cooking the rice.
1:30:38
[SPEAKER_01]: Okay, knock yourself out.
1:30:40
[SPEAKER_01]: Um, but this, this young man has ultimate very, very wrong with him and at some point he starts talking about, can't you hear that?
1:30:48
[SPEAKER_01]: What, what?
1:30:50
[SPEAKER_01]: That chime sounds like a child.
1:30:52
[SPEAKER_01]: It kind of sounds like someone screaming, but it's not a person, but it's also a chime and I don't know how else to describe it.
1:30:58
[SPEAKER_01]: And the, and the chef is like,
1:31:01
[SPEAKER_01]: Okay, well, you keep at it, buddy.
1:31:03
[SPEAKER_01]: And then something really fucking terrible happens to that guy in front of everybody.
1:31:07
[SPEAKER_01]: Okay.
1:31:09
[SPEAKER_01]: And now the chef is starting to hear the chime as well.
1:31:12
[SPEAKER_01]: And this leads to that guy doing some very frightening things.
1:31:20
[SPEAKER_01]: And I want to tell you what, because it's not like to the movie, it's short film.
1:31:24
[SPEAKER_01]: What Chiang does very well, and I thank you, Oshikurisau, is very good at doing this, is creating and atmosphere that seems banal, but is actually right with terror.
1:31:37
[SPEAKER_04]: Or back in the liminal space tower.
1:31:39
[SPEAKER_01]: We are a little bit, yeah, the way that the cooking studio where he teaches every all of his classes is very stark, in a lot of ways.
1:31:48
[SPEAKER_01]: But,
1:31:49
[SPEAKER_01]: He's just usually just keeps the camera floating there like a little high given us like not not like on weed But just like a little tall and just gives us like a sense of the space and just lets people like sort of wander in and out of it Maybe the camera will wander with them, but it's all very pulled back.
1:32:06
[SPEAKER_01]: It's not very expressionist
1:32:08
[SPEAKER_01]: So that win in the middle of just a conversation between two people and the shot has been going on for a couple of minutes.
1:32:16
[SPEAKER_01]: One guy just starts stabbing the other person in the back with no provocation.
1:32:21
[SPEAKER_01]: It is fucking frightening.
1:32:24
[SPEAKER_01]: It is genuinely unnerving.
1:32:27
[SPEAKER_01]: And even though the plot of this movie is kind of basic and I think ultimately is just about conveying the sense of
1:32:37
[SPEAKER_01]: when someone has done something horrible and cannot bring themselves to admit it to themselves.
1:32:42
[SPEAKER_01]: Okay.
1:32:42
[SPEAKER_01]: So they're living in a space without realizing that that space.
1:32:45
[SPEAKER_01]: They're essentially living in a very, very hyper, hyper-sensives and all that's very, very simple.
1:32:52
[SPEAKER_01]: But I think you could study this movie, just in turn, and honestly, I think it'd be a good double feature of just how to create a sense of atmosphere that isn't
1:33:03
[SPEAKER_01]: overtly punishing isn't overtly terrifying.
1:33:06
[SPEAKER_01]: You look at the horror films, but this is not a bad thing But if you look at the horror films of someone like your model Toro, he's very theatrical.
1:33:13
[SPEAKER_01]: He is creating a lot of mood Yeah a lot of gothic space a lot of uh uh uh uh clothes and a lot of shadows that wouldn't normally exist In order to just sort of tell you we are in a horror movie now Got it.
1:33:28
[SPEAKER_01]: Killshi Kurosawa is an expert at doing that without making a look like he's doing that
1:33:33
[SPEAKER_01]: Okay, it's deceptively simple and I think if you watch this film watch the editing of this film Watch the cinema talk with someone watch the pacing of this film It is a very good masterclass and how to generate Dread and shock which don't necessarily always go together Yeah, the movie itself story was a little simplistic even for Kyoshi Kursawa.
1:33:52
[SPEAKER_01]: He does a lot of You know psychological horror films that sometimes are complicated sometimes they're
1:34:00
[SPEAKER_01]: just getting at something very primal.
1:34:03
[SPEAKER_01]: So I don't know if I teach it in a screenwriting course or anything like that, but in terms of just generating dread and shock.
1:34:10
[SPEAKER_01]: Again, two things that typically don't go well together, I think it's excellent.
1:34:14
[SPEAKER_01]: I'm sorry.
1:34:15
[SPEAKER_01]: If you're a good chance to see it, especially if it's not an NFT, I highly recommend it.
1:34:20
[SPEAKER_01]: So that is it for critically claimed.
1:34:22
[SPEAKER_01]: We're going to review our movies on a scale.
1:34:24
[SPEAKER_01]: We'll see minus to see plus.
1:34:26
[SPEAKER_01]: If we don't recommend a movie, we think it is below average.
1:34:28
[SPEAKER_01]: We give a movie you see minus.
1:34:30
[SPEAKER_01]: If we think a movie is just okay, a little bit of a mix bag.
1:34:34
[SPEAKER_01]: We give it a C, that's an average movie, and a C plus is a movie that is above average.
1:34:38
[SPEAKER_01]: These are movies that we wholeheartedly recommend.
1:34:40
[SPEAKER_01]: Yes, whether we love them or just think they're quite good.
1:34:43
[SPEAKER_01]: And on that note, I'm going to give China a C plus.
1:34:46
[SPEAKER_01]: Nice.
1:34:46
[SPEAKER_01]: I don't think it's Koja Kruisawa's best work, but it is an excellent short film.
1:34:49
[SPEAKER_01]: And absolutely, we're seeing if the opportunity arises.
1:34:53
[SPEAKER_01]: I haven't seen a surface path, the film that is paired with it.
1:34:57
[SPEAKER_01]: But...
1:34:57
[SPEAKER_01]: If it's Kyushu Kurosawa, I'm willing to bet them probably at least with the ticket price.
1:35:01
[SPEAKER_01]: I can't say that for certain, but I know that I would take that gamble.
1:35:06
[SPEAKER_01]: I'll come.
1:35:07
[SPEAKER_04]: I'm going to give it a see.
1:35:11
[SPEAKER_04]: There's much, much better version of this without Jonah Hill on camera.
1:35:15
[SPEAKER_04]: He really is such dead weight in this film.
1:35:18
[SPEAKER_04]: But everything around it is really good.
1:35:21
[SPEAKER_04]: He on a Reeves is really good.
1:35:22
[SPEAKER_04]: Martin Scorsese is really good and it actually is getting at some important emotional things.
1:35:27
[SPEAKER_04]: And it's then they're very deeply felt.
1:35:29
[SPEAKER_04]: So all of that stuff is gold.
1:35:31
[SPEAKER_04]: And so I'm going to give it to you because there at least is enough gold in it.
1:35:34
[SPEAKER_01]: Alright, um, next film is Chow, the anime film about a mermaid evolves in love with a human.
1:35:40
[SPEAKER_01]: Uh, it's got some story problems, but ultimately the emotional core of it is very, very strong and the animation is fantastic.
1:35:46
[SPEAKER_01]: So I'm gonna give it a low C plus.
1:35:48
[SPEAKER_01]: Okay, it's on my highest recommendation possible, but I don't really really like it a lot.
1:35:51
[SPEAKER_01]: I'd recommend it.
1:35:52
[SPEAKER_01]: Exit 8.
1:35:54
[SPEAKER_01]: Exit 8.
1:35:55
[SPEAKER_04]: I'm going to give it a high sea.
1:35:56
[SPEAKER_04]: I feel like it doesn't nail anything Bigger that it needs to get out the things that a movie needs to do, but I think the premise is in Very intriguing and and you I was wrapped up in it for at least the first half.
1:36:10
[SPEAKER_01]: Yeah
1:36:10
[SPEAKER_01]: I'm not going to see plus, I disagree with you on the whole mentality of it, is it doing what a movie needs to do?
1:36:16
[SPEAKER_01]: Because unlike something like, say, the Super Mario Brothers movies where they're trying to convey a tale of grand epic adventure, this is very intimate.
1:36:25
[SPEAKER_01]: This is very small, it's very psychological, and so I don't think it needs to do all of those things.
1:36:31
[SPEAKER_01]: Could it have been a little tighter?
1:36:33
[SPEAKER_01]: Yes.
1:36:33
[SPEAKER_01]: But I don't think it out says it's welcome the way you do.
1:36:36
[SPEAKER_01]: I think it is ultimately very effective and very frightening.
1:36:38
[SPEAKER_01]: And I think it is one of the better video game adaptations because it adapted a video game that isn't that is unusual and brings something new to the cinema.
1:36:48
[SPEAKER_01]: OK. Hamlet.
1:36:50
[SPEAKER_01]: Hamlet.
1:36:51
[SPEAKER_04]: High sea as well.
1:36:53
[SPEAKER_04]: I love the performances.
1:36:57
[SPEAKER_04]: It's it's not a new like high watermark.
1:36:59
[SPEAKER_04]: You said it's like the best modern Hamlet.
1:37:00
[SPEAKER_04]: That's probably a pretty fair assessment Yeah, I don't think there's a ton of competition there, but I suppose not I feel like it's doing some novel things but as as a Shakespeare nerd I am a little frustrated by how much they shaved out There's so much in the text of Hamlet that they can just sort of throw in there to enrich the movie, but yeah You know what I change my mind.
1:37:21
[SPEAKER_04]: I'm gonna give it a C plus
1:37:22
[SPEAKER_04]: Okay.
1:37:23
[SPEAKER_04]: I can't think of like a good enough for me to really push it down.
1:37:26
[SPEAKER_04]: So yeah, see folks.
1:37:27
[SPEAKER_01]: Now go to see plus as well.
1:37:28
[SPEAKER_01]: I think it makes a lot of bold creative decisions on what to edit, what to combine.
1:37:33
[SPEAKER_01]: Not entirely successful, but mostly successful, which is very impressive.
1:37:37
[SPEAKER_01]: I think there's wonderful performances in this.
1:37:39
[SPEAKER_01]: And you know, they cut stuff out of hamlet.
1:37:42
[SPEAKER_01]: It's unfortunate because hamlet is super fantastic, but at the same time,
1:37:46
[SPEAKER_01]: We have plenty of versions of handbook.
1:37:48
[SPEAKER_03]: Yes.
1:37:48
[SPEAKER_01]: It's not like we're, that's not like this is the last one we're going to get and we want to see as much as we can.
1:37:52
[SPEAKER_01]: So I'm very, very comfortable, highly recommending this, particularly truncated version because it's truncated for a reason.
1:38:00
[SPEAKER_01]: It's very focused on I think it was a good decision, okay, at least for this take on the material and then lastly faces of death.
1:38:07
[SPEAKER_04]: This is death.
1:38:08
[SPEAKER_04]: You know what I see plus?
1:38:10
[SPEAKER_04]: I like its commentary.
1:38:11
[SPEAKER_04]: I like what it's getting at.
1:38:12
[SPEAKER_04]: I feel like even in the second half it becomes a little bit more more cliche to story-wise.
1:38:17
[SPEAKER_01]: Yeah.
1:38:18
[SPEAKER_04]: It doesn't dampen the things that had done before.
1:38:20
[SPEAKER_04]: So yeah.
1:38:21
[SPEAKER_01]: No, I agree.
1:38:21
[SPEAKER_01]: I think it's a very intelligent take.
1:38:23
[SPEAKER_01]: I think it's a very smart way to evoke the power of faces of death without just doing it again.
1:38:30
[SPEAKER_01]: I think the performances are very excellent, but I'll be for our own particular is just a wonderful lead.
1:38:37
[SPEAKER_01]: And I think there are elements there seems in this movie that are genuinely terrifying in a way that
1:38:42
[SPEAKER_01]: I can't think of something to call it, that's not a slasher movie, it's kind of a doesn't fit all the cliches, but it's, it's, it's that.
1:38:49
[SPEAKER_01]: Yeah, I think, I think it fits.
1:38:50
[SPEAKER_01]: It's, it's, not the perfect example of the genre, but I think it fits.
1:38:54
[SPEAKER_01]: And I think, yeah, you're right, there are times when it's hidden, some tired familiar stuff, but I feel like it's only doing that, because we got a rap this thing.
1:39:04
[SPEAKER_01]: we just got a wrap like we we did all the clever stuff and on some level this is a slash movement we just kind of have to get to the end of the cell.
1:39:10
[SPEAKER_01]: I'm a little forgiving about that even though I do think that Daniel Goldhabeer is clever enough that he probably could thought his way out of that with a little bit more a little bit more imagination.
1:39:18
[SPEAKER_01]: But fantastic film I I mostly like it a lot and I think it is very very scary which is particularly important.
1:39:27
[SPEAKER_01]: And that is it.
1:39:30
[SPEAKER_01]: Thank you for joining us.
1:39:33
[SPEAKER_01]: We'll be back next week where the views of his mother Mary come out this week.
1:39:36
[SPEAKER_01]: Yeah, mother Mary.
1:39:37
[SPEAKER_01]: We'll talk about mother Mary with Anne Hathaway.
1:39:39
[SPEAKER_01]: I'm a Kayla Cole Let us know from David Lowry who you probably remember from the green night or Pete's dragon the remake
1:39:50
[SPEAKER_01]: And there are other films as well.
1:39:53
[SPEAKER_01]: It's just, the mummy is this week as well too, right?
1:39:55
[SPEAKER_01]: The mummy is also this week.
1:39:56
[SPEAKER_01]: We'll talk about Lee Kronen's The Mummy, which will, in the sequel, fight Lee Daniels' The Butler.
1:40:01
[SPEAKER_01]: Yeah, you like that, Joe.
1:40:03
[SPEAKER_01]: Oh, it took a lot.
1:40:04
[SPEAKER_01]: The both films which seem to only have the director's name in the title because it's a generic title and they have to be legally distinct.
1:40:11
[SPEAKER_03]: Yeah.
1:40:12
[SPEAKER_01]: You know, Universal doesn't own the concept of a mummy, but it does own the mummy franchise and rather than poke that bear, we're going to distinctly call it Lee Cronin's, the mummy as though Lee Cronin has a cashier.
1:40:24
[SPEAKER_01]: I'm not saying he's a bad filmmaker, but...
1:40:26
[SPEAKER_01]: He's not like Scord says he, he's, he's not a household name.
1:40:31
[SPEAKER_01]: So, goodness for him for getting that deal, though.
1:40:34
[SPEAKER_01]: Those possesses don't come along very often for young filmmakers.
1:40:37
[SPEAKER_01]: So, goodness for that, I guess.
1:40:39
[SPEAKER_04]: John Carpenter is the only one who gets that deal.
1:40:41
[SPEAKER_01]: John Carpenter got that deal.
1:40:42
[SPEAKER_01]: He doesn't use it anymore, and he was always like part of his contract of memory serves.
1:40:47
[SPEAKER_01]: So he gets his name in the title.
1:40:49
[SPEAKER_01]: Yeah, yeah, that's a good get if you can get it.
1:40:52
[SPEAKER_01]: The most people don't get it.
1:40:53
[SPEAKER_01]: Anyway, that's coming up next on critically.
1:40:55
[SPEAKER_01]: And thank you right for listening.
1:40:56
[SPEAKER_01]: Thank you for joining us.
1:40:57
[SPEAKER_01]: Thank you for being awesome.
1:40:58
[SPEAKER_01]: If you're a Patreon subscriber, if you shout out to you, we couldn't do what we do without you because
1:41:06
[SPEAKER_01]: at least one of us would be homeless.
1:41:09
[SPEAKER_01]: So thank you very, very much for contributing to the show.
1:41:11
[SPEAKER_01]: It means the world to us.
1:41:12
[SPEAKER_01]: It really helps us keep these shows going.
1:41:15
[SPEAKER_01]: We hope you're enjoying these clues of material we have.
1:41:17
[SPEAKER_01]: Over at the critically claimed Patreon.
1:41:19
[SPEAKER_01]: Patreon.com slash critically acclaimed network.
1:41:21
[SPEAKER_01]: We recently released the latest episode of Only The Best International, where Whitney and I are reviewing every single film ever nominated for the best international feature Oscar.
1:41:32
[SPEAKER_01]: That's right.
1:41:33
[SPEAKER_01]: We just did the films in 1958.
1:41:36
[SPEAKER_01]: which was an interesting crop, a lot of films that were actually very hard to track down.
1:41:40
[SPEAKER_01]: So that one took a while to put together, but it's a really, really cool podcast.
1:41:44
[SPEAKER_01]: So I don't know if everything's that we do.
1:41:45
[SPEAKER_01]: Yeah.
1:41:47
[SPEAKER_01]: So you can have all of our patrons.
1:41:48
[SPEAKER_01]: If you can't afford to support the show financially, but you do want to be part of the club.
1:41:53
[SPEAKER_01]: You can sign up to our Patreon for free and get a weekly newsletter with original writing from me and links to all of our latest work.
1:42:00
[SPEAKER_01]: Please do, it's fine.
1:42:03
[SPEAKER_01]: And of course, if you want to talk about it, if you want to talk about, I'll remember how to talk.
1:42:08
[SPEAKER_01]: If you want to talk about anything we discussed in this episode, our email address is letters at criticallyclamed.net, which is what is our PO Box?
1:42:14
[SPEAKER_04]: Yeah, send us a physical letter, post card, whatever you like to the criticallyclamed.
1:42:17
[SPEAKER_04]: Network PO Box 641565 Los Angeles, California, 9 to below 64.
1:42:22
[SPEAKER_01]: Yes, we may read your correspondence in an upcoming episode of our podcast, we've got mail.
1:42:27
[SPEAKER_01]: Boy, do we like getting some sentimental love to hear from you?
1:42:30
[SPEAKER_01]: Love to answer your questions, love to respond to your critiques.
1:42:33
[SPEAKER_01]: Um, we are on social media, I'm Matt Walling to be on you.
1:42:35
[SPEAKER_01]: Matt, Whitney Sybel's, and that is that.
1:42:38
[SPEAKER_01]: Never forget, everyone is a crit.
1:42:43
[SPEAKER_03]: I want to go to the Midnight Show.
1:42:46
[SPEAKER_03]: I'm sorry I wet.