Latest / Frightmares / Ep. 388 - The Wolfman (2010)

Transcript

Ep. 388 - The Wolfman (2010) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:07
  Speaker 2: Whoa whoa, whoa whoa? Oh Okay, okay, okay, okay, I'm ready.
• 0:11
  Speaker 3: I'm ready.
• 0:12
  Speaker 2: Welcome to Split Your Head, a bi weekly podcast hosted
• 0:15
  Speaker 2: by me Bob that covers the gamut of all things horror, exploitation, cult, underground, experimental, transgressive, bizarre,
• 0:24
  Speaker 2: and indie. I have been fortunate enough to connect with
• 0:26
  Speaker 2: some of the most groundbreaking and upcoming filmmakers, writers, and artists.
• 0:30
  Speaker 2: Don't expect a typical interview. I love shooting the shoot
• 0:33
  Speaker 2: with my guests and stumbling on surprising topics that literally
• 0:36
  Speaker 2: split our heads. From spider comedies to nihilistic sleeves of
• 0:40
  Speaker 2: comfortable art house to genre classics that gets my brain
• 0:42
  Speaker 2: buzzing and cracking wide open like a watermelon full of blood.
• 0:46
  Speaker 2: Then I would like to share it with your emails.
• 0:51
  Speaker 2: Now part of the Someone's Favorite Productions Podcast Network, Hi Mom.
• 0:55
  Speaker 3: The following podcast will contain spoilers, tangents, hot takes, and
• 0:59
  Speaker 3: a sessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:46
  Speaker 4: Welcome back to Frida May's podcast I'm Your host Austin
• 1:49
  Speaker 4: Proctor and joining me today for episode three eighty eight
• 1:52
  Speaker 4: is my good friend Derek Farera almost said, Ferrari.
• 1:57
  Speaker 3: What's going on? Ferrari works too, I've got it my
• 1:59
  Speaker 3: whole life.
• 2:02
  Speaker 4: Today, on another installment of Julyikanthropes Howell, we're discussing our
• 2:06
  Speaker 4: deep cut pick The Wolfman from twenty ten, a movie
• 2:10
  Speaker 4: that has spent sixteen years being called a bad remake, when,
• 2:13
  Speaker 4: in my opinion, it just came out. Really the biggest
• 2:16
  Speaker 4: crime was showing up in the wrong decade. Let's see
• 2:18
  Speaker 4: who this lands the Nightmare index. All right, let me
• 2:26
  Speaker 4: pull up the old, the old letter box here, mister,
• 2:30
  Speaker 4: I haven't been watching shit because I don't have time. Excuses,
• 2:35
  Speaker 4: excuses over here with Derek, can ever watch anything now?
• 2:39
  Speaker 4: I'm just fucking picking on you.
• 2:43
  Speaker 3: I feel like, dude, my list has been like I'm
• 2:46
  Speaker 3: so far behind on like so many things that have
• 2:48
  Speaker 3: hit digital that I wanted to see, like a couple
• 2:50
  Speaker 3: months ago, like what and then Faces and Death is
• 2:55
  Speaker 3: one of the ones that I wanted to see. Passengers
• 2:58
  Speaker 3: still haven't walked.
• 3:00
  Speaker 4: Those are all streaming now.
• 3:02
  Speaker 3: I know Faces a Death is My friend said he
• 3:05
  Speaker 3: watched Passengers, but maybe he was watching it with Jack Sparrow,
• 3:09
  Speaker 3: but I'm pretty sure it might be digital too. Uh.
• 3:12
  Speaker 3: There's a couple other ones that I just I'm blanking
• 3:15
  Speaker 3: on right now, but I'm fucking so far behind.
• 3:18
  Speaker 4: Oh perfect, Uh wait what Okay? So I'm looking on
• 3:21
  Speaker 4: Shutter right now because I'm pretty sure that is where
• 3:26
  Speaker 4: all Finally, Bamby the Reckoning is streaming. Fucking finally I
• 3:31
  Speaker 4: can watch that The Evil Dead. Holy shit, they just
• 3:36
  Speaker 4: added so much new stuff. I don't I I could
• 3:39
  Speaker 4: have sworn I saw Faces of Death. What's today's date? Oh,
• 3:43
  Speaker 4: it's the ninth Faces of Death drops on the tenth
• 3:45
  Speaker 4: on Shutter.
• 3:46
  Speaker 3: I know that.
• 3:47
  Speaker 4: But they have added a whole bunch of pooniverse stuff
• 3:50
  Speaker 4: on Shutter. Blood and Honey, Peter Land's never Land, Nightmare,
• 3:54
  Speaker 4: Blood and Honey two, this one called I Love Willie.
• 3:58
  Speaker 4: Oh my, it's another Micky Mouse slasher. But this guy
• 4:02
  Speaker 4: is jacked. That's crazy. They have Baby the Reckoning, and
• 4:06
  Speaker 4: then they have this new Shutter. It was Shutter exclusive,
• 4:09
  Speaker 4: Shutter original exclusive. It's called touch Me Right. Listen to
• 4:13
  Speaker 4: this Listen to this fucking description. Two codependent best friends
• 4:16
  Speaker 4: become addicted to the heroin like touch of an alien
• 4:19
  Speaker 4: narcissist who may or may may not be trying to
• 4:22
  Speaker 4: take over the world. I really want to watch that
• 4:25
  Speaker 4: because that sounds fucking sounds like brain damage. Sounds like
• 4:28
  Speaker 4: brain damage.
• 4:29
  Speaker 3: Yeah, Frank Honeker Henna Henna Lauter, that's the one. Frank
• 4:37
  Speaker 3: Frank Honika whatever the fuck his name is brand it
• 4:40
  Speaker 3: sounds it sounds similar.
• 4:43
  Speaker 4: You know, maybe it's a spiritual sequel brained. Oh yeah,
• 4:47
  Speaker 4: remember this one the yeah brain comes addicted to the spell?
• 4:51
  Speaker 4: Yeah with U four. That does kind of sound like
• 4:54
  Speaker 4: that interesting. I gave this film a two. I think
• 4:59
  Speaker 4: I need to rewatch that because it has a three
• 5:00
  Speaker 4: point five out of five. When did I rate this?
• 5:03
  Speaker 4: Oh this was back in twenty nineteen when I didn't
• 5:05
  Speaker 4: know shit about anything. Okay, I'm gonna have to rewatch
• 5:07
  Speaker 4: that one. Uh so, what have you watched?
• 5:10
  Speaker 3: Have you?
• 5:11
  Speaker 4: Have you watched anything recently? Doesn't have to be more
• 5:15
  Speaker 4: give me whatever.
• 5:15
  Speaker 3: Let let me bring up my letterbox right quick.
• 5:19
  Speaker 4: I saved saved some movies to talk about because I
• 5:23
  Speaker 4: uh I.
• 5:24
  Speaker 1: Know so.
• 5:26
  Speaker 3: Mattinett with John Goodman, where he played he essentially plays
• 5:33
  Speaker 3: like a William Castle where he goes in. It's set
• 5:35
  Speaker 3: in the fifties during the uh Cuban missile crisis. Is
• 5:39
  Speaker 3: that really?
• 5:40
  Speaker 4: Is that a new one?
• 5:42
  Speaker 3: No, it's older. Came out in nineteen ninety three. Oh,
• 5:46
  Speaker 3: super solid movie.
• 5:49
  Speaker 4: Drinks by Joe Dante. Are you shitting me? Let's go?
• 5:52
  Speaker 3: Yeah? No, super good? Yeah, okay, And then we watched
• 5:57
  Speaker 3: Death Sentence Kevin Bacon. Yes, fuck it, all right, that's
• 6:02
  Speaker 3: the sign. That's the sign I have to watch it.
• 6:03
  Speaker 4: I just came to the conclusion not conclusion, to the
• 6:06
  Speaker 4: realization the other day that I hadn't seen that one
• 6:08
  Speaker 4: for whatever reason, and h Spencer told me it was amazing.
• 6:12
  Speaker 4: Now you've watched it, so now that means I've got
• 6:15
  Speaker 4: to put that on the list.
• 6:16
  Speaker 3: Yes, definitely it is. I don't cry during movies. It
• 6:19
  Speaker 3: is one of the few movies that can bring a
• 6:22
  Speaker 3: tear to my eye.
• 6:23
  Speaker 4: Whoa getting okay? All right, I wasn't expecting a level
• 6:28
  Speaker 4: of emotion from that one. Was that your first time
• 6:30
  Speaker 4: seeing it?
• 6:31
  Speaker 1: No?
• 6:31
  Speaker 3: God, no, Oh, I've been watching it since it came
• 6:35
  Speaker 3: out pretty much.
• 6:36
  Speaker 4: Yeah, I know I'm behind on that one, and then back.
• 6:41
  Speaker 3: Rooms, but that was that was a little while ago
• 6:43
  Speaker 3: now too, So yeah, I am super horribly behind on
• 6:47
  Speaker 3: watching things.
• 6:48
  Speaker 1: You know.
• 6:48
  Speaker 4: I was gonna go see the back Rooms Extended cut
• 6:51
  Speaker 4: because they put out a back Rooms Everything Must Go
• 6:55
  Speaker 4: addition with fifteen extra, fifteen extra minutes of footage. It's like, fuck, yeah,
• 7:00
  Speaker 4: let's go. And then I found out it's just and
• 7:02
  Speaker 4: it's like fifteen minutes of post credits, and I was like, oh, well,
• 7:07
  Speaker 4: that's not the same. I've already seen it in theaters
• 7:09
  Speaker 4: twice anyways, and I was like, I'll just see this
• 7:11
  Speaker 4: another time because I thought it was fifteen extra minutes
• 7:15
  Speaker 4: of footage that they wove into the movie. But apparently,
• 7:18
  Speaker 4: if you if you like Cane Pixels or Cane Parsons
• 7:21
  Speaker 4: YouTube stuff, this is very akin to that, and I do,
• 7:24
  Speaker 4: but I was like, I don't. I've already seen it twice,
• 7:27
  Speaker 4: So I'm gonna just wait until that inevitably comes out
• 7:30
  Speaker 4: on DVD or Blu ray, and of course they probably
• 7:32
  Speaker 4: won't have that addition, but whatever.
• 7:36
  Speaker 3: They don't shaft us like that.
• 7:38
  Speaker 4: I know, I'm already worried about getting shafted with obsession
• 7:40
  Speaker 4: and not getting the director's cut with like the seventeen
• 7:43
  Speaker 4: fucking head smashes of so spoilers for that movie.
• 7:48
  Speaker 3: Yeah, I'll just himmering. It was like everybody thought that
• 7:54
  Speaker 3: the fucking Blu Ray four K whatever was gonna have it,
• 7:57
  Speaker 3: and then it doesn't.
• 7:58
  Speaker 4: Yeah, it's and it's already at your wall. I ordered
• 8:01
  Speaker 4: it on Amazon because it was twenty seven ninety eight,
• 8:03
  Speaker 4: so it's the same price, so it'll be here the fourteenth.
• 8:05
  Speaker 4: I can't believe how quickly they turn that around, but
• 8:09
  Speaker 4: I know if it's like any horror movie from I
• 8:13
  Speaker 4: don't know if Sony does this, but I know a
• 8:15
  Speaker 4: lot of times they'll release a Blu Ray, they'll release
• 8:18
  Speaker 4: a four K, and then like six months later there's like,
• 8:21
  Speaker 4: here's a steal book. All right, fucking cool. That's what
• 8:24
  Speaker 4: happened with Alien Romulus. I believe that's what happened with
• 8:27
  Speaker 4: Infinity Pool. I bought the four K of Infinity Pool
• 8:30
  Speaker 4: and then like six months later they were like, here's
• 8:31
  Speaker 4: the unrated cut of Infinity Pool on a fucking steal book.
• 8:35
  Speaker 3: Ah.
• 8:36
  Speaker 4: So I guarantee that's what they'll do with that, just
• 8:38
  Speaker 4: to get even more money.
• 8:39
  Speaker 3: But they back, you know what would get Sony money
• 8:44
  Speaker 3: not dropping physical discs?
• 8:46
  Speaker 4: Are they dropping physical discs?
• 8:48
  Speaker 3: Yeah? By twenty twenty eight, Sony is getting rid of
• 8:50
  Speaker 3: video game physical discs.
• 8:53
  Speaker 4: Oh that's right, that's right.
• 8:55
  Speaker 3: Yeah.
• 8:56
  Speaker 4: I was like, you got to have heard about that
• 8:58
  Speaker 4: that I've heard of, yeah, which I mean, it almost
• 9:00
  Speaker 4: makes sense for video games at this point because everything
• 9:03
  Speaker 4: is just downloaded, and I fucking o it.
• 9:06
  Speaker 3: Don't don't say that. Don't say that, You're gonna hurt
• 9:08
  Speaker 3: the podcast people are gonna come for you with pickfors. Hey.
• 9:12
  Speaker 4: I know I'm not saying for movies. I'm saying for
• 9:14
  Speaker 4: video games because it isn't well because look, seriously, at
• 9:18
  Speaker 4: this point, even if you get the disc, you still
• 9:21
  Speaker 4: have to download eight hundred fucking gigabytes. It's not like
• 9:24
  Speaker 4: it used to be where you put the disc in
• 9:25
  Speaker 4: in you could play. You have to you have to
• 9:28
  Speaker 4: put the disc in and then download everything. So it's like,
• 9:30
  Speaker 4: what is even the fucking point. But if they're gonna,
• 9:33
  Speaker 4: if they're gonna do away with discs, they need to
• 9:35
  Speaker 4: fucking drop the price on that ship because they don't
• 9:37
  Speaker 4: have to manufacture any boxes, any discs, and you know
• 9:41
  Speaker 4: they're not so they're gonna get, They're gonna get, They're
• 9:43
  Speaker 4: gonna get rid of disks and probably charge you ten
• 9:45
  Speaker 4: dollars more fucking cheap skates.
• 9:47
  Speaker 3: People will. I think with people, the biggest problem they
• 9:50
  Speaker 3: have is that their their fear of losing all physical
• 9:53
  Speaker 3: media will come with this.
• 9:55
  Speaker 4: Well didn't they also? Uh, someone also just took away
• 9:59
  Speaker 4: like five hundred movies from something and people were like,
• 10:03
  Speaker 4: we owned those. I'm like, this is exactly why, this
• 10:06
  Speaker 4: is exactly why I haven't bothered with digital copies, because
• 10:10
  Speaker 4: it could they could just go away at any point,
• 10:12
  Speaker 4: like I don't. I've never bothered with them. I never will.
• 10:15
  Speaker 4: I give them away to friends because I'm like, here,
• 10:18
  Speaker 4: you have this, I am never gonna bother with it.
• 10:20
  Speaker 4: If Fandango crashes tomorrow, there go all of your fucking movies.
• 10:24
  Speaker 4: So I'm off, fine, I have.
• 10:27
  Speaker 3: I will occasionally cash in my digital code, but it's
• 10:30
  Speaker 3: mostly like if it's something the kid wants to watch too,
• 10:33
  Speaker 3: so that way he doesn't have to come in find
• 10:34
  Speaker 3: the disc he go into the Pandango. But yeah, I
• 10:38
  Speaker 3: typically give my digital codes away too. Oh and by
• 10:40
  Speaker 3: the way, it was it was PlayStation. It was Sony
• 10:42
  Speaker 3: that took away the five hundred movies. Fucking so they're
• 10:45
  Speaker 3: just they're just not a fucking rolling a shitty company
• 10:48
  Speaker 3: right now.
• 10:49
  Speaker 4: Terrible a couple of things I've watched. I've watched three
• 10:53
  Speaker 4: movies I had to review for That makes it sound
• 10:56
  Speaker 4: like an obligation. I picked these movies. So from Aavy entertainment,
• 11:00
  Speaker 4: I picked Scream, Bloody Murder, I picked All the Kind Strangers,
• 11:04
  Speaker 4: and I picked Knight of Bloody Horror screen Bloody Murders
• 11:07
  Speaker 4: from nineteen seventy three. It is very much a proto
• 11:10
  Speaker 4: slasher that I feel had to have inspired John Carpenter's Halloween,
• 11:14
  Speaker 4: and it'll if you ever watch it, it will make
• 11:16
  Speaker 4: sense because it literally involves a kid going to a
• 11:19
  Speaker 4: psych ward coming back out years later than going on
• 11:22
  Speaker 4: a killing spree. And I'm like, that's fucking Halloween, except
• 11:26
  Speaker 4: he's except he's not on a mask, So I'm like, hmm,
• 11:29
  Speaker 4: I wonder if John Carpenter had any inspiration from that.
• 11:32
  Speaker 4: Three Stars that was really good, very unique for the time.
• 11:35
  Speaker 4: All the Kind Strangers think of like children of the Corn,
• 11:39
  Speaker 4: but instead of killing all of the adults in town,
• 11:42
  Speaker 4: every adult that passes through town, they try to make
• 11:44
  Speaker 4: them their parents. That's these group of orphans that just
• 11:47
  Speaker 4: desperately want parents, and they live in the Backwoods of Tennessee.
• 11:51
  Speaker 4: Stacy Keach is in this. If you don't know the name,
• 11:54
  Speaker 4: he was in things like American History X. He was
• 11:57
  Speaker 4: in body Bags in one of the segments. He's been
• 12:00
  Speaker 4: in a couple of horror movies. He's also in prison
• 12:02
  Speaker 4: Break as the warden for a few seasons. And then
• 12:06
  Speaker 4: you have Samantha Egger in this as well, who was
• 12:08
  Speaker 4: in David Cronenberg's The Brood and she was also in Curtains.
• 12:12
  Speaker 4: Those are two things that she's pretty famous for. Yeah,
• 12:15
  Speaker 4: good time, that one got three and a half. And
• 12:17
  Speaker 4: then I watched Night of Bloody Horror, which was the
• 12:20
  Speaker 4: most bizarre movie I've seen in a while, and not
• 12:23
  Speaker 4: in a good way. The description doesn't even really tie
• 12:30
  Speaker 4: into the movie because you get a reveal about forty
• 12:35
  Speaker 4: five minutes in that really should have been mentioned at
• 12:37
  Speaker 4: like the five minute mark, and it's a very bizarre movie.
• 12:42
  Speaker 4: But the synopsis here is Wesley goes on a killing
• 12:44
  Speaker 4: spree while experiencing the nightmares of his brother who was
• 12:47
  Speaker 4: killed thirteen years earlier, not really what happens in the movie.
• 12:53
  Speaker 4: It's hard to recommend this one, but just because it
• 12:55
  Speaker 4: just because it didn't work for me doesn't mean it
• 12:57
  Speaker 4: won't worked for you. I gave it a two out
• 12:59
  Speaker 4: of five. And then in terms of just other things
• 13:01
  Speaker 4: I've been watching, I've been heavy on the werewolf movies
• 13:05
  Speaker 4: this month. Og wolf Man watched that four stars. American
• 13:09
  Speaker 4: Wereolf in London watched that. I already talked about that
• 13:13
  Speaker 4: in the laps last episode three stars, Howling four and
• 13:16
  Speaker 4: a half stars, and then I watched Bad Moon, which
• 13:19
  Speaker 4: is I had it at a three and a half,
• 13:21
  Speaker 4: then I raised it to a four. Bad Moon might
• 13:23
  Speaker 4: be one of the most criminally underrated or under talked
• 13:27
  Speaker 4: about movies werewolf movies, because not only does it have
• 13:31
  Speaker 4: a sick werewolf, but it also has a very unique premise.
• 13:34
  Speaker 4: Highly recommend Bad Moon.
• 13:36
  Speaker 3: Did you give the Howling a better score than American Werewolf.
• 13:39
  Speaker 4: In Absolutely Howling is superior film. All right, yep, go listen,
• 13:45
  Speaker 4: Go listen to Silver Bullet. I went on a whole
• 13:47
  Speaker 4: tear on why I don't like American Wolf in London
• 13:49
  Speaker 4: as much as.
• 13:50
  Speaker 3: Its Silver Bullet. See. Here's the thing is, I don't
• 13:52
  Speaker 3: like to listen to the damn podcast if I haven't
• 13:54
  Speaker 3: seen the movie. But thankfully I have seen Silver Bullets
• 13:56
  Speaker 3: so I will listen.
• 13:57
  Speaker 4: Oh I was about to say if I was like,
• 13:59
  Speaker 4: if you haven't seen Silver Bull, that's that's a fun one.
• 14:01
  Speaker 4: That's a great Stephen King. Uh yeah. Over the years,
• 14:04
  Speaker 4: I've just come to realize that, Like I respect American
• 14:08
  Speaker 4: World in London and what it did for sure, but
• 14:11
  Speaker 4: it's just a movie that it doesn't as a werewolf movie.
• 14:14
  Speaker 4: It does not work for me as as nearly as
• 14:16
  Speaker 4: much as the Howling or you know, like the even
• 14:19
  Speaker 4: the og wolf Man. It's yeah, I don't know, I
• 14:22
  Speaker 4: got I got controversial opinion on that. I haven't had
• 14:24
  Speaker 4: a hot take on the podcast in quite some time,
• 14:27
  Speaker 4: but I guess this month it's where they're all gonna
• 14:29
  Speaker 4: come flying out because Silver Bullet already had some thoughts
• 14:33
  Speaker 4: there this movie. I've got some got some thoughts on
• 14:36
  Speaker 4: this one. So I guess this is the month where
• 14:39
  Speaker 4: I'm letting it all out. But that's uh, I mean,
• 14:42
  Speaker 4: that is what it is, you know. I don't I
• 14:44
  Speaker 4: don't say anything to rage bait anybody. These are just
• 14:46
  Speaker 4: my opinions. I have very strange opinions on horror. If
• 14:49
  Speaker 4: you've listened to the podcast, you know, like if.
• 14:51
  Speaker 3: You know what this is why I love talking movies
• 14:54
  Speaker 3: in general, because I am not a gatekeeper.
• 14:56
  Speaker 4: If you didn't like it, all I want to know
• 14:57
  Speaker 4: is why, right, Okay, well yeah, and you can like
• 15:01
  Speaker 4: yeah if you listen to the Silver Bullet episode I do.
• 15:03
  Speaker 4: I do list reasons as to why, the reasons that
• 15:07
  Speaker 4: negatively affect my rating for American Werewolf in London, Like
• 15:11
  Speaker 4: I said, is not a bad movie by any means,
• 15:14
  Speaker 4: and I think we can all agree American Werewolf in
• 15:16
  Speaker 4: Paris is just a very sad follow up to what
• 15:19
  Speaker 4: is a pretty iconic movie. But speaking of American Werewolf
• 15:23
  Speaker 4: in London and the Howling, let's go to our IMDb
• 15:26
  Speaker 4: round up here because someone who was involved in those
• 15:29
  Speaker 4: two movies is also involved in this. So let's go
• 15:32
  Speaker 4: to the body count here. I didn't write him down
• 15:38
  Speaker 4: in my you know, the IMDb round up, but we'll
• 15:41
  Speaker 4: we'll get to him. Well, he's a very important piece
• 15:44
  Speaker 4: of this puzzle. But this is The wolf Man from
• 15:45
  Speaker 4: twenty ten, released on February twelfth of that year, Perfect
• 15:50
  Speaker 4: time for a Valentine's Day date if you want to
• 15:54
  Speaker 4: do that. Rated R for bloody horror, violence and gore,
• 15:58
  Speaker 4: mild sex, and nudity, a little bit of a sideboob
• 16:01
  Speaker 4: with Emily Blunt, severe violence and gore, definitely mild profanity,
• 16:05
  Speaker 4: mild alcohol, drugs and smoking, and moderate frightening and intense scenes.
• 16:09
  Speaker 4: There are two run times for this movie, hour and
• 16:11
  Speaker 4: forty three for the theatrical and an hour fifty nine
• 16:14
  Speaker 4: for the director cut. I will break those down as
• 16:16
  Speaker 4: I always do when we start the review. Here listed
• 16:20
  Speaker 4: as a drama fantasy horror thriller directed by Joe Johnstone.
• 16:25
  Speaker 4: Talk about a career this man's had. He also directed
• 16:28
  Speaker 4: Honeye Shrunk the Kids. He directed the original Jumanji and
• 16:32
  Speaker 4: Jurassic Park three, the Ultimate sleeper Jurassic Park movie. Love
• 16:36
  Speaker 4: that movie, not over the original let Me not make
• 16:38
  Speaker 4: everyone crazy? The original is still the best. Written by
• 16:42
  Speaker 4: Andrew Kevin Walker, who also wrote Seven Sleepy Hollow and
• 16:47
  Speaker 4: Psycho Killer from this year. Interesting career, also written by
• 16:51
  Speaker 4: David Self. He wrote The Haunting nineteen ninety nine, something
• 16:54
  Speaker 4: called Thirteen Days and then Road to Perdition composed by
• 16:58
  Speaker 4: Danny Elfman, who I mean, I think the list would
• 17:02
  Speaker 4: be smaller of the things he hasn't composed. He's basically
• 17:05
  Speaker 4: done everything for Tim Burton, He also did Spider Man
• 17:08
  Speaker 4: one and two and the Fifty Shades of Gray trilogy.
• 17:11
  Speaker 4: Weirdly enough, so that's interesting. Didn't know he had a
• 17:15
  Speaker 4: spicy side like that. Cinematography by Shelley Johnson also did
• 17:20
  Speaker 4: the cinematography for Teenage Mutant, Ninja, Turtles two, The Secret
• 17:24
  Speaker 4: of the Ooze, which is a god fuck that's a
• 17:27
  Speaker 4: long name, Jurassic Park three, and Captain America The First
• 17:31
  Speaker 4: Avenger edited by two people, Walter Merch. He also edited
• 17:35
  Speaker 4: Apocalypse Now, The Godfather Part three and The English Patient.
• 17:39
  Speaker 4: And then we have Dennis Wirkler, who also edited Burnt Offerings,
• 17:44
  Speaker 4: which is a fucking criminally underrated horror movie from the
• 17:47
  Speaker 4: seventy six I think Airplane to the sequel and Batman Forever.
• 17:51
  Speaker 4: So these people, this is a wild group of people
• 17:53
  Speaker 4: right here, and talk about a cast. Holy shit. But
• 17:57
  Speaker 4: Hecio del Toro is Lawrence Talbot. He was most recently
• 18:01
  Speaker 4: and one Battle after another as sense Sergio Saint Carlos
• 18:05
  Speaker 4: Anthony Hopkins as Sir John Talbot should go without you know,
• 18:10
  Speaker 4: having to be named. But he was also in the
• 18:11
  Speaker 4: Sounds of the Lambs as Doctor Hannibal Elector Emily Blunt
• 18:14
  Speaker 4: is Gwen Conliff, who was also in A Quiet Place
• 18:18
  Speaker 4: one and two is Evelyn Abbott and then we have
• 18:20
  Speaker 4: Hugo Weaving as Aberlein Aberline. He was in two small trilogies,
• 18:26
  Speaker 4: The Matrix and The Lord of the Rings, just two
• 18:28
  Speaker 4: small things you might have heard of. Has made a
• 18:30
  Speaker 4: budget of one hundred and fifty million, kind of bombing
• 18:33
  Speaker 4: at the box office, only making one hundred and thirty
• 18:36
  Speaker 4: nine point eight million dollars. Not so great when you
• 18:39
  Speaker 4: include marketing into the budget. So this is definitely not
• 18:43
  Speaker 4: a bomb, but not a win. And this movie was
• 18:46
  Speaker 4: filmed in derby Shire, will Shire, Buckinghamshire, Surrey, all fucking
• 18:51
  Speaker 4: everywhere in England. You can watch the theatrical version on
• 18:56
  Speaker 4: HBO Max. But as I discovered, nearly every really actually
• 19:00
  Speaker 4: every release from the DVD to the Blu ray to
• 19:02
  Speaker 4: the four K have both versions of this movie, which
• 19:05
  Speaker 4: is kind of cool. I was surprised when you were like,
• 19:07
  Speaker 4: I think I have the director's cut on DVD, and
• 19:09
  Speaker 4: I was like, I was like, I could have sworn shot.
• 19:12
  Speaker 4: You know, usually shout factory when they put out a
• 19:15
  Speaker 4: four K, we'll put out, you know, an unrated cut
• 19:17
  Speaker 4: for the first time. So I was looking back and
• 19:19
  Speaker 4: I was like, oh, no, you're covered. You're good. So
• 19:22
  Speaker 4: you you did watch that version, right?
• 19:24
  Speaker 3: Sure? Damn I couldn't find I couldn't find my fucking
• 19:29
  Speaker 3: copy of it, so I have to just stream it.
• 19:32
  Speaker 3: This is why you I read it. This is probably
• 19:34
  Speaker 3: why I read about what it was. I read what
• 19:37
  Speaker 3: the seventeen minutes I missed was.
• 19:40
  Speaker 4: Damn it. Ah, you're fine. That'll be that'll be interesting
• 19:43
  Speaker 4: because then we'll have two different versions to talk about. Yeah,
• 19:46
  Speaker 4: because seventeen minutes. That's that's a director's cut right there.
• 19:49
  Speaker 4: Let me tell you movies that came out around the
• 19:52
  Speaker 4: same time. We have Shutter Island, Kick ass Alice in Wonderland,
• 19:55
  Speaker 4: Tucker and Dale Versus Evil, Buried, that terrible movie with
• 19:59
  Speaker 4: Ryan not Ryan, not know Ryan Reynolds where he's buried.
• 20:03
  Speaker 4: Fuck that movie. She's out of My League, The Craziest Legion, Frozen,
• 20:08
  Speaker 4: the Adam Green one, not the Disney one. And Tooth Fairy,
• 20:13
  Speaker 4: the movie everybody forgot about because the Rock plays a
• 20:16
  Speaker 4: tooth Fairy. I'MDB summary. Upon his return to his ancestral homeland,
• 20:21
  Speaker 4: an American man is bitten and subsequently cursed by a werewolf.
• 20:25
  Speaker 4: Let's go into the autopsy. I guess you could say
• 20:30
  Speaker 4: this is an American werewolf in London, because I mean
• 20:34
  Speaker 4: he goes back to London. True, right, So yeah, all right,
• 20:38
  Speaker 4: overall thoughts for The wolf Man twenty ten. You described
• 20:43
  Speaker 4: it to me as not terrible, So expand on.
• 20:45
  Speaker 3: That man that's a big fan of the OG. It's
• 20:51
  Speaker 3: not terrible, it's not great.
• 20:56
  Speaker 4: It's you sound very conflicted.
• 21:01
  Speaker 3: I am very conflicted. We had to go get our
• 21:04
  Speaker 3: car service today and the place that we leased it
• 21:06
  Speaker 3: from is an hour away.
• 21:07
  Speaker 4: Uh huh.
• 21:08
  Speaker 3: And Tyr and I were talking about it the whole time,
• 21:11
  Speaker 3: and it's got its moments, but it just it follows
• 21:17
  Speaker 3: Flatform in a lot of spots that we will discuss.
• 21:20
  Speaker 4: All right, that's fair. So this is my first time
• 21:22
  Speaker 4: watching this, and the reason that this is considered a
• 21:24
  Speaker 4: deep cut is because of what my wife explained in
• 21:27
  Speaker 4: the last episode. I just feel like everyone has forgotten
• 21:31
  Speaker 4: about this movie. I didn't even remember it was it
• 21:34
  Speaker 4: because I knew it was a movie, like obviously around
• 21:36
  Speaker 4: its release. But then Screen Factory put out a four
• 21:39
  Speaker 4: K and I was like, oh shit, that's right. I
• 21:41
  Speaker 4: completely forgot about the twenty ten Wolfman, so I haven't
• 21:46
  Speaker 4: even seen it, and I figured what a better time
• 21:48
  Speaker 4: to do it than now. And since there was an
• 21:52
  Speaker 4: unrated cut or the director's cut, that's usually the preferred
• 21:55
  Speaker 4: usually the preferred version in most cases, and in this case,
• 22:00
  Speaker 4: ording to you know, my research, people were saying that, yes,
• 22:02
  Speaker 4: the director's cut is a preferred version. I think this
• 22:05
  Speaker 4: movie fucking rocked. I seen the ratings. I have heard
• 22:09
  Speaker 4: the negativity about this movie, and an hour and twenty
• 22:13
  Speaker 4: minutes into this I was texting you or someone and
• 22:17
  Speaker 4: I was like, unless they fuck up the last twenty
• 22:20
  Speaker 4: five minutes, I don't understand the hate for this movie
• 22:23
  Speaker 4: in any regard. I have one complaint about the entire movie,
• 22:28
  Speaker 4: which is crazy to me. So I guess this is
• 22:31
  Speaker 4: gonna be my second hot take of the month. Is
• 22:33
  Speaker 4: that I fucking love this movie, and I really think
• 22:36
  Speaker 4: people need to revisit it if it's been a long time,
• 22:39
  Speaker 4: and make sure you watch the director's cut, because ultimately,
• 22:42
  Speaker 4: I think that version is going to be the stronger version.
• 22:46
  Speaker 4: So that's my overall thoughts on this on this movie,
• 22:51
  Speaker 4: going into the differences here, So they're like I said,
• 22:55
  Speaker 4: theatrical and a director's cut unrated is in one hundred
• 22:58
  Speaker 4: and nineteen minutes compared to one hundred and two minutes
• 23:01
  Speaker 4: of the theatrical They expand the narration a little bit.
• 23:05
  Speaker 4: The director's cut spends more time in the first half
• 23:08
  Speaker 4: establishing the backstory. This includes a London theater sequence where
• 23:12
  Speaker 4: Lawrence's first approach about his brother's disappearance, an extended dinner
• 23:16
  Speaker 4: sequence that explains his tense relationship with his father, Sir
• 23:19
  Speaker 4: John Talbot. There's also the theatrical cut completely removes the
• 23:25
  Speaker 4: scene on the train where the mysterious old man played
• 23:28
  Speaker 4: by Max Vont's Sideo gives Lawrence his silver wolfhead Caine
• 23:33
  Speaker 4: as protection. Gore in Violence. The unrated cut feature slightly
• 23:38
  Speaker 4: more explicit mutilation and subtle different deaths of one of
• 23:42
  Speaker 4: the victims, but the bulk of the run time is
• 23:44
  Speaker 4: actually dedicated to drama and atmosphere rather than gore. Which
• 23:48
  Speaker 4: is interesting that the theatrical cut was that fucking graphic,
• 23:51
  Speaker 4: because holy shit, I was not expecting this level of violence.
• 23:56
  Speaker 4: I forgot how fucking violent it is, like almost hypergry.
• 24:02
  Speaker 4: I couldn't believe it. So that's kind of the difference
• 24:04
  Speaker 4: between the two. This is the first adaptation of the
• 24:09
  Speaker 4: original movie. There have been plenty of were wolf and
• 24:12
  Speaker 4: wolfman's style movies, but in terms of a legitimate remake,
• 24:18
  Speaker 4: this is the first one since nineteen forty one, which
• 24:20
  Speaker 4: I found very interesting, and it keeps a lot of
• 24:24
  Speaker 4: the same beats alive. So in both versions, Lawrence returns
• 24:28
  Speaker 4: home after his brother's death reconnects with his estranged father.
• 24:32
  Speaker 4: In the original movie, Larry falls for the grounds keeper's fiance,
• 24:39
  Speaker 4: but in this movie he falls for his brother's fiance. Obviously,
• 24:43
  Speaker 4: his brother dies. Both are bitten by a werewolf while
• 24:46
  Speaker 4: investigating strange attacks, and then they both slowly realize that
• 24:50
  Speaker 4: they're becoming monsters. So the core, the core narrative is
• 24:53
  Speaker 4: almost identical to the original movie. It's about a man
• 24:56
  Speaker 4: cursed with something he can't control, but I think the
• 24:59
  Speaker 4: remake leans a lot harder into tragedy. This really does
• 25:03
  Speaker 4: feel like a dramatic tragedy film because Lawrence is much
• 25:09
  Speaker 4: more emotionally damaged before he even appears on screen, as
• 25:14
  Speaker 4: opposed to Lon Chaney, who, in my opinion, just is
• 25:17
  Speaker 4: like a normal guy, you know, going to grieve his brother.
• 25:22
  Speaker 4: So is that something that worked for you. Added the
• 25:26
  Speaker 4: added backstory of Lawrence's character, I feel might be something
• 25:29
  Speaker 4: that will work for people and will not work for people.
• 25:32
  Speaker 4: In this instance, giving the gothic vibe and setting they
• 25:35
  Speaker 4: were going for. Having a traumatic pass for Lawrence really
• 25:39
  Speaker 4: amped up the emotion side of things for me. But
• 25:44
  Speaker 4: I'm not everybody, so is the backstory about the mother
• 25:47
  Speaker 4: and all of that stuff and being locked away in
• 25:49
  Speaker 4: the psych word for a year. Is that something that
• 25:52
  Speaker 4: you think added or detracted from this movie?
• 25:55
  Speaker 3: It didn't not work for me as far as the
• 26:00
  Speaker 3: It's a nice touch, but I guess that's kind of
• 26:02
  Speaker 3: what I like about the original so much, is that
• 26:05
  Speaker 3: he is just a kind of an average dude who
• 26:08
  Speaker 3: shows back up in town and then ends up in
• 26:11
  Speaker 3: the wrong place at the wrong time, which is kind
• 26:13
  Speaker 3: of similar to this one in the sense that you know,
• 26:16
  Speaker 3: he's still wrong place, wrong time kind of thing.
• 26:19
  Speaker 4: I yeah, definitely feel similar. But yeah, and it's almost
• 26:24
  Speaker 4: like the debate of Halloween and you know Rob Zombie's
• 26:28
  Speaker 4: version explaining a little bit more where people didn't want
• 26:30
  Speaker 4: the explanation. I feel like that's kind of similar here,
• 26:33
  Speaker 4: where you don't really know much about long Cheney's character
• 26:36
  Speaker 4: or you know, Larry's character. I think it's funny he's
• 26:38
  Speaker 4: Larry in the original and in this version he's Lawrence.
• 26:41
  Speaker 4: It feels like it should be backwards. But this movie
• 26:44
  Speaker 4: is also set like fifty years prior to The Wolfman
• 26:47
  Speaker 4: because Wolfman was forty one and our twenty ten version
• 26:50
  Speaker 4: is established that it is eighteen ninety one. So I
• 26:54
  Speaker 4: guess it does make sense, but it's just funny. So
• 26:56
  Speaker 4: for me, I think the addition works very well because
• 26:59
  Speaker 4: he is if you're a strange from your father, like
• 27:03
  Speaker 4: like they both were in both versions. I feel like
• 27:06
  Speaker 4: you need at least some sort of axp, like something
• 27:09
  Speaker 4: happened that made you a strange from your father. I
• 27:11
  Speaker 4: can't remember if they if it's like a throwaway line
• 27:13
  Speaker 4: that they used in the original. I did just recently
• 27:16
  Speaker 4: watch it, but I wasn't I was fully paying attention
• 27:18
  Speaker 4: to it. I was just trying to listen to it
• 27:20
  Speaker 4: as I worked. But I like the fact that when
• 27:23
  Speaker 4: he it gives it gives this this movie like a
• 27:27
  Speaker 4: psychological layer because we're, you know, the audience for for
• 27:32
  Speaker 4: some amount of time is wondering whether he's truly becoming
• 27:35
  Speaker 4: a werewolf or if he's just mentally ill, And that
• 27:37
  Speaker 4: comes into play later when you know, he goes to
• 27:41
  Speaker 4: what is it, like the clinic or whatever it is,
• 27:45
  Speaker 4: and they're like, Oh, we've got the the hospital and
• 27:49
  Speaker 4: we've got so much better treatment now for for your disease,
• 27:52
  Speaker 4: because like nthropy is considered a disease, both in the
• 27:56
  Speaker 4: original and in this one. And I really, I really
• 27:58
  Speaker 4: love that aspect of like you're sick, and that whole
• 28:02
  Speaker 4: thing comes back into play when he's sitting in the
• 28:04
  Speaker 4: room with all of these people, like, if you don't
• 28:07
  Speaker 4: get me out of here, uh, shit's gonna go wrong,
• 28:11
  Speaker 4: and they're like, you're not a werewolf, but we know
• 28:14
  Speaker 4: at this point he's a were wolf, so the audience
• 28:16
  Speaker 4: has superior position again, much like in Silver Bullet, where
• 28:20
  Speaker 4: we're like, wait, he is a werewolf and then that
• 28:23
  Speaker 4: whole scene plays out. It's just, oh my god, that
• 28:25
  Speaker 4: was such a great scene. But I really like the
• 28:28
  Speaker 4: addition of all of that trauma and all of that stuff,
• 28:32
  Speaker 4: probably because it just kind of reminds me of the
• 28:36
  Speaker 4: grief and horror trauma. It almost feels like it was
• 28:38
  Speaker 4: ahead of its like a little bit ahead of its
• 28:40
  Speaker 4: time by introducing all of the grief, you know, his
• 28:42
  Speaker 4: mother dying at a very young age, and then him
• 28:44
  Speaker 4: being committed to a psych ward, and then he can
• 28:46
  Speaker 4: just find out his father's the biggest, biggest piece of
• 28:48
  Speaker 4: shit of all time. Anthony Hopkins, who usually is a well,
• 28:52
  Speaker 4: I guess he played Hannibal Lecter. I guess he plays
• 28:54
  Speaker 4: a good villain.
• 28:55
  Speaker 3: Yeah, oh, for sure.
• 28:59
  Speaker 4: But the difference between Sir John in the original film
• 29:03
  Speaker 4: is that he's a you know, rational minded person. He's
• 29:07
  Speaker 4: aggressively dismissing the wearwolf legend, and when Larry insays that
• 29:11
  Speaker 4: he's been attacked, you know, he Sir John dismisses it.
• 29:14
  Speaker 4: It's mental delusion, and it's a form of mental illness
• 29:17
  Speaker 4: known as licanthropy, which is also brought up in this one.
• 29:20
  Speaker 4: But then the remake completely changes that because Anthony Hopkins
• 29:23
  Speaker 4: not only knows about the licanthropy but embraces it as
• 29:27
  Speaker 4: a gift because one of the reveals is that he
• 29:30
  Speaker 4: also has it. And not only that, but he also
• 29:33
  Speaker 4: killed Ben and he also killed Lawrence's mother. So it's
• 29:37
  Speaker 4: like that the reveals just kept getting worse. It was like,
• 29:41
  Speaker 4: oh my, this guy's a real piece shit. He thinks
• 29:46
  Speaker 4: he almost views this licanthropy as freeing. Yeah, he likes it.
• 29:54
  Speaker 3: Yeah, Like he's he's totally down. He's like, I'm gonna
• 29:57
  Speaker 3: fucking kill me some bitches and then I'm gonna do
• 30:01
  Speaker 3: it again next full moon exactly.
• 30:03
  Speaker 4: And he tries to restrain you know, he does restrain
• 30:05
  Speaker 4: himself for a while, but he's like, I think there's
• 30:08
  Speaker 4: a point where he's like, I realized, I don't you know,
• 30:11
  Speaker 4: it's freeing to not restrain myself, to go out there
• 30:14
  Speaker 4: and kill or not be killed. It's like I was like, man,
• 30:17
  Speaker 4: you are what an interesting dynamic to add into this
• 30:21
  Speaker 4: movie that I did not see coming at all. I
• 30:24
  Speaker 4: had my suspicions about it. But the moment that's clarified
• 30:28
  Speaker 4: is when he locks himself in that chamber and he
• 30:32
  Speaker 4: backs into the shadows and his eyes kind of do
• 30:34
  Speaker 4: that glisten. I was like, is this motherfucker awarewolf? And
• 30:37
  Speaker 4: then that's when we get our first transformation from Benicio
• 30:40
  Speaker 4: del Toro's character. And honestly, yeah, you know, it's cg.
• 30:46
  Speaker 4: It's twenty ten. I get it. But the way they
• 30:49
  Speaker 4: the way they shot it, I feel, is very clever
• 30:51
  Speaker 4: because they give you glimpses of a foot expanding and
• 30:54
  Speaker 4: glimpses of a hand expanding. They cleverly place a candle
• 30:58
  Speaker 4: in front of one of the scenes where you can
• 31:01
  Speaker 4: see his shadows distorting. One of his shots is like
• 31:05
  Speaker 4: a puddle of water that is reflecting his face. So
• 31:09
  Speaker 4: I think they did it pretty smart, and I really
• 31:11
  Speaker 4: thought it was just gonna be a movie drowned out
• 31:13
  Speaker 4: in horrible CG. But really it's not. Rick Baker is
• 31:17
  Speaker 4: the person I was gonna mention who worked on American
• 31:19
  Speaker 4: Werewolf in London and The Howling. He also worked on
• 31:22
  Speaker 4: the creature effects in this movie. Obviously not the CG,
• 31:25
  Speaker 4: I don't think, but the actual practical effects. But there
• 31:27
  Speaker 4: are so many more practical effects in this movie than
• 31:30
  Speaker 4: I expected, especially with especially with the werewolf, and I
• 31:34
  Speaker 4: like the design. This is a big point of contention
• 31:36
  Speaker 4: in this film, is the look of the werewolf? Is
• 31:40
  Speaker 4: that one of the issues you have with this one?
• 31:43
  Speaker 3: No, actually, I don't mind the werewolf in this one
• 31:47
  Speaker 3: at all. Obviously there's practical definitely some covered up with
• 31:50
  Speaker 3: CG and whatever, so like some of the CG doesn't
• 31:54
  Speaker 3: work for me, But as far as just like you know,
• 31:57
  Speaker 3: when he turns around and like no, he's like a
• 32:00
  Speaker 3: it's a good menacing werewolf for sure.
• 32:02
  Speaker 4: Yeah, because it it feels like it's keeping true as
• 32:06
  Speaker 4: much as they possibly can to the original with kind
• 32:09
  Speaker 4: of a humanoid face that's covered in fur. But then
• 32:13
  Speaker 4: of course he still has those long, long feed and
• 32:17
  Speaker 4: long you know, like long limbs and stuff like that.
• 32:20
  Speaker 4: I also just love the look of a werewolf in
• 32:23
  Speaker 4: a like a business suit that's kind of just bust.
• 32:25
  Speaker 4: It's like busting at the scenes.
• 32:27
  Speaker 3: Like, but why did Anthony Hopkins have to go like
• 32:31
  Speaker 3: full like I'm a rip my whole shirt off.
• 32:34
  Speaker 4: It's just differentiate, I think. So, yeah, because that was
• 32:39
  Speaker 4: also a great reveal. I'm very excited to talk about
• 32:41
  Speaker 4: that ending ending sequence. So let's get into so Yeah.
• 32:50
  Speaker 4: I mentioned that I think this movie came out at
• 32:51
  Speaker 4: the wrong time, and I really do I think it.
• 32:55
  Speaker 4: I think it's just been a misunderstood movie since it
• 32:58
  Speaker 4: was released. Like I said, I this is the first
• 33:00
  Speaker 4: time I'm seeing it. I'm viewing this from a completely
• 33:02
  Speaker 4: different lens because I went into this movie expecting it
• 33:06
  Speaker 4: to be bad. That's all I've heard about it is.
• 33:07
  Speaker 4: It's bad. It's got a decent rating. It's under a three.
• 33:12
  Speaker 4: You know, it doesn't have the greatest rating, but I
• 33:14
  Speaker 4: think it's because audience is expected one movie and got
• 33:18
  Speaker 4: something completely different in twenty ten. When you hear Werewolf movie,
• 33:22
  Speaker 4: you're expecting something modern, something fast paced, with a lot
• 33:28
  Speaker 4: of slick action, and maybe some sort of gritty reinvention
• 33:32
  Speaker 4: of the mythology. I mean, that's that's where Hollywood kind
• 33:35
  Speaker 4: of was at the time. You think about the late
• 33:36
  Speaker 4: two thousands and franchises, like you know, Batman begins where
• 33:42
  Speaker 4: they were approaching these legacy characters differently with a much
• 33:45
  Speaker 4: more darker tone. I mean, don't get me wrong, the
• 33:48
  Speaker 4: original two Batman's are pretty dark, but then Forever Batman
• 33:51
  Speaker 4: Forever happened, which was one of the weirdest movies in existence,
• 33:54
  Speaker 4: and then Batman and Robin also happens, which really lightened
• 33:57
  Speaker 4: those characters up. So that's kind of where we were at.
• 34:00
  Speaker 4: And that's not what John Joe Johnson made. He didn't
• 34:04
  Speaker 4: modernize the Wolf Man. He looked backward and gave it.
• 34:08
  Speaker 4: It's like a love letter to Gothic horror. You've got
• 34:10
  Speaker 4: all of this fog everywhere, towering candles, candle lit hallways
• 34:15
  Speaker 4: or towering candles, towering castles, candle lit hallways. This tragic romance,
• 34:20
  Speaker 4: a curse bloodline. It's not trying to reinvent the Universal Monster,
• 34:25
  Speaker 4: but I feel like it's really trying to remind us
• 34:28
  Speaker 4: why the Universal Monsters were so effective in the first place.
• 34:32
  Speaker 4: Do you agree with that or do you have a
• 34:34
  Speaker 4: different Oh?
• 34:35
  Speaker 3: Yeah, I mean the one thing that I do like
• 34:36
  Speaker 3: about it is that it wasn't modernized for you know,
• 34:41
  Speaker 3: that time frame and the sets are beautiful, the opening
• 34:48
  Speaker 3: See it's funny because we sat down we watched it
• 34:50
  Speaker 3: in that opening kill. I was like, this is so
• 34:54
  Speaker 3: sleepy Hollow. Squ yep, it's awesome. You get like there's
• 34:58
  Speaker 3: a scene in Sleepy Hollow that it's practically the same
• 35:01
  Speaker 3: where it's that oh Like you're like like, huh, yeah,
• 35:06
  Speaker 3: how do you describe it when you're just sitting here talking?
• 35:08
  Speaker 3: But you know what I mean, Like, it's that it's
• 35:10
  Speaker 3: that backwards like eyes bulged right as he gets across
• 35:14
  Speaker 3: the chest, and I was like, oh, maybe I did
• 35:17
  Speaker 3: see this with a jaded opinion in the first place,
• 35:20
  Speaker 3: and then unfortunately as it went on, I was like, no, no,
• 35:22
  Speaker 3: I'm wonder yeah, no, sat Wise and everything. It's so
• 35:27
  Speaker 3: good and awesome.
• 35:29
  Speaker 4: And this movie opens, uh weirdly similar to Silver Bullet
• 35:35
  Speaker 4: in the sense of wherewolf attacking immediately. American Werewolf in
• 35:40
  Speaker 4: London takes a few minutes like it' within like the
• 35:43
  Speaker 4: first ten to fifteen minutes you get the attack. But
• 35:45
  Speaker 4: this one it's it's great. You get glimpses of the creature.
• 35:48
  Speaker 4: You you know, Ben is out there looking for who
• 35:51
  Speaker 4: he knows as his father, because he's like, where are you,
• 35:54
  Speaker 4: you know, show yourself. And it's so perfect, Like the
• 35:59
  Speaker 4: shot sequences are so perfect because you get the you
• 36:04
  Speaker 4: do get a glimpse of the entire face, but it's
• 36:06
  Speaker 4: so brief. You're like, ah, I can't tell if I
• 36:08
  Speaker 4: like that or not. Go back, like you know what
• 36:09
  Speaker 4: I mean. So the opening is so so strong, and
• 36:14
  Speaker 4: then I think you get your title card. But then yeah,
• 36:18
  Speaker 4: like it commits to the old school Gothic tone and
• 36:23
  Speaker 4: you know, everybody in the world completely sells it. And
• 36:26
  Speaker 4: let's go back and talk about the cast. You got
• 36:28
  Speaker 4: Benicio del Toro, You've got Anthony Hopkins, Emily Blunt, Hugo Weaving,
• 36:32
  Speaker 4: you even get Jemma Waylan. She who would later be
• 36:36
  Speaker 4: in Game of Thrones. I mean, you can't go wrong
• 36:39
  Speaker 4: with this cast, and Benicio del Toro's portrayal of of
• 36:44
  Speaker 4: Lawrence is much different than the classic. You don't want
• 36:47
  Speaker 4: to do the same exact thing. You know, Cheney's Lawrence
• 36:50
  Speaker 4: was tragic because of circumstance, whereas del Toro's Lawrence is
• 36:54
  Speaker 4: kind of tragic long before he's been bitten, he has
• 36:57
  Speaker 4: had a fucked up childhood. Emily Blunt is Gwen. I
• 37:01
  Speaker 4: think is great in this movie because a lot of
• 37:05
  Speaker 4: the times, Gothic horror can sometimes become so consumed by
• 37:08
  Speaker 4: atmosphere that the romance feels like an obligation. But I
• 37:11
  Speaker 4: like watching them slowly warm to each other over time,
• 37:16
  Speaker 4: because a lot of the times in movies like this,
• 37:19
  Speaker 4: it's either instant attraction and like we're in love immediately,
• 37:22
  Speaker 4: or it doesn't happen until the end. But they're like
• 37:24
  Speaker 4: slowly kind of connecting as this movie goes on, and
• 37:28
  Speaker 4: it doesn't feel like it's overshadowing the wolfman stuff, and
• 37:31
  Speaker 4: it doesn't feel like it's overshadowing the overarching story of
• 37:34
  Speaker 4: what's happening. I think it's a nice little addition and
• 37:37
  Speaker 4: I think this I'm probably I'm sure I've probably seen
• 37:41
  Speaker 4: Emily Blunt in earlier roles, but like, this is definitely
• 37:44
  Speaker 4: an earlier role for her, and I think she crushes it.
• 37:47
  Speaker 4: I'm a huge fan of her. And then of course
• 37:49
  Speaker 4: there's Anthony Hopkins. I mean, there's what can you say
• 37:51
  Speaker 4: about this man? He's had an incredible career, and even
• 37:55
  Speaker 4: Hugo Eving as well. I love the handlebar mustache that
• 37:59
  Speaker 4: goes in to the chops. Great look for this man,
• 38:02
  Speaker 4: but I like his what was there a character like
• 38:06
  Speaker 4: the inspector in the original movie? I'm blank, why I'm
• 38:09
  Speaker 4: blanking right now?
• 38:10
  Speaker 3: Was there?
• 38:11
  Speaker 4: Okay? I couldn't remember, but I really love his portrayal.
• 38:14
  Speaker 4: I think all of these people work so well together.
• 38:16
  Speaker 4: So when you have this very well established gothic atmosphere,
• 38:21
  Speaker 4: you have this. I'd say, maybe not for the time
• 38:25
  Speaker 4: ensemble cast, because I don't know, I don't know how
• 38:28
  Speaker 4: really big Benicio del Toro and Emily Blunt were at
• 38:31
  Speaker 4: the time, but I mean Hopkins and.
• 38:34
  Speaker 3: Del Toro and Anthony Hopkins were definitely the two big
• 38:38
  Speaker 3: polls for this movie. Well, and Hugo Weaving, I don't
• 38:41
  Speaker 3: remember he was true, but I don't think Emily Blunt
• 38:45
  Speaker 3: really but I mean Anisio del Toro. Yeah, let me
• 38:48
  Speaker 3: blank on what came before this. But he was definitely
• 38:51
  Speaker 3: a major star when he was cast in.
• 38:52
  Speaker 4: Okay, so then he that's probably why he's the leading man.
• 38:55
  Speaker 4: But yeah, I mean even Hugo Weaving was in two
• 38:57
  Speaker 4: huge franchises before this. So you have the got in
• 39:00
  Speaker 4: the fact gothic atmosphere, you have this great cast, you
• 39:04
  Speaker 4: have Danny Elfman's score, and it's not necessary, you know.
• 39:08
  Speaker 4: I wouldn't say this is his greatest score. It feels
• 39:11
  Speaker 4: very kind of stripped down, but it's there. Yeah, and
• 39:15
  Speaker 4: it's noticed apparently. I can't remember if it was fully
• 39:19
  Speaker 4: done or up. And I was reading about it after
• 39:20
  Speaker 4: it got over last night, and they had somebody else
• 39:23
  Speaker 4: composed the music originally, but this person did like some
• 39:27
  Speaker 4: like weird synthy shit. Oh, I have I have the
• 39:32
  Speaker 4: trivia for you right here. Speaking of that, Danny Elfman
• 39:36
  Speaker 4: was the original composer of this movie and recorded a
• 39:39
  Speaker 4: complete score inspired by the score for Brownstroker's Dracula. This
• 39:44
  Speaker 4: score was rejected as it did not fit the new
• 39:47
  Speaker 4: tone of the movie. After several reshoots, and delays. Paul
• 39:50
  Speaker 4: Heislinger was supposed to replace him, but Universal Pictures pulled
• 39:54
  Speaker 4: the plug on that and decided to reinstate Elfman's gothic score.
• 39:58
  Speaker 4: So it's a very busy our story of how Danny
• 40:01
  Speaker 4: Elfman was basically fired and then rehired.
• 40:05
  Speaker 3: I can't, dude, I can't imagine watching this movie and
• 40:08
  Speaker 3: having like some like weird eighties Italian synth going with it.
• 40:12
  Speaker 4: That would be a completely different movie. And now all
• 40:17
  Speaker 4: I can think of is I need a werewolf Shalla movie.
• 40:20
  Speaker 4: It doesn't make any sense, but I need that in
• 40:22
  Speaker 4: my life.
• 40:23
  Speaker 3: I would take it in my life.
• 40:26
  Speaker 4: So yeah, he didn't. You know, Elfman has done a
• 40:29
  Speaker 4: lot of stuff, and he doesn't score this like an
• 40:31
  Speaker 4: action movie, even though it kind of feels like an
• 40:34
  Speaker 4: action movie in some cases some of those sequences. Does
• 40:38
  Speaker 4: some of those sequences where body parts are literally flying around.
• 40:43
  Speaker 4: I was on the edge of my seat and I
• 40:44
  Speaker 4: was like, yo, this is this is fucking nuts. And
• 40:48
  Speaker 4: he doesn't really rely on adrenaline fueled cues. It's more
• 40:51
  Speaker 4: he leans into more of like these kind of sweeping
• 40:54
  Speaker 4: orchestral melodies that that feel operatic almost, And like I said,
• 40:59
  Speaker 4: it's not I didn't really notice the score so much,
• 41:02
  Speaker 4: And sometimes that's good and bad. Sometimes that means it
• 41:05
  Speaker 4: just fits so well that like it just didn't stand out.
• 41:09
  Speaker 4: But other times it just means it wasn't good, you know.
• 41:12
  Speaker 4: But I think in this instance, it was fitting so
• 41:14
  Speaker 4: well with what was happening. I didn't necessarily pick up
• 41:17
  Speaker 4: on the score because usually that's the one thing I'm
• 41:20
  Speaker 4: listening for in movies. So I think this is just
• 41:22
  Speaker 4: one of those it just fits so well, and it
• 41:25
  Speaker 4: wasn't trying to dominate the scene that it just flowed
• 41:29
  Speaker 4: very well with the story. So but underneath all this elegance,
• 41:35
  Speaker 4: you know, like I said, all with the nice score
• 41:37
  Speaker 4: and all of these dark, brooding castles and all of
• 41:40
  Speaker 4: these wonderful actors, you have the wolf Man itself. And
• 41:44
  Speaker 4: it is a complete contrast with everything that's happening on
• 41:47
  Speaker 4: screen because all the costumes that everyone are wearing for
• 41:52
  Speaker 4: the time are gorgeous. The cinematography. You could take a
• 41:57
  Speaker 4: screenshot of every frame of this movie and it you
• 42:00
  Speaker 4: could hang it on a wall. And then someone gets
• 42:03
  Speaker 4: torn in half, Like you're watching this beautiful, dramatic gothic
• 42:09
  Speaker 4: horror where the violins really shouldn't fit because movies, gothic
• 42:14
  Speaker 4: movies like this typically aren't this this over the top
• 42:18
  Speaker 4: of the violins. But it almost works so well because
• 42:21
  Speaker 4: it's such a jarring contrast. You're like, whoa, I was
• 42:24
  Speaker 4: not expecting all of this blood, and then the first
• 42:26
  Speaker 4: time you see it, you're like, Okay, now I know
• 42:28
  Speaker 4: what to expect. It's only a matter of when is
• 42:30
  Speaker 4: the next time this is gonna happen, because like, literally
• 42:34
  Speaker 4: there was a there was an arm that gets thrown
• 42:36
  Speaker 4: at one point. I think he punches someone's head off
• 42:40
  Speaker 4: at another point that was I think that was probably
• 42:44
  Speaker 4: one of my favorite moments because it is the last
• 42:46
  Speaker 4: person that he is after when he first transforms and
• 42:51
  Speaker 4: everyone is trying to attack him, not before that guy
• 42:55
  Speaker 4: is underground and all the guys are trying to shoot,
• 42:58
  Speaker 4: you know, the wolf man, but they're just shooting. I'm
• 43:00
  Speaker 4: just shooting the guy in the chest. But the last
• 43:02
  Speaker 4: guy to remain is in the swamp and he's and
• 43:04
  Speaker 4: he's like, I do the same thing. Fuck it, I'm
• 43:07
  Speaker 4: just gonna take my life. Click and he's like, don't worry, bro,
• 43:10
  Speaker 4: I got you. Smack freaking head goes u so good.
• 43:15
  Speaker 3: Freaking the claw through the jaw, oh, Gypsy in the
• 43:20
  Speaker 3: gypsy part, oh so fucking I was like, holy, like yeah,
• 43:24
  Speaker 3: like whoa, like whoa, whoa. It literally has been what
• 43:29
  Speaker 3: teen years since I've seen this movie, because I do
• 43:31
  Speaker 3: not remember this violence.
• 43:34
  Speaker 4: And the violence too. I'd say outside of a couple
• 43:37
  Speaker 4: of scenes, I think the obviously the the you know,
• 43:41
  Speaker 4: like the hand through the mouth was obviously enhanced with
• 43:44
  Speaker 4: some sort of CG. But I would say eighty percent
• 43:48
  Speaker 4: of this is practical effects. Oh yeah, the wounds that
• 43:54
  Speaker 4: the wolfman is making on these people are incredible, the
• 43:57
  Speaker 4: fake body parts that are flying around. Look at it's
• 44:00
  Speaker 4: one hundred and fifty million dollar budget, so it makes
• 44:03
  Speaker 4: sense that it looks so good. But I genuinely was
• 44:06
  Speaker 4: surprised with how graphic this movie was because the original
• 44:10
  Speaker 4: wolff Oh go ahead.
• 44:12
  Speaker 3: Oh, I was just gonna say. The worst CG is
• 44:14
  Speaker 3: the fucking stupid flashbacks he gets. So the freaking feral
• 44:19
  Speaker 3: kid like frawling up the bed and you're like that
• 44:22
  Speaker 3: was laughably bad.
• 44:23
  Speaker 4: Yes, I will agree that the those were the worst instances.
• 44:28
  Speaker 4: And because because even even the transformation, when he's in
• 44:31
  Speaker 4: front of all of those when he's in that I
• 44:34
  Speaker 4: can't remember what it's called, but it's like a place
• 44:35
  Speaker 4: where you go and all of these students can watch
• 44:38
  Speaker 4: you and whatever whatever that whatever that area is called,
• 44:41
  Speaker 4: even that transformation, when his face started to distort, I
• 44:44
  Speaker 4: was like, that's that's not bad. Honestly, it's not that
• 44:49
  Speaker 4: it's not bad.
• 44:49
  Speaker 3: Because twenty ten was like, maybe not peak, but pretty
• 44:54
  Speaker 3: effing close to peak with CGI, And now, unfortunately, even
• 44:59
  Speaker 3: though it's way better, we're getting stuff like, oh, my god,
• 45:04
  Speaker 3: what was that stupid Renny Harlan movie that just came
• 45:06
  Speaker 3: out deep Water or whatever with the plane crash of
• 45:07
  Speaker 3: the show.
• 45:08
  Speaker 4: Oh, the Shark's really bad.
• 45:09
  Speaker 3: And I haven't watched it yet, but I have heard
• 45:12
  Speaker 3: that the sharks are horrendous in that movie.
• 45:15
  Speaker 4: That's funny. That's funny because my cult movie challenge I
• 45:18
  Speaker 4: it's a real sidebar here. It's Shark'sploitation Week. I forgot
• 45:22
  Speaker 4: to talk about this movie just because I hadn't finished it.
• 45:24
  Speaker 4: But I'm watching under It's the one where the plane
• 45:28
  Speaker 4: crashes but gets trapped at the bottom. No way Up.
• 45:31
  Speaker 4: It's called no Way Up, No Way Up, Yeah, which
• 45:33
  Speaker 4: is it's like the same premises deep Water, except one's
• 45:36
  Speaker 4: underwater and one's on top. But yeah, so I was
• 45:40
  Speaker 4: watching that before I watched Deep Water. Just it's just
• 45:42
  Speaker 4: to compare, and it's it's sad to hear that the
• 45:45
  Speaker 4: sharks are not good. Rennie Harlan has just been a
• 45:48
  Speaker 4: bucket of disappointment lately. He did Deep Lucy, Deep Blue
• 45:51
  Speaker 4: See was great, then he fucked up the Strangers trilogy,
• 45:55
  Speaker 4: and now he's fucking shark movies again. Renny Harlan, you know,
• 45:59
  Speaker 4: go back.
• 45:59
  Speaker 3: To do you're stallone Fliffhanger movie. Okay, you're not. You're
• 46:03
  Speaker 3: not meant for horror like you think you.
• 46:06
  Speaker 4: Are, like you used to be. I mean, I love
• 46:08
  Speaker 4: Deep Blue Sea. It's a great time. But everything after
• 46:10
  Speaker 4: that that he's done horror while it is not but great.
• 46:14
  Speaker 4: But anyway, anyway, anyways, the CG because you're right, because uh,
• 46:19
  Speaker 4: the second Pirates movie, I would say, is when we
• 46:22
  Speaker 4: were peaked with CG. Because fucking Davy Jones to this
• 46:26
  Speaker 4: day still looks better than ninety percent of the slop
• 46:29
  Speaker 4: that we put out. And I think dead Man's Chest
• 46:32
  Speaker 4: was two thousand and seven or two thousand and six
• 46:36
  Speaker 4: or something like that. So between two thousand and six
• 46:39
  Speaker 4: and like twenty eleven that those were some of the
• 46:41
  Speaker 4: best times for CG because they actually cared and they
• 46:46
  Speaker 4: wanted to make it look good. And I was very
• 46:48
  Speaker 4: surprised because I was wondering. I was like, all right,
• 46:50
  Speaker 4: we've seen one transformation. I wonder if we're gonna get
• 46:53
  Speaker 4: another one. And then they show I mean, they show
• 46:55
  Speaker 4: you a full transformation of Lawrence in that little room,
• 47:00
  Speaker 4: and then you even get another one at the end
• 47:02
  Speaker 4: of the movie with Anthony Hopkins and Venezio del Toro,
• 47:06
  Speaker 4: so you get like a total of four transformations, I
• 47:09
  Speaker 4: think in this movie, which is really cool.
• 47:10
  Speaker 3: That part in the mental hospital, and then like when
• 47:13
  Speaker 3: he transforms and he's jumping the roofs as ye, yeah,
• 47:18
  Speaker 3: that's solid.
• 47:19
  Speaker 4: That was a peak moment. He gets up on the
• 47:21
  Speaker 4: roof and just starts. And what I really really enjoy
• 47:24
  Speaker 4: about this this iteration of the wolf man is typically
• 47:28
  Speaker 4: you have bipedal wear wolves, or you have them on
• 47:32
  Speaker 4: all fours and when he wants to run fast, my
• 47:35
  Speaker 4: boy haunches down and just gets on all fours. That's
• 47:38
  Speaker 4: not something that's typically done in a lot of werewolf movies.
• 47:40
  Speaker 4: And I really like the fact that he could run
• 47:43
  Speaker 4: if he wanted to, or go to all fours and
• 47:45
  Speaker 4: just fucking start sprinting. I really like that, but jumping
• 47:48
  Speaker 4: from rooftop to rooftop, and then at one point he
• 47:52
  Speaker 4: fucking throws somebody out a window and they fall on
• 47:55
  Speaker 4: a fence, and then he jumps down on a policeman
• 47:57
  Speaker 4: and like crushes him. And then it's literally an American
• 48:02
  Speaker 4: werewolf in the street of London. You know, it's he's
• 48:04
  Speaker 4: on that bus, fucking tearing people apart. That bus scene,
• 48:08
  Speaker 4: I was like, Jesus Christ, blood is just spraying everywhere.
• 48:13
  Speaker 4: I was serious.
• 48:14
  Speaker 3: Which buss scene did it better? Right?
• 48:17
  Speaker 4: This one? Or Texas Chainsaw? Wait, I don't know that
• 48:21
  Speaker 4: Texas exactly where.
• 48:22
  Speaker 3: That's exactly where I was listened.
• 48:23
  Speaker 4: That movie might be complete dog shit, but that is
• 48:28
  Speaker 4: one a movie to actually give us a Texas chainsaw massacre,
• 48:33
  Speaker 4: because that massacre on the bus was the most massacre
• 48:37
  Speaker 4: I've seen from a Texas chainsaw movie, and the violence
• 48:40
  Speaker 4: was incredible. Other than that, the movie is dog shit,
• 48:42
  Speaker 4: But man, that bus scene was pretty fucking solid. I
• 48:47
  Speaker 4: am interested to see kind of shifting gears here on
• 48:52
  Speaker 4: the same subject of the wolf Man because this, you know,
• 48:55
  Speaker 4: this obviously was a modern movie set in eighteen ninety
• 48:59
  Speaker 4: one very well. But I'm very interested to see how
• 49:03
  Speaker 4: Robert Eggers is going to approach his Werewolf movie. Probably
• 49:08
  Speaker 4: gonna be set in the around the same time, maybe
• 49:11
  Speaker 4: even earlier. And I'm wondering, since you know, it's twenty
• 49:15
  Speaker 4: twenty six, what are we gonna do?
• 49:17
  Speaker 2: What?
• 49:17
  Speaker 4: What are we doing here? Are we gonna go full
• 49:19
  Speaker 4: Gothic or you know, because his style, I mean, he's
• 49:23
  Speaker 4: got to after doing nos Faratu and seeing because you know,
• 49:28
  Speaker 4: he did The Witch with I don't I mean what
• 49:30
  Speaker 4: the Witch be Gothic horror?
• 49:32
  Speaker 3: I mean, I guess a little bit.
• 49:36
  Speaker 4: It taps into it a little bit the Lighthouse. The
• 49:39
  Speaker 4: Lighthouse was more of just like this kind of Lovecraftian weirdness.
• 49:43
  Speaker 4: But then No s Faratu was straight Gothic horror. I mean,
• 49:47
  Speaker 4: that was a brilliant movie. So I think he's I
• 49:50
  Speaker 4: guess even kind of the The The Northmen not really Gothic,
• 49:55
  Speaker 4: but it's set, it's all set around the same time.
• 49:58
  Speaker 4: And I'm very excited to see his wear Wolf movie
• 50:00
  Speaker 4: coming up, because one, we haven't had a good werewolf movie.
• 50:05
  Speaker 4: I'd say since fucking The Wolf of snow Hollow and
• 50:10
  Speaker 4: twenty twenty or were Wolves Within twenty twenty one.
• 50:17
  Speaker 3: I'm gonna have I loved Cleveland. L's the wolf Man.
• 50:20
  Speaker 4: Oh shit, that's right. Okay, I forgot, Sorry, I forgot.
• 50:23
  Speaker 3: I know a lot of people. No, it's okay, a
• 50:25
  Speaker 3: lot of people didn't like it.
• 50:26
  Speaker 4: No, I loved it. Maybe you were No, Okay, I
• 50:28
  Speaker 4: did genuinely love that. That's right. Okay, that's right. But
• 50:32
  Speaker 4: I guess what I'm saying is, we haven't had Okay,
• 50:34
  Speaker 4: let me rephrase that we haven't had like an original,
• 50:37
  Speaker 4: because that was you know, that was basically a modernized
• 50:40
  Speaker 4: version of the nineteen forty one movie The Wolf of
• 50:44
  Speaker 4: snow Hollow and Werewolves Within were both you know, original ideas.
• 50:47
  Speaker 4: I think Werewolves Within was based on a video game
• 50:50
  Speaker 4: if I'm if I'm not mistaken, I could be wrong,
• 50:53
  Speaker 4: but yeah, Wolf of snow Hollow was one of the
• 50:55
  Speaker 4: most original werewolf ideas, and that was twenty twenty, especially
• 50:59
  Speaker 4: because there's a reveal in that movie that you're like,
• 51:01
  Speaker 4: oh shit, that's a really good one. So I'm excited
• 51:04
  Speaker 4: to see where what Eggers does with this one. And
• 51:07
  Speaker 4: of course it's you know, what do you wear? Wolf
• 51:09
  Speaker 4: w e r w u LF Because he's got to be.
• 51:14
  Speaker 3: What are you talking about? Were wolves with Frank Grillo
• 51:17
  Speaker 3: or whatever where they have to wear moonscreen was so original.
• 51:22
  Speaker 4: Fucking he's so rough. I was like, Frank Grillo, You're
• 51:26
  Speaker 4: You're just infinitely better than this. What are you doing?
• 51:29
  Speaker 3: Yeah, he's sunk to like Lou Diamond Phillips level movie,
• 51:34
  Speaker 3: Like they should have just passed Lou Diamond Phillips as
• 51:37
  Speaker 3: the main person rather than being the president who gets
• 51:42
  Speaker 3: killed off in yeah the way. I would love to
• 51:45
  Speaker 3: tell you my one plot point that I do not
• 51:48
  Speaker 3: like about this Wolfman movie. Oh sure, let's let's set
• 51:51
  Speaker 3: into that when Hugo Weaving shows up as the inspector
• 51:55
  Speaker 3: Yes and immediately wants to point his finger at Lauren.
• 52:01
  Speaker 3: Why there were already killings prior to Lawrence showing up
• 52:06
  Speaker 3: in town. And I guess that's why I like, that's
• 52:09
  Speaker 3: one of the holes for me, is you want to
• 52:12
  Speaker 3: come in here they because the inspector in the nineteen
• 52:17
  Speaker 3: forty one version is like, yeah, you killed them, And
• 52:22
  Speaker 3: it makes sense because the word no werewolf attacks prior
• 52:26
  Speaker 3: to Larry Talbot showing up in town and this movie,
• 52:29
  Speaker 3: there already were attacks. His brother was killed the mother.
• 52:33
  Speaker 3: Granted the mother was played off as suicide, but the so,
• 52:37
  Speaker 3: why are you showing up and just immediately pointing fingers
• 52:41
  Speaker 3: at this grief ridden due just because he's grief stricken.
• 52:45
  Speaker 4: I'm thinking that's exactly what it is. I'm thinking because
• 52:48
  Speaker 4: of the fact that he already spent a year in
• 52:50
  Speaker 4: the psych ward, he is the only new person in town,
• 52:54
  Speaker 4: despite the fact that these killings have been going on.
• 52:57
  Speaker 4: Because you have to remember, too, the father not only
• 53:02
  Speaker 4: killed the mother, played it off like he didn't and
• 53:06
  Speaker 4: it was suicide, and put his son away for a year,
• 53:12
  Speaker 4: I guess to cover his own ass. So I'm speculating
• 53:15
  Speaker 4: here with this because I don't know if there's an
• 53:17
  Speaker 4: actual answer, but given his past, given that he's new
• 53:21
  Speaker 4: in town, and given that more killings are starting to happen,
• 53:25
  Speaker 4: because before Ben dies, I'm not sure where we were
• 53:30
  Speaker 4: at with the werewolf attacks.
• 53:33
  Speaker 3: And that's the other thing that I wish they had
• 53:35
  Speaker 3: explained more, because Anthony Hopkins is all like power driven
• 53:40
  Speaker 3: with being a werewolf, but he's locking himself. I guess
• 53:44
  Speaker 3: that's like something that confused me a little bit is wait,
• 53:48
  Speaker 3: so do you go out and kill every full moon
• 53:51
  Speaker 3: because you love doing this? Or you locking yourself up?
• 53:55
  Speaker 3: You're not There wasn't enough hound, folks.
• 53:58
  Speaker 4: Oh, I wonder if I don't. I wonder if that
• 54:02
  Speaker 4: is included in the director's cut, because there's a there's
• 54:05
  Speaker 4: a scene where Anthony Hopkins is talking to Benicio del
• 54:09
  Speaker 4: Toro and he was talking about the knight Ben died,
• 54:12
  Speaker 4: and he said he was very he got very drunk
• 54:17
  Speaker 4: and very violent that night. And when I think his
• 54:21
  Speaker 4: name was his servant guy was named Sing. I believe
• 54:25
  Speaker 4: he said when Sing was trying to lock him up
• 54:27
  Speaker 4: for the night because he was belligerently drunk and couldn't
• 54:29
  Speaker 4: do him himself, he accidentally knocked him out and roamed
• 54:34
  Speaker 4: free that night. And that's the night that Ben died,
• 54:37
  Speaker 4: And that's the night that changed his opinion on the werewolf,
• 54:42
  Speaker 4: not just being this curse, but being this freedom, which
• 54:46
  Speaker 4: seems weird because you're like, you just killed your son,
• 54:48
  Speaker 4: what the fuck? But so I think that was the
• 54:51
  Speaker 4: turning point for him because he had been locking himself
• 54:54
  Speaker 4: up all these nights until he got out. When he
• 54:57
  Speaker 4: knocked singout and then that's the night his brother died,
• 55:01
  Speaker 4: so I think that might have been the turning point.
• 55:03
  Speaker 4: And I don't know if that's in the theatrical version.
• 55:06
  Speaker 4: I genuinely don't know. That might be an added scene
• 55:10
  Speaker 4: because if it's not in the theatrican version, because I.
• 55:13
  Speaker 3: Did get up to get a snack at one point,
• 55:15
  Speaker 3: so I might have missed it if it was. But
• 55:19
  Speaker 3: I will say that as much as this was kind
• 55:23
  Speaker 3: of middle of the road for me, it does make
• 55:25
  Speaker 3: me want to go back and watch the director's cut
• 55:26
  Speaker 3: with the stuff that you were talking about, because this
• 55:29
  Speaker 3: movie also felt very doppy to me, okay, and it
• 55:34
  Speaker 3: felt choppy during So they took out those seventeen minutes
• 55:40
  Speaker 3: seventeen right, seventeen yeah, in order to speed up the
• 55:46
  Speaker 3: getting to his first transformation. Correct, they took out seventeen
• 55:50
  Speaker 3: minutes of this movie just so we could see a
• 55:53
  Speaker 3: transformation sooner. So before he transforms and we see it
• 55:57
  Speaker 3: for the first time, you can't remember this when like
• 56:01
  Speaker 3: the pastor and whatever, like the whole town shows up
• 56:04
  Speaker 3: to like essentially like hang Larry and he shoots them
• 56:07
  Speaker 3: and scares them off from the Oh yeah, yeah, yeah,
• 56:09
  Speaker 3: it was something happening right before that, and then it
• 56:11
  Speaker 3: just bam, it went right to that, and I was like, wait,
• 56:14
  Speaker 3: why did that seem like it just like we lost
• 56:16
  Speaker 3: a scene right there.
• 56:17
  Speaker 4: So fun fact, I love the fact that you have
• 56:19
  Speaker 4: kind of a timestam for this because you're saying it's
• 56:22
  Speaker 4: about forty seven minutes when we see the first transformation.
• 56:27
  Speaker 3: Is that what you said?
• 56:28
  Speaker 4: I said about forty about forty seven minutes when he
• 56:30
  Speaker 4: first transforms.
• 56:31
  Speaker 3: It was something like that because I happen to look
• 56:33
  Speaker 3: at the time on.
• 56:34
  Speaker 4: My okay, so then that means there is thirteen additional
• 56:38
  Speaker 4: minutes before he transforms, because he doesn't transform in the
• 56:42
  Speaker 4: director's cut until an hour and one minute, So essentially
• 56:46
  Speaker 4: you get you get fourteen more minutes before the transformation.
• 56:49
  Speaker 4: That would probably make the movie make a lot more sense,
• 56:52
  Speaker 4: because that's what's That's what, at least from what I'm reading,
• 56:55
  Speaker 4: that's that's the issue people had with this movie is
• 56:58
  Speaker 4: they felt like pieces were missing from it and there
• 57:01
  Speaker 4: wasn't enough established in the beginning and then all of
• 57:04
  Speaker 4: a sudden, he's transforming. Because even one review I said
• 57:07
  Speaker 4: was like, if you're gonna make us wait forty seven
• 57:09
  Speaker 4: minutes for the werewolf transformation. At least make that forty
• 57:12
  Speaker 4: seven minutes interesting. Yeah, he doesn't transform until an hour
• 57:16
  Speaker 4: and one minute and like fifty two seconds and the
• 57:18
  Speaker 4: director's cut. So I think all of that stuff that
• 57:21
  Speaker 4: they took out was essential to setting up the story.
• 57:25
  Speaker 4: And then there must be a few extra minutes later
• 57:27
  Speaker 4: in the movie that are also added. So I really
• 57:31
  Speaker 4: do think the issue here is the theatrical cut. Fucking
• 57:35
  Speaker 4: studio got involved, wanted to speed up the pace to
• 57:38
  Speaker 4: get to the action quicker, because a two hour werewolf
• 57:42
  Speaker 4: movie is pretty long. I mean most of these werewolf
• 57:45
  Speaker 4: movies are like.
• 57:47
  Speaker 3: We had action. There was action right at the beginning.
• 57:50
  Speaker 3: There's action at the gypsy can't like there's enough scattered
• 57:54
  Speaker 3: in right? That fuck off? First of all, universal This
• 57:59
  Speaker 3: is what pisses me off about all studios. You hire
• 58:02
  Speaker 3: these people because you have you have faith in them, right, right,
• 58:06
  Speaker 3: So have faith and what you're just money? All you
• 58:09
  Speaker 3: are is money.
• 58:10
  Speaker 4: Right.
• 58:10
  Speaker 3: You take the people who actually have artistic ability, directors, writers, producers,
• 58:15
  Speaker 3: and you go, here's money for this, So have some
• 58:18
  Speaker 3: faith in these people that you're hiring.
• 58:21
  Speaker 4: Yeah, it's exactly like, uh one, here's an example it's like, uh,
• 58:25
  Speaker 4: you have a It's like you have a boss, right,
• 58:29
  Speaker 4: and they don't know the inner workings of all of
• 58:31
  Speaker 4: your job details, and they're seeing problems on their end
• 58:35
  Speaker 4: and they're coming in to say, well, this needs to
• 58:37
  Speaker 4: be fixed, and you're like, you don't wait to say
• 58:39
  Speaker 4: you like, you don't, that's not how this process works.
• 58:42
  Speaker 4: You have to let me. You got to let me
• 58:44
  Speaker 4: cook here for a second, and then you know, like
• 58:46
  Speaker 4: it'll all make sense. It's like someone trying to explain
• 58:48
  Speaker 4: to you a job to you that they don't know
• 58:51
  Speaker 4: how to even do themselves.
• 58:52
  Speaker 3: It's like, just let me cook here, okay, Like I've
• 58:55
  Speaker 3: got something working working. It's like working at Walmart for me. Man,
• 58:58
  Speaker 3: the high CEO have no idea what it's like to
• 59:01
  Speaker 3: be on the sales floor. That's a better That's what
• 59:04
  Speaker 3: I was trying to say. I like what you said better.
• 59:07
  Speaker 3: If I can cut out what I said and just
• 59:09
  Speaker 3: put in what you said, I'm gonna do that. But
• 59:11
  Speaker 3: I'll it's fine. I'll just don't know. I like, yeah,
• 59:14
  Speaker 3: it's my it's my biggest hatred with studios because they
• 59:19
  Speaker 3: have fucked up so many movies. So you know, maybe
• 59:23
  Speaker 3: maybe on occasion the studio steps in and they do
• 59:27
  Speaker 3: fix it. And there was something else that I just
• 59:30
  Speaker 3: semi watched recently where I'm like, oh, studio fucked it
• 59:34
  Speaker 3: up again.
• 59:37
  Speaker 4: I'll tell you one thing, and Universal.
• 59:39
  Speaker 3: Universal is and please tell me your one thing before
• 59:43
  Speaker 3: I go on my Universal rant.
• 59:45
  Speaker 4: Oh no, I'll tell you the one thing that the
• 59:47
  Speaker 4: studio is not about to fuck up is evil dead Burn,
• 59:49
  Speaker 4: because I've just been reading up on so much about
• 59:53
  Speaker 4: that and basically nothing has been cut for the movie.
• 59:56
  Speaker 4: They've just had to get creative with some scenes sent
• 1:00:00
  Speaker 4: and uh so they're not going to ruin that. But
• 1:00:03
  Speaker 4: you'd think transitioning into your Universal rant, you'd think Universal,
• 1:00:08
  Speaker 4: this is their own property. Just let the men tell
• 1:00:11
  Speaker 4: his story, you know what I mean. Like it doesn't
• 1:00:13
  Speaker 4: need to be the original was seventy eight minutes. Like
• 1:00:16
  Speaker 4: this is not going to be a seventy eight minute
• 1:00:18
  Speaker 4: effective short movie. We have a lot to establish here. Okay,
• 1:00:22
  Speaker 4: let's let the man cook and let's let him do
• 1:00:24
  Speaker 4: his job because the director's cut so fucking good.
• 1:00:27
  Speaker 3: Universal I swear hates their own properties. Here's the problem
• 1:00:34
  Speaker 3: with this is Universal had a major hit with Brendan
• 1:00:39
  Speaker 3: Fraser's The Mummy. So going forward, it seems like they
• 1:00:45
  Speaker 3: thought that all of the Universal Monster movies that came
• 1:00:48
  Speaker 3: later on needed to be action and venture movies, yep,
• 1:00:52
  Speaker 3: which is where they're failing The Mummy with Tom Cruise.
• 1:00:56
  Speaker 3: Nobody wants to see that shit you got? Uh? Oh,
• 1:01:00
  Speaker 3: what's the other one that I was thinking of? I'm
• 1:01:03
  Speaker 3: blanking now, But they do tend and even with this movie,
• 1:01:07
  Speaker 3: like you mentioned, it is gothic, you know, it's on
• 1:01:12
  Speaker 3: the gothic side, but then when there is the horror,
• 1:01:16
  Speaker 3: it's almost elevated by a little bit of action that
• 1:01:20
  Speaker 3: doesn't It's a weird line with this one specifically because
• 1:01:24
  Speaker 3: I will say that obviously the action is also just
• 1:01:28
  Speaker 3: like to help intensify the scenes of like the juicy
• 1:01:32
  Speaker 3: camp and whatnot. But yeah, Universal has a terrible track
• 1:01:36
  Speaker 3: record with being like, well, the Brandon Frasier movie did
• 1:01:39
  Speaker 3: billions at the box office, so every movie needs to
• 1:01:42
  Speaker 3: have the action adventure Tom Cruise doing his own stunts. No,
• 1:01:47
  Speaker 3: these are horror movies. Unfortunately, back in the thirties and forties,
• 1:01:52
  Speaker 3: they just couldn't do what we can do now. Please
• 1:01:55
  Speaker 3: let somebody who has love for these movies. Make them
• 1:01:59
  Speaker 3: and keep your noses. You can put your wallet forward,
• 1:02:03
  Speaker 3: but keep your noses. Yeah, I Frankenstein, that's the one
• 1:02:07
  Speaker 3: I was thinking of. Yeah, fucking strays of a Frankenstein
• 1:02:12
  Speaker 3: movie that.
• 1:02:13
  Speaker 4: Was I'll never understand it, you know, I'll never understand
• 1:02:18
  Speaker 4: why they feel like they have to get involved. I
• 1:02:21
  Speaker 4: mean this, this really could have been the start of
• 1:02:24
  Speaker 4: the Dark Universe had they done it correctly, because they
• 1:02:27
  Speaker 4: tried to do the Dark Universe with The Mummy with
• 1:02:32
  Speaker 4: Tom Cruise and that fell to pieces.
• 1:02:35
  Speaker 3: And then Van Helsing too, which I have a spot
• 1:02:39
  Speaker 3: for Van Helsing. It's another action adventure movie. If they
• 1:02:45
  Speaker 3: ever take the Creature from the Black Lagoon and fuck
• 1:02:48
  Speaker 3: it up, I'm going to universal with some bad words
• 1:02:51
  Speaker 3: for them, one of my favorites.
• 1:02:55
  Speaker 4: It's like the one thing they haven't really remade. I mean,
• 1:02:59
  Speaker 4: I guess I yes, loosely, Del Toro did kind of
• 1:03:03
  Speaker 4: do a Creature from the Black Lagoon.
• 1:03:05
  Speaker 3: Was it was kind of lobby variation of it.
• 1:03:09
  Speaker 4: But yeah, let's see, the only other thing I wanted
• 1:03:15
  Speaker 4: to mention. Oh, of course I mentioned Rick Baker already,
• 1:03:19
  Speaker 4: but I wanted to talk about how you know this
• 1:03:23
  Speaker 4: man starts off with too just. I mean, I'm sure
• 1:03:27
  Speaker 4: he did work before that, but he does two amazing
• 1:03:30
  Speaker 4: werewolf movies and then this was actually the last movie
• 1:03:33
  Speaker 4: he did special effects for, and I find it's like
• 1:03:36
  Speaker 4: coming full circle, right. He came back to put his
• 1:03:39
  Speaker 4: own spin on a classic monster and I think he
• 1:03:42
  Speaker 4: fucking nailed it. I really loved the look of this
• 1:03:45
  Speaker 4: vampire or vampire of this werewolf. And then the only
• 1:03:50
  Speaker 4: other thing I wanted to touch on was the ending
• 1:03:53
  Speaker 4: because I kind of saw it coming. I was like, Okay,
• 1:03:57
  Speaker 4: they're both were wolves. I feel like we're gonna get
• 1:03:59
  Speaker 4: a fight and I and in my head, I'm like
• 1:04:01
  Speaker 4: that sounds silly as shit, and then it happens, and
• 1:04:04
  Speaker 4: I'm like, Okay, this is awesome because it doesn't only
• 1:04:08
  Speaker 4: work on a visual level, but it works on an
• 1:04:11
  Speaker 4: emotional level because it's it's not just father fighting son.
• 1:04:18
  Speaker 1: It is.
• 1:04:20
  Speaker 4: Werewolf fighting werewolf, and this man is the cause of
• 1:04:23
  Speaker 4: all of this. So it's like Benicio del Toro's reaction
• 1:04:27
  Speaker 4: to learning that he killed ben learning that he killed
• 1:04:30
  Speaker 4: his mother, learning that he is a werewolf because of
• 1:04:34
  Speaker 4: his father. So it adds such an emotional depth to
• 1:04:37
  Speaker 4: this fight scene. It's not just two were wolves beating
• 1:04:40
  Speaker 4: the shit out of each other. There's such an emotional
• 1:04:42
  Speaker 4: charge to it. And then we get another fucking beheading.
• 1:04:46
  Speaker 4: He gets the fucking Anthony Hopkins gets yeted into the
• 1:04:49
  Speaker 4: fire and gets his head ripped off, and then it
• 1:04:52
  Speaker 4: rolls over to the camera, and I was like, this
• 1:04:54
  Speaker 4: is just so much fun, uh like man, even even
• 1:04:58
  Speaker 4: with some wonky CGI, which is my only complaint. That
• 1:05:02
  Speaker 4: is my only complaint, the some of the wonky CG.
• 1:05:05
  Speaker 4: Definitely that little kid who you know who bit h
• 1:05:11
  Speaker 4: Sir John. Originally it was very strange. I feel like
• 1:05:13
  Speaker 4: you could have done that practically, but I don't. I
• 1:05:15
  Speaker 4: don't know why we had to do that. My only
• 1:05:17
  Speaker 4: complaint with this movie.
• 1:05:19
  Speaker 3: Is could have got bit by like it could have
• 1:05:22
  Speaker 3: just been bit by a werewolf. I'd have to be
• 1:05:24
  Speaker 3: some feral child thing. Yeah, maybe we don't even get
• 1:05:27
  Speaker 3: a backstory as to how he became the werewolf in
• 1:05:30
  Speaker 3: the first place. I would have been okay with that too.
• 1:05:32
  Speaker 3: But yeah, when he gets his head knocked off and
• 1:05:34
  Speaker 3: it like kind of rolls those links at the screen
• 1:05:36
  Speaker 3: or whatever, like that's a little how I was a
• 1:05:39
  Speaker 3: little wonky on the CG the fight itself. I'm not
• 1:05:42
  Speaker 3: a big fan of the fight because I'm not a
• 1:05:44
  Speaker 3: big fan of the fact that Anthony Hopkins was the
• 1:05:47
  Speaker 3: werewolf who created the whole problem in the first place. Interesting, Okay,
• 1:05:52
  Speaker 3: I guess I am. I'm too attached to the original
• 1:05:57
  Speaker 3: and if I could, if I could have raised the original,
• 1:06:00
  Speaker 3: maybe I'd have a little bit more love for this.
• 1:06:03
  Speaker 3: I love every scene with Benizio del Toro as the
• 1:06:08
  Speaker 3: wolf Man without Anthony Hopkins in it. There's like I
• 1:06:11
  Speaker 3: almost like want a fan cut this to myself and like, Okay,
• 1:06:14
  Speaker 3: this is like this is the fifty minute version that
• 1:06:16
  Speaker 3: we get, and.
• 1:06:17
  Speaker 4: This is this And this is the thing I love
• 1:06:19
  Speaker 4: about talking about remakes is because while this does keep
• 1:06:24
  Speaker 4: a lot of the original beats and a lot of
• 1:06:26
  Speaker 4: the even the names and all that stuff, if it
• 1:06:29
  Speaker 4: were to do exactly what the original did, you wouldn't
• 1:06:33
  Speaker 4: like it. And if and they do something just a
• 1:06:36
  Speaker 4: little bit different and you're still not a fan of it.
• 1:06:39
  Speaker 4: So that's that's my favorite thing about remakes is it's like,
• 1:06:42
  Speaker 4: where's the line where the remake hits every box for
• 1:06:47
  Speaker 4: someone who is attached to the original movie, And it's
• 1:06:50
  Speaker 4: a very hard thing to do me something I'm not
• 1:06:53
  Speaker 4: attached to the original movie. I think it's fantastic for
• 1:06:56
  Speaker 4: nineteen forty one. I really love the story. It's quick,
• 1:06:58
  Speaker 4: you're in and you're out at seven minutes. But I
• 1:07:01
  Speaker 4: definitely don't have an attachment like you do to it,
• 1:07:03
  Speaker 4: so I can understand why some of the story elements
• 1:07:06
  Speaker 4: don't work for you that work for me. I like
• 1:07:09
  Speaker 4: a change up every now and again if it works,
• 1:07:12
  Speaker 4: and in this instance, for me, I thought it really worked.
• 1:07:14
  Speaker 4: I was like, hell, yeah, this is this is something
• 1:07:15
  Speaker 4: that works. There are plenty of remakes, though, where they
• 1:07:18
  Speaker 4: try to do something different and I'm like, this just
• 1:07:20
  Speaker 4: feels so far out of left field. I can't think
• 1:07:23
  Speaker 4: of an example right now, but I know there's one
• 1:07:26
  Speaker 4: out there where I'm just like, this is not the
• 1:07:29
  Speaker 4: vibe we needed in this movie.
• 1:07:31
  Speaker 3: So all of that to say that it's that fine
• 1:07:34
  Speaker 3: line of what makes it a remake versus reimagining, Like
• 1:07:38
  Speaker 3: this is more of a remake. Same yeah, same mostly
• 1:07:43
  Speaker 3: same beats with a little bit of change up. But
• 1:07:47
  Speaker 3: like some could argue that even maybe this is a
• 1:07:49
  Speaker 3: reimagining and they just use the same names.
• 1:07:52
  Speaker 4: Yeah, it's it's like the hardest line to toe between,
• 1:07:56
  Speaker 4: like requel, remake, reimagining, It's like which one are we? Yeah,
• 1:08:00
  Speaker 4: So it's always an interesting conversation there. I think it's
• 1:08:04
  Speaker 4: all I have. I think that's all I got on
• 1:08:05
  Speaker 4: The Wolf Man. I really really enjoyed this, and my
• 1:08:09
  Speaker 4: rating is gonna probably I don't know, is it is
• 1:08:13
  Speaker 4: what it is? This one is a combination of A
• 1:08:17
  Speaker 4: how much I enjoyed it, but B how much it
• 1:08:19
  Speaker 4: surprised me with just how good it was from I mean,
• 1:08:22
  Speaker 4: it's again, it's one hundred fifty million dollar movie, and
• 1:08:24
  Speaker 4: it looks like one hundred and fifty million dollar movie.
• 1:08:26
  Speaker 4: So I think I was just very impressed with so
• 1:08:28
  Speaker 4: many aspects that I wasn't expecting to be impressed with.
• 1:08:32
  Speaker 4: I was expecting a CG nightmare healthscape and didn't get
• 1:08:36
  Speaker 4: that at all.
• 1:08:37
  Speaker 3: Outside of which it just funny because that's kind of
• 1:08:39
  Speaker 3: how I remembered it too, So when I rewatched it
• 1:08:41
  Speaker 3: was like, well, at least it's not the CG hell
• 1:08:44
  Speaker 3: that I thought it was that I remembered it being.
• 1:08:47
  Speaker 4: And that's why I'm saying to anybody who hasn't revisited
• 1:08:50
  Speaker 4: this in a while, I definitely think this movie needs
• 1:08:52
  Speaker 4: a reevaluation in twenty twenty six with the director's cut,
• 1:08:56
  Speaker 4: and like I said, you can get it on a
• 1:08:57
  Speaker 4: screen Factory four K, you can get it on the
• 1:08:59
  Speaker 4: Blu ray that's like seven ninety nine on Amazon, and
• 1:09:03
  Speaker 4: the fucking DVD also has it, So the director's cut
• 1:09:06
  Speaker 4: is widely available. It's just not streaming unless you rent
• 1:09:10
  Speaker 4: it on Amazon, I believe.
• 1:09:13
  Speaker 3: So.
• 1:09:13
  Speaker 4: Yeah, I think that pretty much covers it, unless you
• 1:09:16
  Speaker 4: have any other closing thoughts or anything else that we
• 1:09:18
  Speaker 4: didn't get to that you'd like to mention. No, No,
• 1:09:21
  Speaker 4: that's nope, all right, let's move on to the final cuts. Then, Okay,
• 1:09:28
  Speaker 4: something's uneven here? Why is this uneven? Fucking so many courts?
• 1:09:32
  Speaker 4: All right, let's go back here. Find my mouse which
• 1:09:36
  Speaker 4: is just always disappearing?
• 1:09:38
  Speaker 3: Is there? It is?
• 1:09:39
  Speaker 4: Jesus? Okay. Taglines when the when the moon is full,
• 1:09:43
  Speaker 4: the legend comes to life, the legend is alive, and
• 1:09:46
  Speaker 4: fear what is inside? These fucking taglines for the Werewolf
• 1:09:49
  Speaker 4: movies are not great.
• 1:09:51
  Speaker 3: Now, and they tried to play it too much, like,
• 1:09:53
  Speaker 3: oh look, this is clearly a remake, so let's do
• 1:09:55
  Speaker 3: the whole legend thing.
• 1:09:58
  Speaker 4: Yeah, and yeah didn't work. Oh one more, one more,
• 1:10:02
  Speaker 4: I just remembered a scene that I really liked.
• 1:10:03
  Speaker 1: One.
• 1:10:04
  Speaker 4: They have the howl in This is topp Tier. But
• 1:10:07
  Speaker 4: when he's on top of that building on like the
• 1:10:10
  Speaker 4: gargoyle or whatever and the cat, the camera pans down
• 1:10:15
  Speaker 4: to reveal the moon and he howls. I was like, ah,
• 1:10:18
  Speaker 4: this is so great. Sorry side tangent trivia, The bear
• 1:10:23
  Speaker 4: owned by the Gypsies was actually recycled animation from The
• 1:10:26
  Speaker 4: Golden Compass two thousand and seven. The polar Bear was
• 1:10:29
  Speaker 4: changed into a grizzly for this movie. I thought that
• 1:10:31
  Speaker 4: was fun. When the wolf man is being chased in London,
• 1:10:35
  Speaker 4: he jumps off the building and lands on a policeman.
• 1:10:38
  Speaker 4: This was actually accomplished with real actors and stuntmen and
• 1:10:41
  Speaker 4: not CGI, which is quite impressive. That is Yeah, this
• 1:10:46
  Speaker 4: is my favorite fucking trivia. Rick Baker compared his experience
• 1:10:50
  Speaker 4: on this as the same experience on making American Werewolf
• 1:10:53
  Speaker 4: in London. He said, every about the werewolf makeup quote,
• 1:10:57
  Speaker 4: David Naughton basically had no body hair, but Benicio del
• 1:11:01
  Speaker 4: Toro is so hairy that making him a werewolf was
• 1:11:04
  Speaker 4: so easy.
• 1:11:06
  Speaker 3: I love that great. I love that.
• 1:11:09
  Speaker 4: I already read the thing about Danny Elfman. This movie
• 1:11:13
  Speaker 4: is one of two werewolf movies to win an Academy
• 1:11:16
  Speaker 4: Award for Best Makeup, awarded to Rick Baker and Dave Elsie.
• 1:11:21
  Speaker 4: The first was an American Wrelf in London, also given
• 1:11:23
  Speaker 4: to Baker. So Rick Baker has won two Academy Awards
• 1:11:26
  Speaker 4: for practical like practical werewolf effects, and that's something that
• 1:11:30
  Speaker 4: should be fucking celebrated. Goofs here, I do love some
• 1:11:33
  Speaker 4: good goofs. When Sir John Talbot is blowing out candles,
• 1:11:37
  Speaker 4: they are clearly filam at lamps as the third candle
• 1:11:40
  Speaker 4: lamp actually goes out before he blows on it. I
• 1:11:43
  Speaker 4: noticed that that was really funny. When Talbot is first
• 1:11:46
  Speaker 4: in Gwen con Gwen con Live's shop in London, there
• 1:11:50
  Speaker 4: is evasive flowers containing stargazer lilies. The stargazer lily was
• 1:11:55
  Speaker 4: not created until nineteen seventy eight by Leslie Wooddriff Thanks Nerd.
• 1:12:03
  Speaker 4: Also and then also the Tower Bridge, which opened in
• 1:12:06
  Speaker 4: eighteen ninety four, is seen operating during this film, which
• 1:12:08
  Speaker 4: is instead in nineteen eighty one. Fucking shut up, I
• 1:12:12
  Speaker 4: love petty goofs. Rated five point nine out of ten
• 1:12:16
  Speaker 4: on IMDb for our purposes of the Nightmare Index, that
• 1:12:19
  Speaker 4: is a two point nine out of five uh or
• 1:12:22
  Speaker 4: two point two sorry, two point nine to five out
• 1:12:25
  Speaker 4: of five, and then has a two point seven on
• 1:12:28
  Speaker 4: the letterbox, thirty two percent of the Tomato meter, thirty
• 1:12:32
  Speaker 4: three percent audience score. Generally not a liked movie. What
• 1:12:36
  Speaker 4: did you give this?
• 1:12:37
  Speaker 3: You gave it a three?
• 1:12:38
  Speaker 4: Gave it a three? Okay, this is gonna be very
• 1:12:41
  Speaker 4: controversial rating. I'm giving this a four and a half,
• 1:12:46
  Speaker 4: so don't come at me in the comments. But that
• 1:12:50
  Speaker 4: does give us a nightmare index of a three point
• 1:12:55
  Speaker 4: two three, which means this movie falls in between Oh,
• 1:13:01
  Speaker 4: it's actually tied from with Godzilla versus Space Godzilla at
• 1:13:06
  Speaker 4: a three point Oh wait no, this is three point
• 1:13:09
  Speaker 4: twenty nine. I'm stupid. Okay, So this is gonna sit
• 1:13:11
  Speaker 4: right above Godzilla versus Space Godzilla at a three point
• 1:13:14
  Speaker 4: two three, and right underneath Puppet Masters at a three
• 1:13:17
  Speaker 4: point three four. So number seventeen on the list here
• 1:13:23
  Speaker 4: of our nightmare index. Love that. Let's see here similar movies.
• 1:13:28
  Speaker 4: According to IMDb, we have Wolfman Wolf from twenty twenty five,
• 1:13:33
  Speaker 4: Wolf from nineteen ninety four, The Wolfman from nineteen forty one,
• 1:13:38
  Speaker 4: Abraham Lincoln Vampire Slayer. Maybe there's werewolves in that, and
• 1:13:42
  Speaker 4: then American Werewolf in London. Similar movies. According to the letterbox,
• 1:13:46
  Speaker 4: we have Wolf the Wolfman nineteen forty one, Sleepy Hollow,
• 1:13:49
  Speaker 4: The Cursed from twenty twenty one, Crimson Peak, and then
• 1:13:54
  Speaker 4: just Cursed the West Craven Vehicle. I only have two
• 1:13:59
  Speaker 4: funny reviews because as everyone was going on rants about
• 1:14:02
  Speaker 4: how much they did not like this movie and they're
• 1:14:05
  Speaker 4: not even that great. So that's that's that's what. Yeah,
• 1:14:10
  Speaker 4: and I forgot to remind you. So there's that four
• 1:14:15
  Speaker 4: stars from Ray, Emily Blunt and Beniicio del Toro are
• 1:14:21
  Speaker 4: a match made and hot people's heaven. I agree. And
• 1:14:24
  Speaker 4: then this one was the funniest one that actually made
• 1:14:27
  Speaker 4: me laugh out loud. Two and a half stars from Haley.
• 1:14:29
  Speaker 4: The way the Werewolf ran looked strangely familiar to seven
• 1:14:33
  Speaker 4: year old me pretending to be a horse. I guess, yeah, yeah,
• 1:14:40
  Speaker 4: so quick quick reviews there, yeah, everyone, and I scrolled
• 1:14:44
  Speaker 4: for a long time. I was like, I'm this is
• 1:14:47
  Speaker 4: all I can find. Sometimes, you know, they can all
• 1:14:50
  Speaker 4: be winners. Derek, Where can everybody find you on social
• 1:14:53
  Speaker 4: media if they would like to give you a follow?
• 1:14:56
  Speaker 3: You can find me on TikTok as HfK movie House,
• 1:15:00
  Speaker 3: and you can find me on Instagram as HfK or
• 1:15:05
  Speaker 3: Horror Film Kick.
• 1:15:06
  Speaker 4: Horror Film Kill forty eight.
• 1:15:08
  Speaker 3: And then I'm on letterboxed as HfK.
• 1:15:11
  Speaker 4: Right yep, HfK forty eight just says.
• 1:15:14
  Speaker 3: D and then it just says D.
• 1:15:17
  Speaker 4: Go get the D for me. K.
• 1:15:19
  Speaker 3: Let's set it up before I started being a content creator.
• 1:15:22
  Speaker 3: Ah oh, and I'm on YouTube as HfK two.
• 1:15:26
  Speaker 4: Don't know.
• 1:15:27
  Speaker 3: I'm not good about updating my YouTube.
• 1:15:29
  Speaker 4: Yeah, YouTube is uh. We're getting a weird amount of
• 1:15:32
  Speaker 4: traction there, so I'm gonna keep it going. So if
• 1:15:35
  Speaker 4: you do enjoy this show, please rate and review on
• 1:15:36
  Speaker 4: your favorite podcast out of choice. Follow us on Facebook, Instagram, TikTok,
• 1:15:40
  Speaker 4: Slasher Threads, and YouTube at Framemares Podcast, our email Stay
• 1:15:44
  Speaker 4: Spooky at outlook dot com. You can also follow me
• 1:15:47
  Speaker 4: personally on letterbox at doctor Proctor. We've already mentioned he
• 1:15:51
  Speaker 4: u he Derek is HfK forty eight. If you like
• 1:15:55
  Speaker 4: to expand your movie podcast listening, be sure to check
• 1:15:57
  Speaker 4: out the Shameless Picture Show, The Dead Eyed Millennial Film
• 1:15:59
  Speaker 4: clib and One Week Rental, as well also the vast
• 1:16:03
  Speaker 4: library of Someone's Favorite Productions. There is a podcast out
• 1:16:06
  Speaker 4: there for you. Next week, Corey and I will be
• 1:16:10
  Speaker 4: doing Werewolves Within from twenty twenty one as our modern pick.
• 1:16:14
  Speaker 4: It is streaming everywhere AMC plus, Hulu, Shutter and YouTube TV,
• 1:16:21
  Speaker 4: so if you have subscriptions to any one of those,
• 1:16:24
  Speaker 4: be sure to check it out. If you're a fan
• 1:16:26
  Speaker 4: of Josh Rubin, who did Hard Eyes and is also
• 1:16:30
  Speaker 4: a hilarious comedian on one of the show I can't
• 1:16:33
  Speaker 4: think of right now, you'll like this movie. If you
• 1:16:36
  Speaker 4: like Sam Richardson from I Think You Should Leave, you'll
• 1:16:40
  Speaker 4: like this movie as he's in it. I can't sell
• 1:16:43
  Speaker 4: this movie enough. It sells itself. So until next week, guys,
• 1:16:46
  Speaker 4: stay tuned.
• 1:16:47
  Speaker 1: Thank you for listening to hear more shows from the
• 1:17:27
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
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  Speaker 1: the description.