Movie Mike is here to talk about the state of cinema after a German creative studio has drawn widespread attention after releasing a three-minute sci-fi short film it says matches the look and scale of a $200 million Hollywood production, created entirely with artificial intelligence in a single day. Is Hollywood cooked? In the Movie Review, Mike talks about How to Make a Killing starring Glen Powell and Margaret Qualley. He plays a guy who must kill seven of his family members to inherit $28 billion. Mike talks about what the movie failed to set up but how undeniable Glen Powell is as an actor. Is he still on track to be the best big American movie star or is he being shoved down our throats? In the Trailer Park, Mike talks about THE BRIDE! Starring Christian Bale and Jessie Buckley. The story follows a lonely Frankenstein traveling to 1930s Chicago to seek help in creating a companion, resulting in the birth of the Bride. Mikes shares his 3 favorite things about the movie including why the studio didn’t want Maggie Gyllenhaal to have Jessie Buckley play the lead role.
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome back to movie Mike's Movie Podcast. I
am your host Movie Mike. I'm trying to sound so excited,
except I'm a little scared. Hollywood could be ending. Somebody
just made a two hundred million dollar movie in one day.
We got to talk about how AI is going to
change this industry. Oh Man, getting crazy out there, y'all.
In the movie review, we'll be talking about how to
(00:22):
make a killing Starr and Glenn Powell. Is he still
on track to be the next great American movie star
or is he going to be somebody else that Hollywood
is just kind of forcing down our throats. In the
trailer park, we'll be talking about Maggie Jillen Hall's The Bride,
starring Jesse Buckley and Christian Bale. This movie looks awesome.
I am finally convinced. So thank you for being here,
(00:44):
Thank you for being subscribed. If you don't mind, go
check out my YouTube page YouTube dot com slash Mike
Cadistro watch individual movie reviews there. And now let's talk
movies podcast Network. The Movie Podcast is Hollywood ending as
we know it? This video went up last week and
(01:08):
it is all I can think about. Saw a bunch
of people from the industry, real legit people, not just
people on X over here talking nonsense, real actors, directors,
and writers, reacting to this AI video that these two
guys made, The Door Brothers. They are these two German
guys who have this company, and they claim that they
(01:30):
made a two hundred million dollar movie in just one day.
They put out about a three and fifteen minute what
they call a movie. It's really just a trailer. It's
really not anything. And that is the issue I'm having
with AI. But they put this out, and everybody is
saying that Hollywood is cooked because this looks like it's
(01:51):
going to eliminate so many jobs. I'm frustrated and struggling
with this, and I want to talk about what even
qualifies a movie. But before I do, if you haven't
seen this viral post, I just want to give you
a little bit of context of what it is that
they created with AI, just prompts. They did this entire
(02:13):
thing with prompts, no crew, no director, no actual physical sets,
no actors. They generated the actress in this movie by themselves,
like it was all prompts, So this real person doesn't exist.
There were some other videos that we'll talk about using
real Hollywood actors that we know. I think that's why
all these things bubbling led me to want to do
(02:36):
this episode. But if you haven't seen it, I do
want to give you at least a little bit of
context of what it sounds like as far as the acting.
But here is a little bit of the two hundred
million dollar movie made in just one day. Because essentially,
what you have is a woman at her job in
this high rise in what appears to be New York City.
All of a sudden, this storm is just ripping through
(02:58):
the country. It flashes to her watching the news talking
about this storm, and then a helicopter falls out of
the sky. She leaves her building, runs outside, gets into
a cyber truck, which also kind of tells you the
kind of person who created the prompt for this. It's
tech ros. I've never seen a cyber truck in a movie,
(03:18):
but she gets into a cyber truck and out of
nowhere is already acting like a superhero, which doesn't make
sense to me, as you can already tell my criticism
of AI is coming out. But then she gets into
a cyber truck. Out of know where you learn she
has a daughter. She's trying to get home to her daughter,
and then she gets hit by this military vehicle and
then goes into this weird like dream sequence. She ends
(03:41):
up in an interrogation room with the head of the FBI,
who's like, well, you'll hear it in this clim and
then the head of the FBI calls the president for
some reason. But here's just a little bit of this
quote unquote two hundred million dollar movie made in just
one day. I love you, I'm on my way. I
(04:03):
need you to hide, get underground. Good morning, sleeping beauty.
Why don't you get the president on the phone? We
have her. I'll be right there. Let's address the acting first.
(04:25):
There is no acting in that AI doesn't know how
to act yet. I think the problem I have with
AI and what I've seen it generate up to now
when it tries to replicate a movie or create a movie,
there's no pacing to AI. If you watch this quote
unquote movie, I guess I gotta call it a movie.
If you watch this movie, it feels off where the
(04:49):
humans aren't acting like humans, they're not speaking like humans.
You hear it there A little bit more with the
head of the FBI and the president. It sounds a
little bit more natural, but the interaction between the mom
and the dog feels very fabricated to me. So the
acting is just not there. I think where all the
hype is being created and people saying that it's going
to replace people in Hollywood, it's going to change the
(05:10):
way we watch movies is because of how it looks.
This does not look good to me. I think the
people saying that this looks good are lying to themselves
and they don't really understand what it is to make
a movie that is visually appealing because this looks so
off to me. The movements are awkward. I think the
(05:30):
only thing that is impressing people is that they were
able to make all these explosions which would be expensive,
and able to do it for You can make this
movie for free with ay. That's the whole point. They
were able to do this in one day, which they
claim to be a two hundred million dollar movie. That
is not a two hundred million dollar movie. That is
(05:51):
Walmart maybe four dollars bin at best. This is not
a two hundred million dollar movie. So a little bit
of that is also them playing into that clickbait trying
to get people in a fit of rage, like they
have me right now, because in no way, in no
world is this a two hundred million dollar movie. Iron
Man three is a two hundred million dollar movie. This
(06:13):
is not. This feels like something that would come out,
and I wouldn't even question going to see it in
theaters because it looks so bad. But by comparison, iron
Man three cost two hundred million dollars. So I think
we are just getting ahead of ourselves in saying that
this looks like a two hundred million dollar movie. It
(06:35):
does not. That is not what they created here. They
created a screen saver. They created something that is probably
enticing to people who are invested in AI, but to
you and me and people who have become even just
more critical about bad visual effects in movies, in no
way would we be satisfied to watch this in our
(06:59):
living room, much less pay money to go see something
of this quality. But it leads to the question, what
is a movie? What is art? I did ask the
question on social media. I asked, if you watch a
movie that look like this but it is entirely AI generated,
does it still count as a movie? Sixty five percent
(07:21):
of you guys said no, it needs story and human performance.
Twenty eight percent of you guys said unsure depends on
the project, and seven percent of you guys said yes,
visuals are what matter. I think that is a bit
of a relief to me as somebody who loves the
artistry that goes into making a movie, because I think
(07:42):
what the Internet is trying to say is that all
you need is visuals, because if this looks as good
as something that would have cost two hundred million dollars,
then we have this thing figured out. But making a
movie is not that. What about animation? Is that still
making a movie? If you create it entirely on a computer.
(08:03):
If you go back and watch the first Toy Story movie,
which was the first movie to ever be computer generated,
what people at that time have said, that's not a movie.
You made that all on a computer. You didn't hand
draw everything. Whoa So to me, it is not the
actual technology being used that I have a problem with,
because I know the minute you start rejecting technology, you're dead.
(08:28):
If we were constantly in fear of rejecting technology, we
would not grow. You think about all throughout history, the
people who didn't want to give up their horse and
buggy to this automobile that's never going to catch on.
I am not trying to be a part of those
people who are closed minded in adapting new technologies, but
(08:51):
I think when it comes to AI, it is not
there yet. I do think it could be a tool,
but I think it is crazy to think wild to
think that AI could do all the things that go
into making a movie. When I talk to actors and
directors in particular on this podcast, a lot of making
a movie from a director's standpoint is managing people, this
(09:13):
human element of connecting with people, connecting with actors, being
able to get a performance out of somebody that you
need to make the story work, not put it into
a prompt and just hope you kind of get what
you need. There is so much more detail that goes
into storytelling that I do not think AI can replicate
(09:33):
that process. I do think it could be a tool.
I think it has already been a tool if you
think about CGI. If you look back on filmmakers who
were initially resistant and skeptical of CGI when it was
first introduced back in the nineteen seventies. In nineteen eighties,
they were against it because they thought it had limitations
(09:54):
at the time. They thought it was too expensive and
they preferred traditional ten Bull practical effects, which I am
still a fan of. But now CGI has become so
normalized we do not even question it if you use
CGI to make an actor fly. But back in the
seventies and eighties they were, so I don't want to
completely reject AI. I don't want it taking away jobs
(10:18):
from people, because if you think about who this would
greatly affect, is going to affect those people working on
the sets and catering on the crew, doing all those
jobs that you think if you don't have these big sets,
those are gonna go away. That is what I am against.
But I do think at this point we are kind
of in the situation where the toothpaste is out of
(10:41):
the tube, the technology is here is being pushed on
us from all these companies. When you even have Disney
out here signing these aideals to license out their characters,
and right now they are just saying, oh, it's for
you guys, so you can make your own animations at
home with your favorite care characters. But that to me
is a big threat to all those people creating those characters.
(11:05):
Of it not even being a part of your baby
anymore once it gets sold off to a corporation. I
don't like those aspects of it, but I do think
it can be a tool. But at this point of
what I'm seeing, it looks so awful. And that is
what I care about the most when it comes to movies.
I don't want to live in a world where it
(11:28):
feels like content that is just being spit out because
it's good enough. And that is what I worry about,
because in the industry right now, a lot of studios
are struggling, and when you put out a movie that
costs you a lot of money and you lose on that,
that is what studios are trying to avoid. So to me,
I see AI as a way of them to think, oh, well,
(11:49):
we have this tool now, instead of spending two hundred
million dollars on something that may or may not work,
just get somebody to put together a movie with all
these problems in AI, and then it's a low risk,
high reward because you didn't have to spend all that
money to make the movie. But then you start thinking about, man,
do we want to go to a theater where we
end up having to pick between watching a human made
(12:14):
movie the traditional way and watching an AI generated movie.
All I have to tell you is I am not
paying full price for an AI movie. So maybe those
movies come as a reduced cost to the customer, or
maybe those movies just never make it on to the
big screen, because I have to imagine there are going
(12:34):
to be a lot of people rejecting a fully AI
produced movie in theaters. And then you start thinking about
who is going to promote an AI movie? If you
have an AI generated actor, are you going to send
them out on a press tour or are you just
going to generate a bunch of promo clips of them
(12:54):
doing interviews? It gets so weird just thinking about how
this starts to affect everything. Can you sell a movie
without any story behind it? If you take that all
the way because you have an AI cast, is anybody
going to care? How are you going to market an
AI movie? All these questions have been flunning me in
(13:14):
the last week. And the other video that really started
to rock the industry was the one of Brad Pitt
and Tom Cruise having a full out fight on top
of a roof and people again, and that one we're
saying this looks so realistic, We are cooked. That was
(13:35):
the video that really got people in the industry talking.
And then you have all these questions that come up
with with SAG and after and the Motion Picture Association
who they want to shut this down. The actors want
to shut this down because you can't have people out
here making movies and making content with your image and
(13:58):
likeness without their conc The idea of making performances without
the performers is crazy, that you could just generate them
instead of hiring them, because again it goes back to man.
It would cost us forty million dollars to hire Brad
Pitt right now, and it would cost us another forty
million dollars to have him fight Tom Cruise. I'm not
(14:21):
even sure these two people would get along. Let's get
a quote from their teams. All right, let's forty million,
forty million, you know what, let's just ai generate them.
What's the quote on that. Maybe we'd just pay a
licensing thing to use their image and likeness. If studios
can just generate stars and action scenes like that, just boom,
what happens to the mid budget movies? Because if we
(14:42):
are so focused on these two hundred million dollar movies
Brad Pitt versus Tom Cruise. What happens to that fifty
million dollar movie, that one hundred million dollar movie that
can't just be generated the same way of film, where
there's a lot of new ones months and where the
cinematography is a little bit more subtle, and some things
(15:04):
on set happened by accident, and it's all those little
things that you encounter when you are dealing with physical
people in actual sets, where it's alive and it's breathing.
What happens to those movies, the lower budget movies, the
movies that create hype in this world, that are the
(15:24):
biggest success stories, where they spend maybe ten twenty million
dollars to make it like a Good Boy last year,
the horror movie from the perspective of the dog. What
happens to those movies where you take every novel aspect
out of the filmmaking process just because you have this technology.
(15:45):
I don't want to live in that world where you
can't have these small independent movies that really hit you
in the fields when you need it. And what I
do think is interesting about that, about being able to
use actors' image and their likeness. The one good thing
I can say is what if some of these movies
that we can't watch anymore because they have a canceled
(16:07):
actor in them. I won't say specifically, who could be
movies could be a TV show. Even when you think
about the movies and TV shows that were no longer
allowed to fully enjoy because the people in them have
now done awful things. What if you want to swap
out one of those canceled actors and you use AI
(16:28):
to do so. Is that bad? If we get back
some of these movies we haven't been able to fully
enjoy because we see some of these people in them
and we're like, oh, man, I probably shouldn't support their
work anymore. But the studios are able to go in
and say, let's swap out the actor, put in a
new actor, take their image and likeness and place them
(16:49):
over them, change all the dialogue to now be the
new actor's voice, and then boom, you have a new
cut of that movie. Or even what we've seen recently
in Star Wars movies being able to bring back people
from the dead. Where does it end? I feel like
if I would have made this episode a year ago,
I wouldn't have had all this material to work with,
(17:12):
but the fact that so much is happening now it's
kind of the wild West with all this stuff. You
see big companies like Netflix sending out real cease and
desist letters to the companies responsible for this content. You
see writers like the writer of Deadpool and Wolverine out
here saying like, yeah, we're cooked. You have actors like
Zachary Levi who is saying we need to be afraid
(17:36):
of this, and he has a company that he is
created that is focused on human made projects and not
using anything with AI. You have another filmmaker, Zach Morrison,
who said you have no character here, no emotional spine,
no story logic. In response to some of these AI
generated movies, he says, what AI still can't do is
(17:58):
narrative intent, subteme like I was talking about earlier, performance choices,
and taste. He compares it to a tech demo, a
cinematic mood reel, and a really expensive trailer with no
movie attached. I think that's a great point Zach Morrison
makes here. This kind of feels like a demo. I
think that is the furthest this technology is going to
(18:20):
go where it can be used within the industry. To say, Okay,
this is the idea I have. I want to have
this building go down, this spaceship come out of this corner,
and then you have our hero emerge from the flames.
Let's generate this to see how it would look, but
then let's make the real version of that. Great movies
are not built from prompts, They're built from decisions. But
(18:44):
everything I've seen just looks so soulless and looks way
too sharp and overproduced. And there was even a scene
that was made just for me that somebody did with
Spider Man in a really hyper realistic looking suit swinging
through a snowy New York City, and it had some
really slick looking angles. But if you watch all the
(19:06):
movements on that, it just doesn't feel right. It looks
like something that would probably impress a ten year old,
maybe a twelve year old, which is also where I
start to think about this technology of If I think
of young me, who was wanting to be a director
when it was ten twelve years old, would get out
the old home video camera with the VHS tape and
(19:29):
make movies in the backyard. I think if that version
of me had this technology, I would find it really
exciting because now the things I want to make are
a little bit more in my reach. And I think
how the industry is going to go is based upon
how the young people use this technology, because I got
to say, if I was ten years old and I
(19:50):
had access to AI, I would not be saying the
things I have been saying here because to me, this
would just be new, This would just be the way.
So I think in my lifetime I won't fully see
an ANI generated movie. I really don't. But I think about, well,
now I think about how old the young people are
now these days, there's a ten year old out there
who doesn't have access to a camera, maybe has a smartphone, maybe,
(20:14):
but he has a laptop and he has the ability
to use this software to generate his wildest dreams. It's
not going to be good if I think back on
the things I made when I was that young, aspiring
to create art probably wasn't good. But that is who
is going to get really good at this technology really quickly.
I do think generating prompts is going to be what
(20:37):
young people know better and learn better and are able
to use in their everyday life more than we ever will,
because to them that is the new thing. I mean
even when I was going to school, and I mean
I don't want to date myself only, but it wasn't
the norm to have a laptop all the way throughout
my school. I am from the generation that I remember
(20:58):
a time before in and how I adapted to all
the new technology as it came and advanced. But it
was through my developmental life from young kid to teenager
to college that I got to experience all of that technology.
But if you're a young kid now, you come out
and you're already holding an iPad watching Bluey on that thing.
(21:20):
So I think it is the next generation of filmmaker
that is going to decide where the industry goes. You're
going to have these really old school people who don't
want to see things changed. And I don't want to
see them change, just for the fact that I don't
want people's jobs to just go away because a corporation
just wants to make more money and make movies for less,
(21:42):
take all the art out of it, give us sou
less content, and think they could still make money off
of us. That is where I draw the line. That's
what I don't want to see. I don't want to
see art being devalue like this, and I think that
is what this is a threat of. I feel nothing
from any of this slot that I've I've been seeing
on social media and it's all just people trying to
(22:03):
sell me this hype of the future is here now.
It's not here now, So let's get over that. It
is not here now. It's not I don't want to
say it's not even close, but if I had to
put it on a scale, ugh, I would say just
a step above not being close. It is maybe impressive
to some people who want to invest in this or
are trying to get people to invest in this, but
(22:26):
I think to the consumer, to the person who this
would be sold to and said, hey, go watch this movie.
It is not there yet. We are so critical. Oh
my gosh. If you put out the best movie that
has the best cinematography, you will still find the haters.
If you put out an Oscar Award level performance, people
(22:49):
will still find the bad in that. And you have
to tell me and make me believe that we are
going to accept AI performances. You're out of your mind.
So we'll start to wrap this thing up here. But
is it the end of Hollywood or is it just
the start of something new. I am hopeful towards the future.
(23:10):
I don't think this is the end. People have been
saying this for so long. The rumor of Hollywood's demise
has just been greatly exaggerated, where people just keep saying
that movies are going away. I've been hearing this for
the last twenty years, but now people are saying this
is the final nail in the coffin. I don't think
Hollywood is ever going away. I don't think movies are
(23:32):
going away. I don't think movie theaters are going away.
Hopefully the people who keep saying that are going away
and will stop saying that. But that's like saying concerts
are gonna go away because they're getting so expensive. That's
like saying because we have this technology that we just
don't need art anymore, we just don't need human connection.
(23:54):
If we get to a point that we don't need that,
I don't know what the purpose of living is going
to be at that point when we're not interacting with people,
we're not experiencing anything real, and we're just fabricating things
because it's quicker and faster. I still think we will
always crave that human connection because as humans we need that.
(24:14):
So I don't think it is the end of Hollywood.
It could be the start of something new. Maybe this
is something entirely different on a different lane. We'll see
some threats here in the next few years. But I
don't think this is fully going to take over as
much as people are hyping it up to be, because
production was never the magic. It was never because oh,
(24:36):
we have all this technology that we're able to make
all these great things. That's not where the magic is.
It's in that taste, It's in that storytelling, it's in
that audience connection. The real tangible things of making a
film is what we buy into, is what are the
essential building blocks of movies that are pillars of our life.
(24:58):
AI just lowers the bar to get in there, but
it doesn't replicate that. It doesn't lower the bar for greatness,
and that is what I'm trying to say. So what
it could change that ten year old I was talking
about who wants to make a movie but doesn't have
the access to making big blockbuster type visuals. It gives
(25:20):
that kid the power, maybe even some independent filmmakers who
would not have the ability to have a chase scene
with explosions. It gives them that ability to put that
into their film. But it's going to make studios prioritize
IP even more, which could be good, which could be
a bad thing, depending on how you feel about that. Ah,
I think that could be. I want to say it's
(25:41):
a good thing, but ultimately it's going to be a
bad thing because that means we're going to be so
fearful of creating new IP and giving untested things a chance.
And then if everybody's just creating AI content, then we're
just going to have the same actors we've been having
and now generating them, generating the same storeries. And then
does AI know how to create new stories or is
(26:03):
it just going to act off of the stories that
have already been created before it? And then you just
have the same IP being regurgitated even more now than
it already is. Where that is our biggest complaint of
us saying, oh, everything's a remake, everything's a reboot. If
AI takes over, hate to break it to you, but
we're not getting anything new. We're just getting the same
(26:24):
thing over and over that it has been made for
the last twenty to thirty years. Because when I want
somebody making a movie. I don't want somebody who's really
great with technology. I want somebody who knows how to
craft a story that is going to make me sad, happy, excited,
all the emotions I get out of the movie going experience.
(26:45):
So my final thoughts here, if everyone can make a movie,
who is still going to know how to make a
great one? What will the future of directing and acting be?
And then if it gets so good that the audience
can't tell the difference, does it even matter? Right now?
Now I am the audience. I can tell the difference,
and it matters. Let me know what you think. Is
(27:06):
AI about to break Hollywood? Would you watch an AI
generated movie? Do you care more about visuals or do
you want storytelling? Do you want that human element? Let
me know. Hit me up on social media at Mike
destro on Everything, or you can always send me an
email Moviemike d at gmail dot com. I'll come back
and give my spoiler free review of The Human Maid,
(27:29):
how to Make a Killing starring Glenn Powell. Let's get
into it now. A spoiler free movie review of How
to Make a Killing starring Glenn Powell, Margaret Qualley, directed
by John Pattenford, who before this did a movie I
really loved called Emily The Criminals starring Aubrey Plaza, which
(27:50):
is all about how you can be rooting for somebody
who is not a good person, which is a genre
I just seem to love lately. I like rooting the
bad person in movie so much that I start to
question my moral compass. But that is the question that
this movie raises. What would you do if seven relatives
stood in the way of your twenty eight billion, yes billion,
(28:12):
with a B dollar inheritance. That is what Glenn Powell's character,
Beckett is going through. He was born from a teenage
mom eighteen years old who came from this really wealthy family.
But as soon as she got pregnant, they said, you're
kicked out. We don't care about this kid, you are
cut off. So he was born outside of that wealth,
(28:36):
but still there was this will set in place in
order to protect the family money that he was still
in line. He believed at some point he would be
given this twenty eight billion dollars. His mom passes away
and now he is left just waiting for that inheritance,
but he has these seven relatives standing in his way.
(28:58):
And he has been done in life for so long.
He is working at a job that just doesn't feel
the job he is supposed to be working. He is
living still where he grew up. He has people looking
down on him. As a kid, he formed a friendship
with a girl named Julia, who was later played by
Margaret Qualley, and their entire I guess you could call
(29:21):
it friendship. Whatever relationship is that they have, is a
driving force throughout this entire movie. But I have to
say this is one of the best dark comedies I
have seen in a long time. And I guess from
the trailer and the description of this movie, I didn't
know how funny it was actually going to be. The
thing I love about Glenn Powell is he is so
(29:42):
dedicated to every single role. If you look at the
last four movies he did, including this one, How to
Make a Killing, Running Man, hit Man, he also did Twisters.
Before that, he did Anyone But You, and in between
there he did Chad Powers, which he is working on
another season right now. Every single time I've seen Glenn
Powell commit to a character, I feel like I'm getting
(30:04):
one hundred percent of him, and that is what I
love about him. Not just his love for Texas, because
it's somebody who is a Texan and we just want
somebody at the top to also represent our state. I
love that about him, But I think he is just
a great actor who is also taking a lot of risks,
doing smaller A twenty four movies, doing the big action movies,
(30:26):
doing the fun shows where he doesn't take himself too seriously.
He also really likes dressing up in different costumes. If
you look at almost all of his roles, he is
always dressing up trying to be somebody different. But I
find that he is so committed to every single project
that it makes me always feel like I'm getting my
money's worth When I go to see a Glenn Powell movie.
I've never seen him phoning it in, and I know
(30:49):
he is right there on the cusp of being at
that a level tier, the type of person that you
would go see every single movie that they make. I
just fear that he doesn't quite have or he really
doesn't have that signature role yet. And still when people
talk about him, they say it's the guy from Top Gun,
but he has come so far from there, and I
(31:10):
feel like he's just one roll away. But I felt
that since Twisters, Running Man didn't really put him on
that level, and I don't think it was his fault.
I think that movie just didn't really resonate with audiences.
Maybe it wasn't the time to remake that movie, but
I just fear that people are starting to feel like
Glenn Powell is being shoved down their throats, and I
(31:32):
don't like that for him, because if you actually look
at his work, I am a big believer that he
is not just somebody who is doing a massive amount
of projects in order to saturate the market in order
to be at the forefront all the time. I still
think he is putting out quality movies and TV shows
that I am still all aboard the Glenn Powell train.
(31:54):
But then you look at Margaret Quality, who has also
delivered some really great performances since the substance drive Away
Dolls Honey Don't, which I think people didn't fully understand
how great that movie was. I really enjoyed it. It
was what I felt a good throwback to, like an
eighties crime, just fun movie that maybe came across a
(32:17):
little bit cheeseball to some, but I really enjoyed Honey Don't.
I also think she was great even though she wasn't
in it that much kinds of kindness, but still by
far the substance has been her best role. And I
feel like her and Glenn Powell together just kind of
makes sense because if you look at both of their
last films, they're kind of right there. Of they're really famous,
(32:39):
but still don't have that one role that sets them
apart and puts them on that a level tier. But
then you put them together. It's such a great casting decision,
and it really is because of them that this movie works. Now,
I really wish there was a little bit more of
plot to chew on, because it really wasn't until that
(32:59):
third that I felt, Okay, this is something really special.
It felt kind of like it was going through the
motions in the first and second act. I also think
the action in the first act felt a little bit abrupt,
where I was kind of hoping on some more development
in his character to go from somebody who has been
(33:20):
kicked down by the world to somebody who is now
considering killing seven people in order to get billions of dollars.
And I get that they wanted to move the story
a little bit quickly if this movie would have been
any more of a slow burn, which it wasn't, But
if it would have been a slow burn, I think
that would have turned a lot of people off early on.
(33:40):
But I feel it almost jumped the gun a little
bit to get to the action because being under an
hour and fifty minutes, I think it's closer to like
an hour forty five, it really had a lot of
story to fit in, and the way it kind of
jumps around between times, I just felt like I didn't
really get a good grasp on his case character and
(34:00):
what would possess him to do something like this. So
I think not getting to know him so much in
the first act made me question some of the things
he was doing in the second act, some of the
relationships he was starting to form. And then I almost
felt like Margaret Qualley's character, even though I loved her,
she is a really great manipulative person who you never
(34:22):
really like in this movie. The relationship is very toxic,
and she almost felt like a caricature at times where
she didn't really feel like a real human. And I
think that is where this movie kind of walked the
line of being realistic but also kind of being just
a fun comedy at times, and while it's not lol
(34:44):
laugh out loud moments, I think dark comedies are the
best right now because you don't really go into that
expectation given the plot of this movie, of expecting laughs.
But I think I heard laughter more throughout this movie
than actual comedies I've gone to see in theaters, so
that was kind of like a pleasant surprise. But because
of that, at times, it is kind of hard to
(35:05):
pinpoint Margaret Qualley's character, and I think that was the
only thing that kind of lacked in building up some
tension and building up some momentum going into the third act.
But once it got there, it felt like an entirely
different movie. And that is where I went from just
enjoying and liking and finding this movie entertaining to really
(35:26):
feeling like I just watched something special, so much so
that very rarely does this happen. That a movie ends
and I want to keep going. And I think it's
also because it did have a shorter run time, but
it really left me wanting more. I want to know
where the story goes next, and most times in a
(35:47):
movie like this, I'm like, Okay, that was good, that
was fun. I got from it what I needed, But
I think it's because there wasn't that much on the
line up until the very end that all that action
started to feel a little bit rush to me and
I wanted to see more of it. So I do
want to know where this story goes next, and that
has me really excited, even though I don't think this
(36:09):
is a movie that lends itself to being a sequel.
But if you look at some of the most recent
A twenty four movies that have been successful, like A
Marty Supreme, I think it is just a step below that.
But if you compare it to the best Glenn Powell movies,
I do think it is up there at the top.
For me, nothing is going to top his role in Twisters.
But I have a little bit of bias because the
(36:31):
original Twister is one of my favorite movies of all time.
I definitely think it is much better than Running Man,
which is wild because that movie costs so much more money.
But I think the story here was just a little
bit more novel. There was a lot more nuance in
his performance and the story overall. I just still think
that Glenn Powell in a rom com Anyone but You
(36:53):
is right below yeah, I would still put that one
right below Twisters, but I think it is right up
there on the level of Hitman. But I do think
Richard link Later is a better director than John patten Ford.
But all things aside, my biggest problem with the movie
is that it just left me wanting more for how
to make a killing. I give it four out of
(37:13):
five Black hit Man Gloves. It's side to head down
to movie Mike Traylor Parr. I know this trailer has
been out for a while, but The Bride looks awesome.
I saw it again when I went to go see
Withuering Heights, and I got to see it on the
big screen, and I got a lot better indication of
(37:38):
how good this movie is going to be, more so
than just seeing it online. I think this movie is
going to be fantastic. And Frankenstein is so hot right now.
Germal de Torro put out his version on Netflix at
the end of last year, And of course, the character
of Frankenstein has been around forever since I've been alive,
but Germo de Toro put his spin on that character,
(37:59):
crafted his vision to give us something that was a
breath of fresh air. But now with The Bride, not
the Bride of Frankenstein. Just the Bride, all caps, acclamation point,
love the stylistic choice, just the title of the movie.
It is an entirely different take on the story of
Frankenstein and his bride, more so focusing on her character,
(38:21):
not so much the Frankenstein monster, just being lonely and
needing a companion. This is going to be her story.
And it was seeing this trailer on the big screen,
seeing Jesse Buckley up there as the bride looking fantastic,
the makeup, the wardrobe. I am so in on this.
Directed by Maggie Jillen Hall, yes the sister of Jake
(38:42):
Gillen Hall, but also a great actor in her own right.
And now this is her second big studio movie. She
did a movie in twenty twenty one called The Lost
Daughter that also starred Jesse Buckley, Olivia Coleman, and Dakota Johnson,
which was pretty good on Netflix. Pretty much just a
straight ahead drama. Paul Mescal's also in that movie. So
(39:03):
this is an entirely different look for her already on
her big second movie. So a lot to talk about.
I'll tell you the three things I'm the most excited by.
But before I do. Here is just a little bit
of the Bride trailer coming out in theaters on March sixth.
What happened you? That's an accident, an accident. We dug
(39:25):
you up, we brought you back to life. What did
you want with a dead girl? I'm the same, born
from the dead. I am. I'm yeah, so am I ride?
Oh Frankenstein, No, just the Bride. I love how she
(39:50):
made it a point there to not say or want
to be called the Bride of Frankenstein. She's like, no,
I don't need you. I am just the Bride. So
this is gonna be a lot different than The Bride
of Frankenstein. It is going to be more of a
Bonnie and Clyde like story. At the very beginning, we
see her being thrown by somebody down the stairs. Now
what she targeted? Maybe maybe it's Christian Bale who ends
(40:12):
up being not only the one who kills her, but
also the one who digs her up after she dies
and is buried and then brings her back to life.
But we will probably learn more about that in the movie.
I have to imagine that is a pivotal point in
the plot. That image alone, that single frame of seeing
Jesse Buckley at the bottom of those stairs, her body contorted.
(40:33):
That is such a great image. But you have two
fantastic actors with Christian Bale and Jesse Buckley both in
the lead roles. Now, three things I love about this movie.
Number one, Maggie Jillenhall fought so hard to cast Jesse
Buckley as the lead in this because the studio didn't
(40:53):
want her. According to a story I read on Entertainment Weekly,
they did not want to hire her because she did
didn't have and still doesn't have a large social media presence.
I actually looked before doing this trailer park. She does
not have an account of her own. When you google
Jesse Buckley Instagram, the first thing that comes up is
a fan account as a decent amount of followers, but
(41:16):
it's not run by her or her team. And if
you look around on different social media sites, she doesn't
have a presence. She doesn't even have accounts that are
just hell for her or maybe just posting about the
movies she is going to be in. So for that reason,
and we've heard more and more from actors and directors
(41:36):
that studios want actors with a good amount of social
media followers because They want to put people in their
movies that they can bank on being able to promote
to their fans. But Maggie Jillenhall fought for her because
they worked together on The Lost Daughter and she knew
she had what it takes, the range, the humor and
(41:58):
abilities to take on this horror role. That she was
perfect and she had to have her. So that's what
she did. She fought for her to get cast in
this movie. And I think the studio is probably feeling
a lot better now that Jesse Buckley has some nominations
to her name. With Hamnett being such a big hit
among the critics. I don't know how much Jen Pop
(42:21):
has a grasp on Jesse Buckley's name and being able
to attach it to her face, but this trailer has
made a really good impact because you do have Christian
Bale alongside her, whose name alone will bring credibility to
any movie. But I love the fact that Maggie Gillenhall
was so passionate about casting her that she fought for her.
(42:41):
That proves to me she really wanted to see her
vision come to life. Every actor gets their moment, and
I think if The Bride is a success, it is
going to be Jesse Buckley's moment at thirty six years old.
I also I know how the world works. I know,
at the end of the day, it is a business.
But I hate that social media followers plays into who
(43:04):
does and doesn't get a role. I think we have
probably seen some movies fail because the wrong person was
cast just because they have a million. Two million followers
or who knows how many followers is enough for a
studio to be comfortable with allowing a director to give
that person a role. So I also think it's kind
(43:26):
of cool for actors to be a little bit elusive.
You don't want to see them doing tiktoks all the
time and breaking down little things from their life. You
want to be able to feel a little bit mysterious,
or at least I do, about the people in these movies.
My second favorite thing about this movie is it feels
like a little bit of a family affair because Maggie
(43:47):
Jillenhall not only gets to direct her brother Jake Jillenhall,
which will be her first time directing him. They have
been in a few movies together, A Dangerous Woman in
nineteen ninety three and Homegrown in nineteen ninety eight, there
were two movies directed by their father, Steve and Jillen Hall.
They were also both in Donnie Darko back in two
(44:09):
thousand and one. But not only that, Maggie Jillen Hall
will also be directing her husband, Peter Scarsguard, So you
got brother husband, a lot of nepotism playing into this movie.
But when you have a director who feels so comfortable
with her actors on an entirely different level when you
are working with your sibling and your spouse, you feel
(44:31):
this level of comfort that you could probably ask them
to do whatever you want because there is already this understanding,
this trust, which that is a major thing, that relationship
between director and actor. How much you trust each other.
You don't even have to question that here because you
know your brother, you know your husband. You can push
them as much as you want to get that great
(44:52):
performance out of them. And then, of course Maggie Gillen
Hall and Christian Bale also work together on The Dark Knight,
so again it's a lot of people who are do
you feel comfortable with each other? My third favorite thing
about this trailer and about this movie is seeing the
transition of Jesse Buckley's character going from being scared to
being powerful and seeing her be so dominant already just
(45:16):
at the end of this trailer, I can only imagine
how that shift is going to feel throughout the movie.
And what I started to feel by the end of
this trailer is man, I think this is what Joker
too full he I do what was supposed to be
where you have a mad man. In this case, it
is Frankenstein. In the case of the Joker, it is
(45:38):
of course the Joker who just wants that companion who
is equally as mad and into crime and wanting to
cause chaos and destruction and anarchy. They fall in love
and then are this beautiful mess where their relationship is toxic,
they are doing terrible things. You also have a bit
(46:00):
of a musical element to this story, where there is
one scene where you see Frankenstein and the bride dancing
at this party. There's this music playing that kind of
looks like what Todd Phillips was going for in Joker.
iiO deciding to make that movie a musical, which made
no sense in the world of Gotham and in the
(46:20):
world of Joker. It completely ruined all of the aura
that was created in Joker one, So I'm hoping if
this movie is successful, it proves that a story like
this can work, and it should have worked with Joker
Foley Ado. It also just kind of reminds me of
the Bride of Chucky, where Chucky essentially did the same thing.
(46:41):
And I also just love that it is set in
nineteen thirties New York and you have people running around
using Tommy guns. But ultimately, I just think this is
a big creative swing for Maggie Gillenhall and I can't
wait to see it on the big screen. On March sixth,
and that was this week's edition of Movie Mike Trailer
(47:02):
Oh Boy, And that is going to do it for
another episode here of the podcast. But before I go,
I got to give my listener shout out of the week.
This week, I'm going over to my Instagram dms and
I'm shouting out Justin. Justin sent me a DM and said, hey, man,
huge fan. I'm mostly a sore loser, but I have
been listening to Movie Mike's for a year or so.
(47:25):
Now I am here with my fiance watching a kid's
movie called Goat, and all I can do while watching
it is critique it like movie Mike, It's a good
one though. I think love seeing your growth. Man, I
would love an autograph if I can win one somehow,
signed Justin. That has to be like the highest compliment
I could get. If you go watch a movie in theaters,
which over the weekend I went to go see Wuthering
(47:46):
Heights and Crime one on one. Just didn't have time
to go see Goat. But if you go to the
movies or watch a movie at home and you are
thinking in your head how I would review that movie,
that is the coolest compliment me. So Justin, thanks for that. DM.
Thank you for listening for over a year. That means
you are officially a part of the movie crew. You
(48:08):
don't have to listen to the podcast for a year
to be a part of that. You can listen to
one episode and you're in. But that says to me
you are riding with the podcast and I can easily
get you that autograph. I don't know why you would
want my autograph, but if that is something that you
think would be cool, I don't really think anything about
me is cool, but I can do that for you.
(48:30):
Thank you for listening, Thanks for going to the movies.
I say that as if I own a chain of
movie theaters, but that is always inspiring for me to
see that people still love going to the movies and
experiencing a movie with other people. And I'm still planning
to go see Goat in theater, so hopefully when we
do our monthly recap with Kelsey, we can get that
(48:50):
review in. So thank you for listening, thank you for
being subscribed, and until next time. Oh you can also
go check out full individual movie reviews YouTube dot com
slash Mike destro But until next time, go out and
watch good movies and I will talk to you later.
(49:12):
M
Hello, and welcome back to movie Mike's Movie Podcast. I
am your host Movie Mike. I'm trying to sound so excited,
except I'm a little scared. Hollywood could be ending. Somebody
just made a two hundred million dollar movie in one day.
We got to talk about how AI is going to
change this industry. Oh Man, getting crazy out there, y'all.
In the movie review, we'll be talking about how to
(00:22):
make a killing Starr and Glenn Powell. Is he still
on track to be the next great American movie star
or is he going to be somebody else that Hollywood
is just kind of forcing down our throats. In the
trailer park, we'll be talking about Maggie Jillen Hall's The Bride,
starring Jesse Buckley and Christian Bale. This movie looks awesome.
I am finally convinced. So thank you for being here,
(00:44):
Thank you for being subscribed. If you don't mind, go
check out my YouTube page YouTube dot com slash Mike
Cadistro watch individual movie reviews there. And now let's talk
movies podcast Network. The Movie Podcast is Hollywood ending as
we know it? This video went up last week and
(01:08):
it is all I can think about. Saw a bunch
of people from the industry, real legit people, not just
people on X over here talking nonsense, real actors, directors,
and writers, reacting to this AI video that these two
guys made, The Door Brothers. They are these two German
guys who have this company, and they claim that they
(01:30):
made a two hundred million dollar movie in just one day.
They put out about a three and fifteen minute what
they call a movie. It's really just a trailer. It's
really not anything. And that is the issue I'm having
with AI. But they put this out, and everybody is
saying that Hollywood is cooked because this looks like it's
(01:51):
going to eliminate so many jobs. I'm frustrated and struggling
with this, and I want to talk about what even
qualifies a movie. But before I do, if you haven't
seen this viral post, I just want to give you
a little bit of context of what it is that
they created with AI, just prompts. They did this entire
(02:13):
thing with prompts, no crew, no director, no actual physical sets,
no actors. They generated the actress in this movie by themselves,
like it was all prompts, So this real person doesn't exist.
There were some other videos that we'll talk about using
real Hollywood actors that we know. I think that's why
all these things bubbling led me to want to do
(02:36):
this episode. But if you haven't seen it, I do
want to give you at least a little bit of
context of what it sounds like as far as the acting.
But here is a little bit of the two hundred
million dollar movie made in just one day. Because essentially,
what you have is a woman at her job in
this high rise in what appears to be New York City.
All of a sudden, this storm is just ripping through
(02:58):
the country. It flashes to her watching the news talking
about this storm, and then a helicopter falls out of
the sky. She leaves her building, runs outside, gets into
a cyber truck, which also kind of tells you the
kind of person who created the prompt for this. It's
tech ros. I've never seen a cyber truck in a movie,
(03:18):
but she gets into a cyber truck and out of
nowhere is already acting like a superhero, which doesn't make
sense to me, as you can already tell my criticism
of AI is coming out. But then she gets into
a cyber truck. Out of know where you learn she
has a daughter. She's trying to get home to her daughter,
and then she gets hit by this military vehicle and
then goes into this weird like dream sequence. She ends
(03:41):
up in an interrogation room with the head of the FBI,
who's like, well, you'll hear it in this clim and
then the head of the FBI calls the president for
some reason. But here's just a little bit of this
quote unquote two hundred million dollar movie made in just
one day. I love you, I'm on my way. I
(04:03):
need you to hide, get underground. Good morning, sleeping beauty.
Why don't you get the president on the phone? We
have her. I'll be right there. Let's address the acting first.
(04:25):
There is no acting in that AI doesn't know how
to act yet. I think the problem I have with
AI and what I've seen it generate up to now
when it tries to replicate a movie or create a movie,
there's no pacing to AI. If you watch this quote
unquote movie, I guess I gotta call it a movie.
If you watch this movie, it feels off where the
(04:49):
humans aren't acting like humans, they're not speaking like humans.
You hear it there A little bit more with the
head of the FBI and the president. It sounds a
little bit more natural, but the interaction between the mom
and the dog feels very fabricated to me. So the
acting is just not there. I think where all the
hype is being created and people saying that it's going
to replace people in Hollywood, it's going to change the
(05:10):
way we watch movies is because of how it looks.
This does not look good to me. I think the
people saying that this looks good are lying to themselves
and they don't really understand what it is to make
a movie that is visually appealing because this looks so
off to me. The movements are awkward. I think the
(05:30):
only thing that is impressing people is that they were
able to make all these explosions which would be expensive,
and able to do it for You can make this
movie for free with ay. That's the whole point. They
were able to do this in one day, which they
claim to be a two hundred million dollar movie. That
is not a two hundred million dollar movie. That is
(05:51):
Walmart maybe four dollars bin at best. This is not
a two hundred million dollar movie. So a little bit
of that is also them playing into that clickbait trying
to get people in a fit of rage, like they
have me right now, because in no way, in no
world is this a two hundred million dollar movie. Iron
Man three is a two hundred million dollar movie. This
(06:13):
is not. This feels like something that would come out,
and I wouldn't even question going to see it in
theaters because it looks so bad. But by comparison, iron
Man three cost two hundred million dollars. So I think
we are just getting ahead of ourselves in saying that
this looks like a two hundred million dollar movie. It
(06:35):
does not. That is not what they created here. They
created a screen saver. They created something that is probably
enticing to people who are invested in AI, but to
you and me and people who have become even just
more critical about bad visual effects in movies, in no
way would we be satisfied to watch this in our
(06:59):
living room, much less pay money to go see something
of this quality. But it leads to the question, what
is a movie? What is art? I did ask the
question on social media. I asked, if you watch a
movie that look like this but it is entirely AI generated,
does it still count as a movie? Sixty five percent
(07:21):
of you guys said no, it needs story and human performance.
Twenty eight percent of you guys said unsure depends on
the project, and seven percent of you guys said yes,
visuals are what matter. I think that is a bit
of a relief to me as somebody who loves the
artistry that goes into making a movie, because I think
(07:42):
what the Internet is trying to say is that all
you need is visuals, because if this looks as good
as something that would have cost two hundred million dollars,
then we have this thing figured out. But making a
movie is not that. What about animation? Is that still
making a movie? If you create it entirely on a computer.
(08:03):
If you go back and watch the first Toy Story movie,
which was the first movie to ever be computer generated,
what people at that time have said, that's not a movie.
You made that all on a computer. You didn't hand
draw everything. Whoa So to me, it is not the
actual technology being used that I have a problem with,
because I know the minute you start rejecting technology, you're dead.
(08:28):
If we were constantly in fear of rejecting technology, we
would not grow. You think about all throughout history, the
people who didn't want to give up their horse and
buggy to this automobile that's never going to catch on.
I am not trying to be a part of those
people who are closed minded in adapting new technologies, but
(08:51):
I think when it comes to AI, it is not
there yet. I do think it could be a tool,
but I think it is crazy to think wild to
think that AI could do all the things that go
into making a movie. When I talk to actors and
directors in particular on this podcast, a lot of making
a movie from a director's standpoint is managing people, this
(09:13):
human element of connecting with people, connecting with actors, being
able to get a performance out of somebody that you
need to make the story work, not put it into
a prompt and just hope you kind of get what
you need. There is so much more detail that goes
into storytelling that I do not think AI can replicate
(09:33):
that process. I do think it could be a tool.
I think it has already been a tool if you
think about CGI. If you look back on filmmakers who
were initially resistant and skeptical of CGI when it was
first introduced back in the nineteen seventies. In nineteen eighties,
they were against it because they thought it had limitations
(09:54):
at the time. They thought it was too expensive and
they preferred traditional ten Bull practical effects, which I am
still a fan of. But now CGI has become so
normalized we do not even question it if you use
CGI to make an actor fly. But back in the
seventies and eighties they were, so I don't want to
completely reject AI. I don't want it taking away jobs
(10:18):
from people, because if you think about who this would
greatly affect, is going to affect those people working on
the sets and catering on the crew, doing all those
jobs that you think if you don't have these big sets,
those are gonna go away. That is what I am against.
But I do think at this point we are kind
of in the situation where the toothpaste is out of
(10:41):
the tube, the technology is here is being pushed on
us from all these companies. When you even have Disney
out here signing these aideals to license out their characters,
and right now they are just saying, oh, it's for
you guys, so you can make your own animations at
home with your favorite care characters. But that to me
is a big threat to all those people creating those characters.
(11:05):
Of it not even being a part of your baby
anymore once it gets sold off to a corporation. I
don't like those aspects of it, but I do think
it can be a tool. But at this point of
what I'm seeing, it looks so awful. And that is
what I care about the most when it comes to movies.
I don't want to live in a world where it
(11:28):
feels like content that is just being spit out because
it's good enough. And that is what I worry about,
because in the industry right now, a lot of studios
are struggling, and when you put out a movie that
costs you a lot of money and you lose on that,
that is what studios are trying to avoid. So to me,
I see AI as a way of them to think, oh, well,
(11:49):
we have this tool now, instead of spending two hundred
million dollars on something that may or may not work,
just get somebody to put together a movie with all
these problems in AI, and then it's a low risk,
high reward because you didn't have to spend all that
money to make the movie. But then you start thinking about, man,
do we want to go to a theater where we
end up having to pick between watching a human made
(12:14):
movie the traditional way and watching an AI generated movie.
All I have to tell you is I am not
paying full price for an AI movie. So maybe those
movies come as a reduced cost to the customer, or
maybe those movies just never make it on to the
big screen, because I have to imagine there are going
(12:34):
to be a lot of people rejecting a fully AI
produced movie in theaters. And then you start thinking about
who is going to promote an AI movie? If you
have an AI generated actor, are you going to send
them out on a press tour or are you just
going to generate a bunch of promo clips of them
(12:54):
doing interviews? It gets so weird just thinking about how
this starts to affect everything. Can you sell a movie
without any story behind it? If you take that all
the way because you have an AI cast, is anybody
going to care? How are you going to market an
AI movie? All these questions have been flunning me in
(13:14):
the last week. And the other video that really started
to rock the industry was the one of Brad Pitt
and Tom Cruise having a full out fight on top
of a roof and people again, and that one we're
saying this looks so realistic, We are cooked. That was
(13:35):
the video that really got people in the industry talking.
And then you have all these questions that come up
with with SAG and after and the Motion Picture Association
who they want to shut this down. The actors want
to shut this down because you can't have people out
here making movies and making content with your image and
(13:58):
likeness without their conc The idea of making performances without
the performers is crazy, that you could just generate them
instead of hiring them, because again it goes back to man.
It would cost us forty million dollars to hire Brad
Pitt right now, and it would cost us another forty
million dollars to have him fight Tom Cruise. I'm not
(14:21):
even sure these two people would get along. Let's get
a quote from their teams. All right, let's forty million,
forty million, you know what, let's just ai generate them.
What's the quote on that. Maybe we'd just pay a
licensing thing to use their image and likeness. If studios
can just generate stars and action scenes like that, just boom,
what happens to the mid budget movies? Because if we
(14:42):
are so focused on these two hundred million dollar movies
Brad Pitt versus Tom Cruise. What happens to that fifty
million dollar movie, that one hundred million dollar movie that
can't just be generated the same way of film, where
there's a lot of new ones months and where the
cinematography is a little bit more subtle, and some things
(15:04):
on set happened by accident, and it's all those little
things that you encounter when you are dealing with physical
people in actual sets, where it's alive and it's breathing.
What happens to those movies, the lower budget movies, the
movies that create hype in this world, that are the
(15:24):
biggest success stories, where they spend maybe ten twenty million
dollars to make it like a Good Boy last year,
the horror movie from the perspective of the dog. What
happens to those movies where you take every novel aspect
out of the filmmaking process just because you have this technology.
(15:45):
I don't want to live in that world where you
can't have these small independent movies that really hit you
in the fields when you need it. And what I
do think is interesting about that, about being able to
use actors' image and their likeness. The one good thing
I can say is what if some of these movies
that we can't watch anymore because they have a canceled
(16:07):
actor in them. I won't say specifically, who could be
movies could be a TV show. Even when you think
about the movies and TV shows that were no longer
allowed to fully enjoy because the people in them have
now done awful things. What if you want to swap
out one of those canceled actors and you use AI
(16:28):
to do so. Is that bad? If we get back
some of these movies we haven't been able to fully
enjoy because we see some of these people in them
and we're like, oh, man, I probably shouldn't support their
work anymore. But the studios are able to go in
and say, let's swap out the actor, put in a
new actor, take their image and likeness and place them
(16:49):
over them, change all the dialogue to now be the
new actor's voice, and then boom, you have a new
cut of that movie. Or even what we've seen recently
in Star Wars movies being able to bring back people
from the dead. Where does it end? I feel like
if I would have made this episode a year ago,
I wouldn't have had all this material to work with,
(17:12):
but the fact that so much is happening now it's
kind of the wild West with all this stuff. You
see big companies like Netflix sending out real cease and
desist letters to the companies responsible for this content. You
see writers like the writer of Deadpool and Wolverine out
here saying like, yeah, we're cooked. You have actors like
Zachary Levi who is saying we need to be afraid
(17:36):
of this, and he has a company that he is
created that is focused on human made projects and not
using anything with AI. You have another filmmaker, Zach Morrison,
who said you have no character here, no emotional spine,
no story logic. In response to some of these AI
generated movies, he says, what AI still can't do is
(17:58):
narrative intent, subteme like I was talking about earlier, performance choices,
and taste. He compares it to a tech demo, a
cinematic mood reel, and a really expensive trailer with no
movie attached. I think that's a great point Zach Morrison
makes here. This kind of feels like a demo. I
think that is the furthest this technology is going to
(18:20):
go where it can be used within the industry. To say, Okay,
this is the idea I have. I want to have
this building go down, this spaceship come out of this corner,
and then you have our hero emerge from the flames.
Let's generate this to see how it would look, but
then let's make the real version of that. Great movies
are not built from prompts, They're built from decisions. But
(18:44):
everything I've seen just looks so soulless and looks way
too sharp and overproduced. And there was even a scene
that was made just for me that somebody did with
Spider Man in a really hyper realistic looking suit swinging
through a snowy New York City, and it had some
really slick looking angles. But if you watch all the
(19:06):
movements on that, it just doesn't feel right. It looks
like something that would probably impress a ten year old,
maybe a twelve year old, which is also where I
start to think about this technology of If I think
of young me, who was wanting to be a director
when it was ten twelve years old, would get out
the old home video camera with the VHS tape and
(19:29):
make movies in the backyard. I think if that version
of me had this technology, I would find it really
exciting because now the things I want to make are
a little bit more in my reach. And I think
how the industry is going to go is based upon
how the young people use this technology, because I got
to say, if I was ten years old and I
(19:50):
had access to AI, I would not be saying the
things I have been saying here because to me, this
would just be new, This would just be the way.
So I think in my lifetime I won't fully see
an ANI generated movie. I really don't. But I think about, well,
now I think about how old the young people are
now these days, there's a ten year old out there
who doesn't have access to a camera, maybe has a smartphone, maybe,
(20:14):
but he has a laptop and he has the ability
to use this software to generate his wildest dreams. It's
not going to be good if I think back on
the things I made when I was that young, aspiring
to create art probably wasn't good. But that is who
is going to get really good at this technology really quickly.
I do think generating prompts is going to be what
(20:37):
young people know better and learn better and are able
to use in their everyday life more than we ever will,
because to them that is the new thing. I mean
even when I was going to school, and I mean
I don't want to date myself only, but it wasn't
the norm to have a laptop all the way throughout
my school. I am from the generation that I remember
(20:58):
a time before in and how I adapted to all
the new technology as it came and advanced. But it
was through my developmental life from young kid to teenager
to college that I got to experience all of that technology.
But if you're a young kid now, you come out
and you're already holding an iPad watching Bluey on that thing.
(21:20):
So I think it is the next generation of filmmaker
that is going to decide where the industry goes. You're
going to have these really old school people who don't
want to see things changed. And I don't want to
see them change, just for the fact that I don't
want people's jobs to just go away because a corporation
just wants to make more money and make movies for less,
(21:42):
take all the art out of it, give us sou
less content, and think they could still make money off
of us. That is where I draw the line. That's
what I don't want to see. I don't want to
see art being devalue like this, and I think that
is what this is a threat of. I feel nothing
from any of this slot that I've I've been seeing
on social media and it's all just people trying to
(22:03):
sell me this hype of the future is here now.
It's not here now, So let's get over that. It
is not here now. It's not I don't want to
say it's not even close, but if I had to
put it on a scale, ugh, I would say just
a step above not being close. It is maybe impressive
to some people who want to invest in this or
are trying to get people to invest in this, but
(22:26):
I think to the consumer, to the person who this
would be sold to and said, hey, go watch this movie.
It is not there yet. We are so critical. Oh
my gosh. If you put out the best movie that
has the best cinematography, you will still find the haters.
If you put out an Oscar Award level performance, people
(22:49):
will still find the bad in that. And you have
to tell me and make me believe that we are
going to accept AI performances. You're out of your mind.
So we'll start to wrap this thing up here. But
is it the end of Hollywood or is it just
the start of something new. I am hopeful towards the future.
(23:10):
I don't think this is the end. People have been
saying this for so long. The rumor of Hollywood's demise
has just been greatly exaggerated, where people just keep saying
that movies are going away. I've been hearing this for
the last twenty years, but now people are saying this
is the final nail in the coffin. I don't think
Hollywood is ever going away. I don't think movies are
(23:32):
going away. I don't think movie theaters are going away.
Hopefully the people who keep saying that are going away
and will stop saying that. But that's like saying concerts
are gonna go away because they're getting so expensive. That's
like saying because we have this technology that we just
don't need art anymore, we just don't need human connection.
(23:54):
If we get to a point that we don't need that,
I don't know what the purpose of living is going
to be at that point when we're not interacting with people,
we're not experiencing anything real, and we're just fabricating things
because it's quicker and faster. I still think we will
always crave that human connection because as humans we need that.
(24:14):
So I don't think it is the end of Hollywood.
It could be the start of something new. Maybe this
is something entirely different on a different lane. We'll see
some threats here in the next few years. But I
don't think this is fully going to take over as
much as people are hyping it up to be, because
production was never the magic. It was never because oh,
(24:36):
we have all this technology that we're able to make
all these great things. That's not where the magic is.
It's in that taste, It's in that storytelling, it's in
that audience connection. The real tangible things of making a
film is what we buy into, is what are the
essential building blocks of movies that are pillars of our life.
(24:58):
AI just lowers the bar to get in there, but
it doesn't replicate that. It doesn't lower the bar for greatness,
and that is what I'm trying to say. So what
it could change that ten year old I was talking
about who wants to make a movie but doesn't have
the access to making big blockbuster type visuals. It gives
(25:20):
that kid the power, maybe even some independent filmmakers who
would not have the ability to have a chase scene
with explosions. It gives them that ability to put that
into their film. But it's going to make studios prioritize
IP even more, which could be good, which could be
a bad thing, depending on how you feel about that. Ah,
I think that could be. I want to say it's
(25:41):
a good thing, but ultimately it's going to be a
bad thing because that means we're going to be so
fearful of creating new IP and giving untested things a chance.
And then if everybody's just creating AI content, then we're
just going to have the same actors we've been having
and now generating them, generating the same storeries. And then
does AI know how to create new stories or is
(26:03):
it just going to act off of the stories that
have already been created before it? And then you just
have the same IP being regurgitated even more now than
it already is. Where that is our biggest complaint of
us saying, oh, everything's a remake, everything's a reboot. If
AI takes over, hate to break it to you, but
we're not getting anything new. We're just getting the same
(26:24):
thing over and over that it has been made for
the last twenty to thirty years. Because when I want
somebody making a movie. I don't want somebody who's really
great with technology. I want somebody who knows how to
craft a story that is going to make me sad, happy, excited,
all the emotions I get out of the movie going experience.
(26:45):
So my final thoughts here, if everyone can make a movie,
who is still going to know how to make a
great one? What will the future of directing and acting be?
And then if it gets so good that the audience
can't tell the difference, does it even matter? Right now?
Now I am the audience. I can tell the difference,
and it matters. Let me know what you think. Is
(27:06):
AI about to break Hollywood? Would you watch an AI
generated movie? Do you care more about visuals or do
you want storytelling? Do you want that human element? Let
me know. Hit me up on social media at Mike
destro on Everything, or you can always send me an
email Moviemike d at gmail dot com. I'll come back
and give my spoiler free review of The Human Maid,
(27:29):
how to Make a Killing starring Glenn Powell. Let's get
into it now. A spoiler free movie review of How
to Make a Killing starring Glenn Powell, Margaret Qualley, directed
by John Pattenford, who before this did a movie I
really loved called Emily The Criminals starring Aubrey Plaza, which
(27:50):
is all about how you can be rooting for somebody
who is not a good person, which is a genre
I just seem to love lately. I like rooting the
bad person in movie so much that I start to
question my moral compass. But that is the question that
this movie raises. What would you do if seven relatives
stood in the way of your twenty eight billion, yes billion,
(28:12):
with a B dollar inheritance. That is what Glenn Powell's character,
Beckett is going through. He was born from a teenage
mom eighteen years old who came from this really wealthy family.
But as soon as she got pregnant, they said, you're
kicked out. We don't care about this kid, you are
cut off. So he was born outside of that wealth,
(28:36):
but still there was this will set in place in
order to protect the family money that he was still
in line. He believed at some point he would be
given this twenty eight billion dollars. His mom passes away
and now he is left just waiting for that inheritance,
but he has these seven relatives standing in his way.
(28:58):
And he has been done in life for so long.
He is working at a job that just doesn't feel
the job he is supposed to be working. He is
living still where he grew up. He has people looking
down on him. As a kid, he formed a friendship
with a girl named Julia, who was later played by
Margaret Qualley, and their entire I guess you could call
(29:21):
it friendship. Whatever relationship is that they have, is a
driving force throughout this entire movie. But I have to
say this is one of the best dark comedies I
have seen in a long time. And I guess from
the trailer and the description of this movie, I didn't
know how funny it was actually going to be. The
thing I love about Glenn Powell is he is so
(29:42):
dedicated to every single role. If you look at the
last four movies he did, including this one, How to
Make a Killing, Running Man, hit Man, he also did Twisters.
Before that, he did Anyone But You, and in between
there he did Chad Powers, which he is working on
another season right now. Every single time I've seen Glenn
Powell commit to a character, I feel like I'm getting
(30:04):
one hundred percent of him, and that is what I
love about him. Not just his love for Texas, because
it's somebody who is a Texan and we just want
somebody at the top to also represent our state. I
love that about him, But I think he is just
a great actor who is also taking a lot of risks,
doing smaller A twenty four movies, doing the big action movies,
(30:26):
doing the fun shows where he doesn't take himself too seriously.
He also really likes dressing up in different costumes. If
you look at almost all of his roles, he is
always dressing up trying to be somebody different. But I
find that he is so committed to every single project
that it makes me always feel like I'm getting my
money's worth When I go to see a Glenn Powell movie.
I've never seen him phoning it in, and I know
(30:49):
he is right there on the cusp of being at
that a level tier, the type of person that you
would go see every single movie that they make. I
just fear that he doesn't quite have or he really
doesn't have that signature role yet. And still when people
talk about him, they say it's the guy from Top Gun,
but he has come so far from there, and I
(31:10):
feel like he's just one roll away. But I felt
that since Twisters, Running Man didn't really put him on
that level, and I don't think it was his fault.
I think that movie just didn't really resonate with audiences.
Maybe it wasn't the time to remake that movie, but
I just fear that people are starting to feel like
Glenn Powell is being shoved down their throats, and I
(31:32):
don't like that for him, because if you actually look
at his work, I am a big believer that he
is not just somebody who is doing a massive amount
of projects in order to saturate the market in order
to be at the forefront all the time. I still
think he is putting out quality movies and TV shows
that I am still all aboard the Glenn Powell train.
(31:54):
But then you look at Margaret Quality, who has also
delivered some really great performances since the substance drive Away
Dolls Honey Don't, which I think people didn't fully understand
how great that movie was. I really enjoyed it. It
was what I felt a good throwback to, like an
eighties crime, just fun movie that maybe came across a
(32:17):
little bit cheeseball to some, but I really enjoyed Honey Don't.
I also think she was great even though she wasn't
in it that much kinds of kindness, but still by
far the substance has been her best role. And I
feel like her and Glenn Powell together just kind of
makes sense because if you look at both of their
last films, they're kind of right there. Of they're really famous,
(32:39):
but still don't have that one role that sets them
apart and puts them on that a level tier. But
then you put them together. It's such a great casting decision,
and it really is because of them that this movie works. Now,
I really wish there was a little bit more of
plot to chew on, because it really wasn't until that
(32:59):
third that I felt, Okay, this is something really special.
It felt kind of like it was going through the
motions in the first and second act. I also think
the action in the first act felt a little bit abrupt,
where I was kind of hoping on some more development
in his character to go from somebody who has been
(33:20):
kicked down by the world to somebody who is now
considering killing seven people in order to get billions of dollars.
And I get that they wanted to move the story
a little bit quickly if this movie would have been
any more of a slow burn, which it wasn't, But
if it would have been a slow burn, I think
that would have turned a lot of people off early on.
(33:40):
But I feel it almost jumped the gun a little
bit to get to the action because being under an
hour and fifty minutes, I think it's closer to like
an hour forty five, it really had a lot of
story to fit in, and the way it kind of
jumps around between times, I just felt like I didn't
really get a good grasp on his case character and
(34:00):
what would possess him to do something like this. So
I think not getting to know him so much in
the first act made me question some of the things
he was doing in the second act, some of the
relationships he was starting to form. And then I almost
felt like Margaret Qualley's character, even though I loved her,
she is a really great manipulative person who you never
(34:22):
really like in this movie. The relationship is very toxic,
and she almost felt like a caricature at times where
she didn't really feel like a real human. And I
think that is where this movie kind of walked the
line of being realistic but also kind of being just
a fun comedy at times, and while it's not lol
(34:44):
laugh out loud moments, I think dark comedies are the
best right now because you don't really go into that
expectation given the plot of this movie, of expecting laughs.
But I think I heard laughter more throughout this movie
than actual comedies I've gone to see in theaters, so
that was kind of like a pleasant surprise. But because
of that, at times, it is kind of hard to
(35:05):
pinpoint Margaret Qualley's character, and I think that was the
only thing that kind of lacked in building up some
tension and building up some momentum going into the third act.
But once it got there, it felt like an entirely
different movie. And that is where I went from just
enjoying and liking and finding this movie entertaining to really
(35:26):
feeling like I just watched something special, so much so
that very rarely does this happen. That a movie ends
and I want to keep going. And I think it's
also because it did have a shorter run time, but
it really left me wanting more. I want to know
where the story goes next, and most times in a
(35:47):
movie like this, I'm like, Okay, that was good, that
was fun. I got from it what I needed, But
I think it's because there wasn't that much on the
line up until the very end that all that action
started to feel a little bit rush to me and
I wanted to see more of it. So I do
want to know where this story goes next, and that
has me really excited, even though I don't think this
(36:09):
is a movie that lends itself to being a sequel.
But if you look at some of the most recent
A twenty four movies that have been successful, like A
Marty Supreme, I think it is just a step below that.
But if you compare it to the best Glenn Powell movies,
I do think it is up there at the top.
For me, nothing is going to top his role in Twisters.
But I have a little bit of bias because the
(36:31):
original Twister is one of my favorite movies of all time.
I definitely think it is much better than Running Man,
which is wild because that movie costs so much more money.
But I think the story here was just a little
bit more novel. There was a lot more nuance in
his performance and the story overall. I just still think
that Glenn Powell in a rom com Anyone but You
(36:53):
is right below yeah, I would still put that one
right below Twisters, but I think it is right up
there on the level of Hitman. But I do think
Richard link Later is a better director than John patten Ford.
But all things aside, my biggest problem with the movie
is that it just left me wanting more for how
to make a killing. I give it four out of
(37:13):
five Black hit Man Gloves. It's side to head down
to movie Mike Traylor Parr. I know this trailer has
been out for a while, but The Bride looks awesome.
I saw it again when I went to go see
Withuering Heights, and I got to see it on the
big screen, and I got a lot better indication of
(37:38):
how good this movie is going to be, more so
than just seeing it online. I think this movie is
going to be fantastic. And Frankenstein is so hot right now.
Germal de Torro put out his version on Netflix at
the end of last year, And of course, the character
of Frankenstein has been around forever since I've been alive,
but Germo de Toro put his spin on that character,
(37:59):
crafted his vision to give us something that was a
breath of fresh air. But now with The Bride, not
the Bride of Frankenstein. Just the Bride, all caps, acclamation point,
love the stylistic choice, just the title of the movie.
It is an entirely different take on the story of
Frankenstein and his bride, more so focusing on her character,
(38:21):
not so much the Frankenstein monster, just being lonely and
needing a companion. This is going to be her story.
And it was seeing this trailer on the big screen,
seeing Jesse Buckley up there as the bride looking fantastic,
the makeup, the wardrobe. I am so in on this.
Directed by Maggie Jillen Hall, yes the sister of Jake
(38:42):
Gillen Hall, but also a great actor in her own right.
And now this is her second big studio movie. She
did a movie in twenty twenty one called The Lost
Daughter that also starred Jesse Buckley, Olivia Coleman, and Dakota Johnson,
which was pretty good on Netflix. Pretty much just a
straight ahead drama. Paul Mescal's also in that movie. So
(39:03):
this is an entirely different look for her already on
her big second movie. So a lot to talk about.
I'll tell you the three things I'm the most excited by.
But before I do. Here is just a little bit
of the Bride trailer coming out in theaters on March sixth.
What happened you? That's an accident, an accident. We dug
(39:25):
you up, we brought you back to life. What did
you want with a dead girl? I'm the same, born
from the dead. I am. I'm yeah, so am I ride?
Oh Frankenstein, No, just the Bride. I love how she
(39:50):
made it a point there to not say or want
to be called the Bride of Frankenstein. She's like, no,
I don't need you. I am just the Bride. So
this is gonna be a lot different than The Bride
of Frankenstein. It is going to be more of a
Bonnie and Clyde like story. At the very beginning, we
see her being thrown by somebody down the stairs. Now
what she targeted? Maybe maybe it's Christian Bale who ends
(40:12):
up being not only the one who kills her, but
also the one who digs her up after she dies
and is buried and then brings her back to life.
But we will probably learn more about that in the movie.
I have to imagine that is a pivotal point in
the plot. That image alone, that single frame of seeing
Jesse Buckley at the bottom of those stairs, her body contorted.
(40:33):
That is such a great image. But you have two
fantastic actors with Christian Bale and Jesse Buckley both in
the lead roles. Now, three things I love about this movie.
Number one, Maggie Jillenhall fought so hard to cast Jesse
Buckley as the lead in this because the studio didn't
(40:53):
want her. According to a story I read on Entertainment Weekly,
they did not want to hire her because she did
didn't have and still doesn't have a large social media presence.
I actually looked before doing this trailer park. She does
not have an account of her own. When you google
Jesse Buckley Instagram, the first thing that comes up is
a fan account as a decent amount of followers, but
(41:16):
it's not run by her or her team. And if
you look around on different social media sites, she doesn't
have a presence. She doesn't even have accounts that are
just hell for her or maybe just posting about the
movies she is going to be in. So for that reason,
and we've heard more and more from actors and directors
(41:36):
that studios want actors with a good amount of social
media followers because They want to put people in their
movies that they can bank on being able to promote
to their fans. But Maggie Jillenhall fought for her because
they worked together on The Lost Daughter and she knew
she had what it takes, the range, the humor and
(41:58):
abilities to take on this horror role. That she was
perfect and she had to have her. So that's what
she did. She fought for her to get cast in
this movie. And I think the studio is probably feeling
a lot better now that Jesse Buckley has some nominations
to her name. With Hamnett being such a big hit
among the critics. I don't know how much Jen Pop
(42:21):
has a grasp on Jesse Buckley's name and being able
to attach it to her face, but this trailer has
made a really good impact because you do have Christian
Bale alongside her, whose name alone will bring credibility to
any movie. But I love the fact that Maggie Gillenhall
was so passionate about casting her that she fought for her.
(42:41):
That proves to me she really wanted to see her
vision come to life. Every actor gets their moment, and
I think if The Bride is a success, it is
going to be Jesse Buckley's moment at thirty six years old.
I also I know how the world works. I know,
at the end of the day, it is a business.
But I hate that social media followers plays into who
(43:04):
does and doesn't get a role. I think we have
probably seen some movies fail because the wrong person was
cast just because they have a million. Two million followers
or who knows how many followers is enough for a
studio to be comfortable with allowing a director to give
that person a role. So I also think it's kind
(43:26):
of cool for actors to be a little bit elusive.
You don't want to see them doing tiktoks all the
time and breaking down little things from their life. You
want to be able to feel a little bit mysterious,
or at least I do, about the people in these movies.
My second favorite thing about this movie is it feels
like a little bit of a family affair because Maggie
(43:47):
Jillenhall not only gets to direct her brother Jake Jillenhall,
which will be her first time directing him. They have
been in a few movies together, A Dangerous Woman in
nineteen ninety three and Homegrown in nineteen ninety eight, there
were two movies directed by their father, Steve and Jillen Hall.
They were also both in Donnie Darko back in two
(44:09):
thousand and one. But not only that, Maggie Jillen Hall
will also be directing her husband, Peter Scarsguard, So you
got brother husband, a lot of nepotism playing into this movie.
But when you have a director who feels so comfortable
with her actors on an entirely different level when you
are working with your sibling and your spouse, you feel
(44:31):
this level of comfort that you could probably ask them
to do whatever you want because there is already this understanding,
this trust, which that is a major thing, that relationship
between director and actor. How much you trust each other.
You don't even have to question that here because you
know your brother, you know your husband. You can push
them as much as you want to get that great
(44:52):
performance out of them. And then, of course Maggie Gillen
Hall and Christian Bale also work together on The Dark Knight,
so again it's a lot of people who are do
you feel comfortable with each other? My third favorite thing
about this trailer and about this movie is seeing the
transition of Jesse Buckley's character going from being scared to
being powerful and seeing her be so dominant already just
(45:16):
at the end of this trailer, I can only imagine
how that shift is going to feel throughout the movie.
And what I started to feel by the end of
this trailer is man, I think this is what Joker
too full he I do what was supposed to be
where you have a mad man. In this case, it
is Frankenstein. In the case of the Joker, it is
(45:38):
of course the Joker who just wants that companion who
is equally as mad and into crime and wanting to
cause chaos and destruction and anarchy. They fall in love
and then are this beautiful mess where their relationship is toxic,
they are doing terrible things. You also have a bit
(46:00):
of a musical element to this story, where there is
one scene where you see Frankenstein and the bride dancing
at this party. There's this music playing that kind of
looks like what Todd Phillips was going for in Joker.
iiO deciding to make that movie a musical, which made
no sense in the world of Gotham and in the
(46:20):
world of Joker. It completely ruined all of the aura
that was created in Joker one, So I'm hoping if
this movie is successful, it proves that a story like
this can work, and it should have worked with Joker
Foley Ado. It also just kind of reminds me of
the Bride of Chucky, where Chucky essentially did the same thing.
(46:41):
And I also just love that it is set in
nineteen thirties New York and you have people running around
using Tommy guns. But ultimately, I just think this is
a big creative swing for Maggie Gillenhall and I can't
wait to see it on the big screen. On March sixth,
and that was this week's edition of Movie Mike Trailer
(47:02):
Oh Boy, And that is going to do it for
another episode here of the podcast. But before I go,
I got to give my listener shout out of the week.
This week, I'm going over to my Instagram dms and
I'm shouting out Justin. Justin sent me a DM and said, hey, man,
huge fan. I'm mostly a sore loser, but I have
been listening to Movie Mike's for a year or so.
(47:25):
Now I am here with my fiance watching a kid's
movie called Goat, and all I can do while watching
it is critique it like movie Mike, It's a good
one though. I think love seeing your growth. Man, I
would love an autograph if I can win one somehow,
signed Justin. That has to be like the highest compliment
I could get. If you go watch a movie in theaters,
which over the weekend I went to go see Wuthering
(47:46):
Heights and Crime one on one. Just didn't have time
to go see Goat. But if you go to the
movies or watch a movie at home and you are
thinking in your head how I would review that movie,
that is the coolest compliment me. So Justin, thanks for that. DM.
Thank you for listening for over a year. That means
you are officially a part of the movie crew. You
(48:08):
don't have to listen to the podcast for a year
to be a part of that. You can listen to
one episode and you're in. But that says to me
you are riding with the podcast and I can easily
get you that autograph. I don't know why you would
want my autograph, but if that is something that you
think would be cool, I don't really think anything about
me is cool, but I can do that for you.
(48:30):
Thank you for listening, Thanks for going to the movies.
I say that as if I own a chain of
movie theaters, but that is always inspiring for me to
see that people still love going to the movies and
experiencing a movie with other people. And I'm still planning
to go see Goat in theater, so hopefully when we
do our monthly recap with Kelsey, we can get that
(48:50):
review in. So thank you for listening, thank you for
being subscribed, and until next time. Oh you can also
go check out full individual movie reviews YouTube dot com
slash Mike destro But until next time, go out and
watch good movies and I will talk to you later.
(49:12):
M
Hosts And Creators
Bobby Bones
Amy Brown
Lunchbox
Eddie Garcia
Morgan Huelsman
Raymundo
Mike D
Abby Anderson
Scuba Steve
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