Latest / Thirsty For More - Movie Review / EP170 - Hostage

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EP170 - Hostage · Thirsty For More - Movie Review

• 0:09
  I've got something for you. Hello, everyone, I've got stopped them for
• 0:24
  you a letter. Oh sorry, hello everyone, No, do you want
• 0:29
  to do it? Hello everyone, and welcome to a letter given to me.
• 0:34
  Wait what was again? I've got stopped them for you. I've got
• 0:42
  is your name Marty McFly with the man of your description. Hello, everyone,
• 0:48
  and welcome to Planet Bruce. Of course I'm your host Malenko, and
• 0:51
  I've taken hostages, and today we're talking about two thousand and fives hostage hostage
• 0:57
  with Ben Foster. Dude. But one thing that we should do first is
• 1:00
  we should tell everyone the news. I think there's some news, right,
• 1:04
  yeah, I think so, what's the news? The news is that we
• 1:08
  are putting Bruce behind a paywall. That's not the news. Well, I
• 1:15
  guess we're canceling Bruce. We're canceling Bruce. She's canceled. Well, we
• 1:21
  have like five more to do, six episodes. Well that we're canceling the
• 1:25
  season. We're just finishing out with a bang. Yeah, Well, what
• 1:29
  do you think of that? It's the first time it's happened in the show.
• 1:33
  I mean, do you think it's the right move? It's the right
• 1:37
  move. We have to we need to give incentive to build build more of
• 1:41
  an audience. There's no way we can without canceling Bruce and just going forward
• 1:46
  she's canceled, I think so too. Yeah, Yeah, I mean,
• 1:49
  you know, like all of that being said, I think that's gonna sort
• 1:53
  of color our perception for the rest of like this, the fact that we've
• 1:57
  canceled Bruce. Yeah, I think there's a couple of things at play.
• 2:00
  I think people this is the season we could have done in the wake of
• 2:06
  the loss of a Bruce, because I think people would have been more willing
• 2:10
  to sort of go on a journey like to revisit Bruce. But right now,
• 2:17
  yeah, like while he's like in this like state of like nonverbal dementia,
• 2:23
  and like I think everyone's just like doesn't want to talk about Bruce.
• 2:28
  No one wants to talk about Bruce. Yeah, No one wants to give
• 2:30
  him the credit he deserves yet, and he deserves so much credit as can
• 2:35
  be seen in this like weird B movie. It's such a weird B movie.
• 2:40
  And like so like something that Kay's said to me Vanders like in the
• 2:46
  lead up of doing this movie was that you can watch it as as die
• 2:52
  hard for Yeah, oh totally, yeah, yeah, And I think that
• 2:55
  that's an interesting way to look at the movie. And I mean I like
• 3:00
  it regardless. It could have its own it could rest on its own laurels
• 3:02
  as well, but like this is the kind of genre pivot that a die
• 3:07
  hard for and a Steak's adjustment that a die hard for could do. And
• 3:13
  also is another hostage situation like the Nokotomi thing, like all the other ones,
• 3:16
  and like the right move for die Hard would be to pare it down
• 3:22
  and to raise the steaks by lowering the steaks, you know what I mean?
• 3:24
  Yeah, totally, and giving Bruce Willis a beard and cool hair in
• 3:28
  the beginning, dude, the start, right from the start, I was
• 3:31
  like so intrigued. But at first I was like even like we watched it
• 3:35
  as a family with Anna and Leila, and I was like, oh,
• 3:42
  why does it look like this? Which like I quickly got used to how
• 3:46
  it looks, but like it's very early two thousands digital and it's not digital.
• 3:53
  It's not it's not it. Yeah, they didn't use digital in this
• 3:57
  era at all. Okay, yeah, two thousand and five is like that's
• 4:01
  like maybe Soderberg using digital baby, but it's not. But it's not anybody
• 4:08
  else, especially not like I think this guy's like a French guy, French
• 4:12
  director man, Like he's well directed. It is well directed. It's got
• 4:16
  a lot of stuff going forward, for sure, but it does like,
• 4:19
  yeah, you could tell from some of the angles and some of the shots
• 4:23
  that there's like a reduced budget. Yeah, but like I didn't really actually
• 4:28
  it didn't really suffer from a lower budget for me. It's not a it's
• 4:30
  not a budgetary thing. It's more just kind of like, oh no,
• 4:35
  maybe he is American. I don't know. It doesn't seem like he's directed
• 4:40
  a lot of French French cuisine, splinter Cell, he's directed video games in
• 4:48
  minute silence, yeah, he seems like a French guy. Well video games,
• 4:53
  you know, we totally webbalova, did you say some space guys and
• 4:58
  web baha ba. But I really liked this first scene where he's got hair
• 5:02
  and they do the attached camera to the body and he's like they they made
• 5:10
  the top part of the hair the hairline that we know. I feel like
• 5:15
  the same hair person is doing his hair because they like has the like kind
• 5:18
  of widows peaked thinned out long, but he's like when it's when his head's
• 5:24
  shaved, you can tell he doesn't actually not that much hair. No,
• 5:27
  it's way too thick for this. But yeah, the beginning starts out with
• 5:31
  him failing at being a hostage hostage guy. But okay, what what other
• 5:39
  movie? What's the movie? When he like it's Mercury Rising, yell the
• 5:44
  like neo Nazi. It's like the same opening Sea Open basically, Yeah,
• 5:47
  but he has to like get a kid killed and then get a new job
• 5:53
  so that that he could be his job again and like also establishes him as
• 5:58
  like the like high stakes guy. Yeah, but it's interesting that it has
• 6:03
  the same beginning as Mercury Rising. Yeah, totally totally and the same kind
• 6:08
  of incentivizing like motivating force in the movie, although we'll get to additional motivating
• 6:14
  forces which we're not expected in this movie. Totally totally. But also he
• 6:18
  does a really good job carrying this movie kind of by himself, like Kim
• 6:26
  Coates, I mean, we'll get to kill codes, dude. He does
• 6:30
  a really good job. There's a couple of different movies in this movie.
• 6:32
  It's a lot of different movies mixed together, but it works. It does
• 6:36
  in the first scene where he's like, come on, come on, don't
• 6:41
  kill a kid, right, and he's like, yeah, don't kill a
• 6:49
  kid, and and like you know, he does. He does the good
• 6:54
  guy Bruce in a way where he's like the like guys are writing down on
• 7:00
  they're like boards, like we've got a clean shot of this guy, and
• 7:02
  he's like, no one's dying today. Yeah, So it's like setting him
• 7:08
  up to be like, there's about life, Bruce. Yeah, life really
• 7:11
  really is dedicated to like people surviving, Bruce. And like his crying in
• 7:15
  this is like pretty second second to none in all the bruces we've covered,
• 7:21
  because so many kids fucking almost die and the kid at the beginning just dies.
• 7:27
  He's just like dead. Well, this is like this is post nine
• 7:30
  to eleven Bruce. I think he's like I think he's like a hardened conservative
• 7:33
  now no, but he's like he's experienced. I think like he's acting is
• 7:39
  informed by his life at this point. I think you can see that he
• 7:44
  has more depth to him as an actor. Oh yeah, totally. And
• 7:47
  his daughter is really his daughter is really important in this movie. They did
• 7:50
  a really good job of giving everyone backstory in this movie, like even the
• 7:57
  Danny Mulroon's, it's like a very B movie style of backstory too. But
• 8:01
  the thing that distinguishes it from being a B movie is the fact that it's
• 8:05
  like the camera is constantly moving, it's constantly like doing these elaborate spinning graceful
• 8:16
  it's really nice. It's really nicely done. And then one year later he
• 8:20
  balds so much stress from the stress of the situation, for sure, but
• 8:26
  I think that he Yeah, like the the B movie backstory that they give
• 8:33
  the guy, like making him a religious guy and he wants to kill his
• 8:39
  horror of a wife and his like and like she's gonna go to hell with
• 8:43
  him, but his son will go to heaven. Yeah, it adds this
• 8:46
  element of preciousness to it, the preciousness of life of like, holy shit,
• 8:50
  a kid's involved, you know what I mean. I think the idea
• 8:52
  of him saying that he's gonna go to heaven kind of gives it this like
• 8:56
  implied innocence and also like this terror that like something really high stakes is going
• 9:01
  to happen. Yeah. So, like I don't want to understate how high
• 9:05
  stakes it's set up in the beginning, another b movie thing that it does
• 9:09
  that kind of tricks you into the way that he takes the situation into his
• 9:13
  own hands in the beginning of the situation, so it means he's like responsible
• 9:18
  for this, and then like the disappointment everyone feels towards him for like fucking
• 9:24
  up the situation. So yeah, yeah, totally totally were they they it's
• 9:28
  the same kind of praise that he would get if he did the exact same
• 9:33
  thing and was successful in it, Yeah, because they would have been like,
• 9:37
  oh, it's like empty sadness and condemnation and empty praise. Yeah,
• 9:41
  for sure. And a year later we find out that he's now the chief
• 9:46
  of police, uh, with a bad actress for a wife, and well
• 9:52
  and yeah, what we find out is that his life is kind of ruined,
• 9:56
  Like he's like really destroyed his marriage there hacking their bags and leaving,
• 10:01
  and Rumor like doesn't do a very good job in this movie. I mean,
• 10:09
  she's very cute, she's very cute that she's in the movie, and
• 10:13
  she doesn't have too much to do, so it doesn't like his real life
• 10:16
  daughter, Rumor Willis who's in this movie, who's like, wait, well,
• 10:20
  we're gonna say she doesn't. She doesn't have very much. She doesn't
• 10:22
  have very much to do, so it's like she's much more forgivable than than
• 10:26
  the life who's terrible she was. She was the worst actress in this movie,
• 10:31
  you know who? She was kind of like type wise who I could
• 10:35
  have seen her an alternate casting in this also a very two thousand and five
• 10:39
  two thousand and six actress. The lady from Kiss, Kiss Bang Bang could
• 10:46
  have been this mom. Oh, Michelle something, I know who you're talking
• 10:54
  about. She's too young though, she would have been like I'm talking about
• 10:58
  types Oh yeah, totally. But he's also he, like Bruce, Bruce
• 11:05
  is just weirdly too old, too old for what though. I don't know
• 11:11
  he I don't think he is. The way they dressed him down at the
• 11:15
  beginning, it was like, man, this guy is like way younger than
• 11:18
  Bruce. One year later in this movie. I think that's intentional. I
• 11:24
  really do think that's intentional, Like that he like it, like the situation
• 11:28
  age kind of aged him. Yeah maybe, and like hurt him, you
• 11:31
  know, like it hurt his whole life. But then we get introduced to
• 11:35
  Jonathan Tucker and and Ben Foster. Dude, who are like, I guess
• 11:41
  trashy is supposed to be white trash of some kind. I another alternate casting
• 11:48
  I could have seen Joseph Gordon Leife would play John Tucker. Yeah, John
• 11:52
  Tucker. I like this actor. I think he's an amazing it was amazing,
• 11:58
  Like actually he he was like a couple of movies I saw as a
• 12:01
  kid. This is like other B movie about kissing one hundred girls, sleeping
• 12:07
  with a hundred girls or whatever, and he was really good in that too.
• 12:11
  He is like a very Ben Foster like actor as well, where it's
• 12:16
  like he's doing weird choices, but also he is like a like there was
• 12:22
  a strong commitment to early two thousand slabbery in this movie. Oh dude,
• 12:28
  so much slabery, and like you see them pass by in a truck.
• 12:33
  You see what's his name, Bruce Willis in the cop car seeing John Tucker
• 12:39
  throw a disc a disc. It's first trying the tooth with a disc in
• 12:43
  the Yeah, totally. And then we see in the what's it called the
• 12:46
  fancy car escalator in an escalade with Kevin Pollock and two slabby children. Yeah,
• 12:58
  one of which is you think you're safing alife. You're dead already.
• 13:11
  Jimmy Bennett, dude, jim Kid. The kid is fucking brilliant. He
• 13:16
  really did a really, really, really good job. This kid is so
• 13:20
  compelling. As soon as I like, Kay's was mentioning to me he's the
• 13:24
  famous me too disruptor because he accused Asia Argento of Oh, yeah, that's
• 13:33
  the kid. It was underage. Yeah, and what I and I don't
• 13:37
  know actually if that, I mean, I would just say that he was
• 13:39
  also taken advantage of I don't know if that's necessarily a me too in disruption,
• 13:43
  you know, like just because she was like also accusing. Yeah,
• 13:48
  I mean, that's the thing. She was also accusing what's his face?
• 13:52
  It makes what's his face? Winstein was accusing Weinstein. I mean, it
• 13:56
  makes it. It's like weird, like calling into credibility like other acute.
• 14:03
  I know, I know, I know. But like cases, something bad
• 14:05
  can happen to more than one, more than the same. They can do
• 14:09
  a bad thing. Yeah, exactly, that's we can walk into we can
• 14:11
  all walk in che gum at the same time. Hurt people can hurt people.
• 14:16
  But yeah, like me too is wrong, I don't think. Yeah,
• 14:20
  I mean, well, I don't think so, Alex. I have
• 14:26
  to let the audience know. Yeah, exactly. Man, I was so
• 14:37
  excited during this scene when we when they set everything up so fast in this
• 14:41
  scene with the cars, and like the way the stories are kind of intertwined.
• 14:45
  Is what's the name of the city. It's had such a good name
• 14:48
  starts with a B. I think it's like a suburb of California. It's
• 14:52
  like Republican California. Okay, Brisco County. Maybe I don't know that.
• 14:56
  Yeah, And it was like, really it was really cool just because it
• 15:01
  does it does a lot to set up the neighborhood. It sets up like
• 15:05
  kind of what the people are like to because like we've got rich, but
• 15:09
  we get more backstory, you know, rich Escalade. Kevin Pollack amazing Kevin
• 15:15
  Pollack performance, Yeah, like weirdly underrated and like he's an underrated actor.
• 15:20
  He's an underrated actor. Like yes, I think it's because he's a comedian,
• 15:24
  but like I've I honestly don't even really know his comedy. I only
• 15:28
  know him as like a serious actor, character actor, like a genuine character
• 15:33
  actor who like really commits to his roles and just like him being kind of
• 15:37
  a dismissive abusive, like not abusive, but like just like absent kind of
• 15:46
  abusive to a little like what he calls his son into the room and like
• 15:52
  there's a domineering Yeah, it's weird but like but it also just like the
• 15:58
  relationship that the poor kids how they're like they see an opportunity to like you
• 16:03
  know, because because she's like they want to order some food, she wants
• 16:07
  to go out. She's being a teenager. Yeah, and she gives them
• 16:11
  the finger. Wait but with like Bristo Bristow Camino Police Station. That's the
• 16:18
  Bristow, Like we get this setup from in the Car. I love the
• 16:22
  in the car scenes because it kind of does a lot of like mini character
• 16:26
  building. Like she's like, I want to go out tonight. I want
• 16:29
  to go to the mall. She's being a teenager. He's being kind of
• 16:32
  like now, you don't get to do that. And then the kids like,
• 16:36
  let's order some Chinese food or whatever, and they like order some food,
• 16:40
  they go pick it up and she like has to go out and get
• 16:42
  it with like Ben Foster kind of like looking magaring and like the the what's
• 16:49
  the what's the main bad guy? Kids? Name again, Well, his
• 16:53
  real name is John Tucker Jonathan Tucker in the movie, but in the movie
• 16:59
  his name is Dennis, Dennis Kelly, So Dennis is like and their names
• 17:03
  are important, man, this movie is so good. Their names are important.
• 17:08
  And it's weird because the little brother of Dennis is named Kevin and his
• 17:12
  real life name is Marshall, which is Ben Foster's name. In the movie,
• 17:18
  his name is Marshall, marsh Mars. Yeah, and the two brothers
• 17:27
  looked like they were related. Yeah, and it was such like meathead casting.
• 17:33
  Also, what's her name Burrows the casting director? Yeah, what's her
• 17:40
  name again, Victoria Burrows. She's she's the casting director for Tales from the
• 17:45
  Crypt, which I thought was really I just spotted it, but yeah,
• 17:49
  great casting in this movie. Victorias. Yeah, she's like, she's she
• 17:53
  knows how to cast. She knows how to cast for a thing. Brothers,
• 17:59
  brothers, my brother. I want to see my brother. The brother's
• 18:03
  element was also so good because the relationship between the brothers, there's a kind
• 18:07
  of like already implied betrayal that this newer guy who's brooding and cool, cool
• 18:14
  and like this this this wiener Dennis wants to be friends with this like guy,
• 18:18
  and like you can tell they're like good kids that went astray. They've
• 18:22
  got a really bad upbringing and like it's just like tiny moments, tiny reveals.
• 18:30
  Yeah, and the cop that was like the the weird looked up to
• 18:36
  Bruce all the time, Cop innocent guy. What an interesting character, What
• 18:42
  a choice. Because Bruce walks into the police station after like being really sad
• 18:48
  with his family, but he really puts on like a leadership face and he's
• 18:52
  like, Okay, I'm at work. I've got to like I need to
• 18:56
  work, I've got to be in working with I've got to be on the
• 18:57
  ball. And he spots like that his like deputy guy is wearing runners and
• 19:03
  he's like, oh, casual Mondays passive aggressive. Bruce total like leadership through
• 19:10
  passive aggressive, Like I guess it's gonna be casual every day Tuesday, Wednesday.
• 19:15
  And he's like I'm sorry, Chief, Yeah, I'm so sorry,
• 19:19
  Chief, I'm so sorry. Yeah. He gets so disappointed in himself for
• 19:23
  Bruce. So well, that's what that level of manipulation is meant to do.
• 19:29
  Of course, it's meant to make you know why you feel. Yeah,
• 19:32
  exactly, exactly but I thought those were nice touches because I think that's
• 19:37
  also a defense mechanism on Bruce's part, this heavily traumatized cop dude who's like
• 19:44
  been through all of this ship had to change careers because of like how he
• 19:48
  bad he fucked up? Yeah, and just like it seems like it's such
• 19:52
  a defense mechanism, like it's a kind of closed offness and he then gets
• 19:56
  into the room and there's this like palpable sense release in Bruce where he's like,
• 20:02
  yeah, and it seems like a John McClain type traumatic traumatized guy after
• 20:07
  three movies of that would be like this would be a way better. Oh
• 20:11
  man, man, Live for Your die Hard? Is is that the one?
• 20:15
  I think we're gonna watch that one? So? Is that the one?
• 20:18
  Live for or die Hard? Is that the one? Is that the
• 20:21
  one? Is that the one where I lost my hearing just in the one
• 20:25
  ear? I know? I know? No? Is it Live for or
• 20:30
  die Hard? There's what are the ones called? There's die Hard with a
• 20:37
  vengeance, die Hard with the revenge, There's die Harder? Is it die
• 20:42
  Harder? That's the second one? There's die Hard the normal one. There's
• 20:51
  Live for your die hard, I think. And then there's the other one's
• 20:56
  like Mother Russia or something. Mother Russia? Is that? Is that?
• 21:02
  I think that's the log line anyway, what's it called. There's a weird
• 21:10
  heavy focus on DVDs in this movie. I mean, there's a collection rivaled
• 21:15
  only by your own from Kevin Pollock. And he puts it. He puts
• 21:19
  the in the right file exactly, puts it in the right file. He's
• 21:26
  like a computer's guy who has secret codes. I mean, it's it's rising
• 21:30
  all over it is. And he kind of like, yeah, he cleans,
• 21:34
  he cooks books, dude, he's got offshore accounts, dude, and
• 21:37
  like he puts it in the TV d having can wait which which version,
• 21:42
  dude, the remake or the original original? And he like as his daughter,
• 21:49
  what's his name, Kevin Pollock's daughter is getting ready and he's passive aggressive
• 21:52
  to his son, also passive aggressive to his daughter. To his daughter.
• 21:56
  We see that he has like a weird spot I light, a room where
• 22:02
  he can see his daughter stealing the money. He's got like a panic room.
• 22:06
  Yeah, behind the mirror in a closet, I guess. And it's
• 22:11
  like the back room of the washroom. It's like a whole entire other secret
• 22:18
  panic room, and it's like he's they'd Also this part sets up like how
• 22:23
  high tech the house is. It's got all these security features, cameras everywhere,
• 22:27
  lights everywhere, floodlights, like like gates that can come down, so
• 22:32
  it's got like super options and touchscreens. And they like the two bad boys,
• 22:37
  the three boys want to steal a car. I guess, yeah,
• 22:41
  they just want to steal the escalade. They're like they've marked Kevin Pollock as
• 22:45
  like he's the mark. They're going to steal the escalade. Yeah, But
• 22:48
  at the same time, like John Tucker goes into the the house and like
• 22:52
  grabs the girl, and we didn't we didn't mention one thing. We did
• 22:56
  mention the small setup with when they're making fun of the girl as she's like
• 23:02
  leaving the oh yeah, the store and he kind of gestures job, job
• 23:06
  and she says fuck you. And then when she says fuck you, Ben
• 23:11
  Foster's character mars slightly smiles. Yeah, he notices that she said fuck you,
• 23:15
  and he likes her rebellious spirit. Yeah totally, which, like these
• 23:19
  little moments do really interconnect in a nice way. They build a world that
• 23:26
  feels way less budget than the movie is. Yeah, because you have to
• 23:30
  focus on characters of course, but like this is like these choices are also
• 23:37
  insane. Like it's like it escalates, uh so intensely. I like that
• 23:41
  about I like because it's like there's a real this is where like the movie
• 23:45
  becomes really unpredictable and like, honestly, kudos to the movie. Like rarely
• 23:49
  am I kind of surprised by movies and like surprised by the twists and turns
• 23:56
  of the movie. I never I never feel this like, well, I
• 24:00
  actually have no idea what's going to happen next, Like it really, you
• 24:04
  know, usually like movies have like a kind of when it started too,
• 24:08
  I was like, oh, oh shit, it's so predictable that he would
• 24:11
  you know, we've already seen Bruce do this like in Yeah, and then
• 24:15
  for the movie to kind of like it's a better movie than Mercury Rising is
• 24:18
  I think. I think because Mercury Rising had everything going for it to be
• 24:25
  a really good movie, yeah, and it just becomes mid whereas this movie
• 24:29
  has everything brooking against it. It's true because it's like it's kind of like
• 24:33
  one location kind of budget kind of Bruce at the peak of the end of
• 24:41
  Bruce, you know what I mean, like post like, ah, we
• 24:45
  we love him for this. He has so much good will for doing you
• 24:51
  know, Unbreakable and and uh six Sense and like movies that were like,
• 25:00
  oh yeah, Bruce is such a good actor. He's such a creative guy,
• 25:03
  you know. And also what I like about these scenes is that the
• 25:11
  sort of setup scenes is that Kevin Pollack, who set up as kind of
• 25:15
  a dick, gets to be able to be like kind of like, oh
• 25:19
  yeah, he's still trying to be a dad, you know what I mean,
• 25:23
  Like he gets confronted by you know, his kids being like taken in
• 25:30
  by these like hooligans. Well can we also set up that the daughter is
• 25:34
  super emo and that this was like the like very peak of like emo was
• 25:40
  very popular, and she's got like the studded belt I've gone in with the
• 25:44
  haven'ts people ever heard of clothing? Goddamn door up, And like kudos to
• 25:51
  the movie for like casting what looks like a sixteen year old doesn't look like
• 25:55
  they like got someone who's like twenty five to play someone who's like fifteen sixteen,
• 25:59
  Like they got a child, but also they were like kind of showing
• 26:03
  it. There is like a moral kind of aspect of the movie where like
• 26:07
  he doesn't want her seeing boys. There's a couple of references to it.
• 26:11
  And then for there to be like a threat of dangerous boys trying to like
• 26:17
  maybe rape a teenage daughter and then Bruce also having a teenage daughter. Yeah,
• 26:22
  it's kind of like a hidden sort of like I don't think it's that
• 26:25
  hidden. I feel like it's pretty like he's like you're not wearing that young
• 26:30
  lady, you know. I know, but they just make they string it
• 26:33
  through like in a way where it's just it's more realistic than most movies like
• 26:41
  this, that's what I mean. Like, but but but there is this
• 26:42
  sort of like a value thing about like your daughters are threatened. Your daughters
• 26:47
  are on her attack, and they're threatened by yo can't help themselves that when
• 26:53
  they see someone who's not dressed in a in a modest way, you know.
• 26:59
  So it's like there is that aspect of it where like, yeah,
• 27:02
  but like it plays in well because it makes us believe the terror of the
• 27:07
  like of these young boys who are also presented in a way that they have
• 27:12
  like their own issues, like they're not presented in a way that they're just
• 27:17
  rapey and evil, right, Like no, it's it's it's in a B
• 27:22
  movie kind of way. But yeah, you're right, it isn't. It
• 27:25
  isn't like I'm evil, but kind of still I'm evil, still kind of
• 27:30
  stolm evil. Yeah, And Ben Foster is very new metal in this,
• 27:37
  Like not only is he new metal, like he is Chris Angel mind freaking'
• 27:41
  this Like he like at the end he's literally comes out without a shirt,
• 27:47
  spread arms in Jesus cross mode with epic on fire Molotov cocktails. Like we'll
• 27:52
  talk about it because like it's pretty amazing, Like we finally got we've been
• 27:56
  talking about the like powerhouse actor that is Ben Foster and like, dude,
• 28:03
  dude, it's I feel you. I'm right here. Don't look at me
• 28:07
  that way. I'm telling you the fucking truth. I think try and get
• 28:10
  him on the show. I think it's really interesting, dude, Like Ben
• 28:12
  Foster is like the same generation of actor as like a Jeremy Strong and you
• 28:17
  can really see the like this is like the last that like the last iteration
• 28:22
  of like late gen X slash like older millennial kind of vibe of like I
• 28:30
  really want to be a method actor, but that what does that mean in
• 28:33
  this day and age? And what that means in this day and age is
• 28:36
  like a real strong commitment to like kind of like human reaction and cringe and
• 28:42
  like, yeah, oh totally. It's a full embrace of like he he
• 28:49
  is in the same model of actor I think as Chrisma Glover or Joaquin Phoenix
• 28:57
  also like where it's like although like I think those guys were like early on
• 29:04
  the trend of like they wanted to be. It's like the combination of idiosyncrasy
• 29:11
  with authenticity and like one commitment. Yeah, well, I would disagree with
• 29:18
  you slightly with with Joaquin and with like those guys like and Crispin, because
• 29:22
  like those guys have their own thing and there is an intensity and there's a
• 29:26
  dialed inness to the intensity, but there's also kind of like a kind of
• 29:32
  relief in the like goofiness of it, whereas with like Ben Foster, there's
• 29:37
  a real sense of like existential embrace of like the sort of like of humanity
• 29:45
  of of of trauma traumatized people, you know what I mean. In some
• 29:51
  of the roles that he's been in like there's a real like, Oh,
• 29:53
  this guy is a person, and I'm going to play him as a person,
• 29:56
  but I'm also going to like dial it up to like like his dialed
• 30:00
  upness is like in intensity and in like like emotional commitment, Whereas with Crispin,
• 30:07
  I think there's like he's making another worldliness, you know what I mean.
• 30:11
  I don't know, man, Like he's got like a slobber. All
• 30:15
  of those three guys that we're talking about now have a slobber that is like
• 30:22
  they might not choose the best roles always, but they always deliver. And
• 30:26
  I know Joaquin is annoying, but but no, but he's like undoubtedly an
• 30:32
  incredible He's really good. But oh man, they they when they get into
• 30:40
  the like thick of it where they're like, now the kids are like running
• 30:48
  away, Like one of the kid runs away. The little kid runs away
• 30:52
  and then presses the silent alarm to call the cops, and the lady comes
• 30:56
  up and is the lady cop, and she's like, oh, what's going
• 31:00
  on? And Kevin Pollack is trying to keep it cool and be like,
• 31:06
  listen, all you have to do is put me on. I'll make her
• 31:10
  feel okay about her, Yeah, she's gonna go away. Like the the
• 31:12
  kind of like mental plays that Kevin Pollack does in this, you can really
• 31:18
  tell that he is kind of like a kingpin or like you're you're never really
• 31:22
  sure how in charge he is of whatever is going on, but he does
• 31:29
  have a certain level of like there's like some hint of like, oh,
• 31:33
  he's in the Witness Protection program, and like they're you know, like little
• 31:37
  clues we get throughout the movie of like who is this guy? Who?
• 31:41
  What did he do? Yeah, it's kind of cool, like he has
• 31:42
  like a weird mystery about him totally, and like he's kind of in control,
• 31:48
  and he is in control, but he's only in control to the point
• 31:52
  of like the like excited activated trauma of this young person who has no faculty
• 32:00
  to like really deal with, you know, to really even understand where like
• 32:02
  a guy like Kevin Pollack is coming from. Right. That's That's kind of
• 32:06
  what's amazing about Jonathan Tucker's performance is that he's like panic to trauma, kid,
• 32:13
  That's what I'm saying. Yeah, and Ben Foster is like so dead
• 32:16
  eyed traumatized that like his ability to like just be like a murderer. Yeah,
• 32:25
  because he just goes out. Mars Ben Foster's character goes out and he
• 32:30
  shoots the cop twice and she drags herself for so long. This cop was
• 32:35
  so dedicated to being alive, dude, I like but like really really compelling
• 32:40
  stuff. Though, Like honestly, I didn't think of the cops as cops
• 32:44
  in this movie. Like I like it kind of was like it it kind
• 32:47
  of like really did a lot to humanize everyone in the story the movie.
• 32:52
  And I think that's like it like radically humanized everyone in a way that like
• 32:55
  nobody was disposable in this movie. Yeah, nobody was. And and that
• 33:00
  when when Hero Bruce first becomes Hero Bruce in this where he's like he drives,
• 33:07
  he drives, but even though he's getting shot and he's like, I'm
• 33:09
  just going to get this person, please do not shoot at me. But
• 33:15
  like he's going by like Geneva convention rules and like they're not respecting it.
• 33:19
  Yeah, of course, And and he pulls her into the car and he
• 33:25
  kind of gets reactivated in this moment because when he sees her die in his
• 33:30
  lap and he sees like the deadness of her eyes as she looks back up
• 33:35
  at him. Yeah, something gets triggered in him, and they cut to
• 33:38
  his face in a way to show that he's like, I'm in this other
• 33:43
  mode now, Yeah, I'm in hostage negotiator mode. Yeah, it's really
• 33:49
  cool. And he kind of like it's like his reluctant embrace of being a
• 33:55
  hero again, you know what I mean, Like he's he reluctant embrace of
• 33:59
  being John McClain. Yeah, it's totally John McLain. Sorry, I'm just
• 34:04
  reloading this thing, but like yeah, he so he like he's driving,
• 34:10
  he's like panically driving with her, and then like I forget how he gets
• 34:15
  in touch with the kids, or like I forget what happens after Right after
• 34:20
  this, well, Ben Foster starts like violently shooting at everything, which causes
• 34:25
  like a huge panic with everything. Oh and I love the FA fades to
• 34:30
  whites the white outs, and Bruce Willis gets the call from the the other
• 34:38
  hostage negotiator and he like ends up going home or whatever he like goes to
• 34:45
  well they like trade off. Bruce is like, all right, you can
• 34:49
  take it from here, and it's the guy from from Twin Py Yeah,
• 34:52
  from the third season of twins. He was really good. Like there there
• 34:55
  was kind of a bunch of like elevated Danny mulroons in this that like add
• 35:00
  like a pretty decent character and like we're kind of like consequent like like I
• 35:06
  said, nobody was indisposable, but like he was like, you know,
• 35:08
  he served his purpose. Yeah, Bruce gets the number, like gets the
• 35:13
  number for the house and calls what's his name, Dennis, and he's like,
• 35:19
  are you the man? I'm gonna hand you off to the man.
• 35:23
  I liked the man. He's like because so John Talker is like are you
• 35:31
  the man? And Bruce is like, I'm not the man, I'm not
• 35:34
  the man, and like and then so but he was triggered in the car
• 35:38
  to be the man. Yeah for sure, but he hands it off because
• 35:43
  he doesn't want to risk it's because he doesn't want to risk his family.
• 35:45
  And then he goes to a diner. Wait, hold on, first,
• 35:49
  we get the first weird hints of Ben Foster being like offering weed to the
• 35:55
  little boy and the sixteen year old, and we get like fight, the
• 36:01
  first fight between the two brothers, and they're like he's he's like, what
• 36:07
  do you do you guys, do you think this guy is so cool?
• 36:10
  Yeah? Oh man, I I it reminded me of moments when you felt
• 36:15
  betrayed because I chose somebody over you, and I was like, no,
• 36:21
  no, I'm sorry I did, because, like I like, it is
• 36:25
  sad in the moment to feel like the person. No, but I'm your
• 36:30
  brother. This guy. We don't even know this guy. You've only known
• 36:34
  this guy for three weeks. But it's such a good such a good like
• 36:37
  element to add because it's so believable. It's so believable for sure, for
• 36:42
  sure. And then we get like Ben Foster and and Jonathan Tucker like looking
• 36:46
  around the house and they closed down the like shields of the house, which
• 36:53
  makes it even more Wait, but who closes down the sho wasn't it the
• 36:57
  kid Ben Foster? Oh? Yeah yeah, but he kind of accidentally does
• 37:00
  it. Yeah, And then it kind of escalates everything. It does,
• 37:05
  like the lights come on and everything gets like suddenly more like hostagey. And
• 37:08
  then Jonathan Tucker brings down the two bags that are like and it's like really
• 37:15
  realistic the amount of money there is, but it's still like two million dollars
• 37:19
  yeah for sure. But then we keep getting these like calls from like mysterious
• 37:27
  men being like the house is closed, we don't know where the DVD is.
• 37:34
  Well, because this is already made, like it's a hostage situation.
• 37:37
  It's a major hostage situation at a rich person's house. Like it's national news,
• 37:40
  right, like everybody knows about it. And it's got some saw transitions
• 37:45
  in this movie totally where it's like the TV is playing and one guy is
• 37:49
  talking on a cell phone in the room and then it closes up to the
• 37:52
  TV and then it zooms out of the TV and it's a different TV in
• 37:55
  the house this time. And the kid, the kids, the kid's really
• 38:00
  smart. He's like, we cut the we could use your bomb to cut
• 38:04
  the tape. Man. The kid having like crafty home alone ideas was really
• 38:09
  cool to me. I thought that was really cool. Dude. This kid
• 38:13
  was amazing. Oh, the kid was amazing, so good. He was
• 38:15
  like one of my favorite guys of the Vivie and Ben Foster using his steely
• 38:20
  blue eyes and his thinning hair to try and woo this girl. Man.
• 38:25
  Like, it was really interesting his approach because he he kind of like does
• 38:32
  this thing where he's like he thinks that the way that he is going to
• 38:37
  be towards her is going to attract her, but it never does never does.
• 38:42
  Like that wa too. I really liked that where it's like it's like
• 38:46
  you're weird, yet it seems like he smelled smelled like he looked like he
• 38:55
  smelled even after like his nails it looked like they were pain but it was
• 39:00
  actually just like caked on blood and I was just like, oh, you're
• 39:02
  smelly, dude, Yeah, you're so gross. But yeah, I thought
• 39:07
  a kid uses the boond to cut away from his uh it actually works,
• 39:12
  but then they catches him and my one of my favorite parts is when John
• 39:15
  Tucker grabs the kid, he's like, weighs like thirty pounds. Yeah,
• 39:21
  that was great, but he did not before he sees Bruce Willis on TV
• 39:25
  and like figures out, Oh, this guy is the guy. Dude,
• 39:29
  him like the man imprinting the kid imprinting onto Bruce Willis that he's the man
• 39:36
  and wanting to call him specifically. It was such an interesting and good It
• 39:40
  was such a believable little kid choice to make sure, but it ends up
• 39:45
  being really consequential in the movie. The kid's basically like the sidekick to Bruce.
• 39:49
  Yeah, pretty much. He's the he's the what's it called god from
• 39:55
  Family Matters Le not Rkle, the dad from Family Men. Yeah, yeah,
• 40:02
  totally in Knakatomiato. Yeah, man, what's his name? He's so
• 40:07
  good, He's so good. Fuck yeah. The kid runs runs away though
• 40:14
  in the house, he's like in the vents or whatever. He's John mcleaning.
• 40:17
  Well, yeah, it's it's vents. But then it's also like it
• 40:21
  seemed like aliens vents totally totally and kids going through aliens vents, and it's
• 40:28
  it's interesting that like it takes so a kind of a long time for like
• 40:35
  Bruce Willis to be like, yeah, honey, I'm coming home. We're
• 40:38
  not getting a divorce. It's it's so in the moment, like we're not
• 40:44
  getting a divorce, but like it seems like it's all in his court,
• 40:49
  like he just gets to decide. It was interesting. I mean I think
• 40:52
  it like I think it served the movie well that they did that. Yeah,
• 40:55
  because he yeah, he kind of gets like he's like I don't know,
• 41:05
  like he's like, I'm gonna do the right thing, I'm gonna go
• 41:07
  home. I'm gonna make the right choices here and I'm gonna go home and
• 41:10
  I'm leaving this to somebody else. But as fate would have it, he's
• 41:15
  getting followed and the story gets way more complicated here. And honestly, at
• 41:23
  this point it was like, are they gonna fuck this up? I know,
• 41:28
  like I wrote, that was the first thing I remember thinking, because
• 41:30
  as soon as you start adding like elements of intrigue and layers like this,
• 41:36
  it's like, oh, here's the b movie, right, yea, because
• 41:38
  like the movie has earned so much goodwill. But then it like the story
• 41:43
  continues to unfold and you're like so riveted and gripped, like yeah, totally
• 41:46
  because they this guy points a gun to Bruce's head. No, no,
• 41:52
  he sticks him in the side and he's just like drive yeah. And then
• 41:57
  but then he goes into a back alley and then put they got to his
• 42:00
  head and Kim Coates comes into the car and like just steely blue eye acts
• 42:06
  at him and is like, I have this watch my voice is like this.
• 42:10
  Yeah. The performance that he does in this like just like yeah,
• 42:20
  man, the way he like tells him, he's like, just put your
• 42:24
  hands to the roof of the car and then he he like takes him through
• 42:30
  this like procedure like I'm going to tie her hands to the steering wheel.
• 42:36
  This guy's gonna hold your neck. It's for your own good, trust me.
• 42:38
  And then they flash open the back doors of the other car door and
• 42:45
  he looks in the rear view mirror and it's rumor Willis Verusa has the pooh
• 42:50
  yeah, rumor has it you? She's the one I'm leaving you for.
• 42:57
  And then his reaction was like because he's coughed to the steering wheel and he
• 43:05
  can't do anything, but it's such a realistic reaction. And then he drools
• 43:10
  and Kim Cots gently wipes thel onto the arm of the guy who's holding his
• 43:16
  head, and yeah, the slightly wiping away the mouth is definitely one tries
• 43:24
  the tooth of many in this movie. Yeah, and he's like, are
• 43:30
  you gonna be calm? Can you be calm? Like the can you be
• 43:32
  calm? Is interesting? It's like interesting choices in a movie that doesn't deserve
• 43:39
  the choice choices that it has, right, And I remember thinking, like,
• 43:44
  just as I was watching the movie, now like Kim Coates really really
• 43:50
  rode that like character movie or character, actor appearance, you know, like
• 43:58
  constantly getting really well cast and really standing out in his roles and making everything
• 44:04
  that he's in better so that when he did get to like Sons of Anarchy,
• 44:07
  it's like, dude, you deserve this. Yeah, you're such a
• 44:10
  good actor. Yeah, totally. He's in the same vein as a Chris
• 44:15
  Penn in terms of actors I think. And then Bruce Willis goes home and
• 44:23
  they fucking killed the dog. They you know, he killed Porthos. I
• 44:28
  was like, oh man, I was thinking to myself, because this is
• 44:31
  the same. It could be Porthos. It could be that Porthos got a
• 44:36
  lot of acting jobs that year, the dog from Star Trek Enterprise. It's
• 44:42
  been a long road getting from there to here. It's been a hot time,
• 44:50
  but my time is finally near. Yeah. Yeah. Yeah, So
• 45:00
  they killed the dog and he kind of like he like winces and like it's
• 45:06
  like gotta bottle that up for later. Yeah, kind of like like definitely
• 45:10
  bottle things up for later. Yeah, definitely, and definitely like a dog
• 45:15
  person totally, He's definitely like, yeah, I've got to do at home.
• 45:19
  You know, we fostered some well growing up. I had dogs.
• 45:24
  Yeah. Yeah, And he did a really good job of kind of just
• 45:34
  man, you're you're really on this journey with him, Like he's carrying the
• 45:37
  movie on his freshly tattooed scar shoulders in such a graceful way. I wanted
• 45:49
  to show that he still has a Bruce, shirtless Bruce in this totally shirtless
• 45:52
  Bruce. Yeah. I mean, and he did have it. He did
• 45:55
  still have it, and he had a newly tattooed drag it over his fucking
• 46:01
  scar. It looks pretty fresh. He was like, I want this in
• 46:07
  this movie, like make it make like a dragon. Yeah. Do you
• 46:10
  have like any any any templates of a dragon? Yeah? But he he
• 46:16
  gets a white phone from Kim Coates and he's like, you'll get more information
• 46:22
  once you get the DVDs, but we'll kill your family blah blah blah.
• 46:27
  So you gotta get he and but he doesn't know which DVD he has to
• 46:30
  get. Yeah, totally, And he calls Jonathan Tucker to be like,
• 46:35
  all right, you gotta look at the TV. God damn it, look
• 46:37
  at the TV. No, but we get this added element of like,
• 46:40
  sorry, you neglected to say one thing. Kim Coates is like dude,
• 46:45
  you have to become the guy again. You have to be the situation guy
• 46:49
  again. And like and so he has the kind of like invent this situation.
• 46:53
  So this is the part I wanted to ask you about. This is
• 46:55
  the part that I found really interesting. What does he do here? Because
• 47:00
  he calls he calls John Tucker and he's like, look, dude, the
• 47:04
  goal of hostage negotiation situations is to make you dead, So listen to me.
• 47:09
  He like gives away part of his hand to get like immediately get like
• 47:15
  like a trust good graces. Yeah, and like at this point, Jonathan
• 47:20
  Tucker doesn't know why he's doing this, but he's like kind of dumb,
• 47:25
  and in this dumb guy way understands that he's in over his head. So
• 47:30
  he kind of like allows it to happen because he's like maybe this guy's actually
• 47:34
  like, you know, in my corner. And they made this like really
• 47:37
  believable because they this is a kind of like a wayward guy who likes a
• 47:43
  d well he needs a leader and that's why he's friends with the Mars and
• 47:46
  so like it adds this element of like, wait, I thought you're the
• 47:50
  leader, are you? Like, who's the ring leaders, so like that
• 47:52
  idea of like who's the guy is very pleasant, Yeah, totally. And
• 47:57
  then all the cameras go out because Bruce tells them, well, this is
• 48:04
  what I wanted to ask you, So like did Bruce tell he's he tells,
• 48:07
  oh, he makes a spletka, he makes a trap. Bruce tells
• 48:15
  the police that there are cameras all around, but doesn't say what to do
• 48:20
  with them, and then he talks to knowing that when they know that they're
• 48:23
  going to do that, he does a double He kills two birds with one
• 48:28
  stone, and then he's like, wait a minute, why'd you shoot out
• 48:30
  the cameras? We could have used those. I'm going to take over this
• 48:34
  operation, he's like, but he deliberately says like do what you got to
• 48:37
  do to her, knowing that what she has to do is shoot out the
• 48:42
  cameras. So it's really like interesting power play. Well because he he has
• 48:50
  to take over. He's the guy. He has to be the guy,
• 48:52
  and he knows what protocol is, so like it's real libertarian Bruce like where
• 48:58
  he like when he sometimes a guy has to take things into his own hands.
• 49:04
  Well, he can't go through the proper channels, yeah, and then
• 49:07
  and then when he's when the guy is like protege or whatever, it comes
• 49:12
  up and he's like, Chief, what's going on? Go back up?
• 49:15
  You know. I have to say also, just at this point in the
• 49:19
  movie that Bruce is acting like, it's really sad to know that this is
• 49:24
  a guy that will lose his faculties and lose his awareness eventually, because he
• 49:31
  especially in this movie, he seems so capable in a way that like he's
• 49:36
  really clever and he's really observant and really quick thinking, and it's kind of
• 49:42
  part of his character in this movie, and he acts it really well.
• 49:45
  He acts in a way that does really convey a lot of like awareness and
• 49:50
  like the way he kind of like I acts, He did like more so
• 49:53
  much eye acting in this and he like it was a return to something.
• 49:57
  There was some kind of yeah, like like weird face choices, Bruce,
• 50:01
  like weird eye choices, and like I thought it was cool, like he
• 50:06
  was really using his face in a way to show different kind of mental states
• 50:12
  and just like not that much dialogue, but he has like it's a lot
• 50:16
  of like talking on phones, driving, reacting to things, and it's really
• 50:22
  it's really nicely done. And then in this scene he's this is the scene
• 50:27
  where he's like, I need to talk to Smith, Dennis, I need
• 50:30
  to talk to Smith because he he needs to find out which DVD it is,
• 50:36
  so like he and he creates quickly this kind of confused situation among all
• 50:43
  of the like paramedics and people, and he's like, give me this guy
• 50:45
  because he knows he has like a friend as a paramedic that he can like
• 50:50
  exploit the friendship ye asking specifically who's on duty to choose a guy, and
• 50:57
  then he asks all these guys to strip. He asks his friend, the
• 51:00
  shoe guy, who's so eager to help him, like and like did the
• 51:05
  deputy, the insecure deputy who's like almost cartoonishly dedicated to Bruce comes up with
• 51:10
  a face that's like what next, now tell me anything? Suck your dick
• 51:15
  absolutely like it just seems like he's so game. And then this other guy,
• 51:21
  this older gentleman who's like really nice, and they all like this is
• 51:25
  where we get shoulder scar tattooed shoulder Scar Bruce and like jacked, nice looking
• 51:30
  slender body Bruce and they pull out the guy. Well, they drive up
• 51:37
  to the thing they're naked and they kind of like put out. Oh yeah,
• 51:43
  they they put Kevin's body outside, and he's not dead. He's not
• 51:50
  dead. No, but Ben Foster points a gun at Bruce. It goes
• 51:54
  what he goes. It's it's so it's so funny because like I was watching
• 52:04
  this movie. She's like, I know, I know you like this guy.
• 52:09
  And I was like, yes, that's exactly why we like him,
• 52:12
  and you should like him. She's like, I like him. She's like,
• 52:15
  he is amazing. She's noticed. It's just like it's like when you
• 52:20
  hear the the like meme ability of him out of context of his roles,
• 52:25
  it kind of makes him silly in a way. That's not It doesn't that
• 52:30
  it's not him like he is really good. True, It's that's true.
• 52:34
  It's not exactly no, but like that's the thing. The chaos of his
• 52:43
  characters are only made made so real by the performance that he does, like
• 52:52
  the only way those scenes were. And that's why I bring up what's his
• 52:57
  name? Walking and and Chrispitten shamanic acting dude. Nicholas Cage also does it
• 53:05
  as well, and to some degree. To some degree, there are others
• 53:10
  who who like have this approach to acting. Even Bruce. Sometimes I would
• 53:16
  argue Keanu, Keanu is a little less knowing than these guys. Maybe yeah,
• 53:24
  maybe you know, he's a little more more gentle and I wanted to
• 53:28
  tease a little bit. Yeah, but we won't get too teasy soon.
• 53:34
  But yeah, Bruce, the Bruce and and the other two bring in Kevin
• 53:38
  Pollock and that he really wants these paramedics to do illegal things of making him
• 53:45
  awake. This part was he could have brain damage, damn it. This
• 53:50
  part was really like he definitely is well. This part was really cool.
• 53:53
  This part was really cool because like it's a real it's a real life and
• 54:00
  and real moment ethical dilemma, and Bruce is like, dude, I need
• 54:06
  information from this fucking guy make him awake right now. And he's doing it
• 54:09
  in a way where he's like there's a desperation to it that feels very realistic.
• 54:17
  Like it feels like Bruce. Bruce doesn't seem like a cold heartless stick
• 54:22
  in this moment, because we as the dramatic irony audience, know that this
• 54:28
  guy doesn't have enough information. He doesn't know that his family is at Bruce's
• 54:32
  family's at risk. Yeah, exactly, and so he's like he gotta make
• 54:37
  up awake and he's like, it's not only his life that is in jeopardy
• 54:44
  here or something. He does allude to it a little bit, Yeah,
• 54:46
  for sure. And then the eager deputy gets a call from the what's it
• 54:53
  called hospital. He's the one who tells the new US or whatever that that
• 55:00
  Walter is dead. So they do that, They deliberately leak this information so
• 55:06
  that they can create more confusion, like kids is he's sewing more confusion.
• 55:12
  He's sewing more confusion so that it seems like the DVD is the only thing
• 55:16
  that he has as leverage, right, So he's still kind of being a
• 55:22
  clever hostage taker in this moment. He's being very capable. Yeah, totally.
• 55:25
  And then Bruce tells, uh, the other the the paramedic, he's
• 55:31
  not the only person's life you're saving, knowing that he's gonna know how the
• 55:36
  same love around and then he calls Kim Coates and he's like, he's dead.
• 55:47
  You didn't hear Yeah, he's dead, you didn't hear? Well,
• 55:52
  yeah, Because he also wants to confuse the kids, so he's like double
• 55:55
  using, like he's literally fort each other everyone in this yea totally, and
• 56:01
  the kid ends up calling the kid inside and which kid the small the small
• 56:09
  kid, Yeah, Jimmy, Jimmy. Yeah, just his real life Jimmy
• 56:15
  Jimmy. Yeah, he did. He did such a good job, dude.
• 56:19
  Like there's a kind of like almost like also real capability and awareness in
• 56:24
  the eyes of this kid too, And even though he makes like little kid
• 56:28
  choices, there's like and like has to be calmed down in a little kid
• 56:31
  way like hold on, hold on, slow down, Jimmy, slow down.
• 56:36
  Yeah, totally what's going on? And like the way he's so good
• 56:39
  with kids. Is a dad, Bruce, Yeah, totally. And then
• 56:44
  speaking of is a dad and is sad about he's got a real thing about
• 56:49
  Ben Foster too, where he's like sad about Ben Foster totally. He knows
• 56:54
  the wayward because but he sees him, he knows that he's associated a threat
• 57:00
  he is, yeah, because he recognizes it. Yeah, but he also
• 57:05
  sees the what's it called the video of him watching a guy die, and
• 57:10
  he's like like they're like looking at the guy dying in the like video,
• 57:17
  this old video of him, and he's like that guy's saying help me,
• 57:22
  and he's I didn't notice that part. What video is he watching? They're
• 57:27
  watching uh security footage of him robbing a star and killing a guy, and
• 57:32
  he like we're sixteen and so he got out of prison or whatever and now
• 57:37
  he's just like a complete dead eyed weirdo. Yeah, yeah, but you're
• 57:42
  I think that's a really good observation. I think that's a really humanizing observation
• 57:45
  of Bruce is like he does because he cares so much about life and he
• 57:51
  holds life so dear. He he also kind of yeah, he kind of
• 57:54
  like has a real heart for this guy. Like he's like, I don't
• 57:59
  It's not like there's no like a the there's like a genuine human understanding of
• 58:02
  like he's just a kid. He's just a kid, doesn't know totally.
• 58:10
  So we got the the like Jimmy going home aloneing in in the house,
• 58:20
  and then we get this weird Ben Foster scene where he's like blowing smoke in
• 58:23
  this girl's mouth. It's also it's also a thing of like I'm being sexy
• 58:30
  being like this is gross. Well, it's it's okay, this is what
• 58:34
  I wanted to say. I think it's really interesting. Something that this movie
• 58:38
  did that that I think was really useful to to like our enjoyment of it
• 58:44
  is it made every every time somebody was on camera, they were the main
• 58:47
  character of their own story. And and when we see Ben Foster in the
• 58:52
  in these moments, we really see his the intention behind what he wants to
• 58:58
  do. But then when we see the inspected from the girl, we see
• 59:01
  the effect that that's having on her. So we never see you know,
• 59:06
  like it's never it's kind of an even handed like showing it's like I really
• 59:12
  genuinely want to connect with you and I'm trying to be kind of romantic,
• 59:15
  but but it's just gross and weird. And she's like never not creeped out
• 59:20
  by it. Well, like I mean it's hard means an innocent I know,
• 59:23
  I know, because he goes he tells her like, what's the best
• 59:27
  day of your life? And she's like, I don't know, and he's
• 59:30
  he's like today and you believe him, Yeah totally. But yeah, like
• 59:35
  it's sad. It is. It's new metal, but it's it's like sad.
• 59:39
  I actually hadn't recently did a podcast interview with Sam Sutherland. He's doing
• 59:45
  like this like thing about queerness and new metal and how like you know there
• 59:52
  you know, like new metals derided as this like very bro culture thing,
• 59:57
  but you know they're obviously it had queer fans like myself included, and like
• 1:00:01
  there is a tenderness and like a sad boy and like being a new metal
• 1:00:07
  and and I think that there's there's a kind of like you know, by
• 1:00:12
  by virtue of that there's a queerness because it's like an embrace of a kind
• 1:00:15
  of like femininity or like it can be coded or seen that way totally of
• 1:00:19
  course. But also it's like the sort of eye roll of of anybody thinking
• 1:00:24
  that it's bro culture is like bro there's like chains and leather and like,
• 1:00:30
  well yeah, but it's like it's like there's a camp element. There's a
• 1:00:34
  camp element, but it could just that could also be dude, there's like
• 1:00:37
  a whole camp element to Bikarism. But that's but like that's what I mean.
• 1:00:40
  It's like all of the most manly things seen as the most of course,
• 1:00:46
  because anytime anything is manly, it can also be Yeah, it's you
• 1:00:52
  know what I mean in a way, mister, in a gay way exactly
• 1:00:55
  and like and it's yeah, it's interesting because I do think there's like a
• 1:01:01
  kind of a bit of that kind of famous with with with Ben Foster's character
• 1:01:07
  in this where it's like, you know, like and obviously always a queer
• 1:01:12
  villain, right and and interestingly enough, like if you pull out, if
• 1:01:16
  you zoom out on the idea of a queer villain is like it's so villainized
• 1:01:22
  that like adding these kind of like elements to it, you know, like
• 1:01:25
  making them new metal children, all of them. But then like the chasteness,
• 1:01:30
  the idea of the like family values and coming back to that, everyone
• 1:01:35
  gets punished at the end of this, right except for like the good pure
• 1:01:38
  kids, you know. But it's interesting because these kids made their choices,
• 1:01:45
  yeah, for sure. And then the kid Jimmy Johnny Jimmy Jimmy, which
• 1:01:53
  one the kid, the little kid Jimmy Jimmy. He he calls the number
• 1:02:00
  on the t from the TV and gets in touch with the guy who is
• 1:02:06
  Bruce Willis, and he's like, he tells him about how his father has
• 1:02:12
  like the Benjamins and he doesn't know what a Benjamin is, uh, And
• 1:02:15
  he's like, it's a hundred dollar bill. How many of them are there?
• 1:02:20
  Are there alive? Yeah? And then he's like he has to go
• 1:02:27
  inside the place and he like finally gets a call from the paramedic to tell
• 1:02:36
  him that Kevin Pollack is is awake, and he's like, he's like,
• 1:02:40
  I did it. I made made him awake, And he's kind of a
• 1:02:44
  little bit of shade it was, but also like he's like, I guess
• 1:02:47
  other people's lives are involved, so and I don't know what's going on,
• 1:02:50
  but I'm going there's like a friend to friends with black people, Bruce.
• 1:02:55
  But also he's talks to Kevin Pollock about how oh, he's like I need
• 1:03:00
  that DVD mister Smith, and the fact that mister Smith's eyes open, and
• 1:03:06
  he's like he kind of when he starts like you have to save No,
• 1:03:10
  No, he doesn't just he doesn't just do that. He doesn't just do
• 1:03:14
  that. It's amazing what he does. He's like, I just talk to
• 1:03:16
  your son, Jimmy, and he's with your with your daughter, and he's
• 1:03:21
  like he says their names and he's like, who are in the house with
• 1:03:23
  young men that you already know what they're capable of? So like he like
• 1:03:29
  lays it out for him in such a like a concise, concise way.
• 1:03:32
  He's like, I need those DVDs, and like it's like a way where
• 1:03:37
  he's like you know what I'm talking about? Yeah, totally, and like
• 1:03:40
  but he's giving away as little as possible to the like to like anybody outside,
• 1:03:45
  and so it's it's really well done. It's really well done. And
• 1:03:49
  like Kevin Pollack is like what is he he's but he doesn't say which version,
• 1:03:54
  dude, yeah, dude. And then he gets on the bridge,
• 1:03:57
  gets back on the call with Jimmy and he's like, do you play video
• 1:04:00
  games? Show me? He's like, yeah, Monster Jam and Bounty Hunter
• 1:04:04
  and what z Ork? I know what was ork? One that's made up?
• 1:04:09
  We Love a Dover and you know who Agent zero is? Yeah,
• 1:04:16
  and you know that Agent zero. This part sounded like to get a DVD
• 1:04:20
  for me. This part. No, this part sounded like literally I could
• 1:04:26
  have just been well love a you know, like it's just like gently explained
• 1:04:32
  something to the child and the child's like yeah yeah, and then they he
• 1:04:39
  makes a plan. He says he does it a lot. He does yeah
• 1:04:42
  a lot in this in this one, especially like I kept because Anna like
• 1:04:45
  We did an episode where like we listened to it and I was like,
• 1:04:50
  you're doing it so much. It's it's so annoying, and I'm like,
• 1:04:54
  and I had to edit them out a lot. So there's one episode that
• 1:04:57
  could have it. Actually, if if I left, it would have been
• 1:05:00
  really annoying. But but like he does do it a lot, is so
• 1:05:03
  much so that it is like a noticeable Bruce trade. Yeah, absolutely,
• 1:05:11
  so. Yeah, the kid goes down well be loving and to get the
• 1:05:15
  DVDs, and he doesn't know which DVD to get, which version of Heaven
• 1:05:18
  can wait to get, so he smartly takes both. Yeah he does.
• 1:05:21
  It's what I would do, but it never comes back. That was it
• 1:05:27
  code It was, But yeah, basically he Bruce makes a plan with Johnson
• 1:05:31
  Tucker to get a helicopter for them, but he has to meet them in
• 1:05:35
  the courtyard and he pretends like he wants half of the money so he can
• 1:05:41
  betray it, cries the tooth with the money. Loved that. Yeah,
• 1:05:44
  that was great smart Bruce. Yeah, but I liked that it was a
• 1:05:47
  reversal too that Ben Foster was like like, don't listen to him, I'm
• 1:05:53
  the leader. He fucks his plan of he bugs Bruce's plan of and he
• 1:05:57
  also like fucks it up by being a creepy to this girl, and like
• 1:06:01
  he's like really invested in this, Like it's like whoa dude, Like what
• 1:06:06
  to the point that when he does feel like kind of like betrayed by her,
• 1:06:12
  it really does you feel the weight of like it's like, well,
• 1:06:15
  this crazy kid does think that this young girl owes him something. Yeah,
• 1:06:18
  totally. And also also I love the kind of big dogging his little brother
• 1:06:26
  to like try and get him Ben Foster, to try and get him against
• 1:06:30
  Jonathan Tucker. But Jonathan Tucker is like, no, I want to be
• 1:06:34
  my brother is important to me, but also friends are important to me too.
• 1:06:40
  The brother's fate is so like Shakespearean to me, like that I was
• 1:06:48
  like so affected by that. I was like almost relieved when the older brother
• 1:06:54
  also died right after, because I was like, to see your brother die
• 1:07:00
  in such a horrible way. And he's like like, sorry, I know
• 1:07:02
  I'm jumping ahead, but like that moment when he's like when like, okay,
• 1:07:06
  we'll get to it. I'm sorry, I'm sorry, that's okay.
• 1:07:09
  I love the scene between Ben Foster and the young girl, her being like
• 1:07:15
  I'm not going with you dude. Like she kind of fucks up the plane
• 1:07:18
  too, but she doesn't know what's happening, right, Yeah, and Ben
• 1:07:21
  Foster, the reason he fucks up the plan is because he's so invested in
• 1:07:26
  her and she he's like imprinted on her and he she's like I'm not going
• 1:07:31
  with you. That he kind of flips out and is like I'm not going
• 1:07:34
  on this helicopter. It's a lie or whatever. Yeah. There he grabs
• 1:07:40
  her neck and like forces her against the wall. Man. It's like it's
• 1:07:44
  it's interesting because like I feel like a lot happens in this movie, but
• 1:07:47
  it feels very realistic, like sort of the way that an extreme situation could
• 1:07:53
  unfold in a way where it's like there's so many unpredictable factors that just like
• 1:07:59
  could and elementon and it all seems to be considered and it all does kind
• 1:08:02
  of happen weirdly. And I love when when he's like when he's like I
• 1:08:08
  thought you were the man in charge, damn the man, and he's like
• 1:08:12
  prove it. And then she Ben Foster is like still holding on to the
• 1:08:17
  girl and he's like leave or leave her behind. But then Bruce realizes that
• 1:08:23
  the plan is not going to go his way, and he's like this,
• 1:08:26
  this house belongs to a crudel. You have to leave, and is like
• 1:08:29
  telling you people who want to people want to like get his money, are
• 1:08:31
  gonna come and kill you. I don't believe you, know, he like
• 1:08:35
  rightfully doesn't believe him now, And like the kid's performance in this moment where
• 1:08:41
  he's like, there's such a palpable desperation and like sort of like I thought
• 1:08:45
  this was gonna be different, kind of like a tragedy in his eyes of
• 1:08:50
  like whoa dude, I'm in way over my head. Yeah, and and
• 1:08:56
  Bruce being like, you chose the wrong house on the wrong day, and
• 1:09:00
  and like him trying to the realization of that is huge because it's like it's
• 1:09:05
  almost existential, right, It's like fuck, And he's like, the only
• 1:09:10
  thing I lied to you about a smith being dead and he's like, he's
• 1:09:14
  not dead. That means you and your brother can beat all the other hard
• 1:09:17
  shit. I love that, like trying to like it's like lightening the load,
• 1:09:21
  but being realistic with him being like you're probably gonna go to jail,
• 1:09:26
  but you'll beat the beat all the hearts hard stuff. Yeah, and then
• 1:09:29
  when when he goes and he's like, I'm gonna turn around, and then
• 1:09:32
  he turns around and he shoots and you're like, oh no, did he
• 1:09:35
  shoot Bruce? But he just shot it on the air. And then Bruce
• 1:09:39
  turns around and they both they both they both get in. They they both
• 1:09:45
  go back in, but Kevin, the younger brother, wants to go with
• 1:09:47
  him, and he's like, you can come, you could come, and
• 1:09:50
  yeah, the dissenting Kevin was really tragic because like we also get a bunch
• 1:09:56
  of like human moments from Kevin. He's always the voice of reason. He's
• 1:10:00
  always like, hey, you're my brother. It's like always appealing to this
• 1:10:04
  guy of like in a way that you would often appeal to me. I
• 1:10:09
  was really touched by this brother. But this brother due and I really saw,
• 1:10:14
  I really saw the dynamic between the two of us, and like,
• 1:10:17
  because they do come from a traumatized household, yeah totally, and like they're
• 1:10:20
  both like they don't know, Like this guy's looking for a leader, doesn't
• 1:10:25
  know, and this guy has a leader and it's the older brother and it's
• 1:10:29
  so sad. It's like It's like it's like the worst way that something like
• 1:10:33
  this can go of like totally and also a very like real way of how
• 1:10:42
  it would go because it's like I'm a charge and it's like are you yeah
• 1:10:47
  exactly? Well yeah exactly, and and it's it's tragic what befalls the brothers.
• 1:10:55
  It is Shakespearean what befalls the brothers. But but but the way it
• 1:10:58
  all unfolds is like everybody's story gets this kind of like beautiful payoff that really
• 1:11:04
  informs the rest of the story. And it really like kind of is an
• 1:11:10
  emotional roll the coaster as you're going through, like what keeps happening in this
• 1:11:14
  movie? Like these like payoffs are really like personal. Yeah, totally.
• 1:11:17
  The kid comes what's his name, Jimmy comes down to grab the DVDs and
• 1:11:23
  he ends up grabbing a gun from the safe and he runs back into the
• 1:11:28
  the aliens. Where does he leave the DVDs? Does he leave the in
• 1:11:31
  the panic row like close to the panic room where the where the safe is
• 1:11:40
  so like when he left the DVDs there, I was like, no,
• 1:11:43
  what the fuck are you doing? Don't leave those DVDs? But he did
• 1:11:45
  actually kind of have a plan with that, like he left them there for
• 1:11:48
  when he knew he was going to come back there. Yeah, totally.
• 1:11:50
  And then Ben Foster goes to the cars to make like a bunch of Molotov
• 1:11:56
  cocktails and he like, yeah, he like sucks, which I always think
• 1:12:01
  is so gross, the like pushing the making the air pocket so that the
• 1:12:05
  hose will come secrete the take out the gas from the car. But the
• 1:12:12
  Molotov cocktails part was really cool because like the setup of it and then the
• 1:12:16
  payoff of it was was actually so rewarding. Yeah, totally, it felt
• 1:12:23
  it felt like Cape Fear. I was actually gonna mention that Ben Foster reminds
• 1:12:27
  me so much of Robert de niro y this. I think that somebody,
• 1:12:33
  I think Kay's described this movie as Last House on the Left meets Cape Fear.
• 1:12:38
  Interesting, and I think that that it's that's appropriate, Like it really
• 1:12:44
  felt like that, but but it felt like more, it felt more than
• 1:12:47
  it was. Yeah, Oh totally totally. Uh. And then Kevin has
• 1:12:51
  like a freak out and he's like man when when he's like you could choose
• 1:12:59
  me or that guy, I'm your brother, and then he like throws the
• 1:13:02
  money around and then Dennis slaps him and then tries to pull his belt off
• 1:13:10
  to punish him. In like obviously it's like, oh, this is what
• 1:13:15
  our dad did or whatever. Yeah, the perpetuation of the of the transgression
• 1:13:23
  onto like the brother It was like really like I was like, man watching
• 1:13:27
  this, it was really like I don't know, Yeah, I really imprinted
• 1:13:30
  onto these brother characters. And then when the other police chief is like,
• 1:13:36
  I don't think Bruce Willis is capable of doing this, and Bruce Willis freaks
• 1:13:41
  out at her and goes to almost killer, but he can't. He can't
• 1:13:46
  say anything because his family, his family is trapped. But just then some
• 1:13:53
  pretend FBI agents. I mean, I did not expect this to happen at
• 1:13:59
  all, but I kind of loved it. I was like, I mean,
• 1:14:00
  this is all is Bruce's problem in the moment, right, Yeah,
• 1:14:03
  totally. It makes sense too, because the guy who's running this operation and
• 1:14:10
  wants those discs like it means a lot to him, and he wants to
• 1:14:14
  speed up this process, so he's sending in reinforcements, one of which I
• 1:14:17
  think is supposed to be quotes from steroids. Yeah, it is cultoes from
• 1:14:21
  steroids and Ben ol Thorson in this movie did. But I really loved when
• 1:14:28
  he like hands him the photo of his wife and daughter just so that he
• 1:14:34
  knows immediately what who who they are dealing with. Yeah, and I mean
• 1:14:41
  it was really it was really cool. It was really cool, and it
• 1:14:44
  was well done. It's like a really creative movie. And Bruce Willis as
• 1:14:49
  a guy who's like very much like has to I act throughout the entire thing,
• 1:14:58
  he dialed it up. Yeah, he dialed it up for believability of
• 1:15:01
  the movie, like he was compensating for he knew that this movie wasn't that
• 1:15:06
  he needed to deliver so much for this movie to be good. And he
• 1:15:11
  did. He really did. Yeah, totally totally. And then like the
• 1:15:15
  sort of counterfeit fits that must be very expensive. Maybe they're real, maybe
• 1:15:23
  they're not. I love that those lines. The less than you know,
• 1:15:27
  the better for you. Well, and it kind of like stays throughout the
• 1:15:30
  movie because the audience doesn't know parts too, and it's like we're like shit,
• 1:15:34
  it's like, how is he going to be betrayed? Is he going
• 1:15:36
  to be betrayed? Like are these guys going to kill him? Is there
• 1:15:40
  is he going to get his family back. It's you know, we still
• 1:15:43
  don't know at this point. Yeah totally. And Ben Foster ties up the
• 1:15:45
  girl onto a bed, which is also like there's so many weird sexual stuff
• 1:15:53
  that goes on. They sexualize her in a way that is really interesting because
• 1:16:00
  I think it's through the eyes of him. Yeah, and there's a leering
• 1:16:03
  quality, but but her reaction to it diffuses it so much and brings it
• 1:16:09
  back to like, this is a little girl, you know what I mean?
• 1:16:11
  Like, yeah, totally, and like brings it to this place of
• 1:16:14
  like realism in a way that's like, well, this guy's got fucking problems
• 1:16:18
  and he's like acting like a total creep and like yeah, and she's like
• 1:16:24
  she's really under She's like, don't fucking touch me, but she's really under
• 1:16:29
  threatened. She's like super like trying to push back in every way that she
• 1:16:32
  can. Yeah, And he stabs the knife into the headboard or kind of
• 1:16:36
  like in a threatening penetrating way. Yeah, totally. And then Kevin gets
• 1:16:43
  left alone by his brother and is like, look, rich people, am
• 1:16:48
  I right? Are we friends again? I'm not gonna say sorry. There
• 1:16:54
  was a real that was also very realistic of like, come on, come
• 1:16:58
  on, dude, Yeah, come on, I see can I see?
• 1:17:00
  Yeah, there was that moment where he's like, can I like wants to
• 1:17:03
  show him gentleness yet, to show him that he loves him again, but
• 1:17:06
  he doesn't realize that he's actually betrayed his trust. Yeah, totally. And
• 1:17:11
  then Kevin goes upstairs where he sees encounters Ben Foster and he's like, it's
• 1:17:17
  done, We're done, we gotta go. But then Ben Foster freaks out
• 1:17:21
  and throws him over the balcony and he's like, just like so upsettingly starts
• 1:17:30
  dying in a way that like is so vulnerable, and like he is like,
• 1:17:36
  also, can I just say before before we like depart from this character,
• 1:17:40
  please, please just give me a moment before we depart from this character.
• 1:17:43
  He when he's the moment we didn't mention when he blocks eyes with Jimmy
• 1:17:48
  and he lets Jimmy go, he doesn't that Jimmy away, and he looks
• 1:17:53
  he looks at him directly in his eyes. But the smallness of him,
• 1:17:57
  the little brother in him, recognizes the little other in him, and he's
• 1:18:01
  like, I'm not gonna let you get bullied or taken advantage of it,
• 1:18:05
  and so he lets him go and there's this real like human moment so that
• 1:18:09
  when he dies, and he's dying in such an upsetting like he's like literally
• 1:18:13
  seizures and like his brother, who loves him so much, is his only
• 1:18:18
  person. He's like it comes to he's like he's shot. They shot him.
• 1:18:21
  They shot my brother. And he's like he's like and when he notices
• 1:18:26
  that, he's like he just looks up to him with such like desperation and
• 1:18:31
  sorry, I'm gonna cry again, and and he like looks up with him
• 1:18:34
  and like Ben Foster just like doesn't care, and what's his name? Is
• 1:18:40
  like, oh my god, you gotta do something. And Ben Foster's like
• 1:18:44
  I am doing something. It's just like and then he shoots the brother and
• 1:18:47
  like I was almost like relieved because I was just like fuck man, Like
• 1:18:51
  that's so that's so upsetting. I was like, how can they put that
• 1:18:57
  in a movie. It's like it's very like tragedy. It's like textbook tragedy.
• 1:19:01
  And yeah, I think the movie like like this is where like the
• 1:19:05
  movie I don't know, like it's interesting, it's it's it's a little sad
• 1:19:11
  for me to know that Bruce is canceled because like we just wouldn't get to
• 1:19:18
  discuss a movie like this with any of the other guys. Yeah, totally
• 1:19:21
  totally, and like yeah, like this movie is like it does such a
• 1:19:26
  good job and I kind of actually like that we're gonna end Bruce because people
• 1:19:31
  are gonna see what they missed out on with Bruce, and like this this
• 1:19:35
  movie is really cool, Like to have a like tragedy brothers seeing where brothers
• 1:19:42
  are like taken away from each other, like is truly I don't know,
• 1:19:48
  I don't know we have I don't think we've ever discussed anything like it.
• 1:19:51
  Well, like I mean that in the scene the little brother Jimmy whose name
• 1:19:57
  is Tommy, Tommy is cutting his sister out of the restraints, uh,
• 1:20:03
  and he's got the gun that that his dad owns, and the reversals here,
• 1:20:11
  like I had no idea what was going to happen, honestly, like
• 1:20:14
  where the sister is like and Tommy like puts the gun to Ben Foster and
• 1:20:25
  he's like, please shoot me. And there is a kind of like there
• 1:20:31
  is a kind of like will to die at this moment. He's like the
• 1:20:36
  kind of nihilism that only twenty fifteen Alex would have. I'm sorry. Yeah,
• 1:20:46
  but then one of the best parts happens, which is Ben Foster getting
• 1:20:50
  fucking stabbed in the face. I was like, amazing, amazing, this
• 1:20:55
  part was incredible. This part was incredible, Like the way that he kind
• 1:20:58
  of like like he doesn't expect it and like he's so shocked that she does
• 1:21:05
  it to him, and he feels betrayed in a way that like he was
• 1:21:10
  like I thought you loved me, like and it's like she never once gave
• 1:21:14
  you any indication that she did. You just believe it because you're like this
• 1:21:17
  like weird in cell guy. Yeah, he's such a weird in cell guy.
• 1:21:21
  And they escape through the tunnels but he, uh, Tommy drops sorry.
• 1:21:28
  This is like Vincent Gallo, dude, that's someone we didn't know vice.
• 1:21:30
  Yeah, he's got that kind of well, well, Foster likes Vincent
• 1:21:38
  gallow movie. He's definitely a Vinca Gallo fan. The thing that is different,
• 1:21:45
  You're right, he does. There is that kind of intensity. But
• 1:21:48
  the difference between Vincent Gallo and and Ben Foster is that Ben Foster is choosing
• 1:21:54
  to do things Vincy Gallo is playing up his own things, which is such
• 1:21:58
  true, that's true, but that's what that's Yeah, you're right, you're
• 1:22:01
  right. I think they're just more channeling the intensity. Yeah, it's all.
• 1:22:04
  Yeah, definitely. Visig Alo is a good actor, but he's like
• 1:22:11
  a very limited person. Oh, I mean, whereas Ben Foster, I
• 1:22:15
  think, is like making choices and is like making different choices for different characters,
• 1:22:20
  even though some of them overlap. Man and like, what an amazing
• 1:22:28
  way to go out in this movie. Like I just this kind of moment
• 1:22:33
  when he gets step in the face sets off a chain of events that's like
• 1:22:36
  really really activated in the moment and like really elevates sort of a bunch of
• 1:22:42
  different elements. Like Bruce is trying to rush to get there. He's on
• 1:22:46
  the phone with the kid after the kid finds the girl's cell phone, and
• 1:22:51
  like the kid drops the phone and Bruce hears the screaming, and he does
• 1:22:57
  like a face where he's like oh no, like he's getting murdered, and
• 1:23:00
  he's like, I just have to go inside right now. Like he's like
• 1:23:03
  I can't, I can't spare any second. I have to go inside right
• 1:23:08
  now. So he kind of goes in with that energy as the kid,
• 1:23:12
  and as both the kids are running through the air ducts and they're like yeah,
• 1:23:16
  they go through the air ducts, and like she gets grabbed by her
• 1:23:19
  leg by Ben Foster and she's like fucking kicking him in the face. Yea.
• 1:23:25
  And like there's a real sort of like almost like sadness to the vulnerability
• 1:23:30
  of like he's still also like just like this like sad kid, but like
• 1:23:33
  but like the like unhingedness is really human. He's really humanized. Like it's
• 1:23:39
  like it doesn't feel like he's just a monster. It feels like he's like
• 1:23:44
  still like a dumb kid that's now like driven to the point of like like
• 1:23:48
  like blind rage rape. Yeah. Yeah. And And what's also awesome is
• 1:23:54
  that how the in the beginning of the movie where Bruce runs down to try
• 1:23:59
  and say the kid in the first scene and it goes in slow motion and
• 1:24:02
  they have the attached the camera attached to him as as they follow him and
• 1:24:10
  he starts running down and Ben Foster uses the blood from his mouth to write
• 1:24:17
  burn it in in the window. After he smashes the two way mirror to
• 1:24:23
  see her, he like writes burn it on in Blood with a backwards R
• 1:24:27
  because he listens to Korn and because he's part of Russian Yeah, definitely.
• 1:24:33
  And then the like Bruce Drive just drives through the wall, through the gate
• 1:24:44
  and runs in and and Ben Foster starts fucking throwing Molotov cocktail. But dude,
• 1:24:48
  like, just like the way the scene looks, and like the way
• 1:24:51
  like in slow motion in post slight post production slow motion twenty five percent speed
• 1:24:57
  post production slow motion, it like kind of like the like the like shackles
• 1:25:01
  of the like or the squares of the like kind of additional armor of the
• 1:25:06
  house break off. Yeah, totally, And and there's this like real sort
• 1:25:11
  of like the house has been like it's the escalation, right, And the
• 1:25:15
  Molotov cocktails was such a cool chaotic touch because the fire is now an even
• 1:25:21
  more sort of like urgent element totally. And the fake FBI guys break into
• 1:25:27
  the house and it's just so intensely fiery, and they all they're looking for
• 1:25:32
  DV and now a main guy like catches Bruce and the kids who are now
• 1:25:41
  together they found each other. But also what I love is is fucking acab
• 1:25:47
  bed Foster flighting people cops on fire FBI. Yes, he does have.
• 1:25:54
  There is that kind of anarchic element to him. He kind of like is
• 1:25:58
  almost like, that's what it is, like they add an element of like
• 1:26:03
  they add an element of my politics that I like, No, that's not
• 1:26:06
  what I'm saying. I'm saying like they make him human in a way that
• 1:26:11
  like it seems like you know where this characters come from, even if you
• 1:26:15
  don't agree with anything he does. Yeah, totally. They give him like
• 1:26:19
  they give him enough backstory that justifies things for you. And it's really really
• 1:26:26
  awesome. And also the kid picks up the movies and he's like, I
• 1:26:30
  got your special movies. He's like, yeah, these special movies. And
• 1:26:33
  then the guy at the FBI agent surrounded by CGI fire in a glowing yellow
• 1:26:41
  that seemed almost like weirdly otherworldly. It was kind of cool. He's like,
• 1:26:45
  give me the DVDs and and and he gives them the DVDs and then
• 1:26:51
  and I was like, is he gonna give him one DVD? Like what's
• 1:26:55
  the point of the two, And there was actually no point to the two.
• 1:26:58
  He just gives it to him and they're burned. So I kind of
• 1:27:00
  think that was like a misdirect though, like I think it might have been
• 1:27:03
  a Red Herrings code. Maybe maybe I felt a little bit like, oh,
• 1:27:06
  they could have done something with it. But I love Ben Foster going
• 1:27:11
  through the events and then upside down shooting the FBI guy through the head.
• 1:27:17
  He's really he gets He also gets kind of like a weirdly hero moment because
• 1:27:21
  he is indirectly helping them from another danger, you know, totally. And
• 1:27:28
  then Bruce gets shot and Ben Foster comes out with two Molotov cocktails. After
• 1:27:34
  Bruce Willis gives the DVDs to the FBI agent and he just like fully like
• 1:27:44
  the FBI shoots the bottle and it sprays all over him and he like just
• 1:27:47
  gets lit on fire, and Bruce Willis just puts him medicine's misery. It's
• 1:27:51
  kind of an amazing ending. It's an amazing ending, and it's also like
• 1:27:56
  a very it's a very Shakespearean ending for this character too, to be like
• 1:28:00
  immolated self immolated totally because he tries to throw he throws the one bottle onto
• 1:28:08
  the money and he burns the money and then he looks at the he looks
• 1:28:13
  at the daughter in like uh, like the towel that she puts on her
• 1:28:18
  and he it's like a weird religious sort of thing, and he like drops
• 1:28:24
  to his knees and he just lets the bottle go. But I think there
• 1:28:30
  was that element of religion in this movie. There's like the hum of it
• 1:28:33
  because oh yeah, totally. In the beginning there's the reference to heaven and
• 1:28:36
  hell and like now they're surrounded by fire. It seems like very much like
• 1:28:42
  a prophecy fulfilling sort of thing. Yeah, it was like a really cool
• 1:28:45
  movie. It's like weirdly had so much scale for like how budget it was.
• 1:28:50
  Yeah, totally. And then Bruce shoots at the like water fountain thing
• 1:28:56
  and like puts out some of the fire and it was like a like an
• 1:29:00
  aquarium. Yeah, he kills a bunch of fishes. Bruce, exotic fish.
• 1:29:06
  My family survive. Yeah. They both have the comment though that there
• 1:29:11
  was there was also that humanizing line where like they have like a parallel sort
• 1:29:16
  of like rich people line, like they both sort of like fuck fuck you
• 1:29:20
  to riche people, like working class Bruce, but also arm of the law
• 1:29:26
  Bruce, Yeah, totally, and like believes in the arm of the law
• 1:29:30
  being but is also a libertarian and will sometimes take matters into his own ends
• 1:29:34
  because he's so capable that he's able to be meta good. Yeah, totally,
• 1:29:41
  totally. And then Bruce gets a call from the white phone at the
• 1:29:44
  end being like do you know how bad you fuck this up? You fuck
• 1:29:46
  this up? And he's like, shut up and listen, and he's like,
• 1:29:49
  this is Walter Smith and take control Ruth Kevin Pollock and he's like,
• 1:29:56
  no, what, Oh, can I just tell you what I realized?
• 1:30:02
  I just realized something. Yeah, Kevin Pollock is like forever indebted to Bruce.
• 1:30:08
  Oh yeah, I for okay, Okay, well we'll talk about that
• 1:30:11
  in a second. Okay. So he talks to them on the phone.
• 1:30:13
  So he talks to them on the phone. Yeah, and and then he's
• 1:30:15
  like, but not before he Bruce shows him that his kids are safe and
• 1:30:20
  alive. Yeah, he takes them to his kids, and you can see
• 1:30:25
  that, but far away takes them to his far away takes them to his
• 1:30:28
  kids, and they're like, Okay, now we're gonna go get my family.
• 1:30:32
  They have this like kakamamie plan that I do have this cockamabe plant,
• 1:30:36
  which they never explained to the audience. Which I loved. In fact,
• 1:30:41
  it's all visual amazing, Like Kevin Pollack is holding the picture of his two
• 1:30:47
  kids, the polaroid of of of his kid Rumor and the bad actor wife.
• 1:30:54
  She was so bad yeah, I mean she was just a woman on
• 1:30:59
  the phone in the movie, but totally. And then and then Kevin Pollack
• 1:31:03
  is like explaining how He's like, I don't know, I set up shell
• 1:31:06
  companies for them. I'm just the accountant. And Bruce Willis isn't really listening.
• 1:31:13
  He's just well, he wants to get his family back. He's like
• 1:31:17
  dead eyed driving to the next thing. He's like, my job's not done.
• 1:31:21
  Yeah, and he was just because the kids saved. It was never
• 1:31:25
  face to face, he says, and he puts down a gun. But
• 1:31:29
  this scene did make me think how I'm like a little bit less infested in
• 1:31:32
  the Bruce saying his family, Like I was like, oh, well,
• 1:31:35
  this family's safe. I don't know, like this is the story I was
• 1:31:39
  watching. These are characters I know, I don't really know. Rumor Willis,
• 1:31:42
  yeah, for sure. But then he makes this like weird contraption.
• 1:31:45
  He tapes the gun to the contraption was so like weirdly confounding because I was
• 1:31:50
  like, why why why? So he pulls in Kevin Pollock into this bar.
• 1:31:58
  I actually really like this scene as a scene because everybody's wearing kind of
• 1:32:02
  crappy Baliklava's Yeah. But what I love about the crappiness of B movies is
• 1:32:10
  that they're so low budget that they have to like kind of improvise and it
• 1:32:14
  makes it more real, totally good, like it kind of revives me.
• 1:32:17
  But this was a choice that that s Gregsallar made in Dragged Across Concrete where
• 1:32:24
  it's kind of a little bit low budget and crappy, but they used it
• 1:32:27
  to their advantage. When are we going to do for a few dollars more,
• 1:32:30
  dude, I mean we can do it next, dude. I'd be
• 1:32:32
  down man with with K's complete the trilogy of the movies I want to do.
• 1:32:38
  I want to If you guys want to become patrons, you can check
• 1:32:42
  out what we're talking about on collections. Go to Patreon on collections and you
• 1:32:45
  can find for a few dollars more, our mini dive into the movies of
• 1:32:50
  esc Greggsllar and our talks about right wing cinema, which we have like an
• 1:32:55
  interesting deep dive on on those episodes. Yeah, and Jane and Amanda are
• 1:33:02
  surrounded by people in Baliklava's Yeah, and and and this part it's scary because
• 1:33:15
  it feels very tense and unpredictable, like I have no idea what's going to
• 1:33:18
  happen, and like the reversals are so weirdly played out where I'm like,
• 1:33:29
  I don't like think this would happen, but it's kind of like crazy enough
• 1:33:32
  to work, you know what I mean, Like, yeah, totally,
• 1:33:35
  Like there's an element of like confusion that happens for everyone where I'm like,
• 1:33:42
  oh, that was what the plan was? Yeah, and like what's his
• 1:33:45
  name? Kevin Pollack is just repeating numbers and like where an account is,
• 1:33:53
  and you know, Kim Coates just talking to another person. Yeah, there's
• 1:34:00
  like an element of like Walter White confusion and just see where I'm like,
• 1:34:05
  Okay, I don't I don't know what's gonna happen next, but I guess,
• 1:34:09
  like I guess like something okay is good. I don't know, Like
• 1:34:14
  and like Bruce still has the gun to Kevin Pollack and then he's like all
• 1:34:20
  right, just just let them go none of us has senior faces. It's
• 1:34:25
  fine. The none of us has senior faces is like there's a real desperation
• 1:34:29
  to it. And then when Kim Cots, like when he releases Kim Coats
• 1:34:32
  from the contraption the tape Gun, Oh no, he releases Walter, he
• 1:34:38
  releases Oh not Kim Coats. Sorry, he releases Kevin Pollack. When he
• 1:34:42
  really when he releases Kevin Pollack from the tape Gun and he like pushes him
• 1:34:45
  forward, and Kevin Pollack is like, what are you doing? You see
• 1:34:49
  my face? Kill him? Kill him? I'm the main guy. I'm
• 1:34:53
  the main guy. He main guys them. And then I was just like
• 1:34:59
  when he' shoots the brains out of Kim Coates, I was like, holy
• 1:35:03
  shit, dude, yeah fuck yeah, Like it was like such a such
• 1:35:10
  a shocking reversal. It shocked me, Yeah, because I loved Bruce Willis
• 1:35:15
  being like panicked and putting his hands up and like playing as though he's like
• 1:35:20
  a kind of a wiener. Well, so that should be like a tip
• 1:35:26
  off to us, because he's never been a wiener in the movie. Should
• 1:35:29
  be a tip off to us that something's not right. But he checks that
• 1:35:32
  his daughter and wife are safe, and like they scream when they hear him.
• 1:35:38
  Yeah, and they're like he's like god, damn it, callum.
• 1:35:41
  And then Kevin Pollack shoots fucking Kim Coates. But then everybody starts to rush
• 1:35:47
  to Kim Coates and Bruce Willis shoots everybody. It's kind of crazy, kind
• 1:35:51
  of crazy. And then like they like they'd like kind of like, you
• 1:35:59
  know, slow walk away from an explosion to it. Yeah, totally,
• 1:36:02
  they like slowly walk out. But then Bruce Willis has like crazy eyes and
• 1:36:10
  he shoots Kim Coates like a bunch of times. It seems like a crime
• 1:36:15
  of passion. Dude. Yeah, it's like and then and then Bruce Willis
• 1:36:18
  goes to hug his his wife and daughter and like scream cries in the best
• 1:36:24
  crying that that we've ever seen. We've ever seen it, Like like there's
• 1:36:29
  this there's also I think the crying is like the release of everything that's also
• 1:36:32
  happened in the movie, so it makes it more profound. Yeah, and
• 1:36:36
  like because he's not just crying about saving his wife and daughter, He's crying
• 1:36:43
  about like like saving kids when he failed another kid, and like there's a
• 1:36:48
  real Redemption that we don't actually get the same amount of in the same movie
• 1:36:55
  of Mercury Rising. Yeah, no, totally. You know what I mean,
• 1:36:58
  Like this is a better Murcury It is a vetter Mercury Rising. And
• 1:37:00
  he's so traumatized. He's so traumatized that he's so traumatized it's like, oh
• 1:37:06
  no, like this is not none of this is okay. And like he's
• 1:37:12
  that level of traumatized that he understands Ben Foster. Yeah, he secretly silently
• 1:37:17
  understands Ben Foster, but he feels bad for him because he's like, he
• 1:37:23
  just didn't have a good role model. I needed to be your role model.
• 1:37:28
  Well kind of it feels like that, right, It feels almost like
• 1:37:30
  sixth sensy too, like he failed a kid. Yeah, it's a lot
• 1:37:34
  of Bruce like making it up to the little kid in himself failing a kid.
• 1:37:41
  Bruce taps into like a kid thing. I think, So, actually,
• 1:37:45
  I think you're right. I've never thought about that. Yeah, the
• 1:37:47
  kid like man in many ways, like these movies really get to me on
• 1:37:53
  like a level that none of the other movies that we've talked about get to
• 1:37:56
  me. You know, Yeah, totally, because he has these moments with
• 1:38:00
  brothers with like with sadness, the sadness of life, you know. Yeah,
• 1:38:05
  yeah, and that's what I feel like this like movie really captures.
• 1:38:09
  Yeah, totally. What do you what do you give it? Out of
• 1:38:12
  ten? Are we done? Are we? Are we done? Is that
• 1:38:15
  it? That's the end of the movie. Yeah, they go off and
• 1:38:16
  they leave for some reason, they leave Kevin Pollock there I guess because he's
• 1:38:21
  still a bad guy high. No, he comes out and he's the driver.
• 1:38:26
  He drives, he drives them. Yeah, that's the weird reveal because
• 1:38:30
  like they kind of what they do is amazing. Actually I should say this.
• 1:38:33
  The ending of the movie is they slow walk out. Bruce Willis doesn't
• 1:38:38
  get into the driver's seat. Instead, a faceless figure that's walking like a
• 1:38:44
  fourth figure is walking out. We don't get that it's revealed that it's Kevin
• 1:38:47
  Pollack. Yet he's walking and he walks towards the driver's side of the car,
• 1:38:53
  but that it focuses still on Bruce Willis as he's going into the ambulets.
• 1:38:57
  And then the ambulance starts driving off and it slowly pans down and softly
• 1:39:01
  shows Kevin Pollock drive and then just glides away. Did you notice that very
• 1:39:10
  subtly points because because I'm like, does it want to leave some doubt in
• 1:39:14
  our mind? Or what is it trying to do? I don't know.
• 1:39:17
  It's a bizarre choice though, right, it's a bizarre choice. It's it's
• 1:39:21
  a movie full of bizarre choices. But I really liked it. I really
• 1:39:28
  liked it too. I really liked it a lot. It was definitely definitely
• 1:39:31
  a strong, strong red heat. Yeah yeah, oh like it was like
• 1:39:39
  just I didn't I didn't expect this. Yeah, yeah, what about you?
• 1:39:46
  I mean, I don't remember liking it this much when I saw it.
• 1:39:50
  I think I only saw it like once when it came out, or
• 1:39:55
  maybe a couple of times on TI. Man, it's such a TMN movie.
• 1:40:00
  And Anna's enjoyment of it. Anna's enjoyment of it specifically indicated to me
• 1:40:05
  that it would be a good Serbian movie. Oh yeah, you know,
• 1:40:09
  it's definitely like got that vibe to it, like it's very like because that's
• 1:40:14
  a good movie. Like I was like, very much, like that's a
• 1:40:16
  good movie in a way that She's like, I've seen movies like this is
• 1:40:19
  Serbia. That's a good movie. Yeah, totally, one hundred percent.
• 1:40:23
  It was very cute, but I would definitely give it like a seven point
• 1:40:27
  five. It was definitely like really yeah, oh, I would give it
• 1:40:30
  an a point five, give it an eight point five. Yeah, I
• 1:40:33
  was even gonna give it a nine. I lowered it because you said seven
• 1:40:36
  point five. I was gonna give it a nine because hear me out,
• 1:40:39
  it's not perfect. We all know it's not perfect, but it's so it
• 1:40:43
  so earns that nine because it's so supersedes itself. Like to have a movie
• 1:40:47
  where like convulsing brothers and like a brother gently saying to him, we've only
• 1:40:53
  known that guy for three weeks. Like I just including that level of like
• 1:40:57
  vulnerability in a movie is like so so magical and like and so like such
• 1:41:02
  like a thing that audiences deserve to see, you know, Like you're right
• 1:41:08
  because audiences do, like honestly, like movies don't have like weird contrivances like
• 1:41:15
  that anymore. It's gone, it is, It is completely gone because people
• 1:41:19
  get confuse. The people get confused because they think they have to know everything
• 1:41:25
  about it exactly exactly, and it doesn't have to be. It's so nice,
• 1:41:30
  it's so nice to see. It's so nice to see like little moments
• 1:41:34
  like that and like sad moments of Like That's why I kept harping on Ben
• 1:41:38
  Foster's character having so much redeemability, because that's something that the movie does really
• 1:41:44
  well, and it's like it communicates really well like this like humanness of Like
• 1:41:47
  I understand every perspective in this movie because I see the movie from everyone's perspective.
• 1:41:54
  Yeah, and also, despite some of it being outrageous, most of
• 1:41:58
  it was like pretty realistically compelling. I think they tried to make some of
• 1:42:02
  the outrageous stuff to make up for like the to give it a wow pop
• 1:42:08
  factor. Yeah. So it does feel a little camp, which kind of
• 1:42:11
  cheapens it, but it also like it makes it better than itself. It
• 1:42:15
  kind of like helps it supersede itself in the same way that other focal points
• 1:42:24
  would be heightened in the S. Craigsolar kind of way. There are just
• 1:42:30
  different focuses on this. It reminds me of an S. Cregslar movie.
• 1:42:33
  It totally does like budget in the same way where it's like, wait,
• 1:42:38
  why is this like weirdly realistic house? Yeah, Like the like in it
• 1:42:45
  does feel like the extremeness of an s Craggslar movie. Yeah, like what's
• 1:42:49
  it called in a Brawlin cell Block ninety nine, where it's like they just
• 1:42:53
  shot in a house that was like a house they rented that looks like our
• 1:42:58
  house, especially very weird looking house in this movie too to feature it also
• 1:43:02
  felt very much like good location scouting. Yeah, totally. I think a
• 1:43:06
  lot of that might have been a set. Though interesting, I think that
• 1:43:10
  stuff might have been a set anyway, follow us set. Wait, we
• 1:43:14
  didn't give it Bruce's And also I was going to say, we didn't give
• 1:43:16
  mister Glass any Samuel Els or Bruce's, so I feel like we need to
• 1:43:20
  make up for that. I would give this movie a nine. I would
• 1:43:23
  give it also like a ten out of ten. Bruce's. I think it's
• 1:43:27
  like deserving, Like I think the reason the movie gets a nine is because
• 1:43:30
  of Bruce, very strongly because of Bruce and some of the other performances.
• 1:43:33
  I would give it a ten out of ten. That little kid, I
• 1:43:35
  would give it a ten out of ten. That little girl, I would
• 1:43:39
  give it a ten out of ten. Like, like everyone was like showed
• 1:43:44
  up so much for this movie except for the wife of Bruce Willis, who
• 1:43:48
  who did like she did it like I think a two. I think I
• 1:43:54
  would give her a two and I've never seen anything she's in and I don't
• 1:43:57
  know who she is. I would give Samuel Jackson ten out of ten in
• 1:44:01
  Mister Glass, Mister Glass too. He was so good in that movie.
• 1:44:05
  He was so good. He played thirty nine really well. He played thirty
• 1:44:09
  nine really well, and like he played an incel thirty nine really well.
• 1:44:13
  Dude, totally. And Bruce Willis, I would give him like ten out
• 1:44:16
  of ten chads in that movie because he's like such an ultimate chad in that
• 1:44:20
  movie. He Bruce did such a good job. What an interesting movie Unbreakable
• 1:44:27
  was. Yeah, Bruce did a really good job being unbreakable unbreakable but also
• 1:44:32
  like a dumb guy saving the world. Well that's what I mean. But
• 1:44:38
  being a clever guy in this movie and making up for dumb guy Bruce Man,
• 1:44:42
  it just shows you the kind of levels that Bruce is working on.
• 1:44:45
  And I would give this movie a ten out of ten. Bruce's I think,
• 1:44:48
  And he did a lot of eye acting. He did a lot of
• 1:44:51
  like we're getting you know, we're giving a lot of tens across the board,
• 1:44:57
  But I think it's deserving. Dude, Samuel Owell in that movie He's
• 1:45:01
  He's I think he's like maybe gotten the most consistent ten out of ten record.
• 1:45:06
  Say, I think we've given every movie that he's ever been in that
• 1:45:11
  we've talked about ten out of ten. Samuel Jackson. Yeah, I mean,
• 1:45:14
  yeah, he deserves it. He deserves it. Pretty he's pretty ten
• 1:45:17
  out of ten in most movies, except he's always the best part of every
• 1:45:21
  movie he's in. But then he became a parody of himself. Well that
• 1:45:26
  that's always the problem of like motherfucking thinks on a motherfucking plane is like,
• 1:45:30
  you know, like to write a movie based around like imagining a line,
• 1:45:35
  meming a line into existence is like it's not metamodern enough, you know,
• 1:45:42
  it's like just stupid. It's it's postmodern. Yeah, it's late postmodern.
• 1:45:47
  Yeah, and nobody likes late postmodern. Nobody likes elder millennial postmodel. Yeah,
• 1:45:51
  totally. Only only the conservatives are just found out about postmodernism metamodernism.
• 1:45:58
  Dude, it's gonna be amazing when they realize how PEPPI is being used.
• 1:46:02
  Yeah, yeah, pretty much Peppy came back though, No, Pep,
• 1:46:08
  that's what I'm saying. Peppe came back into metamonism. Yeah, he got
• 1:46:11
  reappropriated from the from the Nazis, from the Nazis because the Nazis aren't smart
• 1:46:17
  enough. No, they're never smart enough, and they're never they're never gonna
• 1:46:21
  win because they're just not well, it's just such an untenable panicked everyone,
• 1:46:29
  the actionaryone, the exactly position that it's like part of the reason those those
• 1:46:33
  kinds of things fail. It happens with the fucking the psycho communists to where
• 1:46:40
  it's like everybody's against everybody. Everybody who's vying for power wants to I mean,
• 1:46:45
  and we all know about the U shape and like how things can revert
• 1:46:49
  and become into like the same thing of authoritarian kind of thinking or like but
• 1:46:55
  like yeah, it's it's, it's, it's whatever. Like it's like,
• 1:46:58
  it's it is. But it's interesting, like seen through a movie like this,
• 1:47:03
  where like this movie just humanizes so many different perspectives and shows us different
• 1:47:14
  perspectives in a way through like the chaos of life, like by just making
• 1:47:19
  these characters like fully fleshed out. Yeah, it was a bold movie got
• 1:47:25
  to bring back Jonathan Tucker, like his like kind of cry face acting when
• 1:47:30
  he was like just he was so vulnerable, and the little brother was such
• 1:47:34
  a vulnerable little brother. And both little brothers were such vulnerable little brothers.
• 1:47:40
  And like the girl and like her like realistic teenager, like overitness, but
• 1:47:45
  also like what the fuck are you doing? Like also Art Lafier was in
• 1:47:51
  another Alum. I would give that little girl ten out of ten. I
• 1:47:56
  would give ten out of ten to Rumor Willis who who did a good job.
• 1:48:01
  She did do She did do a good job. She she didn't do
• 1:48:03
  much, but she did a good job. She did better than the mom
• 1:48:08
  who was the worst. Yes, she was all right. So follow us
• 1:48:12
  at thirty four more percents on Instagram and guys, I think the crown jewel
• 1:48:18
  of them all is the Patreon, where you can listen to thoughtful episodes like
• 1:48:24
  the s Craig Zoler series for a few dollars more. And also you can
• 1:48:29
  like listen to us talk about I don't know, we just get thirsty for
• 1:48:33
  more there, you know, like it's it's we have like a bunch of
• 1:48:36
  stuff behind the paywall, a bunch of mini dives a bunch of different kinds
• 1:48:42
  of seasons, and uh, if you guys are thirsty for more, join
• 1:48:45
  us there, support us there. I think I'm gonna turn ads off.
• 1:48:49
  Dude. Yeah, I like enough times now things that I don't like and
• 1:48:57
  agree with in principle have been advertised there, like carbon capture and storage,
• 1:49:01
  which is a greenwashing solution to like it's like a it's the Red Herrings codes
• 1:49:11
  of climate change. It's like what they're saying is like an offset a bunch
• 1:49:15
  of shit so that we buy ourselves some more time with fuel. And so
• 1:49:19
  yeah, it's like a kind of like not proven, not great technology that's
• 1:49:25
  meant to obfuse gate, And it was just being advertised on our show.
• 1:49:31
  And I don't agree with that. I don't agree with that. I don't
• 1:49:33
  think that that's right, and I don't think that. I also don't think
• 1:49:39
  that Alberta and Alberta's energy it wasn't like an oil company is trying to like
• 1:49:48
  basically, the province of Alberta took out an ad to against the federal government
• 1:49:57
  nationally and they've been advertising on our show too, to be like, do
• 1:50:01
  you want your energy bills to triple? And quadruple. They're like fear mongering
• 1:50:06
  basically, like they're trying to make people think that the carbon tax is something
• 1:50:14
  that is going to make everyone's lives more expensive. And it's also just trying
• 1:50:19
  to scare politicians into making a bunch of like concessions for climate gains in a
• 1:50:29
  very nihilistic attempt to continue to prop up the oil and gas industry. So
• 1:50:35
  I just feel like, I don't that's not a part of my principles.
• 1:50:42
  I don't want that advertised on our show. On our program, we have,
• 1:50:47
  you know, some principles. And yeah, I just don't think that
• 1:50:54
  that's cool. So you heard it here first, see you next week.
• 1:51:00
  And I mean, I don't know, do you have anything to say to
• 1:51:03
  add to that, and and and and and and mhm.