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EP169 - Unbreakable · Thirsty For More - Movie Review

• 0:20
  Hello everyone, and welcome to Planet Bruce. Of course, I'm your host
• 0:23
  Malenko and Alex. Today we're talking about two thousand's Unbreakable, Unbreakable Hell.
• 0:33
  I have to say, yeah, I can't not think of Unbreakable Kim,
• 0:38
  Unbreakable Kim Schmidt. Also a continuation of the Shamalamathon and a continuation of Bruce
• 0:45
  and Samuel L. Jackson together the second one second movie. Yeah, and
• 0:50
  also continuation of our mini dive into Samuel L. Jackson which we've done over
• 0:55
  over time, which you can get on collections if you join us on Patreon.
• 0:58
  This movie, it's a really really interesting movie. Before we jump right
• 1:03
  into it, I wanted you to google old school nineteen fifties playgrounds. Okay,
• 1:11
  just google nineteen fifties playgrounds, your fifties playgrounds, okay, and tell
• 1:19
  me what you think of them. Just look at some of the pictures,
• 1:23
  go through them, and tell me what you think nineteen fifties playgrounds. All
• 1:32
  right? Does anything strike you about these images? There's a lot of oh
• 1:46
  my god, whoa So some of this just looks wildly dangerous, just like
• 1:55
  people flinging themselves like really high. And this is like Jesus Christ. Everything
• 2:02
  is like the swings are like all why is it all so tall? Why
• 2:07
  is it also is like very long? So I heard like, oh shit,
• 2:10
  what is happening? Oh that's that's the movie. That's of course,
• 2:17
  nineteen sixty one, thirty nine year old jack Okay, well we'll get to
• 2:23
  we'll get to that. But uh yeah, I mean I wanted to show
• 2:25
  you that. I thought it was relevant for oh yeah, this movie because
• 2:30
  he's everybody's broken bodies in this Well what do you mean by that? Well,
• 2:38
  I mean the first scene where baby Samuel Jackson has was born in nineteen
• 2:42
  sixty It was fine. I'm fine with it. Dude, he looks he
• 2:49
  looks young, thirty nine, that's likes age. And then I saw him
• 2:53
  and I was like, okay, all right, I really did it.
• 2:57
  I believe that he had the hair of that can be what's his name,
• 3:01
  Dave Ayahuasca or something, No, Dave Iowanda Ayatanda, the British guy.
• 3:09
  I don't know, Yeah, like Dave Iowanda he has that show or something,
• 3:15
  you know, like he has you know, you know who I'm talking
• 3:20
  about, that actor, the comedian, the young guy who let me say,
• 3:28
  how do you Ayouanda. No, I don't know what his fucking name
• 3:31
  is. He's a guy rich Richard. Yeah he does look yeah he doesn't.
• 3:44
  Yeah. Well okay, So so first off is is he born.
• 3:50
  He's born in that we get our first main character of this movie has a
• 3:57
  baby when the doctor is like, what did you drop this baby? Grind
• 4:02
  this baby's bones? So the amazing thing about this movie is that everything is
• 4:12
  done through like really painfully long establishing shots that like just serve to kind of
• 4:21
  like you feel the depth of the emotion of like a baby that has several
• 4:28
  broken a newborn that has several broken bones. And I don't know if you
• 4:44
  caught this, dude, but the whole thing about there's a whole like obvious
• 4:49
  racial like undertone in this movie and the fact that he's born in a department
• 4:56
  store because his mom's working, and so right away establishing working class black family.
• 5:04
  Friends with black people, Bruce, that's right by the way, black
• 5:08
  people to have a good body. So I'm just trying here to help the
• 5:13
  white people to look good. Well, friends with yeah, friends with black
• 5:16
  people, Bruce. But like, did you think that Samuel El's tragic flaw
• 5:24
  in quotation marks like his like disability in this movie represented like the disadvantage with
• 5:33
  which was this movie. Like it's like the shadow kind of like thing of
• 5:40
  like white privilege, like Bruce's superhero is actually Bruce's superpower is actually just white
• 5:45
  privilege, maybe like because Samuel was born right away with a disadvantage. Yeah.
• 5:54
  Yeah, And I don't think it. I definitely don't think it was
• 5:58
  an accident that he heard these two guys up having said that, like man
• 6:01
  like he's em and Chong has made some terrible decisions that I'm like, what,
• 6:06
  well, so it like makes me question I'll I'll definitely give it the
• 6:11
  benefit of doubt because sorry, do you need water? No? No,
• 6:14
  no, no, no, I have enough water. I'm just being mindful
• 6:17
  of my slobberiness. And well it's also like body sounds. It's like like
• 6:25
  a lot of that's happening. I'm like, what's going on, dude.
• 6:28
  Yeah, So we get introduced to this sort of like level of innocence that
• 6:35
  this I think was very pointed was to make Big stance Big Bruce seemed kind
• 6:44
  of very dingy and kind of not a good person, especially at the beginning.
• 6:51
  He looks like need to go Bruce in this throughout the entire movie,
• 6:57
  and it's like it seems like there is something really him, whereas like with
• 7:01
  with Samuel Jackson's character, he set up immediately as like we feel bad for
• 7:08
  him and they it's such a good it's such a good writing technique to parallel
• 7:14
  the two guys, and like you really get a lot of David Dunn's backstory
• 7:18
  way later in the movie, and it's very front loaded to David Dunn.
• 7:23
  David Duns Bruce Willis, Dude, we get Samuel Jackson's backstory right up front,
• 7:27
  so it's this nice even hand of like who are we supposed to trust?
• 7:30
  And also Bruce Willis looks he's trying so much in this movie, trying
• 7:35
  so much to do what just trying, as opposed to Bruce Willis in like
• 7:41
  the latter half of his career where it was just kind of like, uh,
• 7:44
  come on, dude, why aren't you trying anymore? Whereas this has
• 7:47
  all the bruces you could want. And then that lady comes up to him
• 7:53
  and he's like trying to hit on her. And then well, first like
• 7:58
  it's actually like shot so well because like it's kind of going back and forth
• 8:03
  and it's like a voyeuristic view. We get a shot of a kid who
• 8:05
  I guess it's supposed to be the POV of a kid, which is supposed
• 8:09
  to set up kind of like a kid reading a comic book in this story,
• 8:13
  so like a kid like looking at this story. He slips his ring
• 8:18
  off. Yeah, and like we get like as we would in a comic,
• 8:20
  we get sort of like these panels of like he slips his ring off,
• 8:24
  he sees the stomach tattoo, thinks she's probably pretty easy because she has
• 8:28
  a stomach tattoo, and so he's like he makes kind of like a sleazy
• 8:33
  like like the looks, the looks Larry, like Leary, what about this?
• 8:37
  Do you want to read this magazine? And she's like a little bit
• 8:41
  too young for him. It's a continuing trope and also like failed marriages or
• 8:46
  marriages on the rocks or it's like definitely continuous with along with Bruce's every man's
• 8:52
  set, it's also him playing younger than he is is also continuation. Yeah,
• 8:56
  he's also supposed to be like thirty nine, which is like even less
• 9:01
  believable with him, he's not that much older than thirty nine. But those
• 9:05
  topographical map grooves in his forehead, we'll say otherwise. But I mean,
• 9:09
  how old was he in two thousand? He was forty six, He was
• 9:13
  forty six or forty something like that, mid forties. Well, like,
• 9:18
  I mean, it's kind of crazy because Samuel is fifty two. He looks
• 9:22
  younger than him, younger than personal because he's freshly shaved and he's got a
• 9:26
  really nice full wig that's very tall and big man. Even if he was
• 9:33
  I feel like he would look better, even even if you know, I
• 9:37
  mean we've seen them together when they were both just schlubby guys. But Bruce
• 9:43
  was younger than I think. Bruce took a hard turn in the late nineties,
• 9:46
  you know, and stoic sad Bruce is really really good in this movie.
• 9:54
  Like he doesn't really mean that's like I feel like that's what he was
• 9:56
  cast for, is to be hangdog sad Bruce, Yes, for sure,
• 10:01
  and not just that, Like along with the sadness comes like a sort of
• 10:05
  like we really feel the pain Bruce feels for the world and actually him being
• 10:11
  a sleeze bag or in quotations, kind of having these sleezy elements before this
• 10:16
  accident actually serve to have like it be believable for the audience that this accident
• 10:24
  would be very life changing. Yeah, it's they do a really good job
• 10:28
  at setting up and we'll get to the actual crash in a moment, but
• 10:31
  they do a good job at setting up that he's going through a really hard
• 10:35
  time. And then that part where all of a sudden, like you just
• 10:37
  kind of hear everything happening and Bruce like looking around and like seeing just people
• 10:43
  grab onto the arm rest and stuff like that. It's so nicely shot.
• 10:48
  M Night Chamalan is definitely the successor to Steven Spielberg. I think with a
• 10:56
  movie like this interesting, it very much aligns with the how can we tell
• 11:03
  a human story tell with these fantastical elements and merge them and have everybody believe
• 11:09
  exactly, Like even if a person does something terrible, you're like, no,
• 11:15
  I'm still with this guy. Like I think of Close Encounters of the
• 11:18
  third kind, where a dude just leaves his family to go be with aliens.
• 11:22
  It's not treated as though it's like oh man, like it is kind
• 11:24
  of treated like, oh, this is what a sleeves bag. But also
• 11:28
  I would kind of go with aliens too. Well, the magicalness of this
• 11:33
  story is meant to be fantastical in a way so as to tell you it's
• 11:37
  part of the story, right, Yeah, the magicalness is a part of
• 11:41
  the story. And that's something that was like striking throughout the movie. Is
• 11:43
  like there were there were some parts where I was like, oh, it's
• 11:46
  like shot and feels like a serious in quotations movie, but like it's you
• 11:54
  know, all of the fantastical things that happen in it sometimes are at odds
• 11:58
  a bit with in in a like it's a stark contrast. Yeah, I
• 12:05
  really think that, like with with like the shots, the way everything is
• 12:11
  set up, because everything is put in the background. A lot of the
• 12:16
  time, we don't see the crash. In fact, the first inkling of
• 12:18
  the crash that we see is in the next scene when the kid sees the
• 12:22
  crash on the TV and then we see the far away shot of Bruce Willis
• 12:26
  and the doctor comes up to him and he's like, Hey, can I
• 12:30
  ask you these someone dying? Yeah, someone dying in the foreground. He's
• 12:33
  like slowly like where are the other survivors? And like he's or where are
• 12:39
  the other passengers? Because he didn't. He doesn't even know it's that bad.
• 12:43
  And they're like, and we get our first house of cards. Alum,
• 12:48
  what's his name? What's this guy's fucking name? This character actor,
• 12:54
  he's amazing, but does he have a name? I call him lawyer.
• 13:00
  You know who I'm talking about, right, the balding guy. Oh,
• 13:03
  the guy who looks like but it's not fuck. What's his name again?
• 13:09
  He's got like just like such a normal dude name. But he's also one
• 13:13
  of those guys who has like so much impact when you see him. I
• 13:16
  mean, he's got a very much a kuchakata the impact. Michael Kelly,
• 13:20
  I love him. Doug Stamper, I'll never think of him as anything with
• 13:24
  Doug totally Doug Stamper, Like that song Doug Stamper by Hannibal Birth. Brian
• 13:28
  James needs to stop taking HG eight. His hair lamp fucked up from the
• 13:33
  agg eight And then he comes out, uh, and everybody kind of is
• 13:39
  like in reverence of him, but also kind of mad that he's the only
• 13:43
  survivor. I felt that doo, but how did they portray that? Like
• 13:48
  there's like some kind of contempt on all of their faces and they're all they're
• 13:52
  all sad that their entire families are dead. But then like also they hate
• 13:58
  him, Well, they don't hate him, they're just kind of seem resentful.
• 14:01
  And because the camera is constantly moving in this there's very few still shots
• 14:05
  in this movie, which is very impressive. Like the camera work and the
• 14:09
  directing is very very impressive. Kind of like I hesitate to use the term,
• 14:15
  but it's kind of lynchy. It's kind of split diopter a due,
• 14:20
  but don't you think it's lynchi. I mean the movement of like the like
• 14:22
  it's sometimes it's like this a Dutch angle. Well, like, I mean,
• 14:26
  that's why I think Spielberg is actually the best comparison, because Spielberg is
• 14:31
  always moving the camera and it doesn't matter how the scene is, how quiet
• 14:37
  or slow the scene should be. I'm very much the opposite type of person.
• 14:41
  I like stillness and I like forcing people to be like, no,
• 14:46
  why is it moving? But I really enjoyed the fact that they were like
• 14:52
  because we get introductions of them as a couple of Robin Wright pen right,
• 14:56
  yeah, and credit as Robert right and of course, which is our second
• 15:03
  house of cards. Quitcha kind of a movie, Yeah, totally, and
• 15:07
  she does. They do a really nice job of like exploring the complexities of
• 15:15
  getting into a divorce but at the same time being okay for the kid and
• 15:20
  going through this tragedy together. M Night Shamalan does this sort of like pained
• 15:26
  kind of problems in a relationship really well. Yeah, Like it's like basically
• 15:33
  two Years in a Row nineteen ninety nine and two thousand that he's written Bruce
• 15:37
  as a person who's in a struggling marriage and like, so this is something
• 15:41
  that's clearly very like personal to m Night Shamalan. Yeah, whether it be
• 15:46
  feel like maybe it's like, uh, his parents or his own relationship.
• 15:52
  It's really interesting. He's a really it's it explores it in a very humane
• 15:58
  way, but also like the constant dwelling on certain kinds of moments, like
• 16:04
  he goes to the church to see where the people have died, he goes
• 16:07
  to the funeral. Yeah, the funeral, and then he you see that
• 16:12
  the envelope, that the purple inside envelope, that the addition of purple to
• 16:19
  everything was so such a nice touch, such a penguin touch. Wait,
• 16:26
  what did you say? What purple thing? Was? He unfolds the envelope
• 16:29
  to see that Elijah has given him. Elijah played by Samuel Jackson, has
• 16:36
  given him an envelope with a card in it to like explain to him what
• 16:41
  like you know, you might know me or whatever, or like he's looking
• 16:48
  for him or whatever. We don't know what the note says yet, Okay,
• 16:51
  But then he comes to his job and he goes to the secretary and
• 16:53
  he's like, Hey, can't you checked when when was the last time I
• 16:57
  took a sick day? Okay? What is this That all you want to
• 17:02
  say in the note? Yeah? Yeah, yeah, is that all you
• 17:03
  want to say? But like I really liked when he comes back to like
• 17:08
  get changed after work and the boss it comes up to him. He's like,
• 17:11
  all right, okay, you haven't taken a sick day in five years?
• 17:15
  Forty dollars extra on your paychecks, And it was like funny to like
• 17:19
  include those typees a week a week, Yeah, that include those kinds of
• 17:26
  hints of like oh, the audience is unfolding this in the same way that
• 17:30
  Bruce Willis is unfolding this and the time to take to get to an outrageous
• 17:37
  situation rather than what might Chomlan's movies are now, which is all right,
• 17:41
  outrageous situations, but yeah, there's a willingness to like just kind of sit
• 17:47
  with characters and talk to them and be with them. Because in the next
• 17:51
  scene he talks to Robin Wright and he's like, do you remember when I
• 17:55
  had a six day not cold? And she's like, She's just like,
• 18:00
  I've got the most iconic neck hole in the game. And also, I
• 18:03
  mean she does have quite the neck hole. I mean it's the like when
• 18:07
  you think of Robin Wright Penn, yeah, and Robin Wright later on,
• 18:12
  you think she's she's great, She's really good. I like, I'm so
• 18:17
  used to seeing her as her character from Kucha Karata that I didn't like recognize
• 18:22
  her almost at parts. I was like, oh, that's her, Yeah,
• 18:26
  I guess the only woman in the movie. Yeah, yeah, for
• 18:29
  sure, I mean not the only woman. There was also Samuel Jackson's mom,
• 18:33
  who is barely but speaking of barely a person, she yeah, she
• 18:41
  gives a lot of nice like emphthy and nice like well, we're still getting
• 18:47
  a divorce, but I do feel bad for you, so like, and
• 18:49
  there's that moment, yeah, that they have where he's walking up the stairs,
• 18:52
  and she's just like, what happened, Like she's kind of also asking
• 18:57
  about because we don't know yet what she's asking about, but she's asking about
• 19:02
  what happened with the job that he was looking for while he was in New
• 19:04
  York to move there, to move away from being which is again like a
• 19:08
  really nice way of indicating lives existing before this tragedy, before this movie,
• 19:15
  like us as an audience getting dropped in to see where these guys are.
• 19:21
  But what did you make of the kid? What did you make of the
• 19:23
  little kid? The kid acting, the kid casting. He did a really
• 19:27
  good job. He think he did an excellent job. But he's very similar
• 19:32
  to a Haley Joel and not as good a Haley Joel. I mean,
• 19:37
  the thing is, he has a different task because he has the task of
• 19:41
  having to believe a thing that's wild as opposed to experiencing a thing that's wild.
• 19:48
  So he has to look through his dad and like it's it's much more
• 19:52
  realistically kid like than Haley Joel than Haley Joel. Haley Joel has to play
• 19:56
  way more adult movie, right, because he's got to play someone who's grown
• 20:02
  up fast. It's a different You're right, it's a different task, it's
• 20:03
  a different set of skills. But like this kid like also has kind of
• 20:07
  an alien face. Also is like speaking of aliens water being Mdichallan being obsessed
• 20:17
  with water, being the maid. Yeah that's true, Lady in the water.
• 20:22
  The aliens being allergic to water. This being water water is their tragic
• 20:27
  flaw of everyone. Dude, you needed to live, but then it also
• 20:30
  hurts you. I mean, yes, sometimes you can get water intoxication and
• 20:34
  your electrolytes will be fucked and then you can have seizures. Dude, I
• 20:38
  know it's fucked. Speaking of kids, Elijah as a little kid gets I
• 20:45
  actually really enjoyed this scene when you get the sort of flashbacks of him being
• 20:49
  in the past. It's really interesting because it sets up Bruce Willis's flashback and
• 20:56
  that guy they got who just looked like young Bruce will and he did the
• 21:00
  face. He was totally just doing it, and it was like, whoa
• 21:08
  man like this guy is? Like when he the funny thing was was when
• 21:12
  he did the face, it was like, oh my god, you look
• 21:17
  so much like Bruce Willis. I was like, oh man, But yeah,
• 21:26
  what I really liked about This scene was not only the setup of the
• 21:29
  purple and his obsession with purple and having that like the penguin, like totally
• 21:37
  like weird, iconic, We're going to talk about his fashions, but then
• 21:44
  his mom being like, look, dude, like you can't be in your
• 21:48
  room all the time. I know it's scary and and you're gonna have to
• 21:51
  go out there and be a super villain. Okay, well she she does
• 21:53
  a really good job at raising Kanye West. Oh my god, yeah,
• 22:00
  oh my god, dude, Kanye would totally do something like this if if
• 22:04
  Samuel L. Portrayed him in a little bit more of an unhinged way.
• 22:11
  Something cannot give me totally did. Something I kept thinking about watching this movie
• 22:15
  was like one thing I'm really sad about is that we'll never get Bruce Willis
• 22:19
  playing Joe Biden and like he totally could. Yeah no, but sorry,
• 22:26
  let's go back. She encourages him to go outside, and Samuel L.
• 22:32
  Jackson's mom encourages Samuel Young Samuel L. Jackson, what's his name, Price,
• 22:37
  Vincent Price, Elijah, Elijah Price, go outside. There's a purple
• 22:41
  gift for you. Someone's gonna steal it. Well, you better grow fast,
• 22:45
  and so he opens it and she's like, I hear this is a
• 22:48
  twist, adding to this one totally. She mentions the twist. Of course,
• 22:52
  of course you have to. What does she say? This one has
• 22:56
  a surprise and it's her way. It's like you it you were the list.
• 23:03
  It's true, and the thing is because it's it's followed up by the
• 23:07
  scene where he's like super into comics and he's selling the like artwork of like
• 23:14
  famous comic book people or whatever. Dude, and that scene what he's like,
• 23:18
  you're gonna buy this for a fucking infancies. Yeah. Yeah, And
• 23:22
  I actually when you said when you made the Kanye West comparison, I was
• 23:25
  like, oh my god, just imagine him playing it like Kanye would if
• 23:30
  he was like you don't understand who drew this? How could you even think
• 23:37
  about giving it to a six year old? You know? But you'd have
• 23:44
  to be a little like bipolar to behave I mean, it's it's a really
• 23:48
  interesting scene because it also gives a hint at like simultaneously the principled nature of
• 23:56
  this character that he he has a set of rules and a code that he
• 24:02
  abides by, that he's already kind of just implicitly showing us, but then
• 24:07
  also the other side of that being like him taking that to a certain kind
• 24:11
  of dogma where it's like, I believe so strongly in this that like I'm
• 24:15
  losing my you know whatever makes me kind of like a good person or whatever.
• 24:22
  Yeah, And what I really liked about and not that he was bad
• 24:25
  person in this, but like just like he's he's kind of like fuck you
• 24:27
  rude, Like he basically throws this guy out of here. Yeah. Yeah,
• 24:30
  I mean he is kind of a bad person in this, like a
• 24:33
  really bad person. He's like a mass murder. I mean he's definitely yeah.
• 24:37
  Yeah, but what I do, what I do. Like, but
• 24:38
  we don't know that yet. That's true. We didn't give it. We
• 24:42
  shouldn't give away the surprise. But what I really liked about the mom being
• 24:48
  the counterbalance is that you can see that she's really trying to help this person
• 24:55
  become like something grander than he is. And you can see how he took
• 25:00
  that and through like comic book lore meant like malfunctioned in his head as to
• 25:07
  what kind of thing that should Like, comics actually kind of warped his mind,
• 25:12
  which is funny because it's like the thing that you know parents always warn
• 25:15
  kids is going to happen, Yeah, for sure, and then we get
• 25:18
  the first meeting between so we get this. The writing in this movie is
• 25:26
  so good because we get the sequence of him as a kid finding the first
• 25:30
  comic and then him as an adult defending like the art of comics, and
• 25:36
  then you have him getting introduced to the main character of the movie and explaining
• 25:42
  why he thinks these things are important. So you get all that context very
• 25:49
  very quickly, and it's so well done. It's really like kind of a
• 25:53
  bold ass move on the part of m Night Shumlan to make a movie like
• 25:57
  this, because it's like you made a movie that is so slow, and
• 26:03
  the payoff of the movie is that he actually is a superhero. And the
• 26:07
  twist is that this guy is a super villain, which we've kind of known
• 26:11
  all along, because there is a sinisterness. There is a kind of like
• 26:17
  over seerness of it, like there's a kind of like almost like like a
• 26:22
  type of machiavel exactly where the goodness of the good guy comes a bit out
• 26:30
  of the ignorance of him, whereas the brilliance of the bad guy. That's
• 26:34
  where he knows too much. Yeah, exactly, exactly, And and it's
• 26:41
  such a great dynamic and Bruce Willis's ability to be like, no, no,
• 26:48
  you know, I think you're misunderstanding, you know what I mean,
• 26:51
  that kind of like wanting to be polite, but for that he doesn't believe
• 26:56
  you. And but like, dude, that the kind of boldness of the
• 27:00
  filmmaking, the boldness of like, man, I I mean maybe a movie
• 27:07
  now like this would get made, but for this kind of movie at the
• 27:11
  time is pretty bold. It's like off the wall in so many ways,
• 27:18
  but also at the same time so built meticulously that you're just like involved the
• 27:26
  whole way. And it's like you would never think, like if somebody explained
• 27:30
  this to you, especially now, you wouldn't think it would work. You
• 27:33
  wouldn't think it would work, and you would be like, I don't care
• 27:36
  about superheroes, you know what I mean. Well, I actually think that's
• 27:40
  an interesting point because I think this movie also couldn't exist now, like because
• 27:45
  this movie existed in that time where there were the comics were like at a
• 27:48
  fever pitch in terms of like popular culture for like subculture, and now it's
• 27:56
  just like so like there's like a niche interest. Then you can kind of
• 28:00
  make it it's about comics. It's not. It's a comic book movie that's
• 28:04
  about comics. Yeah, totally. And then and then you also have this
• 28:10
  very very particular story, this one story that's very specific about this one guy
• 28:15
  who survived a crash. And then the interlocketing stories, the interlocking stories that
• 28:22
  happen peripherally, and they're kind of continuously being sort of like hinted avenue,
• 28:26
  Yeah, exactly, more information we find out, and like it's it's nice
• 28:32
  to see that. It's like Bruce seemingly building back his family dynamics and relationships
• 28:42
  by being like not having that quote unquote like sadness in him. Their chemistry
• 28:48
  is amazing. All their chemistry is really really all of their chemistry. But
• 28:52
  like specifically, I was talking about Robin and he's like, he's like,
• 28:57
  they're just you can feel the intimacy in the lack of intimacy. There's a
• 29:04
  real familiarity in the like way that they're strange. Yeah, it's like the
• 29:11
  way that you would be a strange for someone you're that is your partner are
• 29:15
  Yeah. And then in this scene. And also there's a nice intimacy between
• 29:19
  him and the kid, like him reading the newspaper and then putting the newspaper
• 29:25
  down, and the kid is just kid is just shoved underneath. Right.
• 29:30
  It's also like a bit of a like a trauma thing here with the kid,
• 29:33
  Like his dad just survived a horrible crash that nobody else survives, so
• 29:37
  he's traumatized, and that plays in later on, so he's holding he's like
• 29:41
  latched onto him. Also the trauma of like the family splitting apart, him
• 29:47
  potentially going to live in another state, you know what I mean. During
• 29:49
  in Chicago, right, I thought there were a Philly. Oh maybe because
• 29:55
  it's only what Philly's two hours away from, right, Yeah, Also the
• 30:00
  West Philadelphia they said in the beginning in rest Philadelphia. But like number one,
• 30:07
  the angles of this movie, so many beautiful angles, like low angle
• 30:11
  shots to the music, Dude, Like it's like so good and so like
• 30:18
  both subtle and also very grandiose and epic like it has like it it makes
• 30:26
  it like it's got like a lot of impact because it's full string arrangements.
• 30:30
  It's like like very orchestral, very big. But also it's kind of it's
• 30:37
  pretty quietly mixed. Yeah, and it's like used very sparingly and only to
• 30:41
  like emphasize certain parts. And silence is actually used a lot, a big
• 30:45
  one in this movie. So he goes to check. We see the gun
• 30:48
  that he moves out of the way, which will come back later. He's
• 30:52
  hidden in the closet. Of course, the kid knows where it is.
• 30:55
  And I was watching this, She's like, I knew where all the guns
• 30:56
  in the house were too, Yeah, of course, and then like we
• 31:07
  see that like the scrap book that he has of like this was also interesting
• 31:11
  to the scrap book and the themes of midlife crisis where I don't feel as
• 31:22
  good as I could have. I didn't make the right choice, to make
• 31:26
  the right choice. I'm my thirty late thirties quote unquote, I was.
• 31:30
  I was. I was like a promising football athlete. Yees, exactly exactly.
• 31:36
  That's that's all really interesting stuff that gets covered by the superhero stuff,
• 31:42
  you know what I mean. It's like indicated, like, no, you're
• 31:45
  actually awesome the whole time. You survived this car crash, but you gave
• 31:49
  it up for love. But do you get the sense that like also the
• 31:53
  problems that they're having are rooted in the resentment that he feels towards her for
• 32:00
  not having the life that he wanted to have. There's a hint of that.
• 32:04
  There is the hint of that, but I think it's it's ultimately plays
• 32:07
  out as I'm projecting my bad feelings onto my wife, because she even says
• 32:12
  that at a certain point, she's like, you know, you made these
• 32:15
  choices. Yeah, exactly, exactly, And that's why there is the rediscovery
• 32:21
  of his love for his kid and his love for his wife is like a
• 32:25
  nice through line throughout the movie because it's like, hey, dude, like
• 32:30
  you just like you got to be there a little more like I'm here,
• 32:34
  we're all here, we want to be together, but like it's just you're
• 32:37
  not there in the same way that sixth sense. It's like that too,
• 32:40
  Yeah, fleshed out in a different way because in the sixth sense, it's
• 32:44
  obviously like he's just a ghost and he can't be there, yeah exactly,
• 32:47
  and you're here. It's more rooted in real relational stuff. Yeah, Like
• 32:54
  there they have to kind of obfuscate and jump around certain things to be like,
• 32:59
  well, he just doesn't listen very well. Yeah, exactly in this
• 33:02
  you can actually tackle some more of the actual meatiness. The more we talk
• 33:08
  about it, the more the Spielberg comparison makes sense to me. Actually,
• 33:12
  yeah, there is like a lot of ways in which like magic is used
• 33:15
  in storytelling, like and like it's what you were saying about the movie The
• 33:21
  Kid. It's what you were saying about The Kid. Where it's like it
• 33:24
  feels like very bold in its omissions. Yeah, totally, where you're like,
• 33:30
  things that should be should have like context or framing for it just doesn't
• 33:39
  and it works to the benefit of the movie. Uh, and then you
• 33:43
  get the fur We get the first scene where it's daytime and he's like,
• 33:47
  but sorry, sorry, I need to say it also serves the mechanism of
• 33:52
  the twist. Oh yeah, of course, which which is the thing that
• 33:55
  I think became the predictable part about his movies and made his He's more difficult
• 34:00
  for me to enjoy. Yeah, because recognizing that mechanism in the writing and
• 34:06
  seeing it kind of appear what's going to be the surprise? Yes, totally,
• 34:12
  totally, my man. But this is where we get the sort of
• 34:16
  hints of Elijah trying to like get mine him for information at his place of
• 34:23
  work. Oh wait, but we didn't say that. We didn't say the
• 34:27
  scene when they go and visit Elijah for the first time, is that where
• 34:30
  we are now or do we pass? No? No, we said that
• 34:32
  they go to he went to go visit him. That was right after the
• 34:37
  part where he like choose out that guy for wanting to give the picture to
• 34:42
  him. We said that, But did we did we say that? There
• 34:44
  was the line where he was like, Yeah, I've met guys like you
• 34:47
  before, and you're just like, the next thing you're gonna say is give
• 34:50
  me your credit card number. Oh yeah, they give me your credit card
• 34:52
  number. That's a great line. Yeah yeah, because he's like faux psychic.
• 34:57
  But this is also like a first indication that Bruce has kind of like
• 35:01
  an extrasensory perception of like he's able to tell he meets guys like him at
• 35:07
  his work the time, and that kind of peaks mister Glass's interest exactly totally.
• 35:15
  And what's what's awesome about that too, is that later on when he
• 35:17
  goes to meet him at his place of work, it's like, Hey,
• 35:21
  I'm here for your credit card number. He's like he's like yeah, He's
• 35:23
  like, and I'll tell you all of it right after that last part was
• 35:28
  a joke which earns Yeah, which is so good. It's so good because
• 35:32
  he needs to have levity for the kind of intense character that he is and
• 35:37
  the kind of tragic character that he is to get a little bit more of
• 35:42
  like humor and him being a real person is very cool and very nice,
• 35:47
  you know. Yeah, Sorry, I'm just trying to get my movies too
• 35:55
  watched to go again. Oh, I mean I'm watching it on Crave.
• 36:04
  It's on uh oh yeah, you're no, I knew it was on Disney
• 36:08
  Plus. Sometimes it like picks up on my Mica dream and I'm like,
• 36:30
  what the fuck was that? Loud? It's happened all my life. It's
• 36:37
  even weirder when I have sex with people when I hear it and I'm less
• 36:40
  like, I'm like, wait, what was that. I'm just noticing it
• 36:46
  a lot now, and when I'm editing, I'm like, what is that?
• 36:51
  I mean, I know exactly what it is, but it sounds literally
• 36:53
  no, it feels like it's like like air that's trapped in your layering,
• 37:00
  and it kind of just like bubbles in a certain kind of way maybe along
• 37:02
  with me all the time, extra fluid along your larynx interesting and it kind
• 37:08
  of like sizzles a little bit, I don't know. But then we come
• 37:12
  to the scene where he this is actually one of my favorite scenes of the
• 37:16
  movie, where the kid keeps putting on more more weights onto the barbell.
• 37:25
  It's kind of a it's kind of an interesting scene because like it's so magical.
• 37:30
  This is like very magic, but it's also like it's also this kid
• 37:35
  in a weirdly traumatic response, being very extra glorious about this and leaning into
• 37:40
  this idea of his dad being a superhero a little too much, even though
• 37:45
  it is true in this movie, there's a kind of part about it that
• 37:49
  Bruce is uncomfortable with, and he's like, hey, that was dangerous.
• 37:52
  I could I could have armed myself, you know, but like kind of
• 37:57
  wanting to believe the kid too. Like there's like a it's it's it's an
• 38:00
  interesting dichotomy that he's able to capture because it's it's a sort of nuance the
• 38:06
  feelings in it, right, it is and it's it Actually this movie also
• 38:09
  parallels American beauty in this way, which is like a loser dad trying to
• 38:19
  find his groove back by having sex with a teen No, I'm kidding,
• 38:23
  But in that same way, it's like, oh, i've he does want
• 38:28
  to believe the kid in part because of the cool factor, but also in
• 38:36
  part of this is helping me. This is helpful to me, you know
• 38:42
  what I mean? Yeah, yeah, Well it's funny that you mentioned,
• 38:45
  though, that the dad was sex with the teen thing. That was like
• 38:46
  a common thing in movies of the two thousands, the early two thousand and
• 38:51
  late nineties. It was like, I don't know, if you're a middle
• 38:52
  aged guy going through guys, just have sex with the young young woman.
• 38:55
  Yeah, and all oftentimes it was a teenager. Yeah, in every stupid
• 39:02
  moment of my stupid little I still like that movie a lot. I just
• 39:08
  quit my job, I roll yep. And then doctor Chris Cooper wants that
• 39:20
  dude the gentle kiss, and he's like, I only do this with young
• 39:24
  men. I was interested in Wes Bentley, your your child, give me
• 39:32
  the inappropriate behavior towards young people. But what what we did miss is this,
• 39:42
  So Bruce explains to Samuel l that he does have actual extrasensory perceptions and
• 39:52
  he's like, what did you feel with that guy? And he's like,
• 39:54
  well, did you say the lineup? He like gets because he notices obviously
• 40:00
  very Saw type actor, shifty kind of guy, like a heavy Danny Maulroon,
• 40:07
  very Danny Maulroon energy, and that Danny Malroon touches Bruce gently and he's
• 40:14
  he has a flash of a silver gun with a black black lubber handle,
• 40:19
  yeah, or a leaceance. Elijah goes to follow him, and then that
• 40:30
  scene with the stairs, and it's the first moment we noticed Elijah's amazing outfits.
• 40:36
  That trench coat, the long, like slender frame trench coat that's fully
• 40:40
  buttoned up and it's like a glistening purple with a cool collar collar. Yeah,
• 40:46
  totally goes to chase him down. And then that's like the stairs.
• 40:50
  You get the shot of the stairs. So I think that this was like
• 40:53
  actually a brilliant visual portrayal of disability in a movie. Oh yeah, to
• 41:00
  show the height of the stairs and the deck, and like to show also
• 41:04
  it at an angle that feels impossible with a level of blurriness was so cool.
• 41:09
  And showing the like clumsy walking down the stairs with the like hand kind
• 41:15
  of slipping. It was just so I've done so well, it's done really
• 41:20
  really well, and not just that, but then you get the scene where
• 41:22
  he's like after that, you get the feet of strength that Bruce shows.
• 41:30
  It's just it's such a well written movie. Hold on. You get the
• 41:34
  scene where Bruce and him are talking, Elijah falls, then you get Bruce's
• 41:39
  feet of strength, and then you see what's his name? Elijah in the
• 41:44
  hospital bed, just kind of dead eyed, and the camera dollies into his
• 41:49
  eye and the eye fades into care one. What's your name? Robin Wright
• 41:54
  is a nurse who or a doctor or a physiotherapist to help Elijah. And
• 42:01
  then later it's so disorienting because you're but but before that, I just want
• 42:06
  to mention, we get that beautiful upside down shot, which is like not
• 42:10
  the first upside down shot in this it's like also mirrors that moment when the
• 42:15
  kid is watching TV upside down and sees first also is flipping through channels right
• 42:20
  after we've seen like this like working class black woman give birth to like a
• 42:25
  child who has a disability, and then he's watching he's watching like it feels
• 42:32
  like it's pointed because it's like got this like you know, element of like
• 42:37
  you know that what I was saying before, like show highlighting white privilege and
• 42:42
  like the disadvantage at which black people feel like in our experience life in America.
• 42:47
  When he's flipping through the channels and he sees like Jerry Springer, a
• 42:52
  clip of Jerry Springer, and it's just like often those things were like very
• 42:57
  like racially exploitative and like pop pready exploitative. Right, So like yeah,
• 43:01
  there's just like I just feel like it was kind of like a parallel scene.
• 43:06
  No, I don't know, that seems like it's going far too deep
• 43:08
  into it. It's just an observation I made. Couldn't not be true.
• 43:13
  But he was watching the TV upside down and it was so well done.
• 43:17
  Yeah, and then there's that other scene where you see the comic from upside
• 43:22
  down that Elijah first gets and then as he spins it around, the camera
• 43:28
  spins back to still see the comic like upside down and then completes the circle
• 43:34
  back from his perspective. Very very nicely done. And this scene is really
• 43:37
  nicely done too, where Elijah is talking to Robert Right, Robert Right,
• 43:44
  Robin Wright and He has that one line where he goes, DI didn't feel
• 43:52
  about that, and she's like, who told you my husband's name was Dad?
• 43:55
  Her being like that quick about it because it would feel so weird if
• 44:00
  somebody did that to you, it'd be incredibly jarring. And it's just like
• 44:05
  so well done, so played out with it plays out. I've got the
• 44:09
  internet. I googled you before I came like, really really well done,
• 44:19
  just like as a like a writerly flourish, basically well and like it serves
• 44:24
  immediately to I think it kind of also helps in a way bring Robin and
• 44:32
  David back together. Yeah, because there's a kind of like a commonality formed.
• 44:37
  It's like this weird guy came to It seems like it makes her interested
• 44:44
  in her husband again, you know what I mean, in a way,
• 44:46
  or like want to pay attention to him. He seems like he highlights elements
• 44:52
  well because they talk about the accident, which was a pivotal moment in their
• 44:55
  lives, which is which is the thing that basically I mean he gets his
• 45:00
  sister, dude, Yeah, Like it's the it's the thing that made them,
• 45:06
  it's the thing that gave him the underlying resentment it's hinted at. Yeah,
• 45:12
  it's harped on too much for it not to be the reason. Yeah,
• 45:16
  I think I think you're probably right in the sense that, like,
• 45:20
  they don't tell you, they're not they don't tell you. That's what I
• 45:23
  like about it. That's that's the best part is that you can have enough
• 45:28
  of your own internal dialogue about the movie that it fills in a lot of
• 45:32
  gaps for you. And then there's that we get to David, you know,
• 45:39
  gently touching people and dude a little new metal line. It's it's kind
• 45:46
  of amazing though, because, like he put it the way, there is
• 45:50
  a shot and like the fact that he's wearing this like thing that says security
• 45:53
  on the back, which gave you very strong like Samaritan vibes. It's kind
• 45:58
  of like a Cape Us have some Samaritan. I mean, Samaritan probably took
• 46:02
  from this a bit. I kept thinking about Samaritan when I was watching this,
• 46:07
  because it's like a superhero movie that's not about like a canon superhero and
• 46:10
  it's really just about the idea of superheroedom. Yeah, totally totally. And
• 46:17
  when he mind freaks a little bit, he'd and he like happens to touch
• 46:22
  a college rapist. He happens to touch what what was that guy's name,
• 46:27
  that like Brock or whatever, what was this the guy's name. He touches
• 46:30
  that guy like a date rapist. He touches well, he touches Shyamalan first.
• 46:36
  He touches m On first, and he's like, we've recently had some
• 46:38
  drugs coming into the building. I'm racially blue filing profiling, not the kind
• 46:44
  of racial profiling post nine to eleven, but you know, pre this is
• 46:49
  preh And he's so mad too for being racially profiled, which should be yeah,
• 46:53
  yeah, absolutely, and he kind of like like, I don't know.
• 47:00
  The attitude that he gives him is pretty good, and he kind of
• 47:05
  like glares at him in a wide later it's pretty cool, But what happens
• 47:10
  after this, it's like a weird It's like a weird. Yeah, he
• 47:16
  does glare at him and he turns around. But then he gets a call
• 47:21
  from the school about his kid fighting. When this like really old lady who's
• 47:28
  like, have you been sexually we lested in She's like, you were a
• 47:32
  kid that like almost drowned in the pool. We had to change the rules
• 47:37
  much like they had to change the rules about the fire alarm and putting a
• 47:40
  thing a plastic coming because of you. Yeah, they're like, because of
• 47:45
  you, we had to change the rules about the fire alarm, and so
• 47:50
  they had to change the pool rules in this and kids talk about you.
• 47:52
  Your law exists still, your Laura is strong, dude. In this school
• 47:58
  kids still talk about it. The kid almost drowned. Here's here's the interesting
• 48:00
  thing about and what happened. What I in what I realized in this scene
• 48:08
  that m Ni Chiamalan doesn't do anymore, which is when that lady. In
• 48:15
  fact, a lot of people do this in a lot of his movie,
• 48:19
  in a lot of parts in his movies where he'll just let people talk and
• 48:23
  like he'll focus on like Bruce Willis and he just won't cut back to the
• 48:29
  other person. You never see the front of this lady's face, and that
• 48:31
  really a why though. Yeah, but but it's not focused on in a
• 48:37
  way that's like look at this weird actor. No, no, But now
• 48:42
  Mni Chalan does that all the time. He'll cut to the other person,
• 48:45
  and that's what builds the world for us because we get to hear it as
• 48:51
  if we're because if we're him, right, so he's like, oh yeah,
• 48:54
  well you know, like you've you were in the pool or whatever,
• 48:59
  and it's like, yeah, I don't remember that because and he's just because
• 49:02
  he's reacting and he's so beautifully reactive in this, like there's a real you're
• 49:08
  right about the kind of like dumb guy in it. It's not dumb.
• 49:12
  He's not dumb. He's just like a simple person. Yeah he's Whereas it's
• 49:17
  interesting, m night, chum. Samuel Jackson has had to become complex because
• 49:22
  he has this disability and like low key in the movie because he's black,
• 49:27
  but like you know what I mean, black in America, and it's like
• 49:30
  I think that he's like it's it's hinted at. We already know so much,
• 49:37
  especially because of Samuel L. Jackson's iconic role with Bruce Willis in Diehard
• 49:43
  three and the type of character he did play with it in that movie.
• 49:45
  He's the third so well, no, there's we did pulp fiction. Oh
• 49:52
  that's right, yeah, and we did three movies. Yeah, yeah,
• 49:55
  and yeah, I think that, you know, because of that, Samuel
• 50:00
  L. Jackson has like he kind of carries with him a gravitas of like
• 50:06
  having a complexity, having a point of view, and he plays that kind
• 50:10
  of character in this except what he's obsessed with in this movie is like superheroom
• 50:15
  and the good guys and the bad guys, right, the bad Yeah,
• 50:21
  he's obsessed with the bad guys. H. And also well like dumb,
• 50:25
  You're right, that's I said that, like not being really careful with my
• 50:32
  words. But naive is what I meant, like ignorant of certain kinds of
• 50:37
  realities that that are very external to him. Whereas totally he doesn't need to
• 50:44
  doesn't need to be yeah, exactly. The personal feelings that he has about
• 50:49
  like football, career and stuff like that are all choices he made, whereas
• 50:53
  everything around Samuel L. Jackson had to be done because he is the way
• 51:00
  he is. He had no other option but to be the way he is.
• 51:04
  Well, and think about the contrasts between Bruce Willis lifting all of this
• 51:08
  weight and kind of thinking about it as a curiosity, whereas for for Samuel
• 51:15
  L. The act just walking down the stairs is like a life threatening thing,
• 51:21
  yeah, totally, which which he has to like take into consideration all
• 51:25
  the time, whereas Bruce just had to consider this thing now and that's why
• 51:34
  it means so much more to Samuel Jackson to know all this stuff, and
• 51:38
  that's why he does have that, that's why there is the epic nous of
• 51:42
  like and they called me mister Glass. Well yeah, and it's interesting that
• 51:47
  he gets that like log line in the movie. I'm thinking a lot about
• 51:52
  this because I just watched the Stallone doc and I really want you to watch
• 51:54
  it. But like Stan watched the Schwartzy doc, I know stallone, Stallone
• 52:00
  in the movie a lot about how he always wanted to be the good guy
• 52:05
  in the movie, Like he always it was really important for him to be
• 52:07
  a good guy and to like for good to prevail because he's like, you
• 52:12
  know, in life, it doesn't prevail. It doesn't work that way.
• 52:15
  And like it's interesting to me the simplicity of that idea, and actually,
• 52:25
  like villainry, the idea of evil is can be so much more interesting because
• 52:32
  it's rooted in this idea that like it's reactionary. It's reactionary to something good
• 52:40
  just exists as like a virtue and evil or bad has to be like challenged
• 52:46
  and reckoned with. So like you can kind of mine a lot of like
• 52:51
  depth in something like that, and I think we see that like in how
• 52:55
  this movie plays. I would argue that, like Samuel Jackson is as much
• 53:00
  a main character in this movie as oh yeah, of course, yeah,
• 53:04
  I mean, yeah, absolutely. I don't think anybody would would say otherwise,
• 53:08
  in the same way that Bruce was just as much a main character as
• 53:15
  Haley Joel was in the Sixth Sense as well. But I'm realizing that it's
• 53:20
  it's hard to find because Bruce is cast for this, for this kind of
• 53:29
  like ability to learn a thing, ability to realize that the whole yeah yeah
• 53:34
  thing that we joke about all the time. Yeah, he says yes so
• 53:37
  much in this and like in a way that he's like realizing things. And
• 53:39
  I do think that he's cast in a way because he's really good at like
• 53:44
  sort of like innocently not knowing and being enlightened. Yeah, totally having a
• 53:52
  moment of consciousness raising is like a particular trope that he has, whether it
• 54:00
  be in small ways of like you know, small ways, I mean Diehard,
• 54:07
  it's not small, but like he goes through a character arc in that
• 54:13
  movie that's like much more narrow than something like this or something like Sixth Sense.
• 54:19
  But because he's so good at acting, he can pull it off with
• 54:23
  such ease in an action hero way but also throughout a movie kind of way.
• 54:29
  He's ever evolving in this And this is the Pinnacle scene, which is
• 54:32
  both hilarious and awesome. It actually is. I remember this scene being way
• 54:38
  funnier than it was, but it's still funny where where Bruce goes Joseph,
• 54:45
  what the hell are you doing? Because he brings the gun, which is
• 54:47
  insane. My god, it is an insane because it feels like Daddy Splider
• 54:55
  is and like him going like but you don't believe me, I'll show you.
• 55:02
  It's like all bash. It was totally face it, and it felt
• 55:07
  I felt it with that same level of intensity of like maybe he will bash
• 55:12
  my face in dude, maybe he will shoot his dad to prove that he's
• 55:15
  a superhero. And there's almost a sense that gun's not loaded, he doesn't
• 55:20
  know where he keeps. There's almost a sense in the thing where like there's
• 55:24
  an excitement to it too because like you think it could happen, and you
• 55:29
  think Bruce could survive. Yeah, you totally. But I also love the
• 55:35
  subtlety of like he doesn't know where the gun bluets are Joseph, did you
• 55:39
  load that gun? Joseph? You know that kind of dude. His voice
• 55:44
  in that scene was perfect, and like they dealt with it so well,
• 55:47
  and Robin writes like reaction in the scene is also really good. In a
• 55:52
  way, they're trying to keep him calm. They know there's themselves calm.
• 55:57
  It's also there's also a way in which they have to collaborate in this.
• 56:01
  I love that kind of brings them closer together through a very visceral traumatic experience
• 56:07
  of like, look what we're doing to our kid right totally, and the
• 56:10
  kid is clearly like traumatized and going through something. And I think that I
• 56:16
  think that the scene is really good and it's kind of confusing, and it
• 56:22
  feels not real. It feels like it wouldn't happen, but oh it totally
• 56:27
  would. One hundred percent. Yeah I think it would too. Yeah totally.
• 56:30
  It made me like when I was a kid and saw this, I
• 56:34
  didn't feel like it was real. But now I'm like, oh, totally,
• 56:38
  I didn't sane shit do like it totally. Kids have kids logic and
• 56:44
  also also when they're traumatized, they don't have the reasoning factors to get back
• 56:50
  into like a regulated place exactly. And and I love when her description of
• 56:55
  it too. This is what made me really love her character because it it
• 57:01
  feels very much rooted in like healthcare, like but talking to a kid where
• 57:09
  she's like when sometimes people's bodies get hurt, their minds get hurt too.
• 57:15
  And it's like, so because she's trying to say that Samuel L's character,
• 57:20
  She's like, he's and he's physically hurts, so he he's physically different,
• 57:24
  he thinks, but it's like sometimes they think things that aren't true, and
• 57:30
  it's like he's he's disabled. I think, like it's an interesting way of
• 57:37
  like tackling such a complex issue in in like a scene where you have to
• 57:44
  communicate something directly to someone who's in an elevated, heightened kind of alarming state.
• 57:51
  Yeah, totally. And then when he says he says, like,
• 57:57
  do you remember the boy who drowned the pool? That was me? That
• 58:00
  was me, you know, And you know, I think also this scene
• 58:06
  serves as a kind of not a red herring, but like to throw you
• 58:09
  off the scent that like you're never supposed to believe that Bruce Willis is too
• 58:15
  much of a real because even Samuel comments on it in a way where he's
• 58:20
  like, you know, it's not exactly like in the comic books, but
• 58:24
  then by the third one, dude, it is exactly. But but what's
• 58:30
  what's also cool is like, hey, dude, if you pull that trigger,
• 58:36
  I'm going to New York. I'm just gonna leave. That kind of
• 58:39
  like wasn't even like weaponizing the like, it was the expressing the disappointment he
• 58:47
  feels to his kid in a way that he'll understand, but also leveraging his
• 58:52
  own presence. Presence that's wild. I mean, he's gonna come to him.
• 58:58
  No, no, no, I like, I totally understand and the
• 59:00
  reasoning, and I like wouldn't put it past anyone to do anything like that
• 59:04
  in a situation like that, But it's an interesting choice. The best thing
• 59:07
  about it is friends don't point guns at friends and we're all friends, which
• 59:14
  I loved. I thought it's a continuing the idea each other. Virtuous Bruce.
• 59:19
  It's virtuous Bruce, virtuous Bruce. And somehow, dude, somehow,
• 59:22
  I think Bruce is also cast for his ability to convey that he is he
• 59:29
  represents a kind of like real American valor and virtue of like, regardless of
• 59:36
  the role he's in, the role he's filling in the movie is like,
• 59:39
  we believe you as the pinnacle of what is good and right. Implicitly,
• 59:47
  he does a really good job at conveying all of those things through the kind
• 59:53
  of boomer silent dad. My dad take this ring off to flirt. Yeah,
• 1:00:01
  totally. Well, I mean he took his wedding ring off because they're
• 1:00:04
  they're in trouble. Yeah, no, no, yeah, did you have
• 1:00:07
  sex with anyone without when? When we were not together? When does that
• 1:00:12
  scene happen? I don't remember. Did we pass it already? I don't
• 1:00:15
  know. I really liked that scene where Robin right comes to him. She's
• 1:00:20
  like, can you please just tell me if I won't react any which way?
• 1:00:24
  And she says that I won't react any which way like three times,
• 1:00:28
  and then when he finally says no, she's so relieved. Yeah yeah,
• 1:00:32
  and she's so like, I think that did happen earlier? Yeah, She's
• 1:00:36
  like, I can, Okay, I can. And that's like where their
• 1:00:39
  reconciliation really kind of starts, but they take it really slow, which is
• 1:00:44
  nice too. Listen, we can take this slow. I've heard about this
• 1:00:47
  thing, Bollyamory. Do you know what a metamor is? That's what my
• 1:00:53
  girlfriend is to you. But yeah. The next scene is where Bruce Willis
• 1:01:00
  is like talking to Elijah and he's like, hey, dude, I need
• 1:01:04
  you to stop harassing my family. My kid always shoved and he's right.
• 1:01:12
  He tells him too, like that's on you, dude, Like that's your
• 1:01:15
  fault. But he's still a good guy. They're both still they're very very
• 1:01:22
  cordial to each other throughout the whole. They like each other. They like
• 1:01:24
  each other, which is very awesome. I mean, but then then there's
• 1:01:29
  that. Then there's the realization that Elijah has, which is like he tells
• 1:01:36
  him not just don't mess with my family anymore, please, but also like,
• 1:01:40
  dude, like I'm not invincible, Like I almost drowned in a pool.
• 1:01:44
  I didn't remember that. But this is what's awesome. I love this
• 1:01:50
  because the dead eyed part where he's just in the comics store and the guy's
• 1:01:54
  like, hey man, you got to get out of here. Oh I
• 1:01:59
  didn't realize he gets uncomfortable with his disability. I I like that too because
• 1:02:05
  it shows that kind of it's again this idea of a microaggression, right,
• 1:02:09
  Like he's experiencing the world differently because of his disability, and like we're showing
• 1:02:16
  that obviously in this like scene where he's like, oh, I didn't realize
• 1:02:22
  like it changes how he treats him. Yeah, oh yeah. But then
• 1:02:25
  then he gets really mad at him, which is also a thing that I've
• 1:02:30
  I've heard as an experience. It felt very realistic in terms of from disabled
• 1:02:37
  people. Yeah, from disabled people in terms of like, if you're not
• 1:02:42
  reacting the way I want you to react, I'm gonna get mad at you,
• 1:02:46
  which is like you either have to be like docile and like cute,
• 1:02:53
  or I need to be able to help you, or you're there's something wrong
• 1:02:58
  with you. Yeah, the I need to be the centering this of self
• 1:03:01
  in it has to be about me. Yeah. And then but Samuel does
• 1:03:06
  two Dick moves where he's constantly shifting the body weight the cop he was pulling
• 1:03:13
  one of the wheels to the side to like ram himself into the like comic
• 1:03:20
  stands, and then he knocks over this one comic and that's where that scene
• 1:03:22
  happens where that you were talking about with the flipping around of the camera.
• 1:03:27
  Oh yeah, yeah, and then and then he's like how much for this
• 1:03:30
  one? And it's good, it's perfect because he's about to call the cops
• 1:03:34
  and he's like, I'll call five. Oh yeah. Did you also feel
• 1:03:37
  like that was maybe appointed racial? Yeah, totally one hundred percent. But
• 1:03:42
  also he says cracker Jack, which is also like one of those things where
• 1:03:45
  it's like what what, Like Emma Chamalin does this thing oftentimes where he'll throw
• 1:03:52
  in nineteen fifties lines where you're like, what is this? Who is this
• 1:03:57
  for? I mean it's for me too. Yeah, totally one hundred percent.
• 1:04:01
  And then Robin Wright and Bruce go to like a fancy restaurant and it's
• 1:04:10
  like these scenes. This is the scene where she's like, do you resent
• 1:04:15
  us? David? I love I love the fact that you can hear them
• 1:04:19
  so closely, but with the shot is so far and then Dolly's in it's
• 1:04:26
  so long, for so long, and because there's a real fly on the
• 1:04:31
  wall feeling of it, like we're almost giving them their privacy, but we
• 1:04:35
  get to know what they're talking. Yeah, and it's and it's really hilarious,
• 1:04:42
  Like you get this scene you get the funny scene with Elijah getting the
• 1:04:45
  comic. Then you get this like kind of like somber sad. No,
• 1:04:50
  it's not a confrontation, but it's like a reckoning with certain kinds of feelings
• 1:04:55
  that they've had. But but with Catharsis at the end of that scene,
• 1:04:59
  and then you get the other funny scene where the like the kid who's babysitter.
• 1:05:04
  She's like kind of like a cute dorky. Yeah, She's like,
• 1:05:10
  there was two calls. I didn't answer one of them. I let her
• 1:05:13
  go to voicemail. I did this because tell me about the call. Like
• 1:05:17
  he interrupts her, like she starts talking about something, and he's like,
• 1:05:20
  tell me about who called and who was it. It's two calls for one
• 1:05:24
  of them's mister Glass, but we hear the message, yeah, and the
• 1:05:27
  other call was who I forget. She didn't matter, It didn't didn't matter.
• 1:05:32
  But but mister Glass is like, David, of course I figured it
• 1:05:36
  out. It's why I mean, if anyone's called and said anything like this.
• 1:05:42
  It's interesting because Bruce plays it really well because he's like kind of always
• 1:05:45
  like not believing him, but he's kind of intrigued totally. His interest is
• 1:05:49
  peaked, but it's it's also the believability is ramped up by the fact that
• 1:05:54
  you see him press the button, you hear Elijah, and then he walks
• 1:05:58
  away and and it's just the shot of the like of the answering machine in
• 1:06:03
  the foreground and him in the background, and the I realized the reason that
• 1:06:08
  gives it so much gravity isn't just because it's like a cool interesting shot you
• 1:06:12
  don't really see You're you're you're doing what novels do for you, which is
• 1:06:17
  filling in a lot of blanks right about how someone's feeling, because you're feeling
• 1:06:21
  it right, and it gives it a lot of like weight, and and
• 1:06:28
  it's it's really well done, and like when did he get so obvious?
• 1:06:35
  It just feels like but it feels like even this is more obvious and on
• 1:06:40
  the nose than six cents alrighty oh, one hundred oh, yeah, one
• 1:06:43
  hundred percent. I think that that's done. For the particular reason, uh,
• 1:06:50
  is the fact that like this doesn't really rely on any twist in the
• 1:06:56
  same way, it's also like it's got less characters. The weight of the
• 1:07:05
  twist in this one is like again, it's like it does the thing where
• 1:07:10
  it's like, a ha, this thing you knew all along, but you
• 1:07:13
  didn't know the way in which you knew it all exactly exactly. And I
• 1:07:17
  don't know, I found it a little bit. It falls much flatter than
• 1:07:25
  than than sense. And that's why the wamp womp of the like they call
• 1:07:30
  me mister Glass. It's simultaneously so legendary because it's the last line of this
• 1:07:35
  movie. But like Ada was watching it, she's like, that's what happened.
• 1:07:40
  He walks away, and it's like a like a based on a true
• 1:07:44
  story. I would freeze frame where they like with the words like he called
• 1:07:50
  the authorities later on and they came and picked up and arrested and put him
• 1:07:55
  in jail for the criminally insane. But we'll get to that. Well,
• 1:07:58
  Like what ends up happening is David goes to I guess visit the car that
• 1:08:05
  he had. Anyway, it doesn't matter, that scene doesn't matter. We
• 1:08:10
  get the flashback of young Bruce Willis, the guy who looks so much like
• 1:08:14
  the scene in a car that he had. Well, he goes to like
• 1:08:16
  a warehouse or something, and he like looks at like a destroyed car,
• 1:08:21
  which I'm assuming is just the car he had from as a kid. No,
• 1:08:27
  like in the scene where he meets Robin Wright for the first time and
• 1:08:32
  he goes to this like warehouse and he like looks at a car, and
• 1:08:38
  then it cuts back to the flashback Oh okay of him. I don't even
• 1:08:41
  remember that, and it's him as a young man, and they got this
• 1:08:47
  guy who looks Oh, so you're talking about the flashback where where he where
• 1:08:51
  he where they like where they where? The car flipped over? Yeah,
• 1:08:55
  that part doesn't matter, of course it matters. No, not that part.
• 1:08:58
  The part that where he goes was to like visit the car that makes
• 1:09:02
  him well, so he flashedbacks to man like this most looking woman she looks
• 1:09:16
  so much like Yeah, And also he just looks so much like Bruce.
• 1:09:23
  It's it's the case. Was venting messaging me and he was like, hey,
• 1:09:29
  is there a scene where Bruce plays how you do Fellow Children? And
• 1:09:32
  I was like, no, dude, it's even better. It's a weird
• 1:09:35
  young guy that looks like Yeah. But like what's funny is he's balding in
• 1:09:41
  the way that the same way, the same way, Yeah, but and
• 1:09:45
  the way when you notice him making this face, yeah, the classic doing
• 1:09:49
  the like droopy hangdog. It's weird because he's he's making a face. Yeah,
• 1:09:57
  he's making that face. But Bruce isn't making that face. It's just
• 1:10:02
  what his face looks like. Yeah, totally, this guy was making the
• 1:10:05
  face the thing. And then he gets another call from from mister Glass and
• 1:10:14
  he tells him to go where people are he's like mining, like he's he's
• 1:10:19
  like controlling him, orchestra, and and he goes to a place where he
• 1:10:26
  can touch a lot of people New Metal touch a lot of people. It
• 1:10:29
  feels like Grand Central Station or something. He's like in a like a main
• 1:10:33
  train station, just like gently grazing people. And he sees a Moleste guy.
• 1:10:39
  And then he sees the guy who yells go back to Africa, a
• 1:10:43
  racist fucking guy who like he smashes a bottle too on someone's head, on
• 1:10:49
  black people's head, which, like I think that like this is also the
• 1:10:56
  movie is definitely talks about like race in a low key way. Hey guess
• 1:11:00
  this, sister. Yeah, I mean I don't think you can't without because
• 1:11:03
  it's like Philly too. Yeah, Like I mean It's interesting though, how
• 1:11:09
  it's like talked about in such a like a gentle Hollywood way, like a
• 1:11:14
  race. Yeah, at the same at the same time, like that's what
• 1:11:19
  Spielberg did too. It was like Nazis, but like they're just like an
• 1:11:27
  like kind of ethereal evil, yeah, as opposed to anything specific. But
• 1:11:32
  actually the new one, the Fableman's gets very specific with the race stuff.
• 1:11:39
  Well, I mean, I'd be interested to see if it but I mean
• 1:11:42
  I had a good time watching him. He touches the main villain of the
• 1:11:46
  movie. I mean, it's not the main villain of the the main villain
• 1:11:49
  of the movie. It's what creates the climax of the Well no, okay,
• 1:11:54
  but but it's it's the thing. It's the thing. It's a differentiation
• 1:11:57
  between villains that that because says that that Samuel L. Jackson says later,
• 1:12:01
  where he's like there's an arch nemesis who's a main brain villain, and then
• 1:12:06
  there's just like a person who does bad things, yeah, want to do
• 1:12:10
  bad things totally totally. And there's there's rain, which is obviously an indication
• 1:12:15
  that water is going to happen. That water, the water is happening yeah,
• 1:12:24
  so he's already at a disadvantage and then he goes into the house.
• 1:12:29
  He's kryptonite ude bad Away Merle. Oh yeah, swing away, swing Away,
• 1:12:50
  I always forget. Yeah, swing Away Merle, swing Away Meryl mer
• 1:13:00
  swing Away, swing away? Merle? Is it Merle? Is it Merle?
• 1:13:09
  Meryl? Meryl Merle? Yeah? I guess so. I think so
• 1:13:14
  anything but you no, no, has anything ever worked with you? No?
• 1:13:25
  Oh, man, Jesus. Like when people are the throes of just
• 1:13:35
  like the most insane tantrums and they say the most crazy things. Dude,
• 1:13:43
  Dude, he just says crazy things and he's got like nine children. I
• 1:13:45
  wonder if any of those people are going to get any inheritance or if he's
• 1:13:48
  spent at all. And he's got a church on his property. He's like
• 1:13:55
  a lunatic sometimes. Now you see it and he's like, well now,
• 1:14:00
  it's all just kind of like you know, if you really like, it's
• 1:14:06
  like he's in a panic mode all the time, and it's like a fear
• 1:14:11
  stress response. I think it's kind of like a yeah, I don't know,
• 1:14:15
  interesting guy, very interesting guy, but also just like, yo,
• 1:14:19
  what happened? And also, your dad was a Nazi. Dude. I
• 1:14:23
  mean none of that surprised me. Yeah, dude, but yeah, we
• 1:14:28
  get the Bruce doing some concerned eyes totally. He does so many concerned eyes
• 1:14:38
  with this and they do this like incredibly. These shots are amazing where it's
• 1:14:43
  like he turns on the light and the two people, the two I guess
• 1:14:45
  the kids of the family are like clasped to like the back. I forgot
• 1:14:51
  about this, And like his shot like from below, just like in the
• 1:14:59
  shroud did raincoat and stuff, very beautifully done, and he looks scary in
• 1:15:05
  it like he does look and also yeah, I think it's on purpose,
• 1:15:10
  like done from this like you're not really meant to see his face, oh
• 1:15:13
  of course. Yeah. And then as he comes to the like one window
• 1:15:19
  to see where the like villain is and he gets pushed outside and greatest battle.
• 1:15:30
  Can I just say, I mean, this is really dangerous, but
• 1:15:35
  can I just say that this idea of like, it's a very conservative idea
• 1:15:43
  of a guy who's just like the flashback of this major villain in this movie
• 1:15:49
  is a crazy guy in a like an orange jumpsuit whose day job is like
• 1:15:56
  cleaning garbage at this Grand Central station. And then at night, he like
• 1:16:01
  takes over people's houses, Like he's like, I really liked your house,
• 1:16:05
  and I'm like, it's such a conservative idea that someone is gonna break into
• 1:16:11
  my house and steal it from me. I don't know. I mean,
• 1:16:15
  like I don't think I don't necessarily think it has much to do with like
• 1:16:19
  conservatism as it does the story behind this guy. He's just the psycho that
• 1:16:25
  like wants like a steal a house and tie a bunch of people he last
• 1:16:29
  house on the left people. I mean I think that it was just and
• 1:16:33
  then goes to work at Grand Central Station during the day. I mean,
• 1:16:36
  the canmis my shift, dude. I mean there's a lot of people who
• 1:16:39
  did do that, you know what I mean, Like, there's a lot
• 1:16:42
  of people who did that who just like stole a last house on the left.
• 1:16:45
  Well, they didn't do that kind of thing. I'm just saying that
• 1:16:47
  they lived their normal life after doing outrageous Yeah that, And like the reason
• 1:16:55
  I say say maybe maybe it doesn't really have to do with like conservative necessarily
• 1:17:00
  is just because like they really expedited. They set up a lot of stuff
• 1:17:06
  to be able to like have this payoff in a real way, you know
• 1:17:11
  what I mean. I'm not saying that that they're trying to say any kind
• 1:17:15
  of conservative message, but it's I'm just saying it seems like a conservative fear,
• 1:17:19
  you know what I mean, Like that somebody will rape me out of
• 1:17:23
  the blue, Whereas like you know, it's like these kinds of things happen
• 1:17:27
  most often by people you know, you know what I mean, or like,
• 1:17:30
  yeah, I mean, like the same thing with like home invasion type
• 1:17:32
  things, but home invasion type things happen mostly on like as a like a
• 1:17:39
  circumstance thing. This will like I think I can get away with this,
• 1:17:43
  so I buy it, you know what I mean. Like it's just kind
• 1:17:45
  of like like I said, like these kids are even completely faceless. You
• 1:17:48
  don't even see them right, Like you don't see the guy's face around everyone.
• 1:17:54
  Everyone's a Danny mall room and you either see them like far away or
• 1:18:00
  if they're close, like they're kind of out of focus. Well, you
• 1:18:02
  know what this climax reminds me of Actually, weirdly enough, the way you're
• 1:18:08
  describing it adaptation, where the most uninteresting part of the movie is the like
• 1:18:15
  supposed to be the writerly and like the real point is the like impact you
• 1:18:20
  get from the slowness and all of this stuff after exactly you know what I
• 1:18:24
  mean. So like it's kind of like almost interesting where it's like this has
• 1:18:29
  to be in the movie, But what's really the impact is they call me
• 1:18:33
  mister Yeah totally, even like the way he gets saved and like they pull
• 1:18:41
  him out and he has his hero moment of like standing up and like being
• 1:18:45
  able to like survive even after his like kryptonite, right uh. And I
• 1:18:51
  actually really liked this because man, this like this scene is like this scene
• 1:19:01
  almost reminds me of the kind of vileness that Ary Astor does in like Hereditary
• 1:19:09
  or or Midsummer where it's like you see something like pretty vile happen, like
• 1:19:14
  when he's like the villain is drinking a beer and then spitting it on the
• 1:19:17
  dead body of the lady. Is the body dead? Did he kill that
• 1:19:23
  woman? Yeah? Because he enties her and then she just kind of slumps
• 1:19:26
  elip and then Bruce like just chokes him the fuck out, which it is
• 1:19:31
  awesome. It's such a good scene. I feel like there was like a
• 1:19:35
  wire system in this because like the way he gets like kind of there's like
• 1:19:40
  hints of superhumanness with how he gets like slammed in the walls several times and
• 1:19:45
  the walls just like concaved. Yeah, and then he like flies up even
• 1:19:49
  in one scene, and I'm like, I think they did slight superhuman on
• 1:19:54
  purpose. And they totally did slight superhuman on purpose because he's giant the guy
• 1:20:00
  six five Yeah, and and like they definitely made it like, uh,
• 1:20:04
  it was not a challenge for this guy to like take this guy down.
• 1:20:09
  Yeah, yeah, Yeah, it was really cool. It's very cool.
• 1:20:12
  It was well done. It reminded me a little bit actually of that scene
• 1:20:15
  in the New Invisible Man where Elizabeth Moss is like fuck yeah, where she's
• 1:20:19
  like fighting and there did the digital removing of like the guy and she's actually
• 1:20:25
  doing it. It kind of reminded me of that, Like it just like
• 1:20:28
  there's that kind of energy of like there's this like an over the topness and
• 1:20:31
  bigness to it that like feels otherworldly in a very real way. Speaking of
• 1:20:38
  otherworldly in a very unreal way. When Bruce Willis comes home and picks his
• 1:20:43
  wife up and she glides she's up to the bed and her neck is like
• 1:20:49
  standing very straight, and then it's so that she could she could do a
• 1:20:54
  full two body shots out of that hole. Oh yeah, I love the
• 1:21:00
  neck hole. It's just like so deep. How does that happen? It's
• 1:21:03
  amazing, it's perfect. And then when he's like, I had a bad
• 1:21:08
  dream, she's like it's over now, because earlier in the movie he mentions
• 1:21:15
  that the way he knew that their relationship was on the rocks. She asks
• 1:21:18
  him, how did you know? Did you know you were on my mind?
• 1:21:25
  And he says, because I woke up one night from a nightmare and
• 1:21:28
  I didn't ask you to tell me it's going to be okay, And like
• 1:21:31
  that's such a simple way of saying like I was having nightmares and I stopped
• 1:21:36
  turning to you for he I was feeling trouble in my life and my relationship.
• 1:21:43
  It's interesting, it's really good, and it's you know, it's interesting
• 1:21:45
  that Bruce took these roles that show a maturity and a depth of character that
• 1:21:55
  we haven't seen from other characters. The way he's kind of willing to like
• 1:22:00
  explore like soul themes is interesting. You know, it's a very different kind
• 1:22:05
  of humility and vulnerability that none of the other guys have I agree, uh,
• 1:22:13
  and it allowed him the most range, but it also I think limited
• 1:22:19
  some he's got kind of the most boring overall canon. He does have the
• 1:22:31
  most boring overall canon. It's it's not that it's boring, it's just that
• 1:22:35
  it's varied in a way that doesn't allow for the same sort of trajectory.
• 1:22:43
  Yeah, it's true, you know with the Loan, I mean, watch
• 1:22:45
  this documentary. Dude does the Loan literally built his mythos all the things that
• 1:22:51
  all the things that we intuited about the Loan are in this movie, and
• 1:22:57
  I think I think it would be really I mean, we need to talk
• 1:23:00
  about. But what's what's awesome in this last scene, because this is really
• 1:23:03
  the climax of the movie is when the kid comes down and he sees that
• 1:23:11
  they're having like a good relationship, very subtly a good relationship, and then
• 1:23:17
  Bruce in that amazing no words, he doesn't say anything, and and like
• 1:23:24
  he just hands the kid the paper and it's like nods to him, like
• 1:23:28
  I know, it's almost funny. It's almost it is always funny, but
• 1:23:30
  it's also like, I know, dude, it's so cool. There is
• 1:23:34
  an excitement about it, but there's also a kind of like mutedness of like,
• 1:23:39
  hey, we don't we're not going to talk about this is between us.
• 1:23:43
  Yeah, and the kid is he understands too, and they both But
• 1:23:49
  also it's always to be a football star. Yeah, he gets to be
• 1:23:54
  the thing that he never knew he could be. But he's still he has
• 1:23:58
  to kind of like live it a in this like secret way, in a
• 1:24:01
  secret identity. Yeah. And but what's nice about the kid too, because
• 1:24:06
  the kid is a sidekick. Yeah, that's also but the underlying thing is
• 1:24:12
  really like, no, dude, like your mom and I are getting back
• 1:24:15
  together and it's going to be okay, you know what I mean, Because
• 1:24:16
  that's what it really means in terms of shit, that's what it really means
• 1:24:20
  in terms of like the like oh my God, like think Christ, like
• 1:24:27
  we can work this out as a family, you know what I mean.
• 1:24:30
  But it was really interesting, and the kid is a cipher four kids,
• 1:24:32
  and the kid is the person who I related to when I watched it the
• 1:24:35
  first time. But it was interesting watching it from like this perspective and seeing
• 1:24:40
  it like from the age of the like main characters of Samuel L. Jackson
• 1:24:45
  of Bruce Willis where you're just like, yeah, it's like these are the
• 1:24:48
  heavy yeah, yeah, these are the heavy questions of middle age. Yeah,
• 1:24:51
  of approaching of entering middle age, right, like yeah, so it's
• 1:25:00
  and then we get the iconic scene where Bruce goes to the open. Oh
• 1:25:03
  he goes Yeah, he goes to the opening, and we get the old
• 1:25:08
  lady version of his mom, the same age as Samuel Jackson, but somehow
• 1:25:14
  is mom. Yeah. Yeah, and she is the most magical in this
• 1:25:18
  part. It sucks because of the fact that like she's set up in kind
• 1:25:21
  of this really interesting way only a little bit to be written as Samuel L.
• 1:25:30
  Jackson. Well, I was gonna say she did a really good job
• 1:25:33
  in the first two scenes that she was in where she had the kid and
• 1:25:38
  she there was this like palpable sense of fear, like is the baby supposed
• 1:25:42
  to be crying this much? And there's a real like connection to her because
• 1:25:45
  like you know of the precarity of this having happened in a department store,
• 1:25:51
  the doctor coming to visit. Clearly something is wrong. She's shaking. It's
• 1:25:57
  like real, really well done. And I feel like this last scene,
• 1:26:00
  the like kind of glossy eyed majesticness like does a bit of a discorsi.
• 1:26:04
  It does a bit of a disservice. But then I when you said the
• 1:26:08
  Kanye thing, I was like, I don't know, dude, maybe Donda
• 1:26:12
  was like a nutcase by the end too, like to have somebody like this
• 1:26:16
  be like kind of insane at you for a long time, because like,
• 1:26:21
  no, I disagree. I think that she she I think that she was
• 1:26:29
  really good because she had the challenge of raising this kid alone. It's implied
• 1:26:35
  and like, and she was raising him to be live in a world where
• 1:26:41
  he was mister Glass and all the kids called him mister Glass, and like
• 1:26:45
  there's a real vulnerability to like, well, no, I'm just talking about
• 1:26:48
  like this version of her. Oh oh, the party is talking about like
• 1:26:53
  her as a character, because the character, I agree with you, the
• 1:26:56
  character. I'm just saying that, like this version, the glassy eye,
• 1:27:00
  it's it's it's just a good like, oh, well, I'm coping with
• 1:27:03
  this person also being kind of now I have to yeah, yeah, now
• 1:27:06
  I'm having to deal with the monster that I created my own narcissism for my
• 1:27:12
  own narcissm exactly. Yeah, I don't know. I don't know. I
• 1:27:15
  mean, like it's it's an interesting question, it's an interesting exploration. Maybe
• 1:27:18
  his dad also lost everything because of the stock market. Yeah, But then
• 1:27:27
  we get to the well do we say what she says because she talks about
• 1:27:30
  the villains, And one of the things, one of the things we didn't
• 1:27:34
  mention was I love how Samuel L. Jackson analyzes the dimensions of the good
• 1:27:42
  guy's faces and the bad guys faces earlier On's like the square jaw is the
• 1:27:47
  hero with Bruce Willis has a very square jaw, we get and then like
• 1:27:53
  an oblong head or a big head with like bigger eyes, and that's like
• 1:27:59
  a supposed to be a villain, And like we get this kind of like
• 1:28:02
  description of like he's describing the villains as like beastly, which is what you
• 1:28:09
  have to be to be a villain, or to be considered a villain.
• 1:28:13
  You have to be considered not of this world, not human. Yeah,
• 1:28:17
  and yeah, which is perfectly in line with the being disabled in some way,
• 1:28:26
  and also the fact that he's black in America. He has this like
• 1:28:30
  even as a character, like he has this over the top, wild,
• 1:28:32
  untamed like very big hair you know what I mean, Like, I think
• 1:28:38
  it's all meant to like kind of code him in this way, but also
• 1:28:43
  I think meant to shine a light on these things, because he gives this
• 1:28:46
  character so much depth, so much pathos, so much like there's way more
• 1:28:54
  emotional connection. We see him as a baby, We see him as a
• 1:28:58
  child who's had all of these broken bones and vulnerability. In many ways,
• 1:29:02
  we connected to him as a human in a way more visceral way than Bruce,
• 1:29:08
  and we see him like fall and collapse and hurt himself really bad versus
• 1:29:14
  a guy who's invincible basically. But what's interesting also about that is is the
• 1:29:20
  emotionality that he has to take on. He's not invincible, he's unbreakable.
• 1:29:27
  Unbreakable yeah, true, like Emi Shmid, but he he is like a
• 1:29:34
  Superman. And that's why, like Superman, all of Superman's most interesting stories
• 1:29:40
  are ones where he has to like be emotionally vulnerable because he's not he's invincible,
• 1:29:45
  Like who gives a show? Who gives a shit? Yeah? And
• 1:29:47
  and the idea of reckoning with your identity as somebody who has now a responsibility,
• 1:29:56
  yeah, because like it's interesting. He's like, you know, like
• 1:29:58
  even Samuel L. Jackson is like, why did you choose uh security,
• 1:30:03
  you're protecting you naturally want to protect people. And I also was thinking about
• 1:30:08
  that, like the idea of like policing and like in this movie of like
• 1:30:12
  you know, one kind of working class person with another kind of they're both
• 1:30:18
  two sides of the same coin. That's why Samuel L is like, you
• 1:30:23
  are like me, but you are superhuman and the idea of him being like,
• 1:30:28
  they're both you know, come from these like Samuel L built himself up
• 1:30:31
  into this art guy, but he was like comes from a working class background.
• 1:30:35
  Yeah, you know, they're two sides of the same coin. Yeah.
• 1:30:39
  And it's and it's well, like with Samuel L. It seems like
• 1:30:42
  they wanted he wanted to specifically design him in the like Lex Luthor vein because
• 1:30:47
  Lex Luthor is a person who was like, well Superman is amazing, but
• 1:30:53
  he's just born that way. I had to build myself that way. So
• 1:30:58
  it's like and and to be completely honest, like Samuel Jackson is kind of
• 1:31:01
  an amazing character in this murder, like he been like a really like awesome
• 1:31:12
  you know, I mean, well oftentimes with it's the idea of like these
• 1:31:15
  kinds of megalomaniacs oftentimes, like if we were drawing, if we're keeping the
• 1:31:19
  Kanye comparison, Kanye's turn into villainry, you know what I mean, Like
• 1:31:24
  this idea that like we propped someone up, we made you know, but
• 1:31:30
  like this person was just being themselves in a world where they were set up
• 1:31:34
  to fail, you know what I mean. And then and then by like
• 1:31:39
  luck and by like just incredible amounts of talent, like he persevered in such
• 1:31:45
  an insane way, but to the point where there was like an expectation on
• 1:31:49
  this person of like you now need to have the valor we want you to
• 1:31:55
  be. You need hear me like us, and you need to have our
• 1:31:59
  morals and you need to have yeah, totally. And so like it's easier
• 1:32:02
  to be perceived as a villain when you're when you're when you're set up to
• 1:32:08
  fail, you know what I mean, when you're set up to like,
• 1:32:10
  yeah, totally. And not to not to excuse anything like of like that
• 1:32:14
  obviously not to excuse like the fact that this guys murderer, but like you
• 1:32:18
  know, like it's it's kind of like he was put in circumstances that were,
• 1:32:26
  you know, like he was. He was, He's a product of
• 1:32:30
  his environment, an environment in which he was set up to fail and to
• 1:32:33
  not be what he was supposed to be. And that's the idea of like
• 1:32:36
  his idea of searching for perfection, of searching for someone else to have to
• 1:32:42
  continue to totally. And then he asks, David, tell me, David,
• 1:32:46
  when you woke up this morning, was it still there? The sadness,
• 1:32:49
  even though that's a more happy Samuel Jackson, he's more somber than that.
• 1:32:55
  No, No, for the first time, I wasn't there. And
• 1:32:59
  then I love this this line where he's like, I think this is where
• 1:33:04
  we shake hands, because it is like he loves and respects him enough to
• 1:33:18
  let him know the truth. And what that's the brilliance that I saw that
• 1:33:25
  I didn't see before of this ending. It's a goofy, dumb ending that
• 1:33:30
  that does the freeze frames and it is comic book. It's like weirdly almost
• 1:33:36
  the contrast of it, of the profundity of the last line, but it's
• 1:33:42
  almost cool, like it almost you know what I mean, Like it's exciting
• 1:33:46
  and it's funny and it's memorable. As shit, because like when you get
• 1:33:51
  to that end, you just add that liede they called me mister class.
• 1:33:56
  It's just like amazing. It's like, of course I will forever remember this
• 1:34:00
  totally totally and it flashes back to every major tragedy that's happened in the past
• 1:34:09
  couple of years has was done by mister Glass and then he kept me in
• 1:34:14
  order to find away from all of them. Yeah, totally totally. And
• 1:34:21
  and Bruce Willis is like sad betrayed. He plays betrayal I think the best
• 1:34:28
  out of all of them, dude, totally because they've all been betrayed.
• 1:34:31
  Crestfallen, totally crestfallen, and and like seeing the sort of blueprints of things
• 1:34:40
  like realizing. And also like he plays like sad disappointment really well because he's
• 1:34:48
  not like he's disappointed in the situation, he's disappointed in him. He's disappointed
• 1:34:54
  himself and he's you're right, crestfallen. Is is definitely the the way to
• 1:35:00
  say. And also being like what have you done with all those people?
• 1:35:09
  Yeah, it's it reminds me of the same reaction of like him seeing the
• 1:35:13
  plane explode in in Diehard too, And it's just the same crestfallen Bruce are
• 1:35:18
  like it was somebody's family, Jesus Christ and then and even Samuel being like
• 1:35:27
  all those poor sacrifices. But Samuel L. Jackson's absolute I'm not a mistake,
• 1:35:34
  no, Like it's Samuel Jackson's absolute certainty of the like correctness of his
• 1:35:41
  decision and understanding his role in the dichotomy of the hero villain was interesting because
• 1:35:48
  there's a real sort of like, I'm not denying it. There's like and
• 1:35:53
  there's a Catharsist to it, because it's like I know who I am.
• 1:35:57
  I want you to know who you are. Yeah, I want you to
• 1:36:01
  do good things with your privilege. Yeah for sure, Yeah, totally.
• 1:36:05
  I will say I will say the freeze frame is not necessary. It would
• 1:36:12
  have had more impact if he just walked away. We didn't need just like
• 1:36:15
  an epilogue. We didn't need to know they called me mister Glass and then
• 1:36:19
  just cut to the end, or like show it show him in an insane
• 1:36:23
  asylum. Yeah, and then show him actually show him in the insane asylum
• 1:36:28
  and dolly out and then just have him say one more time they called me
• 1:36:31
  mister Glass. Yeah. Yeah, something like that. Also cutting out and
• 1:36:40
  expanded universe. It's also all of the Batman villains. Oh, it's like
• 1:36:45
  it's Ark of Asylum. Yeah, and it cuts and it's and they laurify
• 1:36:50
  it with Batman. Oh yeah, totally. Yeah. Like, so there
• 1:36:56
  is some lore to this movie that I'm actually not aware of. I haven't
• 1:37:00
  seen the sequels any of them, and so I don't know the lore.
• 1:37:05
  I've heard that the Lower heavily ruins this lore, like it kind of like
• 1:37:13
  becomes more less ambiguous in a way that's not doesn't serve it. I'll put
• 1:37:19
  it this way. Do you want to do ratings first or do well,
• 1:37:24
  let's do a little speculation then we'll raise. Okay, okay, So the
• 1:37:30
  it doesn't ruin this loare like to me, the two sequels that exist don't
• 1:37:35
  ruin them. That's what I heard from What happens is the with Split.
• 1:37:44
  The problem isn't that Split ruins this lore. The problem is that Split is
• 1:37:49
  its own movie and then it gets this and yeah, then it gets this
• 1:37:55
  law added and it's like, well that was not good because is get it.
• 1:38:00
  The twist is that it's called Split and then it splits into this movie.
• 1:38:04
  Yeah, and it yeah, it's I show up in this one too.
• 1:38:11
  It's really annoying. And then Glass is just not good. It's just
• 1:38:15
  not a good movie. Yeah, well, you know, I guess we'll
• 1:38:17
  get to it when we get to it. But I what would I rate
• 1:38:21
  it? I would rate this movie a seven point five out of ten.
• 1:38:28
  Yeah, I would rate it an eight out of ten. What docks the
• 1:38:32
  points for you? We get so much good Bruce, we get yelling,
• 1:38:35
  Bruce, we get dad Bruce. I think I think what Docs did for
• 1:38:41
  me is noticing noticing the beginning of the decline of M Night. You're noticing
• 1:38:47
  where the twists had a mechanism and how the mechanism was. It felt chat
• 1:38:53
  ebt like, it's like, write me a plot where it's an M Night
• 1:38:58
  Shyamalan style twist. But when we get to the end, it's mister Glass
• 1:39:04
  and it's like, Okay, here you go. Here is a blah blah
• 1:39:08
  blah with it. Yeah, And I'm like, cool, I get it.
• 1:39:12
  I just don't. I'm like, Okay, you're the twist guy now,
• 1:39:15
  you know. Yeah, yeah, that's fair. And it has a
• 1:39:18
  very surprise ending. This is one of the ones with the surprise end.
• 1:39:24
  It doses it a little bit for me, like it docks the points a
• 1:39:29
  little bit. It docks me a point five, it talks to you a
• 1:39:32
  point five. That's okay. I like it. It's a good movie,
• 1:39:36
  and it functions really well, and it's bold as fuck, dude. Yeah,
• 1:39:41
  honestly, like for no, you know what, Okay, Okay,
• 1:39:44
  I'll change it to an eight. I'll give it an eight. I'll give
• 1:39:45
  it a provisional eight with the caveat that I don't like that. I noticed
• 1:39:50
  the that the twists were becoming like twists. You know, Yeah, I
• 1:39:56
  agree, I think that that. For me, give it an eight because
• 1:40:06
  it all works really well. There are some minor grievances that I have in
• 1:40:12
  terms of the structure of it doesn't really feel like there is that climax,
• 1:40:19
  like that payoff could have been stronger. Yeah, those freeze frames are terrible.
• 1:40:28
  I really, I really really enjoy all of the acting. The writing
• 1:40:32
  does show a few seams with him, but it still does a really good
• 1:40:38
  job at creating a whole original story, a whole original take on the superhero
• 1:40:43
  movie like classic like villain hero dynamic, but like with like such new spin
• 1:40:54
  to it. And it really does. I really did start noticing the Spielbergo
• 1:41:00
  stuff in this one. I think Kayse mentioned it to me once. I
• 1:41:02
  think he might have mentioned it on on the other podcast too, But it
• 1:41:06
  really does feel like a modern Spielberg. And I wish that that like energy
• 1:41:13
  kept up because he's like he just never made a good movie after this.
• 1:41:17
  Well. Yeah, I mean, I guess if we ever do a Shaw
• 1:41:20
  Malamathon, I guess people seem to like that Smoke movie where the smoke kills
• 1:41:25
  everyone with Marky Mark is that him? Oh the Happening. That's an interesting
• 1:41:31
  movie. It's not very good, but it's interesting always, right, Yeah,
• 1:41:36
  he's a really interesting filmmaker even now. I mean, I'd love to
• 1:41:41
  talk about Marky Mark well whom. Follow us at Thirsty for more percents on
• 1:41:46
  Instagram, at more Thirsty on Twitter, and guys, if you already know,
• 1:41:50
  but if you've made it to the end of the episode and you like
• 1:41:54
  really great content, join us on Patreon, where we have collections and you
• 1:42:00
  can listen to the different categories, like the Samuel L. Jackson mini dive
• 1:42:04
  that we've done that's collated all into one place. Because we can do that
• 1:42:10
  online. We can do that in this place, and you know, people
• 1:42:14
  really people really dig, people really fucking dig. The Patreon did. I'm
• 1:42:19
  really happy we have it. Love the patrons. Love you guys, even
• 1:42:26
  if you don't pay, and you're listening. Thanks for listening to Bruce.
• 1:42:30
  See you next week.