In this episode, Movie Mike responds to legendary Director Martin Scorsese who said recently that we need to “fight back” against thinking “that’s what movies are” by watching movies from filmmakers like Christopher Nolan. Mike talks about the Top 10 highest grossing non franchise movies of all-time. Mike shares why he thinks Scorsese is out of touch by sharing 5 non-franchise / non-superhero movies of the last 5 years that have changed cinema. In the Movie Review, Mike shares his thoughts on Saw X which is the 10th film in the franchise. How it got back to the roots of what made the original great, the horror elements and if it’s worth seeing in theaters. In the Trailer Park, Mike talks about Ferrari coming to theaters this Christmas. It’s a biopic of automotive mogul Enzo Ferrari, whose family redefined the idea of the high-powered Italian sports car and practically spawned the concept of Formula One racing.
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome back to Movie Mike's movie podcast. I
am your host Movie Mike, and I am fired up today.
I am not to be messed with because I am
sick and tired of people calling out superhero movies and
Martin Scorsese is at it again. I'll get into his comments.
I'll give you my movie rant of the week. In
the movie review, we'll be talking about Saw X, a
(00:20):
movie that caught me by surprise being the tenth film
in this franchise. And in the trailer Park, we're gonna
talk about a movie trailer that is so subtle but
won me over by the end of this teaser that
I cannot wait to see this movie. It is called
Ferrari starring Adam Driver. So much to get to this week.
Thank you for being a part of this podcast listening
(00:41):
every single week. Shout out to the Monday Morning Movie crew.
You guys know who you are. And now, oh, almost
lost my mic there for a second. Let's talk movies.
I'm just that hype today.
Speaker 2 (00:50):
In a world where everyone and their mother has a podcast,
one man stands to infiltrate the ears of listeners like
never before in a movie podcast. A man with so
much movie knowledge. He's basically like a walking IMTB with
glasses from the Nashville Podcast Network Movie Mike's Movie Podcast.
Speaker 1 (01:14):
Like I said in the intro, I am fired up
because legendary director Martin Scorsese, who's done movies like The
Wolf of Wall Street, one of my favorite movies of
all time, Goodfellas, Raging Bull. The list goes on and on.
He is literally a living legend, but for some reason,
every time he comes out and does an interview, he
(01:35):
has to throw superhero movies under the bus. And what
he said recently got me more riled up than anything
he has said so far about superhero movies, who he
has just spoken out about them historically, not liking them.
And what he has said recently is he his concern
about future generations of moviegoers. It seems to be that
(01:57):
his beef is with superhero and French films and what
they are doing to our culture. He says we need
to fight back against thinking that's what movies are. He said,
the danger there is what it's doing to our culture
because there are going to be generations now that think
that is what movies are. And he went on to
say that we need to go out there save cinema
(02:19):
and stop making franchise movies and support non franchise, non
superhero movies. So let's just unpack what he's saying there,
because I think now he is completely out of touch.
He is so old school in his way of thinking
that he doesn't realize that both things can exist. And
I love that he called out Christopher Nolan in particular,
(02:40):
saying that we need to go support films by Christopher
Nolan forgetting that Christopher Nolan created one of the greatest
comic book adaptations of all time with A Dark Knight.
Clearly he did not watch those movies and that came
out in the two thousand So is he that out
of touch that he didn't watch The Dark Nine two
thousand and eight? And I think the rea and he
(03:00):
referenced Christopher Nolan is because he has historically made really
good standalone films, not a part of any franchise, and
his main movies in the last decade that has really
pushed cinema and given audiences something new and fresh to
go see. And Christopher Nolan is a great director, but
I honestly think what punched his ticket and being able
(03:22):
to make any movie he wants now was doing such
a great job with the Dark Knight trilogy that really
cemented him, and then came out more bangers like Inception
and Interstellar, and has done so much work there, but
we are forgetting that he also did a great job
with a superhero franchise film. But again, the reason I'm
(03:43):
so fired up here is because he's missing that people
can enjoy and appreciate both. And I think he is
so wrapped up and worried that people aren't gonna go
watch Killers of the Flower Moon, And I feel like
this is a way of protecting himself, saying that the
only things making money and the only things pushing the
level as far as the box office are superhero franchise films.
(04:05):
But it just sounds like to me he is worried
that people will not watch his film because it doesn't
have a superhero in it. I honestly think that good
work will speak for itself, and you're probably even putting
it out at a good time right now where I
feel like there is a little bit of superhero fatigue.
They just announced that The Marvels is going to be
the shortest running MCU movie of all time, at one
(04:27):
hour and forty five minutes, and I think that's something
that would have been a bigger story maybe two or
three years ago, but right now I think we're like, okay,
we're good with the Superhero movie under two hours, which
historically they've always pushed that at least two twenty two
thirty run time. I think one hour and forty five
minutes is great for a movie like The Marvels. And
that's what he's getting wrong, is that I'm going to
(04:48):
go see The Marvels. I'm also going to go see
Akaman two later in December, but I'm also really looking
forward to Killers of the Flower Moon. So don't tell
me what is killing cinema when both can exist and flourish.
Dude also puts out a three and a half hour
movie and wonders why people are hesitant, which makes me
(05:09):
feel like he is no longer making movies for his audience,
which I think at his level, he probably doesn't really
care about that so much. He is wanting to make
movies that are important to him, and he's gonna make
you sit there and watch them no matter what, and
you better enjoy it or he's going to yell at you,
which I think once you get to a level that
(05:30):
he is at where it really doesn't have to be
making movies at all anymore. He could have retired ten
years ago, but still he continues to put out these films,
and he feels like audiences need to go and respect them.
I just feel like it's coming from a very self
serving state of mind that he just wants you to
go and support his movies, in particular because he even
(05:52):
forgot that Christopher Nolan made a superhero movie. He just
cares about himself. Essentially, is what these statements boil down to.
When I really think I don't mind franchises, I don't
mind superhero movies. Why honestly, I love them. And here's
what it really boils down to. When I think about
my favorite movies, oftentimes they are standalone movies, not part
(06:14):
of a franchise, and they are never or rarely a sequel.
When I think about the list of my top ten
favorite movies, that is exactly how they stand for the
most part, because I think those movies are the ones
that create a unique experience, that change my state of
being in some kind of way, or that really alter
my life or change my way I view the world.
(06:36):
Because they are that impactful. I think it takes a
movie like that to really resonate with audiences, and those
often come from movies that are not part of a
franchise or are not a sequel. I could argue still
that a lot of those could still be superhero movies,
So I see it more on the franchise side than
the superhero side. But I do think that franchises build relationships,
(06:57):
and I can find myself loving a franchise more than
I love an individual movie. Makes me think of the
Harry Potter franchise, where as a whole, as a collected work,
it is one of the greatest franchises of all time,
and I think as a unit, with all of those
films together is stronger than any one individual movie because
we grow up with those characters, we learn from those characters,
(07:18):
and there are different moments from every single movie that
we love, so as a whole, those work better than
if it was ever just one movie. And the way
I think about it is I approach every different movie
I watch with a different set of expectations. I don't
need every single movie to change my life. I don't
need every single movie to reinvent cinema. Sometimes I want that,
(07:40):
but sometimes I just want a movie that is going
to make me feel good, that's going to make me
turn my brain off, that's going to give me some action. Essentially,
Martin Scorsese is saying every movie needs to be a
banger and push cinema, and the only time you should
go to the theater and spend your money is for
movies like my movie. And so that I say. Bart
Simpson said it best with glasses that thick be so stupid.
(08:02):
So what I wanted to share with you first will
go through the top ten highest grossing non franchise movies
of all time to get a look at the landscape
of how impactful movies that have no connection with any
other movie and are also not superhero movies. At number
ten is Et making seven hundred and ninety five million dollars,
(08:23):
which is not just the result of the first time
it was ever in theaters. The movie gets re released
every anniversary or so, so it continues to generate money.
That is some fine Spielberg movie making. With that, at
number nine, you have Coco, which is made eight hundred
and fourteen million dollars at the box office. I almost
feel like certain studios are a powerhouse in themselves. And
(08:46):
I really think that animated movies don't get the credit
they deserve for being really great stories, because anytime you
see something animated, you think, oh, it's made for kids.
In this case, yes, it is geared towards kids. But
if you look at the story in Coco, if you
look at the actual art and the character design and
the animation, that movie really pushed the boundaries. So I'm
(09:07):
also glad that Pixar historically doesn't make a whole lot
of sequels. And I say that thinking of all the
toy story movies they've made in the cars movies, But
I like it when they come out with movies like Coco,
they tell the entire story and don't feel the need
to start cranking out more. I think the really great
Pixar stories are the ones that get it out all
in one movie. At number seven, you have Inception from
(09:30):
Christopher Nolan, making eight hundred and thirty nine million dollars
at the box office. At number six, another Pixar movie,
Inside Out, making eight hundred and fifty three million dollars
at the box office, getting into the top five. At
number five, you have a biopic Bohemian Rhapsody making nine
hundred and ten million dollars at the box office. That
one is a little bit surprising to me, one because
(09:53):
I really don't enjoy biopicks a whole lot when it
comes to biopicks of musicians. They keep making them because
we all love music, and we love these iconic figures
in music. But I just feel like music biopics as
a whole don't generally do the artist justice. Very rare
does it happen. They are just not my favorite movies
(10:14):
to watch because I always feel like they don't give
you the full story, especially with Bohemian Rhapsody. And I
think the reason it did so well is because everybody
loves Freddy Mercury. He's an iconic singer. He also has
a very tragic story and he has not been alive
for a very long time, so I think the demand
was there at the time this movie came out. The
(10:34):
thing I did love about this movie is even though
I didn't love the actual film, it did make me
go discover and rediscover some queen music. I've never really
historically been a fan of rock music during that period,
but you can't deny Freddy Mercury's voice. I also can't
deny Rammy Malick's performance as Freddy Mercury in that movie,
(10:57):
which he got the Oscar for, so he deserved that
as a whole being in the top five here. I
don't necessarily love it, and I'm glad that the biopick
that ranks above it took its slot fairly recently, because
at number four is Oppenheimer, which has currently made nine
hundred and twenty six million dollars at the box office,
which is an amazing feat not only that it's a biopick,
(11:18):
but also that it's a rated R movie and the
only rated R movie in this entire top ten. Also
the fact that there's really nothing flashy about this movie,
very limited if any CGI really just straight ahead acting
and a whole lot of dialogue, which some people find
to be a turnoff when going to watch a movie.
(11:38):
But I think when it comes to Christopher Nolan, dialogue
matched with the score that keeps the entire conversations moving along,
that makes you pay attention. It works so well for me.
So for the people who said that Oppenheimer was boring,
I hate that for you. I'm sorry you had a
bad experience. But it's a great movie. Love to see
it in the top five at number three. This one
(11:59):
may be a bit country because, well, I'll get it
to why exactly that is, But let me tell you
what it is. First, Super Mario Brothers, the movie that
came out earlier this year, has made one point three
billion dollars at the Fox office. It is included on
this list even though they have made a Super Mario
Brothers live action movie before this, and even though it
is connected to a well known video game franchise which
(12:23):
Mario is one of the most iconic video game characters
of all time, which I feel does contribute a lot
to its success at the Fox office. There hasn't been
a movie like this made that is a great representation
of what it's like to play a Super Mario game.
But it's not a part of a franchise yet. They
are probably going to make more movies within the Super
(12:45):
Mario world, but as of now, it is just one movie.
It's not a superhero movie, so if you're questioning its
placement on the list right now, it is a standalone movie.
So I'm surprised in a good way at the success
of this movie. And I think when it comes down
to animation. It's how much do kids love it? Showing
(13:05):
you that kids love Super Mario Brothers, and also that
this movie didn't really have anything you needed to know
about the characters going into it. There's also just not
the biggest plot in this They're not really trying to
teach you a lesson or throw anything else in here
that's going to go over kids' heads. It's very much
an honest kids movie, and I think we really needed
one right now. So that is a big win for Illumination,
(13:28):
who normally just makes all their money on the Minions movies.
At number two, which is also the number fourteen highest
grossing movie of all time, but at number two, as
being one of the top ten highest grossing non franchise,
non superhero movies of all time is Barbie. As of
the time of recording this podcast has made one point
(13:48):
four billion dollars at the box office. This movie continues
to crush it and I'll get into more why I
think Barbie has changed the landscape of cinema in my
list coming up after this, but that is just an
incredible feat to have come out this summer in July
and not only landing at number two on this list,
but at number fourteen of all time highest grossing movies.
(14:12):
So fantastic for Barbie, which is a great movie, but
at number one, the highest grossing non franchise, non superhero
movie of all time is the one and only Titanic,
which is made two point two billion, and it is
the number four highest grossing movie of all time. James
Cameron is undeniable as being somebody who knows what it
(14:34):
takes to make a big cinematic film, and he has
so many of the highest grossing movies of all time
that if you ever bet against James Cameron, you're gonna
lose your money because he only really cranks out hits.
So that is that list. But as I continue ripping
Martin Scorsese to shreds, I have another list for him.
Five non franchise movies that have changed cinema in the
(14:57):
last five years, and I'll tell you why. I'll start first,
in no particular order, at number five. We've been talking
about it earlier, but it's Barbie, and I think it's
because it has made that much money at the box
office and we are still going to see the effects
of this movie in the years to come. I feel
like this movie is going to open the door for
more female directors, because let's be honest, it is a
(15:20):
sausage fest out there, and every time a list comes
out of the best directors of all time, there is
always just a lack of female representation, and I think
that needs to change. And I just saw something in
Greta Gerwig's work very early on kicking it off with
Lady Bird. She is a director who knows exactly what
she wants to say and how she wants to say it.
(15:41):
All of the actors in her movie have such a
trust with her, and it is just so important to
trust a director when making a movie, which I heard
Robert Pattinson talking about this recently, which he says he
relies so much on having a great director and a
great script, but at the end of the day, it
is his face on that poster, and if it's not good,
(16:02):
he is going to be the one that gets ripped
to shreds. No one is going to rip the director,
no one is going to rip the script. They're going
to say that Robert Pattinson did not do a good job.
So I think that I've seen so many great stories
about Greta Gerwig and her actors trusting her and her
putting them in the best position to make them look
great and to make the story flourish. And I think
(16:23):
Barbie is the best example of that. So if she
can do that with Barbie, break down the Door, hopefully
all these big executives making the decisions on what directors
to attach to what films they bring on more directors
like Greta Gerwig, who now has the ability to make
any movie she wants. I think Christopher Nolan, who we've
also been talking about, he kind of got that right
(16:43):
after he did the Dark Knight trilogy, but really cemented
himself with Inception, and now he can essentially do whatever
he wants. I feel like, after you make a movie
that has grossed over a billion dollars, you get that right,
and now they're gonna have to pay her a lot
of money. So that movie makes my lists from this year.
Look at that. There's two movies from this year that
have changed cinema release on the same weekend, Martin Scorsese,
(17:08):
what are you talking about? Did you not go to
the movies this summer? Because on that same weekend we
got Oppenheimer, which is now the biggest biopic of all time,
talked about it earlier, beat out Bohemian Rhapsody. So I
think this is also changing cinema and showing you that
movies can be significant, they can be impactful, and they
can resonate with audiences, even if they take a story
(17:30):
like Oppenheimer, which is just a character study on Oppenheimer,
who is this theoretical physicist and by no means on
his own, is there anything particularly sexy about his story
on surface level if you were just reading it on
a textbook in a history class. But you take his story,
give it a great director like Christopher Nolan, it opens
(17:51):
up the door for so many more great biopicks. I
even think of Air, which came out earlier this year,
showing us that you can make a movie about shoe
be one of the best dramas of the entire year
as well. So it gives me hope that every single
biopick that comes out doesn't have to be a famous
musician anymore. With movies like last year Elvis coming out,
(18:13):
There's a Bob Marley biopic coming out, I just feel
like we get those movies so frequently that I get
less interested because I think they have run out of
icons at this point, and I feel like those movies
lose out on some attention to detail because they're just
telling the story of an iconic character in music, and
(18:34):
you think the songs are going to speak for themselves,
and you don't really have to focus so much on
who you cast for it or who you get to
direct it, which is really the most important thing. So
then you get these movies that look like they deserve
to be shown on a cabled network, and I'm expected
to go see those and think they have some kind
of value just because they're about somebody really famous. So
I think Oppenheimer is going to change that and get
(18:56):
back to making biopicks about people in history who actually
have really great stories to tell if you put the
time and effort into it, like Christopher Nolan did. So
that is my number four and number three is another
recent movie came out last year and swept the Oscars
this year. It is everything everywhere, all at once. And
the way I feel like this movie is going to
(19:16):
change cinema is because it was able to have such
a massive look with a relatively modest budget of twenty
five million dollars. And I think the way that this
movie has changed cinema is showing that you can make
a film on a relatively modest budget. This one only
costs twenty five million dollars to make. We're not going
to make one hundred and forty one million dollars at
(19:38):
the box office, but had this massive cinematic look and
obliterated what we thought we knew about any kind of
multiverse situation. In a year where Marvel also put out
Doctor Strange in the Multiverse of Madness, it put that
movie to shame. It made that multiverse look so one
dimensional because there was so much more creativity in this movie,
(20:03):
so much great use of editing that made this movie
look even bigger than that twenty five million dollar budget.
And in a world of remakes, reboots, sequels, superhero movies,
I think you can't go wrong with any A twenty
four film, which is a studio that put out everything everywhere,
all at once. Looking historically, in the last five years
(20:23):
of A twenty four, they have created some of my
favorite movies that are all standalone, non franchise, non superhero films.
I mean, just looking at their last five years. This
year we got Talked to Me, which is a great
horror movie. We've had the Whale, Uncut Gems, Hereditary, Lady Bird.
Really just diving into A twenty four on their own,
(20:45):
they could be single handedly saving cinema. They don't make
a big fuss about it. They're not telling you to
not go watch those superhero films as well. But you know,
when you go watch an A twenty four film, you're
gonna get something special, You're gonna get something unique. Some
times they miss. Sometimes they put out some really boring
movies that you really have to think about and their
(21:05):
hit or miss. Sometimes A twenty four puts out some
very meta movies that you watch and you don't understand
whatsoever until you go read an article on the Internet
of some other nerd who didn't really understand it when
they watched it, but made up all these theories, and
then we're all like, oh, we get it. It's a
metaphor for why we all had terrible childhoods. But yes, essentially,
(21:26):
I could have put every A twenty four film the
last five years on this list, So go check out
all A twenty four has to offer. But at number two,
I have a movie from twenty twenty one called Coda.
It made history as being the first movie to win
Best Picture that came from a streaming service. It was
put out on Apple TV Plus back in twenty twenty one.
(21:47):
I love the representation in the film, and the reason
I feel like this movie is changing and has changed
cinema is because it is just great storytelling at its finest.
In Coda, you will not find any gunfights, no explosions,
no fight scenes, just regular people maybe having arguments. They
may be raising their voices, but it shows that you
(22:09):
can just make a slice of life movie that has
a lot of great representation and make it really resonate
with audiences. That's all you have to do to make
a great movie is create an emotional connection, in this case,
in a story in a world that even though we
don't really know a whole lot about. So not only
did it shake things up by winning Best Picture coming
from a streaming service, but the movie also came out
(22:31):
in August and was still able to win for Best Picture,
which the game has been to put out your movies
in November and December during that Oscar season, being able
to bait Oscar voters into remembering your movie and thinking, oh,
I need to vote for that movie. Whenever I throw
in my ballot. Coda shook things up by being a
movie that came out in August and still took home
(22:54):
the biggest prize, but at number one on my list
that have changed cinema in the last five years. Again,
and this is in no particular order, but this is
another movie that came out in twenty twenty three. So
in my list, I have three movies from this year,
but I'm gonna go with Megan, which I feel that
it is so hard to create a lasting horror character.
(23:16):
There's always been the major ones. You're Michael Myers, You're Chucky,
You're Jason. You also have whatever to consider your second
tier with your ghost face, your leather face, and your
Pennywise to clown. But now I feel like after Megan,
a new horror icon is born, and that is huge
(23:36):
because now I feel like this is going to be
a character that reshows itself every single Halloween. I'm already
seeing people dress up like Megan, wreaking havoc in neighborhoods,
walking around in a Megan costume. It is very hard
to create a new horror character that is iconic as
all the ones that have been around for years and
(23:58):
have so many more movies connected to them, but Megan
has done that. And the other reason I chose to
include this movie is because as of now, there is
only one. But of course we've heard that Megan two
is coming, and of course that means Megan three is
coming in four. There'll be some spinoffs, there will be
a prequel. It's going to be a big deal for
a very long time now. But I don't think franchises
(24:21):
are bad. It shows you that if a character has
success and we attach ourselves to it, we want to
see more of it. It's not a bad thing. You
can't hate on a movie for being successful and then
wanting to create more movies to tell more of the story.
It would be like me hating on somebody for being
good at their job and getting a promotion. I think
(24:43):
the goal is to create a movie franchise, and I
think sometimes franchises are necessary in order to tell the
entire story of a character. Think of Guardians of the
Galaxy earlier this year. Finishing out that trilogy in a
perfectly well told story where every single movie was more
and more character development. You get a part one, two,
(25:04):
and three, and that is the entire story. Now, there
are some other franchises like The Fast and the Perious
franchises where they're pretty much stand alone and you don't
really have to watch all those to make sense, and
it's just like, yes, every couple of years you get
a new movie. That is really the only situation where
you could argue that franchises are bad. But even then,
(25:24):
if you make a movie and people love it and
they want to go see it, why would you deny
them that? And as formulaic as some of those movies
tend to be, they serve a purpose. So I don't
think that the solution for saving cinema is just supporting
non franchise, non superhero movies. I think the true answer
here is to support any movie that you enjoy, support
(25:46):
any director that you want to see more movies from
by going to see their work in theaters or paying
for it to watch on the streaming services. That's all
you have to do. Watch what you want to watch,
enjoy what you want to enjoy, and don't feel bad
about it because some dude passed his primus telling you
that you should feel bad about it, and go watch
this three and a half hour movie. So that is
(26:07):
all I have to say that has been my rant
of the week. Come back talk about Saw X, speaking
of big, long lasting franchises, and in the trailer park,
we'll talk about a new movie called Ferrari that had
my jaw on the floor because of how few words
were spoken in the trailer, the least amount ever that
has made me want to see a movie. Let's get
(26:30):
into it now. A spoiler free movie review of Saw X,
the tenth film in the franchise, from a film series
that captivated audiences starting back in two thousand and four
in one of the most mind blowing and jarring movies
of our lifetime in the horror genre. And to be honest,
I have fallen out of love with the Saw franchise
(26:50):
over the years one, two and three. I was good,
but after that they became formulaic and it's a hard
franchise to really attach yourself to because really the format
is the star. Have your players playing the game trying
to save their lives. This whole big reason that John
Kramer has crafted because he is somebody who has been
(27:10):
fighting for his life and wants to show the people
who are taking their life for granted how much they
should appreciate the things that they have, So really, the
Saw movies are the most wholesome when you think about it,
teaching us a lesson that we all need to know.
We find John Kramer again. He is sick. Basically, the
doctor has told him that he only has a few
months to live, and they tell him to take it easy.
(27:32):
He says, I'm not taking it easy. I'm gonna go
out fighting this thing. So what does he do. He
learns about this experimental medical procedure in Mexico and it's
supposed to be one that can cure his cancer as
far along as he is. So he travels to Mexico
and then learns about this entire operation and realizes it
(27:52):
is a scam to defraud the most vulnerable. Again, that's
all in the IMDb description, so I'm not rooting anything
by saying that, but that's the entire movie is him
getting back at these people who have stolen money from him.
The interesting thing about this movie it has an entirely
different tone, and even in the first twenty and thirty minutes,
I was worried a little bit because it spent so
(28:13):
much time on his story, what he was going through,
that it really felt like a drama that I wouldn't
have hated, but I don't really go into a Saw
movie wanting a drama, so it does take this movie
a little bit too ramp up. And like I told
you how I feel about horror movies that have really
slow beginnings, it always gets me. It always feels a
little bit like, all right, let's get to the action here.
But once it does. I'm not gonna say it's NonStop
(28:34):
throughout the entire movie, but it is so intense when
it does show these moments that I feel like they
had to really step up their game in this movie
to make it feel more gruesome. And I paid attention
to all the little sound effects and all the blood
squirts and all the practical horror elements that they use
that I found myself a person who is really desensitized
(28:55):
to anything bloody, anything gory. I can watch the most
hardcore violent movie and not feel a thing coming from me.
I found myself a little bit squeamish, and some things
were hard to watch. I have a thing about bones
breaking and the sound effects they use of bones crunching
and blood curdling. It was so well done and so
(29:17):
properly used that it even made me feel queasy that
I still kept my eyes on the screen the entire
time because I felt like if I didn't watch it,
I would be missing out on what is happening here.
But it was hard to watch it, and I just
found myself doing this face like, eugh, this is hard
to stomach. But if you are squeamish, this movie is
not for the faint of heart. And after watching this,
(29:38):
it made me think, how has this soft franchise become
such a household name with how gruesome they are. It's
just torture in every single film, and they take it
to the such extremes and they're so creative that you
wonder what are these writers going through while they are
thinking of all these plots. It's like a sick Looney
(29:59):
Tunes scale every single time. So it's just surprising to
me that this has become so mainstream and we're all
kind of cool with it. So if somebody says Saw
is their favorite movie franchise in the horror genre, I
question their judgment a little bit. I'm gonna be looking
into your internet history. So this movie isn't really scary.
I don't think the entire franchise is that at all,
but it is so gruesome and the most gruesome I've
(30:22):
seen this franchise in a very long time, so I
think that is going to get people interested in this
franchise again. But it's that connection I had with John
Kramer in this movie that I hadn't really felt since
maybe Part two, because for the first time, he's not
a good guy. He's kind of an anti hero. He
is doing these things for arguably a moral reason, but
(30:46):
he's also the villain too. So I found myself going
back and forth in this film. Do I think he's
doing good? Do I think he's a bad person, Because
at the end of the day, like he says, he
is not killing anybody, they have the choice, but he's
just putting them in these situations where they have to
fight for their life. So I found myself being so
conflicted of rooting for him but also rooting against him
(31:09):
because it's just hard to see people put in these situations.
So I feel it from both ends. But again, in
this movie, they screwed him over so did they deserve it?
I don't know. He's like a hardcore vigilante, so overall,
like it is in the rest of the franchise, the
format of the movie is the star you have all
of these people playing this game. I would say the
(31:29):
only thing that really held me back from fully loving
this movie. There were a couple of things. One is
that the acting is pretty subpar. And again, I don't
really go into a Saw movie thinking there's gonna be stellar.
Acting in this Saw film wasn't really the case. But
it was so bad in parts that I found myself
disconnecting from the story because I was annoyed by their performances.
One character in particular, I was like, all right, just
(31:51):
kill this guy because I can't stand him anymore. But
maybe they were just trying to make a really unsufferable character.
So not really on them for making me hate him
so much. I think actually being able to write a
character that invokes that emotion, it's a pretty powerful thing.
If I left a movie feeling annoyed because of one
specific character, I feel like they did their job. But man,
(32:12):
I was waiting for it to get to his game
because I wanted him out of there. I did not
want him to win. I was definitely rooting against that
guy because he was so so annoying. But there were
other interactions in this movie with different characters that felt
very soap opera ish, not with anything with John Kramer.
I think he is so great in that role. His
voice is iconic in the Horror franchise, but it's just
(32:33):
his interactions with everybody else felt a little bit cheesy
at times. My second issue with this movie was the runtime.
I'm not against a long run time if it has
a reason to be that long, but those first thirty
minutes of building his story could have been condensed a
little more to get to more of the action, because
that's what we want in a Saw movie. We want
more blood, we want more guts. Felt like it was
(32:55):
so slow in the beginning. I found myself being bored
and it was it's hard to come back from that that.
It really wasn't until halfway through the movie that I
realized I'm really enjoying this because it had me so
bored in the beginning. So I worry that if you
don't go see this movie in theaters and wait to
shriam it, you may not get through those first thirty
minutes because it doesn't really hook you in. Even though
(33:17):
it is emotional in the beginning, you do get to
feel a lot of the pain that he is going through,
but man, you just wanted to get to the action.
And if it would have been at that one forty
minute range, oh man, it would have been a much better,
more cohesive movie all the way throughout, and I would
be telling you you need to go see this movie
in theaters today. It did make me feel oddly nostalgic,
and it reminded me of the epic music that they
(33:39):
always have at the ending of a Saw movie, and
whenever this music played, I was like, oh, yes, like
this kind of takes me back. So there were those
moments where it felt like they were calling back to
the original song, calling back to those early films, without
(34:00):
it feeling kind of cheap and kind of reminding the audience,
hey remember when we did that, which I feel other
horror movies do that. They just do the exact same
things that they did in the early films as a callback,
but it just feels like they're reminding it, like, hey,
remember that that, We're gonna do it again. It's cool reference.
Not in this case, it was more like odes to
the original one subtle nods, very subtle placement of things
(34:21):
that happened in the first and second movie that they
brought back in a more sophisticated way, in a more
subtle way that didn't really feel like they were just
cramming it in there for the sake of nostalgia. So
in the end I left really enjoying this movie. I'm
about twenty four hours now after seeing it and I'm
still thinking about it. So that is the sign of
a good movie. Also the fact that whenever you have
(34:44):
lower expectations going into a movie and it kind of
obliterates everything you thought the movie was going to be,
those movies always just stick with me and mean a
little bit more to me. So if I had to
rate Saw X, I would give it four out of
five body parts.
Speaker 2 (35:01):
It's time to head down to movie mics.
Speaker 1 (35:04):
Trailer, Paul, this is one of the most polarizing movie
trailers I have ever seen. And I think a great
movie trailer is supposed to leave you wanting more. It's
supposed to be a teaser. It's supposed to give you
just the taste, just the taste of the story, but
make you want to go back to the theater to
(35:24):
watch that movie. That is what a great trailer does.
The bad trailers give you the beginning, the middle, and
the end in those two and a half minutes, and
then it's completely ruined. They also tell all the good jokes,
show all the scary parts. That is the sign of
a bad trailer. But what I love about the Ferrari
trailer is there is only one line spoken in this
(35:48):
entire trailer, and I'm gonna play it for you here
in a second. But the rest is just the sound
of a Ferrari just blaring throughout the entire thing and
showing you all these dramatic moments in this movie. And
this approach to making a trailer is one I have
not seen done ever before, showing you all the drama
but not giving you any of the words, not really
(36:10):
giving you a whole lot of context. But just from
watching this trailer, I can tell you there's going to
be maybe a sex scandal, There's gonna be death, there's
gonna be some money issues, there's gonna be racing, there's
gonna be tragic situations. And I get that all from
the expressions on the actor's face. You have Adam Driver,
Penelope Cruise, Shane Lean Woodley all in this movie. So
(36:33):
I'll play a little bit of the Ferrari trailer and
tell you more about this film. That really just has
my jaw on the floor because I feel like right
now every trailer just has to give you so much
because they're begging you to go to the theater that
I'll watch this movie. So that is a big statement.
I love the risk. I hope it pays off for them.
This movie is coming out on Christmas this year. Here's
just a little bit the one line spoken in the
(36:54):
Ferrari trailer, if you get into one of my cars,
you get into wind. So Ferrari follows the real life
story of Enzo Ferrari. In that trailer, all you hear
(37:15):
is the blair of V twelve engines with just that
one line of dialogue, which really, for me, just sets
the tone that this is going to be a very
dramatic movie. So what a great way for a trailer
to showcase that drama and showcase that emotion. What I
took away from it looks like he cheats on his wife,
it looks like he loses his son, maybe has some
kind of an affair with Shalen Woodley. Again, these are
(37:36):
all just my interpretations from the trailer, and I love
that I just have all these questions going into it,
which normally a trailer just answers every single thing, the who,
the what, the win. But I love that there are
questions that arise from this, sparking my curiosity of wanting
to watch this movie. But the story of Enzo Ferrari
(37:57):
goes back to the summer of nineteen fifty seven. It
finds him at a time where bankruptcy has threatened the
factory that he and his wife have built from the
ground up. Seems like they have a pretty rough marriage
that was only made worse by the loss of their son,
which we see in the trailer for this movie. And
what I take away from Enzo Ferrari as a person
(38:18):
after watching this trailer is that he is somebody who
is probably a little bit troubled, maybe hard to be around,
maybe hard to love, but has a passion for racing,
has a passion for driving, and has a passion for
creating very top of the line cars like Ferrari, which
is not only a really expensive car, but one of
those very prestigious cars that has its roots in Formula
(38:41):
one racing. And he was a big driver, no pun
intended behind that have Adam Driver really living up to
his name in this movie It's like he was born
to play mister Ferrari. The movie comes to us from
director Michael Mann, who also did movies like Ali, heat
Less The Mohicans, but hasn't done a movie in eight years.
So whenever director who has a great body of work
(39:02):
like that comes back to do a movie eight years later,
it makes me feel like they found the story they've
been wanting to tell and are gonna do it in
a way that is really going to resonate with audiences. Also, recently,
I talked about how there really aren't that many great
racing movies when talking about Grand Tarismo, that for some
reason I hold racing movies to this really high standard,
(39:23):
like they are very prestigious. But when I really started
to look at all the racing movies that have come
out aside from Ford v. Ferrari, which Michael Mann was
actually an executive producer on, there really aren't that many
great ones. And I'm not really getting the feeling that
this is going to be a straight on racing movie.
I think it'll focus on how he built the company
and how he built the car, and how he wanted
(39:45):
to make it the best and fastest car and have
the best drivers to really represent the name. I think
it's going to be more along the lines of what
we saw with movies like Air the Social Network, a
very deep character study on the person behind the idea.
But there are some really great shots in this trailer,
in particular the scene where they are racing out in
(40:06):
the hill country. At the very bottom of these hills,
there's just one little windy road that all these cars
are just holling butt on that looked pretty breathtaking. There
are also some scenes for some races where it looks
like you have some fiery crashes. So it looks like
this movie is going to have it all. And as
a kid, I always dreamed of having a Ferrari. It
(40:26):
was the one car that I just thought was so cool.
I remember one year for Christmas I got a It
was probably more like a toy model car, except those
really you just display those. This one you could actually
play with. Or maybe I was so excited about it
because it was just so cool looking that I played
with it no matter what. But it was a red Ferrari,
and I envisioned myself someday getting so rich that I
(40:47):
could afford one. But now as an adult, I realize
unless I went the lottery. I am never owning a Ferrari.
I would just feel so uncomfortable driving it because it
just seems like a waste to be inside of something
that expensive. Of that somebody throwing a rock or you
hitting something on the road diminishes the value. I just
can't imagine driving something that expensive, But I do like
(41:09):
watching other people drive them. So if I ever see
a Ferrari out in the wild and I'm like, oh,
look there goes a Ferrari, bet they spent a lot
of money on oil changes. But again, the movie is
called Ferrari and it's coming out this Christmas, And if
I had to rink my excitement level, let's see it
(41:32):
is a four point five out of five. I think
this will probably be an Oscar contender, given the caliber
of the director and just looking at the cast of
this movie. If it was anything less, it would have
had a much different trailer. So I am really excited
for this one. And that's the trailer park. You heard
it here first at That was this week's edition of
(41:54):
Movie by Framer par and that is going to do
it for another episode here of the podcast. Thank you
for listening is my way of showing you my appreciation.
Every single week I do a listener shout out, whether
you comment on my Facebook page, you tweet me, you
send me an email Moviemike d at gmail dot com,
or follow me on TikTok if you're not over there.
(42:16):
I don't only post movie content there. I also have
a series going with my new hobby of collecting comics,
so follow me on TikTok at Mike dstro. But this
week I am going over to my Facebook page and
picking one listener as my listener's shout out. This week,
it goes to Colleen White, who commented on the post
I made about the Disney one hundred disc collection that
(42:37):
costs fifteen hundred dollars. Did an entire episode on it,
and Colleen wrote, I can't believe you sent Bolt to
the Fire. That is an awesome movie. Sad crying emoji face.
I stand by that. I feel like that movie came
out in an era of Disney that I'm just not
a fan of. I feel like a lack of creativity
and that movie just happened to be one of the
(42:58):
best representations of Disney just having an awful run of movies.
So I am sorry. But not sorry Colleen that I
sent that movie to the flames. But I appreciate you
listening to the podcast. Thank you for commenting on my
Facebook page, because I'll take any kind of engagement I
get over there, because most of the time Facebook is
where I just get the meanest comments, where people don't
(43:19):
even just comment on what I say, but just what
I look like. I can't help that. I'm just as
God made me, so I appreciate you limiting the hate
to my opinion and not my physical appearance. So Colleen,
that's why you are the listener of the week. Thank you,
and thank you listening right now to this, Yes you
listening in your car, listening on your airponds. You mean
(43:41):
the world to me. I hope you have a great
rest of your week and until next time, you know
what to do. Go out and watch good movies and
I will talk to you later.
Hello, and welcome back to Movie Mike's movie podcast. I
am your host Movie Mike, and I am fired up today.
I am not to be messed with because I am
sick and tired of people calling out superhero movies and
Martin Scorsese is at it again. I'll get into his comments.
I'll give you my movie rant of the week. In
the movie review, we'll be talking about Saw X, a
(00:20):
movie that caught me by surprise being the tenth film
in this franchise. And in the trailer Park, we're gonna
talk about a movie trailer that is so subtle but
won me over by the end of this teaser that
I cannot wait to see this movie. It is called
Ferrari starring Adam Driver. So much to get to this week.
Thank you for being a part of this podcast listening
(00:41):
every single week. Shout out to the Monday Morning Movie crew.
You guys know who you are. And now, oh, almost
lost my mic there for a second. Let's talk movies.
I'm just that hype today.
Speaker 2 (00:50):
In a world where everyone and their mother has a podcast,
one man stands to infiltrate the ears of listeners like
never before in a movie podcast. A man with so
much movie knowledge. He's basically like a walking IMTB with
glasses from the Nashville Podcast Network Movie Mike's Movie Podcast.
Speaker 1 (01:14):
Like I said in the intro, I am fired up
because legendary director Martin Scorsese, who's done movies like The
Wolf of Wall Street, one of my favorite movies of
all time, Goodfellas, Raging Bull. The list goes on and on.
He is literally a living legend, but for some reason,
every time he comes out and does an interview, he
(01:35):
has to throw superhero movies under the bus. And what
he said recently got me more riled up than anything
he has said so far about superhero movies, who he
has just spoken out about them historically, not liking them.
And what he has said recently is he his concern
about future generations of moviegoers. It seems to be that
(01:57):
his beef is with superhero and French films and what
they are doing to our culture. He says we need
to fight back against thinking that's what movies are. He said,
the danger there is what it's doing to our culture
because there are going to be generations now that think
that is what movies are. And he went on to
say that we need to go out there save cinema
(02:19):
and stop making franchise movies and support non franchise, non
superhero movies. So let's just unpack what he's saying there,
because I think now he is completely out of touch.
He is so old school in his way of thinking
that he doesn't realize that both things can exist. And
I love that he called out Christopher Nolan in particular,
(02:40):
saying that we need to go support films by Christopher
Nolan forgetting that Christopher Nolan created one of the greatest
comic book adaptations of all time with A Dark Knight.
Clearly he did not watch those movies and that came
out in the two thousand So is he that out
of touch that he didn't watch The Dark Nine two
thousand and eight? And I think the rea and he
(03:00):
referenced Christopher Nolan is because he has historically made really
good standalone films, not a part of any franchise, and
his main movies in the last decade that has really
pushed cinema and given audiences something new and fresh to
go see. And Christopher Nolan is a great director, but
I honestly think what punched his ticket and being able
(03:22):
to make any movie he wants now was doing such
a great job with the Dark Knight trilogy that really
cemented him, and then came out more bangers like Inception
and Interstellar, and has done so much work there, but
we are forgetting that he also did a great job
with a superhero franchise film. But again, the reason I'm
(03:43):
so fired up here is because he's missing that people
can enjoy and appreciate both. And I think he is
so wrapped up and worried that people aren't gonna go
watch Killers of the Flower Moon, And I feel like
this is a way of protecting himself, saying that the
only things making money and the only things pushing the
level as far as the box office are superhero franchise films.
(04:05):
But it just sounds like to me he is worried
that people will not watch his film because it doesn't
have a superhero in it. I honestly think that good
work will speak for itself, and you're probably even putting
it out at a good time right now where I
feel like there is a little bit of superhero fatigue.
They just announced that The Marvels is going to be
the shortest running MCU movie of all time, at one
(04:27):
hour and forty five minutes, and I think that's something
that would have been a bigger story maybe two or
three years ago, but right now I think we're like, okay,
we're good with the Superhero movie under two hours, which
historically they've always pushed that at least two twenty two
thirty run time. I think one hour and forty five
minutes is great for a movie like The Marvels. And
that's what he's getting wrong, is that I'm going to
(04:48):
go see The Marvels. I'm also going to go see
Akaman two later in December, but I'm also really looking
forward to Killers of the Flower Moon. So don't tell
me what is killing cinema when both can exist and flourish.
Dude also puts out a three and a half hour
movie and wonders why people are hesitant, which makes me
(05:09):
feel like he is no longer making movies for his audience,
which I think at his level, he probably doesn't really
care about that so much. He is wanting to make
movies that are important to him, and he's gonna make
you sit there and watch them no matter what, and
you better enjoy it or he's going to yell at you,
which I think once you get to a level that
(05:30):
he is at where it really doesn't have to be
making movies at all anymore. He could have retired ten
years ago, but still he continues to put out these films,
and he feels like audiences need to go and respect them.
I just feel like it's coming from a very self
serving state of mind that he just wants you to
go and support his movies, in particular because he even
(05:52):
forgot that Christopher Nolan made a superhero movie. He just
cares about himself. Essentially, is what these statements boil down to.
When I really think I don't mind franchises, I don't
mind superhero movies. Why honestly, I love them. And here's
what it really boils down to. When I think about
my favorite movies, oftentimes they are standalone movies, not part
(06:14):
of a franchise, and they are never or rarely a sequel.
When I think about the list of my top ten
favorite movies, that is exactly how they stand for the
most part, because I think those movies are the ones
that create a unique experience, that change my state of
being in some kind of way, or that really alter
my life or change my way I view the world.
(06:36):
Because they are that impactful. I think it takes a
movie like that to really resonate with audiences, and those
often come from movies that are not part of a
franchise or are not a sequel. I could argue still
that a lot of those could still be superhero movies,
So I see it more on the franchise side than
the superhero side. But I do think that franchises build relationships,
(06:57):
and I can find myself loving a franchise more than
I love an individual movie. Makes me think of the
Harry Potter franchise, where as a whole, as a collected work,
it is one of the greatest franchises of all time,
and I think as a unit, with all of those
films together is stronger than any one individual movie because
we grow up with those characters, we learn from those characters,
(07:18):
and there are different moments from every single movie that
we love, so as a whole, those work better than
if it was ever just one movie. And the way
I think about it is I approach every different movie
I watch with a different set of expectations. I don't
need every single movie to change my life. I don't
need every single movie to reinvent cinema. Sometimes I want that,
(07:40):
but sometimes I just want a movie that is going
to make me feel good, that's going to make me
turn my brain off, that's going to give me some action. Essentially,
Martin Scorsese is saying every movie needs to be a
banger and push cinema, and the only time you should
go to the theater and spend your money is for
movies like my movie. And so that I say. Bart
Simpson said it best with glasses that thick be so stupid.
(08:02):
So what I wanted to share with you first will
go through the top ten highest grossing non franchise movies
of all time to get a look at the landscape
of how impactful movies that have no connection with any
other movie and are also not superhero movies. At number
ten is Et making seven hundred and ninety five million dollars,
(08:23):
which is not just the result of the first time
it was ever in theaters. The movie gets re released
every anniversary or so, so it continues to generate money.
That is some fine Spielberg movie making. With that, at
number nine, you have Coco, which is made eight hundred
and fourteen million dollars at the box office. I almost
feel like certain studios are a powerhouse in themselves. And
(08:46):
I really think that animated movies don't get the credit
they deserve for being really great stories, because anytime you
see something animated, you think, oh, it's made for kids.
In this case, yes, it is geared towards kids. But
if you look at the story in Coco, if you
look at the actual art and the character design and
the animation, that movie really pushed the boundaries. So I'm
(09:07):
also glad that Pixar historically doesn't make a whole lot
of sequels. And I say that thinking of all the
toy story movies they've made in the cars movies, But
I like it when they come out with movies like Coco,
they tell the entire story and don't feel the need
to start cranking out more. I think the really great
Pixar stories are the ones that get it out all
in one movie. At number seven, you have Inception from
(09:30):
Christopher Nolan, making eight hundred and thirty nine million dollars
at the box office. At number six, another Pixar movie,
Inside Out, making eight hundred and fifty three million dollars
at the box office, getting into the top five. At
number five, you have a biopic Bohemian Rhapsody making nine
hundred and ten million dollars at the box office. That
one is a little bit surprising to me, one because
(09:53):
I really don't enjoy biopicks a whole lot when it
comes to biopicks of musicians. They keep making them because
we all love music, and we love these iconic figures
in music. But I just feel like music biopics as
a whole don't generally do the artist justice. Very rare
does it happen. They are just not my favorite movies
(10:14):
to watch because I always feel like they don't give
you the full story, especially with Bohemian Rhapsody. And I
think the reason it did so well is because everybody
loves Freddy Mercury. He's an iconic singer. He also has
a very tragic story and he has not been alive
for a very long time, so I think the demand
was there at the time this movie came out. The
(10:34):
thing I did love about this movie is even though
I didn't love the actual film, it did make me
go discover and rediscover some queen music. I've never really
historically been a fan of rock music during that period,
but you can't deny Freddy Mercury's voice. I also can't
deny Rammy Malick's performance as Freddy Mercury in that movie,
(10:57):
which he got the Oscar for, so he deserved that
as a whole being in the top five here. I
don't necessarily love it, and I'm glad that the biopick
that ranks above it took its slot fairly recently, because
at number four is Oppenheimer, which has currently made nine
hundred and twenty six million dollars at the box office,
which is an amazing feat not only that it's a biopick,
(11:18):
but also that it's a rated R movie and the
only rated R movie in this entire top ten. Also
the fact that there's really nothing flashy about this movie,
very limited if any CGI really just straight ahead acting
and a whole lot of dialogue, which some people find
to be a turnoff when going to watch a movie.
(11:38):
But I think when it comes to Christopher Nolan, dialogue
matched with the score that keeps the entire conversations moving along,
that makes you pay attention. It works so well for me.
So for the people who said that Oppenheimer was boring,
I hate that for you. I'm sorry you had a
bad experience. But it's a great movie. Love to see
it in the top five at number three. This one
(11:59):
may be a bit country because, well, I'll get it
to why exactly that is, But let me tell you
what it is. First, Super Mario Brothers, the movie that
came out earlier this year, has made one point three
billion dollars at the Fox office. It is included on
this list even though they have made a Super Mario
Brothers live action movie before this, and even though it
is connected to a well known video game franchise which
(12:23):
Mario is one of the most iconic video game characters
of all time, which I feel does contribute a lot
to its success at the Fox office. There hasn't been
a movie like this made that is a great representation
of what it's like to play a Super Mario game.
But it's not a part of a franchise yet. They
are probably going to make more movies within the Super
(12:45):
Mario world, but as of now, it is just one movie.
It's not a superhero movie, so if you're questioning its
placement on the list right now, it is a standalone movie.
So I'm surprised in a good way at the success
of this movie. And I think when it comes down
to animation. It's how much do kids love it? Showing
(13:05):
you that kids love Super Mario Brothers, and also that
this movie didn't really have anything you needed to know
about the characters going into it. There's also just not
the biggest plot in this They're not really trying to
teach you a lesson or throw anything else in here
that's going to go over kids' heads. It's very much
an honest kids movie, and I think we really needed
one right now. So that is a big win for Illumination,
(13:28):
who normally just makes all their money on the Minions movies.
At number two, which is also the number fourteen highest
grossing movie of all time, but at number two, as
being one of the top ten highest grossing non franchise,
non superhero movies of all time is Barbie. As of
the time of recording this podcast has made one point
(13:48):
four billion dollars at the box office. This movie continues
to crush it and I'll get into more why I
think Barbie has changed the landscape of cinema in my
list coming up after this, but that is just an
incredible feat to have come out this summer in July
and not only landing at number two on this list,
but at number fourteen of all time highest grossing movies.
(14:12):
So fantastic for Barbie, which is a great movie, but
at number one, the highest grossing non franchise, non superhero
movie of all time is the one and only Titanic,
which is made two point two billion, and it is
the number four highest grossing movie of all time. James
Cameron is undeniable as being somebody who knows what it
(14:34):
takes to make a big cinematic film, and he has
so many of the highest grossing movies of all time
that if you ever bet against James Cameron, you're gonna
lose your money because he only really cranks out hits.
So that is that list. But as I continue ripping
Martin Scorsese to shreds, I have another list for him.
Five non franchise movies that have changed cinema in the
(14:57):
last five years, and I'll tell you why. I'll start first,
in no particular order, at number five. We've been talking
about it earlier, but it's Barbie, and I think it's
because it has made that much money at the box
office and we are still going to see the effects
of this movie in the years to come. I feel
like this movie is going to open the door for
more female directors, because let's be honest, it is a
(15:20):
sausage fest out there, and every time a list comes
out of the best directors of all time, there is
always just a lack of female representation, and I think
that needs to change. And I just saw something in
Greta Gerwig's work very early on kicking it off with
Lady Bird. She is a director who knows exactly what
she wants to say and how she wants to say it.
(15:41):
All of the actors in her movie have such a
trust with her, and it is just so important to
trust a director when making a movie, which I heard
Robert Pattinson talking about this recently, which he says he
relies so much on having a great director and a
great script, but at the end of the day, it
is his face on that poster, and if it's not good,
(16:02):
he is going to be the one that gets ripped
to shreds. No one is going to rip the director,
no one is going to rip the script. They're going
to say that Robert Pattinson did not do a good job.
So I think that I've seen so many great stories
about Greta Gerwig and her actors trusting her and her
putting them in the best position to make them look
great and to make the story flourish. And I think
(16:23):
Barbie is the best example of that. So if she
can do that with Barbie, break down the Door, hopefully
all these big executives making the decisions on what directors
to attach to what films they bring on more directors
like Greta Gerwig, who now has the ability to make
any movie she wants. I think Christopher Nolan, who we've
also been talking about, he kind of got that right
(16:43):
after he did the Dark Knight trilogy, but really cemented
himself with Inception, and now he can essentially do whatever
he wants. I feel like, after you make a movie
that has grossed over a billion dollars, you get that right,
and now they're gonna have to pay her a lot
of money. So that movie makes my lists from this year.
Look at that. There's two movies from this year that
have changed cinema release on the same weekend, Martin Scorsese,
(17:08):
what are you talking about? Did you not go to
the movies this summer? Because on that same weekend we
got Oppenheimer, which is now the biggest biopic of all time,
talked about it earlier, beat out Bohemian Rhapsody. So I
think this is also changing cinema and showing you that
movies can be significant, they can be impactful, and they
can resonate with audiences, even if they take a story
(17:30):
like Oppenheimer, which is just a character study on Oppenheimer,
who is this theoretical physicist and by no means on
his own, is there anything particularly sexy about his story
on surface level if you were just reading it on
a textbook in a history class. But you take his story,
give it a great director like Christopher Nolan, it opens
(17:51):
up the door for so many more great biopicks. I
even think of Air, which came out earlier this year,
showing us that you can make a movie about shoe
be one of the best dramas of the entire year
as well. So it gives me hope that every single
biopick that comes out doesn't have to be a famous
musician anymore. With movies like last year Elvis coming out,
(18:13):
There's a Bob Marley biopic coming out, I just feel
like we get those movies so frequently that I get
less interested because I think they have run out of
icons at this point, and I feel like those movies
lose out on some attention to detail because they're just
telling the story of an iconic character in music, and
(18:34):
you think the songs are going to speak for themselves,
and you don't really have to focus so much on
who you cast for it or who you get to
direct it, which is really the most important thing. So
then you get these movies that look like they deserve
to be shown on a cabled network, and I'm expected
to go see those and think they have some kind
of value just because they're about somebody really famous. So
I think Oppenheimer is going to change that and get
(18:56):
back to making biopicks about people in history who actually
have really great stories to tell if you put the
time and effort into it, like Christopher Nolan did. So
that is my number four and number three is another
recent movie came out last year and swept the Oscars
this year. It is everything everywhere, all at once. And
the way I feel like this movie is going to
(19:16):
change cinema is because it was able to have such
a massive look with a relatively modest budget of twenty
five million dollars. And I think the way that this
movie has changed cinema is showing that you can make
a film on a relatively modest budget. This one only
costs twenty five million dollars to make. We're not going
to make one hundred and forty one million dollars at
(19:38):
the box office, but had this massive cinematic look and
obliterated what we thought we knew about any kind of
multiverse situation. In a year where Marvel also put out
Doctor Strange in the Multiverse of Madness, it put that
movie to shame. It made that multiverse look so one
dimensional because there was so much more creativity in this movie,
(20:03):
so much great use of editing that made this movie
look even bigger than that twenty five million dollar budget.
And in a world of remakes, reboots, sequels, superhero movies,
I think you can't go wrong with any A twenty
four film, which is a studio that put out everything everywhere,
all at once. Looking historically, in the last five years
(20:23):
of A twenty four, they have created some of my
favorite movies that are all standalone, non franchise, non superhero films.
I mean, just looking at their last five years. This
year we got Talked to Me, which is a great
horror movie. We've had the Whale, Uncut Gems, Hereditary, Lady Bird.
Really just diving into A twenty four on their own,
(20:45):
they could be single handedly saving cinema. They don't make
a big fuss about it. They're not telling you to
not go watch those superhero films as well. But you know,
when you go watch an A twenty four film, you're
gonna get something special, You're gonna get something unique. Some
times they miss. Sometimes they put out some really boring
movies that you really have to think about and their
(21:05):
hit or miss. Sometimes A twenty four puts out some
very meta movies that you watch and you don't understand
whatsoever until you go read an article on the Internet
of some other nerd who didn't really understand it when
they watched it, but made up all these theories, and
then we're all like, oh, we get it. It's a
metaphor for why we all had terrible childhoods. But yes, essentially,
(21:26):
I could have put every A twenty four film the
last five years on this list, So go check out
all A twenty four has to offer. But at number two,
I have a movie from twenty twenty one called Coda.
It made history as being the first movie to win
Best Picture that came from a streaming service. It was
put out on Apple TV Plus back in twenty twenty one.
(21:47):
I love the representation in the film, and the reason
I feel like this movie is changing and has changed
cinema is because it is just great storytelling at its finest.
In Coda, you will not find any gunfights, no explosions,
no fight scenes, just regular people maybe having arguments. They
may be raising their voices, but it shows that you
(22:09):
can just make a slice of life movie that has
a lot of great representation and make it really resonate
with audiences. That's all you have to do to make
a great movie is create an emotional connection, in this case,
in a story in a world that even though we
don't really know a whole lot about. So not only
did it shake things up by winning Best Picture coming
from a streaming service, but the movie also came out
(22:31):
in August and was still able to win for Best Picture,
which the game has been to put out your movies
in November and December during that Oscar season, being able
to bait Oscar voters into remembering your movie and thinking, oh,
I need to vote for that movie. Whenever I throw
in my ballot. Coda shook things up by being a
movie that came out in August and still took home
(22:54):
the biggest prize, but at number one on my list
that have changed cinema in the last five years. Again,
and this is in no particular order, but this is
another movie that came out in twenty twenty three. So
in my list, I have three movies from this year,
but I'm gonna go with Megan, which I feel that
it is so hard to create a lasting horror character.
(23:16):
There's always been the major ones. You're Michael Myers, You're Chucky,
You're Jason. You also have whatever to consider your second
tier with your ghost face, your leather face, and your
Pennywise to clown. But now I feel like after Megan,
a new horror icon is born, and that is huge
(23:36):
because now I feel like this is going to be
a character that reshows itself every single Halloween. I'm already
seeing people dress up like Megan, wreaking havoc in neighborhoods,
walking around in a Megan costume. It is very hard
to create a new horror character that is iconic as
all the ones that have been around for years and
(23:58):
have so many more movies connected to them, but Megan
has done that. And the other reason I chose to
include this movie is because as of now, there is
only one. But of course we've heard that Megan two
is coming, and of course that means Megan three is
coming in four. There'll be some spinoffs, there will be
a prequel. It's going to be a big deal for
a very long time now. But I don't think franchises
(24:21):
are bad. It shows you that if a character has
success and we attach ourselves to it, we want to
see more of it. It's not a bad thing. You
can't hate on a movie for being successful and then
wanting to create more movies to tell more of the story.
It would be like me hating on somebody for being
good at their job and getting a promotion. I think
(24:43):
the goal is to create a movie franchise, and I
think sometimes franchises are necessary in order to tell the
entire story of a character. Think of Guardians of the
Galaxy earlier this year. Finishing out that trilogy in a
perfectly well told story where every single movie was more
and more character development. You get a part one, two,
(25:04):
and three, and that is the entire story. Now, there
are some other franchises like The Fast and the Perious
franchises where they're pretty much stand alone and you don't
really have to watch all those to make sense, and
it's just like, yes, every couple of years you get
a new movie. That is really the only situation where
you could argue that franchises are bad. But even then,
(25:24):
if you make a movie and people love it and
they want to go see it, why would you deny
them that? And as formulaic as some of those movies
tend to be, they serve a purpose. So I don't
think that the solution for saving cinema is just supporting
non franchise, non superhero movies. I think the true answer
here is to support any movie that you enjoy, support
(25:46):
any director that you want to see more movies from
by going to see their work in theaters or paying
for it to watch on the streaming services. That's all
you have to do. Watch what you want to watch,
enjoy what you want to enjoy, and don't feel bad
about it because some dude passed his primus telling you
that you should feel bad about it, and go watch
this three and a half hour movie. So that is
(26:07):
all I have to say that has been my rant
of the week. Come back talk about Saw X, speaking
of big, long lasting franchises, and in the trailer park,
we'll talk about a new movie called Ferrari that had
my jaw on the floor because of how few words
were spoken in the trailer, the least amount ever that
has made me want to see a movie. Let's get
(26:30):
into it now. A spoiler free movie review of Saw X,
the tenth film in the franchise, from a film series
that captivated audiences starting back in two thousand and four
in one of the most mind blowing and jarring movies
of our lifetime in the horror genre. And to be honest,
I have fallen out of love with the Saw franchise
(26:50):
over the years one, two and three. I was good,
but after that they became formulaic and it's a hard
franchise to really attach yourself to because really the format
is the star. Have your players playing the game trying
to save their lives. This whole big reason that John
Kramer has crafted because he is somebody who has been
(27:10):
fighting for his life and wants to show the people
who are taking their life for granted how much they
should appreciate the things that they have, So really, the
Saw movies are the most wholesome when you think about it,
teaching us a lesson that we all need to know.
We find John Kramer again. He is sick. Basically, the
doctor has told him that he only has a few
months to live, and they tell him to take it easy.
(27:32):
He says, I'm not taking it easy. I'm gonna go
out fighting this thing. So what does he do. He
learns about this experimental medical procedure in Mexico and it's
supposed to be one that can cure his cancer as
far along as he is. So he travels to Mexico
and then learns about this entire operation and realizes it
(27:52):
is a scam to defraud the most vulnerable. Again, that's
all in the IMDb description, so I'm not rooting anything
by saying that, but that's the entire movie is him
getting back at these people who have stolen money from him.
The interesting thing about this movie it has an entirely
different tone, and even in the first twenty and thirty minutes,
I was worried a little bit because it spent so
(28:13):
much time on his story, what he was going through,
that it really felt like a drama that I wouldn't
have hated, but I don't really go into a Saw
movie wanting a drama, so it does take this movie
a little bit too ramp up. And like I told
you how I feel about horror movies that have really
slow beginnings, it always gets me. It always feels a
little bit like, all right, let's get to the action here.
But once it does. I'm not gonna say it's NonStop
(28:34):
throughout the entire movie, but it is so intense when
it does show these moments that I feel like they
had to really step up their game in this movie
to make it feel more gruesome. And I paid attention
to all the little sound effects and all the blood
squirts and all the practical horror elements that they use
that I found myself a person who is really desensitized
(28:55):
to anything bloody, anything gory. I can watch the most
hardcore violent movie and not feel a thing coming from me.
I found myself a little bit squeamish, and some things
were hard to watch. I have a thing about bones
breaking and the sound effects they use of bones crunching
and blood curdling. It was so well done and so
(29:17):
properly used that it even made me feel queasy that
I still kept my eyes on the screen the entire
time because I felt like if I didn't watch it,
I would be missing out on what is happening here.
But it was hard to watch it, and I just
found myself doing this face like, eugh, this is hard
to stomach. But if you are squeamish, this movie is
not for the faint of heart. And after watching this,
(29:38):
it made me think, how has this soft franchise become
such a household name with how gruesome they are. It's
just torture in every single film, and they take it
to the such extremes and they're so creative that you
wonder what are these writers going through while they are
thinking of all these plots. It's like a sick Looney
(29:59):
Tunes scale every single time. So it's just surprising to
me that this has become so mainstream and we're all
kind of cool with it. So if somebody says Saw
is their favorite movie franchise in the horror genre, I
question their judgment a little bit. I'm gonna be looking
into your internet history. So this movie isn't really scary.
I don't think the entire franchise is that at all,
but it is so gruesome and the most gruesome I've
(30:22):
seen this franchise in a very long time, so I
think that is going to get people interested in this
franchise again. But it's that connection I had with John
Kramer in this movie that I hadn't really felt since
maybe Part two, because for the first time, he's not
a good guy. He's kind of an anti hero. He
is doing these things for arguably a moral reason, but
(30:46):
he's also the villain too. So I found myself going
back and forth in this film. Do I think he's
doing good? Do I think he's a bad person, Because
at the end of the day, like he says, he
is not killing anybody, they have the choice, but he's
just putting them in these situations where they have to
fight for their life. So I found myself being so
conflicted of rooting for him but also rooting against him
(31:09):
because it's just hard to see people put in these situations.
So I feel it from both ends. But again, in
this movie, they screwed him over so did they deserve it?
I don't know. He's like a hardcore vigilante, so overall,
like it is in the rest of the franchise, the
format of the movie is the star you have all
of these people playing this game. I would say the
(31:29):
only thing that really held me back from fully loving
this movie. There were a couple of things. One is
that the acting is pretty subpar. And again, I don't
really go into a Saw movie thinking there's gonna be stellar.
Acting in this Saw film wasn't really the case. But
it was so bad in parts that I found myself
disconnecting from the story because I was annoyed by their performances.
One character in particular, I was like, all right, just
(31:51):
kill this guy because I can't stand him anymore. But
maybe they were just trying to make a really unsufferable character.
So not really on them for making me hate him
so much. I think actually being able to write a
character that invokes that emotion, it's a pretty powerful thing.
If I left a movie feeling annoyed because of one
specific character, I feel like they did their job. But man,
(32:12):
I was waiting for it to get to his game
because I wanted him out of there. I did not
want him to win. I was definitely rooting against that
guy because he was so so annoying. But there were
other interactions in this movie with different characters that felt
very soap opera ish, not with anything with John Kramer.
I think he is so great in that role. His
voice is iconic in the Horror franchise, but it's just
(32:33):
his interactions with everybody else felt a little bit cheesy
at times. My second issue with this movie was the runtime.
I'm not against a long run time if it has
a reason to be that long, but those first thirty
minutes of building his story could have been condensed a
little more to get to more of the action, because
that's what we want in a Saw movie. We want
more blood, we want more guts. Felt like it was
(32:55):
so slow in the beginning. I found myself being bored
and it was it's hard to come back from that that.
It really wasn't until halfway through the movie that I
realized I'm really enjoying this because it had me so
bored in the beginning. So I worry that if you
don't go see this movie in theaters and wait to
shriam it, you may not get through those first thirty
minutes because it doesn't really hook you in. Even though
(33:17):
it is emotional in the beginning, you do get to
feel a lot of the pain that he is going through,
but man, you just wanted to get to the action.
And if it would have been at that one forty
minute range, oh man, it would have been a much better,
more cohesive movie all the way throughout, and I would
be telling you you need to go see this movie
in theaters today. It did make me feel oddly nostalgic,
and it reminded me of the epic music that they
(33:39):
always have at the ending of a Saw movie, and
whenever this music played, I was like, oh, yes, like
this kind of takes me back. So there were those
moments where it felt like they were calling back to
the original song, calling back to those early films, without
(34:00):
it feeling kind of cheap and kind of reminding the audience,
hey remember when we did that, which I feel other
horror movies do that. They just do the exact same
things that they did in the early films as a callback,
but it just feels like they're reminding it, like, hey,
remember that that, We're gonna do it again. It's cool reference.
Not in this case, it was more like odes to
the original one subtle nods, very subtle placement of things
(34:21):
that happened in the first and second movie that they
brought back in a more sophisticated way, in a more
subtle way that didn't really feel like they were just
cramming it in there for the sake of nostalgia. So
in the end I left really enjoying this movie. I'm
about twenty four hours now after seeing it and I'm
still thinking about it. So that is the sign of
a good movie. Also the fact that whenever you have
(34:44):
lower expectations going into a movie and it kind of
obliterates everything you thought the movie was going to be,
those movies always just stick with me and mean a
little bit more to me. So if I had to
rate Saw X, I would give it four out of
five body parts.
Speaker 2 (35:01):
It's time to head down to movie mics.
Speaker 1 (35:04):
Trailer, Paul, this is one of the most polarizing movie
trailers I have ever seen. And I think a great
movie trailer is supposed to leave you wanting more. It's
supposed to be a teaser. It's supposed to give you
just the taste, just the taste of the story, but
make you want to go back to the theater to
(35:24):
watch that movie. That is what a great trailer does.
The bad trailers give you the beginning, the middle, and
the end in those two and a half minutes, and
then it's completely ruined. They also tell all the good jokes,
show all the scary parts. That is the sign of
a bad trailer. But what I love about the Ferrari
trailer is there is only one line spoken in this
(35:48):
entire trailer, and I'm gonna play it for you here
in a second. But the rest is just the sound
of a Ferrari just blaring throughout the entire thing and
showing you all these dramatic moments in this movie. And
this approach to making a trailer is one I have
not seen done ever before, showing you all the drama
but not giving you any of the words, not really
(36:10):
giving you a whole lot of context. But just from
watching this trailer, I can tell you there's going to
be maybe a sex scandal, There's gonna be death, there's
gonna be some money issues, there's gonna be racing, there's
gonna be tragic situations. And I get that all from
the expressions on the actor's face. You have Adam Driver,
Penelope Cruise, Shane Lean Woodley all in this movie. So
(36:33):
I'll play a little bit of the Ferrari trailer and
tell you more about this film. That really just has
my jaw on the floor because I feel like right
now every trailer just has to give you so much
because they're begging you to go to the theater that
I'll watch this movie. So that is a big statement.
I love the risk. I hope it pays off for them.
This movie is coming out on Christmas this year. Here's
just a little bit the one line spoken in the
(36:54):
Ferrari trailer, if you get into one of my cars,
you get into wind. So Ferrari follows the real life
story of Enzo Ferrari. In that trailer, all you hear
(37:15):
is the blair of V twelve engines with just that
one line of dialogue, which really, for me, just sets
the tone that this is going to be a very
dramatic movie. So what a great way for a trailer
to showcase that drama and showcase that emotion. What I
took away from it looks like he cheats on his wife,
it looks like he loses his son, maybe has some
kind of an affair with Shalen Woodley. Again, these are
(37:36):
all just my interpretations from the trailer, and I love
that I just have all these questions going into it,
which normally a trailer just answers every single thing, the who,
the what, the win. But I love that there are
questions that arise from this, sparking my curiosity of wanting
to watch this movie. But the story of Enzo Ferrari
(37:57):
goes back to the summer of nineteen fifty seven. It
finds him at a time where bankruptcy has threatened the
factory that he and his wife have built from the
ground up. Seems like they have a pretty rough marriage
that was only made worse by the loss of their son,
which we see in the trailer for this movie. And
what I take away from Enzo Ferrari as a person
(38:18):
after watching this trailer is that he is somebody who
is probably a little bit troubled, maybe hard to be around,
maybe hard to love, but has a passion for racing,
has a passion for driving, and has a passion for
creating very top of the line cars like Ferrari, which
is not only a really expensive car, but one of
those very prestigious cars that has its roots in Formula
(38:41):
one racing. And he was a big driver, no pun
intended behind that have Adam Driver really living up to
his name in this movie It's like he was born
to play mister Ferrari. The movie comes to us from
director Michael Mann, who also did movies like Ali, heat
Less The Mohicans, but hasn't done a movie in eight years.
So whenever director who has a great body of work
(39:02):
like that comes back to do a movie eight years later,
it makes me feel like they found the story they've
been wanting to tell and are gonna do it in
a way that is really going to resonate with audiences. Also, recently,
I talked about how there really aren't that many great
racing movies when talking about Grand Tarismo, that for some
reason I hold racing movies to this really high standard,
(39:23):
like they are very prestigious. But when I really started
to look at all the racing movies that have come
out aside from Ford v. Ferrari, which Michael Mann was
actually an executive producer on, there really aren't that many
great ones. And I'm not really getting the feeling that
this is going to be a straight on racing movie.
I think it'll focus on how he built the company
and how he built the car, and how he wanted
(39:45):
to make it the best and fastest car and have
the best drivers to really represent the name. I think
it's going to be more along the lines of what
we saw with movies like Air the Social Network, a
very deep character study on the person behind the idea.
But there are some really great shots in this trailer,
in particular the scene where they are racing out in
(40:06):
the hill country. At the very bottom of these hills,
there's just one little windy road that all these cars
are just holling butt on that looked pretty breathtaking. There
are also some scenes for some races where it looks
like you have some fiery crashes. So it looks like
this movie is going to have it all. And as
a kid, I always dreamed of having a Ferrari. It
(40:26):
was the one car that I just thought was so cool.
I remember one year for Christmas I got a It
was probably more like a toy model car, except those
really you just display those. This one you could actually
play with. Or maybe I was so excited about it
because it was just so cool looking that I played
with it no matter what. But it was a red Ferrari,
and I envisioned myself someday getting so rich that I
(40:47):
could afford one. But now as an adult, I realize
unless I went the lottery. I am never owning a Ferrari.
I would just feel so uncomfortable driving it because it
just seems like a waste to be inside of something
that expensive. Of that somebody throwing a rock or you
hitting something on the road diminishes the value. I just
can't imagine driving something that expensive, But I do like
(41:09):
watching other people drive them. So if I ever see
a Ferrari out in the wild and I'm like, oh,
look there goes a Ferrari, bet they spent a lot
of money on oil changes. But again, the movie is
called Ferrari and it's coming out this Christmas, And if
I had to rink my excitement level, let's see it
(41:32):
is a four point five out of five. I think
this will probably be an Oscar contender, given the caliber
of the director and just looking at the cast of
this movie. If it was anything less, it would have
had a much different trailer. So I am really excited
for this one. And that's the trailer park. You heard
it here first at That was this week's edition of
(41:54):
Movie by Framer par and that is going to do
it for another episode here of the podcast. Thank you
for listening is my way of showing you my appreciation.
Every single week I do a listener shout out, whether
you comment on my Facebook page, you tweet me, you
send me an email Moviemike d at gmail dot com,
or follow me on TikTok if you're not over there.
(42:16):
I don't only post movie content there. I also have
a series going with my new hobby of collecting comics,
so follow me on TikTok at Mike dstro. But this
week I am going over to my Facebook page and
picking one listener as my listener's shout out. This week,
it goes to Colleen White, who commented on the post
I made about the Disney one hundred disc collection that
(42:37):
costs fifteen hundred dollars. Did an entire episode on it,
and Colleen wrote, I can't believe you sent Bolt to
the Fire. That is an awesome movie. Sad crying emoji face.
I stand by that. I feel like that movie came
out in an era of Disney that I'm just not
a fan of. I feel like a lack of creativity
and that movie just happened to be one of the
(42:58):
best representations of Disney just having an awful run of movies.
So I am sorry. But not sorry Colleen that I
sent that movie to the flames. But I appreciate you
listening to the podcast. Thank you for commenting on my
Facebook page, because I'll take any kind of engagement I
get over there, because most of the time Facebook is
where I just get the meanest comments, where people don't
(43:19):
even just comment on what I say, but just what
I look like. I can't help that. I'm just as
God made me, so I appreciate you limiting the hate
to my opinion and not my physical appearance. So Colleen,
that's why you are the listener of the week. Thank you,
and thank you listening right now to this, Yes you
listening in your car, listening on your airponds. You mean
(43:41):
the world to me. I hope you have a great
rest of your week and until next time, you know
what to do. Go out and watch good movies and
I will talk to you later.
Host
Mike D
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