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Bonus Show - Road House (2024) · Thirsty For More - Movie Review

• 0:01
  Speaker 1: It's the Boner Show.
• 0:07
  Speaker 2: Get the Bonus Show, Hit the Boner Show.
• 0:11
  Speaker 1: Hello everyone, and welcome to the Boner Show. Of course,
• 0:14
  Speaker 1: from your host Malenko and I have Alex and today
• 0:17
  Speaker 1: we're covering twenty twenty four's road House, which is it's
• 0:25
  Speaker 1: like a remake of an old eighties movie called Roadhouse,
• 0:29
  Speaker 1: which I haven't seen. Famously, you haven't seen, and I
• 0:32
  Speaker 1: was supposed to see ahead of this.
• 0:33
  Speaker 2: I'm kind of glad I didn't, though I feel like
• 0:35
  Speaker 2: it would have influenced you. And I mean, like, I
• 0:38
  Speaker 2: don't remember did it influence you. I don't remember enough
• 0:41
  Speaker 2: of it to be like, like I remember sway the
• 0:43
  Speaker 2: thing that I remember, I feel like Swayze ripped the
• 0:46
  Speaker 2: dude's throat out in the first one. Pretty sure. But yeah,
• 0:51
  Speaker 2: you know what, it's like a really nice updated action movie.
• 0:55
  Speaker 2: I mean, Doug Lyman, good job. First, we got to
• 0:59
  Speaker 2: get into talking about the why we watch this movie,
• 1:03
  Speaker 2: because Keys really really pushed us to watch this movie.
• 1:06
  Speaker 2: And I'm really happy because he was absolutely right. It
• 1:09
  Speaker 2: is like a VANDAM movie. It's kind of not like
• 1:13
  Speaker 2: a road the Roadhouse movie, but it felt so much
• 1:17
  Speaker 2: like a VANDAM movie.
• 1:18
  Speaker 1: It felt exactly, like like a Kickboxer story totally.
• 1:23
  Speaker 2: Jake Jillenhall's acting was very VANDAMN. Even the the ending
• 1:29
  Speaker 2: when he's like walking away and like you know, getting
• 1:32
  Speaker 2: into the car with his hood up like the hero winning.
• 1:37
  Speaker 2: It did feel very VANDAM codamn VANDAMN coded for sure.
• 1:41
  Speaker 1: Yeah. I thought it was VANDAM coated as well, and
• 1:46
  Speaker 1: I really like the VANDAMN coding. I also like kind
• 1:49
  Speaker 1: of like he makes you for most of the movie
• 1:53
  Speaker 1: kind of second guess what kind of guy he is
• 1:56
  Speaker 1: before he diksters at the end. But like it's kind
• 2:00
  Speaker 1: of cool that, like because I kept going like, oh,
• 2:03
  Speaker 1: dumb guy throughout the whole movie, but he's actually not
• 2:06
  Speaker 1: a dumb guy. He's like pretending to kind of be
• 2:08
  Speaker 1: dumb or like not dumb, but like unassuming and like
• 2:13
  Speaker 1: it is unassumed. Yeah, he kind of innocence, Yeah you
• 2:17
  Speaker 1: know what I mean.
• 2:18
  Speaker 2: Like it's like Pashta and you're like are you okay? Yeah?
• 2:26
  Speaker 2: I mean like the thing the thing that I will say,
• 2:28
  Speaker 2: are you like a child? The thing that I will.
• 2:32
  Speaker 1: Say, yes, what will you say?
• 2:36
  Speaker 2: Something? Did feel like off about it? I agree, but
• 2:39
  Speaker 2: I don't know, like we kept saying how dead people were,
• 2:43
  Speaker 2: and like it there is you know what it is,
• 2:47
  Speaker 2: you know what it is?
• 2:48
  Speaker 1: What I think, okay, because so this is what I
• 2:51
  Speaker 1: want to say, is like a really like good strength
• 2:54
  Speaker 1: of the movie is showing the realism of the violence
• 2:58
  Speaker 1: and showing the these sort of like consequences, the bodily
• 3:02
  Speaker 1: consequences of getting hurt. And I think.
• 3:05
  Speaker 2: Though they still were superheroes and magic of course, of course,
• 3:09
  Speaker 2: of course, and like that's kind of like what hypers
• 3:11
  Speaker 2: it up.
• 3:12
  Speaker 1: But I think that the reason that or something that
• 3:16
  Speaker 1: was sticking in your craw was that it wasn't you
• 3:19
  Speaker 1: want them to be more like undefeatable. You want them
• 3:23
  Speaker 1: to be vandamn like you kind of when you're watching
• 3:26
  Speaker 1: a movie like that, I think you want that, you know,
• 3:28
  Speaker 1: you know.
• 3:29
  Speaker 2: Part of it is that, and part of it is
• 3:31
  Speaker 2: the it feels a little bit like we've reached a
• 3:36
  Speaker 2: point where there's enough content that features both this kind
• 3:43
  Speaker 2: of violence and this kind of sincerity when it comes
• 3:46
  Speaker 2: to the acting or when it comes to some of
• 3:50
  Speaker 2: the writing, even because it's like really corny, but it
• 3:53
  Speaker 2: feels like they reached a pinnacle of like the the
• 3:59
  Speaker 2: un canny valleynus of like sincerity, yeah, because it felt
• 4:04
  Speaker 2: very sincere, but just a little bit didn't enough that
• 4:09
  Speaker 2: it was like, what is happening? It feels like they've
• 4:12
  Speaker 2: almost perfected it.
• 4:14
  Speaker 1: And I honestly, I feel like millennials are kind of
• 4:18
  Speaker 1: dating ourselves here. I feel like this was written by
• 4:20
  Speaker 1: a millennial, and I feel like it's kind of like
• 4:22
  Speaker 1: a millennial with kind of like a gen X perspective.
• 4:25
  Speaker 1: It felt a little bit at times like killing gunther Ish.
• 4:30
  Speaker 1: You know, it felt like it was killing Gunthering, even
• 4:32
  Speaker 1: though it doesn't because it leans into the genre so
• 4:35
  Speaker 1: much that it's not you know, it can't be killing
• 4:38
  Speaker 1: gunther Yeah, but it felt like, you know what I mean,
• 4:41
  Speaker 1: Like some of the writing felt like very like elder
• 4:46
  Speaker 1: millennial cringe.
• 4:47
  Speaker 2: It was written in part by a guy who co
• 4:52
  Speaker 2: wrote The Nice Guys with Shane Black, and it does
• 4:56
  Speaker 2: have a bit of a Shane Black feel too. Well.
• 4:59
  Speaker 1: There's a kind of like self referential What did you
• 5:02
  Speaker 1: make of the kind of self awareness the movie has
• 5:07
  Speaker 1: when like he's talking to the one character and he's like,
• 5:10
  Speaker 1: you know, if this is a Cowboys story, it would
• 5:13
  Speaker 1: go like this, or I could stay here or like
• 5:16
  Speaker 1: they comment on these moments in the story when like
• 5:19
  Speaker 1: he would have certain turns or like, you know, it
• 5:23
  Speaker 1: kind of felt like it was like supposed to be
• 5:25
  Speaker 1: like sort of highlighting the heroes arc in this.
• 5:29
  Speaker 2: Yeah, and I think that's that was fine. A lot
• 5:34
  Speaker 2: of it, A lot of the filmmaking was amazing. Yeah,
• 5:38
  Speaker 2: the acting was superb, superb. Yeah, in fact, all of
• 5:42
  Speaker 2: them did a really good job.
• 5:45
  Speaker 1: And certain updated moments were really cool, like the henchmen
• 5:50
  Speaker 1: that doesn't that really just likes riding motorcycles and doesn't
• 5:53
  Speaker 1: want to be taking part in all of the the
• 5:55
  Speaker 1: the not so nice shit is like that's such an
• 5:58
  Speaker 1: interesting and good and like Sincere but I'm not talking
• 6:02
  Speaker 1: like Sincere Core like the movie kind of does. I'm
• 6:05
  Speaker 1: talking about like there's a sincerity to that sentiment of
• 6:08
  Speaker 1: like hey man, I just you know, like I really
• 6:12
  Speaker 1: like I'm not so bad. I don't want to be
• 6:13
  Speaker 1: involved with these guys. And eighties movies would do this
• 6:16
  Speaker 1: in different ways with Danniel runs like this Yeah.
• 6:19
  Speaker 2: Where they would just like panic and leave, but this
• 6:22
  Speaker 2: time it's like, hey, I'm a nice guy, listen, man,
• 6:25
  Speaker 2: a nice guy.
• 6:26
  Speaker 1: He's a Van Dan nice guy, and My problem with
• 6:31
  Speaker 1: it is that Jake Jillanol is actually kind of like
• 6:38
  Speaker 1: you know, and like I think it's amazing, but also
• 6:42
  Speaker 1: it's very weird, Like I don't know what the movie like,
• 6:45
  Speaker 1: you can you can be like, Okay, it's such a
• 6:48
  Speaker 1: stupid and fun movie and it is, yeah, but like
• 6:51
  Speaker 1: what is the movie trying to say? Ultimately? This is
• 6:53
  Speaker 1: kind of what I'm fascinated by it.
• 6:55
  Speaker 2: Well, what the good thing about that? That was a
• 6:58
  Speaker 2: very eighties move where like you would just watch people
• 7:02
  Speaker 2: be insane for two hours and be like, ohh dude,
• 7:06
  Speaker 2: like where they would do superhuman feats with like a
• 7:11
  Speaker 2: smile on their face, and you'd be and Schwartzy and
• 7:14
  Speaker 2: Arnold what's his name? Schwartzy and Sylvester Sloane Sylvester slone
• 7:18
  Speaker 2: fucking Cobra for example, where he's just a dead eyed psycho.
• 7:22
  Speaker 2: But the interesting thing about the twenty tens versus the
• 7:26
  Speaker 2: twenty twenty the twenty twenties is the twenty tens had
• 7:31
  Speaker 2: people like Nicholas winding refin who would do who would
• 7:37
  Speaker 2: get Ryan Gosling handsome man, Ryan Gosling heart Throb teen
• 7:42
  Speaker 2: heart Throb turn him into a monster an eighties type
• 7:46
  Speaker 2: of monster and then comm with the movie comment on
• 7:49
  Speaker 2: that monster as opposed to like having kind of like
• 7:53
  Speaker 2: an ironic view of what a like a mob sterry
• 7:57
  Speaker 2: monster kind of guy is. Like, so maybe that was
• 8:01
  Speaker 2: a bit of the and what does this movie do
• 8:03
  Speaker 2: in contrast, In this movie, it's doing what the eighties
• 8:07
  Speaker 2: just did with much more self awareness as yeah, let's
• 8:15
  Speaker 2: just get him to be it's fun to be a
• 8:18
  Speaker 2: dead eyed guy who cares what Jake Jonenhall is actually
• 8:22
  Speaker 2: feeling about the friend that he killed in because that's
• 8:26
  Speaker 2: the really resolved at all. In fact, he is he
• 8:30
  Speaker 2: is what people would call a he's like a merry suit.
• 8:35
  Speaker 2: He's just really good at everything, not only just what
• 8:38
  Speaker 2: he does, which we watch him be good at, which
• 8:40
  Speaker 2: is fighting, but he's like smart and charismatic and like
• 8:45
  Speaker 2: a detective and talented and you know what I mean,
• 8:50
  Speaker 2: good looking, has no real You're right there is the
• 8:55
  Speaker 2: level of hurt that bodies take in the movie does
• 8:59
  Speaker 2: have kind of consequence in it, and it's pretty vicious.
• 9:03
  Speaker 2: But he's also indestructible. He like throughout the entire movie,
• 9:06
  Speaker 2: he's just destroyed against still.
• 9:09
  Speaker 1: Absolutely you know, so so like like your body needs
• 9:13
  Speaker 1: downtime after being hurt. You can't stay shredded. You can't.
• 9:17
  Speaker 2: And he was shred the whole time. It was like
• 9:20
  Speaker 2: it was but it was like like heresyted like yeah,
• 9:24
  Speaker 2: like between unbelieve was amazing, unbelievable, like cycling for sure.
• 9:30
  Speaker 2: I mean you have to be like I I don't
• 9:32
  Speaker 2: like you know, and especially like you know, we were
• 9:35
  Speaker 2: talking about him in comparison to Corner MacGregor. Yes, and
• 9:39
  Speaker 2: like Corner MacGregor looks like he's like like he looks strong,
• 9:45
  Speaker 2: you know what I mean, Like Jake Jylen Hall looks
• 9:47
  Speaker 2: ripped and Connor McGregor looks strong. Yeah, I mean, Connor
• 9:52
  Speaker 2: wasn't like cut in the movie. He was just like,
• 9:55
  Speaker 2: oh my gosh, this person looks like him is running
• 9:59
  Speaker 2: and smile, which is you're like, oh my god, I
• 10:01
  Speaker 2: have to avoid that person. But he did an amazing job.
• 10:05
  Speaker 2: He actually did an amazing job. I know.
• 10:07
  Speaker 1: Did you think that this was did you think that
• 10:10
  Speaker 1: this was would fall under the the the the kind
• 10:14
  Speaker 1: of thing we've been talking about of like metamodernism for
• 10:16
  Speaker 1: a type of movie like this.
• 10:18
  Speaker 2: But it's meta modern. It is it is meta modern,
• 10:21
  Speaker 2: but it is that kind of corporatized, Like let's see, how.
• 10:30
  Speaker 1: Like Drive meta modern?
• 10:32
  Speaker 2: No, no, because Drive isn't meta modern Drive. It's a
• 10:35
  Speaker 2: postmodern movie, I know.
• 10:36
  Speaker 1: But it's it's it's that kind of monetization that that
• 10:39
  Speaker 1: happened in Drive.
• 10:41
  Speaker 2: Well, I'll say it happened in a in a type
• 10:44
  Speaker 2: of in the Tarantino kind of way that Quinn Tarantino's
• 10:49
  Speaker 2: movies when they were made, because they were hyper skilled
• 10:54
  Speaker 2: and and well written, people were trying to like capture
• 10:58
  Speaker 2: that and be like, how can we get more people
• 11:00
  Speaker 2: to make that?
• 11:01
  Speaker 1: You know what I mean?
• 11:02
  Speaker 2: And and Doug Lymon is really good at directing. That
• 11:05
  Speaker 2: was really he's a disciple of No, no, no, that's
• 11:09
  Speaker 2: not why I made the comparison, but the sort of
• 11:11
  Speaker 2: trying to capture that like hyper competency in directing a
• 11:18
  Speaker 2: movie that's not really like the best written movie. It's
• 11:21
  Speaker 2: not like really well, it's not like a well written movie,
• 11:24
  Speaker 2: but it's like funk very functional, you know what I mean.
• 11:28
  Speaker 2: So like you get these incredible actors doing dialogue that's
• 11:32
  Speaker 2: like funny enough for the movie, but and also well
• 11:35
  Speaker 2: written enough to be like kind of smart. It's a
• 11:37
  Speaker 2: little bit smarty. So it's got the like a little
• 11:41
  Speaker 2: bit gen Z quality for that.
• 11:44
  Speaker 1: Definitely, and and also, sorry to interrupt, I would say
• 11:48
  Speaker 1: like a lot of gen Z type reactions from Jake Gillenhall,
• 11:52
  Speaker 1: he was really channeling his Zoomer vibes in this like
• 11:56
  Speaker 1: kind of the disaffect, you.
• 11:57
  Speaker 2: Know, yeah, totally, And you know what, like I have
• 12:03
  Speaker 2: mixed feelings about it because of the weirdness that I
• 12:10
  Speaker 2: can't really like put my.
• 12:12
  Speaker 1: Finger, can't quantify it.
• 12:13
  Speaker 2: I can't quantify it.
• 12:14
  Speaker 1: The quality. It's the quality. It's ephemeral.
• 12:16
  Speaker 2: Yeah, it totally is.
• 12:18
  Speaker 1: It has the quality. Yeah, that's what I get.
• 12:20
  Speaker 2: Catherine and I when when when we coined that that
• 12:22
  Speaker 2: phrase we always talked about.
• 12:25
  Speaker 1: It's like, what is it about this that isn't good?
• 12:30
  Speaker 1: And it's like, again, I don't, I don't mean not good.
• 12:33
  Speaker 1: It was great.
• 12:33
  Speaker 2: I enjoyed only by that movie.
• 12:37
  Speaker 1: It's amazing, it's amazing and like it was so exciting.
• 12:40
  Speaker 1: But but there is a quality in it that like
• 12:44
  Speaker 1: I think what it is is like it didn't know
• 12:50
  Speaker 1: what it wanted to do with the sincerity.
• 12:53
  Speaker 2: That's an interesting point. That's actually like very much clicks
• 12:57
  Speaker 2: a lot of things in for me, that's interesting. How
• 13:02
  Speaker 2: would you elaborate on that? I mean, I have to
• 13:03
  Speaker 2: like kind of like think about it a little bit,
• 13:05
  Speaker 2: But can I tell you what I think? Yeah? Please, please,
• 13:08
  Speaker 2: you asshole.
• 13:09
  Speaker 1: I like I think that, you know, there's something about
• 13:15
  Speaker 1: the Mary sooness of Jake Jillen Hall where you're like, Okay,
• 13:21
  Speaker 1: I'm really starting to respect this character for being hyper
• 13:24
  Speaker 1: competent and for having this sort of moral code at
• 13:29
  Speaker 1: the beginning that he's got a bit of a Harry's
• 13:31
  Speaker 1: code and he kind of like turns like his dead
• 13:36
  Speaker 1: eyed turn. I understand it for movie purposes. I understand
• 13:41
  Speaker 1: that there's like a fear that he kind of alludes to,
• 13:44
  Speaker 1: but there's no sort of like they kind of rob
• 13:48
  Speaker 1: us of that sincerity. So like that's kind of what
• 13:51
  Speaker 1: has us on board. And then when we're sort of
• 13:54
  Speaker 1: like when we lose that aspect.
• 13:56
  Speaker 2: We're like, well, wait, where do our you.
• 14:00
  Speaker 1: Know, I think it's supposed to make us feel uncomfortable
• 14:03
  Speaker 1: because it's like he does comment at the end I'm
• 14:05
  Speaker 1: not sure I am a good guy, you know what
• 14:08
  Speaker 1: I mean? So, like there is a commentary on it
• 14:10
  Speaker 1: where it's like there is this sort of like cowboy
• 14:15
  Speaker 1: nature where we're.
• 14:16
  Speaker 2: Like anti hero hero Yeah, you know, you know what?
• 14:20
  Speaker 2: That is a very very astute point, and I do
• 14:22
  Speaker 2: think it it helped me understand the point, the point
• 14:26
  Speaker 2: of comparison that I was trying to make with Drive,
• 14:30
  Speaker 2: which has that turn, but it's a character turn. That's
• 14:34
  Speaker 2: a visual in Drive where Ryan Gosling stomps the dude's
• 14:39
  Speaker 2: head in the elevator and then like is like a creed,
• 14:42
  Speaker 2: like he's got like the vascular veins popping out, and
• 14:46
  Speaker 2: then what's her name? Carrie Mulligan sees him and she
• 14:49
  Speaker 2: sees him as the monster, and then Ryan Gosling has
• 14:54
  Speaker 2: the turn where he just goes ape shit, gets stabbed
• 14:57
  Speaker 2: at the end, and then drives off into the sunset.
• 15:00
  Speaker 2: I think the reason this obviously doesn't have that same
• 15:06
  Speaker 2: quality because the Drive is trying to point that out
• 15:09
  Speaker 2: that he isn't a good guy, whereas this movie is
• 15:12
  Speaker 2: trying to still convinces that he's the good guy and
• 15:15
  Speaker 2: does everything to do it, which is you have the
• 15:19
  Speaker 2: little girl Charlie at the end saying but you're not
• 15:22
  Speaker 2: the bad guy either. You have him riding off into
• 15:25
  Speaker 2: the sunset like totally mostly fine and commented commented on
• 15:33
  Speaker 2: but maybe it's because one is framed as a drama
• 15:36
  Speaker 2: and this one was so much of a comedy that
• 15:38
  Speaker 2: it's making me feel do you think this was a comedy.
• 15:41
  Speaker 2: This was definitely a comedy.
• 15:43
  Speaker 1: Yeah.
• 15:43
  Speaker 2: It had so many laughs per minutes that it was
• 15:47
  Speaker 2: just like, you know, you got the beginning, we're quite funny. Well, yeah,
• 15:51
  Speaker 2: which was great. That's what the eighties this about. It
• 15:54
  Speaker 2: felt good.
• 15:55
  Speaker 1: So so what Yeah, so I guess with VANDAMN, with
• 16:01
  Speaker 1: VANDAM and VANDAM movies, there's an unassumingness. Yes, And there
• 16:05
  Speaker 1: was definitely an assumingness in this movie, you know what
• 16:09
  Speaker 1: I mean.
• 16:10
  Speaker 2: Like it was a presend unassuming this well but his
• 16:13
  Speaker 2: but but his legend precedes him in the movie. Yeah,
• 16:17
  Speaker 2: you know, so like he's like legendary no matter what.
• 16:21
  Speaker 2: He's like this disgraced UFC fighter, Which is a cool backstory.
• 16:25
  Speaker 2: That's and it's it's it's a cool thing to make
• 16:28
  Speaker 2: it like the westernness of it, Like it's like he
• 16:31
  Speaker 2: left something behind. He's left he has to go to
• 16:33
  Speaker 2: different places because he he keeps getting recognized or whatever. Yeah,
• 16:38
  Speaker 2: and now he's like down and out. He's still the underdog.
• 16:41
  Speaker 2: His car.
• 16:42
  Speaker 1: He's like a grifter who basically like a crifter. He's
• 16:46
  Speaker 1: basically a guy who kind of like shows up at fights.
• 16:50
  Speaker 1: He shows up to fight post Malone, and post Malone
• 16:52
  Speaker 1: doesn't want to fight him. And post Malone was amazing.
• 16:56
  Speaker 2: Yes, he gave like a gret and had like the
• 17:00
  Speaker 2: kind of like, uh like the fight fight club level
• 17:04
  Speaker 2: body type of like a guy who's like lives in
• 17:06
  Speaker 2: a ship town and just wants to beat each other up. Yeah, totally,
• 17:10
  Speaker 2: so like it was cool to he was like, no,
• 17:13
  Speaker 2: we're not gonna fight that guy. I don't care you
• 17:15
  Speaker 2: fucking fight him. I loved his reaction.
• 17:18
  Speaker 1: It kind of it is this sort of like younger
• 17:22
  Speaker 1: millennial slash gen Z sort of vibe of like.
• 17:27
  Speaker 3: No, no, no, no no either, like they don't they
• 17:31
  Speaker 3: don't want to fuck with ship that they know is
• 17:32
  Speaker 3: gonna fuck them up, you know what I mean, And
• 17:35
  Speaker 3: so they have good sense in this movie.
• 17:38
  Speaker 2: I want to shout out a couple of the people
• 17:40
  Speaker 2: in this movie. Uh, Lucas Cage, the guy who looked
• 17:43
  Speaker 2: like Andrew Callahan, Dominic Columbus, the guy who Jake Jillenhall
• 17:49
  Speaker 2: hired to be his replacement in the bar uh uh
• 17:55
  Speaker 2: Arturo Castro the guy who is the nice guy, bad guy,
• 18:00
  Speaker 2: j D Padro and Bo Knap.
• 18:03
  Speaker 1: Who's j D Padro?
• 18:04
  Speaker 2: These guys were the JD. Padro was Adele who gets
• 18:08
  Speaker 2: eaten by a crocodile. And Bo Nap the guy who
• 18:15
  Speaker 2: I really liked. I was like, Oh, who's this guy
• 18:17
  Speaker 2: who's this like scary all super amazing Danny Maulroonson. I
• 18:26
  Speaker 2: don't know what that means to every everybody who was
• 18:29
  Speaker 2: like helping out or like a villain or whatever, or
• 18:34
  Speaker 2: like a henchman. Really good Danny Malroons. Awesome that you need,
• 18:38
  Speaker 2: you need that in a movie like this. That's absolutely
• 18:41
  Speaker 2: the fact that they never showed the dad, the dad
• 18:45
  Speaker 2: of the main villain, Ben Brandt, he was just in jail.
• 18:50
  Speaker 2: Loved that. I thought that was great.
• 18:52
  Speaker 1: I thought, there you got to get the relevance of
• 18:54
  Speaker 1: the boomers out of the totally. I mean, we're still
• 18:57
  Speaker 1: working under them. He's still the big boss the jail.
• 19:00
  Speaker 1: He would be leading if he wasn't in jail.
• 19:03
  Speaker 2: I felt a little bit too many characters.
• 19:07
  Speaker 1: And I'm thinking to myself, you shouted out a whole
• 19:10
  Speaker 1: bunch of actors and you didn't shout out any of
• 19:12
  Speaker 1: the women characters, and like, I don't think that they
• 19:16
  Speaker 1: were bad in this movie. I think that they were
• 19:19
  Speaker 1: underwritten and I think that they were like relegated to
• 19:22
  Speaker 1: sort of like women on the phone kind of vibes
• 19:25
  Speaker 1: like I want to be proven wrong and I want
• 19:28
  Speaker 1: to think more about it, because they do have character
• 19:30
  Speaker 1: development and relationships. But now when I think back, I
• 19:34
  Speaker 1: can't think of who he had what conversation with, you
• 19:37
  Speaker 1: know what I mean? Like was it with the little
• 19:39
  Speaker 1: girl who works at the bookstore?
• 19:41
  Speaker 2: Was it with Frankie, Jessica Williams, or was it with
• 19:45
  Speaker 2: Ellie or Daniel and melichor? I was down with all
• 19:49
  Speaker 2: of them. I thought they did fine. I mean it
• 19:51
  Speaker 2: wasn't even like.
• 19:52
  Speaker 1: They did fine. They did fine. They especially Jessica Williams
• 19:56
  Speaker 1: I thought was great.
• 19:56
  Speaker 2: As Frankie I thought, I no, I mean like like
• 19:59
  Speaker 2: as in character development, I thought it was fine, like
• 20:01
  Speaker 2: for the type of movie that it is. All of them,
• 20:05
  Speaker 2: Yeah gets the the you know he's the The reason
• 20:09
  Speaker 2: I didn't mention them is because those guys were None
• 20:12
  Speaker 2: of those guys were main characters, and they all had
• 20:14
  Speaker 2: a really good job. The B K. Cannon little Laura
• 20:17
  Speaker 2: chick who was like I wanted to show was great.
• 20:19
  Speaker 2: Fuck she she did a good job. The Dada you did.
• 20:25
  Speaker 1: You mention him?
• 20:26
  Speaker 2: No? I didn't. He was amazing.
• 20:29
  Speaker 1: And oh yeah post post in this movie, he's a
• 20:33
  Speaker 1: name to Carter. Yeah, he was great and like him
• 20:37
  Speaker 1: being like completely tied it up also really worked for
• 20:41
  Speaker 1: the movie. And myself, I was like, damn post Malone,
• 20:45
  Speaker 1: uh post post Malone. Dude. Those those COVID videos he
• 20:51
  Speaker 1: did where he did Nirvana covers with Travis Barker, those
• 20:55
  Speaker 1: were really cool. Do you remember that?
• 20:57
  Speaker 2: No? No, I don't.
• 20:58
  Speaker 1: Did you not watch those?
• 20:59
  Speaker 2: I think he sent me a bunch, but I don't remember.
• 21:01
  Speaker 2: Like I mean, COVID time was weird.
• 21:03
  Speaker 1: Well, it was great at the beginning of COVID and
• 21:05
  Speaker 1: he played live. He played like some concerts and he
• 21:08
  Speaker 1: just did Nirvana covers and they were amazing. Yeah, he
• 21:11
  Speaker 1: like had like like the Kirk Cobain scream.
• 21:17
  Speaker 2: Where did I see I'm pretty sure I saw the
• 21:19
  Speaker 2: dad in I think it was in he was in
• 21:23
  Speaker 2: Mask of Zoro. Okay, oh Desperado, he's Bucco, He's fucking
• 21:30
  Speaker 2: what's his name? I knew. I was like there's something
• 21:33
  Speaker 2: I remember him from. He's the brother of of El
• 21:38
  Speaker 2: Mariacci in in Desperado. Dude.
• 21:43
  Speaker 1: He was so good in this movie. The like the
• 21:47
  Speaker 1: cast was great. I think you're right, though, I think
• 21:49
  Speaker 1: it was like too many characters to focus on and
• 21:53
  Speaker 1: then like it does a disservice to everyone in a
• 21:55
  Speaker 1: way because I think about think about how similar the
• 22:00
  Speaker 1: beats in this movie are to Kickboxer. Yeah, Like I
• 22:04
  Speaker 1: kept thinking Kickboxer the whole time. Even though it's like
• 22:07
  Speaker 1: Key West. I love that it was in Key West
• 22:10
  Speaker 1: or not Key West?
• 22:12
  Speaker 2: It was what was it? Which key was it? Specifically? Was? Fuck?
• 22:17
  Speaker 1: What was it called key.
• 22:20
  Speaker 2: The Keystone Pipeline? Sorry, that's my conspiracy.
• 22:27
  Speaker 1: I mean it's just as the Florida Keys here. Fuck.
• 22:31
  Speaker 2: It was cool though, like the place that they were from, Yeah,
• 22:36
  Speaker 2: and like it felt like it had its own history.
• 22:39
  Speaker 2: The thing that would have made what I was gonna
• 22:42
  Speaker 2: say about the characterization of everybody was the fact that,
• 22:45
  Speaker 2: like you could have cut a few characters to give
• 22:49
  Speaker 2: other characters more things to do and easily could have
• 22:53
  Speaker 2: done the same things that those characters did, you know
• 23:00
  Speaker 2: what I mean, Like Charlie Weird kind of like flirtatious
• 23:06
  Speaker 2: with like it just felt like, I mean, people kept
• 23:11
  Speaker 2: being like, huh, she's cute, and.
• 23:14
  Speaker 1: People kept being like, she's real young.
• 23:16
  Speaker 2: Yeah, and it's but it's also like it also felt like,
• 23:20
  Speaker 2: but did he ever? Like he kissed who did he kiss? Oh?
• 23:26
  Speaker 2: He kissed Ellie? Didn't he? Right?
• 23:29
  Speaker 1: I forgot.
• 23:31
  Speaker 2: I really appreciated that Frankie wasn't was like, well, yeah,
• 23:35
  Speaker 2: come help me with this thing, random stranger that I
• 23:39
  Speaker 2: don't know who probably has CT. But also I really
• 23:43
  Speaker 2: appreciated that it was just like, yeah, we're colleagues.
• 23:48
  Speaker 1: Interesting, Yeah it was. It was cool. That was cool.
• 23:53
  Speaker 2: Yeah, but like I don't know, he did have that
• 23:56
  Speaker 2: eighties ambiguous sexuality with everyone, but it didn't make him
• 24:01
  Speaker 2: a creep. He was never That was really nice. Actually,
• 24:04
  Speaker 2: I really enjoyed that because sometimes Van dam was just
• 24:07
  Speaker 2: a fucking I agree, like when we would do is
• 24:11
  Speaker 2: a little bit smirky eyes and the cheeky Van Damn
• 24:15
  Speaker 2: you know, yeah, totally.
• 24:17
  Speaker 1: This movie, though, did have kind of like a cheeky vibe.
• 24:21
  Speaker 2: Though it was very cheeky.
• 24:23
  Speaker 1: I mean, it was especially cheeky when we saw Corner
• 24:25
  Speaker 1: McGregor's cheeks.
• 24:27
  Speaker 2: Dude, Iza dude. I thought he was really really good.
• 24:31
  Speaker 1: I thought Connor McGregor was the best part of the movie.
• 24:33
  Speaker 2: Dude, he's amazing, Like he's like prancing and kind of
• 24:38
  Speaker 2: like Jolty walking was amazing. Yeah, he's just like that.
• 24:43
  Speaker 2: And I'm down, you know, I don't too. Yeah, I
• 24:53
  Speaker 2: mean his plugs, dude, and his new teeth, dude. I
• 24:57
  Speaker 2: loved the look of the roadhouse, oh dude.
• 25:00
  Speaker 1: Yeah, it looked like a very inviting place.
• 25:03
  Speaker 2: The look of the roadhouse and also the look of
• 25:06
  Speaker 2: the movie where it was just like everything was gorgeous.
• 25:10
  Speaker 2: Everything looked like a like a commercial for Florida and
• 25:18
  Speaker 2: Doug Liman, that's what tomorrow, dude.
• 25:20
  Speaker 1: Can I read you a how did you guess?
• 25:21
  Speaker 2: Dude? Yeah, how did you guess?
• 25:23
  Speaker 1: Okay, every fight in the film uses full CG body
• 25:27
  Speaker 1: doubles due to the production using a new multi pass
• 25:30
  Speaker 1: method to do seamless punches and kicks instead of fake,
• 25:33
  Speaker 1: faking hits or cutting around the action to be believable.
• 25:37
  Speaker 1: In every fight, the doubles are stitched into the edit
• 25:40
  Speaker 1: for a few frames before stitching back to real footage. Yeah,
• 25:44
  Speaker 1: which you can really tell? Yeah that that great lengths
• 25:48
  Speaker 1: were made for that, but I have I have like
• 25:52
  Speaker 1: kind of a problem with some of the other cg
• 25:55
  Speaker 1: especially after recently having watched Dune and seeing the amazing
• 25:59
  Speaker 1: way that they cash your physics that AI physics, because
• 26:03
  Speaker 1: this like and it's a budgetary thing for sure, but
• 26:07
  Speaker 1: like sometimes when those like that portion of the roadhouse
• 26:10
  Speaker 1: falls over, it kind of like balloon physics, like down
• 26:13
  Speaker 1: in a way where you're just like, this doesn't look
• 26:15
  Speaker 1: like it would look if a thing fell.
• 26:17
  Speaker 2: But I liked the look of the movie. I did
• 26:19
  Speaker 2: like I did use it to their advantage. And every time,
• 26:23
  Speaker 2: every time there's a scene where things don't quite cut
• 26:27
  Speaker 2: together in terms of blending one like making a wonner,
• 26:32
  Speaker 2: like making the camera look like it's in one shot
• 26:34
  Speaker 2: and then like it would blend with the other shot,
• 26:38
  Speaker 2: Like yeah, it just it felt a little bit like
• 26:42
  Speaker 2: you said, balloon physics, but I was still down. But
• 26:47
  Speaker 2: it also contributed to my feelings that I was saying earlier,
• 26:51
  Speaker 2: where it was like a little bit soulless. Yeah, but
• 26:55
  Speaker 2: you know what, even the soulessness reminded me of Van
• 26:58
  Speaker 2: Dam movies because sometimes I'm so holy dude, Like in
• 27:02
  Speaker 2: a way where it was like clearly, like there was
• 27:05
  Speaker 2: like thirty forty percent of the people working on it
• 27:09
  Speaker 2: were working on it because they were like, fucking movie, dude,
• 27:11
  Speaker 2: this is awesome. I think the rest of it was like, yeah,
• 27:15
  Speaker 2: we got FANDAMN for us VANDAMN guys, you know what
• 27:20
  Speaker 2: I mean. Definitely, the the correlation between cocaine guys and
• 27:25
  Speaker 2: Van dam is high. Yeah, totally. And the balance of
• 27:28
  Speaker 2: like people really investing their hard and soul into the
• 27:31
  Speaker 2: movies and then these guys who were just like scumbags
• 27:36
  Speaker 2: trying to make money? Well, can I read you this
• 27:38
  Speaker 2: little like tidbit here?
• 27:40
  Speaker 1: This how did you guess? Director Doug Lyman was drawn
• 27:43
  Speaker 1: to the character of Dalton for being a gentle and
• 27:45
  Speaker 1: caring person who is simultaneously lethal. This complexity made the
• 27:49
  Speaker 1: role appealing in the reimagining of the cult classic.
• 27:53
  Speaker 2: Do you think do you think that ultimately Dalton is
• 27:59
  Speaker 2: a gentle and caring person? I will say that Dalton
• 28:10
  Speaker 2: is the kind of person that doesn't know how to
• 28:16
  Speaker 2: be kind and gentle, and it very much projects what
• 28:22
  Speaker 2: he thinks is what like, what people what he thinks? Well, no, no,
• 28:27
  Speaker 2: not what people. What he thinks people think of as
• 28:29
  Speaker 2: kind of.
• 28:30
  Speaker 1: Oh, Okay, so he's projecting kind of like a platonic
• 28:33
  Speaker 1: ideal of gentleness. Yeah, and he's just being stoic because
• 28:37
  Speaker 1: he's actually a murder machine.
• 28:40
  Speaker 2: Yeah. Well, like I mean, he he is the kind
• 28:42
  Speaker 2: of guy who is It's not like Harry's code dexter
• 28:51
  Speaker 2: in like kind of thing where it's like he's channeling
• 28:54
  Speaker 2: something he knows is wrong. He's just doesn't seem like
• 28:58
  Speaker 2: the kind of guy who who would think of think
• 29:03
  Speaker 2: of those things. It just feels like he's, yeah, the
• 29:07
  Speaker 2: kind of person who who knows it's wrong on some level,
• 29:10
  Speaker 2: but is like kind of doesn't understand feeling his own feelings.
• 29:15
  Speaker 1: Well, this is what was kind of compelling to me
• 29:17
  Speaker 1: about the character. Is this what they said in this
• 29:19
  Speaker 1: How did you guess this dichotomy of like, it's almost
• 29:23
  Speaker 1: it's not the complexity that he is a caring person
• 29:26
  Speaker 1: and he wants it's more that it's more what you're
• 29:29
  Speaker 1: saying that he doesn't know what it means to be
• 29:32
  Speaker 1: and he's projecting. Yeah, he's projecting this ideal. I think
• 29:35
  Speaker 1: that's really that's a great observation. How do you do
• 29:38
  Speaker 1: you want to like talk about the beat points in
• 29:40
  Speaker 1: this movie?
• 29:41
  Speaker 2: Like should we. I mean, it's it's like not really
• 29:45
  Speaker 2: that important to me. I don't know, what do you think,
• 29:48
  Speaker 2: Like we can, but like going through the movie, it
• 29:50
  Speaker 2: would just be like boring because it is a very
• 29:53
  Speaker 2: like beat for beat type movie.
• 29:55
  Speaker 1: Well, and that's what I was going to ask you, Like,
• 29:58
  Speaker 1: did you find yourself ever bored while washing?
• 30:01
  Speaker 2: Never? I never found myself bored. I did, though, roll
• 30:06
  Speaker 2: my eyes a little bit at how much of it
• 30:14
  Speaker 2: was a bit nudge nudge, like in the way that
• 30:20
  Speaker 2: like right at the beginning post post Malone fight non fight,
• 30:26
  Speaker 2: where you know, this lady has like randomly come into
• 30:29
  Speaker 2: this bar or this like fight to like get a strong,
• 30:34
  Speaker 2: strong guy because she heard post Malone's carter was like
• 30:39
  Speaker 2: a takeout guy. It was a sick album dude, and
• 30:44
  Speaker 2: she came to like find him. She came to find him.
• 30:48
  Speaker 2: In particular, it just it feels a bit contrived to
• 30:51
  Speaker 2: move things along, but also the contrived nous was like
• 30:55
  Speaker 2: remember the eighties used to do this, you know what
• 30:58
  Speaker 2: I mean? Like the totaless does irritate me a little
• 31:04
  Speaker 2: bit in the in the way that like when I
• 31:07
  Speaker 2: watch something that we watched recently, which was dream scenario
• 31:10
  Speaker 2: which is like constructing new ways of having people interact
• 31:15
  Speaker 2: in movies.
• 31:15
  Speaker 1: Well, because that movie in particular is commenting so much,
• 31:19
  Speaker 1: and everybody should see that movie. And I won't give
• 31:21
  Speaker 1: anything away, but that movie in particular is commenting so
• 31:24
  Speaker 1: much on how much we know at any given time,
• 31:29
  Speaker 1: and how much access we have to any given time,
• 31:32
  Speaker 1: and our relationship to the parasocial, because we really are.
• 31:36
  Speaker 1: Our lines are really blurred now as to what's real
• 31:39
  Speaker 1: and what's not real. Like sometimes I'll see people in
• 31:42
  Speaker 1: the street that like I just know through their Instagram profile.
• 31:45
  Speaker 1: I'll be, oh, my friend, you know, like like my
• 31:48
  Speaker 1: my body has the like innate recognition of like yeah,
• 31:52
  Speaker 1: of like I know this person's life and actually, you
• 31:54
  Speaker 1: know what.
• 31:55
  Speaker 2: You made me think of it. I think that the
• 31:57
  Speaker 2: thing that that movie did, which is is sincerity, like
• 32:02
  Speaker 2: that he managed to pull off like what modern sincerity
• 32:04
  Speaker 2: would feel like through this like in dream scenario, in
• 32:08
  Speaker 2: in in what feels like kind of like a very
• 32:11
  Speaker 2: surreal movie, even though we all know the feelings of
• 32:15
  Speaker 2: that surreality.
• 32:16
  Speaker 1: Well and yeah, and this this movie is by definition
• 32:19
  Speaker 1: in a way insincere, and it's already commenting on it exactly,
• 32:25
  Speaker 1: but it wants it both ways exactly and like the.
• 32:28
  Speaker 2: Fact that I mean, it's a fascinating movie even though
• 32:31
  Speaker 2: it's not the best movie.
• 32:33
  Speaker 1: No, no, don't get me wrong, Like I I under
• 32:35
  Speaker 1: I understand. Actually, like I've heard recently that there's a
• 32:39
  Speaker 1: lot of fervor around this movie. It was like the
• 32:42
  Speaker 1: most watched movie on Amazon or something, but there, but
• 32:46
  Speaker 1: people hate it.
• 32:46
  Speaker 2: People hate it like or like people are kind of
• 32:49
  Speaker 2: mid about it, and it's like, no, this movie is sick.
• 32:53
  Speaker 2: You're gonna watch the tenth fucking Marvel movie in a
• 32:57
  Speaker 2: row and you this is not. If this is sick
• 33:00
  Speaker 2: or at least interesting, you know what I mean, wasteime.
• 33:04
  Speaker 1: That brings me to another point, and I think what
• 33:07
  Speaker 1: makes this movie fucking interesting, dude, is the scale of it.
• 33:11
  Speaker 1: They didn't try and go it is. It's it's more
• 33:14
  Speaker 1: of an eighty scale. It's a commando you know. It's
• 33:17
  Speaker 1: like it's a city, it's a place, it's a small town.
• 33:20
  Speaker 1: Everyone knows each other. It happens in a handful of places.
• 33:24
  Speaker 1: Like it's not a movie that tries to be everything,
• 33:27
  Speaker 1: you know, totally totally, and it's cool that it's set
• 33:30
  Speaker 1: in a place because then that place can be. I
• 33:33
  Speaker 1: know that, I get everyone gets sick of me saying this,
• 33:35
  Speaker 1: but a character in the movie.
• 33:37
  Speaker 2: You know, why why do people people get sick? You say,
• 33:40
  Speaker 2: because I think it's I think you're I mean, I
• 33:42
  Speaker 2: think you're more correct about this than any of the
• 33:44
  Speaker 2: other time.
• 33:46
  Speaker 1: But the it does.
• 33:48
  Speaker 2: But you're right, it is. It feels like it's the
• 33:53
  Speaker 2: like it holds it bring brings the movie together. It
• 33:59
  Speaker 2: holds them and the realism that the movie builds for.
• 34:03
  Speaker 1: Us exactly, and the movie earns the realism for us
• 34:07
  Speaker 1: through the through the viscerality of the fights, and through
• 34:10
  Speaker 1: the like kind of like you know, like just there
• 34:14
  Speaker 1: are real Also, like I feel like we're in a
• 34:18
  Speaker 1: bit of a renaissance of like seventies reactions in movies
• 34:23
  Speaker 1: because the meta modern thing and like us being obsessed
• 34:27
  Speaker 1: with having a character like the guy who's like, hey man,
• 34:29
  Speaker 1: I just want to ride motorcycles, Like I'm not really
• 34:32
  Speaker 1: friends with these guys. Like that kind of is like
• 34:35
  Speaker 1: there's something so seventies to me about that, because there's
• 34:40
  Speaker 1: this this kind of like capturing of a certain ephemeral
• 34:47
  Speaker 1: reality through the kind of reality of this specific character's reaction.
• 34:53
  Speaker 2: He's just the normal guy.
• 34:55
  Speaker 1: You know what I mean? And I think that you know,
• 34:58
  Speaker 1: like the fact that he does show how scared he
• 35:02
  Speaker 1: is to fight. Oh, the fact that he does show
• 35:06
  Speaker 1: how scared he is to fight but still decides to
• 35:09
  Speaker 1: fight Jake gillen Hall before he gets his arm broken
• 35:13
  Speaker 1: is kind of a cool little arc for this guy
• 35:15
  Speaker 1: because then he gets to be like, Okay, this guy
• 35:17
  Speaker 1: already broke my arm, I'm not gonna fight him again.
• 35:19
  Speaker 2: Yeah. Yeah, but he did a really good job. Everybody
• 35:24
  Speaker 2: did a good job. The I actually really loved the
• 35:29
  Speaker 2: boat shit when he goes Jake Jillen All goes to
• 35:32
  Speaker 2: boats and he's like, I just put a bomb and
• 35:37
  Speaker 2: it was.
• 35:37
  Speaker 1: Just turned it out with like a garage door opener.
• 35:42
  Speaker 2: Yeah.
• 35:42
  Speaker 1: I I also really like the rebranding of because roadhouse.
• 35:47
  Speaker 1: A roadhouse is a roadhouse and it's spelt as one word.
• 35:50
  Speaker 1: But the owner of this place, the dad of what
• 35:55
  Speaker 1: was her name not Laura, Ellie, not Ellie?
• 35:57
  Speaker 2: What was her name, Jessica, Jessica, No, Jessica's her real name. Sorry,
• 36:01
  Speaker 2: frank Frankie.
• 36:02
  Speaker 1: Frankie's character Frankie, the character Frankie goes, uh, it's road
• 36:08
  Speaker 1: house that the bar is as a joke named road House,
• 36:12
  Speaker 1: and I thought this joke was kind of also the
• 36:18
  Speaker 1: joke that the movie is telling about itself as a
• 36:21
  Speaker 1: remake and also like as a Van Damn kind of
• 36:24
  Speaker 1: sincere core project totally, And I think, like that's cool,
• 36:29
  Speaker 1: you know, like it's like the movie is constantly telling
• 36:32
  Speaker 1: on itself and like it's doing so in a way
• 36:34
  Speaker 1: that's like I didn't mind. I didn't mind it. I
• 36:38
  Speaker 1: didn't mind the self awareness part.
• 36:40
  Speaker 2: No mind the self awareness part either. What bothered me
• 36:44
  Speaker 2: was the the the sincerity plus of it. It felt
• 36:52
  Speaker 2: like it was very sincerity plus. Yeah you know what
• 36:55
  Speaker 2: I mean, Yeah, sincere Core, not Sincere, not sincere because
• 37:00
  Speaker 2: core is like that's the the dead eyed, that's the
• 37:04
  Speaker 2: Jonah Hill acting like a nice guy.
• 37:07
  Speaker 1: Being for making that distinction for me.
• 37:11
  Speaker 2: But I will say.
• 37:15
  Speaker 1: Sincere plus since yeah, because I mean, I really you
• 37:18
  Speaker 1: know what I have to say, I really like how
• 37:22
  Speaker 1: much sincerity is being played.
• 37:24
  Speaker 2: With because this idea of and bear with me on this,
• 37:29
  Speaker 2: this idea of a guy being someone being sincere in
• 37:37
  Speaker 2: any context we've just seen we've had the like reflection
• 37:43
  Speaker 2: of ourselves reflected back on us through various like medias
• 37:48
  Speaker 2: of like YouTube apologies and things like that, where like
• 37:51
  Speaker 2: people have to like perform a sincerity. So like I
• 37:55
  Speaker 2: think that's why there is this obsession now in like
• 37:58
  Speaker 2: metamodernism with like and also because of how sincerity can
• 38:02
  Speaker 2: be used as a counter to irony, and irony was
• 38:05
  Speaker 2: the thing, but we can't be post ironic, so we
• 38:08
  Speaker 2: have to level up with sincerity. So sincerity plus is
• 38:12
  Speaker 2: such an interesting way of like commenting on the way
• 38:15
  Speaker 2: that this can show up because I think through genre
• 38:19
  Speaker 2: and metamodernism, this really can take this like sincerity to
• 38:22
  Speaker 2: this level of just like no, we're actually like using
• 38:25
  Speaker 2: it in the movie as a as a as a
• 38:27
  Speaker 2: tool rather than like you know, kind of commenting with it. Yeah, yeah, totally.
• 38:33
  Speaker 2: Billy Magnuson, who played the villain, was incredible. He is
• 38:38
  Speaker 2: the kind of peak of like evil white guy in movies,
• 38:45
  Speaker 2: but he played a pathetic son in a very interesting
• 38:49
  Speaker 2: way because.
• 38:50
  Speaker 1: It was like Kenny Vibes.
• 38:52
  Speaker 2: It was like very much influenced by the zeitgeist of
• 38:55
  Speaker 2: like I feel like this like trope of like elder
• 38:58
  Speaker 2: millennial son as a loser and like like kind of
• 39:03
  Speaker 2: dickless is like such an interesting continuous trope throughout like
• 39:09
  Speaker 2: action cinema.
• 39:10
  Speaker 1: Yeah, it's like this idea that because we're talking about
• 39:14
  Speaker 1: the hyper capability of this hyper masculinity, the bad guy
• 39:18
  Speaker 1: has to inherently be this fucking loser, right, like who
• 39:23
  Speaker 1: is like the son of a guy who's important, not
• 39:26
  Speaker 1: even the important guy.
• 39:28
  Speaker 2: So like I think it's like tickless speaking of accent,
• 39:32
  Speaker 2: But I think it's interesting because we never had that,
• 39:35
  Speaker 2: like the there was always alpha's fighting alpha's in like
• 39:40
  Speaker 2: in in the classic sort of like bad guy good
• 39:45
  Speaker 2: guy movies. Actually, well i'll comment on that. I actually
• 39:49
  Speaker 2: think that the backlash that we're gonna get, the kind
• 39:53
  Speaker 2: of conservative that we're going to get from a millennial
• 39:57
  Speaker 2: isn't isn't a Trump guy. No, there a guy that
• 40:00
  Speaker 2: has to do it with a smile on his face.
• 40:05
  Speaker 2: Let me finish, It'll be it'll be exactly like the
• 40:08
  Speaker 2: conservative turn of my favorite Glenn Greenwald, which is people
• 40:14
  Speaker 2: who feel like they deserved more credit and attention, and
• 40:19
  Speaker 2: they'll lean into they'll underhandedly and sneakily lead into their
• 40:25
  Speaker 2: own credentials as a weapon and be like I am
• 40:29
  Speaker 2: the liberal guys the cloud. Yeah, he'll he'll take it's
• 40:33
  Speaker 2: not even clout. He'll take all of the things that
• 40:36
  Speaker 2: made him him to like whatever group that they belonged to,
• 40:41
  Speaker 2: and weaponize it against that same group and be like, no,
• 40:44
  Speaker 2: I'm the real thing.
• 40:45
  Speaker 1: We're helping you.
• 40:46
  Speaker 2: Yeah, exactly exactly.
• 40:48
  Speaker 1: You were helping you. It'll be the new look how
• 40:51
  Speaker 1: much infrastructure we brought before that they were living in huts? Yeah,
• 40:57
  Speaker 1: you know, like it's it's that kind of that kind
• 40:59
  Speaker 1: of I think, Yeah, I think, yes, yes.
• 41:04
  Speaker 2: What did what would you give the movie?
• 41:06
  Speaker 1: Are we there?
• 41:07
  Speaker 2: I mean? Did we not?
• 41:09
  Speaker 1: We didn't even talk about like the like types. I
• 41:12
  Speaker 1: wanted to kind of like do a little bit of
• 41:15
  Speaker 1: escalation discussion of like how the plot moved and escalated.
• 41:21
  Speaker 1: Do you think that the moments where you know, the
• 41:25
  Speaker 1: final fights, like what was to you the most interesting fight?
• 41:29
  Speaker 1: Because I have a comment on this.
• 41:31
  Speaker 2: I think my my favorite fight was the first when
• 41:37
  Speaker 2: they got to the roadhouse. Who when what's his name?
• 41:42
  Speaker 2: Jake Jollenhall gets to the roadhouse.
• 41:44
  Speaker 1: That's my favorite, warning them and asking if they have
• 41:47
  Speaker 1: insurance and all that.
• 41:48
  Speaker 2: Yes, because it was like funny and cute and honestly,
• 41:52
  Speaker 2: like in I feel like Jake is the kind of
• 41:55
  Speaker 2: actor who could pull it off because like so many
• 41:57
  Speaker 2: people would not be able to pull that off at all.
• 42:00
  Speaker 1: I agree.
• 42:00
  Speaker 2: It makes me I haven't seen Ambulance yet. I'm sorry, case,
• 42:03
  Speaker 2: it makes me want to watch Ambulance so bad because
• 42:06
  Speaker 2: I love Jake Gillenhall's weird choices these days.
• 42:10
  Speaker 1: I think he's a really interesting actor. And we'll talk
• 42:12
  Speaker 1: about Jake Jillenhall at the end when we're wrapping up
• 42:15
  Speaker 1: the score for the movie. But I my favorite fight
• 42:18
  Speaker 1: oh sorry.
• 42:19
  Speaker 2: Yeah, and then and then and then I think the
• 42:21
  Speaker 2: actually the best fight scene is the one in the
• 42:25
  Speaker 2: boat when he kills uh, what's his name? When he
• 42:36
  Speaker 2: kills Dell, he like feeds him to the crocodiles. He's
• 42:38
  Speaker 2: got the shotgun and he's just come from a fight
• 42:42
  Speaker 2: from previous so he's tired that I loved that where
• 42:46
  Speaker 2: it was like, fuck, I gotta do.
• 42:48
  Speaker 1: More of this ship, you know?
• 42:50
  Speaker 2: Can I tell you my favorite was your favorite? My
• 42:52
  Speaker 2: favorite fight is and I'm surprised it's not one of
• 42:55
  Speaker 2: the ones you mentioned, uh is when Conor McGregor first
• 42:59
  Speaker 2: shows up at the roadhouse and he wants to like
• 43:02
  Speaker 2: fun sit up and he starts ship. So much so
• 43:05
  Speaker 2: that he can call out yeah, Jake and he makes
• 43:08
  Speaker 2: everyone in the bar fight. Yeah, totally. That was great.
• 43:11
  Speaker 2: That was that was super fun. But it's like when
• 43:15
  Speaker 2: I'm when I'm thinking about like stuff like that, like
• 43:20
  Speaker 2: those kinds of questions, I'm always thinking of, like what's
• 43:22
  Speaker 2: outside of the plot, because that's like a very plot
• 43:25
  Speaker 2: driven point of the movie, and it's like this has
• 43:28
  Speaker 2: so much stuff that I'm like, this is my favorite
• 43:30
  Speaker 2: part of the movie. But a fight is like something
• 43:33
  Speaker 2: very specific, you know what I mean. Yeah, yeah, I
• 43:37
  Speaker 2: mean Connor McGregor though he was a big standout, he's amazing. Also, weirdly,
• 43:45
  Speaker 2: Danny mul ruined himself in the movie where dude, look, dude,
• 43:50
  Speaker 2: a good job, dude. Yeah.
• 43:52
  Speaker 1: What about the end when there's the double cross It
• 43:58
  Speaker 1: was like a classic sort of like double can we
• 44:00
  Speaker 1: talk a little.
• 44:01
  Speaker 2: Bit about that, sure, where the dad, the sheriff, who
• 44:05
  Speaker 2: is Big Dick Ellie's dad, Big Dick double crosses. I
• 44:09
  Speaker 2: wanted to call him Roadhouse Dalton, but also Dalton he
• 44:13
  Speaker 2: is Roadhouse when Roadhouse gets double crossed, and like, but
• 44:18
  Speaker 2: he knows too. That was also an interesting point of
• 44:23
  Speaker 2: the movie where it's like man like we've seen this
• 44:26
  Speaker 2: shit so many times that Dalton is just like, yeah,
• 44:28
  Speaker 2: I mean you double crossed me. I mean is your
• 44:32
  Speaker 2: daughter even here? Like who knows?
• 44:34
  Speaker 1: You know, there's kind of like there is this like
• 44:36
  Speaker 1: sort of like almost over it knowing this, yeah, which
• 44:41
  Speaker 1: is a very interesting. I feel like part of that
• 44:43
  Speaker 1: Zoomer affect of like we don't care.
• 44:46
  Speaker 2: Oh. Something that I wanted to mention was that the
• 44:52
  Speaker 2: reason millennials will become the way I was saying that
• 44:57
  Speaker 2: it will become that is because they also were treated
• 45:01
  Speaker 2: as dicklessly as gen xers. And then when we get
• 45:05
  Speaker 2: older and we're like, oh, we can vote and we
• 45:07
  Speaker 2: we actually can use that power, they'll just become those
• 45:11
  Speaker 2: like people who are like, yeah, fan the flames of
• 45:13
  Speaker 2: culture wars, I just want lower taxes, I don't care,
• 45:16
  Speaker 2: you know what I mean? Yeah, And they'll like or
• 45:19
  Speaker 2: it's like or I.
• 45:19
  Speaker 1: Want weaponized democracy like everyone else did. Yeah, I know
• 45:24
  Speaker 1: what you mean. I think.
• 45:27
  Speaker 2: I think because that was the big thing from for
• 45:29
  Speaker 2: gen Xers was that like people didn't care about their
• 45:32
  Speaker 2: them at all. They were like, who cares? Who cares
• 45:35
  Speaker 2: what you have to say? And then when Lantos came around,
• 45:37
  Speaker 2: people were like, oh, Millenniums are all lazy, and and
• 45:40
  Speaker 2: gen xers were like, yeah, they are all lazy.
• 45:45
  Speaker 1: Look at how hard we've been working. Yeah.
• 45:47
  Speaker 2: Yeah, And it was like, you're not gonna make me work,
• 45:51
  Speaker 2: like I'm withholding my uh, I'm withholding my labor. Yeah.
• 45:55
  Speaker 2: I like I like the movie a lot. I thought
• 46:01
  Speaker 2: it was really fun. It's it's interesting because it's like
• 46:06
  Speaker 2: it feels like we don't have the innocence of the
• 46:10
  Speaker 2: time of the eighties and not to like, you know,
• 46:13
  Speaker 2: glorify the past or like, it's just there's a kind
• 46:16
  Speaker 2: of knowingness now that we have, like upon having so
• 46:21
  Speaker 2: much to reference back on that it just makes movies
• 46:24
  Speaker 2: like this like difficult to pull off. And kudos to
• 46:30
  Speaker 2: this movie, to Doug Yman for doing it. But yeah,
• 46:34
  Speaker 2: it feels like you have to go into territory now
• 46:36
  Speaker 2: of like a top gun, you know, where it's like
• 46:39
  Speaker 2: commentary upon commentary or well done enough upon well done
• 46:43
  Speaker 2: enough enough. Yeah, in order to retain the sincerity of it,
• 46:47
  Speaker 2: you have it has to be so hyper competent, whereas
• 46:50
  Speaker 2: the eighties didn't have that. No, it you could be
• 46:53
  Speaker 2: could be exactly, you could be totally messy and that's why. Yeah,
• 46:58
  Speaker 2: it's part in part is movies don't matter, Like movies
• 47:02
  Speaker 2: don't matter, and because there's no audience for them except
• 47:05
  Speaker 2: for people who watch movies like that, that video that,
• 47:09
  Speaker 2: those videos that I sent you, the like Sin City
• 47:12
  Speaker 2: like videos.
• 47:12
  Speaker 1: Yeah, those are cool though.
• 47:14
  Speaker 2: Like that's what modern art looks like because it's it's
• 47:19
  Speaker 2: like it's inhabiting the content space. But it's like so
• 47:23
  Speaker 2: well done, he's so talented. He's commenting on on what's
• 47:27
  Speaker 2: happening now. But it's also narrative structure, but it doesn't
• 47:31
  Speaker 2: need the narrative structure. It doesn't need to be commentary
• 47:34
  Speaker 2: on anything. It exists on its own. So it's just
• 47:38
  Speaker 2: like it's it's kind of sad to see movies like
• 47:42
  Speaker 2: this because it's like, twenty years ago this would have
• 47:45
  Speaker 2: been fucking tick ass.
• 47:47
  Speaker 1: Everybody would imagine can you imagine twenty years ago if
• 47:51
  Speaker 1: like this movie came, like.
• 47:52
  Speaker 2: It would have been totally pantheon. It's still I feel
• 47:55
  Speaker 2: I'm like, yeah, it's like fucking cool. Yeah, and like
• 47:59
  Speaker 2: just you're right, you're right, there is like there the
• 48:02
  Speaker 2: metamodernness of it makes it sad. It's like, oh, so
• 48:04
  Speaker 2: you are aware, you know, you are with us. Yeah,
• 48:07
  Speaker 2: there there's a kind of like a but that's kind
• 48:09
  Speaker 2: of cool though at the same time it's it's punk
• 48:12
  Speaker 2: rock in a way. It's like, yeah, whatever, we fucking
• 48:14
  Speaker 2: made it.
• 48:15
  Speaker 1: We made this.
• 48:15
  Speaker 2: Movie totally, totally, I don't know.
• 48:20
  Speaker 1: So, like Jake Gillenhall trained with like a UFC guy
• 48:25
  Speaker 1: to and got like super shredded for the role, and
• 48:29
  Speaker 1: he was really amazing in it. He was really I
• 48:32
  Speaker 1: think he's like such a great actor.
• 48:37
  Speaker 2: You know.
• 48:37
  Speaker 1: I worked with his sister who I.
• 48:39
  Speaker 2: Did Oh yeah, yeah yeah. What was the production for that?
• 48:44
  Speaker 1: I think he was a maker's thing.
• 48:47
  Speaker 2: Was it a commercial? It was a live activation event?
• 48:51
  Speaker 2: I remember that. That was cool.
• 48:53
  Speaker 1: It was cool. We shot in, uh we shot in
• 48:56
  Speaker 1: If I may, can I tell the story? So meggillen
• 49:00
  Speaker 1: Hall was hired to do this, like it was like
• 49:03
  Speaker 1: an audible podcast commercial and the idea was Originally the
• 49:08
  Speaker 1: idea was that two influencers were going to be reading
• 49:12
  Speaker 1: a book of their choice. But what happens instead is
• 49:17
  Speaker 1: that these two influencers are reading Anna Karenina and Maggie.
• 49:24
  Speaker 2: Gillenhall shows up and continues reading it and it's supposed
• 49:27
  Speaker 2: to be like a surprise, like they're not supposed to
• 49:29
  Speaker 2: know she's there, but they know, and it's supposed to
• 49:33
  Speaker 2: be a surprise to people like they're supposed to like
• 49:35
  Speaker 2: organically come. But like there were several diversity actors hired
• 49:39
  Speaker 2: like just to be because they know that Union Station
• 49:42
  Speaker 2: at that time is probably not going to be give
• 49:44
  Speaker 2: them the demographics that they want for this live activation,
• 49:48
  Speaker 2: So they hired like people to like strategically spread out
• 49:53
  Speaker 2: through people of color, to like strategically spread out through
• 49:56
  Speaker 2: like the audience, and to look like, yes, like so
• 50:03
  Speaker 2: enamored with Maggie, like you know, the enamored face. Yeah,
• 50:09
  Speaker 2: but but kind of it's Almo. Yeah, it's almost majestic
• 50:13
  Speaker 2: but dead eyed.
• 50:14
  Speaker 1: Yeah, of course it's.
• 50:15
  Speaker 2: It's what people think majestic is exactly. But they don't
• 50:20
  Speaker 2: have the sincerity of a richer or or a Robin
• 50:24
  Speaker 2: Williams in any role except for the photography role that
• 50:28
  Speaker 2: he was a scary guy.
• 50:30
  Speaker 1: Did he have majestic eyes in that?
• 50:31
  Speaker 2: I mean he always had majestic eyes, But did he
• 50:34
  Speaker 2: do majestic eyes?
• 50:35
  Speaker 1: Yeah? He did.
• 50:38
  Speaker 2: Did Robin Williams do majestic eyes in the Photography movie? Oh,
• 50:43
  Speaker 2: one hour photo. Yeah, he did. He did it in
• 50:45
  Speaker 2: every movie. You can't have Robin Williams not being mad,
• 50:49
  Speaker 2: especially in that movie, because you were supposed to feel
• 50:51
  Speaker 2: like like no that like he's like he like a psycho,
• 50:56
  Speaker 2: but like, oh I feel bad for him. He had
• 50:58
  Speaker 2: something tragic happened to or whatever.
• 51:00
  Speaker 1: Well, okay, so so Jake Gillenhall, what did you think
• 51:04
  Speaker 1: of his performance?
• 51:06
  Speaker 2: Man? He he's an amazing actor.
• 51:12
  Speaker 1: He's an amazing actor.
• 51:13
  Speaker 2: Like every every performance feels a little wild in some
• 51:18
  Speaker 2: way where it's like why why did you do that?
• 51:21
  Speaker 2: But also just that kind of like kind of like
• 51:32
  Speaker 2: here where he really impressed me the first time. Obviously,
• 51:36
  Speaker 2: like I loved him as a kid because of Donny
• 51:39
  Speaker 2: Darko or whatever. But then he got into this like
• 51:42
  Speaker 2: phase of like kind of like striving for leading man
• 51:47
  Speaker 2: status but also striving to try and try and do
• 51:51
  Speaker 2: the the main roles and like be like a hit
• 51:55
  Speaker 2: guy or whatever. But then when he did Prisoners and
• 51:59
  Speaker 2: he was his secondary kind of lead, when he could
• 52:02
  Speaker 2: be that, that's when he like really rose to me
• 52:07
  Speaker 2: where it was like, oh fucking awesome, Dan, like where
• 52:10
  Speaker 2: you could just be weird in certain roles because the
• 52:13
  Speaker 2: director would be like, yeah, do that, but also not
• 52:17
  Speaker 2: be the main character where it's like all the focuses
• 52:19
  Speaker 2: on him. Yeah, And then when he got to grow
• 52:22
  Speaker 2: into being like all right, well I'll just fucking do
• 52:25
  Speaker 2: this and get cast as like what what fucking character
• 52:29
  Speaker 2: actor status guys would get cast, it's like, yeah, do that, dude.
• 52:33
  Speaker 1: And like it's interesting with his body because like we
• 52:37
  Speaker 1: you know, I think that's something that we talked a
• 52:40
  Speaker 1: lot about with in the Stallan and the Vandam and
• 52:43
  Speaker 1: the Schwartze season, and like one of the parallels in
• 52:46
  Speaker 1: this movie with those guys, this Vandam especially is like
• 52:50
  Speaker 1: this the body and like the fact that he like
• 52:53
  Speaker 1: there is a focus on like the fact that he
• 52:55
  Speaker 1: got as like insanely shredded as he got like the
• 52:59
  Speaker 1: fact that that first scene Post looks great, and when
• 53:02
  Speaker 1: he's fighting, like it's like, oh man, this is like
• 53:05
  Speaker 1: a like fairly in shape guy who has muscle mass
• 53:10
  Speaker 1: on him doing a real fight. And then he comes
• 53:14
  Speaker 1: and the moment where he takes off his shirt is
• 53:16
  Speaker 1: just like he's meant like we're meant to feel that
• 53:20
  Speaker 1: moment where Post is like, I'm not fucking fighting this guy.
• 53:23
  Speaker 1: And we do.
• 53:24
  Speaker 2: And I think that that was really cool and well done. Yeah,
• 53:27
  Speaker 2: it's it's awesome because in such a quick way introducing
• 53:32
  Speaker 2: this character, uh, and it felt like pretty believable, especially
• 53:38
  Speaker 2: given the fact that like it was like you just
• 53:40
  Speaker 2: saw this dude wreck another guy and it was so awesome.
• 53:44
  Speaker 2: And so it didn't feel like I'm like, oh, I'm
• 53:47
  Speaker 2: pussing out right, It didn't feel like the audience was
• 53:50
  Speaker 2: gonna turn on deliberately tough and like deliberately shown us
• 53:54
  Speaker 2: tough in this movie.
• 53:55
  Speaker 1: Yeah.
• 53:55
  Speaker 2: And then and then at the end, at the end
• 53:58
  Speaker 2: of that fight where the guy comes and stabs Jake
• 54:01
  Speaker 2: jill at All in the stomach and he's like, hey,
• 54:06
  Speaker 2: he's like, you lost me five hundred bucks. He's like
• 54:09
  Speaker 2: and that he like threatens him and he's like, do
• 54:12
  Speaker 2: you want your knife back? All of the stomach stabbing
• 54:15
  Speaker 2: stuff was really like strangely off putting because like I
• 54:20
  Speaker 2: was just like strange.
• 54:21
  Speaker 1: It felt like the new digit finger breaking, which there
• 54:25
  Speaker 1: was finger breaking in this movie, and it felt like
• 54:27
  Speaker 1: the new uh sort of what was the twenty tens
• 54:31
  Speaker 1: version of I was thinking about this, the twenty tens
• 54:35
  Speaker 1: version of like the next snap that was the eighties
• 54:38
  Speaker 1: and the like.
• 54:39
  Speaker 2: They did a next step in this they did that
• 54:42
  Speaker 2: was a reference. There was one and it was out
• 54:44
  Speaker 2: of focus and it was Connor McGregor.
• 54:46
  Speaker 1: And also they did the twenty the two thousands and
• 54:49
  Speaker 1: twenty tens finger break too.
• 54:51
  Speaker 2: Yes, yes, that's true. What what was the twenty What
• 54:55
  Speaker 2: was the twenty eighteens known for the twenty teens? Feel
• 55:00
  Speaker 2: like it was maybe there was that, but that's been
• 55:06
  Speaker 2: a while. That's been since fucking Saving Private Ryan.
• 55:11
  Speaker 1: I was like, okay, leave us alone.
• 55:14
  Speaker 2: Please, Yeah, I can't hear that frequency anymore.
• 55:17
  Speaker 1: So actually it's fine, just leave it.
• 55:20
  Speaker 2: I am, Yeah, I'm I'm maybe like throat slitting was
• 55:26
  Speaker 2: that like big in the twenty tens? I'm trying to
• 55:28
  Speaker 2: think of what was big in the twenty tens, which
• 55:35
  Speaker 2: which injury there was? Yeah, Oh, fucking ear shit was
• 55:40
  Speaker 2: popular for a while, like people getting hit in the
• 55:42
  Speaker 2: ear or oh like kind of like legs snapping on
• 55:50
  Speaker 2: the side, like getting like kind of you know what
• 55:52
  Speaker 2: I mean, Like leg snaps were kind of popular for
• 55:55
  Speaker 2: a while. What else I don't know anyway, So, yeah,
• 56:03
  Speaker 2: what would you rate the movie? I'm gonna rate it
• 56:06
  Speaker 2: at eight out of ten. I was gonna say eight
• 56:09
  Speaker 2: point five. But there is that there is something something
• 56:13
  Speaker 2: is wrong, and it's not the movie's fault. It's the cultures.
• 56:18
  Speaker 2: It is the culture's fault. It's like a whole wave
• 56:22
  Speaker 2: of shit that I like, it's like not even a way.
• 56:24
  Speaker 2: It's a tsunami. I'm being carried by a tsunami and
• 56:28
  Speaker 2: hitting this movie, and then I'm blaming the tsunami. Well,
• 56:32
  Speaker 2: I'm blaming the movie for what the tsunami did.
• 56:34
  Speaker 1: The fact, the fact that there is a genre of
• 56:38
  Speaker 1: person that now is a connoisseur of this type of
• 56:42
  Speaker 1: movie is what makes the movie itself not able to
• 56:45
  Speaker 1: like do the thing that it is so successfully, does
• 56:49
  Speaker 1: you know?
• 56:50
  Speaker 2: Yeah, It's it's like I'm I'm find myself with modern
• 56:56
  Speaker 2: movie discourse being displeased about how a movie is going
• 57:00
  Speaker 2: to be talked about, and and it's very frustrating because
• 57:05
  Speaker 2: it I can't lose myself fully in it. And it happens.
• 57:10
  Speaker 1: You're right, you're thinking too much, You're you're analyzing too
• 57:14
  Speaker 1: much what the parts are that are going to be like,
• 57:16
  Speaker 1: because there was like really cool parts in this movie that,
• 57:19
  Speaker 1: like like when the guy's sat about his dog that
• 57:22
  Speaker 1: got eaten by the crocodile and he's like wistfully talking
• 57:25
  Speaker 1: about it. Like interesting, Danny mulroon character.
• 57:28
  Speaker 2: Moment, you know what I mean, like totally that you
• 57:30
  Speaker 2: like kind of like turned to and you were like
• 57:32
  Speaker 2: you just had a reaction to it.
• 57:33
  Speaker 1: I noticed that. I was like, yeah, it's.
• 57:35
  Speaker 2: Like, what did I say? Yeah, you were just you
• 57:38
  Speaker 2: were just sad about it. Yeah, I mean it just
• 57:40
  Speaker 2: felt like that felt like moments of reality. It felt
• 57:46
  Speaker 2: that sincerity. That was the sincerity because that dude wasn't
• 57:49
  Speaker 2: playing it. I mean it was kind of played for laps,
• 57:52
  Speaker 2: but like he did he did feel bad.
• 57:55
  Speaker 1: No, it's yeah, it's it was. It's really interesting. I
• 58:00
  Speaker 1: connin McGregor like for a sports actor, and I feel
• 58:05
  Speaker 1: like we've talked about him in a movie before. I
• 58:08
  Speaker 1: forget which one, Like we definitely covered him in a
• 58:10
  Speaker 1: movie before, but like some UFC movie like maybe a
• 58:14
  Speaker 1: Van Dam But like I did not expect him, first
• 58:18
  Speaker 1: of all to be as much of a character in
• 58:19
  Speaker 1: this as he was, like, second of all, to be
• 58:22
  Speaker 1: as like ridiculous.
• 58:24
  Speaker 2: As he was going to be, because I feel like
• 58:27
  Speaker 2: he didn't have to act that much and when he
• 58:32
  Speaker 2: did have to act.
• 58:33
  Speaker 1: He really delivered.
• 58:34
  Speaker 2: He did he honestly, I would say the same thing.
• 58:40
  Speaker 2: The thing is is that this is his persona he
• 58:43
  Speaker 2: is playing. What's nice about his performance and why he
• 58:47
  Speaker 2: did such a good job is that he leaned very
• 58:49
  Speaker 2: nicely into the persona that.
• 58:51
  Speaker 1: He plays in during fights.
• 58:53
  Speaker 2: Okay, yeah, well that's interesting, that's interesting.
• 58:57
  Speaker 1: We got some nice Did you get a flower cauliflower earshots?
• 59:01
  Speaker 1: I haven't given a rating, you know, I would say
• 59:04
  Speaker 1: probably eight. I would just like copy your your grade,
• 59:10
  Speaker 1: and for the same reasons like I would give it higher.
• 59:13
  Speaker 1: But something is robbing the experience of being fully the ephemeral,
• 59:17
  Speaker 1: the quality, it's the quality. And yeah, and it's not
• 59:21
  Speaker 1: the movie's fault, it's the culture's fault. Yea.
• 59:24
  Speaker 2: In the same way that like I get when people
• 59:26
  Speaker 2: say it's I hate the message, it's the message, you know,
• 59:30
  Speaker 2: Like I get it. I understand kind of what they're saying,
• 59:33
  Speaker 2: Like when it's when they talk when losers talking about
• 59:36
  Speaker 2: they talk about the message, right, and the message to
• 59:39
  Speaker 2: them is linked to a whole bunch of nonsense, conspiratorial bullshit.
• 59:44
  Speaker 2: But what do they say the messages? Well, the I mean, well,
• 59:49
  Speaker 2: let me tell you it's it's generally like a movie A. Yeah,
• 59:55
  Speaker 2: it's a it's an agenda. They do things for the
• 59:58
  Speaker 2: movie that aren't benefiting anybody in terms of like plot
• 1:00:02
  Speaker 2: or or like character. It's mostly just like how can
• 1:00:05
  Speaker 2: we get this like a black person in the movie,
• 1:00:08
  Speaker 2: or how can we get this woman in the movie
• 1:00:11
  Speaker 2: to get like a particular audience, And like what sucks
• 1:00:13
  Speaker 2: about it is that the criticism is almost there. It's
• 1:00:18
  Speaker 2: almost like, you know, hey, like corporations are cynically using
• 1:00:22
  Speaker 2: weaponizing either like diversity or whatever to pump out, but
• 1:00:27
  Speaker 2: for them it stops at exactly for them, it stops
• 1:00:31
  Speaker 2: at like a one type of thing, but they can't
• 1:00:34
  Speaker 2: vocalize it because they're I don't know. Sometimes sometimes it's
• 1:00:37
  Speaker 2: like I went to school for philosophy and movies, Like
• 1:00:40
  Speaker 2: sure I have that, right, Yeah, it's like critical thinking skills.
• 1:00:44
  Speaker 2: I mean yeah, but like nope, most people don't have that.
• 1:00:48
  Speaker 2: Most people don't you know what I mean. So, and
• 1:00:51
  Speaker 2: that's not a big that's not a problem for me interpersonally,
• 1:00:55
  Speaker 2: but it is a problem when people start societally. Yeah,
• 1:00:58
  Speaker 2: it's a societal problem, and it's a problem when you
• 1:01:01
  Speaker 2: get into fucking territory of like, what's your point about
• 1:01:04
  Speaker 2: this movie? Sorry to tru, what's your point with that?
• 1:01:06
  Speaker 1: About this Oh?
• 1:01:08
  Speaker 2: When you say the quality, like I get that I
• 1:01:11
  Speaker 2: and most people would if you gave them the context
• 1:01:14
  Speaker 2: for it. But you know, the quality for us is
• 1:01:19
  Speaker 2: the message for them, right, And and like when we
• 1:01:22
  Speaker 2: battle those things, we just have a more holistic idea
• 1:01:25
  Speaker 2: of like, dude, I'm just watching a movie, like I'll
• 1:01:28
  Speaker 2: watch any kind of I don't care about the message.
• 1:01:31
  Speaker 2: I don't care about the quality if it's a good
• 1:01:33
  Speaker 2: If it's a good, all watch the movie. I don't
• 1:01:37
  Speaker 2: love me. And and the thing is, like, what what
• 1:01:43
  Speaker 2: What came to mind just now for me is that
• 1:01:46
  Speaker 2: the thinking about all the other things is what bothers me,
• 1:01:51
  Speaker 2: the thinking about all I can't lose myself in movies
• 1:01:54
  Speaker 2: as much anymore because of the discourse. And that's why
• 1:01:58
  Speaker 2: something when a movie like dream Scenario comes where I
• 1:02:01
  Speaker 2: can just fucking hey, take me on a ride, or
• 1:02:05
  Speaker 2: like Avery Aster movies like bo.
• 1:02:08
  Speaker 1: But those movies aren't trying to circumvent that thing. They're
• 1:02:12
  Speaker 1: exactly working with the world that we live in, exactly exactly.
• 1:02:16
  Speaker 2: And you know this is trying to sort of balance
• 1:02:19
  Speaker 2: it out, trying to We've got Connor McGregor, so we
• 1:02:23
  Speaker 2: got the UFC guy, we got the Trumpels, but also
• 1:02:27
  Speaker 2: we got our black lady who's actually strong, and the
• 1:02:31
  Speaker 2: people of color tossed all around in it, you know
• 1:02:33
  Speaker 2: what I mean. Like it's it's trying to have both
• 1:02:35
  Speaker 2: of those things, you think, but it does. Do you
• 1:02:37
  Speaker 2: think it's cynically trying to do that cynical who cares?
• 1:02:41
  Speaker 2: All eighties movies were cynical, That's what we were talking
• 1:02:44
  Speaker 2: about earlier, right, So it does. It is the meta
• 1:02:47
  Speaker 2: modern version of that cynicalness, you know what I mean,
• 1:02:50
  Speaker 2: where it's like, hey, like we can have our cake
• 1:02:53
  Speaker 2: and eat it too, you know, so like maybe I'll
• 1:02:56
  Speaker 2: give it a ten to a tent. Actually, fuck it,
• 1:02:58
  Speaker 2: maybe it'll be a meta modern ten out of ten,
• 1:03:00
  Speaker 2: because like it did kind of succeed weirdly, weirdly in
• 1:03:05
  Speaker 2: the in the way that it is an eighties movie.
• 1:03:08
  Speaker 2: It was exactly this culture that we're in is exactly
• 1:03:11
  Speaker 2: what I wanted when I was growing up. Insane dictatorial president,
• 1:03:17
  Speaker 2: an insane North Korea versus Germany and East and West Germany.
• 1:03:25
  Speaker 2: You know, like cocaine is huge, synth is huge. I
• 1:03:29
  Speaker 2: wanted this. I did want this. All kids of the
• 1:03:32
  Speaker 2: eighties and nineties kind of wanted this at some point.
• 1:03:35
  Speaker 2: But I'm tired and I'm thirty of thirty five, and
• 1:03:39
  Speaker 2: I just like, i just want to not have jobs
• 1:03:43
  Speaker 2: where I have to like throw garbage away and and like,
• 1:03:46
  Speaker 2: you know, be comfortable, you know what I mean. So
• 1:03:49
  Speaker 2: it's like, you know, maybe it is maybe maybe maybe
• 1:03:54
  Speaker 2: it is a ten out of ten. Maybe this is
• 1:03:56
  Speaker 2: the ten modern ten at a ten, you know. Yeah,
• 1:03:59
  Speaker 2: I mean it's the it's the action movie for our time,
• 1:04:02
  Speaker 2: and it's the.
• 1:04:02
  Speaker 1: Action movie we deserve.
• 1:04:04
  Speaker 2: Yeah, I would give it still an eight out of ten. Absolutely,
• 1:04:10
  Speaker 2: My real score is still eight out of ten. Yeah,
• 1:04:13
  Speaker 2: Like I mean, I feel like a meta modern version
• 1:04:16
  Speaker 2: of this could be made and it could be better.
• 1:04:18
  Speaker 2: I got it, definitely, But I'm glad that it exists.
• 1:04:21
  Speaker 2: But I'm glad it exists, and I hope more movies
• 1:04:23
  Speaker 2: come out like this where it's like, hey, you know,
• 1:04:26
  Speaker 2: you don't it can just be a simple story, yeah,
• 1:04:29
  Speaker 2: and like a cool action.
• 1:04:30
  Speaker 1: That was the strength of the movie. Like then that's
• 1:04:32
  Speaker 1: what like makes movies so hard to follow. These days
• 1:04:35
  Speaker 1: is they try and make it too much like shows,
• 1:04:37
  Speaker 1: they try and cut it too much, Like I don't know,
• 1:04:40
  Speaker 1: like I don't like it. It looks they all look Netflix.
• 1:04:43
  Speaker 2: And yeah, this movie had like style and vision. Oh dude,
• 1:04:47
  Speaker 2: we didn't even talk about like the fucking wide lenses
• 1:04:49
  Speaker 2: and shit and all of the weird choices with the
• 1:04:51
  Speaker 2: like shots. But anyway, yeah, like the movie was great.
• 1:04:54
  Speaker 2: I love the boat stuff. The boat stuff didn't serve
• 1:04:57
  Speaker 2: to make it bigger scale. It's served to make it
• 1:04:59
  Speaker 2: small scale, which is even better. Yeah. It actually, you
• 1:05:02
  Speaker 2: know what, it kind of reminded me of a movie
• 1:05:04
  Speaker 2: that that you would really love. Miami Vice. The remake
• 1:05:09
  Speaker 2: of the show with Colin Farrell and Jamie Fox really
• 1:05:12
  Speaker 2: really reminded me of this, like that same vibe, kind
• 1:05:17
  Speaker 2: of the same kinds of real violence, the same kinds
• 1:05:20
  Speaker 2: of but hypered it up.
• 1:05:22
  Speaker 1: I love the hypered it up but reel.
• 1:05:24
  Speaker 2: Yeah, but hypered it up but really great. Yeah anyway, Yeah,
• 1:05:29
  Speaker 2: see you next week.