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Midnight in Paris: Time Travel Draft Comedy! · May The Review Be With You

• 0:00
  Speaker 1: I don't want to spend a lot of time on
• 0:01
  Speaker 1: this private investigator, but that is fascinating and hilarious. That's
• 0:05
  Speaker 1: a lot to unpack if that was his golden age,
• 0:07
  Speaker 1: that's all I have to say.
• 0:08
  Speaker 2: Yeah, that does raise a lot of questions. That's a lot.
• 0:11
  Speaker 2: There's a lot of Hello and welcome to made the
• 0:18
  Speaker 2: review be with you with Nick and Joe. I'm Joe,
• 0:21
  Speaker 2: I'm Nick and today Nick Nick, I am so excited
• 0:27
  Speaker 2: it is time for us to return to our time
• 0:30
  Speaker 2: travel draft series.
• 0:31
  Speaker 1: Baby Fine, Finally.
• 0:35
  Speaker 2: We've gotten through a few of these films, but uh
• 0:38
  Speaker 2: we we kind of took a pause over the summer.
• 0:40
  Speaker 1: Yeah, big summer break for the Time time Travel because
• 0:44
  Speaker 1: summer releases for TV and movies are pretty huge, so
• 0:48
  Speaker 1: we were super busy with that. Of course, Acolyte, House
• 0:51
  Speaker 1: of the Dragon, The Bear, Deadpool, and Wolverine, which is
• 0:57
  Speaker 1: just a massive film. And yeah, now the summer's over
• 1:01
  Speaker 1: and we've got a little bit more downtime with main releases.
• 1:05
  Speaker 1: We do have Rings of Power coming out, but that's
• 1:07
  Speaker 1: a week really weekly released, so we'll be on Threads
• 1:10
  Speaker 1: a lot more talking about that rather than on YouTube
• 1:13
  Speaker 1: and podcasts. And so we get to finally get back
• 1:17
  Speaker 1: to our time travel draft. And what a better, not
• 1:20
  Speaker 1: a better place to pick up than your beloved Midnight
• 1:24
  Speaker 1: in Paris. I'll let you take a take away the
• 1:27
  Speaker 1: intro here.
• 1:28
  Speaker 2: Good, thank you. I'm so excited to go over this film.
• 1:33
  Speaker 2: For a lot of reasons. This has just always been
• 1:35
  Speaker 2: a fun film that I've always I think it's always
• 1:38
  Speaker 2: been in my top ten top ten favorite films of
• 1:41
  Speaker 2: all time. Midnight in Paris. A. I'm a sucker for
• 1:43
  Speaker 2: time travel films, which of course is why we're talking
• 1:46
  Speaker 2: about it today. But also, B it's just a really
• 1:49
  Speaker 2: fun Owen Wilson romantic comedy, right. And actually it's because
• 1:54
  Speaker 2: of this movie that we even started time Travel Draft,
• 1:58
  Speaker 2: if you recall correct.
• 2:00
  Speaker 1: Yeah, there was a.
• 2:01
  Speaker 2: Conversation Nick and I had sometime last year where we
• 2:05
  Speaker 2: were talking about season two of Loki and just randomly
• 2:09
  Speaker 2: brought up to Nick. It was like, yeah, it's you know,
• 2:11
  Speaker 2: this isn't even the first time that Owen Wilson and
• 2:14
  Speaker 2: Tom Hillston had been in a time travel thing together.
• 2:17
  Speaker 2: And I think at the time you didn't know what
• 2:19
  Speaker 2: I was talking about.
• 2:20
  Speaker 1: I had no clue. I was like, well, what's the
• 2:21
  Speaker 1: name of this movie you're talking, I know, and then
• 2:24
  Speaker 1: you dropped midnight in Paris. I'm like, I've never seen
• 2:26
  Speaker 1: this film. And then I watched it and I was
• 2:29
  Speaker 1: just blown away that I one was pissed I'd never
• 2:32
  Speaker 1: seen it, and two like, I also love time travel movies,
• 2:37
  Speaker 1: so I was double pissed because it also is a
• 2:39
  Speaker 1: time travel movie.
• 2:39
  Speaker 2: I had.
• 2:40
  Speaker 1: That's fantastic stoked to talk, Yeah, and it was.
• 2:43
  Speaker 2: It was kind of through the conversation that we had
• 2:46
  Speaker 2: after you watched it where we kind of found this,
• 2:49
  Speaker 2: like we both shared this love for time travel movies
• 2:52
  Speaker 2: and time travel draft was kind of borne out of that.
• 2:55
  Speaker 1: Yeah, which was a question.
• 2:58
  Speaker 2: Yeah, so this is for the time travel draft. I
• 3:01
  Speaker 2: drafted this one.
• 3:02
  Speaker 1: Yes, he did or.
• 3:03
  Speaker 2: Time travel comedy? And do I have to write time
• 3:06
  Speaker 2: travel comedy? Right? Yeah? Because I did Romance for Groundhog Day. Yeah,
• 3:09
  Speaker 2: which was very smart to me.
• 3:11
  Speaker 1: In my comedy film was Endgame of andrews Ending Game,
• 3:14
  Speaker 1: because clearly it is a comedy. I will die on
• 3:17
  Speaker 1: that hill.
• 3:17
  Speaker 2: Yeah, I agree. Two thirds was a comedy.
• 3:21
  Speaker 1: Yeah, we're not going to talk about the ending. And
• 3:25
  Speaker 1: Plus now technically Tony Starck's not dead because he's doctor doom. Now,
• 3:29
  Speaker 1: So anyway, okay, so we just.
• 3:33
  Speaker 2: Want to open that can of word.
• 3:34
  Speaker 1: No, immediately, we do not want to do that. We're
• 3:36
  Speaker 1: not doing that today. That's not what this episode.
• 3:39
  Speaker 2: Yeah, let's save that for a different show.
• 3:44
  Speaker 1: All right, So you're stalling time travel.
• 3:48
  Speaker 2: It's time, It's time. I was going to bring it up.
• 3:51
  Speaker 2: I was going to bring it up.
• 3:52
  Speaker 1: I didn't forget. I didn't forget. Unfortunately, you get to
• 3:55
  Speaker 1: do take it away. So before every single uh conversation,
• 4:01
  Speaker 1: when we review a movie, we take turns and doing
• 4:04
  Speaker 1: a fifteen second summary of that film. Joe has the
• 4:07
  Speaker 1: pleasure of giving us a fifteen second summary of Midnight
• 4:10
  Speaker 1: in Paris. And so, without further ado, Joe, you have
• 4:14
  Speaker 1: fifteen seconds to review Midnight and in Paris. Three bring
• 4:17
  Speaker 1: it two One Go.
• 4:21
  Speaker 2: A francophile in the year twenty ten who loves the
• 4:25
  Speaker 2: nineteen twenties accidentally finds himself in Paris nineteen twenty, where
• 4:28
  Speaker 2: it meets famous artists and psychologists and writers and discovers
• 4:35
  Speaker 2: that I didn't forgot.
• 4:38
  Speaker 1: You didn't even like. Honestly, you didn't even finish the plot.
• 4:43
  Speaker 2: I forgot that. There is a subtle art to the
• 4:48
  Speaker 2: fifteen second summary. We've been out of practice for a minute.
• 4:51
  Speaker 2: You know, that was pretty bad.
• 4:52
  Speaker 1: I'm actually shocked to help bad that was based on
• 4:55
  Speaker 1: how much based on how much you love this movie.
• 4:58
  Speaker 1: I'm shocked at how terrible that was. It's really bad,
• 5:01
  Speaker 1: you know what it is.
• 5:02
  Speaker 2: I feel like the more you love the movie, actually
• 5:04
  Speaker 2: the harder the fifteen second summary.
• 5:06
  Speaker 1: You can put more pressure on yourself because you're like,
• 5:08
  Speaker 1: I know this, I don't even need to read about it.
• 5:09
  Speaker 1: I'm good. You were not good, Like, there's so much.
• 5:14
  Speaker 2: There's so much you want to put in the fifteen
• 5:16
  Speaker 2: second summary, and then then it's like constipation and you can't. Yeah,
• 5:20
  Speaker 2: just nothing comes out.
• 5:21
  Speaker 1: Speaking of constipation, you got to see minus in this case.
• 5:26
  Speaker 2: That Yeah, no, that that feels appropriate. Like I did
• 5:29
  Speaker 2: enough to prove that, Like I was aware of the assignment.
• 5:33
  Speaker 1: Yeah, you were aware that. It's a good sermon, all right, honest, decent, decent.
• 5:42
  Speaker 2: I'll take it. I'll take it. So for how the
• 5:45
  Speaker 2: rest of this is going to go, Nick and I
• 5:46
  Speaker 2: are gonna talk about the film, of course, what we liked,
• 5:49
  Speaker 2: what we didn't like, uh, and then we're gonna get
• 5:51
  Speaker 2: into the whole premise of this draft, the time travel concept,
• 5:56
  Speaker 2: which I'm excited to talk about that with you, Nick,
• 5:58
  Speaker 2: because for this movie, it's never really something I've given
• 6:00
  Speaker 2: a lot of thought about before and after that we
• 6:03
  Speaker 2: will grade. We will give our scores on the movie,
• 6:07
  Speaker 2: which we'll get into that towards the end. That's a
• 6:09
  Speaker 2: little bit different than what we normally score movies. So Nick,
• 6:14
  Speaker 2: let's talk about the movie. Would you like to give
• 6:15
  Speaker 2: a better summary of what this movie is?
• 6:20
  Speaker 1: Yeah, I guess I could give it a shot. So essentially,
• 6:23
  Speaker 1: we've got Owen Wilson and Rachel McAdams's characters are visiting
• 6:27
  Speaker 1: Paris and they are engaged to be married. Rachel McAdams
• 6:35
  Speaker 1: and her family's character are horrible human beings. And Owen
• 6:40
  Speaker 1: Wilson is a scriptwriter, a Hollywood writer, and he's writing
• 6:45
  Speaker 1: a book that he really wants to be good, but
• 6:49
  Speaker 1: he's nervous about anyway. They're in Paris visiting and Owen Wilson,
• 6:57
  Speaker 1: what's his character's name?
• 6:58
  Speaker 2: Please? Gil? Gil?
• 7:00
  Speaker 1: Thank you? Oh my goodness, yeah, Jill, Jill, Yeah. Gil
• 7:03
  Speaker 1: stumbles onto he's walking through Paris in the middle of
• 7:07
  Speaker 1: the night towards tonight, and he stumbles if somehow find
• 7:11
  Speaker 1: just went into the nineteen twenties, which we'll get into that,
• 7:12
  Speaker 1: and he meets all of these writers that are his
• 7:15
  Speaker 1: heroes and befriends them, also falls in love with a
• 7:19
  Speaker 1: woman from the nineteen twenties and essentially goes on this
• 7:22
  Speaker 1: journey of self discovery and like what it means to
• 7:27
  Speaker 1: live in the moment, and so eventually realizing that he
• 7:33
  Speaker 1: loves Paris and wants to stay there, and you know,
• 7:37
  Speaker 1: then his marriage falls apart because well, one of their
• 7:39
  Speaker 1: whole horrible people. So this whole thing is like it's
• 7:41
  Speaker 1: a very uh he's got He spends a few days
• 7:44
  Speaker 1: in Paris and essentially changes his whole entire life, which
• 7:46
  Speaker 1: I'm sure is not necessarily realistic, but very awesome and charming,
• 7:50
  Speaker 1: and uh yeah, he ends up time travel during this
• 7:52
  Speaker 1: to the nineteen twenties, and that's kind of an overview,
• 7:57
  Speaker 1: I guess.
• 7:58
  Speaker 2: Yeah. Yeah, and then it turns into like a lesson
• 8:01
  Speaker 2: learned toward the end, right, ye, not your typical boy
• 8:05
  Speaker 2: meets girl, boy loses girl, boy gets girl again. Yeah,
• 8:09
  Speaker 2: it's it's more of a discovery of a I guess.
• 8:12
  Speaker 2: I don't know how I'll subscribe it, except you know,
• 8:15
  Speaker 2: where you might be pointing your love like perhaps like
• 8:18
  Speaker 2: redirecting it toward the present.
• 8:21
  Speaker 1: Right, Yeah, that's great, But yeah.
• 8:24
  Speaker 2: I think that's that's a good way to sum up
• 8:26
  Speaker 2: the movie. What you just did the right there, awesome.
• 8:30
  Speaker 2: So I do want to reflect on one thing though,
• 8:33
  Speaker 2: since we're getting into now the portion of this of
• 8:36
  Speaker 2: things that we like and don't like. This might be
• 8:39
  Speaker 2: the third or fourth time I've seen this movie, and
• 8:43
  Speaker 2: I don't know if it's occurred to me before, but
• 8:47
  Speaker 2: as you you know, said this about Richard McAdams's character
• 8:51
  Speaker 2: Ines and her parents, they're they're really awful people are
• 8:55
  Speaker 2: like they're just like they're like they're in this amazing
• 8:58
  Speaker 2: city and like they just so unimpressed with everything, right,
• 9:03
  Speaker 2: they just they seem like the typical, like ugly American,
• 9:06
  Speaker 2: and you know, I think that's an accurate impression of
• 9:09
  Speaker 2: who they are. However, this is the first time watching
• 9:11
  Speaker 2: this movie that I've ever watched and been like, you know,
• 9:15
  Speaker 2: Gil kind of sucks too, Like Gil, Gil sucks, like
• 9:19
  Speaker 2: everyone around Gil sucks more than Gil. But Gil is
• 9:22
  Speaker 2: not that great either. Like there are a couple of
• 9:26
  Speaker 2: times in the beginning of the movie where but even
• 9:28
  Speaker 2: before in S's friend Paul becomes like very annoying, where
• 9:34
  Speaker 2: in S Is clearly trying to talk to Gil, and
• 9:37
  Speaker 2: Gil's like just off in his own little world, like
• 9:40
  Speaker 2: he's just busy, like romanticizing the past. I mean, it's
• 9:43
  Speaker 2: kind of his problem, right, like right, the whole reason
• 9:45
  Speaker 2: why the movie even takes place is because he can't
• 9:47
  Speaker 2: appreciate what's in front of him, he can't appreciate the present.
• 9:50
  Speaker 2: And well before in S makes any kind of like
• 9:54
  Speaker 2: mistake or wrongdoing by cheating on Gil, which you know,
• 9:58
  Speaker 2: is a revelation at least for Gil. At the end
• 10:00
  Speaker 2: of the movie, he's not paying attention to her that
• 10:04
  Speaker 2: their first conversation is they're they're in Paris and he's
• 10:10
  Speaker 2: talking about the rain and he's like waxing poetic about it,
• 10:14
  Speaker 2: and Rachel is just like, oh, who would want to
• 10:16
  Speaker 2: be wet? She's just reacting to everything he's saying, and
• 10:20
  Speaker 2: he just ignores her. He just keeps on going on
• 10:22
  Speaker 2: the whole of the old time. So, yeah, Gil, Gil
• 10:25
  Speaker 2: kind of sucks a little bit.
• 10:26
  Speaker 1: Yeah, but at least in the beginning, and the beginning stands
• 10:28
  Speaker 1: out to me a lot too. For a number of
• 10:29
  Speaker 1: reason one of them is just that right away you
• 10:33
  Speaker 1: know that they're not right for each other and you
• 10:35
  Speaker 1: just want them to break up because they're so horrible together.
• 10:38
  Speaker 1: But the other thing that stands out that's even before that,
• 10:41
  Speaker 1: is it takes four minutes for the opening credits to finish. Yeah,
• 10:46
  Speaker 1: it's like a Woody out thing or something like, oh yeah,
• 10:50
  Speaker 1: nailed that. For four minutes, we're just getting beautiful French
• 10:55
  Speaker 1: jazz background music and shots of Paris, and it's very
• 11:01
  Speaker 1: sweet at first, and then you realize, oh my god,
• 11:04
  Speaker 1: Woody Allen is just making me wait four minutes until
• 11:08
  Speaker 1: the first characters like jump on screen. So that stood
• 11:11
  Speaker 1: out to me on the rewatch.
• 11:13
  Speaker 2: So just to like comment on that further, like you're
• 11:16
  Speaker 2: right that, like that is a Woody Allen thing. But
• 11:19
  Speaker 2: I think there are a few filmmakers that he highlights
• 11:23
  Speaker 2: in this movie, and I can't tell you if like
• 11:26
  Speaker 2: he's referencing like any single one of them directly with
• 11:29
  Speaker 2: that opening, but like he most certainly is like referencing
• 11:33
  Speaker 2: like the French new wave of things right, and France
• 11:38
  Speaker 2: was obviously a really big part of cinematic history. I
• 11:41
  Speaker 2: think he wants to highlight Paris in particular, like the
• 11:45
  Speaker 2: beginning of this movie to at least reference or acknowledge that.
• 11:49
  Speaker 1: You know, the very roots of cinema, right right, Yeah,
• 11:53
  Speaker 1: it's great. It's a great call. So those are things
• 11:57
  Speaker 1: that stood out to me. And of course other things
• 12:00
  Speaker 1: that I really liked were just the cast of characters
• 12:04
  Speaker 1: that we got. I mean, the nineteen twenties or the
• 12:07
  Speaker 1: Roaring twenties as Gil will call it, is just unbelievable
• 12:11
  Speaker 1: with the amount of artists and creativity that come out
• 12:14
  Speaker 1: of Paris in this timeframe. It's you watch the movie
• 12:17
  Speaker 1: and you're like, there's no way that this all happened.
• 12:21
  Speaker 1: All these people existed in this time, but it like
• 12:25
  Speaker 1: did most of them, and it's unbelievable to have the
• 12:28
  Speaker 1: revelation while you're watching the movie. So that's really cool.
• 12:31
  Speaker 1: And we can dig into that of course, and.
• 12:35
  Speaker 2: Can we please, can we just dig into it right now?
• 12:37
  Speaker 1: Yeah? Sure, let's just go.
• 12:39
  Speaker 2: It's one of the funnest parts of this movie. Yeah, say,
• 12:42
  Speaker 2: I feel like or before we got like Marvel cameos,
• 12:47
  Speaker 2: right of different superheroes jumping into each other's movies, it
• 12:52
  Speaker 2: was this movie, right, you know, like it feels like
• 12:56
  Speaker 2: You're in this party and there are all these faces
• 13:00
  Speaker 2: that you know you're not necessarily friends with, but like
• 13:03
  Speaker 2: you recognize them and you get so excited about like, well,
• 13:05
  Speaker 2: who else is at this party? Right? And it's literally
• 13:09
  Speaker 2: a party that he keeps meeting all of these people at.
• 13:12
  Speaker 2: It's it's really cool. Of course, I'm sure you will
• 13:16
  Speaker 2: probably agree. The standout to me as Corey Stall as
• 13:21
  Speaker 2: Ernest Hemingway just kind of steals the show wherever he is.
• 13:26
  Speaker 1: Yeah, that's a huge highlight. And Tom Hiddleston as of
• 13:30
  Speaker 1: Scott Fitzgerald like old sport, old sports, just having him
• 13:34
  Speaker 1: say old sport a million times and like, well, I mean,
• 13:36
  Speaker 1: Leo crushed the Great Gatsby, but come on, and this
• 13:40
  Speaker 1: would have been a great casting as well.
• 13:41
  Speaker 2: It was awesome and yeah, just so cool.
• 13:44
  Speaker 1: We got so we got Dolly, I mean, just the
• 13:48
  Speaker 1: cast Skirt Stein that just the amount of like cameos
• 13:54
  Speaker 1: you know of real real life is really what they
• 13:57
  Speaker 1: are in this kind of sense. It is fantastic and
• 14:01
  Speaker 1: really fun and just such a cool way to explore
• 14:05
  Speaker 1: the nineteen twenties in Paris in a time travel movie,
• 14:08
  Speaker 1: you know, I mean because ohen Gill's reaction when he
• 14:12
  Speaker 1: realizes what's happening is complete disbelief and excitement. You know,
• 14:15
  Speaker 1: if you're someone who's a writer, to be able to
• 14:17
  Speaker 1: experience this time frame of history, it was like, really fun.
• 14:23
  Speaker 2: I do, I do love Like it actually does take
• 14:26
  Speaker 2: him some time to recognize what's actually happening, right, Like
• 14:30
  Speaker 2: he doesn't, he doesn't get it right away. And there's
• 14:32
  Speaker 2: something that feels really very realistic about that, especially with
• 14:35
  Speaker 2: like was it Colporter that, like he keeps hearing him
• 14:41
  Speaker 2: play and I think he turns to Zelda at one
• 14:44
  Speaker 2: point and like he doesn't say this exactly, but it's
• 14:46
  Speaker 2: it's the same idea of like, you're fucking with me, right,
• 14:49
  Speaker 2: Like he.
• 14:50
  Speaker 1: Didn't write down this is real. He's not the writer
• 14:53
  Speaker 1: of this. Like we're not in the we're not in
• 14:55
  Speaker 1: the twenties.
• 14:56
  Speaker 2: Yeah, yeah, yeah, so he's writing, yeah, both looking at
• 15:03
  Speaker 2: him like he's insane. It's just like you said, it's
• 15:06
  Speaker 2: just super fun. I think it's one of the conversations
• 15:10
  Speaker 2: that I absolutely adore is the dinner with Surrealists when
• 15:15
  Speaker 2: he's he being Gil, he's he's found Dolly who won't
• 15:20
  Speaker 2: stop talking about rhinoceros, and they're joined by Monree and Brunell,
• 15:30
  Speaker 2: who are both photographers and filmmakers, and they sick with Gil,
• 15:34
  Speaker 2: and Gil says, all right, like this isn't gonna make
• 15:36
  Speaker 2: any sense, but like I am sliding through time and
• 15:40
  Speaker 2: I'm in love with this other woman and I think
• 15:42
  Speaker 2: it's Monrey. That's like, yeah, you're sliding through time, Like
• 15:45
  Speaker 2: what's weird about that? Like like totally on board with it,
• 15:49
  Speaker 2: which for the surrealist double thumbs up. I loved this joke.
• 15:53
  Speaker 2: Just the whole dinner itself is or I guess I'm
• 15:55
  Speaker 2: just grabbing a drink. The drink itself is just funny,
• 15:58
  Speaker 2: especially with Dolly just not Hm, you won't stop obsessing
• 16:02
  Speaker 2: about rhinoceroses, which I guess this show is like my
• 16:07
  Speaker 2: art history. Like I didn't know that that was a
• 16:09
  Speaker 2: thing for Dolly melting for sure, but not the not
• 16:12
  Speaker 2: the rhinoceroy.
• 16:13
  Speaker 1: Yeah, I was not aware of that either. So quite
• 16:17
  Speaker 1: a funny thing to discover during this one quick fun
• 16:21
  Speaker 1: fact about the movie that I wanted to just because
• 16:24
  Speaker 1: we talked about Woody Allen Best Original screen Play won
• 16:28
  Speaker 1: an Oscar for Best Original Screenplay in twenty twelve. Awesome,
• 16:34
  Speaker 1: you know, it deserves. It definitely deserved some some some love.
• 16:39
  Speaker 1: Their a ton of other nominations, of course, but that
• 16:41
  Speaker 1: was really a fun little fact that I that I.
• 16:44
  Speaker 2: Was one of those nominations for Best Cinematography.
• 16:48
  Speaker 1: I believe so well, you know what, I'm not one
• 16:51
  Speaker 1: hundred percent sure there I know what Best Best Picture
• 16:55
  Speaker 1: was one of them.
• 16:56
  Speaker 2: Oh wow, I didn't realize, you know. I'm glad hear that.
• 17:00
  Speaker 2: I don't remember what it would have been competing with
• 17:02
  Speaker 2: in twenty ten, but I'm very glad to hear that.
• 17:06
  Speaker 2: This is a As I've mentioned before, it's close to
• 17:08
  Speaker 2: my heart. I enjoyed this film so Best Picture, Best Director.
• 17:14
  Speaker 1: Nominations, it doesn't look like cinematography. Actually Best Product is
• 17:20
  Speaker 1: on nomine, but yeah, won Best Original Screenplay and that
• 17:23
  Speaker 1: was twenty twelve MM.
• 17:26
  Speaker 2: So anyway, I could definitely believe that. I mean as
• 17:32
  Speaker 2: far as it not necessarily getting Best Cinematography, but I
• 17:37
  Speaker 2: think because there's nothing very experimental about like a lot
• 17:41
  Speaker 2: of the camera work. But Paris itself just looks so
• 17:44
  Speaker 2: it's so frecking good, and all those shots.
• 17:46
  Speaker 1: It does, they did a good job, for sure, and.
• 17:50
  Speaker 2: They're right, it looks amazing in the Rain. It's to
• 17:52
  Speaker 2: the point where, like on my list of cities, like
• 17:55
  Speaker 2: Paris is like high up there, and it is because of this.
• 17:59
  Speaker 1: Movie, you know, absolutely totally agreed. All right, anything else
• 18:05
  Speaker 1: you didn't like before we get into time drama.
• 18:11
  Speaker 2: I love when Hemingway says she was an absolute volcano
• 18:16
  Speaker 2: in the sack. Well, that line.
• 18:22
  Speaker 1: I thought you were going to do a monologue on
• 18:24
  Speaker 1: you're a writer, Be a writer.
• 18:26
  Speaker 2: Be a writer.
• 18:27
  Speaker 1: Yes, so many, so many lines.
• 18:29
  Speaker 2: Yeah, I wrote. I wrote one of them, which was
• 18:33
  Speaker 2: no subject is terrible. If the story is true, if
• 18:36
  Speaker 2: the prose is clean and honest, and if it affirms
• 18:38
  Speaker 2: courage and grace under pressure, beautiful, well, and then there's
• 18:44
  Speaker 2: so many good ones.
• 18:45
  Speaker 1: That's the other one. It's uh, it doesn't matter if
• 18:48
  Speaker 1: it's good. If it's good, I'll hate it, and if
• 18:50
  Speaker 1: it's If it's bad, i'll hate it. I'll hate it.
• 18:52
  Speaker 1: The more something.
• 18:54
  Speaker 2: If it's bad writing, i'll hate it. If it's good,
• 18:57
  Speaker 2: then I'll be envious and hate it all the more
• 19:00
  Speaker 2: is you never want the opinion of another writer.
• 19:03
  Speaker 1: There you go, that's it?
• 19:05
  Speaker 2: Love that so good? Yeah, he does. I mean both
• 19:11
  Speaker 2: both Alan and Stella like do such a great job
• 19:13
  Speaker 2: of like bringing that particular character to life. But like
• 19:16
  Speaker 2: so many of them, like just like they they feel
• 19:18
  Speaker 2: like they are jumping off the page. It's it's easy
• 19:20
  Speaker 2: to see why this one best original screenplay. Yeah, just
• 19:24
  Speaker 2: so much personality comes out of these people. Especially I
• 19:30
  Speaker 2: think it was Zelda. I forget the actress's name. We
• 19:34
  Speaker 2: know her from newsroom. What is her name?
• 19:38
  Speaker 1: Oh that's where she's from, newsroom. Hell yeah, yeah, yeah, yeah, yeah,
• 19:43
  Speaker 1: that's Alison Pill.
• 19:45
  Speaker 2: Alison Pill, Alison Pill as Zelda. So much personality in
• 19:50
  Speaker 2: that role. I think she she absolutely kills it. Especially
• 19:54
  Speaker 2: I think it's in the beginning when she first meets
• 19:56
  Speaker 2: Gill and he's got like a far away look in
• 19:58
  Speaker 2: his eyes, and she is like, you look stupefied, dumbfounded,
• 20:02
  Speaker 2: bottom eyes, like just rattling off like all these adjectives.
• 20:05
  Speaker 1: She's really good. Fun another fun, go ahead.
• 20:09
  Speaker 2: Sorry, I was just gonna say that this was not fun,
• 20:12
  Speaker 2: but I appreciated it was bringing like the mental illness
• 20:15
  Speaker 2: part of Zelda as well. Yeah, whole contemplation of taking
• 20:20
  Speaker 2: one's life and the way her skin crawls and stuff like, Yeah,
• 20:23
  Speaker 2: I'm glad they addressed that. I'm glad that was part
• 20:25
  Speaker 2: of the character and she did a great job with it.
• 20:28
  Speaker 1: Yeah, it's awesome. And then a Easter egg and the
• 20:33
  Speaker 1: museum Guide towards the beginning that Gil also goes back
• 20:36
  Speaker 1: to at some point halfway through the film when she
• 20:39
  Speaker 1: when when Gill is with and As and Paul, and
• 20:43
  Speaker 1: Paul's being very uh he's telling the museum guide of
• 20:46
  Speaker 1: the the French museum Guide, like about French history and
• 20:49
  Speaker 1: arguing with her even though she's the expert. That museum
• 20:54
  Speaker 1: guide played by Carla Brune first acting role was the
• 21:02
  Speaker 1: former First Lady of France.
• 21:05
  Speaker 2: Whoa.
• 21:07
  Speaker 1: Yeah, no way, yeah, first Lady of France back in
• 21:13
  Speaker 1: two thousand and eight. She was married to Nicholas Sarakozzi,
• 21:17
  Speaker 1: which was the president for a while.
• 21:22
  Speaker 2: That makes him correcting her even funnier.
• 21:25
  Speaker 1: Yeah, that's what it does. It's like, dude, this is
• 21:28
  Speaker 1: this is quite literally the first Lady of France, not
• 21:31
  Speaker 1: playing herself, but still right, all right, anyway, the hilarious
• 21:36
  Speaker 1: that a little thing. And then yeah, other than that, Yeah,
• 21:42
  Speaker 1: I think let's talk about time travel for a few minutes.
• 21:47
  Speaker 2: But before we do, let's take a quick commercial break,
• 21:51
  Speaker 2: all right, and we're back and like you said, Nick, let's.
• 21:54
  Speaker 1: Talk about time travel, all right.
• 21:56
  Speaker 2: So, so when the clock strikes midnight on a very
• 22:02
  Speaker 2: particular road in Buddy Gil or whoever is there is
• 22:09
  Speaker 2: finds themselves I guess in a I don't know, at
• 22:12
  Speaker 2: crossroads in space time. I don't really know. The mechanics
• 22:15
  Speaker 2: are not very scribed. I think that there's a lot
• 22:18
  Speaker 2: we can take from it. Yeah, but there's no hard
• 22:20
  Speaker 2: mechanics in the movie.
• 22:21
  Speaker 1: Correct.
• 22:22
  Speaker 2: But at midnight on that street car appears, he enters
• 22:27
  Speaker 2: the car, and he is taken into oh, it's a car.
• 22:30
  Speaker 2: It's a car when he wants Yeah, yeah, at least
• 22:33
  Speaker 2: at first, when he wants to go home, he can
• 22:35
  Speaker 2: just go home. Apparently no otherism is needed, right, Okay,
• 22:43
  Speaker 2: So I have my ideas about this, but I would
• 22:46
  Speaker 2: love to hear what you think.
• 22:47
  Speaker 1: First, so very interesting, Just like you said, right, car
• 22:54
  Speaker 1: appeers nineteen twenty car. At first, he gets in, people
• 22:58
  Speaker 1: are telling him to come join them, and he just
• 22:59
  Speaker 1: thinks it it's like a late night old school car.
• 23:02
  Speaker 1: Then this is how he's transported and then doesn't know
• 23:04
  Speaker 1: that he's in the nineteen twenties at first. Very subtle,
• 23:08
  Speaker 1: very simple, very cool, very fun were my immediate thoughts.
• 23:15
  Speaker 1: The movie doesn't try to explain time travel at all,
• 23:17
  Speaker 1: and that makes it and that's okay because in this instance, it's,
• 23:22
  Speaker 1: you know, we're exploring the nineteen twenties and all the
• 23:25
  Speaker 1: amazing thingess that happened, and we're not supposed to be
• 23:28
  Speaker 1: thinking about how it actually works in this particular movie, right,
• 23:32
  Speaker 1: supposed to be fun and simple, and it works great.
• 23:36
  Speaker 1: The funniest part is how he gets back, right, because
• 23:40
  Speaker 1: there is no reason for how he gets back it
• 23:44
  Speaker 1: in the scenes where he is back in his present,
• 23:47
  Speaker 1: it kind of just feels like the universe knows when
• 23:52
  Speaker 1: his time is up and his particular trip is done
• 23:57
  Speaker 1: and when it's time for him to be back in
• 23:59
  Speaker 1: his timeline essentially, And so in that respect, it's kind
• 24:03
  Speaker 1: of a fun toss up, right, because in different parts
• 24:06
  Speaker 1: of the film, he's definitely spending different amounts of time
• 24:09
  Speaker 1: in the nineteen twenty, so it's a it's not time
• 24:14
  Speaker 1: sensitive necessarily for how long he's gone and how long
• 24:19
  Speaker 1: it takes him to get back. He just gets back
• 24:21
  Speaker 1: when it's the right time, basically, So I thought that
• 24:25
  Speaker 1: was kind of it's just cool, right time travel mechanic wise,
• 24:30
  Speaker 1: like it's there's no explanations. So from a scoring perspective,
• 24:35
  Speaker 1: you're going to do poorly, But from a movie perspective,
• 24:37
  Speaker 1: it's fun. Those are my initial thoughts at least thing
• 24:40
  Speaker 1: and then of course it's really cool that really it
• 24:43
  Speaker 1: seems like if you get into the car, if you
• 24:49
  Speaker 1: don't get out of the car, you keep going further
• 24:52
  Speaker 1: back in time. So at least that's implied later on
• 24:58
  Speaker 1: in the movie when there's a private investigator following him,
• 25:00
  Speaker 1: and then that private investigator ends up in like I
• 25:02
  Speaker 1: don't even know, even like ancient times, it seemed like.
• 25:06
  Speaker 1: So that's also very unclear and complicates things a bit.
• 25:11
  Speaker 2: So I have my thought on that very specifically, but
• 25:15
  Speaker 2: before we get to it, I agree with what you said.
• 25:19
  Speaker 2: The time dram mechanic does not matter in this movie.
• 25:21
  Speaker 2: There's a reason why it's not explained, doesn't need to
• 25:23
  Speaker 2: be bogged down by it. And truthfully, this is a
• 25:26
  Speaker 2: story about people over romanticizing the past, right and not
• 25:31
  Speaker 2: really appreciating the moment of the present, right. And what
• 25:35
  Speaker 2: better way to explore that than literally taking people and
• 25:39
  Speaker 2: transporting them into the past to see if they were
• 25:42
  Speaker 2: right or wrong, right, So yeah, absolutely agree. Canics don't
• 25:47
  Speaker 2: matter really for this, but we're nerds and we're gonna
• 25:49
  Speaker 2: do this anyway. So as far as I see it,
• 25:52
  Speaker 2: as far as this works, the movie does actually lay
• 25:55
  Speaker 2: out I think some rules on how this particular time
• 25:59
  Speaker 2: trauble works, even though it doesn't explicitly stated. So first
• 26:03
  Speaker 2: and foremost, you have to be on that road, whatever
• 26:07
  Speaker 2: road that is. You gotta be there. Right number two.
• 26:11
  Speaker 2: You have to be there at midnight when the clock starts,
• 26:15
  Speaker 2: you know, chiming twelve. That's when this magic wormhole portal opens.
• 26:21
  Speaker 2: Right number three, it appears you need some sort of
• 26:25
  Speaker 2: vehicle at least, not when when you're going to the past,
• 26:29
  Speaker 2: you need to be in some sort of vehicle because
• 26:31
  Speaker 2: you're not just on the road. A vehicle from the
• 26:34
  Speaker 2: past appears, and then you get into the vehicle and
• 26:37
  Speaker 2: it takes you down right. But like you said before,
• 26:41
  Speaker 2: when you're going back to the president, apparently that doesn't
• 26:44
  Speaker 2: that doesn't matter. A lot of logic is just out
• 26:46
  Speaker 2: the window. No rules on going home. Last rule, and
• 26:50
  Speaker 2: maybe it's the most important one, so reiterate street time car.
• 26:59
  Speaker 2: Last thing. I think you need it. Golden age of
• 27:03
  Speaker 2: thinking right. I think there needs to be a spot
• 27:08
  Speaker 2: in time that you identify as like the Golden Age.
• 27:12
  Speaker 2: So in the beginning of the movie, Paul the guy
• 27:17
  Speaker 2: that ines is obsessed with Guy the pedantic gentleman, right,
• 27:22
  Speaker 2: he says that nostalgia is denial and denial, or nostalgia's denial, denying,
• 27:30
  Speaker 2: denial of the painful present. It's called the Golden Age
• 27:34
  Speaker 2: of thinking, Golden Age thinking right. This comes up again
• 27:39
  Speaker 2: later in the movie when Gil and Adriana journey back
• 27:44
  Speaker 2: into the E's which is specifically what Adriana identifies as
• 27:49
  Speaker 2: the Golden Age, and she even says as much when
• 27:52
  Speaker 2: Paul Gougin says that the age of the Renaissance was
• 27:56
  Speaker 2: way better, and she's like, no, that's crazy. This is
• 28:00
  Speaker 2: the Golden Age, so very specifically, like we're we're dropping
• 28:04
  Speaker 2: that language in two different spots, one spot to define
• 28:07
  Speaker 2: Gil and then Adriana identifies herself as such too great call.
• 28:11
  Speaker 2: So I think you have to have that that's call,
• 28:13
  Speaker 2: which leads us to the last person who time travels right,
• 28:18
  Speaker 2: detective to Serrant, who ends up in eighteenth century Versailles.
• 28:25
  Speaker 2: I want to say, if you're a history serve in
• 28:27
  Speaker 2: me I think that's King Louis the sixth too. I
• 28:30
  Speaker 2: don't know. There's a lot of Louise the end up
• 28:35
  Speaker 2: in Versailles and he's trying not to get killed. He
• 28:39
  Speaker 2: was there at midnight with a car on the road.
• 28:41
  Speaker 2: I guess he ended up there because he had a
• 28:44
  Speaker 2: golden age of thinking for eighteenth century verse I. I
• 28:47
  Speaker 2: don't know, that's the theory. I'm rocking.
• 28:51
  Speaker 1: I don't want to spend a lot of time on
• 28:52
  Speaker 1: this private investigator, but that is fascinating and hilarious. That's
• 28:56
  Speaker 1: a lot to unpack. If that was his golden age,
• 28:58
  Speaker 1: that's all I have to say.
• 29:00
  Speaker 2: Yeah, it does raise a lot of questions.
• 29:01
  Speaker 1: That's a lot there's a lot of questions.
• 29:03
  Speaker 2: I could possibly be his golden age.
• 29:04
  Speaker 1: But I love that thought. I hadn't thought about that
• 29:06
  Speaker 1: about you need the golden age thinking because there was
• 29:08
  Speaker 1: something missing for me. I was like, but what else is?
• 29:11
  Speaker 1: There has to be something else? And that makes a
• 29:13
  Speaker 1: lot of sense based on Adriana and gil traveling to
• 29:18
  Speaker 1: the eighteen nineties, because her golden age was the eighteen nineties,
• 29:23
  Speaker 1: and that's such a great point. I love that, and
• 29:27
  Speaker 1: that's one of the best I'm convinced. Best scenes too
• 29:29
  Speaker 1: of the movie, when when he realizes, like, oh my god,
• 29:32
  Speaker 1: I've been thinking about this all wrong. I need to
• 29:34
  Speaker 1: be living in my moment, in my age is my
• 29:38
  Speaker 1: present is the Golden Age? I just don't realize it.
• 29:40
  Speaker 2: Kind of situation, so right, the whole idea of if
• 29:44
  Speaker 2: if the eighteen nineties becomes your present at some point
• 29:48
  Speaker 2: or another, it will become dull and then there will
• 29:50
  Speaker 2: be another Golden Age or another age. You'll just be
• 29:53
  Speaker 2: chasing the past. Yeah, I'm convinced that the conversation with
• 29:59
  Speaker 2: Paul in beginning in the movie. I think it's before
• 30:04
  Speaker 2: he tells the former First Lady of Paris that she's incorrect.
• 30:09
  Speaker 2: I think it's before that scene where he mentions that
• 30:12
  Speaker 2: thing about the Golden Age of thinking. And you know,
• 30:15
  Speaker 2: it stands out that conversation circles back in two ways.
• 30:19
  Speaker 2: I won the Golden Age of Thinking when we hear
• 30:21
  Speaker 2: Adriana talking about it later. But then and I love
• 30:25
  Speaker 2: this and I think you will too, because we're both
• 30:27
  Speaker 2: suckers for circular storytelling. He describes a nostalgia as being
• 30:36
  Speaker 2: denial of the painful present. Right later in the film,
• 30:41
  Speaker 2: when Gil gets his book back from Gertrude Stein. And
• 30:44
  Speaker 2: remember his book is about a man. It's him, right,
• 30:47
  Speaker 2: it's a man who owns a nostalgia shop. She informs
• 30:51
  Speaker 2: him that Hemingway loved the book, but she doesn't understand,
• 30:55
  Speaker 2: or he doesn't understand how the main character can't possibly
• 30:58
  Speaker 2: see that his fiance is cheating on it him, to
• 31:00
  Speaker 2: which Gil it's it's revealed to him in this moment.
• 31:03
  Speaker 2: Oh my god, that's true. And I think he says, wait,
• 31:07
  Speaker 2: what are you talking about? And gritrd Stein says, well,
• 31:09
  Speaker 2: you know the other character, the pedantic one. And here
• 31:14
  Speaker 2: he responds with this look in his eye, and she
• 31:16
  Speaker 2: asks what's wrong, and he says, that's denial. And then
• 31:21
  Speaker 2: it immediately cuts to the present because now we are
• 31:24
  Speaker 2: facing a painful present, a painful truth. He is no
• 31:29
  Speaker 2: longer in denial about his situation. I loved it that
• 31:33
  Speaker 2: that was like the whole like premise of the movie
• 31:35
  Speaker 2: is like what Paul is saying in the very beginning.
• 31:38
  Speaker 2: It's very very clever writing.
• 31:42
  Speaker 1: I love it. What are you Alan man?
• 31:44
  Speaker 2: Controversial character but can tell a story.
• 31:48
  Speaker 1: Yeah, yeah, fantastic. That's a great explanation. I got nothing,
• 31:52
  Speaker 1: I got nothing else after that.
• 31:54
  Speaker 2: Where uh, where does it? I mean as far as
• 31:57
  Speaker 2: the other time travel movies, go, Ah, what did you
• 32:01
  Speaker 2: think about this particular like mechanism for time travel?
• 32:07
  Speaker 1: I I just I love the simplicity of it. I
• 32:13
  Speaker 1: think it probably ranks on the lower end, like overall,
• 32:17
  Speaker 1: because it's not like, you know, you think time well,
• 32:19
  Speaker 1: you think like high tech, or you think science, or
• 32:21
  Speaker 1: you think something like this like sci fi, which is awesome.
• 32:26
  Speaker 1: You don't think getting into the kind of vehicle of
• 32:30
  Speaker 1: the place you want to go to and then so
• 32:32
  Speaker 1: subtly just being there and there's no like you don't
• 32:35
  Speaker 1: even know that it happened, right, And so the subtletiness
• 32:40
  Speaker 1: of it is really fun. But as far as just
• 32:43
  Speaker 1: my overall like rinking, I think it's probably on the
• 32:46
  Speaker 1: lower end for reasons of just loving the sci finness
• 32:51
  Speaker 1: of some of the other time we've talked about. But
• 32:54
  Speaker 1: I don't know, I do like simple stuff, Like the
• 32:55
  Speaker 1: simplicity is really cool. It probably has it's got some
• 32:58
  Speaker 1: charm to it that probably gives it a little bit
• 33:00
  Speaker 1: more more on the on the appreciative factor, if you will.
• 33:07
  Speaker 2: I do think it's funny that we have in this
• 33:11
  Speaker 2: draft reviewed the time travel mechanism from Harry Potter and
• 33:17
  Speaker 2: the Prisoner of Azkaban, which is literally a series based
• 33:21
  Speaker 2: in magic, and somehow this movie had the most magical
• 33:26
  Speaker 2: time travel we've seen so far, you know, like even JK.
• 33:30
  Speaker 2: Rowlings like there was a logic to it at least
• 33:34
  Speaker 2: to like how it worked.
• 33:36
  Speaker 1: Yeah, that's such a great point. Like the time travel
• 33:39
  Speaker 1: and Harry Potter and the prison band works really well.
• 33:42
  Speaker 1: Like we've had this conversation, so like JK, she like
• 33:45
  Speaker 1: took her time to like map it out, and this
• 33:49
  Speaker 1: this movie is more magical because of the least amount
• 33:51
  Speaker 1: of explanation of everything reviewed so far. It's such a
• 33:55
  Speaker 1: great fact. Yeah, that's funny.
• 33:57
  Speaker 2: I will say this though, at least for the time draft. Yeah, like,
• 34:01
  Speaker 2: at least it doesn't rely on back to the future
• 34:06
  Speaker 2: rules of you know, you go back to the past,
• 34:07
  Speaker 2: you have changed to the president changes the future. Like, yeah,
• 34:10
  Speaker 2: when Gil goes back to the past, apparently it was
• 34:13
  Speaker 2: it was always noted that he would be in the
• 34:15
  Speaker 2: past because there is a physical proof, yeah, in Adriana's
• 34:19
  Speaker 2: journal that he was there. Yeah.
• 34:21
  Speaker 1: Yeah, also that that's one part of the movie that
• 34:24
  Speaker 1: bothered me, was he just happened to find her diary.
• 34:28
  Speaker 1: Oh yeah, no, that is like, that's that's a huge
• 34:31
  Speaker 1: problem because she was she's not even she's not and
• 34:34
  Speaker 1: she was made of character, like she actually was not
• 34:37
  Speaker 1: a real character, like a real person back in the
• 34:39
  Speaker 1: nineteen twenties. So if Woody Allen would have wrote him
• 34:42
  Speaker 1: falling in love with an actual person from the nice
• 34:46
  Speaker 1: maybe a little bit more plausible that he has it
• 34:49
  Speaker 1: finds a diary because there would have been like multiple
• 34:53
  Speaker 1: copies made because it was a famous person in the twenties,
• 34:55
  Speaker 1: so like he finds a copy at a shop on
• 34:58
  Speaker 1: the road in France, much more applause. But the fact
• 35:00
  Speaker 1: that this was a character that was made up from
• 35:02
  Speaker 1: the nineteen twenties and we're just supposed to believe. Granted,
• 35:06
  Speaker 1: when you're watching a movie, you don't know that. I
• 35:07
  Speaker 1: guess if you do research, you know, we look later.
• 35:09
  Speaker 1: It's like okay, but so maybe for movie purposes, she
• 35:14
  Speaker 1: was supposed to be like more famous potentially, but she isn't.
• 35:19
  Speaker 1: So if we're meeting all these other actual like famous
• 35:22
  Speaker 1: people in history, so it just doesn't it's an immediate
• 35:26
  Speaker 1: question that pops up, like oh wait, he just find
• 35:28
  Speaker 1: her diary on the the street corner in Paris and
• 35:30
  Speaker 1: like reads about himself, Like, what the heck?
• 35:34
  Speaker 2: Yeah, no, somehow that is the most implausible thing of
• 35:37
  Speaker 2: this movie, the time.
• 35:39
  Speaker 1: Yeah, that's what I questioned. Yeah, I questioned the diary,
• 35:42
  Speaker 1: not the time travel, right right.
• 35:46
  Speaker 2: Like, And if that happens that then you know you
• 35:48
  Speaker 2: kind of messed up in the writing.
• 35:50
  Speaker 1: Right right, all right?
• 35:54
  Speaker 2: I think that brings us to scoring great. So, as
• 35:58
  Speaker 2: we tease before we score, are time travel movies a
• 36:01
  Speaker 2: little bit differently. We're gonna score this, of course on
• 36:04
  Speaker 2: the quality of the movie, but we're also going to
• 36:06
  Speaker 2: score this on what we thought of the time travel
• 36:09
  Speaker 2: mechanic and how well this movie fit in the category
• 36:13
  Speaker 2: that we drafted it in, or in this case, I
• 36:15
  Speaker 2: drafted it in the time travel comedy category, so we're
• 36:19
  Speaker 2: gonna see how it did in that genre. So I'm
• 36:24
  Speaker 2: gonna go first for quality here out of five. So,
• 36:28
  Speaker 2: I think this movie is super fun. It's got some conveniences,
• 36:31
  Speaker 2: It's not a perfectly neat bow, but overall, I can't
• 36:36
  Speaker 2: help but just be so charmed by this movie. It's
• 36:38
  Speaker 2: just fun and charming. It's not trying too hard to
• 36:40
  Speaker 2: be anything else. I've given it a four.
• 36:45
  Speaker 1: For just overall for a movie.
• 36:48
  Speaker 2: For for just overall for movie.
• 36:50
  Speaker 1: Yeah, that's coreat. I think that's a little low actually,
• 36:52
  Speaker 1: for how much you liked this movie. I'm surprised you
• 36:54
  Speaker 1: want that low because I know you love this film
• 36:58
  Speaker 1: and I go to this film as well. I think
• 37:00
  Speaker 1: it's like such a fun idea. What's great too is
• 37:03
  Speaker 1: like you know, it's like time travel romantic comedy if
• 37:06
  Speaker 1: you will, and it's like an hour and a half.
• 37:08
  Speaker 1: They don't make movies like this anymore with that time
• 37:12
  Speaker 1: that you know, an hour and a half, like you
• 37:14
  Speaker 1: get the full picture in such a short time. So
• 37:15
  Speaker 1: I don't know. For me, I'm gonna go a little higher.
• 37:17
  Speaker 1: I'm gonna go with a full point three.
• 37:20
  Speaker 2: And nice I'll take it, okay, So, Nick, that brings
• 37:25
  Speaker 2: us to time travel. We're just going over the mechanics.
• 37:29
  Speaker 2: Would you think about the mechanic in this movie? Where's
• 37:31
  Speaker 2: the score? Well?
• 37:34
  Speaker 1: So, I think what helps is that they're not trying
• 37:38
  Speaker 1: to explain it. And because they don't try to explain it,
• 37:42
  Speaker 1: I almost want to give it a better score than
• 37:44
  Speaker 1: some other movies that try to explain it but just
• 37:47
  Speaker 1: didn't do a good job, but I can't do that
• 37:52
  Speaker 1: too much because you know, it's there's a lot left
• 37:57
  Speaker 1: on said, and we essentially are leaving it up to
• 38:04
  Speaker 1: believing in magic Witch. I'm okay with. But I think
• 38:08
  Speaker 1: in the respect of the time tvel draft, I'm going
• 38:11
  Speaker 1: to emit a three point five, which I think is generous,
• 38:14
  Speaker 1: and it's because I really like this movie, but it's
• 38:17
  Speaker 1: it's really not. Yeah, I think the mechanics are pretty bad,
• 38:22
  Speaker 1: and honestly I probably should have given it a like
• 38:24
  Speaker 1: a one and a half. Well, just let's lock in
• 38:26
  Speaker 1: a two point eight.
• 38:28
  Speaker 2: Two point eight, let's do it in a two point eight. Okay.
• 38:33
  Speaker 2: So I also think that even though our discussion, I
• 38:37
  Speaker 2: think it helps this movie a lot in trying to
• 38:39
  Speaker 2: define some of the mechanics of timeshrawl. This movie, I
• 38:43
  Speaker 2: don't think that you should have to make a lot
• 38:45
  Speaker 2: of crazy leaps. Not that I think the Golden Age
• 38:47
  Speaker 2: thinking is a crazy leap. I think the movie actually
• 38:51
  Speaker 2: does demonstrate that that is necessary, But it would be
• 38:55
  Speaker 2: nice if it followed at least some of its own rules,
• 38:58
  Speaker 2: which on the return home there are no rules apparently,
• 39:02
  Speaker 2: just you're just back, you know, which that feels convenient,
• 39:06
  Speaker 2: but like whatever I'm going, I'm actually gonna go lower
• 39:11
  Speaker 2: than you on this. It's my movie. I love it.
• 39:13
  Speaker 2: I'm gonna be harsh two five.
• 39:15
  Speaker 1: All right, respectable, respectable, all right.
• 39:19
  Speaker 2: That leaves us to the last category, which is how
• 39:22
  Speaker 2: well it did in the genre that I Joe Petterson
• 39:25
  Speaker 2: drafted it in time travel comedy. I think this movie
• 39:31
  Speaker 2: is hilarious. I think as far as time travel movies go,
• 39:34
  Speaker 2: like there's I can only think of a handful more
• 39:37
  Speaker 2: that I find funnier than this movie. I don't think
• 39:40
  Speaker 2: it's dropped dead funny. Yeah, but it's silly, charming, silly.
• 39:45
  Speaker 1: Yeah, silly is a better word than it's silly.
• 39:49
  Speaker 2: It's so silly movie.
• 39:50
  Speaker 1: It's silly. It fits in the category extremely well. Yeah,
• 39:55
  Speaker 1: it's it's more of a comedy than romance. Romance.
• 39:59
  Speaker 2: Oh yeah, but it's romantic.
• 40:00
  Speaker 1: It's romantic towards the golden ages of the characters that
• 40:04
  Speaker 1: they prefer, right, that's where the romance is. The romance
• 40:08
  Speaker 1: is in the golden age or in the past. It's
• 40:10
  Speaker 1: not within necessarily, it's I mean it is. He is
• 40:15
  Speaker 1: in love with a character from the nineteen twenties, so
• 40:17
  Speaker 1: there is some romance there too.
• 40:19
  Speaker 2: Actually, you're you're making a pretty good argument here for
• 40:24
  Speaker 2: maybe I should have drafted this in romance.
• 40:26
  Speaker 1: Yeah, and you're actually I'm gonna.
• 40:27
  Speaker 2: Regret doing this because you haven't given a score yet.
• 40:34
  Speaker 2: Drop down. I was gonna give it a four to eight. Oh,
• 40:37
  Speaker 2: that was comedy.
• 40:38
  Speaker 1: That's too high.
• 40:39
  Speaker 2: I'm gonna drop down down to a four to four. Yeah,
• 40:44
  Speaker 2: that's four to three.
• 40:46
  Speaker 1: Yeah, the height.
• 40:49
  Speaker 2: There is a better argument for better.
• 40:51
  Speaker 1: There is a better argument for romance. It's a silly movie.
• 40:54
  Speaker 1: I don't know if it's I would classify it more
• 40:56
  Speaker 1: as a romance than a comedy. But it is funny
• 40:59
  Speaker 1: and it is silly. And I picked Endgame as my
• 41:01
  Speaker 1: comedy films, which we're not gonna get into that again.
• 41:05
  Speaker 1: But anyway, I'm gonna give it a three point nine
• 41:09
  Speaker 1: for fitting in the three day.
• 41:12
  Speaker 2: Oh okay, well you know that's that's yeah, all right,
• 41:18
  Speaker 2: we're locked in. That does it for this particular time
• 41:22
  Speaker 2: travel film for Midnight in Paris. But we've got more
• 41:27
  Speaker 2: on the way, I believe are I don't think we're
• 41:31
  Speaker 2: doing time travel next? Are we doing Rings of Power next?
• 41:34
  Speaker 1: So mixed up here on the on the podcast Rings
• 41:37
  Speaker 1: of Power comes out and comes out this week, and
• 41:40
  Speaker 1: so that's gonna be a week really weekly released. We're
• 41:43
  Speaker 1: gonna be on Threads talking about that a lot more.
• 41:45
  Speaker 1: We'll probably do We'll definitely do one episode. We might
• 41:48
  Speaker 1: do two episodes of the podcast about Rings of Power,
• 41:51
  Speaker 1: depends how the season shapes up, So that's probably the
• 41:54
  Speaker 1: next thing we're gonna do. Podcast wise, We're definitely gonna
• 41:57
  Speaker 1: be talking about it online. So follow us on Threads,
• 42:00
  Speaker 1: hit the subscribe button, follow us on Instagram as well.
• 42:04
  Speaker 1: Of course, let us know what you think in the
• 42:08
  Speaker 1: comments and find us on your favorite podcast platform. And yeah,
• 42:15
  Speaker 1: until next time, May the Review be with you, please,