The Library of Congress has revealed the latest works to be entered into the National Film Registry. Mike shares what 25 films made the cut and why he is surprised to find that many American classics still have not been added. He shares his Top 10 Movies that should be considered in the next class of films. In the Movie Review, Mike talks about Send Help starring Rachel McAdams and Dylan O’Brian. It’s about a woman and her overbearing boss who become stranded on a deserted island after a plane crash. They must overcome past grievances and work together to survive, but ultimately, it's a battle of wills and wits to make it out alive. Mike shares why he thinks Sam Raimi movies might be misunderstood, why non-horror like Kelsey might enjoy it, why Rachel McAdams stepped away from Hollywood and the Spider-Man 4 movie we were robbed of. In the Trailer Park, Mike breaks down The Devil Wears Prada 2 that offers our first real look at where the characters are now, nearly two decades after “Runway” magazine first ruled their lives. Will it be the best No. 2 movie of the year?
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, and welcome back to movie Mike's movie podcast. I
am your host Movie Mike. Today. I want to talk
about ten movies I believe belong in the National Film Registry.
They just released the movies going into it this year,
But there are some major movies from our lifetime that
are not in this registry yet. Some of them I
can't believe it. Big injustice here is. I want to
give my ten list of movies I think deserve to
(00:21):
be preserved forever. We'll talk about what the National Film
Registry even is. In the movie review, I'll be talking
about Sam Raimis Sendhelp starring Rachel McAdams and Dylan O'Brien.
And in the Trailer Park breaking Down the Devil, Where's Prada? Two?
Could it be the best number two movie coming out
this year? A lot of big sequels from legacy movies,
so we'll talk about that. Thank you for being here,
(00:43):
Thank you for being subscribed. Shout out to the Monday
Morning movie crew at Now let's talk movies from the
national podcast network Movie Mikes Movie Podcasts. The Library of
Congress just announced its latest entries into the National Film Registry.
Is this exactly? Well, here's the statement, they gave. When
(01:03):
we preserve films, we preserve American culture for generations to come.
These selections for the National Film Registry show us the
films that are instrumental in capturing important parts of our
nation's story. So essentially, when a movie gets put into
this National Film Registry, it means it's being recognized as
being culturally, historically and esthetically significant. The criteria is these
(01:26):
movies must be at least ten years old to ensure
that they are protected for generations to come. The Library
of Congress actually stores millions of films, videos, TV recordings,
and they have a collection of about one hundred and
fifty thousand titles. And they do hold some of these
titles on Capitol Hill, but most of the physical film
collections are actually stored off site at the Packard Campus
(01:49):
for Audio Visual Conservation in Culpeper, Virginia. In this collection,
they have really really old movies dating back to nineteen
eighty five. Some of them are on film that could
ascentdly burst into flames because they are so old and
so sensitive. So they house these in a special climate
controlled environment and every year they pick twenty five movies
(02:10):
to go in your Big Ones already there. Your Casablanca is,
Your Wizard of Oz, your Lion Kings, all those major
movies that you think about are probably already on this list.
But there were a lot that when I started thinking
of the movies that I feel are pillars of American culture,
especially if you grew up in the nineties and early
two thousands, that I could not believe that they were
(02:30):
not in there already. And the only thing they have
to do is be at least ten years old, and
some of these are twenty thirty years old at this point.
But before we do that, I'll go through the twenty
five movies that just made the cut this year and
are going in. I would say probably not until we
get to the movies from the eighties. I have not
even seen these, so maybe I need to do some
(02:51):
research and go back and see why some of these
are so relevant and important to be stored. But from
eighteen ninety six, the oldest movie on this list then
and the Dog have not seen that movie, The Oath
and the Sword from nineteen fourteen, The Maid of McMillan
from nineteen sixteen, The Lady from nineteen twenty five, Sparrows
(03:11):
from nineteen twenty six, Ten Nights in a Barroom from
twenty six, White Christmas from fifty four, High Society from
fifty six, Brooklyn Bridge from nineteen eighty one. We're getting
a little bit more relevant now and actually know some
of these movies, Say Amen, Somebody from nineteen eighty two,
The Thing from nineteen eighty two, that is one I
(03:31):
believe should have already been on this list. So I
think that is the birsts best entry to go into
this registry. You also have The Big Chill from nineteen
eighty three, Karate Kid from eighty four, What a great movie.
I'm glad that movie finally got its justice going in
this year, Glory from nineteen eighty nine, Philadelphio from nineteen
(03:52):
ninety three, a great Tom Hanks pick, going in There
Before Sunrise from nineteen ninety five. I wonder if that
entire collection of movies will end up being in the
registry or they only pick the first one, Clueless from
nineteen ninety five. That is what I'm talking about, because
I feel that category of movie is underrepresented on this registry,
(04:13):
where it's not just movies that are the most well
reviewed or have the most awards, or even have the
best rating online. It has to be about that cultural relevance,
and that is such an essential movie to the nineties.
I'm glad that movie is finally going in. Also from
the nineties, you have The Truman Show, a top five
Jim Carrey movie, and I think later on my list,
(04:35):
I have another Jim Carrey movie, So it's gonna have
to be a lot of Jim Carrey inside of this registry.
Getting into the two thousand and now, you have Freedom
from two thousand and two, The Hours also from two
thousand and two, The Incredibles from two thousand and four.
As I was going through all the movies in the registry,
I also think animation is also really underrepresented on movies.
(04:57):
We need to preserve The Wrecking Crew from two thousand
and eight, not the Wrecking Crew that I reviewed last
week from Amazon Prime. A much different the Wrecking Crew,
and I have to imagine the movie I reviewed last
week will probably not end up on this registry at
any point, but still pretty good action movie. And then
the most recent movies from the twenty tens, you have
(05:17):
Inception from twenty ten. I think this will influence my
ten movies later on. But a great pick going into
the registry the Loving Story from twenty eleven, and the
final and most recent movie on the list is The
Grand Buddapest Hotel from director Wes Anderson from twenty fourteen.
So overall, I would rate this class about a B plus.
(05:40):
Some of those early ones I'm just not familiar with.
But I think you have some really big players here
with movies like The Karate Kid, Philadelphia, Clue List, The
Truman Show, The Incredibles I think is a big win here,
Inception one of the best movies of the twenty tens.
I also love The Grand Budapest Hotel in there as well,
(06:00):
Wes Anderson's best movie of all time. But now let's
get into the ten movies I believe belong in the
National Film Registry. Starting with my first pick, I just
cannot believe this movie is not in there. From nineteen
ninety three, The Sandlot. This is one of the most
pivotal movies of the nineties. You could argue that this
(06:21):
is one of the greatest sports movies of all time,
but it captures nineteen sixties America. One of the best
also coming of age movies that you might not realize
that The Sandlot is a coming of age movie because
it's so focused on baseball. About a kid who moves
to a new town, doesn't know anybody, doesn't know anything
about baseball. He is just trying to make friends. He
(06:45):
is socially awkward, and he finds the best group of
friends who are also misfits, but they all love baseball
and take them in as one of their own. It's
about childhood, It's about friendship and the love of baseball.
It does not get more American than The Sandlot. I
think one of the most important movies of a lot
(07:05):
of our childhoods a movie with so much rewatchability, so
iconic in so many ways that you can't get through
any Halloween without somebody dressing up like somebody from the Sandlot.
And this movie made all those actors famous forever, where
they still go around to baseball games or any sporting
event and people still care about the cast from The Sandlot.
(07:28):
What a wild thing it must be, not just to
be a child actor, but to be a part of
a movie that is so iconic that it stays with
you for the rest of your life. Where a lot
of them this is their one major credit in their
acting career. To think you did something when you were ten, twelve,
eleven years old, twelve years old. However they all were
(07:50):
during the time of making this movie. That you go
into it just wanting to do something fun. What kid
would it want to be a part of a movie?
And now that movie is a part of you for
the of your life. But this movie has now been
eligible for over twenty years, and the fact that it's
not in there already, I put that as my number
one movie that needs to go in right now. And
(08:11):
number two another movie from my childhood that is one
that I think has built up relevance over time. It
is probably more relevant now in people's lives than when
it was when it came out back in nineteen ninety five.
And that movie is a Goofy movie. Because it's a
cult classic. This movie has taken on a life of
its own where it's not only relevant because it's such
(08:33):
a core movie for millennials, but also millennials who are
of different races that somehow saw themselves in Max and
in Goofy, even though Goofy isn't a signed of race.
But I think through that nineties nostalgia, the R and
B infused soundtrack and songs that is why people who
never really felt represented in a movie felt a connection
(08:55):
with these characters because they acted cool, they sounded cool,
and we all wanted to be like him. And it's
through this cult classic culture that we found other people
who also loved this movie that we didn't realize at
the time because there was no social media, We did
not realize when we were watching this movie on VHS
how much it was impacting us. That That is why
(09:17):
I think now the movie is more relevant now than ever,
and something like that deserves to be preserved because of
how much it means to so many people. Every single
year you see a deep dive into it. A documentary
last year that came out not just the goof I
had the filmmakers on this podcast talking about why this
movie was so culturally relevant. So for a movie now
(09:39):
over thirty years after it came out, Oh Boy ninety
five is over thirty years now in twenty twenty six,
a movie about a father bonding with this son, fearing
of him growing up through the eyes of Goofy. As
ridiculous as it sounds, it is so meaningful to so
many people. A Goofy movie deserves to be in the
(09:59):
red District at number three, also from nineteen ninety five,
I Have Friday kind of along the same lines of
a goofy movie. I still think this movie is more
relevant now than ever. It is one of the most
quotable movies of the nineties. It shifted the way we
looked at this genre of movies in the nineties, where
(10:21):
oftentimes these neighborhoods were portrayed as something being only violent
and tragic, and the entire plotline of this movie was
a different take on that. While it is still about
two people going to be killed over a very low
amount of money because of some drug business gone wrong,
it is done through a humorous lens and meant to
(10:41):
find the humor in everyday life of South central Los Angeles.
It is such a celebrated movie and it has such
a deep fan base that even now people are still
begging and wanting to know when another installment in this
franchise is going to come out, because this movie was
kind of a cultural hit and unexpectedly a little bit
(11:02):
it only costs three point five million dollars to make,
but went on to make over twenty seven million dollars
at the box office. Did really well. Also on VHS
sparked so many memes, had really great representation, such a
great soundtrack as well, when that was still more important
back in the nineties. But it's a movie with such
(11:22):
a long legacy and enduring popularity that we still talk
about this movie much like we do a Goofy movie
from ninety five. It is a pop culture pillar that
I cannot believe it's not already in this registry at
number three, I have Friday At number four. Moving into
the two thousands, I have Napoleon Dynamite. Much like Friday,
(11:45):
is another movie that was made for a relatively low
budget four hundred thousand dollars, went on to make over
forty six million dollars worldwide, and also did really well
on home video, making one hundred and thirty million dollars
from that. Oh, this movie is so influential on indie
comedy fashion and created a moment in the two thousands
(12:07):
that could never be replicated. I do believe that Napoleon
Dynamite was a movie you had to experience and live
it in that moment to understand it. I don't think
a kid growing up now could go back and watch
this movie and find it as funny as we did
in the two thousands, where it was so cutting it
just didn't compare and stood out so much between everything
(12:29):
else that came out, not only in two thousand and four,
but for much of the two thousands before that, where
it set a whole new standard on what a comedy
could be. It could be dry, ridiculous and still be
a hit. It felt nostalgic, even though it never really
says at what time this movie takes place, but you
think about Kip Internet dating, so obviously it was kind
(12:51):
of taking place in the two thousands, even though it
had that nineteen eighties esthetic. It also paved the way
for more quotable comedies of the two thousands, highly influential,
I believe on the success of movies like Juno. I
mean you had lines like vote for Pedro, you Goetta
eat your tots, Gosh, Tina, you've hard all those great
quotes that are such a part of movie vernacular now.
(13:13):
It turned John Heater into a star in the two thousands.
It put Idaho on the map. It is such a
big representation of a very specific time in American culture.
That is why I believe Napoleon Dynamite deserves to go
into the registry at number five. I wanted to include
a horror movie on the list, and when I thought
about all the movies I thought had the most impact
(13:35):
in the two thousands and the nineties, I had to
go back to nineteen ninety six and Scream, where it
brought new blood into the slasher genre that peaked in
the eighties, and horror movies as a whole moving into
the nineties just became the same thing again and again.
But here you have Scream that introduced this meta fictional
(13:56):
awareness that they still do to this day. It really
race the nineties by mixing those elements of horror with
satire and a critique on American culture. It gave us
one of the most iconic masks of all time with
ghost Face. But most importantly, it changed the way that
us as an audience engage with a horror movie and
(14:17):
have a better understanding of the genre by laying out
all the rules of how to survive a horror movie
and making that a core part of this movie's DNA,
where maybe it does end up hurting it later on
down in the franchise, where it becomes a little bit
two meta and at times it becomes a parody inside
a parody, which, by the way, it did spark one
(14:38):
of the best parody movies of all time, Scary Movie
and being the main source material for that franchise. But
it all goes back to Scream Wes craven rip I
think he truly was one of horror's brightest lights and
greatest visionaries. So at number five on my list, I
have Screamed from nineteen ninety six at number six from
(14:58):
two thousand and nine, and I have The Hangover, which
I believe is the definitive raunchy comedy of my lifetime.
And I think at that time, in the late two thousands,
right before we got into the twenty tens going into
a decade that would change how we approach comedies, this
(15:19):
was almost the last time you can make a movie
this raunchy and not politically correct. If you go back
and even just watch the trailer that aired on TV
for The Hangover, you couldn't get away with that in
a movie, let alone a trailer that's supposed to be
advertising your movie. But this movie embraced chaos that I
(15:40):
think we really had an appetite for going into the
twenty tens, where it spawned a whole genre of raunchy,
ridiculous comedies where people were just partying, causing destruction, acting
like children, ignoring all your adult responsibilities for the sake
of a great comedic movie. And did it all with
(16:02):
the fantastic cast with Ed Helms, Bradley Cooper, Zach Gallavanakis,
Heather Graham and also to me became the most relevant
Las Vegas movie that there's not a time that I
go to Vegas now and don't think about The Hangover
Alan at Caesar's Palace, asking if this is the real
Caesar's Palace. And the only other movie I felt was
(16:25):
in contention for taking my big comedy slot on my
list was Super Bad from two thousand and seven, But
I just think The Hangover had a much more impact
on the movies set to come in the two thousand
and tens. I think it's more quotable, has more memorable characters.
So at number six I have The Hangover from two
thousand and nine at number seven, getting into the twenty
(16:48):
tens now, which I will go back to the two thousands.
But I think this movie is important because when it
came out in twenty thirteen, it felt a little bit
ahead of its time, even though we were already living
in the world of smartphones. I do believe it predicted
what is happening now. And the movie is Her from
director Spike Jones, and this movie was all about the
(17:09):
exploration of human interaction with AI, where Joaquin Phoenix's character
gets a new operating system that has AI that communicates
with you. It's supposed to help you out in your
everyday life with emails. He is a writer at a
greeting card company and he just needs some help and
(17:29):
he uses AI, but then he ends up falling in
love with this AI. And like I said, we were
already living in the era of the smartphone in Siri,
but it's somehow predicted what is happening now with chat,
GBT and people falling in love with their AI assistance,
which at the time still sounded super ridiculous. And this
(17:49):
movie when it came out was set in the near
distant future. I still think even now if you go
back and watch it, it still looks like it's maybe
in the twenty thirty So we're not quite there yet
as far as what this movie looks like, but what
they are experiencing in Her, we are already living in it.
So I think that is reason enough to include this
(18:10):
movie to show how movies can be innovative and predicting
the future. And it was such a big commentary on
that psychological impact on us having relationships with our screens
that now I think we are starting to see how
damaging that can be to our attention spans, to our relationships,
whether they be romantic or family or personal or business,
(18:33):
and how much being on our phones all the time
keeps us from experiencing life and love at times. And
now it doesn't seem so crazy for somebody to have
this relationship that Joaquin Phoenix's character had back in twenty
thirteen in Her. It's also wild to me that Spike
Jones just drops a movie like Her, and also movies
(18:55):
like Where the Wild Things Are, but then sometimes just
wants to say, Hey, let me go film all on Jackass,
or go do a music video for the Beastie Boys.
So at number seven, I have her. At number eight,
I have remembered The Titans from two thousand. I would
not argue with you if you were to say this
was your favorite sports movie of all time, your favorite
(19:15):
football movie. I mean, even if you said, remember the
Titans is your favorite movie of all time. If you
ask anybody now who plays football in college or in
the NFL, what's your favorite sports movie? I bet you
from my experience of traveling around to different colleges and
talking to head coaches and players in our YouTube series
Too Much Access, we also do a podcast called twenty
(19:35):
five Whistles where we have a lot of coaches on
and a lot of players on, and we ask them
what is their favorite football movie or just what is
their favorite sports movie? And I would say a good
sixty to even seventy percent of them always say remember
the Titans, because the movie, not only being a football movie,
also is the true story of racial integration in the
(19:58):
nineteen seventies and just happens to do it through the
lens of a high school football team and how to
overcome systemic racism and bridge those cultural divides. And then
it's also just on top of that, a really great
sports movie, a movie that I watched very early on
in school, where it feels like at least once a year,
this would be the movie we would sit down and
(20:19):
watch a movie day because it teaches you all these things,
and it's inspiring, and it's just a great movie that
I cannot believe is not in this registry, already being
eligible now for over fifteen years, it's got to go
in at number eight. I have Remember the Titans at
number nine. I have two thousand and fours Eternal Sunshine
(20:41):
of the Spotless Mind starring Jim Carrey, my favorite romance
sci fi movie. Where you don't get many movies that
can blend romance in sci fi, but this movie does
it so well. And for the longest time it was
in my top ten movies of all time. Maybe now
in twenty twenty six, where I would say that top
ten has shifted greatly in the last three years because
(21:03):
there have been such amazing movies that have really rocked me.
It has probably dropped down into the top fifteen, maybe
top twenty at this point. But it was so impactful
on me as a thirteen year old who watched this
movie for the first time, as it explores in such
a profound way heartbreak and what some would say is
(21:24):
the easy way out of dealing with that heartbreak just
erase the person from your memory. You were in a
really bad relationship, why not just erase them all together
so you never have to think about them and you
never have to feel that pain again. Even me at thirteen,
who never experienced real heartbreak, was so moved by this
movie and Jim Carey's character who felt so isolated and
(21:44):
moody and dark and was just so inside of his head.
I identified with him so much, just being a moody
teenager who was trying to understand why girls didn't like me.
But I think this movie teaches you so much about
why those painful experiences make you who you need to be,
to be a human. Where you can't just erase those
(22:06):
things because they make you uncomfortable, because it pains you
to feel that way. It is an essential part of life,
and I think it's even more important now as a
society where we start to try and find more easy
ways out to situations. I do this too, even now,
where it's a whole lot easier now to ignore things
(22:26):
or to get out of things that make you feel uncomfortable.
But I think these situations are things we need to experience,
so in the same way that we try to curate
our feeds and our algorithms to make them perfect, life
is not perfect. It's going to be messy. We can
put on the best version of ourselves on an Instagram
(22:46):
feed or even on a TikTok feed, But it's all
those things underneath that have made you who you are,
that maybe have put you in the most uncomfortable and
painful situations in your life, that are going to be
the things that connect you with other people. And I
think that is what I took away from that movie
back in two thousand and four, even though I didn't
realize it, but probably take it away more now in
(23:07):
twenty twenty six when I do revisit it. And that
is why I think this movie deserves to be in
at number nine on my list Eternal Sunshine of the
Spotless Mind, especially because Jim Carrey just got in this
year that we mentioned earlier with The Truman Show. I
do believe that movie deserved to go in first, but
Eternal Sunshine should be right behind that at number ten.
This was really tough because I wanted to have a
(23:29):
top ten list, and there were others that almost made
the cut, the usual suspects. But then when I think
about the director and Kevin Spacey in that movie, maybe
that is why it has not been entered in. Maybe
some controversy there that you don't want to include people
who maybe don't deserve this honor of being remembered forever.
Interstellar was also on my list, but with the Inception
(23:50):
just going in this year, maybe a little bit too
early for Interstellar. Maybe in the next five we get
it in there, but I do believe it is one
of the best sci fi movies of all time, and
Glorious Bastards where Quentin Tarantino's Pulp Fiction is already in
the registry. Maybe it's because some of the things Quentin
Tarantino has said recently that has changed the way some
people think about him. I still think this is one
(24:12):
of his best movies, my personal favorite movie of his.
But Pulp Fiction went in back in twenty thirteen, so
maybe not quite time for Glorious Bastards to go in.
There were some other just personal favorites that I felt
were a little bit too selfish to my list, but
Agean Ninja, Thurtles, Leelo, and Stitch Juno almost went in
there over Napoleon Dynamite, but I still think Napoleon Dynamite
(24:34):
was before it and also a little bit more culturally relevant.
Could have been really selfish and put movies in like
the Avengers, which is now within that at a ten
year range, Spider Man Avatar that was really close. I
think that will be in there eventually, but it could
be another ten years before we see Avatar from two
thousand and nine entered in there. And then I thought
(24:54):
of some really great comedies from the two thousands, like
Super Troopers that I feel is underrepresent in the registry
as a whole, great sports movies like Moneyball, and there
were some others that I was really happy had already
made it in like Selena Ironman, which was added back
in twenty twenty two. Toy Story was also added back
in two thousand and five, and La Bamba was added
(25:17):
back in twenty seventeen. So what I decided to go
with as my tenth movie that deserves to be in
the National Film Registry, I am going with Mean Girls
from two thousand and four, which I believe is a
perfect movie, not just a perfect comedy, a perfect movie
from beginning to end. As soon as you hit play
(25:39):
on Mean Girls, you realize you were watching an instant classic.
And it still remains culturally relevant at portraying what high
school is like with clicks, and maybe it's changed a
little bit as gen Z becomes a little bit more
accepting of people who aren't in your click. But if
you still look at the dynamics between the popular kids,
the less popular kids, the nerds, the band, all those
(26:02):
different types of people that you encounter in high school,
I still think it is an accurate portrayal of teenage
social hierarchies, clicks, the toxic effects of bullying. It still
has a long lasting list of memorable quotes, which I
think is important for movies being entered into this registry.
It deserves to be preserved for that. It is also
(26:23):
a great exploration on feminism, aggression, a cautionary tale on conformity,
all those things that you experience in high school. A
movie that's so relevant. You could still walk into a
Walmart a Target and find a T shirt or something
with the saying on Wednesdays, we wear pink. You still
see Mean Girls memes all the time. The movie itself
(26:43):
is now over twenty years old, so not only still
relevant today, but will probably be relevant for another twenty
or thirty years. At number ten on my list, I
have Mean Girls. So that is my list that I'll
recap of all movies I believe should be entered into
the National Film Registry, The sand Lot, A Goofy Movie, Friday, Napoleon, Dynamite, Scream,
(27:08):
The Hangover, Her, Remember the Titans, Eternal Sunshine of the
Spotless Mind, and Mean Girls. All Right, I'll come back
and give my spoiler free review of Send Help. It
as Get Into It Now. A spoiler free movie review
(27:28):
of Send Help, starring Rachel McAdams Dylan O'Brien, directed by
Sam Raimi, who not only gave us one of the
best superhero trilogies of all time when he directed the
og Spider Man movies with Toby maguire, but is also
responsible for horror classics like The Evil Dead and Out
of Nowhere gave us one of the best horror comedies
(27:48):
in a long time. And I am somebody who struggles
if somebody tells me just go watch this movie. It's
gonna be a lot of fun. For some reason, I
don't like that sentiment going into it because to me
that says, ah, it's not gonna be that good. I
don't want to go watch something that's just said to
be fun because to me that means my standards are
lowered a little bit. But when it comes to Sam
(28:11):
Raimi and his vision, his campiness which he is really
famous for. It works and I had surprisingly a lot
of fun watching this movie. It's about Rachel mcadam's character
who has been working at this company. The CEO of
this company passes away and his son played by Dylan
O'Brien comes into the picture, and his son is kind
(28:32):
of a jerk. Not just kind of a jerk, he
is a horrible boss. So she is a strategist working
at this financial management company in the planning and strategy department.
She is really good at her job. He just has
a problem with her personality and finds her a little
bit off putting. Basically, he's just being a really big
jerk and being awful towards her. But outside of work,
(28:55):
she is obsessed with the idea of survival. She reads
books on on how to build fires, how to find food.
Also a major fan of the show Survivor. It is
her dream to go on that show and compete on it.
So outside of work, that is where all these skills
come from that come into play later on, because they
(29:16):
go on this work trip where the plane goes down,
So now they are on this island and the roles
start to get reversed a little bit because she has
all these skills on how to keep them alive, and
suddenly where he feels like, I'm still your boss, I'm
still in charge of you. You have to do what
I say, not so fast, because Rachel McAdams is like, well,
(29:37):
out here, we're not at the office. You would probably
be dead if it wasn't for me keeping you alive
with all my survival skills. Let's see what happens now.
And that's the foundation of this movie. How do they
navigate those dynamics between employee and boss and how do
they survive on this island. I love both of these
actors together. Rachel McAdams is so charming in the way
(30:00):
that she is so uncomfortable at the very beginning doing
things that a socially awkward person would do. I identified
with that where she is so good at her job,
at being detail oriented. She's a workhorse. She is so
good at it, but other people take credit for her
work and they don't realize how good she is. But
she just lacks those social skills and awareness when it
(30:22):
comes to interacting with the superior. It is also interesting
to see how much they had to make her look
quote unquote ugly at the beginning of this movie, which
is always a weird thing in Hollywood. They get one
of the most beautiful people in the business and suddenly
have to make her look unattractive when she is just
so stunning no matter what. So they mess up her
(30:44):
hair a little bit. But I think that was the
hardest thing for me, Like, okay, just because you maybe
put glasses on her and some clothes that she maybe
normally wouldn't wear, it is really hard to believe that
she in this office would be the quote unquote ugly one.
I don't even like calling people that word because people
call me that word. So that is the most unbelievable
(31:06):
part in this movie. But it's seeing how she becomes
more comfortable and kind of gets more beautiful as the
movie goes along. She gets more into her element and
really allows herself to be her own unique self, and
you kind of see the beauty come out in her.
So I thought that was a really great way to
show this character's growth. And then you have Dylan O'Brien,
(31:27):
who for me, has been on a bit of a
hot streak lately. If you did not see twin lists
last year. I think his best role in a long
time where I've really become a big Dylan O'Brien fan,
And he is so good in this at being so unlikable.
So in the same way it was hard for me
to see Rachel McAdams as being unattractive, it was also
hard for me to see Dylan O'Brien be a jerk,
(31:50):
and at times his character seems so turned up to
a ten that I thought, this kind of feels fake.
There couldn't possibly be a person in the real world
who is so insufferable, who is such a bad boss,
who treats people with such disrespect. Could there in the
business world? And the more I started to think about it,
I thought, no, there are real people like this in
(32:12):
positions of power who are essentially grown up frat boys
and just taking over a company, trying to do it
and run it in a way that they would have
run in college. The fact that the matter is in America,
This happens all the time in corporate America. So even
though the way his character is portrayed is a little
(32:33):
bit cartoonish and feels like a caricature of what a
CEO would be like in this situation. There is probably
somebody just like this sitting in an office right now
who doesn't realize how ridiculous they are. But it was
hard for me to see him as a jerk, as
somebody you do not like. But the thing about this
movie is you go through so many different emotions, feeling
(32:55):
different ways about these two characters as you realize they're
in tensions, as you realize as things get darker and darker.
But the foundation of it, like we've been talking about here,
is the fact that it is rooted in Sam Raimi's campiness,
where he does like exploring the cartoonish aspects of characters
and of filmmaking. And I think that might be something
(33:17):
that would deter some people from the meaning behind this movie,
because some of the elements are just that very campy cartoonish.
For example, there is a bore that they hunt while
trying to find food, and the bore itself is rather
fake looking. You don't look at that boor and think, oh,
(33:38):
that thing is a real threat. It's very cartoonish and
the way it moves around it's kind of like a
more hardcore pumba from The Lion King. And I think
if you were going into this expecting a serious movie
and expecting everything to have a sense of realism. Sam
Raimi might not be the director for you because he
likes creating a surreal environment to give it that cinematic feel,
(34:00):
much so that this movie was initially supposed to go
to Sony. Sony was going to put this out, but
they didn't want it to have a theatrical release. They
wanted it to be a straight to streaming movie. And
Sam Raimi says, I don't do that. I create an
environment for a theater experience. That is the vision I
have for this movie. So he took it away from
Sony and said twentieth century for this movie is now
(34:22):
yours and is now having great success doing that. So
Sam Raimi knows his vision, know how he wants to
see his movie play out. And I'm so grateful that
he fought for this movie because it made for a
great in theater experience. It was fun, people were laughing.
Where if you are somebody who doesn't like horror movies,
like Kelsey who went with me, surprisingly she didn't want
(34:44):
to go see this movie, but she likes Rachel McAdams,
she likes Dylan O'Brien and I told her it wasn't
going to be your traditional horror movie, much more of
a thriller, some elements of suspense, and all the horror
elements were going to be so exaggerated that it's not
going to give you nightmares, and that proved to be true.
There are some bloody moments, but it's so over the
(35:05):
top and exaggerated. It's not the same thing like watching
the Texas Chainsaw Massacre. It's more like watching Doctor Strange
in the Multiverse of Madness, which Sam Raimi also directed.
I think some people might even forget that Rachel McAdams
was in both Doctor Strange movies, so that is the
relationship there. But you get a sense that this isn't
(35:26):
quite taking place in our reality. It feels very cinematic,
very intentional. But if you don't realize that that all
the stylistic choices when it comes to the visual effects,
that all the visual effects aren't meant to look realistic.
And Sam Raimi has been doing this since The Evil Dead,
of making things so over the top and out landish.
(35:48):
He is somebody who really emphasizes big close ups and
visuals on people's eyes. That is something that has become
his signature throughout his history of filmmaking, and you see
all those elements here and it feels very much like
a Sam Raimi movie. And I think when it comes
to really seeing his style in its perfect form, this
(36:10):
is it. Even though I wasn't a big fan of
what he did in the Multiverse of Madness, it didn't
quite fit there because I think we expect in the
world of Marvel a different level of visual effects. That
didn't work in that sense of storytelling. Here it does.
It's not building upon some other world. It's not a sequel,
it's not a reboot. Going into it, I know the context,
(36:32):
So I feel that I'm much easier accepting of his
campiness when it just comes in his own world, in
his own universe. I love a Sam Raimi universe, and
I just love seeing the return of Rachel McAdams on
the big screen. She famously took a break back in
the mid two thousands, at the height of her fame.
I'm talking mean Girl's level of fame. She said, I
(36:54):
need to take a break. She moved back to Canada.
She turned down roles in Iron Man, Casino Roy Now
The Devil Wears Prada, and then returned back in twenty
fifteen with Spotlight and said she had no regrets and
now is crushing it again. She stole the show and
send help. It was essentially the Rachel McAdams show. She
showed me so much that she understood this character and
(37:16):
how to make you root for her but also make
you fearful of her. You were questioning her intentions from
beginning to end. Rachel McAdams can really do it all.
But the only thing I couldn't help think about is Man.
We were robbed of a Spider Man four, directed by
Sam Raimi, starring Toby maguire. It had a release date
anytime May six comes around on the calendar. I think
(37:37):
man Back in twenty eleven, we were supposed to get
Spider Man four. It was supposed to have Vulture, it
was supposed to have Black Cat. It was supposed to
fix all the problems that Sam Raimi didn't like with
what happened with Spider Man three, because a lot of
that was studio pressure of wanting to squeeze Venom in there,
wanting to get these characters in there that did it
(37:59):
quite fit. Spider Man four was gonna be amazing. Development
was happening back in two thousand and eight, but ultimately
in twenty eleven, Sam Raimi walked away because he had
so many creative differences with Sony they couldn't land on
a final script. And even with Toby maguire coming back
in No Way Home, sam Raimi still says, no, it
would be wrong to bring back his version of Spider Man.
(38:21):
He is passing the torch along to new filmmakers, so
sadly we're never getting that Spider Man for But that
is okay with me as long as sam Raimi continues
to be true to himself, which is something I highly
respect in him as a director. For Send Help, I
give it four out of five islands. Time to head
(38:41):
down to movie Mike trailer parr I have nostalgia fomo, guys,
because everybody is flipping out about the devil Where's Prada? Two?
The trailer got two point eight million views within the
first nine hours on YouTube at the time of recording this.
Now it's at about eleven million views. So people want
(39:03):
to see this movie, which is rare. Usually people feel like, ah,
don't mess with the legacy. We don't want to see
what these characters are up to. But that doesn't seem
to be the sentiment online. Even the studio themselves wrote
it in the description on YouTube, saying everybody wants this,
which most often people say, nobody asks for this when
(39:26):
it comes to a movie coming twenty years after the original.
But it seems like people want to know what Meryl Street,
Emily Blunt and Hathaway and Stanley Tucci have been up
to since the first movie. There are some reasons that
I believe this isn't just a cash grab. We'll get
into all that, but before I do, here is just
a little bit of the Devilware's product trailer coming out
(39:48):
in theaters on May first. Hello, Wow, look what TJ
Max drag them? Sorry? Who is this? Do you know her?
Do I want to know her? I'm Andy Sachs and
she was one of the Emily's Well what am I
having a hallucination? Hi? Emily, you also know her? We
(40:08):
were at Runway at the same time, Randa. Really, how
was that Meryl Streep acting like she does not remember
everybody from the first movie. But she is back as Miranda,
Stanley Tucci is back as Nigel, and Hathaway is back
as Andy, and Emily Blunt is back as Emily. The
(40:29):
most surprising thing to me about the devil Wares product
is the fact that Meryl Streep is actually doing a sequel.
She notoriously has turned down sequels her entire career. The
only other time I've seen her be a part of
a sequel in recent history she was in the sequel
to Mama Mia, but she had about a five minute cameo.
(40:52):
She really wasn't in the entire thing. The whole movie
is about two hours. She is in maybe five minutes
of that, so that's really not her coming back to
do a full on sequel. The reason I think she
agreed to do a sequel is the difference is The
Devil Ware's Prada movies are based on a book. The
second movie is going to be based on the book
(41:12):
called Revenge, Where's Prada? The Devil Returns, which came out
in twenty thirteen. In the book, it follows Andy ten
years later as a successful bridal magazine editor whose life, marriage,
and career are threatened when her past intersects with her
former boss, Miranda. Andy is preparing to marry the son
of a media mogul, but her past comes back to
Hunter when Miranda re enters her life. Miranda is also
(41:36):
suffering with a decline of print, so that is where
you're going to find her character, and we see all
throughout this trailer her not remembering anybody, so you don't
know if she's suffering from actual memory loss or she
is being so petty because of what happened at the
end of Devilware's Prada one. There is also a third
book in the series called When Life Gives You Lululemons,
(41:59):
which is mostly based on the character Emily. That book
came out in twenty eighteen, so if you go back
to the original movie based on the book, it follows
Andy and Hathaway's character who just graduated college. She's trying
to get a career in journalism, so she ends up
being a junior assistant to Miranda, who is the editor
(42:19):
in chief of Runway, which is a highly successful fashion magazine,
and all throughout that movie, Andy struggles to meet the
demands of a really, really terrible boss. He is also
trying to maintain her relationship with her boyfriend, and then
enters in Emily Blunt's character in Stanley Tucci's character, So
(42:39):
in this movie, Emily Blunt's character is now a high
powered executive working for a luxury group with advertising dollars
that Meryl Streep is looking for because the print business
just isn't what it used to be. So I think
the reason it doesn't feel like a cash grab to
me is none of these three leads need to do
this movie right now, and Hathaway doesn't need to do it.
(43:02):
Emily Blunt is having I would say, the apex of
her career right now. She's also going to be in
Disclosure Day later this year, which is the Steven Spielberg
Alien movie. Meryl Streep could just retire. She does not
need to be working anymore. But I really think deep
down she still loves it because she still gets nominated
(43:22):
for awards, and that is what she does. She puts
out roles and then scoops up all of her trophies
at the Golden Globes or at the Oscars. I don't
know if this one is going to be on the
level of the first, because back at the two thousand
and seven Oscars, the movie did scoop up two nominations.
Meryl Streep was up for Best Actress, she did not win.
It was also up for Best Costume Design. They still
(43:45):
did not win there, and I don't think they're really
trying to go for those awards again, just by watching
the trailer, it really looks like they are super serving
the fans of the original movie and of the books,
because all these little references you would really only get
if you are a really big fan of the first one,
and it is a movie that has had a long
(44:06):
lasting history, and I think that's why we've seen people
just swarm to watching this trailer online and creating a
buzz about it. Some actors joining the cast are Kenneth Bronna,
who is going to be Meryl Streep's new boyfriend. And
the most surprising but also not that surprising, is that
Sidney Sweeney is going to be in this sequel. I
would say the most surprising casting just because I don't
(44:28):
know how she's going to fit into this cast, but
not surprising because she is in everything right now. You
also have Lucy lou Justin Thurreau, bj Novak, and Lady
Gaga will make a cameo in this movie. And my
question is will it be the best number two to
come out in two thousand and six? So let's talk
about sequels here, not part threes or part fours or
(44:50):
part fives. I'm talking about all the big number two's
coming out in twenty twenty six. You have The Devil
Wears Prada. You have Fall two coming out, which the
original came out back in twenty twenty two, which was
about two girls who climbed this really tall radio tower
and then get stuck up there, which sounds crazy in
itself because if you think about putting yourself in that situation,
(45:13):
those things are really tall and really scary. But then
you find out all the crazy details of their backstory,
and oh, it gets wild. So I think that's a
movie that came out back in twenty twenty two that
I love the concept of it. Overall, execution of it
was okay, but I still think it is just a
really solid thriller and suspense movie. It's one of those
(45:34):
movies with such a great premise that you know it's
going to be entertaining, even though the acting probably isn't
going to be the best thing you've ever seen, and
probably border along the lines of being a little bit cheesy,
But it's a good movie that if you go watch
it in theaters and bond with the people sitting around you,
it could be a really fun time, but I don't
think that'll be the best number two. We also have
(45:55):
Violent Night two coming out this year, which is the
David Harber movie where plays Santa and kills a bunch
of criminals. The first one was pretty good, but I
don't think that is gonna be the best number two
of the year because the first one is kind of forgettable.
I don't really need to see a sequel in that situation.
But David Harber is doing a lot of big movies
(46:16):
right now. Mortal Kombat too. The original came out back
in twenty twenty one. I have been waiting for this movie.
It is the modern reboot of Mortal Kombat, so not
a continuation of the two movies from back in the nineties,
but it is reintroducing Mortal Kombat to a new generation.
A lot more depth to the story, maybe a little
bit too much for my liking, where I just want
(46:37):
to see a bunch of people fighting in the style
of the first movies, because the actual character design and
the action is a lot better. It is so much
less cheesy than those original movies. But there's still just
something lacking to these movies that I want them to
be a little bit better, So hopefully they get those
things right in the sequel. Right now, out of all
(46:58):
the ones we've been talking about, I still think Devilware's
product is up there at the top, but Mortal Kombat
two is probably right underneath that. We also have Practical
Magic two coming out, which the original came out back
in nineteen ninety eight. It has been a while since
I've seen Nicole Kidman, her and Sandra Bullock together. I
(47:19):
think in recent history, I've been more of a fan
of Sandra Bullock's movies, but more a fan of Nicole
Kidman's MANI series. Nicole Kidman in a mini series is
always a plus when it comes to her most recent,
most memorable movies. Baby Girl was really good, But then
I feel like sometimes she just picks up a paycheck
(47:40):
for doing a sequel to Aquaman, So another movie I
don't really feel the nostalgia for. But I'm excited to
see two actors at their level putting out a sequel
like that. I hope that one does really well. Ready
or not to hear I come, I think the first
movie is highly underrated. Samara Weaving is is my go
(48:00):
to actor right now in the horror genre. I'll watch
anything with her, and the first one was so unexpectedly
good that if it could somehow continue that same momentum
from twenty nineteen, I have really high hopes for Ready
or Not to Here I Come? So I think that's
at the top of my list now, because you also
have the Super Mario Galaxy movie. It's not really the
(48:21):
Super Mario Brothers Movie two because they're gonna make so
many more of these movies and probably have spin offs,
so I don't know if I can technically count that
because it doesn't have two in the title. We also
have The Social Reckoning coming out later this year, which
is not a direct sequel to The Social Network, which
is the Facebook movie. Instead, it's pretty much an entirely
(48:43):
different cast, a whole different situation, takes place at a
different time, really going to be unrelated from the first
movie because Jesse Eisenberg is no longer playing Mark Zuckerberg.
So out of all the twos, the Devil, Where's Prodatu Fall? Two?
Violent nine two, Mortal Kombat two, so Practical Magic to
and Ready or Not to Here I Come? I'm going
(49:05):
to say my favorite of all these, and one that
I will probably rate the highest is going to be
ready or not to and that movie is coming out
in theaters on March twentieth. Again, we've been talking about
the devil Wares product to that is coming out on
May first. So a lot of Great Number two's coming
out this year. And that was this week's edition of
(49:26):
Movie Mike Trailer Bars, and that is going to do
it for another episode here of the podcast. But before
I go, I gotta give my listeners shout out of
the week. This week, I'm going over to my YouTube
channel where you can watch individual movie reviews. If there's
any movie you missed from January, December or November, just
(49:47):
go to YouTube dot com slash Mike Distro and you
can see just those segments of the podcast there. And
I get just random comments all the time on old
videos because I always review the movie when it comes
out in theaters. And then when he goes to streaming,
I see the people who have trickled in started watching
it at home. So I went over to my review
of Hamnet that I did with Kelsey and shouting out
(50:10):
flipping Iowa seven eight six', eight who, SAID i love
this review with a bunch of, heart Emojis. Hamnet you
can watch it at. Home you do have to rent.
It it is twenty bucks right. Now but going into The,
oscars if there is one movie you really need to
see that went a little bit under the radar and
(50:31):
maybe you saw the trailer and thought that looks a
little bit too artsy and, EMOTIONAL i Think hamnet is
the dark horse because The oscars are coming up On march,
fifteenth And hamnet still doesn't have a proper release. Date On,
peacock it still Says march twenty twenty, six so hopefully
it ends up being before The. Oscars BUT i even
(50:52):
look today and there are still some theaters actually showing.
It so that's my dark horse for The oscars if
you miss that. One so thank You Flipping eye for
watching reviews over there on, YouTube thank you for listening
wherever you, Are and until next, time 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. Today. I want to talk
about ten movies I believe belong in the National Film Registry.
They just released the movies going into it this year,
But there are some major movies from our lifetime that
are not in this registry yet. Some of them I
can't believe it. Big injustice here is. I want to
give my ten list of movies I think deserve to
(00:21):
be preserved forever. We'll talk about what the National Film
Registry even is. In the movie review, I'll be talking
about Sam Raimis Sendhelp starring Rachel McAdams and Dylan O'Brien.
And in the Trailer Park breaking Down the Devil, Where's Prada? Two?
Could it be the best number two movie coming out
this year? A lot of big sequels from legacy movies,
so we'll talk about that. Thank you for being here,
(00:43):
Thank you for being subscribed. Shout out to the Monday
Morning movie crew at Now let's talk movies from the
national podcast network Movie Mikes Movie Podcasts. The Library of
Congress just announced its latest entries into the National Film Registry.
Is this exactly? Well, here's the statement, they gave. When
(01:03):
we preserve films, we preserve American culture for generations to come.
These selections for the National Film Registry show us the
films that are instrumental in capturing important parts of our
nation's story. So essentially, when a movie gets put into
this National Film Registry, it means it's being recognized as
being culturally, historically and esthetically significant. The criteria is these
(01:26):
movies must be at least ten years old to ensure
that they are protected for generations to come. The Library
of Congress actually stores millions of films, videos, TV recordings,
and they have a collection of about one hundred and
fifty thousand titles. And they do hold some of these
titles on Capitol Hill, but most of the physical film
collections are actually stored off site at the Packard Campus
(01:49):
for Audio Visual Conservation in Culpeper, Virginia. In this collection,
they have really really old movies dating back to nineteen
eighty five. Some of them are on film that could
ascentdly burst into flames because they are so old and
so sensitive. So they house these in a special climate
controlled environment and every year they pick twenty five movies
(02:10):
to go in your Big Ones already there. Your Casablanca is,
Your Wizard of Oz, your Lion Kings, all those major
movies that you think about are probably already on this list.
But there were a lot that when I started thinking
of the movies that I feel are pillars of American culture,
especially if you grew up in the nineties and early
two thousands, that I could not believe that they were
(02:30):
not in there already. And the only thing they have
to do is be at least ten years old, and
some of these are twenty thirty years old at this point.
But before we do that, I'll go through the twenty
five movies that just made the cut this year and
are going in. I would say probably not until we
get to the movies from the eighties. I have not
even seen these, so maybe I need to do some
(02:51):
research and go back and see why some of these
are so relevant and important to be stored. But from
eighteen ninety six, the oldest movie on this list then
and the Dog have not seen that movie, The Oath
and the Sword from nineteen fourteen, The Maid of McMillan
from nineteen sixteen, The Lady from nineteen twenty five, Sparrows
(03:11):
from nineteen twenty six, Ten Nights in a Barroom from
twenty six, White Christmas from fifty four, High Society from
fifty six, Brooklyn Bridge from nineteen eighty one. We're getting
a little bit more relevant now and actually know some
of these movies, Say Amen, Somebody from nineteen eighty two,
The Thing from nineteen eighty two, that is one I
(03:31):
believe should have already been on this list. So I
think that is the birsts best entry to go into
this registry. You also have The Big Chill from nineteen
eighty three, Karate Kid from eighty four, What a great movie.
I'm glad that movie finally got its justice going in
this year, Glory from nineteen eighty nine, Philadelphio from nineteen
(03:52):
ninety three, a great Tom Hanks pick, going in There
Before Sunrise from nineteen ninety five. I wonder if that
entire collection of movies will end up being in the
registry or they only pick the first one, Clueless from
nineteen ninety five. That is what I'm talking about, because
I feel that category of movie is underrepresented on this registry,
(04:13):
where it's not just movies that are the most well
reviewed or have the most awards, or even have the
best rating online. It has to be about that cultural relevance,
and that is such an essential movie to the nineties.
I'm glad that movie is finally going in. Also from
the nineties, you have The Truman Show, a top five
Jim Carrey movie, and I think later on my list,
(04:35):
I have another Jim Carrey movie, So it's gonna have
to be a lot of Jim Carrey inside of this registry.
Getting into the two thousand and now, you have Freedom
from two thousand and two, The Hours also from two
thousand and two, The Incredibles from two thousand and four.
As I was going through all the movies in the registry,
I also think animation is also really underrepresented on movies.
(04:57):
We need to preserve The Wrecking Crew from two thousand
and eight, not the Wrecking Crew that I reviewed last
week from Amazon Prime. A much different the Wrecking Crew,
and I have to imagine the movie I reviewed last
week will probably not end up on this registry at
any point, but still pretty good action movie. And then
the most recent movies from the twenty tens, you have
(05:17):
Inception from twenty ten. I think this will influence my
ten movies later on. But a great pick going into
the registry the Loving Story from twenty eleven, and the
final and most recent movie on the list is The
Grand Buddapest Hotel from director Wes Anderson from twenty fourteen.
So overall, I would rate this class about a B plus.
(05:40):
Some of those early ones I'm just not familiar with.
But I think you have some really big players here
with movies like The Karate Kid, Philadelphia, Clue List, The
Truman Show, The Incredibles I think is a big win here,
Inception one of the best movies of the twenty tens.
I also love The Grand Budapest Hotel in there as well,
(06:00):
Wes Anderson's best movie of all time. But now let's
get into the ten movies I believe belong in the
National Film Registry. Starting with my first pick, I just
cannot believe this movie is not in there. From nineteen
ninety three, The Sandlot. This is one of the most
pivotal movies of the nineties. You could argue that this
(06:21):
is one of the greatest sports movies of all time,
but it captures nineteen sixties America. One of the best
also coming of age movies that you might not realize
that The Sandlot is a coming of age movie because
it's so focused on baseball. About a kid who moves
to a new town, doesn't know anybody, doesn't know anything
about baseball. He is just trying to make friends. He
(06:45):
is socially awkward, and he finds the best group of
friends who are also misfits, but they all love baseball
and take them in as one of their own. It's
about childhood, It's about friendship and the love of baseball.
It does not get more American than The Sandlot. I
think one of the most important movies of a lot
(07:05):
of our childhoods a movie with so much rewatchability, so
iconic in so many ways that you can't get through
any Halloween without somebody dressing up like somebody from the Sandlot.
And this movie made all those actors famous forever, where
they still go around to baseball games or any sporting
event and people still care about the cast from The Sandlot.
(07:28):
What a wild thing it must be, not just to
be a child actor, but to be a part of
a movie that is so iconic that it stays with
you for the rest of your life. Where a lot
of them this is their one major credit in their
acting career. To think you did something when you were ten, twelve,
eleven years old, twelve years old. However they all were
(07:50):
during the time of making this movie. That you go
into it just wanting to do something fun. What kid
would it want to be a part of a movie?
And now that movie is a part of you for
the of your life. But this movie has now been
eligible for over twenty years, and the fact that it's
not in there already, I put that as my number
one movie that needs to go in right now. And
(08:11):
number two another movie from my childhood that is one
that I think has built up relevance over time. It
is probably more relevant now in people's lives than when
it was when it came out back in nineteen ninety five.
And that movie is a Goofy movie. Because it's a
cult classic. This movie has taken on a life of
its own where it's not only relevant because it's such
(08:33):
a core movie for millennials, but also millennials who are
of different races that somehow saw themselves in Max and
in Goofy, even though Goofy isn't a signed of race.
But I think through that nineties nostalgia, the R and
B infused soundtrack and songs that is why people who
never really felt represented in a movie felt a connection
(08:55):
with these characters because they acted cool, they sounded cool,
and we all wanted to be like him. And it's
through this cult classic culture that we found other people
who also loved this movie that we didn't realize at
the time because there was no social media, We did
not realize when we were watching this movie on VHS
how much it was impacting us. That That is why
(09:17):
I think now the movie is more relevant now than ever,
and something like that deserves to be preserved because of
how much it means to so many people. Every single
year you see a deep dive into it. A documentary
last year that came out not just the goof I
had the filmmakers on this podcast talking about why this
movie was so culturally relevant. So for a movie now
(09:39):
over thirty years after it came out, Oh Boy ninety
five is over thirty years now in twenty twenty six,
a movie about a father bonding with this son, fearing
of him growing up through the eyes of Goofy. As
ridiculous as it sounds, it is so meaningful to so
many people. A Goofy movie deserves to be in the
(09:59):
red District at number three, also from nineteen ninety five,
I Have Friday kind of along the same lines of
a goofy movie. I still think this movie is more
relevant now than ever. It is one of the most
quotable movies of the nineties. It shifted the way we
looked at this genre of movies in the nineties, where
(10:21):
oftentimes these neighborhoods were portrayed as something being only violent
and tragic, and the entire plotline of this movie was
a different take on that. While it is still about
two people going to be killed over a very low
amount of money because of some drug business gone wrong,
it is done through a humorous lens and meant to
(10:41):
find the humor in everyday life of South central Los Angeles.
It is such a celebrated movie and it has such
a deep fan base that even now people are still
begging and wanting to know when another installment in this
franchise is going to come out, because this movie was
kind of a cultural hit and unexpectedly a little bit
(11:02):
it only costs three point five million dollars to make,
but went on to make over twenty seven million dollars
at the box office. Did really well. Also on VHS
sparked so many memes, had really great representation, such a
great soundtrack as well, when that was still more important
back in the nineties. But it's a movie with such
(11:22):
a long legacy and enduring popularity that we still talk
about this movie much like we do a Goofy movie
from ninety five. It is a pop culture pillar that
I cannot believe it's not already in this registry at
number three, I have Friday At number four. Moving into
the two thousands, I have Napoleon Dynamite. Much like Friday,
(11:45):
is another movie that was made for a relatively low
budget four hundred thousand dollars, went on to make over
forty six million dollars worldwide, and also did really well
on home video, making one hundred and thirty million dollars
from that. Oh, this movie is so influential on indie
comedy fashion and created a moment in the two thousands
(12:07):
that could never be replicated. I do believe that Napoleon
Dynamite was a movie you had to experience and live
it in that moment to understand it. I don't think
a kid growing up now could go back and watch
this movie and find it as funny as we did
in the two thousands, where it was so cutting it
just didn't compare and stood out so much between everything
(12:29):
else that came out, not only in two thousand and four,
but for much of the two thousands before that, where
it set a whole new standard on what a comedy
could be. It could be dry, ridiculous and still be
a hit. It felt nostalgic, even though it never really
says at what time this movie takes place, but you
think about Kip Internet dating, so obviously it was kind
(12:51):
of taking place in the two thousands, even though it
had that nineteen eighties esthetic. It also paved the way
for more quotable comedies of the two thousands, highly influential,
I believe on the success of movies like Juno. I
mean you had lines like vote for Pedro, you Goetta
eat your tots, Gosh, Tina, you've hard all those great
quotes that are such a part of movie vernacular now.
(13:13):
It turned John Heater into a star in the two thousands.
It put Idaho on the map. It is such a
big representation of a very specific time in American culture.
That is why I believe Napoleon Dynamite deserves to go
into the registry at number five. I wanted to include
a horror movie on the list, and when I thought
about all the movies I thought had the most impact
(13:35):
in the two thousands and the nineties, I had to
go back to nineteen ninety six and Scream, where it
brought new blood into the slasher genre that peaked in
the eighties, and horror movies as a whole moving into
the nineties just became the same thing again and again.
But here you have Scream that introduced this meta fictional
(13:56):
awareness that they still do to this day. It really
race the nineties by mixing those elements of horror with
satire and a critique on American culture. It gave us
one of the most iconic masks of all time with
ghost Face. But most importantly, it changed the way that
us as an audience engage with a horror movie and
(14:17):
have a better understanding of the genre by laying out
all the rules of how to survive a horror movie
and making that a core part of this movie's DNA,
where maybe it does end up hurting it later on
down in the franchise, where it becomes a little bit
two meta and at times it becomes a parody inside
a parody, which, by the way, it did spark one
(14:38):
of the best parody movies of all time, Scary Movie
and being the main source material for that franchise. But
it all goes back to Scream Wes craven rip I
think he truly was one of horror's brightest lights and
greatest visionaries. So at number five on my list, I
have Screamed from nineteen ninety six at number six from
(14:58):
two thousand and nine, and I have The Hangover, which
I believe is the definitive raunchy comedy of my lifetime.
And I think at that time, in the late two thousands,
right before we got into the twenty tens going into
a decade that would change how we approach comedies, this
(15:19):
was almost the last time you can make a movie
this raunchy and not politically correct. If you go back
and even just watch the trailer that aired on TV
for The Hangover, you couldn't get away with that in
a movie, let alone a trailer that's supposed to be
advertising your movie. But this movie embraced chaos that I
(15:40):
think we really had an appetite for going into the
twenty tens, where it spawned a whole genre of raunchy,
ridiculous comedies where people were just partying, causing destruction, acting
like children, ignoring all your adult responsibilities for the sake
of a great comedic movie. And did it all with
(16:02):
the fantastic cast with Ed Helms, Bradley Cooper, Zach Gallavanakis,
Heather Graham and also to me became the most relevant
Las Vegas movie that there's not a time that I
go to Vegas now and don't think about The Hangover
Alan at Caesar's Palace, asking if this is the real
Caesar's Palace. And the only other movie I felt was
(16:25):
in contention for taking my big comedy slot on my
list was Super Bad from two thousand and seven, But
I just think The Hangover had a much more impact
on the movies set to come in the two thousand
and tens. I think it's more quotable, has more memorable characters.
So at number six I have The Hangover from two
thousand and nine at number seven, getting into the twenty
(16:48):
tens now, which I will go back to the two thousands.
But I think this movie is important because when it
came out in twenty thirteen, it felt a little bit
ahead of its time, even though we were already living
in the world of smartphones. I do believe it predicted
what is happening now. And the movie is Her from
director Spike Jones, and this movie was all about the
(17:09):
exploration of human interaction with AI, where Joaquin Phoenix's character
gets a new operating system that has AI that communicates
with you. It's supposed to help you out in your
everyday life with emails. He is a writer at a
greeting card company and he just needs some help and
(17:29):
he uses AI, but then he ends up falling in
love with this AI. And like I said, we were
already living in the era of the smartphone in Siri,
but it's somehow predicted what is happening now with chat,
GBT and people falling in love with their AI assistance,
which at the time still sounded super ridiculous. And this
(17:49):
movie when it came out was set in the near
distant future. I still think even now if you go
back and watch it, it still looks like it's maybe
in the twenty thirty So we're not quite there yet
as far as what this movie looks like, but what
they are experiencing in Her, we are already living in it.
So I think that is reason enough to include this
(18:10):
movie to show how movies can be innovative and predicting
the future. And it was such a big commentary on
that psychological impact on us having relationships with our screens
that now I think we are starting to see how
damaging that can be to our attention spans, to our relationships,
whether they be romantic or family or personal or business,
(18:33):
and how much being on our phones all the time
keeps us from experiencing life and love at times. And
now it doesn't seem so crazy for somebody to have
this relationship that Joaquin Phoenix's character had back in twenty
thirteen in Her. It's also wild to me that Spike
Jones just drops a movie like Her, and also movies
(18:55):
like Where the Wild Things Are, but then sometimes just
wants to say, Hey, let me go film all on Jackass,
or go do a music video for the Beastie Boys.
So at number seven, I have her. At number eight,
I have remembered The Titans from two thousand. I would
not argue with you if you were to say this
was your favorite sports movie of all time, your favorite
(19:15):
football movie. I mean, even if you said, remember the
Titans is your favorite movie of all time. If you
ask anybody now who plays football in college or in
the NFL, what's your favorite sports movie? I bet you
from my experience of traveling around to different colleges and
talking to head coaches and players in our YouTube series
Too Much Access, we also do a podcast called twenty
(19:35):
five Whistles where we have a lot of coaches on
and a lot of players on, and we ask them
what is their favorite football movie or just what is
their favorite sports movie? And I would say a good
sixty to even seventy percent of them always say remember
the Titans, because the movie, not only being a football movie,
also is the true story of racial integration in the
(19:58):
nineteen seventies and just happens to do it through the
lens of a high school football team and how to
overcome systemic racism and bridge those cultural divides. And then
it's also just on top of that, a really great
sports movie, a movie that I watched very early on
in school, where it feels like at least once a year,
this would be the movie we would sit down and
(20:19):
watch a movie day because it teaches you all these things,
and it's inspiring, and it's just a great movie that
I cannot believe is not in this registry, already being
eligible now for over fifteen years, it's got to go
in at number eight. I have Remember the Titans at
number nine. I have two thousand and fours Eternal Sunshine
(20:41):
of the Spotless Mind starring Jim Carrey, my favorite romance
sci fi movie. Where you don't get many movies that
can blend romance in sci fi, but this movie does
it so well. And for the longest time it was
in my top ten movies of all time. Maybe now
in twenty twenty six, where I would say that top
ten has shifted greatly in the last three years because
(21:03):
there have been such amazing movies that have really rocked me.
It has probably dropped down into the top fifteen, maybe
top twenty at this point. But it was so impactful
on me as a thirteen year old who watched this
movie for the first time, as it explores in such
a profound way heartbreak and what some would say is
(21:24):
the easy way out of dealing with that heartbreak just
erase the person from your memory. You were in a
really bad relationship, why not just erase them all together
so you never have to think about them and you
never have to feel that pain again. Even me at thirteen,
who never experienced real heartbreak, was so moved by this
movie and Jim Carey's character who felt so isolated and
(21:44):
moody and dark and was just so inside of his head.
I identified with him so much, just being a moody
teenager who was trying to understand why girls didn't like me.
But I think this movie teaches you so much about
why those painful experiences make you who you need to be,
to be a human. Where you can't just erase those
(22:06):
things because they make you uncomfortable, because it pains you
to feel that way. It is an essential part of life,
and I think it's even more important now as a
society where we start to try and find more easy
ways out to situations. I do this too, even now,
where it's a whole lot easier now to ignore things
(22:26):
or to get out of things that make you feel uncomfortable.
But I think these situations are things we need to experience,
so in the same way that we try to curate
our feeds and our algorithms to make them perfect, life
is not perfect. It's going to be messy. We can
put on the best version of ourselves on an Instagram
(22:46):
feed or even on a TikTok feed, But it's all
those things underneath that have made you who you are,
that maybe have put you in the most uncomfortable and
painful situations in your life, that are going to be
the things that connect you with other people. And I
think that is what I took away from that movie
back in two thousand and four, even though I didn't
realize it, but probably take it away more now in
(23:07):
twenty twenty six when I do revisit it. And that
is why I think this movie deserves to be in
at number nine on my list Eternal Sunshine of the
Spotless Mind, especially because Jim Carrey just got in this
year that we mentioned earlier with The Truman Show. I
do believe that movie deserved to go in first, but
Eternal Sunshine should be right behind that at number ten.
This was really tough because I wanted to have a
(23:29):
top ten list, and there were others that almost made
the cut, the usual suspects. But then when I think
about the director and Kevin Spacey in that movie, maybe
that is why it has not been entered in. Maybe
some controversy there that you don't want to include people
who maybe don't deserve this honor of being remembered forever.
Interstellar was also on my list, but with the Inception
(23:50):
just going in this year, maybe a little bit too
early for Interstellar. Maybe in the next five we get
it in there, but I do believe it is one
of the best sci fi movies of all time, and
Glorious Bastards where Quentin Tarantino's Pulp Fiction is already in
the registry. Maybe it's because some of the things Quentin
Tarantino has said recently that has changed the way some
people think about him. I still think this is one
(24:12):
of his best movies, my personal favorite movie of his.
But Pulp Fiction went in back in twenty thirteen, so
maybe not quite time for Glorious Bastards to go in.
There were some other just personal favorites that I felt
were a little bit too selfish to my list, but
Agean Ninja, Thurtles, Leelo, and Stitch Juno almost went in
there over Napoleon Dynamite, but I still think Napoleon Dynamite
(24:34):
was before it and also a little bit more culturally relevant.
Could have been really selfish and put movies in like
the Avengers, which is now within that at a ten
year range, Spider Man Avatar that was really close. I
think that will be in there eventually, but it could
be another ten years before we see Avatar from two
thousand and nine entered in there. And then I thought
(24:54):
of some really great comedies from the two thousands, like
Super Troopers that I feel is underrepresent in the registry
as a whole, great sports movies like Moneyball, and there
were some others that I was really happy had already
made it in like Selena Ironman, which was added back
in twenty twenty two. Toy Story was also added back
in two thousand and five, and La Bamba was added
(25:17):
back in twenty seventeen. So what I decided to go
with as my tenth movie that deserves to be in
the National Film Registry, I am going with Mean Girls
from two thousand and four, which I believe is a
perfect movie, not just a perfect comedy, a perfect movie
from beginning to end. As soon as you hit play
(25:39):
on Mean Girls, you realize you were watching an instant classic.
And it still remains culturally relevant at portraying what high
school is like with clicks, and maybe it's changed a
little bit as gen Z becomes a little bit more
accepting of people who aren't in your click. But if
you still look at the dynamics between the popular kids,
the less popular kids, the nerds, the band, all those
(26:02):
different types of people that you encounter in high school,
I still think it is an accurate portrayal of teenage
social hierarchies, clicks, the toxic effects of bullying. It still
has a long lasting list of memorable quotes, which I
think is important for movies being entered into this registry.
It deserves to be preserved for that. It is also
(26:23):
a great exploration on feminism, aggression, a cautionary tale on conformity,
all those things that you experience in high school. A
movie that's so relevant. You could still walk into a
Walmart a Target and find a T shirt or something
with the saying on Wednesdays, we wear pink. You still
see Mean Girls memes all the time. The movie itself
(26:43):
is now over twenty years old, so not only still
relevant today, but will probably be relevant for another twenty
or thirty years. At number ten on my list, I
have Mean Girls. So that is my list that I'll
recap of all movies I believe should be entered into
the National Film Registry, The sand Lot, A Goofy Movie, Friday, Napoleon, Dynamite, Scream,
(27:08):
The Hangover, Her, Remember the Titans, Eternal Sunshine of the
Spotless Mind, and Mean Girls. All Right, I'll come back
and give my spoiler free review of Send Help. It
as Get Into It Now. A spoiler free movie review
(27:28):
of Send Help, starring Rachel McAdams Dylan O'Brien, directed by
Sam Raimi, who not only gave us one of the
best superhero trilogies of all time when he directed the
og Spider Man movies with Toby maguire, but is also
responsible for horror classics like The Evil Dead and Out
of Nowhere gave us one of the best horror comedies
(27:48):
in a long time. And I am somebody who struggles
if somebody tells me just go watch this movie. It's
gonna be a lot of fun. For some reason, I
don't like that sentiment going into it because to me
that says, ah, it's not gonna be that good. I
don't want to go watch something that's just said to
be fun because to me that means my standards are
lowered a little bit. But when it comes to Sam
(28:11):
Raimi and his vision, his campiness which he is really
famous for. It works and I had surprisingly a lot
of fun watching this movie. It's about Rachel mcadam's character
who has been working at this company. The CEO of
this company passes away and his son played by Dylan
O'Brien comes into the picture, and his son is kind
(28:32):
of a jerk. Not just kind of a jerk, he
is a horrible boss. So she is a strategist working
at this financial management company in the planning and strategy department.
She is really good at her job. He just has
a problem with her personality and finds her a little
bit off putting. Basically, he's just being a really big
jerk and being awful towards her. But outside of work,
(28:55):
she is obsessed with the idea of survival. She reads
books on on how to build fires, how to find food.
Also a major fan of the show Survivor. It is
her dream to go on that show and compete on it.
So outside of work, that is where all these skills
come from that come into play later on, because they
(29:16):
go on this work trip where the plane goes down,
So now they are on this island and the roles
start to get reversed a little bit because she has
all these skills on how to keep them alive, and
suddenly where he feels like, I'm still your boss, I'm
still in charge of you. You have to do what
I say, not so fast, because Rachel McAdams is like, well,
(29:37):
out here, we're not at the office. You would probably
be dead if it wasn't for me keeping you alive
with all my survival skills. Let's see what happens now.
And that's the foundation of this movie. How do they
navigate those dynamics between employee and boss and how do
they survive on this island. I love both of these
actors together. Rachel McAdams is so charming in the way
(30:00):
that she is so uncomfortable at the very beginning doing
things that a socially awkward person would do. I identified
with that where she is so good at her job,
at being detail oriented. She's a workhorse. She is so
good at it, but other people take credit for her
work and they don't realize how good she is. But
she just lacks those social skills and awareness when it
(30:22):
comes to interacting with the superior. It is also interesting
to see how much they had to make her look
quote unquote ugly at the beginning of this movie, which
is always a weird thing in Hollywood. They get one
of the most beautiful people in the business and suddenly
have to make her look unattractive when she is just
so stunning no matter what. So they mess up her
(30:44):
hair a little bit. But I think that was the
hardest thing for me, Like, okay, just because you maybe
put glasses on her and some clothes that she maybe
normally wouldn't wear, it is really hard to believe that
she in this office would be the quote unquote ugly one.
I don't even like calling people that word because people
call me that word. So that is the most unbelievable
(31:06):
part in this movie. But it's seeing how she becomes
more comfortable and kind of gets more beautiful as the
movie goes along. She gets more into her element and
really allows herself to be her own unique self, and
you kind of see the beauty come out in her.
So I thought that was a really great way to
show this character's growth. And then you have Dylan O'Brien,
(31:27):
who for me, has been on a bit of a
hot streak lately. If you did not see twin lists
last year. I think his best role in a long
time where I've really become a big Dylan O'Brien fan,
And he is so good in this at being so unlikable.
So in the same way it was hard for me
to see Rachel McAdams as being unattractive, it was also
hard for me to see Dylan O'Brien be a jerk,
(31:50):
and at times his character seems so turned up to
a ten that I thought, this kind of feels fake.
There couldn't possibly be a person in the real world
who is so insufferable, who is such a bad boss,
who treats people with such disrespect. Could there in the
business world? And the more I started to think about it,
I thought, no, there are real people like this in
(32:12):
positions of power who are essentially grown up frat boys
and just taking over a company, trying to do it
and run it in a way that they would have
run in college. The fact that the matter is in America,
This happens all the time in corporate America. So even
though the way his character is portrayed is a little
(32:33):
bit cartoonish and feels like a caricature of what a
CEO would be like in this situation. There is probably
somebody just like this sitting in an office right now
who doesn't realize how ridiculous they are. But it was
hard for me to see him as a jerk, as
somebody you do not like. But the thing about this
movie is you go through so many different emotions, feeling
(32:55):
different ways about these two characters as you realize they're
in tensions, as you realize as things get darker and darker.
But the foundation of it, like we've been talking about here,
is the fact that it is rooted in Sam Raimi's campiness,
where he does like exploring the cartoonish aspects of characters
and of filmmaking. And I think that might be something
(33:17):
that would deter some people from the meaning behind this movie,
because some of the elements are just that very campy cartoonish.
For example, there is a bore that they hunt while
trying to find food, and the bore itself is rather
fake looking. You don't look at that boor and think, oh,
(33:38):
that thing is a real threat. It's very cartoonish and
the way it moves around it's kind of like a
more hardcore pumba from The Lion King. And I think
if you were going into this expecting a serious movie
and expecting everything to have a sense of realism. Sam
Raimi might not be the director for you because he
likes creating a surreal environment to give it that cinematic feel,
(34:00):
much so that this movie was initially supposed to go
to Sony. Sony was going to put this out, but
they didn't want it to have a theatrical release. They
wanted it to be a straight to streaming movie. And
Sam Raimi says, I don't do that. I create an
environment for a theater experience. That is the vision I
have for this movie. So he took it away from
Sony and said twentieth century for this movie is now
(34:22):
yours and is now having great success doing that. So
Sam Raimi knows his vision, know how he wants to
see his movie play out. And I'm so grateful that
he fought for this movie because it made for a
great in theater experience. It was fun, people were laughing.
Where if you are somebody who doesn't like horror movies,
like Kelsey who went with me, surprisingly she didn't want
(34:44):
to go see this movie, but she likes Rachel McAdams,
she likes Dylan O'Brien and I told her it wasn't
going to be your traditional horror movie, much more of
a thriller, some elements of suspense, and all the horror
elements were going to be so exaggerated that it's not
going to give you nightmares, and that proved to be true.
There are some bloody moments, but it's so over the
(35:05):
top and exaggerated. It's not the same thing like watching
the Texas Chainsaw Massacre. It's more like watching Doctor Strange
in the Multiverse of Madness, which Sam Raimi also directed.
I think some people might even forget that Rachel McAdams
was in both Doctor Strange movies, so that is the
relationship there. But you get a sense that this isn't
(35:26):
quite taking place in our reality. It feels very cinematic,
very intentional. But if you don't realize that that all
the stylistic choices when it comes to the visual effects,
that all the visual effects aren't meant to look realistic.
And Sam Raimi has been doing this since The Evil Dead,
of making things so over the top and out landish.
(35:48):
He is somebody who really emphasizes big close ups and
visuals on people's eyes. That is something that has become
his signature throughout his history of filmmaking, and you see
all those elements here and it feels very much like
a Sam Raimi movie. And I think when it comes
to really seeing his style in its perfect form, this
(36:10):
is it. Even though I wasn't a big fan of
what he did in the Multiverse of Madness, it didn't
quite fit there because I think we expect in the
world of Marvel a different level of visual effects. That
didn't work in that sense of storytelling. Here it does.
It's not building upon some other world. It's not a sequel,
it's not a reboot. Going into it, I know the context,
(36:32):
So I feel that I'm much easier accepting of his
campiness when it just comes in his own world, in
his own universe. I love a Sam Raimi universe, and
I just love seeing the return of Rachel McAdams on
the big screen. She famously took a break back in
the mid two thousands, at the height of her fame.
I'm talking mean Girl's level of fame. She said, I
(36:54):
need to take a break. She moved back to Canada.
She turned down roles in Iron Man, Casino Roy Now
The Devil Wears Prada, and then returned back in twenty
fifteen with Spotlight and said she had no regrets and
now is crushing it again. She stole the show and
send help. It was essentially the Rachel McAdams show. She
showed me so much that she understood this character and
(37:16):
how to make you root for her but also make
you fearful of her. You were questioning her intentions from
beginning to end. Rachel McAdams can really do it all.
But the only thing I couldn't help think about is Man.
We were robbed of a Spider Man four, directed by
Sam Raimi, starring Toby maguire. It had a release date
anytime May six comes around on the calendar. I think
(37:37):
man Back in twenty eleven, we were supposed to get
Spider Man four. It was supposed to have Vulture, it
was supposed to have Black Cat. It was supposed to
fix all the problems that Sam Raimi didn't like with
what happened with Spider Man three, because a lot of
that was studio pressure of wanting to squeeze Venom in there,
wanting to get these characters in there that did it
(37:59):
quite fit. Spider Man four was gonna be amazing. Development
was happening back in two thousand and eight, but ultimately
in twenty eleven, Sam Raimi walked away because he had
so many creative differences with Sony they couldn't land on
a final script. And even with Toby maguire coming back
in No Way Home, sam Raimi still says, no, it
would be wrong to bring back his version of Spider Man.
(38:21):
He is passing the torch along to new filmmakers, so
sadly we're never getting that Spider Man for But that
is okay with me as long as sam Raimi continues
to be true to himself, which is something I highly
respect in him as a director. For Send Help, I
give it four out of five islands. Time to head
(38:41):
down to movie Mike trailer parr I have nostalgia fomo, guys,
because everybody is flipping out about the devil Where's Prada? Two?
The trailer got two point eight million views within the
first nine hours on YouTube at the time of recording this.
Now it's at about eleven million views. So people want
(39:03):
to see this movie, which is rare. Usually people feel like, ah,
don't mess with the legacy. We don't want to see
what these characters are up to. But that doesn't seem
to be the sentiment online. Even the studio themselves wrote
it in the description on YouTube, saying everybody wants this,
which most often people say, nobody asks for this when
(39:26):
it comes to a movie coming twenty years after the original.
But it seems like people want to know what Meryl Street,
Emily Blunt and Hathaway and Stanley Tucci have been up
to since the first movie. There are some reasons that
I believe this isn't just a cash grab. We'll get
into all that, but before I do, here is just
a little bit of the Devilware's product trailer coming out
(39:48):
in theaters on May first. Hello, Wow, look what TJ
Max drag them? Sorry? Who is this? Do you know her?
Do I want to know her? I'm Andy Sachs and
she was one of the Emily's Well what am I
having a hallucination? Hi? Emily, you also know her? We
(40:08):
were at Runway at the same time, Randa. Really, how
was that Meryl Streep acting like she does not remember
everybody from the first movie. But she is back as Miranda,
Stanley Tucci is back as Nigel, and Hathaway is back
as Andy, and Emily Blunt is back as Emily. The
(40:29):
most surprising thing to me about the devil Wares product
is the fact that Meryl Streep is actually doing a sequel.
She notoriously has turned down sequels her entire career. The
only other time I've seen her be a part of
a sequel in recent history she was in the sequel
to Mama Mia, but she had about a five minute cameo.
(40:52):
She really wasn't in the entire thing. The whole movie
is about two hours. She is in maybe five minutes
of that, so that's really not her coming back to
do a full on sequel. The reason I think she
agreed to do a sequel is the difference is The
Devil Ware's Prada movies are based on a book. The
second movie is going to be based on the book
(41:12):
called Revenge, Where's Prada? The Devil Returns, which came out
in twenty thirteen. In the book, it follows Andy ten
years later as a successful bridal magazine editor whose life, marriage,
and career are threatened when her past intersects with her
former boss, Miranda. Andy is preparing to marry the son
of a media mogul, but her past comes back to
Hunter when Miranda re enters her life. Miranda is also
(41:36):
suffering with a decline of print, so that is where
you're going to find her character, and we see all
throughout this trailer her not remembering anybody, so you don't
know if she's suffering from actual memory loss or she
is being so petty because of what happened at the
end of Devilware's Prada one. There is also a third
book in the series called When Life Gives You Lululemons,
(41:59):
which is mostly based on the character Emily. That book
came out in twenty eighteen, so if you go back
to the original movie based on the book, it follows
Andy and Hathaway's character who just graduated college. She's trying
to get a career in journalism, so she ends up
being a junior assistant to Miranda, who is the editor
(42:19):
in chief of Runway, which is a highly successful fashion magazine,
and all throughout that movie, Andy struggles to meet the
demands of a really, really terrible boss. He is also
trying to maintain her relationship with her boyfriend, and then
enters in Emily Blunt's character in Stanley Tucci's character, So
(42:39):
in this movie, Emily Blunt's character is now a high
powered executive working for a luxury group with advertising dollars
that Meryl Streep is looking for because the print business
just isn't what it used to be. So I think
the reason it doesn't feel like a cash grab to
me is none of these three leads need to do
this movie right now, and Hathaway doesn't need to do it.
(43:02):
Emily Blunt is having I would say, the apex of
her career right now. She's also going to be in
Disclosure Day later this year, which is the Steven Spielberg
Alien movie. Meryl Streep could just retire. She does not
need to be working anymore. But I really think deep
down she still loves it because she still gets nominated
(43:22):
for awards, and that is what she does. She puts
out roles and then scoops up all of her trophies
at the Golden Globes or at the Oscars. I don't
know if this one is going to be on the
level of the first, because back at the two thousand
and seven Oscars, the movie did scoop up two nominations.
Meryl Streep was up for Best Actress, she did not win.
It was also up for Best Costume Design. They still
(43:45):
did not win there, and I don't think they're really
trying to go for those awards again, just by watching
the trailer, it really looks like they are super serving
the fans of the original movie and of the books,
because all these little references you would really only get
if you are a really big fan of the first one,
and it is a movie that has had a long
(44:06):
lasting history, and I think that's why we've seen people
just swarm to watching this trailer online and creating a
buzz about it. Some actors joining the cast are Kenneth Bronna,
who is going to be Meryl Streep's new boyfriend. And
the most surprising but also not that surprising, is that
Sidney Sweeney is going to be in this sequel. I
would say the most surprising casting just because I don't
(44:28):
know how she's going to fit into this cast, but
not surprising because she is in everything right now. You
also have Lucy lou Justin Thurreau, bj Novak, and Lady
Gaga will make a cameo in this movie. And my
question is will it be the best number two to
come out in two thousand and six? So let's talk
about sequels here, not part threes or part fours or
(44:50):
part fives. I'm talking about all the big number two's
coming out in twenty twenty six. You have The Devil
Wears Prada. You have Fall two coming out, which the
original came out back in twenty twenty two, which was
about two girls who climbed this really tall radio tower
and then get stuck up there, which sounds crazy in
itself because if you think about putting yourself in that situation,
(45:13):
those things are really tall and really scary. But then
you find out all the crazy details of their backstory,
and oh, it gets wild. So I think that's a
movie that came out back in twenty twenty two that
I love the concept of it. Overall, execution of it
was okay, but I still think it is just a
really solid thriller and suspense movie. It's one of those
(45:34):
movies with such a great premise that you know it's
going to be entertaining, even though the acting probably isn't
going to be the best thing you've ever seen, and
probably border along the lines of being a little bit cheesy,
But it's a good movie that if you go watch
it in theaters and bond with the people sitting around you,
it could be a really fun time, but I don't
think that'll be the best number two. We also have
(45:55):
Violent Night two coming out this year, which is the
David Harber movie where plays Santa and kills a bunch
of criminals. The first one was pretty good, but I
don't think that is gonna be the best number two
of the year because the first one is kind of forgettable.
I don't really need to see a sequel in that situation.
But David Harber is doing a lot of big movies
(46:16):
right now. Mortal Kombat too. The original came out back
in twenty twenty one. I have been waiting for this movie.
It is the modern reboot of Mortal Kombat, so not
a continuation of the two movies from back in the nineties,
but it is reintroducing Mortal Kombat to a new generation.
A lot more depth to the story, maybe a little
bit too much for my liking, where I just want
(46:37):
to see a bunch of people fighting in the style
of the first movies, because the actual character design and
the action is a lot better. It is so much
less cheesy than those original movies. But there's still just
something lacking to these movies that I want them to
be a little bit better, So hopefully they get those
things right in the sequel. Right now, out of all
(46:58):
the ones we've been talking about, I still think Devilware's
product is up there at the top, but Mortal Kombat
two is probably right underneath that. We also have Practical
Magic two coming out, which the original came out back
in nineteen ninety eight. It has been a while since
I've seen Nicole Kidman, her and Sandra Bullock together. I
(47:19):
think in recent history, I've been more of a fan
of Sandra Bullock's movies, but more a fan of Nicole
Kidman's MANI series. Nicole Kidman in a mini series is
always a plus when it comes to her most recent,
most memorable movies. Baby Girl was really good, But then
I feel like sometimes she just picks up a paycheck
(47:40):
for doing a sequel to Aquaman, So another movie I
don't really feel the nostalgia for. But I'm excited to
see two actors at their level putting out a sequel
like that. I hope that one does really well. Ready
or not to hear I come, I think the first
movie is highly underrated. Samara Weaving is is my go
(48:00):
to actor right now in the horror genre. I'll watch
anything with her, and the first one was so unexpectedly
good that if it could somehow continue that same momentum
from twenty nineteen, I have really high hopes for Ready
or Not to Here I Come? So I think that's
at the top of my list now, because you also
have the Super Mario Galaxy movie. It's not really the
(48:21):
Super Mario Brothers Movie two because they're gonna make so
many more of these movies and probably have spin offs,
so I don't know if I can technically count that
because it doesn't have two in the title. We also
have The Social Reckoning coming out later this year, which
is not a direct sequel to The Social Network, which
is the Facebook movie. Instead, it's pretty much an entirely
(48:43):
different cast, a whole different situation, takes place at a
different time, really going to be unrelated from the first
movie because Jesse Eisenberg is no longer playing Mark Zuckerberg.
So out of all the twos, the Devil, Where's Prodatu Fall? Two?
Violent nine two, Mortal Kombat two, so Practical Magic to
and Ready or Not to Here I Come? I'm going
(49:05):
to say my favorite of all these, and one that
I will probably rate the highest is going to be
ready or not to and that movie is coming out
in theaters on March twentieth. Again, we've been talking about
the devil Wares product to that is coming out on
May first. So a lot of Great Number two's coming
out this year. And that was this week's edition of
(49:26):
Movie Mike Trailer Bars, and that is going to do
it for another episode here of the podcast. But before
I go, I gotta give my listeners shout out of
the week. This week, I'm going over to my YouTube
channel where you can watch individual movie reviews. If there's
any movie you missed from January, December or November, just
(49:47):
go to YouTube dot com slash Mike Distro and you
can see just those segments of the podcast there. And
I get just random comments all the time on old
videos because I always review the movie when it comes
out in theaters. And then when he goes to streaming,
I see the people who have trickled in started watching
it at home. So I went over to my review
of Hamnet that I did with Kelsey and shouting out
(50:10):
flipping Iowa seven eight six', eight who, SAID i love
this review with a bunch of, heart Emojis. Hamnet you
can watch it at. Home you do have to rent.
It it is twenty bucks right. Now but going into The,
oscars if there is one movie you really need to
see that went a little bit under the radar and
(50:31):
maybe you saw the trailer and thought that looks a
little bit too artsy and, EMOTIONAL i Think hamnet is
the dark horse because The oscars are coming up On march,
fifteenth And hamnet still doesn't have a proper release. Date On,
peacock it still Says march twenty twenty, six so hopefully
it ends up being before The. Oscars BUT i even
(50:52):
look today and there are still some theaters actually showing.
It so that's my dark horse for The oscars if
you miss that. One so thank You Flipping eye for
watching reviews over there on, YouTube thank you for listening
wherever you, Are and until next, time go out and
watch good movies AND i will talk to you. Later
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