Latest / Table Read / Featuring: Filmspotting Podcast | Spider-Man: Brand New Day, Everybody to Kenmure Street, The Samurai and The Prisoner

Transcript

Featuring: Filmspotting Podcast | Spider-Man: Brand New Day, Everybody to Kenmure Street, The Samurai and The Prisoner · Table Read

• 0:21
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• 0:45
  Speaker 2: What kind of a show you guys putting on here today?
• 0:48
  Speaker 3: You're not interested in art?
• 0:49
  Speaker 2: Now?
• 0:50
  Speaker 1: No, Look, we're going to do this thing.
• 0:51
  Speaker 2: We're going to have a conversation.
• 0:55
  Speaker 1: From Chicago. This is film Spotting.
• 0:57
  Speaker 2: I'm Josh Larson and I met him Kempinar. You don't
• 1:00
  Speaker 2: remember me, but we used to know each other.
• 1:03
  Speaker 3: Something bad was going to happen, and the only way
• 1:05
  Speaker 3: to stop it was to.
• 1:06
  Speaker 2: Make everyone forget about me. Because I'm not just Peter Parker.
• 1:13
  Speaker 2: I'm spider Man. After a five year hiatus, Tom Holland's
• 1:19
  Speaker 2: Peter Parker is back in spider Man. Brand New Day.
• 1:22
  Speaker 2: Movie fans missed their Spidey Josh.
• 1:25
  Speaker 1: Apparently, Brand New Day had a huge opening weekend at
• 1:29
  Speaker 1: the box office. We've got a review plus thoughts on
• 1:32
  Speaker 1: everybody to kenmure Street and the Samurai and the Prisoner.
• 1:36
  Speaker 1: That more ahead on film spotting.
• 1:45
  Speaker 2: Welcome to film Spotting. Later in the show, Josh, we'll
• 1:48
  Speaker 2: discuss a new documentary that would fit in nicely with
• 1:51
  Speaker 2: our current dissident cinema marathon. Everybody to Kenmure Street. It's
• 1:56
  Speaker 2: about a collective active civil disobedience that took place in
• 1:59
  Speaker 2: a Scottish neighborhood back in twenty twenty one. Was this
• 2:01
  Speaker 2: a movie that was being talked about at all while
• 2:04
  Speaker 2: you were in Scotland recently?
• 2:06
  Speaker 3: Oh?
• 2:06
  Speaker 1: Hugely, and I intended to go see it. Intend to
• 2:09
  Speaker 1: see it in Glasgow, where it's set. I think it
• 2:13
  Speaker 1: might have premiered at a festival there, but yeah, the
• 2:15
  Speaker 1: timing didn't work out. Finally did catch it here in Chicago.
• 2:19
  Speaker 2: Okay, we will give that a few minutes. You also
• 2:21
  Speaker 2: caught up with the latest from Pulse and Cure director
• 2:24
  Speaker 2: Kiyoshi Kurrasawa. The sixteenth century Japan set The Samurai and
• 2:29
  Speaker 2: the Prisoner is the movie. I've seen your star ratings,
• 2:31
  Speaker 2: so I know you're going to recommend it. In fact,
• 2:35
  Speaker 2: I'm going to steal your thunder a little bit here.
• 2:37
  Speaker 2: Your your blurbis plays like something Agatha Christy might have written,
• 2:40
  Speaker 2: after binge watching a bunch of Akira Kurrasawa, I'm in.
• 2:44
  Speaker 1: I mean sounds great, right, and it works. It works.
• 2:47
  Speaker 1: This is a really good movie.
• 2:49
  Speaker 2: Yeah.
• 2:50
  Speaker 1: I'll get more into that in a bit.
• 2:52
  Speaker 2: Also later in the show, Everybody's favorite segment Massacre Theater.
• 2:56
  Speaker 2: A reminder that Film Spotting is available as a video podcast.
• 3:00
  Speaker 2: You can watch us talk over at YouTube dot com
• 3:03
  Speaker 2: slash film Spotting up. First Spider Man, Brand New Day.
• 3:07
  Speaker 3: Doctor Banner, you found a way to suppress mutating DNA?
• 3:10
  Speaker 2: Right have you seen them with this off run?
• 3:16
  Speaker 3: So?
• 3:16
  Speaker 2: Could you get rid of the bad aspects but keep
• 3:18
  Speaker 2: the good?
• 3:18
  Speaker 1: How would you decide what parts of that you're our
• 3:21
  Speaker 1: good or bad?
• 3:23
  Speaker 3: Well?
• 3:24
  Speaker 2: Sorry about that, you're not one of my students.
• 3:26
  Speaker 3: Sorry.
• 3:28
  Speaker 2: From two thousand and two Spider Man up to Brand
• 3:30
  Speaker 2: New Day, we've witnessed ten standalone Spider Man films and
• 3:34
  Speaker 2: four very different Spider Men. Yes, to keep things simple,
• 3:37
  Speaker 2: I'm only going to dip a toe into the multiverse.
• 3:40
  Speaker 2: In the Sam Raimi films, Toby Maguire carried a palpable sadness,
• 3:44
  Speaker 2: was socially awkward, and constantly overwhelmed by responsibility. He was
• 3:49
  Speaker 2: also deeply sincere Andrew Garfield was more restless, emotional and
• 3:54
  Speaker 2: tragically romantic. There were moments watching The Amazing Spider Man
• 3:58
  Speaker 2: two in preparation for our top five Spider Man scenes. No,
• 4:02
  Speaker 2: none of those scenes made the cut in which I
• 4:04
  Speaker 2: was sure Garfield was intentionally channeling James You're tearing me apart,
• 4:08
  Speaker 2: Dean Garfield. Spidery yearns. He also quips a lot who
• 4:13
  Speaker 2: can forget a god named Sparkles Tom Hollands. Peter is
• 4:17
  Speaker 2: the most believable as a teenager. He's insecure and sure,
• 4:21
  Speaker 2: but also the most determined to prove himself and optimistic,
• 4:25
  Speaker 2: at least until this latest MCU installment, which finds him
• 4:29
  Speaker 2: without his girlfriend or best friend and buckling under the
• 4:32
  Speaker 2: pressure of focusing on being Spider Man full time. In
• 4:35
  Speaker 2: the animated films, Miles Morales voiced by Shamik Moore isn't
• 4:39
  Speaker 2: wrecked with guilt and grief the way his predecessors are,
• 4:43
  Speaker 2: displaying more of an easy going warmth and confidence as
• 4:46
  Speaker 2: he seeks to fulfill his potential. Josh, before seeing Brand
• 4:50
  Speaker 2: New Day, I had never forced myself to consider what
• 4:53
  Speaker 2: exactly I wanted from a Spider Man movie or a
• 4:55
  Speaker 2: Spider Man. But my response to the recent entry did
• 4:59
  Speaker 2: prompt an answer. How about you? Last week, debating the
• 5:02
  Speaker 2: current Film Spotting poll, you said that Spider Man was
• 5:05
  Speaker 2: the definitive Spider Man movie, even though Into the Spider
• 5:09
  Speaker 2: Verse might be the better Spider Man movie. I don't
• 5:13
  Speaker 2: think you're necessarily upside down out on a ledge with
• 5:15
  Speaker 2: that opinion. So is the earnestness maguire offers about your
• 5:22
  Speaker 2: ideal web slinging speed or are their DNA strands of
• 5:26
  Speaker 2: all these spiders that would make the perfect Spider Man?
• 5:30
  Speaker 2: And did Holland director Dustin Daniel Cretin and Brand New
• 5:34
  Speaker 2: Day design you something close.
• 5:38
  Speaker 1: There's definitely distinguishing characteristics among all of them, as you
• 5:42
  Speaker 1: laid out, and I think that's to their credit and
• 5:44
  Speaker 1: as much as each of these movies work as well
• 5:46
  Speaker 1: as they do, I'm glad to see you're still recovering
• 5:50
  Speaker 1: from the shock of how bad Amazing Spider Man two.
• 5:53
  Speaker 2: It's so bad, it's literally the worst one, right, It's.
• 5:56
  Speaker 1: Going to follow you for a long long time. You know,
• 5:59
  Speaker 1: this is a question I sort of asked myself for
• 6:01
  Speaker 1: our Top five Spider Man scenes list. Is trying to
• 6:04
  Speaker 1: get a handle on the essence of the character and
• 6:06
  Speaker 1: what I responded to, what I've responded to most about it.
• 6:10
  Speaker 1: It was interesting, Adam. Since then I listened to Movie Deathmatch,
• 6:15
  Speaker 1: the film Spotting show pairing Spider Man two against into These,
• 6:21
  Speaker 1: and on that episode, Matt Singer spent a lot of
• 6:25
  Speaker 1: time talking about how Peter Parker is so tortured, He's
• 6:30
  Speaker 1: continually wrestling with his identity and trying to balance the
• 6:35
  Speaker 1: job of being a teenager and the job of being
• 6:38
  Speaker 1: Spider Man, and how it just makes him one of
• 6:42
  Speaker 1: the most He was talking about how Sam Raimie's the
• 6:44
  Speaker 1: streak of sadism and Ramie fit this character, you know,
• 6:47
  Speaker 1: because he's one of the most beleaguered Spider Man characters.
• 6:50
  Speaker 1: And I thought, huh, that makes a lot of sense,
• 6:53
  Speaker 1: But it's not at all what I really talked about
• 6:56
  Speaker 1: on our list in terms of what I've always responded to,
• 6:59
  Speaker 1: which was we touched on his friendliness and his youth.
• 7:04
  Speaker 1: You know that this is one of the superheroes who is,
• 7:08
  Speaker 1: for most iteration, as a teen and even as a
• 7:12
  Speaker 1: superhero clad in his costume, someone who the neighborhood knows
• 7:17
  Speaker 1: and feels like they have a relationship with, So I
• 7:20
  Speaker 1: think that's where I lean now to get us to
• 7:22
  Speaker 1: Brand New Day. What does that mean for the iterations
• 7:25
  Speaker 1: we've seen in these movies? And I do think Maguire
• 7:30
  Speaker 1: I appreciate the friendliness, the earnestness that he has there.
• 7:33
  Speaker 1: What I have always liked about Tom Holand though, is
• 7:35
  Speaker 1: that teen aspect that you just touched on, and it
• 7:38
  Speaker 1: goes beyond Holland as Peter Parker. It's the movies up
• 7:42
  Speaker 1: until now that we're very much teen movies, high school movies.
• 7:47
  Speaker 1: We've touched on this many times. Spider Man Homecoming was
• 7:50
  Speaker 1: a high school movie first, a Spider Man movie second.
• 7:53
  Speaker 1: I think that's to its credit, and we have something
• 7:57
  Speaker 1: different here with Brand New Day that actually tests my
• 8:01
  Speaker 1: personal appeal to the character. Necessarily it has to. This
• 8:05
  Speaker 1: is the fourth Hotland movie. He can't be a teenager forever.
• 8:09
  Speaker 1: The actor has grown up, as has the character, and
• 8:13
  Speaker 1: I was relieved to see that this Spider Man handles
• 8:18
  Speaker 1: that well. Do I miss the tea teenager, the high
• 8:21
  Speaker 1: school Peter Parker. I do, But at least the movie
• 8:25
  Speaker 1: embraced and leaned into the reality that this Peter Parker
• 8:28
  Speaker 1: is now in his twenties, facing some of these more
• 8:31
  Speaker 1: angst ridden questions that Matt Singer talked about and has
• 8:35
  Speaker 1: always liked about the character unique to me in your twenties,
• 8:38
  Speaker 1: changing relationships, uncertain futures, particularly what this means for his
• 8:44
  Speaker 1: relationship with MJ Zendeia here and the two of them
• 8:49
  Speaker 1: get a lot of scenes together working through this. I
• 8:52
  Speaker 1: joked when I wrote about A Brand New Day that
• 8:54
  Speaker 1: it's the eternal sunshine of the spotless mind of Spider
• 8:57
  Speaker 1: Man movies, because right it begins with their memories erased,
• 9:01
  Speaker 1: Ned's memory his friend and MJ their memories erased of
• 9:05
  Speaker 1: Peter Parker as Spider Man, and so that gives a
• 9:09
  Speaker 1: lot of emotional room once he reconnects for them to
• 9:12
  Speaker 1: play out these questions of what it's like to be
• 9:14
  Speaker 1: in your twenties, questions of identity, allegiance, independence, and these
• 9:21
  Speaker 1: moments are nicely played by the two actors. So I
• 9:25
  Speaker 1: think it diverts from what I've always liked about Spider Man.
• 9:28
  Speaker 1: But does it well enough that I appreciated it went
• 9:31
  Speaker 1: that way? Does it mean it's a great Spider Man movie. Well,
• 9:36
  Speaker 1: we'll get into We'll get into that and cover some
• 9:39
  Speaker 1: of the other many many many many many many many
• 9:41
  Speaker 1: many many, many many things this movie does.
• 9:44
  Speaker 2: Maybe in a bit, okay, we it sounds like want
• 9:49
  Speaker 2: or like different types of Spider Men, but ultimately feel
• 9:55
  Speaker 2: the same about what works here. So I love your flexibility, Josh. Okay,
• 9:59
  Speaker 2: even though I also do think based on the many, many, many,
• 10:03
  Speaker 2: all the caveats you just provided, I think I like
• 10:06
  Speaker 2: this film more than you did, and I want to
• 10:11
  Speaker 2: mention here that I even though during our top five
• 10:14
  Speaker 2: I alluded to a scene and picked a scene that
• 10:18
  Speaker 2: Matt Singer in that movie Death Match, which had mentioned
• 10:22
  Speaker 2: from Sam Raimi spider Man two, I knew that he
• 10:26
  Speaker 2: talked about that scene, but I actually hadn't heard that
• 10:29
  Speaker 2: episode until we were putting the final production touches on
• 10:34
  Speaker 2: that episode over this weekend after I had seen Brand
• 10:37
  Speaker 2: New Day. So listening to Matt talk about Spider Man
• 10:42
  Speaker 2: and Peter Parker and getting into some of the tortured
• 10:48
  Speaker 2: psyche stuff that you were just referencing was incredibly validating
• 10:52
  Speaker 2: for me in terms of my response to Brand New Day.
• 10:56
  Speaker 2: Going through this whole exercise after seeing the film, putting
• 11:00
  Speaker 2: our top five Spider Man scenes together, looking at my
• 11:04
  Speaker 2: mostly wanting ratings for the three previous Holland movies. I
• 11:09
  Speaker 2: don't think I'm with you that it's a plus that
• 11:12
  Speaker 2: their high school movies first. Yes, catching up with my
• 11:16
  Speaker 2: lone blind spot watching the Amazing Spider Man two, where
• 11:20
  Speaker 2: I was minded of the overly quippie as I mentioned
• 11:25
  Speaker 2: comedic sensibility of Garfield Spider Man, and yes, I look
• 11:29
  Speaker 2: back and found this because I remember getting the emails,
• 11:32
  Speaker 2: and they're there from people saying, not necessarily, all of
• 11:35
  Speaker 2: our listeners who wrote in loved the movie, but they said, oh,
• 11:37
  Speaker 2: you're wrong, Adam. That's that's spider Man. That's true spider Man,
• 11:40
  Speaker 2: that's who he is in the comic book. They got
• 11:42
  Speaker 2: that right. Okay, I didn't love it on screen. I
• 11:46
  Speaker 2: can now report though, after all of this, I know
• 11:51
  Speaker 2: Creton directed Shang Chi too, but it checks out that
• 11:55
  Speaker 2: the guy who made Short Term twelve, a pretty heavy
• 11:59
  Speaker 2: movie about counselors at a care unit for at risk teens,
• 12:04
  Speaker 2: would make my favorite Spider Man movie in this series. Apparently,
• 12:09
  Speaker 2: the more bergmanesque my Spider Man movies are the happier
• 12:13
  Speaker 2: I am. I like my Spider Man torture. That's the
• 12:17
  Speaker 2: caveat for my review for anybody listening, that's how I like,
• 12:21
  Speaker 2: That's how I must prefer my Peter Parker's more on
• 12:25
  Speaker 2: the sad bastard side, with with Raymie's maguire and with
• 12:30
  Speaker 2: with Tom Holland here and as we said that that is,
• 12:35
  Speaker 2: we can say I'm going to trust Matt Singer, having
• 12:38
  Speaker 2: written the book about it, written a book about Spider Man,
• 12:41
  Speaker 2: that that is. That is something that is core to
• 12:44
  Speaker 2: Spider Man. One of the best exchanges in that death match,
• 12:48
  Speaker 2: if you listen to it, where they're talking about Spider
• 12:50
  Speaker 2: Man two and Spider Verse, is when Matt said, I
• 12:53
  Speaker 2: think a reason that he resonates in every form with
• 12:56
  Speaker 2: people is getting back to how frankly miserable he is
• 13:00
  Speaker 2: as a person. Part of that is his loneliness. He's
• 13:03
  Speaker 2: a lonely character. And Matt goes on to say, I'm
• 13:06
  Speaker 2: going to paraphrase that. A lot of thirteen year old
• 13:08
  Speaker 2: boys they read the comic as Matt did, and you
• 13:14
  Speaker 2: you connect with this character who is lonely. And the
• 13:19
  Speaker 2: way Matt Matt framed it was you feel like nobody
• 13:22
  Speaker 2: understands you. You're a weirdo, you're a nerd, you're a dweeb,
• 13:26
  Speaker 2: You're different. This Peter Parker hasn't like others, hasn't just
• 13:34
  Speaker 2: tried to move on. Is trying and failing to move
• 13:37
  Speaker 2: on from MJ, trying to move on from other people
• 13:40
  Speaker 2: in his life. You know, Aunt May is gone here
• 13:43
  Speaker 2: of course too, but he's pressed the nuclear button to
• 13:48
  Speaker 2: ensure that they they've completely forgotten him, that they don't
• 13:51
  Speaker 2: even know he exists. As far the eternal struggle for
• 13:56
  Speaker 2: Peter Parker and Spider Man of work life balance, there's
• 14:00
  Speaker 2: no work life balance here. It's all work and it's
• 14:04
  Speaker 2: completely destroying him as he's just focused on saving the world.
• 14:08
  Speaker 2: And I thought, I thought the central metaphor of Peter
• 14:13
  Speaker 2: rather than undergoing puberty but transforming into adulthood, this new
• 14:19
  Speaker 2: stage of the Spider life life cycle. I thought it
• 14:22
  Speaker 2: was really effective and inspired in a way, tying together
• 14:26
  Speaker 2: his mental and physical stru struggles directly with his DNA,
• 14:31
  Speaker 2: his Spider, his Spider DNA. Now there is one major
• 14:35
  Speaker 2: butt here that I have a feeling we're going to
• 14:37
  Speaker 2: get to, which is the water this movie has to
• 14:40
  Speaker 2: carry for the MCU. But beneath the MCU obligations and
• 14:45
  Speaker 2: superhero spectacle lies something surprisingly heartfelt the Spider Man movie
• 14:49
  Speaker 2: about loneliness and the struggle to be an adult. I'm
• 14:53
  Speaker 2: even surprised to say that I not only had a
• 14:56
  Speaker 2: really good time watching Brand New Day, it got a
• 14:59
  Speaker 2: little dusty in the theater. A few times. I've sitt
• 15:01
  Speaker 2: there thinking, what's going on. I'm watching a Spider Man
• 15:04
  Speaker 2: movie and feeling this way. So, yeah, I'm pro Brand
• 15:08
  Speaker 2: New Day.
• 15:09
  Speaker 1: I think that's still PTSD from Amazing Spider Man Too.
• 15:12
  Speaker 2: You were just so relieve, set the bar so low.
• 15:15
  Speaker 1: There was a good New Spider Man movie that you
• 15:18
  Speaker 1: just started crying. It could be JO totally understand. Yeah,
• 15:23
  Speaker 1: so we are looking for different things. But like I said,
• 15:28
  Speaker 1: that doesn't mean if a movie does the thing I'm
• 15:30
  Speaker 1: not looking for, well, I don't want to recognize that
• 15:34
  Speaker 1: we've got. It's just like we've got so many brooding,
• 15:36
  Speaker 1: tortured superheroes, and you know, I think, to me, Batman
• 15:40
  Speaker 1: has this corner on Lockdown, so a little variation on it,
• 15:46
  Speaker 1: a character who offers something completely different. That's why I'm
• 15:49
  Speaker 1: more drawn to the teen, little bit lighthearted though still
• 15:54
  Speaker 1: having conflict Spider Man here. Adam, Yes, it is as
• 15:58
  Speaker 1: you say, the water it has to carry for the MCU,
• 16:01
  Speaker 1: which I've made my deal with the Devil from I
• 16:04
  Speaker 1: don't know, maybe the third entry that that's part of this.
• 16:07
  Speaker 1: In some ways, I appreciate that. It's very much like
• 16:10
  Speaker 1: the lived experience of reading comic books, where you're always
• 16:15
  Speaker 1: aware of multiple worlds going on around the one storyline
• 16:20
  Speaker 1: you read. So I don't hold this against these movies
• 16:24
  Speaker 1: across the board. It is a matter of proportion for me, sure,
• 16:28
  Speaker 1: and honestly it's a matter of if I am locked
• 16:32
  Speaker 1: into the movie doing something on its own terms, with
• 16:35
  Speaker 1: its own narrative quite well, that MCU better get out
• 16:41
  Speaker 1: of the way because your movie does not need it.
• 16:44
  Speaker 1: And then it is nothing less than an intrusion. And
• 16:48
  Speaker 1: I feel that's what we get here on multiple levels.
• 16:52
  Speaker 1: We're gonna have to avoid spoilers. We will avoid spoilers.
• 16:56
  Speaker 1: If we decide we want to talk about it near
• 16:58
  Speaker 1: the end of this, maybe I'll say more Right now.
• 17:00
  Speaker 1: I will just say that this needs to open up
• 17:04
  Speaker 1: another franchise in the megamol of the MCU, and not
• 17:07
  Speaker 1: only do that, but spend probably its last third doing it.
• 17:12
  Speaker 1: I feel it's pretty egregious. I realize they try to
• 17:17
  Speaker 1: make thematic connections between how that works and Peter's story.
• 17:22
  Speaker 1: I recognized the attempt. I just found it to be
• 17:24
  Speaker 1: incredibly ungainly, where all of a sudden I didn't feel
• 17:27
  Speaker 1: like I was watching a Spider Man movie at all
• 17:29
  Speaker 1: for quite a bit of time. A non spoiler thing
• 17:33
  Speaker 1: we can discuss, because I'd like to hear how this
• 17:36
  Speaker 1: character registered for you.
• 17:38
  Speaker 2: Punisher.
• 17:39
  Speaker 1: The Punisher Punisher depending on the iteration here, played by
• 17:44
  Speaker 1: John Bernhal, has already been in some MCU, showed up
• 17:48
  Speaker 1: on TV shows.
• 17:50
  Speaker 2: I just this.
• 17:51
  Speaker 1: Character I've never really liked. I have seen the two
• 17:55
  Speaker 1: thousand and four for Thomas Jane movie, which I'm sorry
• 17:58
  Speaker 1: I think I did give I might have given a
• 18:01
  Speaker 1: positive review to in my memory, but the character, I
• 18:06
  Speaker 1: remember it being sadistic and violent. And maybe I've just
• 18:10
  Speaker 1: seen what over twenty years more of such characters. The
• 18:16
  Speaker 1: proliferation and hijacking of the Punisher character, let's say, by
• 18:21
  Speaker 1: segments in American society, and really concerning ways. I do understand,
• 18:26
  Speaker 1: having seen that original you know film and knowing something
• 18:29
  Speaker 1: about the comic book, I understand there's a distinction between
• 18:32
  Speaker 1: how this character was conceived and depicted and how he's
• 18:37
  Speaker 1: used on I don't know, you know, the really annoying
• 18:41
  Speaker 1: car that probably just cut you off on the freeway
• 18:43
  Speaker 1: and someone gave you the middle finger, and they've got
• 18:45
  Speaker 1: the Punisher d kel on the back. I understand there's
• 18:48
  Speaker 1: a distinction there. Still, I have become less enthralled with
• 18:53
  Speaker 1: this character over the years, and I think the use
• 18:56
  Speaker 1: here is just brutal all of a sudden, This Spider
• 18:58
  Speaker 1: Man movie, which is about agility, dexterity, swinging on webs,
• 19:03
  Speaker 1: comes down to machine guns. And I like to think
• 19:06
  Speaker 1: a moment with an errant bullet is meant to be
• 19:09
  Speaker 1: self critical in a wry way that's trying to comment
• 19:13
  Speaker 1: on gun violence. I don't think it is, but it
• 19:17
  Speaker 1: made me realize what I've long disliked about The Punisher.
• 19:20
  Speaker 2: And I think it's just a really.
• 19:23
  Speaker 1: Brutal element that drags down this.
• 19:27
  Speaker 2: Movie quite a bit. Hell, French, who just hit me
• 19:30
  Speaker 2: with a band? Break suit yourself, motherfuck go home. I
• 19:44
  Speaker 2: have no feelings about the Punisher in terms of baggage
• 19:48
  Speaker 2: I'm bringing to the film, which is a great position
• 19:51
  Speaker 2: to be in it. Similarly is how I feel about,
• 19:56
  Speaker 2: honestly the MCU overall, and and the characters. I'll get
• 20:00
  Speaker 2: into this in a second. When I talk about how
• 20:02
  Speaker 2: I responded to the water the movie was caring for
• 20:06
  Speaker 2: the MCU, I'm only responding to how the Punisher functions
• 20:11
  Speaker 2: within this film, okay, and I would largely agree with you.
• 20:17
  Speaker 2: I give them credit for providing some balance here. And
• 20:24
  Speaker 2: what I mean is I know enough about the Punisher
• 20:26
  Speaker 2: to understand that the character, at least this current iteration
• 20:30
  Speaker 2: that Burnhall has given us in the various whatever series
• 20:34
  Speaker 2: he's done. I know enough to understand that he puts
• 20:37
  Speaker 2: the mature in for mature audiences and that they had
• 20:42
  Speaker 2: to be monitoring the number of swear words they could
• 20:45
  Speaker 2: put in his mouth to still get a PG. Thirteen
• 20:47
  Speaker 2: rating that they got here. So where I give them
• 20:51
  Speaker 2: credit is that they inserted him into this world without
• 20:55
  Speaker 2: feeling like he makes absolutely no sense at all, like
• 20:59
  Speaker 2: they had to they had to completely sand down his
• 21:02
  Speaker 2: rough edges. M hm. You know, I said, Peter is
• 21:07
  Speaker 2: a is a bit of a sad bastard here, but
• 21:09
  Speaker 2: it's nothing like the pain even here that that Burnfall
• 21:15
  Speaker 2: infuses Punisher with, even when you just look at him.
• 21:19
  Speaker 2: So with that said, something is just off when Punisher
• 21:26
  Speaker 2: when Punisher is one of your key comedic figures in
• 21:30
  Speaker 2: the movie, When when Punisher and and and Peter Park,
• 21:33
  Speaker 2: when spider Man's banter, when they're their odd ball odd
• 21:38
  Speaker 2: couple relationship is giving you some of the more comedic
• 21:41
  Speaker 2: parts of the movie. And and beyond that, I didn't
• 21:44
  Speaker 2: necessarily think that any of the action scenes that that
• 21:48
  Speaker 2: they were in together were highlights of the movie.
• 21:50
  Speaker 1: I just shooting guns. It's the most unimaginative action you
• 21:54
  Speaker 1: can have.
• 21:54
  Speaker 2: So yeah, yeah, I'm with you on that. Now as
• 21:57
  Speaker 2: far as the other characters, we agree on the MCU part,
• 22:03
  Speaker 2: but we don't necessarily I don't know if we see
• 22:07
  Speaker 2: eye to eye on a certain on a certain element
• 22:09
  Speaker 2: of it. And to go back to what you said,
• 22:11
  Speaker 2: of course, I wouldn't complain about the MCU sprawl unless
• 22:15
  Speaker 2: the MCU sprawl was a distraction from the narrative, especially
• 22:19
  Speaker 2: when the narrative is otherwise for me functioning pretty well.
• 22:23
  Speaker 2: And here again, I'm not invested in the MCU. I'm
• 22:28
  Speaker 2: not anticipating any characters who may or may not appear.
• 22:31
  Speaker 2: I don't know what movies might be coming, so I'm
• 22:34
  Speaker 2: just I'm just watching this narrative unfold and taking what
• 22:37
  Speaker 2: it gives me, and through the first I don't know
• 22:39
  Speaker 2: what it is, twenty or so minutes of the movie,
• 22:42
  Speaker 2: I'm fully engaged. This is going great. And then Peter
• 22:46
  Speaker 2: says something like or Spider Man says something like I
• 22:51
  Speaker 2: need some information, and I think I know who can
• 22:54
  Speaker 2: help me. And that's not the line, but I wish
• 22:56
  Speaker 2: it was a significantly better line. And the next thing
• 23:00
  Speaker 2: you know, he's in a bathhouse talking to Florence Pugh's
• 23:02
  Speaker 2: black widow. I don't know if you found this scene offensive.
• 23:07
  Speaker 2: I wouldn't say it was offensive, Josh, but I will.
• 23:10
  Speaker 2: There's a reason why I'm bringing it up. I can't
• 23:12
  Speaker 2: say it serves no purpose for the plot. He finally,
• 23:15
  Speaker 2: I think, if I remember it, right as he leaves,
• 23:18
  Speaker 2: he gets a word from her that that ends up
• 23:21
  Speaker 2: being important, even though he doesn't do anything with it.
• 23:24
  Speaker 2: So how important is it? But this scene ultimately is
• 23:28
  Speaker 2: there to be kind of a comedic distraction. Spider Man
• 23:32
  Speaker 2: has to take his clothes off and get a bath
• 23:35
  Speaker 2: with his mask on, and she has a little quip
• 23:37
  Speaker 2: at the end of it. I didn't find it very amusing,
• 23:40
  Speaker 2: and it really is. I assume otherwise to let let
• 23:44
  Speaker 2: us all, let let the MCU make sure that we
• 23:47
  Speaker 2: get Black Widow into this movie, because she's going to
• 23:50
  Speaker 2: be important to some other MCU movie down the line.
• 23:53
  Speaker 2: It's set up, and she shows up later in the
• 23:55
  Speaker 2: movie via a laptop, and and and it's it's another
• 23:59
  Speaker 2: joke which again doesn't really land. And the last one
• 24:03
  Speaker 2: that I'll give you is another example, of course, is
• 24:05
  Speaker 2: Peter going.
• 24:07
  Speaker 1: To see Real Quick? Yeah you cried. I laughed, Okay,
• 24:13
  Speaker 1: I thought it was funny. Him getting in the bath
• 24:16
  Speaker 1: wearing his mask still made me laugh. I like her
• 24:19
  Speaker 1: comment about how it's to the Spider Man character. You know,
• 24:23
  Speaker 1: he deals in what does she say, small baby potato stuff?
• 24:26
  Speaker 2: Yeah, and they I don't mind that line.
• 24:28
  Speaker 1: This this is see this is a cameo like this
• 24:31
  Speaker 1: from another MCU character. If the material is good and
• 24:36
  Speaker 1: takes up forty five seconds to a minute and a half,
• 24:39
  Speaker 1: I'm okay with So.
• 24:40
  Speaker 2: That's longer for me. It's longer than that. But I'll
• 24:43
  Speaker 2: give you an example of one that could work that
• 24:46
  Speaker 2: one doesn't got for me. One that can work is
• 24:48
  Speaker 2: when Peter goes to see doctor Professor Bruce Banner because
• 24:55
  Speaker 2: narratively the information that he gets from him is hugely
• 25:00
  Speaker 2: important to the story. And I was engaged enough at
• 25:03
  Speaker 2: this point that I thought, now, this, this is nice,
• 25:06
  Speaker 2: this makes sense. This is nice to see Mark Ruffalo
• 25:09
  Speaker 2: in this movie. And of course he would of course
• 25:12
  Speaker 2: he would seek out Bruce Banner to get this information.
• 25:17
  Speaker 2: Who else would know this. This isn't shoehorning in in
• 25:21
  Speaker 2: anything that's ten. But then what is this setting up?
• 25:26
  Speaker 2: We know what it's setting up. A whole lot of
• 25:28
  Speaker 2: chaos and destruction, some well shot chaos and destruction, but
• 25:32
  Speaker 2: a whole lot of chaos and destruction and probably some
• 25:34
  Speaker 2: other things that are come that are going to come
• 25:37
  Speaker 2: down the road. It could have worked, It could have
• 25:39
  Speaker 2: functioned nicely and been and been the kind of effective
• 25:42
  Speaker 2: cameo that I think it could have been. But that's
• 25:45
  Speaker 2: but the first example for me of Black Widow is
• 25:48
  Speaker 2: an example of a distraction. And then the second one
• 25:53
  Speaker 2: that I'm just describing is then like actually gobbling up
• 25:57
  Speaker 2: narrative by by putting the Hulk in the movie.
• 26:00
  Speaker 1: And we Hulk cinematic technology still has not arrived. I'm sorry,
• 26:06
  Speaker 1: Like when when we get those action scenes, I don't
• 26:09
  Speaker 1: I don't think they're they're bad, but they still are
• 26:13
  Speaker 1: not as convincing even of other digital characters and effects.
• 26:17
  Speaker 1: We get there's something particularly difficult, difficult about Hulk as
• 26:20
  Speaker 1: a character, as a visual character that I keep hoping
• 26:24
  Speaker 1: they'll crack. Someday. They probably will, maybe maybe not. Maybe
• 26:27
  Speaker 1: this is just too strange of a visual to ever
• 26:30
  Speaker 1: convincingly depict on screen. But we do end up getting
• 26:34
  Speaker 1: a fair amount of Hulk here too. And yeah, I
• 26:36
  Speaker 1: just don't think the visuals are there yet.
• 26:38
  Speaker 2: Okay, least last little part of the MCU, just the
• 26:41
  Speaker 2: least closing bit, because here again we're we see it
• 26:45
  Speaker 2: the same way we I think, we just disagree slightly
• 26:48
  Speaker 2: slightly on how effective it is. And we won't we
• 26:51
  Speaker 2: won't get into spoilers because apparently this is a very
• 26:53
  Speaker 2: protected thing, but it's not protected or it's very well
• 26:57
  Speaker 2: known that Sadie sinc is in this movie. And there
• 27:02
  Speaker 2: is where all this MCU stuff leaves us. Is it
• 27:06
  Speaker 2: leaves us with, at some point or to some extent,
• 27:09
  Speaker 2: a compromised movie that's that's trying to do justice to
• 27:13
  Speaker 2: Peter's arc but also do Marvel business. And even though
• 27:17
  Speaker 2: after this big fight scene happens, and there's some resolution,
• 27:22
  Speaker 2: even though it doesn't feel over by any means. You
• 27:25
  Speaker 2: can't help but think. I'm speaking for myself, but I
• 27:29
  Speaker 2: have to imagine a lot of people were feeling similarly. Wait,
• 27:33
  Speaker 2: if this is where we're going, we still have a
• 27:37
  Speaker 2: lot of story left to get to, and and sure enough,
• 27:43
  Speaker 2: where we're getting is a lot. There's a lot to resolve.
• 27:47
  Speaker 2: But also it's very clearly setting up more MCU storylines
• 27:51
  Speaker 2: and more around a very key character. But you spoke
• 27:55
  Speaker 2: to this, you said that I see how it's connecting
• 27:58
  Speaker 2: to Peter and his story. I would say, beyond that, Josh,
• 28:02
  Speaker 2: the emotional beats, the actual scenes and the way it connects,
• 28:07
  Speaker 2: and the performance that that that that actress gives and
• 28:12
  Speaker 2: how she interacts with Tom Holland, I think it's very
• 28:15
  Speaker 2: effective and I think for all of its sprawl, I
• 28:18
  Speaker 2: think that I think the screenplay is at least quite
• 28:21
  Speaker 2: coherent and it does all connect, even if ultimately it's compromised.
• 28:27
  Speaker 1: Yeah, I think she's quite good. I'm gonna be delicate here.
• 28:31
  Speaker 1: I think she's quite good in those scenes you're describing.
• 28:34
  Speaker 1: I think the movie earlier asks her to do something
• 28:38
  Speaker 1: and carry a presence that she's not quite as equipped
• 28:43
  Speaker 1: to do, and so it's a performance of two sides.
• 28:46
  Speaker 1: For me, that gets better, or the screenplay gets better.
• 28:50
  Speaker 1: Perhaps is a different way of looking at it. I'll
• 28:54
  Speaker 1: say that about that character, and I just wish maybe
• 28:58
  Speaker 1: the movie hadn't been given over quite so much to
• 29:02
  Speaker 1: that character in certain sentences, because, as we both said
• 29:05
  Speaker 1: now thematically, it does connect interestingly, so Sadie sink Yes
• 29:09
  Speaker 1: from Stranger Things. This movie does give a lot of
• 29:13
  Speaker 1: really good supporting TV actors, some juicy supporting roles here
• 29:18
  Speaker 1: Tremelle Tillman from Severance, mister Milchick and Severance. I thought
• 29:22
  Speaker 1: he has some good scenes. It's a thankless part, but
• 29:25
  Speaker 1: he carries like enough of a presence to it that
• 29:29
  Speaker 1: you know what you're getting the whole time.
• 29:31
  Speaker 2: See, that's like how he gave it to us. That's
• 29:36
  Speaker 2: the thing. I won't I won't dance around it, or
• 29:38
  Speaker 2: I won't I'm sorry, I will dance around it, but
• 29:39
  Speaker 2: I will simply say that I don't think the movie
• 29:43
  Speaker 2: is trying to fool you. At the same time, if
• 29:48
  Speaker 2: everybody sitting in the theater immediately knows what we know
• 29:52
  Speaker 2: about that character, how doesn't Peter Parker slash Spider Man. Know, sure,
• 29:58
  Speaker 2: it's a hole in the movie for me and and
• 30:00
  Speaker 2: and I I can't help but think then that it's
• 30:02
  Speaker 2: slightly a weakness in Tilman's performance too.
• 30:06
  Speaker 1: It's also a bit of typecasting because on severance, he's
• 30:11
  Speaker 1: let's say, he's a kindly duplicitous character. So it's kind
• 30:16
  Speaker 1: of being carried in. Now, what's not being carried in anything?
• 30:19
  Speaker 1: I don't think from The Bear, which you know I
• 30:23
  Speaker 1: finally finished up recently, but Liza Colonzeis plays Tina and
• 30:27
  Speaker 1: the Bear, one of the best characters on on that series,
• 30:30
  Speaker 1: and here she's the police commissioner or a lead detective
• 30:34
  Speaker 1: and has some nice back and forth with Peter and
• 30:38
  Speaker 1: speaks directly to this workaholic element of the film. I
• 30:41
  Speaker 1: like that they include. I think in each of her
• 30:44
  Speaker 1: scenes we see her, she's also with her kids, either
• 30:47
  Speaker 1: eating with them or riding the subway with them, which
• 30:49
  Speaker 1: is just speaking to this dynamic of work life family
• 30:52
  Speaker 1: work balance that Peter is struggling and that she's kind
• 30:56
  Speaker 1: of demonstrating. So yeah, it's just interesting that you've got
• 30:59
  Speaker 1: three well known TV actors popping up here and The
• 31:03
  Speaker 1: other thing I want to say to this movie is credit.
• 31:04
  Speaker 1: You mentioned Kret and the director who did do shun
• 31:08
  Speaker 1: Chi and the legend of the Ten Rings, which I
• 31:10
  Speaker 1: really love. Happened to think it's one of the best
• 31:12
  Speaker 1: MCU films, probably because it's self contained. Like Spider Man
• 31:16
  Speaker 1: home Coming, largely was here.
• 31:19
  Speaker 2: The action.
• 31:20
  Speaker 1: You know, I've said what I said about Punisher Hulk,
• 31:24
  Speaker 1: mileage is going to vary. There is an excellent and
• 31:28
  Speaker 1: it is also like shang Chi, largely martial arts based
• 31:31
  Speaker 1: showdown with the hand. This group of you know, villain's
• 31:36
  Speaker 1: adversaries for Spider Man, basically ninja types and these red
• 31:41
  Speaker 1: robes and they use swords, and the way that's staged
• 31:44
  Speaker 1: within it's like a cage match because it's in this
• 31:48
  Speaker 1: atrium where the levels have fencing all along them. I
• 31:52
  Speaker 1: thought that was quite thrilling, inventively staged, and also makes
• 31:58
  Speaker 1: use of that Spider Man DNA changing element, so ties
• 32:02
  Speaker 1: into some of the themes as well. I know people
• 32:05
  Speaker 1: have become and they are right to feel this way
• 32:08
  Speaker 1: we read by MCU action. I think that sequence is
• 32:12
  Speaker 1: one of the standout action films in the series.
• 32:16
  Speaker 2: I was going to say, we're completely aligned down to
• 32:22
  Speaker 2: not surprisingly because it's a pretty common word, the use
• 32:24
  Speaker 2: of the word thrilling in our notes. There is a
• 32:26
  Speaker 2: fight sequence, and it's that one that's near the end
• 32:29
  Speaker 2: of the film that has to be one of the
• 32:31
  Speaker 2: most thrilling and most memorably shot and edited in all
• 32:35
  Speaker 2: of the MCU. It's that it is that good. And
• 32:39
  Speaker 2: if we're talking about performances, I do have other things
• 32:41
  Speaker 2: I want to praise about this movie. If we're talking
• 32:44
  Speaker 2: about performances, I think this is maybe Holland at his
• 32:50
  Speaker 2: best because he brings he still does get to bring
• 32:55
  Speaker 2: the elements that we associate with him from the other films,
• 33:00
  Speaker 2: but he does get to stretch out a little bit,
• 33:03
  Speaker 2: and he doesn't play what he does well here. The
• 33:07
  Speaker 2: smart choice he makes is is that he doesn't play
• 33:09
  Speaker 2: Peter as somebody all of a sudden with an edge.
• 33:13
  Speaker 2: That's never the sense I got. He really plays him
• 33:16
  Speaker 2: as someone who's just struggling, as someone who seems to
• 33:20
  Speaker 2: really have depression, and I felt that from him. I
• 33:25
  Speaker 2: also think Zendeia Josh, I'm gonna at some point, I'm
• 33:30
  Speaker 2: going to stop beating the dead horse. But here, one
• 33:33
  Speaker 2: of the trailers, maybe the last trailer before Brand New
• 33:36
  Speaker 2: Day was Dune three, of course, and there's only one
• 33:40
  Speaker 2: shot of her in the entire trailer, and it's her
• 33:43
  Speaker 2: making the Zendeia face that filmmakers insist on having her make.
• 33:47
  Speaker 2: And it couldn't have gotten me less excited to see
• 33:50
  Speaker 2: Dune three. And so then we go into Brand New
• 33:53
  Speaker 2: Day and we watch her opposite Holland and she is
• 33:58
  Speaker 2: effortlessly charming. She's funny, she has great chemistry with him.
• 34:03
  Speaker 2: And in a scene where she gets to do some
• 34:08
  Speaker 2: I suppose small level capital A acting and show her
• 34:11
  Speaker 2: darker side, she absolutely delivers. I'm always amazed that she's
• 34:17
  Speaker 2: really good when she actually actually gets to play people.
• 34:21
  Speaker 2: It's crazy.
• 34:21
  Speaker 1: It's a chance. Yeah yeah, I mean we're on record
• 34:24
  Speaker 1: from Challengers to other stuff. She's one of our best
• 34:28
  Speaker 1: working actresses. But you're right about how some filmmakers choose
• 34:32
  Speaker 1: to use her. I can imagine a game of haven't
• 34:35
  Speaker 1: seen doing three obviously, but based on the other films,
• 34:38
  Speaker 1: shot from The Odyssey or shot from Doune, and it's
• 34:41
  Speaker 1: just on his face and the costuming. They also put
• 34:44
  Speaker 1: her in, right, It's like you have to decide which
• 34:47
  Speaker 1: is which. I think it would be harder than you
• 34:48
  Speaker 1: might guess. I think she's great here. She's always given
• 34:53
  Speaker 1: I mean, that same sort of unpredictability and spark and attitude,
• 35:00
  Speaker 1: but also you know, enough vulnerability that she had in
• 35:03
  Speaker 1: something like Challengers. She's bringing here appropriately and makes the
• 35:08
  Speaker 1: use of quite a few scenes, you know, a good
• 35:10
  Speaker 1: use of quite a few scenes that she and Holland
• 35:12
  Speaker 1: get together. Holland, I agree with everything you said about him,
• 35:15
  Speaker 1: and I would add that he's also still funny, and
• 35:17
  Speaker 1: I think that is key. I think you know you're right.
• 35:20
  Speaker 1: This is not Spider Man, you know, goes dark and brooding.
• 35:26
  Speaker 1: It doesn't quite go to that Batman territory. It is
• 35:28
  Speaker 1: distinct in that way. And in addition to the bathhouse scene,
• 35:32
  Speaker 1: I like the recurring bit where you know, this is
• 35:35
  Speaker 1: a Peter Parker who's kind of grossed out by spiders,
• 35:39
  Speaker 1: and I think that you know that you and then
• 35:42
  Speaker 1: the Tom Hollands sells those well. And the fact that
• 35:45
  Speaker 1: you know this part of the lower being played with
• 35:48
  Speaker 1: here is part of his changes is now the web
• 35:50
  Speaker 1: spinnerets become organic for him rather than mechanical, and the
• 35:54
  Speaker 1: fact that his reaction is is to be like utterly
• 35:57
  Speaker 1: grossed out, like he suddenly discovered a bizarre growth on
• 36:00
  Speaker 1: his body. I just think it's you know, he plays
• 36:02
  Speaker 1: that sort of comedy really well and brings that element
• 36:06
  Speaker 1: to the film as well, which I think is a
• 36:08
  Speaker 1: crucial component of it.
• 36:09
  Speaker 2: I agree, I agree, he is still he is still funny,
• 36:12
  Speaker 2: and the movie also still takes advantage of the element
• 36:16
  Speaker 2: he brings that none of the other ones do, which
• 36:18
  Speaker 2: is his physical agility. There's a lot of physical comedy
• 36:22
  Speaker 2: in this movie, without a doubt. So a couple other
• 36:26
  Speaker 2: things during the death Match, Matt said something that one
• 36:29
  Speaker 2: other thing that was so in sync with something I
• 36:33
  Speaker 2: loved in this film, and I wonder if you had
• 36:35
  Speaker 2: a similar reaction. There's a part in that exchange in
• 36:39
  Speaker 2: Deathmatch where he's taught he's talking about the video game,
• 36:43
  Speaker 2: the Spider Man two video game. Now I know nothing
• 36:45
  Speaker 2: about any of the Spider Man video games, but Matt
• 36:49
  Speaker 2: says something like it was the first time the game
• 36:52
  Speaker 2: was an open world game where you could swing around
• 36:55
  Speaker 2: as much as you want and you had objectives in
• 36:58
  Speaker 2: places to go. But also part of the fun of
• 36:59
  Speaker 2: the game was you could just swing around Manhattan and
• 37:02
  Speaker 2: it looked as best as they could make it at
• 37:04
  Speaker 2: the time, and it gave you that feeling of freedom
• 37:06
  Speaker 2: and excitement and fluidity and movement and kinetic energy that
• 37:09
  Speaker 2: the movies have, which you could never get in even
• 37:11
  Speaker 2: the greatest Spider Man comic by Stan Lee and Steve
• 37:14
  Speaker 2: Ditko and John Romita and whoever else. As beautiful as
• 37:16
  Speaker 2: the artwork is, it is inherently a series of static panels.
• 37:20
  Speaker 2: So I think we touched on this a little bit
• 37:23
  Speaker 2: during our top five what attracted us to Spider Man
• 37:26
  Speaker 2: in the first place as a superhero. It doesn't surprise
• 37:29
  Speaker 2: me at all to learn that part of the attraction
• 37:32
  Speaker 2: for many to this video game was, yes, it's a game,
• 37:36
  Speaker 2: and there are things you got to get to at
• 37:37
  Speaker 2: some point, things do accomplish and achieve, but you also
• 37:41
  Speaker 2: just get to swing around the city as Spider Man
• 37:43
  Speaker 2: is sure, and just have fun. That's what we all
• 37:46
  Speaker 2: want to do. And so here again about Holland, He's
• 37:49
  Speaker 2: always brought this physical dexterity, this balletic ability that neither
• 37:54
  Speaker 2: Maguire nor Garfield had, and you combine that with with
• 37:58
  Speaker 2: some genuine grace that the filmmakers here depict with some
• 38:03
  Speaker 2: of the flying scenes like when Spider Man is swinging swinging,
• 38:08
  Speaker 2: not flying swinging with MJ. Think about when he's bringing
• 38:11
  Speaker 2: her back and forth. There is a distinct rhythm to
• 38:16
  Speaker 2: the thwip and swings where it truly feels like their
• 38:20
  Speaker 2: share a dance together. And he's not only trying to
• 38:23
  Speaker 2: take things slow because he's trying to keep her safe
• 38:26
  Speaker 2: and not scare her. Maybe, but maybe he's also trying
• 38:29
  Speaker 2: to savor every second of this because he doesn't know
• 38:33
  Speaker 2: how many more chances he's going to get to hold
• 38:37
  Speaker 2: her or even you know, spend any time with her.
• 38:40
  Speaker 2: I loved those moments.
• 38:41
  Speaker 1: Well they're nicely handled too, because their relationship is different. Again,
• 38:46
  Speaker 1: won't spoil it, but the first couple swing, let's say
• 38:50
  Speaker 1: that they do, has a different possibility where the second
• 38:55
  Speaker 1: one there's a different reality now for their relationship. And
• 39:00
  Speaker 1: it's speaking to your observation about rhythms. Those are paced differently,
• 39:06
  Speaker 1: they are their performed differently, and I think that is
• 39:08
  Speaker 1: a nice little bit of nuance I absolutely thought of
• 39:11
  Speaker 1: during those sequences, you know, the Lowest Lane and Superman
• 39:16
  Speaker 1: flight from seventy eight, super absolute right, It's yes, it
• 39:20
  Speaker 1: works along the same lines, which is yeah, kind of
• 39:22
  Speaker 1: a nice callbacks. Speaking of callbacks, did you notice you know,
• 39:25
  Speaker 1: doing our Spider Man scenes? And you can't say this
• 39:29
  Speaker 1: is a ripoff because these movies have been borrowing from
• 39:31
  Speaker 1: the comics in each other since the beginning, But very
• 39:35
  Speaker 1: early on they do grab that upside down shot we
• 39:39
  Speaker 1: both picked for of course across the Spider Verse, and
• 39:43
  Speaker 1: they have Holland sitting upside down with the you know yeah,
• 39:47
  Speaker 1: and they even riff on the upside down kiss from
• 39:51
  Speaker 1: two thousand and two Spider Man where she Zendea gives
• 39:54
  Speaker 1: him MJ gives him a half mass kiss, pulls up
• 39:58
  Speaker 1: the mask to give him a kiss. So I think,
• 40:00
  Speaker 1: you know, again, those homages, let's call them, let's call
• 40:04
  Speaker 1: them nice homages.
• 40:05
  Speaker 2: Well, I think it's it's emblematic of something else in
• 40:08
  Speaker 2: the movie is doing well. Though, that I give Kretton
• 40:10
  Speaker 2: and his team a lot of a lot of credit
• 40:12
  Speaker 2: for is that I was really struck by, including the effects,
• 40:17
  Speaker 2: but just the overall visual athetic esthetic is that it
• 40:21
  Speaker 2: looks as good as any of the live action films do,
• 40:25
  Speaker 2: if not better. But they also seem to me Josh
• 40:28
  Speaker 2: in some instances subtly to find a way to integrate
• 40:31
  Speaker 2: some of the look and feel of the animated movies
• 40:34
  Speaker 2: in select sequences to give it a heightened realism in
• 40:39
  Speaker 2: a way that for me never really broke the spell
• 40:42
  Speaker 2: like they give it. They incorporated some of that beauty
• 40:46
  Speaker 2: that all of us go crazy for in the animated
• 40:49
  Speaker 2: films in a way the live action movies haven't been
• 40:51
  Speaker 2: able to do.
• 40:52
  Speaker 1: There's that montage early on of him when we're starting
• 40:55
  Speaker 1: to learn what a workaholic he is, and we see
• 40:58
  Speaker 1: him and showdowns with various villains, including the Hand. We
• 41:01
  Speaker 1: get a little teaser of the hand, and Yeah, those
• 41:04
  Speaker 1: are very much framed as you know slow motion or
• 41:07
  Speaker 1: almost freeze frame moving into slow motion, that have an
• 41:12
  Speaker 1: animated aesthetic to them.
• 41:14
  Speaker 2: Yeah, and there are shots that you would expect in
• 41:17
  Speaker 2: a good comic book movie, like at Damage Can just
• 41:22
  Speaker 2: before the battle really begins, where it's it's in a
• 41:25
  Speaker 2: puddle in the hallway, but you see you see Spider
• 41:30
  Speaker 2: Man in it as he's arriving. Shots matter in this
• 41:33
  Speaker 2: movie in a way that I haven't felt as often
• 41:36
  Speaker 2: in some of the other films. There's an intention behind them.
• 41:40
  Speaker 2: There's an intention behind moments like at the beginning the
• 41:43
  Speaker 2: senior describing where he he leaps from that skyscraper, the decision,
• 41:48
  Speaker 2: and there are more, there are more instances like this,
• 41:51
  Speaker 2: but putting us inside his mask. Do you remember that
• 41:54
  Speaker 2: where he's falling and they put it in the ball. Yeah,
• 41:58
  Speaker 2: So it's it's not just sometimes they do that only
• 42:01
  Speaker 2: when it's it's Iron Man or Spider Man or something
• 42:03
  Speaker 2: when he's targeting something, and it's just about showing off
• 42:06
  Speaker 2: the technology. That's not what it's about here. It's about
• 42:09
  Speaker 2: like we're hearing his breathing. It's it's it's showing him
• 42:13
  Speaker 2: as as a person behind the mask, and that seems
• 42:17
  Speaker 2: important to what this movie is ultimately trying to do.
• 42:20
  Speaker 1: Yeah, I if that had been done before. Where it
• 42:22
  Speaker 1: is putting us right again, right next to his eye,
• 42:25
  Speaker 1: it's related to his eyes change as the IRAQ DNA
• 42:29
  Speaker 1: is changing, So it kind of sets the stage for
• 42:31
  Speaker 1: us to watch his eyes. But there's an intimacy there
• 42:34
  Speaker 1: to your point that I don't remember a shot like
• 42:38
  Speaker 1: that in a previous Spider Man movie. Maybe, And also
• 42:42
  Speaker 1: and related to that, surely other iterations have had live
• 42:47
  Speaker 1: action iterations have had when in mask the eyes narrow.
• 42:52
  Speaker 1: I can't imagine this is the first time they've done it.
• 42:54
  Speaker 1: It might be more that they do it more frequently
• 42:58
  Speaker 1: here than they have before, but it did stand out
• 43:01
  Speaker 1: to me, and I think again speaks to this merging,
• 43:04
  Speaker 1: the idea of merging the man behind the mask, and
• 43:07
  Speaker 1: the mask it's not just a rigid mask. You know,
• 43:11
  Speaker 1: there is a personality, and it's Peter Parker's who is
• 43:15
  Speaker 1: expressively responding by narrowing his eyes, and the mask shows
• 43:20
  Speaker 1: us that as well.
• 43:21
  Speaker 2: That's a nice touch less point, and this speaks to
• 43:24
  Speaker 2: the benefits of engaging in activities like doing a top
• 43:29
  Speaker 2: five Spider Man scenes before you see a movie like this,
• 43:32
  Speaker 2: where we talked quite a bit about Spider Man's relationship
• 43:36
  Speaker 2: to the people of New York City, and so then
• 43:40
  Speaker 2: I found it so fascinating when there's a scene as
• 43:47
  Speaker 2: he falls from his apartment and he goes on the
• 43:51
  Speaker 2: sidewalk and a citizen, just someone walking by, it seems,
• 43:56
  Speaker 2: says something to him and then says something a little
• 43:59
  Speaker 2: sinister to him. Not a spoiler, we realize that this
• 44:03
  Speaker 2: is really the villain in this film, because the villain's
• 44:05
  Speaker 2: a telepath who can get into people's heads, and it's
• 44:10
  Speaker 2: just a guy walking a guy walking by, and there's
• 44:14
  Speaker 2: an extended scene. Whoever that actor is is very good.
• 44:16
  Speaker 2: That's a really good conversation. And then then that that
• 44:21
  Speaker 2: voice jumps from New Yorker to New Yorker, and there
• 44:26
  Speaker 2: is something so sinister about weaponizing the people of New York,
• 44:30
  Speaker 2: not just using them as pawns in a battle, like
• 44:33
  Speaker 2: lots of villains do in these movies, but actually weaponizing
• 44:36
  Speaker 2: the people of New York against Spider Man.
• 44:39
  Speaker 1: Yeah, especially in the context of a Spider Man story. Yep, yeah, absolutely, Yeah.
• 44:42
  Speaker 2: I really like that. Spider Man Brand New Day is
• 44:45
  Speaker 2: currently playing in wide release. If you see it, or
• 44:48
  Speaker 2: if you have seen it and agree or disagree with
• 44:50
  Speaker 2: our takes, we would love to hear your thoughts. You
• 44:53
  Speaker 2: can email us feedback at film spotting dot net. You
• 44:56
  Speaker 2: can also send us a voicemail, send us a send
• 44:59
  Speaker 2: us a clip, send us a video clip. We'll put
• 45:01
  Speaker 2: it on our YouTube. Email that to feedback at filmspotting
• 45:05
  Speaker 2: dot net.
• 45:08
  Speaker 1: Adam, we always talk about the great aspects of seeing
• 45:11
  Speaker 1: movies in theaters. You know, with with a crowd, you
• 45:14
  Speaker 1: get you know, the excitement or the fears for a
• 45:17
  Speaker 1: horror movie, the laughs for a comedy the big picture
• 45:21
  Speaker 1: of course. Obviously. You know what we also get occasionally
• 45:25
  Speaker 1: for movies is people going to see a movie in
• 45:29
  Speaker 1: costume on theme, and I think I think Spider Man
• 45:33
  Speaker 1: movies would make a top five list of films where
• 45:37
  Speaker 1: you're likely to see people in costume. Obviously you've got
• 45:39
  Speaker 1: Rocky Horror, right, I think maybe something like the Wicked movies.
• 45:43
  Speaker 1: People were doing this definitely for the second installment. Every
• 45:46
  Speaker 1: time I have gone to see a Spider Man movie,
• 45:50
  Speaker 1: I've seen someone not just in like a T shirt,
• 45:54
  Speaker 1: but you know, having some more elaborate elements of the
• 45:57
  Speaker 1: Spider Man costume, from the mask to web slingers of
• 46:01
  Speaker 1: some sort. It's part of the fun of seeing a
• 46:04
  Speaker 1: Spider Man movie in a theater. Next time you're in
• 46:07
  Speaker 1: a theater to see Brand New Day, check for that,
• 46:11
  Speaker 1: look for that, and you could probably have that experience
• 46:14
  Speaker 1: for free. If you're a member of Regal Unlimited, you'd
• 46:18
  Speaker 1: be able to see something like Spider Man Brand New
• 46:19
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• 46:22
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• 46:25
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• 46:28
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• 46:31
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• 46:35
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• 46:39
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• 46:42
  Speaker 1: can see any standard two D movie anytime, they don't
• 46:45
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• 46:49
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• 46:53
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• 46:57
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• 47:01
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• 47:05
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• 47:14
  Speaker 1: let's take a minute to thank the Film Spotting family.
• 47:17
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• 47:20
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• 47:23
  Speaker 1: membership in the Film Spotner family. It really is the
• 47:26
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• 47:28
  Speaker 1: to thank this week family member Ryan Jacobs in Charlotte,
• 47:32
  Speaker 1: North Carolina, and also Family plus member Zach Rothfeld in
• 47:36
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• 47:37
  Speaker 2: Ryan says that his listenership predates the van in Van Holgren.
• 47:42
  Speaker 2: Now that's how you know you are o G. Twenty
• 47:45
  Speaker 2: years ago, I graduated college with the film Studies Minor
• 47:48
  Speaker 2: and wanted to continue to listen to intelligent people talk
• 47:51
  Speaker 2: about the kind of movies I like to watch. I
• 47:53
  Speaker 2: have donated to the show many times over the years.
• 47:55
  Speaker 2: I'm sorry it took me so long to join the family.
• 47:59
  Speaker 2: We thank you so much. Ryan Zach is a relative newbie.
• 48:02
  Speaker 2: He says only been listening since twenty seventeen. Random films
• 48:07
  Speaker 2: or filmmakers they love. Josh. Zach is a big fan
• 48:09
  Speaker 2: of Jonathan Demme's Rachel Getting Married. Good movie?
• 48:13
  Speaker 1: Okay, yeah, oh really good.
• 48:15
  Speaker 2: Ryan is a Jonathan Glazer fan. Favorite books about movies
• 48:19
  Speaker 2: or a movie making Mark Harris and his book Pictures
• 48:23
  Speaker 2: at a Revolution. Ryan for some reason, didn't submit an entry.
• 48:27
  Speaker 2: Don't I don't know what happened here. He didn't answer
• 48:30
  Speaker 2: this part of the questionnaire. Oh, thank you, thank you.
• 48:33
  Speaker 1: Just have my notes.
• 48:34
  Speaker 2: Oh okay, so I thank you. Sam left it out
• 48:37
  Speaker 2: of mine. Uh huh do you want to read it?
• 48:39
  Speaker 1: Thank you for reading Movies Our Prayers a little book
• 48:43
  Speaker 1: I wrote. I really appreciate that. It's always you know,
• 48:46
  Speaker 1: it's been a couple of years for both of my books,
• 48:48
  Speaker 1: Adam and this and earlier this week for fear not.
• 48:51
  Speaker 1: I got a nice note on Facebook. Someone read it
• 48:54
  Speaker 1: over the summer and yeah, it's always always makes you
• 48:57
  Speaker 1: feel good and you're like, oh, those things are still
• 48:59
  Speaker 1: out there and some people are still reading them. So
• 49:02
  Speaker 1: thank you very much, Ryan. Thank you also, Zach for
• 49:05
  Speaker 1: your support for listening to the show. If you want
• 49:07
  Speaker 1: to follow Zach on letterbox, as I just did about
• 49:11
  Speaker 1: an hour ago, you can find them at Frothy Rothy.
• 49:15
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• 49:18
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• 49:22
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• 49:27
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• 50:07
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• 50:10
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• 50:14
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• 50:18
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• 50:20
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• 50:44
  Speaker 2: Here's another incentive to join the family and be part
• 50:48
  Speaker 2: of that family discord. Is that you will see, I'm
• 50:51
  Speaker 2: not sure if you're even aware of this, Josh, you
• 50:52
  Speaker 2: will see that somehow neither the Passion of Joan of
• 50:58
  Speaker 2: Arc nor Metropolis made the twenties or thirties Madness Elite eight.
• 51:04
  Speaker 2: And you can then go into the discord and make
• 51:07
  Speaker 2: fun of everyone who didn't vote for those films.
• 51:11
  Speaker 1: Is this is this how you've been spending your time?
• 51:13
  Speaker 2: No, No, I need I need a proxy to do
• 51:15
  Speaker 2: that for me. That would be to mean of one
• 51:17
  Speaker 2: of the hosts to do that.
• 51:19
  Speaker 1: Well, if you wanted to vent in some away, yes
• 51:22
  Speaker 1: you could do that by joining the film spoting Family
• 51:25
  Speaker 1: at filmspting family dot com. That's not the kind of
• 51:28
  Speaker 1: thing you expect to see when you're your curtains in
• 51:29
  Speaker 1: the morning.
• 51:31
  Speaker 2: I started getting these text messages. Great on Camillo Street.
• 51:35
  Speaker 2: Can people get in now? The new documentary Everybody to
• 51:38
  Speaker 2: ken Mere Street just left the Gene Siskel Film Center
• 51:41
  Speaker 2: in Chicago, but it's coming to Iowa City's film scene.
• 51:45
  Speaker 2: It's playing in limited release in other theaters around the country.
• 51:50
  Speaker 2: It's directed by Philippe Busto Sierra. It premiered earlier this
• 51:54
  Speaker 2: year at the Sundance Film Festival. The movie is about
• 51:57
  Speaker 2: a twenty twenty one collective act of civil disobedience in
• 52:00
  Speaker 2: a diverse neighborhood on the South side of Glasgow. Residents
• 52:04
  Speaker 2: in the area attempted to protect their neighbors from being deported.
• 52:08
  Speaker 2: We did both catch up with this one. Josh. You
• 52:10
  Speaker 2: suggested you saw it first and said, hey, this might
• 52:13
  Speaker 2: be worthy of a Golden Brick nomination. I want you
• 52:17
  Speaker 2: to tell us why. But I also just want to
• 52:19
  Speaker 2: say first that one of the things we learn early
• 52:22
  Speaker 2: on in this film that this attempt by the UK
• 52:27
  Speaker 2: Home Office effectively ice to deport to seek men upon
• 52:36
  Speaker 2: the occasion the holiday of d at dawn in the
• 52:41
  Speaker 2: early morning hours is is really thwarted by a man
• 52:47
  Speaker 2: who decides, who has the brilliant idea that comes to
• 52:51
  Speaker 2: him to lodge himself under the vehicle and attach himself
• 52:58
  Speaker 2: to one of the axles or something under the vehicle
• 53:01
  Speaker 2: and make it so that the vehicle simply cannot move.
• 53:06
  Speaker 2: And that's what allows all of these people to assemble.
• 53:10
  Speaker 2: So tell us about this film and your response to it.
• 53:14
  Speaker 1: Yeah, without that act, none of this would have taken place. Yeah,
• 53:18
  Speaker 1: the Golden Brick question. You know, the direct here has
• 53:21
  Speaker 1: been working for a while, so not necessarily an emerging
• 53:24
  Speaker 1: filmmaker for Libe Busto Sierra, I think, has one feature
• 53:28
  Speaker 1: documentary he made before this, as well as a number
• 53:31
  Speaker 1: of shorts. It's to me it was a formal question.
• 53:34
  Speaker 1: The vision thing we look for in Golden Brick Awards,
• 53:37
  Speaker 1: a unique formal vision, an inspired filmmaking choice. And this
• 53:44
  Speaker 1: is a documentary that has a lot of stuff you
• 53:46
  Speaker 1: would expect. It has a mobile phone footage from the day,
• 53:50
  Speaker 1: It has a wide range of interviews for protesters who
• 53:55
  Speaker 1: were there, but it has this inspired conceit to have
• 54:00
  Speaker 1: actors play a few of the crucial figures. And we
• 54:05
  Speaker 1: know this because there will all of a sudden be
• 54:08
  Speaker 1: a shot that's clearly not mobile phone footage. It appears
• 54:12
  Speaker 1: to be sort of within the context of but it
• 54:15
  Speaker 1: looks a little more staged, and the person will turn
• 54:19
  Speaker 1: to the camera and say, this is my face, but
• 54:22
  Speaker 1: these are my words. And I think it's crucial because
• 54:25
  Speaker 1: it means they're working from an interview that has been done,
• 54:29
  Speaker 1: but now it's in a reenactment. And I think this
• 54:32
  Speaker 1: happens three times, mostly with two people. A lot of
• 54:35
  Speaker 1: the time it's done with two people. And my question
• 54:37
  Speaker 1: to you, Adam, one of these three people is Van Man,
• 54:41
  Speaker 1: the guy who you said started this by diving under
• 54:45
  Speaker 1: the van and grabbing onto the axle. Did you realize
• 54:48
  Speaker 1: who played Van Man in the moment? Because I did
• 54:51
  Speaker 1: not until I looked at the credits immediately. Really, oh no.
• 54:55
  Speaker 2: Maybe maybe it's because Sarah and I not too long
• 54:59
  Speaker 2: ago watched the Emma Thompson series on Apple TV. And
• 55:04
  Speaker 2: so not only is she an actress I like quite
• 55:07
  Speaker 2: a bit, but she's very immediately recognizable to me with
• 55:11
  Speaker 2: that white hair.
• 55:12
  Speaker 1: That kind of spiky, Yeah, that short I recognized them, like, oh,
• 55:16
  Speaker 1: that's interesting, like a woman with white hair, interesting choice
• 55:19
  Speaker 1: to play van Man. But it wasn't until the credits
• 55:22
  Speaker 1: I was like, of course.
• 55:25
  Speaker 2: And this isn't my face, but these are my words.
• 55:31
  Speaker 2: It's a bold choice. You recognize right away that Okay,
• 55:35
  Speaker 2: they're using they they announced it to you, as you said,
• 55:38
  Speaker 2: but you know that it's a it's a formal technique
• 55:41
  Speaker 2: to say we're not going to be able to use
• 55:44
  Speaker 2: the actual for whatever reasons, including potentially legal reasons, We're
• 55:47
  Speaker 2: not going to be able to use the actual some
• 55:50
  Speaker 2: of the actual people in the scenario. And there's three total.
• 55:53
  Speaker 2: It's an it's an activist who is played by an
• 55:57
  Speaker 2: actress named Kira Lucezi, and then there's the nurse who's
• 56:02
  Speaker 2: tending to Van Man, played by a very prominent Scottish actress,
• 56:06
  Speaker 2: Kate Dickey.
• 56:06
  Speaker 1: And then I recognized right away from the Witch actually, of.
• 56:09
  Speaker 2: Course, from the Witch and and and Game of Thrones,
• 56:12
  Speaker 2: I think potentially to stuff. Yeah, and then and then
• 56:15
  Speaker 2: Emma Thompson, who's dan Man. So I I did recognize
• 56:18
  Speaker 2: Kate Dicky, and I definitely recognize Emma Thompson. You you
• 56:20
  Speaker 2: know that they're employing this technique and you understand why.
• 56:24
  Speaker 2: It is one of those cases where immediately you're you're
• 56:28
  Speaker 2: thrown by it. If you recognize her, you understand later
• 56:31
  Speaker 2: she's a producer on the film. And I have to think,
• 56:35
  Speaker 2: if I'm a documentary filmmaker and I need an actress
• 56:38
  Speaker 2: to portray someone, why wouldn't I use Emma Thompson if
• 56:42
  Speaker 2: I had her at my disposal when she's one of
• 56:44
  Speaker 2: the greatest actresses on the planet. But in the moment,
• 56:48
  Speaker 2: it did throw me. It took me out of it
• 56:51
  Speaker 2: for a second. Josh, I have to admit I'm still
• 56:53
  Speaker 2: I'm still thinking about the effectiveness of having someone portray
• 57:00
  Speaker 2: someone recognizable portray that person. At the same time, I
• 57:04
  Speaker 2: think having someone who isn't recognizable portray them that that
• 57:08
  Speaker 2: may have the opposite effect, where you're then very much
• 57:11
  Speaker 2: assuming that there is a certain veris similitude and that
• 57:14
  Speaker 2: is van Man, and that may not work either.
• 57:17
  Speaker 1: Can I try to talk you into it?
• 57:19
  Speaker 2: Of course?
• 57:19
  Speaker 1: And I didn't. You know, I haven't really thought about
• 57:22
  Speaker 1: this a little bit more until now I should have.
• 57:26
  Speaker 1: What does this choice do? I love the inspired nature
• 57:29
  Speaker 1: of it, but the big question is, Okay, is it
• 57:31
  Speaker 1: effective and if so how? Obviously I found it effective,
• 57:35
  Speaker 1: So now I got to figure out how in terms
• 57:36
  Speaker 1: of Casting Thompson, what I think it does and again
• 57:41
  Speaker 1: in retrospect for me because I didn't recognize it in
• 57:43
  Speaker 1: the moment, but it is an echo of the larger
• 57:46
  Speaker 1: idea of continuing concentric circles of care that I think
• 57:52
  Speaker 1: this documentary depicts. It starts with van Man and then
• 57:56
  Speaker 1: the next circle are the couple of neighbors who are
• 57:59
  Speaker 1: You can tell they were on their morning commute, they
• 58:01
  Speaker 1: were going to work or I think one of the
• 58:02
  Speaker 1: interviewees says school. They've got backpacks, they've got bikes. They
• 58:07
  Speaker 1: all sit down, put their bikes around the van. That's
• 58:10
  Speaker 1: another circle. Then you have more neighbors come out and
• 58:12
  Speaker 1: form the circle on the sidewalk. Then you have a
• 58:15
  Speaker 1: circle people looking out the windows of their flats on
• 58:19
  Speaker 1: this street making hanging from the windows. And I do
• 58:24
  Speaker 1: think casting Amma Thompson widens that circle because now you
• 58:30
  Speaker 1: say we have one of the most prominent respected actors
• 58:35
  Speaker 1: UK actors getting behind this, joining the circle by deciding
• 58:42
  Speaker 1: that I'm going to give not only my producer time
• 58:44
  Speaker 1: to this, but I'm going to give my acting time
• 58:48
  Speaker 1: and I'm going to give my face time this cause
• 58:52
  Speaker 1: that's exactly And so I think, to me, maybe that's
• 58:58
  Speaker 1: sort of a meta or a deeper level why the
• 59:02
  Speaker 1: conceit works in concert with what the movie is trying
• 59:05
  Speaker 1: to do.
• 59:06
  Speaker 2: I think what I appreciated the most is the way
• 59:09
  Speaker 2: this is an immersive documentary using Glasgow's long history of
• 59:18
  Speaker 2: struggle with a spontaneou is active of collective resistance. You
• 59:23
  Speaker 2: get that opening montage. The music is by a Scottish
• 59:28
  Speaker 2: musician named Barry Burns. The song is called Your Sweet
• 59:31
  Speaker 2: Love and it's six minutes long. And it is this
• 59:34
  Speaker 2: montage using a lot of historical footage and other you know,
• 59:39
  Speaker 2: some of it is more recent camera footage, TV news type,
• 59:42
  Speaker 2: newsreel type footage showing the history of activism and oppression
• 59:47
  Speaker 2: in Glasgow, from the time of slave grown tobacco being
• 59:52
  Speaker 2: imported to the response to George Floyd and Black Lives Matter,
• 59:56
  Speaker 2: and it immediately grounds us in history. It gives us
• 1:00:02
  Speaker 2: a sense of the larger these circles, how wide it is,
• 1:00:07
  Speaker 2: the larger Glasswegian community, and it reminds us that this
• 1:00:13
  Speaker 2: will remain a continuous struggle, that regardless of how much
• 1:00:17
  Speaker 2: we know about what happened here at Kenmere Street or
• 1:00:20
  Speaker 2: what we're going to see play out, that the struggles
• 1:00:22
  Speaker 2: not over because because one battle was won, and later
• 1:00:28
  Speaker 2: in the movie then using incorporating some of this footage,
• 1:00:33
  Speaker 2: we get a ten minute sequence yeah that digs in
• 1:00:36
  Speaker 2: to that history, starting with the origin of the name
• 1:00:39
  Speaker 2: ken Mear Street. And I really thought I thought this
• 1:00:42
  Speaker 2: was such a bold stroke because it's not like the
• 1:00:45
  Speaker 2: movie needs it. You could make the case that the
• 1:00:47
  Speaker 2: movie could just stay on ken Mere Street and it
• 1:00:49
  Speaker 2: would be more than sufficient. But I thought this context
• 1:00:52
  Speaker 2: was not only really interesting, but crucial to understanding the
• 1:00:59
  Speaker 2: subtext of this particular scene in Pollock Shields, understanding the
• 1:01:06
  Speaker 2: potential for this to be a real powder keg And
• 1:01:10
  Speaker 2: I think what's great about it, too, Josh, is that
• 1:01:12
  Speaker 2: it makes it poignant because one of the neighbors at
• 1:01:18
  Speaker 2: the end talks about the story of the day like
• 1:01:22
  Speaker 2: it's a fairy tale, even though it's real, like it's
• 1:01:24
  Speaker 2: a fairy tale. Their kids, they have a painting on
• 1:01:27
  Speaker 2: the wall and their kids say, tell us the story
• 1:01:30
  Speaker 2: at bedtime about the day the baddies came and and
• 1:01:33
  Speaker 2: this is what happened. And what we learn about going
• 1:01:39
  Speaker 2: back into the past is that those are stories that
• 1:01:42
  Speaker 2: still echo today, that they still talk about. Those are
• 1:01:45
  Speaker 2: narratives that the people today who lived through it, and
• 1:01:49
  Speaker 2: even the ones who didn't, they talk to the people
• 1:01:51
  Speaker 2: from the past. They know all those stories, and they're
• 1:01:54
  Speaker 2: passed along. And some of those protests ended well, and
• 1:01:58
  Speaker 2: some of them didn't, and and and they draw on
• 1:02:01
  Speaker 2: them for strength and resilience and for knowledge. And I
• 1:02:06
  Speaker 2: think what's what's scary for those in power is that
• 1:02:11
  Speaker 2: a new tale like this gives gives people hope that
• 1:02:16
  Speaker 2: that it's not a fairy tale, that it really that
• 1:02:18
  Speaker 2: it really happened, and that it's it's being told and.
• 1:02:21
  Speaker 1: It casts an alternate vision. I think is the true
• 1:02:25
  Speaker 1: power of this documentary is not only looking back on
• 1:02:28
  Speaker 1: this day, but how this day shows an alternate way
• 1:02:33
  Speaker 1: forward than the one that way too many governments in
• 1:02:37
  Speaker 1: the world right now are taking us. I want to
• 1:02:39
  Speaker 1: come back to that, but to the historical footage point.
• 1:02:43
  Speaker 1: I think what I did like about it is that
• 1:02:46
  Speaker 1: we have those two sections, you know, because initially that
• 1:02:50
  Speaker 1: opening one that is very long, the opening montage, with
• 1:02:53
  Speaker 1: all the historical footage, I found a little sprawling and
• 1:02:57
  Speaker 1: context less except for giving me the vague notion of
• 1:03:02
  Speaker 1: you know, Glasgow is a city that has a history
• 1:03:06
  Speaker 1: of and you know and be there and knowing. Its
• 1:03:09
  Speaker 1: reputation is this of not putting up with shit, right
• 1:03:12
  Speaker 1: and especially authority coming down, And so a lot of
• 1:03:17
  Speaker 1: the historical footage is documenting that it's the city's reputation.
• 1:03:20
  Speaker 1: That's all well and good. But I did wonder, not
• 1:03:23
  Speaker 1: only wanting to know a little bit more about all
• 1:03:25
  Speaker 1: this footage we're seeing, but I did wonder, are we
• 1:03:26
  Speaker 1: setting ourselves up for a self congratulatory you know, we're
• 1:03:31
  Speaker 1: a city where these things don't happen story, which would
• 1:03:35
  Speaker 1: have been felt a little more one sided. But you
• 1:03:37
  Speaker 1: do get that second historical section that takes us away
• 1:03:41
  Speaker 1: from the street, as you said, As you said could
• 1:03:43
  Speaker 1: potentially disrupt the rhythm, because it's very much a movie
• 1:03:46
  Speaker 1: about putting us on this street in this day for
• 1:03:49
  Speaker 1: these hours, but it's crucial in the context of the
• 1:03:52
  Speaker 1: opening montage because it shows us the flip side of
• 1:03:56
  Speaker 1: Glasgow where there has been a history of exploitation by
• 1:03:59
  Speaker 1: the residents of the city and the wealth drawn at
• 1:04:03
  Speaker 1: the expense of people in other regions of the world.
• 1:04:05
  Speaker 1: So it kind of balanced that out for me, if
• 1:04:08
  Speaker 1: you see what I'm saying, It was a little more realistic, like, yes,
• 1:04:11
  Speaker 1: we have this history of defiance and this is a
• 1:04:15
  Speaker 1: city that is perhaps unique in that way, but we're
• 1:04:17
  Speaker 1: not perfect.
• 1:04:19
  Speaker 2: And it speaks to your.
• 1:04:19
  Speaker 1: Point about this is not going to be the final battle.
• 1:04:23
  Speaker 1: So I basically I agree that the historical footage is
• 1:04:26
  Speaker 1: in there, and ultimately it's well used on this idea
• 1:04:30
  Speaker 1: of another vision. And why I did also find this
• 1:04:33
  Speaker 1: documentary so inspiring is, as you mentioned, this is happening
• 1:04:37
  Speaker 1: on need and on this day there was a celebration
• 1:04:40
  Speaker 1: planned at the local mosque, and so they had all
• 1:04:43
  Speaker 1: this food there, all these activities, and at one point
• 1:04:47
  Speaker 1: one of the people associated with the mosque is being
• 1:04:49
  Speaker 1: interviewed and describes the decision to just move the festival
• 1:04:54
  Speaker 1: out onto the street to be part of the protest,
• 1:04:57
  Speaker 1: to bring the food and the quote he says, we
• 1:05:02
  Speaker 1: thought let's make a we eat celebration of this, and
• 1:05:06
  Speaker 1: just to see this guy who first of all does
• 1:05:08
  Speaker 1: not look like our dress like what we probably think
• 1:05:12
  Speaker 1: of as someone who lives in Glasgow right just to
• 1:05:15
  Speaker 1: hear him use the word we is beautiful. And this
• 1:05:21
  Speaker 1: choice to picture a community that could be very different
• 1:05:27
  Speaker 1: in many ways, but also ultimately all caring for each other,
• 1:05:31
  Speaker 1: which again the concentric circles of care, that's what we're
• 1:05:34
  Speaker 1: seeing here. And so to bring this festival out onto
• 1:05:38
  Speaker 1: these streets, combine and ead celebration with this history of
• 1:05:43
  Speaker 1: Glasgow protest using a Scottish phrase like we very naturally,
• 1:05:49
  Speaker 1: it's just this beautiful picture of pluralism. And the world
• 1:05:53
  Speaker 1: right now is being directed by fearmongerers who if they
• 1:05:57
  Speaker 1: were to see something like this they never will, but
• 1:06:00
  Speaker 1: an interview like that would absolutely just crumble their brains
• 1:06:05
  Speaker 1: because they are not only can they not imagine this,
• 1:06:08
  Speaker 1: but if they did, it would just make them tremble
• 1:06:12
  Speaker 1: for what reason. I don't know. I mean, to me,
• 1:06:15
  Speaker 1: it's beautiful and show something hopeful, But what we're seeing
• 1:06:19
  Speaker 1: in the world is that just thinking about something like
• 1:06:21
  Speaker 1: that scares people to their very core. And Kenmeyer Street,
• 1:06:25
  Speaker 1: this documentary is just casting a possible real world it
• 1:06:30
  Speaker 1: has happened in this time that we're living in. This
• 1:06:34
  Speaker 1: sort of pluralism can be beautiful and healthy, and I
• 1:06:38
  Speaker 1: think that's, you know, that's what the documentary ultimately leaves
• 1:06:42
  Speaker 1: us with in addition to the record of.
• 1:06:45
  Speaker 2: This day along those lines. And I may be ascribing
• 1:06:50
  Speaker 2: too much meaning to this choice, but that's what we're
• 1:06:53
  Speaker 2: here for. I thought it was interesting that none of
• 1:06:59
  Speaker 2: the interviews and there are a lot of them, way
• 1:07:04
  Speaker 2: more than you would normally get in a documentary that
• 1:07:07
  Speaker 2: features talking heads. There are a lot of people, a
• 1:07:10
  Speaker 2: lot of faces, and there are a lot of people
• 1:07:13
  Speaker 2: that only appear once for maybe on one line or
• 1:07:17
  Speaker 2: a couple lines, and we don't get any of them.
• 1:07:20
  Speaker 2: To my recollection, Josh ever id'd. They're in the credits,
• 1:07:24
  Speaker 2: but there's no on screen identifier. It doesn't say their name,
• 1:07:28
  Speaker 2: it doesn't say their occupation, it never says what they
• 1:07:31
  Speaker 2: do for, you know, what neighborhood they're from or anything
• 1:07:33
  Speaker 2: anything like that.
• 1:07:34
  Speaker 1: There's name, but not always.
• 1:07:36
  Speaker 2: I scanned through the movie again, I didn't see a
• 1:07:40
  Speaker 2: name for people, so, you know, maybe I miss something,
• 1:07:46
  Speaker 2: but there is something that is on point about that
• 1:07:51
  Speaker 2: for this movie, because it's always a bit of a
• 1:07:53
  Speaker 2: challenge anyway from a practical standpoint for documentary filmmakers, because
• 1:07:57
  Speaker 2: sometimes they just clutter up the screen aesthetically, sometimes you
• 1:08:01
  Speaker 2: only have someone on screen for a brief snippet and
• 1:08:04
  Speaker 2: there's no time for an id without it feeling jumpy.
• 1:08:07
  Speaker 2: And are you going to id everyone or only some people?
• 1:08:10
  Speaker 2: And when you return to people, how often are you
• 1:08:13
  Speaker 2: going to re id them? Is it every time or
• 1:08:15
  Speaker 2: only after so much time has passed and you think
• 1:08:17
  Speaker 2: the viewers confused. Here it actually felt to me like
• 1:08:21
  Speaker 2: not only a pragmatic choice due to the sheer number
• 1:08:24
  Speaker 2: of people they interview as the roster keeps expanding because
• 1:08:29
  Speaker 2: this was such a huge gathering, but also as they
• 1:08:33
  Speaker 2: want to feature this panoply of faces and voices that are,
• 1:08:39
  Speaker 2: let's face it, largely anonymous. Right They talk about each
• 1:08:45
  Speaker 2: other as neighbors, and some are actual neighbors, and some
• 1:08:49
  Speaker 2: recognize each other. But for the most part that's not
• 1:08:52
  Speaker 2: the case at all. They the way they talk about
• 1:08:55
  Speaker 2: each other as neighbors has a completely different meaning. I
• 1:08:58
  Speaker 2: feel like the anonymity of the characters here, characters in
• 1:09:03
  Speaker 2: this context, actually makes complete sense for this documentary. There's
• 1:09:08
  Speaker 2: people there from all different backgrounds, and you're like, Ashley,
• 1:09:12
  Speaker 2: there is love here. We put out tables.
• 1:09:14
  Speaker 1: We thought, let's make a wee eat celebration out of
• 1:09:17
  Speaker 1: this of tea and biscuits with those. The neighbor notion
• 1:09:25
  Speaker 1: is so crucial, and it does come up. I think
• 1:09:28
  Speaker 1: at one point one of the people interviewed was asked,
• 1:09:32
  Speaker 1: you know, why did they respond this way? And they
• 1:09:35
  Speaker 1: just they just shrugged and said, these are our neighbors.
• 1:09:38
  Speaker 1: Like it was just like it as a matter of fact.
• 1:09:41
  Speaker 1: It's practical, it's it's obvious. It's a question that doesn't
• 1:09:46
  Speaker 1: need to be in need to be asked. And even
• 1:09:48
  Speaker 1: you know, this was a little aside. We don't get
• 1:09:52
  Speaker 1: a lot from the men who were detained. And I'm
• 1:09:58
  Speaker 1: trying to recall exactly when this interview takes place. I
• 1:10:01
  Speaker 1: don't think we see his face either, but I could
• 1:10:04
  Speaker 1: be recalling that incorrectly. At any rate, the point is
• 1:10:09
  Speaker 1: one of the police at the time. He recalls being
• 1:10:12
  Speaker 1: asked by one of the police, why is the community
• 1:10:15
  Speaker 1: coming out for you this way? Basically, who are you right?
• 1:10:19
  Speaker 1: And the man's response, I'm nobody, I'm normal. Yeah, again,
• 1:10:25
  Speaker 1: like it's a self evident truth that this is what
• 1:10:30
  Speaker 1: is going on, is not how a neighborhood should be
• 1:10:37
  Speaker 1: should be operated, or or even immigration or even immigration
• 1:10:42
  Speaker 1: policy should be enforced. Right, There's just like it's self
• 1:10:45
  Speaker 1: evident to these people that something is deeply amiss in
• 1:10:48
  Speaker 1: handling things this way. And yeah, so there's just a
• 1:10:52
  Speaker 1: couple a couple of you know, you get in documentaries
• 1:10:55
  Speaker 1: interviews with people where they they will say something just
• 1:10:59
  Speaker 1: everyday folks that hit you with practical wisdom, right, and
• 1:11:05
  Speaker 1: just hearing them say something that self evident like that
• 1:11:09
  Speaker 1: it's not the words that are maybe the most necessarily eloquent,
• 1:11:12
  Speaker 1: but they still retain this truthful power to them, and
• 1:11:14
  Speaker 1: there's a lot of that in this documentary.
• 1:11:17
  Speaker 2: Everybody to Kenmeer Street is currently playing in limited real
• 1:11:21
  Speaker 2: We will add the film to our Golden Brick page,
• 1:11:26
  Speaker 2: also in limited release. The Samurai and the Prisoner sounds exciting, Josh,
• 1:11:31
  Speaker 2: just from the title. It's from director Kiyoshi Kurrasawa. The
• 1:11:34
  Speaker 2: director is best known here in the States anyway for
• 1:11:36
  Speaker 2: a pair of horror thrillers that came out in the
• 1:11:38
  Speaker 2: late nineties Slash early two thousands, nineteen ninety seven's Cure
• 1:11:42
  Speaker 2: in two thousand and one's Pulse. He got back on
• 1:11:45
  Speaker 2: our radar a couple of years ago with Cloud, which
• 1:11:47
  Speaker 2: showed up on a couple of best of the year lis.
• 1:11:50
  Speaker 2: I believe Alison Wilmore may have had it there on
• 1:11:53
  Speaker 2: our show. I know our friend over at Letterbox, Mitchell
• 1:11:55
  Speaker 2: beau Prey, picked it and sent us a voicemail about it.
• 1:11:59
  Speaker 2: We have actually discussed perhaps doing our Blind Spotting bonus
• 1:12:05
  Speaker 2: show for Film Spotting family members, giving them a choice
• 1:12:07
  Speaker 2: between some Kiyoshi Kurrasawa films, because I have seen none
• 1:12:12
  Speaker 2: of them, but you have now seen The Samurai and
• 1:12:15
  Speaker 2: the Prisoner. It is set in sixteenth century Japan. Kind
• 1:12:18
  Speaker 2: of a who done it? It does seem based on
• 1:12:20
  Speaker 2: you or description? Tell us why it's good?
• 1:12:26
  Speaker 1: Yeah, I have no Kyoshi Kurosawa context to bring to this.
• 1:12:30
  Speaker 1: As you said to my Shame my first film of his.
• 1:12:32
  Speaker 1: I only know that you know psychological thrillers slash horror
• 1:12:37
  Speaker 1: is where Cure and Pulse are placed, and this is
• 1:12:40
  Speaker 1: not that, so I gather from the way it's been described,
• 1:12:43
  Speaker 1: this is a bit of a departure for him on
• 1:12:46
  Speaker 1: its own terms. It is intensely compelling as who Done It?
• 1:12:52
  Speaker 1: It definitely works that way. The historical setting is just
• 1:12:58
  Speaker 1: fascinating from the pomp and circumstance given to each of
• 1:13:03
  Speaker 1: the conversations. And this is mostly a series of conversations
• 1:13:06
  Speaker 1: this movie, and the castle exterior and interiors I think
• 1:13:10
  Speaker 1: they filmed in temples and castles around Kyoto, are part
• 1:13:15
  Speaker 1: of the movie's grandeur and appeal. But really there's also
• 1:13:19
  Speaker 1: a fascinating central core to this where the lead, the
• 1:13:24
  Speaker 1: main character, Lord murashigey Araki played by Masahiro Motoki, has
• 1:13:29
  Speaker 1: had a crisis of conscience. We learn where he his
• 1:13:33
  Speaker 1: first instinct is not to kill. It's no longer to
• 1:13:36
  Speaker 1: kill as a matter of honor really as a samurai,
• 1:13:39
  Speaker 1: and so he's going against samurai code by imprisoning the
• 1:13:44
  Speaker 1: man in the title rather than killing him. And there
• 1:13:47
  Speaker 1: are a couple of other instances in the film where
• 1:13:49
  Speaker 1: he chooses a way other than death, and this puts
• 1:13:52
  Speaker 1: him at odds with tradition, it puts him at odds
• 1:13:54
  Speaker 1: with the warlord who's laying siege to his castle, and
• 1:13:57
  Speaker 1: it does add this interesting moral dimension to the decisions
• 1:14:01
  Speaker 1: that Lord Murashige has to make. As he's managing this
• 1:14:06
  Speaker 1: outside threat and then the interior deceit that he encounters
• 1:14:09
  Speaker 1: when some of these crimes start occurring. So it's a
• 1:14:11
  Speaker 1: bit of a character study as well. Motoki is incredible here.
• 1:14:15
  Speaker 1: Wouldn't be surprised if he lands on Best Performances of
• 1:14:19
  Speaker 1: the Year lists at the end of the year. And yeah,
• 1:14:21
  Speaker 1: and the mystery is compelling too. There are a couple
• 1:14:23
  Speaker 1: of things speaking of end of the year in this
• 1:14:26
  Speaker 1: movie that I won't go into now, including a sequence
• 1:14:31
  Speaker 1: because it might end up as a contender for our
• 1:14:34
  Speaker 1: rap party categories. The movie overall, I think works, even
• 1:14:41
  Speaker 1: though it might tend to get a little talkie here
• 1:14:45
  Speaker 1: and there, because as I said, these are a bunch
• 1:14:47
  Speaker 1: of interrogations really to figure out what's going on in
• 1:14:49
  Speaker 1: the castle. All of a sudden, Kurisawa will come at
• 1:14:52
  Speaker 1: you with an intensely inventively staged sequence that kind of
• 1:14:57
  Speaker 1: snaps you back into attention. So yeah, this one really delivered.
• 1:15:01
  Speaker 1: Obviously makes me curious and eager to watch more of
• 1:15:05
  Speaker 1: his titles, even if they might be you know of
• 1:15:07
  Speaker 1: a very different vein.
• 1:15:10
  Speaker 2: Was so I go, I send you out most of
• 1:15:12
  Speaker 2: you we ain't a key anymore not. Samurai and the
• 1:15:22
  Speaker 2: Prisoner is out in limited release, including in Chicago at
• 1:15:26
  Speaker 2: the Jene Cisco Film Center. I can't wait to get
• 1:15:28
  Speaker 2: a chance to see it and hopefully catch up with
• 1:15:31
  Speaker 2: more Crosawa films.
• 1:15:32
  Speaker 1: Time now for Masacar Theater. This is where Adam and
• 1:15:35
  Speaker 1: I perform a scene and you get a chance to
• 1:15:37
  Speaker 1: win a film spotting prize. Last time we massacred this scene,
• 1:15:41
  Speaker 1: he said.
• 1:15:42
  Speaker 2: All the data, Yes, there's no service.
• 1:15:52
  Speaker 3: No. I tried to do my duty, Cooper, but I
• 1:15:57
  Speaker 3: knew the day that I arrived here this. I said nothing,
• 1:16:02
  Speaker 3: and I resisted the temptation for years, but I knew
• 1:16:09
  Speaker 3: that if I just pressed them button, somebody would come
• 1:16:13
  Speaker 3: and save me.
• 1:16:16
  Speaker 1: Hey gosh, Yes, that was Matt Damon Matthew McConaughey and
• 1:16:22
  Speaker 1: twenty fourteen's Interstellar, written by Jonathan and Christopher Nolan, directed
• 1:16:27
  Speaker 1: of course by Nolan. That mescer was part of our
• 1:16:30
  Speaker 1: best of the year so far show. So why that
• 1:16:32
  Speaker 1: scene from Interstellar?
• 1:16:34
  Speaker 2: Here's Matthew Aflido in Brooklyn, New York. The scene you
• 1:16:38
  Speaker 2: mescreed was from Interstellar. I could tell partly from the
• 1:16:41
  Speaker 2: breathlessness that Josh sold through acting although it did sound
• 1:16:44
  Speaker 2: a little like Gollum, especially with the elongated s at
• 1:16:48
  Speaker 2: the end of one of the yeses, have we done that?
• 1:16:51
  Speaker 2: Have we heard your Gollum before? A little precious in there.
• 1:16:55
  Speaker 2: We have to have done gott you would think. If not,
• 1:16:58
  Speaker 2: we need to pull that out. The connections included this
• 1:17:00
  Speaker 2: being a Nolan movie like The Odyssey, also featuring Matt
• 1:17:03
  Speaker 2: Damon and both as a man so far from home
• 1:17:05
  Speaker 2: that it seems he will never make it back. Interstellar
• 1:17:08
  Speaker 2: is also connected to Best of the Year so far
• 1:17:10
  Speaker 2: movie Project Hail Mary, as a guy who travels through
• 1:17:13
  Speaker 2: space to save humankind from nature things.
• 1:17:17
  Speaker 1: All right, you're on at Matthew. Here's Scott Lentz from
• 1:17:20
  Speaker 1: San Luis Obisas, California for other connections. Listener poll winner
• 1:17:24
  Speaker 1: Project Hail Mary has been getting lots of Interstellar comps
• 1:17:27
  Speaker 1: this year, at least in its visuals, and my personal
• 1:17:30
  Speaker 1: favorite link Adam's number one movie of twenty twenty five
• 1:17:33
  Speaker 1: so far, Nirvana the Band The show. The movie prominently
• 1:17:36
  Speaker 1: features a poster for the Dark Night to show that
• 1:17:40
  Speaker 1: Matt and Jay have traveled back to two thousand and eight. Okay, yeah,
• 1:17:43
  Speaker 1: good catch.
• 1:17:45
  Speaker 2: Dave Allen and Bonnie Lake. Washington says, Hey, guys, I
• 1:17:48
  Speaker 2: might have only known this was interstellar because I just
• 1:17:50
  Speaker 2: rewatched it for the recent movie Deathmatch episode. Good job
• 1:17:54
  Speaker 2: evoking two out of breath middle aged dudes. It was hard,
• 1:17:57
  Speaker 2: let me tell you. Method acting. I have to say. However,
• 1:18:01
  Speaker 2: with all the love in my heart that on the
• 1:18:02
  Speaker 2: word resisted. Josh's Matt Damon seemed to slip into curly
• 1:18:06
  Speaker 2: from the three stages, which is worse scalum or curly.
• 1:18:11
  Speaker 1: And maybe I decided to throw a little curly in there. Dave, Well, okay,
• 1:18:15
  Speaker 1: I'll never tell I'll never tell you. Maxwell Fletcher has
• 1:18:19
  Speaker 1: another comment for us. He's from New York City. Your
• 1:18:21
  Speaker 1: portrayals of out of breath Damon and McConaughey were so
• 1:18:24
  Speaker 1: ridiculous in the best way. I'll never be able to
• 1:18:27
  Speaker 1: watch that scene again without chuckling to myself.
• 1:18:30
  Speaker 2: That's what MASCAR Theater is here for. It is so
• 1:18:34
  Speaker 2: ruined scenes that it impacts your future viewing of the movie.
• 1:18:39
  Speaker 2: I think it was Ron Vitally who rode in and
• 1:18:42
  Speaker 2: said that I didn't though really throw in any McConaughey
• 1:18:47
  Speaker 2: like accent. I mean, it was hard, but I didn't
• 1:18:50
  Speaker 2: really give it any of that Texas twang.
• 1:18:52
  Speaker 1: You could have. You could have really leaned in and
• 1:18:54
  Speaker 1: we might.
• 1:18:55
  Speaker 2: Have had more entries, might have had more entries. There
• 1:18:58
  Speaker 2: wasn't There wasn't a ton, Josh. But we do have
• 1:19:00
  Speaker 2: a winner, and you are now going to share that
• 1:19:03
  Speaker 2: with us. Reach into the film Spotting hat.
• 1:19:05
  Speaker 1: Our winner is David Colb from Whitesboro, New York.
• 1:19:09
  Speaker 2: Congratulations David, email feedback at film spotting dot net and
• 1:19:13
  Speaker 2: we will set you up with your very own film
• 1:19:14
  Speaker 2: Spotting t shirt, tote bag, or trial membership to the
• 1:19:18
  Speaker 2: film Spotting family. Say him, would the detours? Would they simple?
• 1:19:27
  Speaker 2: Would the des same day? Why do you say that?
• 1:19:29
  Speaker 2: Why do you say tour? Will you said? Say it?
• 1:19:32
  Speaker 3: Like I said?
• 1:19:34
  Speaker 2: We move on now to this week's edition of Massacre Theater,
• 1:19:37
  Speaker 2: and I am going to be totally honest, Josh. Before
• 1:19:40
  Speaker 2: you suggested we do this scene, I was only vaguely
• 1:19:46
  Speaker 2: aware this movie existed. I think I had heard about
• 1:19:50
  Speaker 2: it at some point, but I have definitely never seen it.
• 1:19:54
  Speaker 2: And based on the scene we're about to perform, which
• 1:19:56
  Speaker 2: you don't get me wrong, it's going to be fun.
• 1:19:59
  Speaker 2: Based on the scene, I don't think I'm ever going
• 1:20:02
  Speaker 2: to watch it? Yeah, I could.
• 1:20:05
  Speaker 1: I could have told you that based on the scene.
• 1:20:11
  Speaker 1: I'm perplexed that I think I not only saw this
• 1:20:15
  Speaker 1: and reviewed it, but might have done so positively.
• 1:20:18
  Speaker 2: I am also perplexed. I'm gonna I want to read it.
• 1:20:22
  Speaker 1: I have to check the archives on that one. Here's
• 1:20:24
  Speaker 1: a clue for folks, because this could be a bit
• 1:20:26
  Speaker 1: of a challenge, but it's appropriate.
• 1:20:31
  Speaker 2: Spoiler.
• 1:20:32
  Speaker 1: We're gonna spoil our massacre theater scene that I'm tortured
• 1:20:37
  Speaker 1: in this scene by this character. Yes, it makes sense
• 1:20:42
  Speaker 1: in the context of it's it's a connection to this show,
• 1:20:47
  Speaker 1: among among other connections to this episode that exist in
• 1:20:51
  Speaker 1: this scene. Any other clues we can give to help
• 1:20:54
  Speaker 1: people out here, anything, I don't think.
• 1:20:57
  Speaker 2: So, okay, you are going to start it out, so
• 1:21:01
  Speaker 2: I I sorry, I have to. I have to get
• 1:21:04
  Speaker 2: into character here.
• 1:21:06
  Speaker 1: So get angry, get really angry.
• 1:21:09
  Speaker 2: I'm going to give you and action. What's the torch
• 1:21:15
  Speaker 2: for two thousand degrees Mick, enough to turn steel into butter.
• 1:21:24
  Speaker 2: It won't hurt it first, it's too hot. You see
• 1:21:30
  Speaker 2: the flame sears the nerve ending shut killing them. You'll
• 1:21:36
  Speaker 2: go into shock and all you'll feel is cold? Isn't
• 1:21:43
  Speaker 2: science fun? Mickey, Ah, I don't know. Shit, You'll smell
• 1:21:51
  Speaker 2: burning meat and then then it'll hurt. I swear I'm
• 1:21:59
  Speaker 2: telling it truth.
• 1:22:02
  Speaker 1: And scene scene Wow, very frightening, very intimidating. My question
• 1:22:08
  Speaker 1: is how does he how does he know all that?
• 1:22:10
  Speaker 1: Is he speaking from personal experience? Did he just do science?
• 1:22:14
  Speaker 2: Research? Science? He's a science teacher in another life? Ah,
• 1:22:19
  Speaker 2: I think.
• 1:22:19
  Speaker 1: I don't think that that character's lore.
• 1:22:23
  Speaker 2: But well, you've seen the movie. It's possible. If you
• 1:22:26
  Speaker 2: know what film we just massacred. Email the movie's title,
• 1:22:29
  Speaker 2: your name, and location. He wasn't a cheery teacher. The
• 1:22:32
  Speaker 2: other teachers didn't like him in the lounge much. Email
• 1:22:34
  Speaker 2: the movies title, your name, and location to feedback at
• 1:22:37
  Speaker 2: film spotting dot net. The deadline is Monday, August seventeenth.
• 1:22:41
  Speaker 2: We will select the winner randomly from all the correct
• 1:22:43
  Speaker 2: entries and announce it in a couple of weeks. But
• 1:22:45
  Speaker 2: if you've seen this movie and you know the scene,
• 1:22:48
  Speaker 2: you're not a winner. Sorry, or maybe you are.
• 1:22:53
  Speaker 1: Maybe you are according according to me.
• 1:22:55
  Speaker 2: Okay, that's the show, Josh.
• 1:22:57
  Speaker 1: Mercifully, that is the show. If you want to connect
• 1:23:00
  Speaker 1: with us on social media. You can find Adaman film
• 1:23:03
  Speaker 1: Spotting at Instagram, Facebook, Letterbox, YouTube, and blue Sky at
• 1:23:07
  Speaker 1: film Spotting. I'm at those places as Larson on film.
• 1:23:10
  Speaker 1: We are independently produced and listeners supported. Please support us
• 1:23:15
  Speaker 1: by joining the film Spotting Family at filmspottingfamily dot com.
• 1:23:18
  Speaker 1: You can listen early and ad free. You also get
• 1:23:21
  Speaker 1: monthly bonus episodes, a weekly newsletter, and access to the
• 1:23:25
  Speaker 1: entire show archive. For show t shirts. Another merch go
• 1:23:27
  Speaker 1: to film spotting dot net slash shop.
• 1:23:30
  Speaker 2: In limited release this weekend, you can see the movie
• 1:23:33
  Speaker 2: Josh recommended, The Samurai and the Prisoner out wide, Eli
• 1:23:36
  Speaker 2: Roth's ice Cream Man and One Night Only. Two strangers
• 1:23:41
  Speaker 2: Callum Turner Monica Barbara. They meet on the one night
• 1:23:44
  Speaker 2: a year that single people are allowed to have sex.
• 1:23:48
  Speaker 2: I think that's how it works.
• 1:23:50
  Speaker 1: Three Have you have you, like me, seen that trailer
• 1:23:55
  Speaker 1: about six thousand times?
• 1:23:56
  Speaker 2: I haven't? Actually Okay, Well, then.
• 1:23:59
  Speaker 1: You're not gonna be able to help me because despite
• 1:24:00
  Speaker 1: all those viewings, I have no idea what the context
• 1:24:03
  Speaker 1: is here? Is this a social construct? Is this? Are
• 1:24:06
  Speaker 1: we to stowe It doesn't seem to stowey in It
• 1:24:10
  Speaker 1: seems very like, okay, never mind, just look at that.
• 1:24:13
  Speaker 2: We'll move on. Super Troopers three is out, Josh. We
• 1:24:18
  Speaker 2: go from two thousand and one to twenty eighteen to
• 1:24:20
  Speaker 2: this weekend. You can see the third be a completist, Josh,
• 1:24:23
  Speaker 2: and seeing all of the super Troopers.
• 1:24:25
  Speaker 1: Movie we saw the first one.
• 1:24:27
  Speaker 2: Really, maybe we should do a series that should be
• 1:24:30
  Speaker 2: our blind Spotting. There you go. Next week in the
• 1:24:33
  Speaker 2: Film Spotting Feed, we we just got an abundance of riches.
• 1:24:37
  Speaker 2: Coming to your film Spotting Feed. Sunday, you'll get the
• 1:24:41
  Speaker 2: final film in our Dissident Cinema Marathon. We're talking about
• 1:24:46
  Speaker 2: Jafar Panahi's third movie, The Circle, from two thousand Monday,
• 1:24:51
  Speaker 2: the Movie Racket is back. We're coming off a week
• 1:24:53
  Speaker 2: of movie Deathmatch the first Monday of every month. We're
• 1:24:57
  Speaker 2: back with Michael and the Movie Racket. Guess who he's
• 1:24:59
  Speaker 2: having on Everybody Loves Slate's Danas Stevens and they're weighing
• 1:25:04
  Speaker 2: in on a famous Harry Cone axiom. He was the
• 1:25:08
  Speaker 2: co founder of Columbia Pictures. And I won't say the quote,
• 1:25:11
  Speaker 2: I don't have it off the top of my head,
• 1:25:12
  Speaker 2: but basically he had a famous physical tell when he
• 1:25:16
  Speaker 2: knew a movie wasn't working for him. Josh, So they're
• 1:25:19
  Speaker 2: going to get into and and maybe you can share
• 1:25:22
  Speaker 2: on a future show next week. Josh, do you do
• 1:25:24
  Speaker 2: you have something that that kind of gives you an
• 1:25:27
  Speaker 2: insight into whether or not a movie is working for
• 1:25:29
  Speaker 2: you? Your eye gets twitchy or something.
• 1:25:31
  Speaker 1: About so like I see so like an actual bodily.
• 1:25:36
  Speaker 2: Respectual, bodily function that tells you the movie's not working.
• 1:25:40
  Speaker 1: Oh, I mean, as if I wasn't going to listen
• 1:25:43
  Speaker 1: to the movie Racket. Alright, that's all right, I know
• 1:25:45
  Speaker 1: it's going to be a goo okay.
• 1:25:47
  Speaker 2: Tuesday, Matt Singer and Jordan Hoffman will be back on
• 1:25:50
  Speaker 2: Film Spotting SVU talking brand New Day and the state
• 1:25:53
  Speaker 2: of Spider Man and Matt Singer he wrote the book
• 1:25:56
  Speaker 2: on spider Man, so you want to hear from him. Thursday,
• 1:26:00
  Speaker 2: the Next Picture Show and Inspired pairing the Anthony Bourdain
• 1:26:03
  Speaker 2: biopic Tony paired with Pixar's Ratituey. And then Friday, it
• 1:26:09
  Speaker 2: is our It is our plan to talk about the
• 1:26:11
  Speaker 2: new the new Jane Schoenbrun film Teenage Sex and Death
• 1:26:15
  Speaker 2: at Camp Miasma, and the new Cold War drama The
• 1:26:19
  Speaker 2: Brink of War is out as well.
• 1:26:22
  Speaker 1: Film Spotting is produced by Golden Joe des So and
• 1:26:24
  Speaker 1: Sam Van Halgren. Without Sam and Golden Joe, this show
• 1:26:27
  Speaker 1: wouldn't go. Our production assistant is Sophie Kempinar. Special thanks
• 1:26:31
  Speaker 1: to everyone at wbe Z Chicago. More information is available
• 1:26:35
  Speaker 1: at wbez dot org for Film Spotting, I'm Josh Larson and.
• 1:26:39
  Speaker 2: I met him Kempinar. Thanks for listening.
• 1:26:41
  Speaker 3: This conversation can serve no purpose anymore.
• 1:26:45
  Speaker 2: The Barn