MOVIE MIKE'S MOVIE PODCAST - Youngest Directors To Create Masterpieces + Movie Review: Masters of the Universe + Trailer Park: How to Rob a Bank - The Bobby Bones Show

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, and welcome back to movie Mike's movie podcast. I
am your host movie Mike. Today, I want to talk
about the youngest directors behind the biggest hits, because people
are hitting on a young director who is making waves
right now, saying there's no way this person directed this
movie on their own. But I want to look back
at history on other directors who were really young but
had massive, massive movie hits. In the movie review, I'll

(00:23):
be talking about Masters of the Universe. Did it win
me over? Was Jared Leto's performance good enough to not
be distracting? That's all I was looking for. Even though
I wasn't a big fan of he Man as a kid,
I know how much it means to all the eighties
kids in the trailer park. We'll be talking about How
to Rob a Bank starring Nicholas Holt. It is about
a group of people on YouTube going viral for Robin

(00:46):
Banks and putting it all online. But they're doing it
for maybe a good reason. So thank you for being here,
thank you for being subscribed. Shout out to the Monday
Morning Movie crew. And now let's talk movies from the
Nastro podcast network is Movie Mikes Movie Podcasts. The youngest
filmmakers who changed movies forever, inspired by director Kane Parsons,

(01:10):
who just had a massive hit with back Rooms, because
Backrooms has now been picked up for a sequel, which
I was telling you guys last week. I enjoyed the
back Rooms. I lived in the back Rooms. I could
still quite possibly be there in the back Rooms, but
I knew this was the start of something beautiful. Cane
Parsons has made history as becoming one of the youngest

(01:31):
directors ever to top the North American box office, and
there was a lot of criticism and hate for Caine
online saying there's no way that he directed this movie
on himself. Some people have said all these crazy theories
that Hollywood is using these young YouTube directors as kind
of ghost directors, that they are actually having these much

(01:53):
more seasoned people. Some people even say that out there
Quentin Tarantino is behind some of these movies because he
is so hesitant about putting out his tenth movie that
he's using ghosts young directors to gauge that and put
it out. But he's actually the one pulling the strings.
This is not true. Kane Parsons directed this movie. He

(02:13):
was in talks with James Wand way back when he
was sixteen years old. So I think the concept of
somebody being so young to do something so great, maybe
now in twenty twenty six, seems a little bit less
likely when movie studios are so hesitant to take risks
and it feels like everything is so safe in formulaic
and you want to focus on ip that it sounds

(02:36):
crazy that a studio like a twenty four would take
such a big risk with such a young director. But
if you look back in history, this has happened before.
Some of your favorite movies have been directed by directors
who are not even thirty years old. So how young
is too young to make a masterpiece? That is the
question we will be answering today. Kane Parsons twenty years old.

(03:00):
I will not put him on the list since he
is the inspiration for this entire thing, but that is
how he got his start. He was creating these horror
videos on YouTube as a teenager. As early as sixteen
years old. He created one of the most recognizable internet
horror universes that is now going to be a full
fledged franchise. To have a major studio backed film before

(03:20):
the age of twenty is crazy, and I think this
is the year and needs to be the year that
we finally have a Best director go to a horror
movie director. Has never happened in history. Some horror directors
have won Oscars, but not for specifically horror movies. Germal
de Toro I for the Shape of Water. I don't

(03:42):
consider that movie to be a horror movie. Peter Jackson
has directed horror movies, but he won for the Lord
of the Rings. Ryan Coogler did not win, unfortunately. Jordan
Peel did not win unfortunately. But I think this could
be the year we see at least the Nation first
of all, which I think would be a major thing

(04:03):
for Kane Parsons. There's somebody else on this list I
think has a better shot, But I do think this
year at the Oscars we need more horror representation. Kind
of crept in a little bit last year with weapons,
but this needs to be the year because this is
the genre making waves this summer. They'll probably never nominate
superhero movies again, so it needs to be horror this year.

(04:23):
So I have the top ten youngest directors who changed
movies forever at number ten. I have Damien Chazelle at
twenty nine years old, he put out Whiplash. Whiblash started
as a short film that Damien Chazelle made just to
prove that this concept could work, because if you look
at Whiplash on paper, doesn't look like it would be

(04:44):
an Oscar worthy movie. But he created this short that
helped him get the full feature finance, which if you
look at this short, you see the vision there. It's
maybe not as polished as the final product as far
as the production value, but you see that intensity. The
movie has this razor sharp, high pressure, psychological drama that

(05:06):
sometimes plays out more like a horror movie than it
does a music movie, and it feels small, like just
the movie about somebody trying to achieve perfection and drumming
doesn't sound like it would be this intense and bloody.
At times, it plays out more like an emotional thriller,
because that's what it is. On the surface, is just
story about a jazz drummer and is verbally abusive, maybe

(05:29):
a little bit physically abusive instructor, but underneath it's about
something bigger. How far is too far to go for greatness?
The overall obsession with perfection and wanting to do something
to impress somebody else who seems unable to please when
discipline becomes abused because you think man to be great,

(05:50):
you have to be disciplined. But how hardcore is disciplined
to a point where it is leaving you battered and bloody.
Damien Chazelle actually wrote this movie based on his own
experience in competitive high school jazz bands, where he saw
how intense instructors could be to push their students to
the edge. You often think about high school maybe football coaches,

(06:14):
basketball coaches yelling at their players to perform better. You
don't really think about the band side. And I was
actually in band in sixth grade. I played clarinet because
it was the only instrument I was offered. They came
to our school in fifth grade and they brought all
the instruments, and they brought instructors, and they let you
go around and test all the instruments, and immediately percussion

(06:35):
filled up. That's what I wanted to do, because if
I couldn't play guitar, I wanted to play percussion. And
I had such jacked up teeth in fifth grade that
they told me the only instrument I could play with
such jacked up teeth was clarinet. But I also think
maybe nobody else was signing up for it, and maybe
I waited too long and all the other lists were
filled up. That I played clarinet in sixth grade, but

(06:59):
an instrument I didn't really want to play, but I
wanted to be in band. I wanted to learn music.
Even though my goal was to play in a band
like a rock band. I thought, let me learn some
chords and notes so I can show my parents there
is some structure to it, and I'm actually learning the
foundations of music. But I played clarinet for an entire
school year, and I became first chair because much like

(07:23):
Miles Teller and Whiplash, I wanted perfection. I lost my
first chair, though, because somebody sabotaged me. Somebody mess with
my read. And every week we would I guess it
was like a tryout where we would all play a piece,
and you would play, and then the person behind you
would play, and if that person was better than you,

(07:43):
you would move down. I don't know if they still
do it this way, but the rule when I was
in sixth grade band was that you could only move
down three chairs, and I was fortunate that I could
only move down three chairs because somebody messed with my read,
which is the little piece of wood you put on
the mouthpiece that makes the inch. Tuerman actually put out
a sound. Somebody messed with it, so it was just

(08:03):
like squeaking and wow. The entire time sounded terrible. So
if I were to make a movie about my experience
in band, it would be much more about sabotage. But
Whiplash went on to become one of the most talked
about indie films of the decade, went on to win
three Oscars, including Best Supporting Actor for J. K. Simmons,
and then Damian Chazelle went on to direct La La

(08:26):
Land at the age of thirty one and became the
youngest Best Director Oscar winner ever at the time at
number nine. I have John Carpenter, who, at twenty nine
years old, directed Halloween that came out back in nineteen
seventy eight. This movie was made on a tiny budget
of roughly three hundred thousand dollars. The entire thing was

(08:46):
shot in just twenty days. He created one of the
most influential horror movies of all time. I think without
Halloween and its success back in the seventies, we wouldn't
have got the Slashers of the eighties, there would be
no Jason, there would be no Nightmare on Elm Street.
And if we didn't have those movies, we wouldn't have

(09:06):
all the horror movies of the nineties. And do that,
Like everything I believe that came from the horror genre,
all rests on the back and success of Halloween. Even
the format itself of creating a movie shot so quickly,
made for a really, really low budget. That's the formula
that is the bread and butter of this franchise. That

(09:27):
is why horror is so lucrative and so enticing to
studios now, because what we find in horror, it doesn't
take a lot of money to make somebody scared. You
just need a bright individual behind the camera, editing this movie,
creating a score which John Carpenter created one of the
most iconic movie scores of all time in Halloween, and

(09:48):
he composed that famous theme himself in just a few days.
So again, I think I just loved the punk rock
nature of indie filmmaking and movies like this that at
the time they didn't realize the crazy impact that this
movie was going to have. Introducing Jamie Lee Curtis, who
doesn't even like horror movies, but she is a part
of this franchise and has been for I mean, it

(10:09):
was a part of this franchise for over forty years.
Although I think it's done now, it should be done now.
But that is one of the most instantly recognizable melodies
in all the movies. Thing, ding, thing, thin thing thinking.
Speaking of music, that is one of the only songs
that I can play on piano, and I impressed myself
every time I'm able to do that. The budget was
so small obviously they could not film this movie in fall.

(10:33):
I didn't mean to rhyme there, but many of the
scenes were film using leaves that the crew would have
to reuse the production. So, since the movie takes place
in Illinois, but it was actually shot in California, they
would gather all of the leaves and then scatter them
again for the next shot, creating that illusion of Halloween
fall vibes, the crunch at your feet, and the movie

(10:54):
went on to gross more than seventy million dollars worldwide.
And from there, like I mentioned, we got Friday the Teenth,
night Mare on Elm Street, Scream and all the modern
slasher movies at twenty nine years old. John Carpenter prouve
that a young filmmaker with a great idea and a
tiny budget could create a cultural phenomenon, and a lot
of people still follow this blueprint. So at number nine

(11:16):
I have John Carpenter. We're only going to get younger
and younger as we go down this list. At number
eight is Sofia Coppola. Her movie The Virgin Suicides came
out in nineteen ninety nine and she directed it at
the age of twenty eight. Sophia Coppola is interesting because
when this movie came out, she was heavily criticized for
her last name, because obviously her dad is Francis Ford Coppola,

(11:40):
who has directed Godfather one, two, and three. He also
did Apocalypse Now and I think this was probably even
before NEPO babies were so heavily criticized as they are now,
which now you see it all the time, And maybe
it's just because we have the Internet and we're able
to put the pieces together a little bit more easily now,
But that was a big thing having a last name

(12:01):
of somebody already well established. If you look at Nicholas Cage,
he is actually a part of the Coppola family, but
when he started as an actor, he didn't want that
name because people would just assume things about him. He
felt like he would have just been given roles because
of his last name, so he went by a different
name and even just recently officially changed his name his

(12:23):
legal name to Nicholas Cage. But Sophia Coppola had all
this criticism before the movie's released due to her family name.
But with this movie The Virgin Suicide, she proved that
she had a completely original voice and has been proving
that time and time again with every film. She followed
this movie up in two thousand and three with Lost

(12:44):
in Translation, which would probably be a lot of people's
most favorite movie of hers. I really enjoyed the Blingering.
I also really enjoyed in twenty twenty three Priscilla. I
thought that was a much more powerful story than the
Elvis movie itself we got from Boz Lhrman. And then
she also did a movie called On the Rocks, which
is an Apple Plus movie with Bill Murray and Rashida Jones.

(13:07):
Ifever you need just the good kind of low fig
comfort movie, that's one that came out back in twenty
twenty and kind of doesn't really get mentioned a whole lot,
but another solid movie of hers. At number eight, I
have Sophia Coppola. At number seven, I have Steven Spielberg,
or as I like to call him, Spielbergo, who does
have a big movie coming out this month with Disclosure

(13:29):
Day that I'm very excited about. They did post a
teaser of what the alien is going to look like,
and I had to shield my eyes because I don't
want to know. I don't want to see it yet
until I experience it in theaters. But he was only
twenty eight years old whenever Jaws was released back in
nineteen seventy five. He created the first summer blockbuster, which now,

(13:49):
oh man, we're deep into summer blockbuster season, and I
love it. If you go to the movies in the
summer and watch some big movie that makes you excited
that you want to throw your popcorn against the wall,
you can think Steven Spielberg. Even if you don't go
watch a Steven Spielberg movie, it is because of him
that we have summer blockbusters. Jaws literally changed Hollywood forever,

(14:15):
and he did it at only twenty eight years old.
And he proved that chaos is a form of beauty.
Because production was a nightmare. You had a broken mechanical Shark,
which was also really expensive, which if you look back
and watch Jaws, that is a big reason why you
don't see Jaws a whole lot because they had to
save money. You really only get that one shot of

(14:37):
him hurling out of the water, and you get that
big shot of Jaws in all its glory, and that
actually went on to be a formula that a lot
of other horror directors were inspired by, where it is
almost not knowing that is more scary than knowing, So
you keep the audience in the dark a little bit,
you build that tension, and then when you finally see
that monster in all of its glory, it is so

(14:59):
much more impact. But the production of this movie was
a nightmare because of that, because of weather delays, because
of budget overruns, and that's what forced Steven Spielberg to
actually show less of Jaws, creating that suspense through implication.
Steven Spielberg one of the most iconic directors of all
time and had this major hit at twenty eight years

(15:19):
old and still now at the age of seventy nine,
years old, is still cranking out movies. Is still just
as passionate now at seventy nine, of creating movies that
people want to enjoy. And I say that because sometimes,
like a Francis Porto Coppola that I mentioned earlier, directors
get to that age and they can really do whatever
they want, and all power to them, they've earned that.

(15:43):
But I still feel like Steven Spielberg at seventy nine
is at passionate at creating the best movie possible, not
just for his own fulfillment, which he could have done
that ten years ago, just made the movies he wanted
to make. He's a billionaire, he can do whatever he wants,
But I still feel like he wants to put out
number one movies and stories that people connect with that

(16:05):
he hasn't lost the interest of the audience wanting to
go out and have a good time. So at number seven,
I have Steven Spielberg at number six. At twenty six
years old, Curry Baker is crushing it. He put out
Obsession this year. He started out much like Kane Parsons,
who this entire episode is dedicated to, as a YouTuber
creating and making horror shorts and sketches. He's actually really

(16:28):
funny too, But he built an audience ever before stepping
into Hollywood, and I think that is also what is
enticing to Hollywood right now, is finding people who have
been doing it. It is starting to remind me of
the music boom on TikTok in the twenty twenties, where
you just had people stuck at home and they were
just creating music and putting it up on TikTok and

(16:48):
they were blowing up, getting millions of views, having songs
go viral, and all the record labels started to notice that,
and what did they do? Instead of the traditional routes
of sending out people to clubs and all these bands
who have been grinding and get on the road for years,
They're just going to go on TikTok and find people
getting these millions of views, getting their songs used in
TikTok dances, and then taking those people and giving them

(17:11):
record deals. I think we're about to see this boom
again in Hollywood with people taking these filmmakers on YouTube
and giving them studio deals. I think we're going to
get a lot of good stuff out of this. We're
also going to get some pretty big fails, there have
been a lot of successes. I think it's because a
lot of the YouTubers now doing it, like Kurry Baker,

(17:31):
have proven themselves but had a lot of time to grow.
We're probably going to get somebody who has one thing
go viral and one studio say we need to get
this person immediately, we need the rights of this movie,
and they're not going to be ready yet, which we
did see this with some musical artists who got so
famous so fast that they had record deals even before
they had played their first concert, which is crazy. But

(17:53):
I think why it has been successful so far with
filmmakers on YouTube is because they've been doing it for
so long. Even Curry Baker is twenty six years old,
he knows how to create something, he knows how to
direct something, and now he has studios out the butt
wanting to work with him. He is currently because of
the successive Obsession, which is on track to become one

(18:15):
of the most profitable movies of all time, which costs
about seven hundred and fifty thousand dollars to make, and
they're projecting that it could make between two hundred and
fifty to three hundred million dollars by the end of
its theatrical run. Very rarely do movies have increases from
weekend one to weekend two, but Obsession has just been

(18:36):
growing and growing because of that word of mouth. So
by the end of it, it could end up making
about three hundred and thirty three times its budget and
end up as one of the most profitable movies ever made.
So Curry Baker is now at the center of a
major studio bidding war, with offers for his next project
already in the eight figure range. And that is crazy

(18:57):
because he already has his next two movies lined up,
including a new horror film for Focused Features and also
a reimagining of the Texas Chainsaw massacre for A twenty four.
So both Curry Baker and Kane Parsons represent this new
pipeline creators who developed directing skills in public, out in
the real world, on TikTok on YouTube, not in film

(19:18):
school or these traditional studio systems. And I think this
is going to be the next movie revolution and I
am all here for it, especially when it comes to horror,
where man, a bad horror movie just kind of makes
me angry, But I feel great about gen Z really
taking the reins on this genre. So at number six,
I have Curry Baker at number five. Also at twenty

(19:41):
six years old, I have Ryan Kugler, who at that
age put out Fruit Valve Station in twenty thirteen. This
movie is based on the true story of Oscar Grant
and this was actually Ryan Kugler's first ever feature film.
He was an athlete in high school, a really good athlete,
and thought he was going to go on to be
in the NFL. He was going to college, he was

(20:01):
playing football. He was studying chemistry, and then a professor noticed, man,
you're a really good writer, read one of his assignments,
and told him you need to pursue a career in screenwriting.
And Ryan Coogler is obviously a great director, but I
think where he really shines and what he really takes
a lot of value in, is his writing ability. The
movie also stars Michael B. Jordan, who is now his

(20:24):
muse has been in so many of his movies. At
the age of twenty nine, he went on to direct Creed,
so had two big successes in his twenties. After the
success of Creed, he went on too direct Black Panther,
which ended up becoming the first superhero movie ever to
be nominated for Best Picture. So at age twenty six,
Fruit Val Station, at age twenty nine, Creed, and then

(20:44):
at age thirty one Black Panther. That is one of
the most impressive three movie runs in Hollywood history. I
also just find his passion for storytelling, even down to
he is such a nerd about film and the different
types of film and the way his movies are shown
in theaters, the different formats. He is somebody I could

(21:05):
just listen to him talk about film size and resolution
and coloring and all these things and little details that
great directors pay attention to. And while us as the
audience might not notice all of these little things, it
is the directors who do notice all these little things
that create really magnificent art. So at number five, I

(21:29):
have Ryan Kugler. At number four, we're going way back
to nineteen forty one. Orison Wells was only twenty five
years old when he directed Citizen Kane. It was his
first feature film. All these ages are crazy, but if

(21:49):
you think back to nineteen forty one, that anybody would
give a twenty five year old back in the day
that kind of power, that kind of responsibility, and this
movie being ranked oftentimes as one of the greatest movies
of all time. For the longest time, was the only
movie on Rotten Tomatoes. I know I don't say that
site all the time, but I'm kind of letting go

(22:10):
of that grudge now for those who don't know and
are new to the podcast. For a majority of my
professional movie reviewing career, I have always wanted to be
a certified Rotten Tomatoes critic, that's what they call them.
And every year you could apply, you can't even do
it anymore. So I think that's why I care less
about it. So if ever, you look at those scores
and you're like, where did these actually come from? Who

(22:32):
was actually contributing to these? Not me? I tried to
for I think three maybe four years, and I was
constantly rejected, even though I had all the credentials. But
that is why I never say the name of that site,
and I just slipped up there because for the longest time,
this was the only movie on that site that had
one hundred percent Rotten Tomatoes rating. Let's look at what

(22:53):
it's at now, which it's always kind of weird for
old movies because who goes back to rate an old movie.
See right now it is at a ninety nine percent,
and that is just somebody messing with the system. It
should probably be at a one hundred. For such an
old movie, you should just kind of grandfather it in
and not let anybody else mess with that rating. But
for the longest time it was the only one hundred

(23:15):
percent rated movie on Rotten Tomatoes. So, but that completely
refined storytelling and the structure in cinema, which back in
the day there was no real format, I mean movie theaters,
not until Alfred Hitchcock's Psycho even had set run times.
You would just kind of show up and be like, ah,
I'll pay my nickel and I'll go watch a picture

(23:37):
man sit. So Citizen Kane is an incredible feat that
not only is it still a memorable movie now one
of the most influential movies, but the fact that it
was directed by a twenty five year old. So everyone's
saying that Kane Parsons now couldn't quite possibly direct back
Rooms by himself, go back and look at Orson Wells

(24:00):
at age twenty five, creating one of the most long
lasting movies of all time. It invented a lot of
movie techniques and filmmaking techniques like deep focus, nonlinear storytelling,
and innovative sound design. It all goes back to Citizen Kane,
and back in that day, the company RKO gave him

(24:21):
unexpected creative control because of his success in radio and theater.
Which when I think of the name Orson Wells, even
before Citizen Kane, I think of War of the World's
the famous broadcast back from October thirtieth, nineteen thirty eight.
It went over the airwaves on CBS. It was an
adaptation of hgu Well's science fiction novel And the reason

(24:45):
it's so famous is because when you heard it on
the radio back in the day, it sounded like breaking
news and it caused real wide listener panic because everybody
thought that a real media like object was ashing in
New Jersey and that aliens were invading the earth. But
it was all a radio program. See but at number four,

(25:08):
I have Orson Wells, who directed Citizen Kane at the
age of twenty five. At number three, I have Kevin Smith,
who directed Clerks at the age of twenty three. This
entire movie was shot in the convenience store where Kevin
Smith actually worked. I think the reason this movie is
so inspiring to young filmmakers is because, from what I found,

(25:29):
is one of the cheapest movies ever made. It costs
about twenty seven thousand dollars and Kevin Smith made it
by maxing out all of his credit cards. It was
shot in black and white. I believe the reason he
did that was to save money on lighting, because he
realized that if we shoot this thing in black and white,
we don't have to worry about some of these modern
film techniques to make it look a certain way. So

(25:51):
it was done for financial reasons. It also gives it
that convenience store kind of security cam footage, but it
made it look different. In saving money and cutting corners,
it was actually a big plus in making it stand out.
I think that is the beauty of filmmaking and ballin
on a budget. It was dialogue driven, heavy comedy, heavy vulgarness,

(26:14):
completely outside of the studio system. Kevin Smith was the
YouTuber of nineteen ninety four where he really just said,
let me get a camera, let me get some of
my friends, and let me make this vision. I don't
need a studio, I don't need a budget. I'm going
to do it all by myself. And that is what
sparked his career. Clerks is a full fledged franchise. I

(26:35):
would say I'm the biggest fan of Clerks too. But
when it comes to Kevin Smith's movies like Jane, Silent, Bob,
Strike Back, Maul, Rats, cop Out, He's done so many
great things that maybe haven't always had the most success
at the box office, but he does it for his fans,
and more so than anything, he has defined what a

(26:56):
DIY filmmaker is do it yourself, and his story ended
up creating that entire indie boom of the nineteen nineties.
So at number three, I have Kevin Smith. At number two,
I have John Singleton, who directed Boys in the Hood
in nineteen ninety one at the age of twenty three,

(27:16):
this movie, Oh Man, It Hits You, quite possibly one
of the most gut wrenching endings of any movie of
the nineties. John Singleton based this movie on his own
life in South central Los Angeles, and at the age
of twenty three, John Singleton fought studio pressure to soften
up the story a little bit. They wanted him to

(27:38):
change the story to make it appeal to audiences a
little more. If that would have happened, this is the
reason you don't listen to studio execs. If that would
have happened, that would have taken all the authenticity out
of this movie. The reason this movie is so great
is because it is so raw. It makes you feel
so visceral about what happens to these characters. There is

(28:02):
a moment where Cuba Gooding Junior's character just loses it
after a bad interaction with law enforcement, and it's this
raw moment of him just crying and getting out all
this frustration. Also does it in front of his girlfriend
or girl he's seeing at the time. Such a vulnerable moment.
To have somebody who is in a part of town,

(28:24):
in a culture where you have to be a hardened individual,
you can't show any sign of weakness, just completely lose
it in front of I mean, oftentimes showing emotion and
any situation is seen as like you're not supposed to
do that as a man, but also to do it
in front of a woman, especially back in the nineties,
was seen as something you shouldn't do. And showing that

(28:47):
scene made me feel like, man, it's okay cry as
a man, especially when you go through something that just
makes you so mad and so angry, which is what
this movie does. And it also just breaks your heart
at the system and how people are meant. Oh, there's
so many things that this movie hits on that create

(29:08):
kind of this feeling of peeling back a scab and
having your flesh exposed because it is so raw. And
if the studio would have had their way in softening
the story, changing some of the characters, taken out, some scenes,
taken out some of the dynamics between these characters, it
would have not had the impact that it did. I

(29:28):
also watched this movie way too young and still understood it.
But that final scene just gets me so bad. And
I know the movie is old and I could probably
spoil it. So Ricky's death, man, ah, that moment, just
why did he have to die? If you look back
on movies, which again my rule is ten years, you
could spoil a movie. This movie came out in ninety one.
It came out the same year I came out into

(29:49):
the world. Ricky's death. If you look back on characters
who did not need to die, he is at the
top of the list. I always hate this in movies,
even though it is a powerful thing. But when you
have a character die and then something happens right after
that and you realize they didn't have to die, that
they died for nothing. It just feels like, oh, man,

(30:11):
if you could go back and just change things, I
would want you so bad and Ricky would still be alive.
Morris Chestnut, what a performance, ice Cube, What a performance,
Cuba Gooding, Junior, Laurence Fishburn, Regina King, such a great movie.
At number two, I have John Single at twenty three
years old. Man, twenty three years old. I was just

(30:32):
like partying drinking a bunch of cheap beer at twenty
three years old. And at number one, the youngest director
on this list who is not Kane Parsons is Sam Raimi, who,
at the age of twenty one, director The Evil Dead
that came out back in nineteen eighty one. This movie
was shot in a cabin in the woods with his friends.
It is, I believe, one of the most impactful horror

(30:55):
movies of the eighties for his can't be like Sinister
qualities that he's still doing to this day with movies
like Send Help, which was a really great horror movie
that came out earlier this year with Rachel McAdams and
Dylan O'Brien kind of kickstarted the year with a good
horror movie that was kind of the indicator of Okay,
twenty twenty six is really going to deliver in this genre,

(31:16):
but Sam Raimi was doing it way back in nineteen
eighty one. He funded this movie through small investors and
just straight up determination, which has been a theme of
this list. Just a filmmaker with a vision who doesn't
want to look at numbers, just wants to create their art.
In this movie, Sam Raimi invented the aggressive moving camera

(31:36):
horror style. It's where a lot of his trademarks started
to show. He has it a weird obsession with eyes
that you even saw and send help. And he created
these techniques because he couldn't afford the equipment. So another
theme we are seeing here is you have to get
creative when you don't have a lot of money. Much
like back in the trailer park days, where I would

(31:57):
have to put together a lot of random ingredients and
eat these Frankenstein meals just to have some lunch. I
would just go through. We didn't really have a pantry,
but we had a thing where the microwave was that
was kind of our food storage center. The heart of
our kitchen, and you start finding things that aren't expired
and maybe would kind of work together. That is what

(32:18):
you have to do as a filmmaker. Take all these things,
objects you already own, people you know who can do
certain things, and you put it all together and you
make it work to the best of your ability, and
the things you can afford, the things you can't do,
you find other creative tactics to make it look like
you're doing it on purpose, but you're really doing it
because you're broke. Much like back in the day when

(32:40):
I invented a sandwich that was peanut, butter, bananas and syrup.
Most delicious thing I remember eating back the day, also
probably one of the most unhealthy things I've ever put
in my body. But I did it because we didn't
have money and I just had to be a little
bit creative. That is filmmaking. That is life. But this
movie back in nineteen eighty one launched a franchise and

(33:01):
eventually led him to direct one of my favorite movies
of all time, The Original Spider Man in the two thousands.
Sam Raimi has had an incredible career and he's only
sixty six years old. When you get your start at
twenty one, you have a lot of time to make
a lot of great movies. So that is the list.
Some honorable mentions I would put Robert Rodriguez, who directed

(33:23):
El Mariachi at the age of twenty three. That movie
was shot for only seven thousand dollars. More of a
cult classic. Though Greta Gerwig kind of missed out on
my cutoff of age, but she was thirty four years
old when she put out Lady Bird, which is one
of the most acclaimed coming of age movies of our lifetime.
And also m Night Shyamalan at the age of twenty

(33:45):
eight put out The Sixth Cents, which gave us one
of the biggest twists endings in film history. That is
the list. I'll come back and give my spoiler free
movie review of Masters of the Universe. Let's get into
it now. A spoiler free movie review of Masters of

(34:08):
the Universe aka He Man, a movie I thought was
just gonna be a decent time. I did not grow
up with he Man, though my older brother, who was
born in the eighties, loves he Man. Him and my
sister were raving about this movie. They never text me
about movies, but They were like, Hey, are you gonna
go watch Masters of the Universe? Are you going to

(34:28):
get the Skeletor cup? Are you going to get the
he Man popcorn bucket? This movie is more for them.
The trailer started to entice me. I think the fact
that Jared Leto is the voice of Skeletor was the
reason I had expectations so low. To me, Jared Leto
is box office herpes. If he is in a movie,
I automatically assume that that movie is going to be

(34:50):
bad and that movie is going to fail, at least
when it comes to franchise films. So I think I
went into this movie with such low expectations that I
it was so pleasantly surprised of how they actually did
this story justice. And some people probably go into it thinking, oh,
it's just gonna be a movie about he Man. I
think the message is actually much deeper, and there's something

(35:13):
that resonated with me about this story that hit me
on an emotional level that I was not expecting. So
I'll get into that. I also went to go see
this movie in forty X, so depending on what movie
theater chain you have around you, it could be called
something different. Like D Box, but essentially for DX is

(35:33):
where the seats move, they spray water at you. And
when I say the seats move, they rumble like a
full on roller coaster. If you've ever been to one
of those virtual rides at Disney or six Flags or
Universal where they're just going like left to right the
entire time, that is the experience in forty X. They
also have what they call lightning, which is essentially some

(35:55):
shrob lights kind of going off that really didn't happen
much in this movie. They're also was supposed to have
sense that spray out at you. I didn't experience that
in this movie. So I'll also talk about what that
experience was like and is it worth the money because
it is a premium take a price depending on where
you are, twenty five or thirty bucks. So we'll get
into that. But first what this movie is about. You

(36:18):
have Prince Adam at the beginning of the movie, who
is ten years old living Castle grade school with his
mom and his dad, and he is the weakling. He
is the smallest, the shortest, the least muscular kid among
all these warriors, and he is trying to impress his
dad primarily, but he is the runt, and he is
trying so hard to train to become a better fighter.

(36:40):
And as he is doing this, Skeletor comes to town
and destroys everything, takes his dad, takes his mom, and
his mission is to take the Sword of Power to
become the mightiest in all the land. But right before
that happens, Prince Adam is sent to Earth as a
ten year old boy on his own with the sword
in order to protect it, and he doesn't come back

(37:02):
until much much later. It is his destiny to return
home because he becomes obsessed with it, And that is
where I think the story is in this movie, because
we find him in probably his twenties, working in human
resources of all places, in a cubicle, and he is
still obsessed with finding his sword. He posts all the

(37:23):
time on the Internet trying to find somebody who knows
where his sword is, and thinks about it all the time,
draws pictures not only of the sword, but all these
people that he grew up with, all of these characters
that you would know from the TV show or the
original movie from the eighties. He is obsessed with all
these people, and that is where I think the story is.
This movie is not a story about he Man. It

(37:45):
is a story about nostalgia. And if you think about
the parallels between all the people who were fans of
he Man in the eighties, maybe grew up right, probably
born late seventies, early eighties. This is the prime demographic
for this movie and also the problem that I'll get
into later surrounding this movie. Those people love he Man,

(38:07):
and with Adam being so obsessed with this childhood of
wanting to go back there, and everybody around him is
basically telling him to move on, that you're crazy. Why
are you so obsessed with this sword? You need to
live in reality. We find him at a date at
the beginning of this movie and the girl freaks out
and is like, well, there is a dude about I

(38:28):
got head of here because he keeps going on about
this crazy story about Castle, Gray Skull and skeletor so.
I think the reason it hit me so much is because, man,
I don't do drugs. I don't drink. The only drug
I've partaken is nostalgia. It is a powerful drug. It
is something that can consume you. And maybe you spend

(38:50):
too much time with living. I don't want to say
living in the past, because it's not like, oh man,
But every now and then I just need to hit
a nostalgia to make me like, ah, yeah, there was
a time where everything seemed bright and new and colorful.
Looking back on the late nineties and early two thousands,
for me of the shows that I grew up with,

(39:10):
I love living in that sometime. If you look around
me right now in the studio, you see all the
remnants of my nostalgia. That is what this movie is about.
And it's parallel with the people who this movie is for.
Who I think the world is such a dark and
just sad place right now, with people fighting an ai
taking over everything. Sometimes it is just comforting to go

(39:35):
back and think about, Man, remember when I would just
pop on he Man on Saturday mornings, eat a bowl
of cereal and just relax. That is when times were great.
I didn't have to worry about bills, I didn't have
to worry about promotions. Everything was just about man. How
is he Man going to get out of this one?
How is he going to stop Skeletor? And when I
see Prince Adam in the movie, thinking he finally found

(39:56):
his sword, he goes to a collectible shop to meet
somebody off the internet, and it was him going into
that collectible shop that made me feel like that is me,
that is what I love to do on the weekends.
And I think that was a metaphor of him going
in there trying to find a piece of his childhood.
That is what anybody with glasses like this and a
room like this does if they go to a store

(40:17):
like that, they are just trying to grasp onto their
childhood a little bit. And it shows you the downfalls
of that, but also how you can be validated once
you find something that everybody was telling you didn't exist,
and everybody was telling you that you were crazy for
so it turns into a nostalgia thing, but also into

(40:37):
finding your true purpose and not letting those people around
you doubt you. If you have a dream that you
want to go after, and if you're a dreamer, sometimes
it seems crazy to people who don't have those same dreams.
And you don't have to have big dreams to enjoy life.
You find comfort and fulfillment in other things. But there
are some people who have had a dream since stay
over a kid, and they want to pursue that. To

(40:59):
others that seems you want to go be a rock star,
you want to go be an athlete, and it's not
until you make it that those people were like, I
knew it all along, that person had it, but they
weren't supporting along the way. There were a lot of
people not supporting Prince Adam in his journey, so it
was very satisfying once he finally proves them wrong and
goes on a mission to save his home. So I

(41:21):
think the people who were fans of he Man back
in the day are going to love it for those reasons.
I think the hardcore critics are still going to throw
tomatoes at this movie and say get it off the screen,
because by definition it is kind of just a popcorn movie,
a typical summer blockbuster. But I think to those true fans,
this is something different because you are seeing he Man

(41:42):
portrayed in a way that you didn't get back in
the eighties. It feels like they are finally doing this
character a lot of justice. The problem is all these
fans of he Man are in their forties, maybe even
in their fifties, and he Man isn't a franchise that
really resonates with kids today. If I had to compare
to something else that was massive in the eighties, and
there's some parallels between the two. It would be the

(42:04):
Teenage Mutant Ninja Turtles. The difference between He Man and
the Teenage Mutant Ninja Turtles is the Turtles have continued
to be famous since the eighties. We had the movies
in the nineties, but you've had different iterations of the
characters from the animated show in the two thousands, the
animated movie in two thousand and seven that I really loved,
Then we had the live action movies of the twenty tens,

(42:27):
and then all throughout those movies, we've still had an
animated Teenage Mutant Ninja Turtles series and toys that kids
have been familiar with for generations. So now with the
TMNT movies coming out in the twenty twenties, you still
have those original eighties fans, but you also have the
kids who have still grown up with it throughout all

(42:48):
the different decades and even now are being exposed to it.
So a dad can take their kids to go see
these movies relive their childhood, but it's still a part
of these kids' childhood. When it comes to he Man,
it hasn't been popular like that in a very long time.
Eighties was massive, obviously, but there hasn't been those different

(43:08):
iterations in the last three decades. That the only people
you have that this movie appeals to is all those
people who are fans of the show as a kid.
And those people aren't necessarily rushing to the theater to go
see this movie. They're probably thinking, when is this movie
going to be streaming so I can watch it at
home because that kind of fits my lifestyle right now.

(43:29):
What is working right now in theaters it is things
that are appealing to younger audiences. And it's not that
it's a vulgar movie by any means. It's just not
really a full family movie because it doesn't appeal to
everybody in the family if you have to really convince
your kid that he Man is cool. And I think
the box office numbers are not going to reflect the
actual product here because this was definitely a fan service movie.

(43:53):
There are a lot of little easter eggs, especially for
me who didn't grow up with the animated show, but
I know it a lot from memes. There are throwbacks
to the YouTube videos set to What's Up by four
non Blondes. I think that is one of the most
popular he Man memes that I have been a part
of and recognize. And they had a lot of needle
drop moments in this movie with some really big songs.

(44:14):
That was one of them. They also had the Cure
Boys Don't Cry. I am such a huge fan of
the Cure in that moment really hit with me. So
obviously a lot of eighties and nineties music in this
to kind of go along with a demographic here in
this movie. Although I do really feel that this movie
was kind of trying to be a lower budget Thor Ragnarok.

(44:36):
There are a lot of parallels between Thor Ragnarok and
this movie, but I think some of those cosmic colors,
some of the supporting cast, he Man himself, his family
is very similar to Thor. There were some moments where
I felt like this was truly its own thing, truly
a he Man movie, and I think that came down
to some of the flying scenes in the ship and

(44:57):
seeing he Man do some really heroic things that really
showed you how strong he is. Although some of the
things that were hard for me to really process were
how dumb they made Prince Adam and I know he's
that way in the original animated show, but he's just
kind of a buffoon and acts in a way that's
not very heroic. And then once he finally is heroic,

(45:18):
you're like, okay, but then he still kind of does
these things that are very childish. I thought they leaned
into that a little bit too much, because throughout a
majority of the movie it doesn't take itself too serious,
but it takes itself serious enough that it's not just
silly all the time. And that is what I was
worried about. The most surprising thing to me was that
Jared Leto did not ruin Skeletor. And maybe it's because

(45:41):
you never see his face, you never really hear his
voice either, because it's so heavily modulated and deepened that
I really couldn't tell. And it was Jared Leto if
his name was not on the credits, and maybe that
was by design. I could have used a little bit
more sass from Skeletor, which is when I take away
from the animated clips I see on YouTube of him

(46:03):
calling people boobs, which I think they did sneak that
one in there. But I love a good Skeletor insults
and the higher a little bit more nasally voice that
to me is a little bit more comedic. But I
think if you had that voice with the design of
Skeletor in this and given the past that this movie
has with not having success in live action, if they

(46:24):
made him more comical, I do not think it would
have worked, because he is more menacing and powerful. Him
and Evil Linn played by Alison Brie, those two work
together really well. I would take just an anti hero
villain story of them two together. I kind of want
to know more about their relationship. Now. When it comes
to the fort d X experience, what I do it again?

(46:47):
Probably not. It is really hard to get used to
because the seats move so much in the very beginning
of the movie, and I thought maybe they would just
rumble a little bit, but no, they straight up go
like you're in a hydraulics car. It's basically like going
to an amusement park ride. So if you are somebody
that just likes to sit back and enjoy the movie,

(47:09):
definitely not the experience for you. I didn't like all
the air that they shoot at you, which he man
has a lot of gunfire, and whenever that would happen,
they would shoot like this little tube would shoot air
by the side of your ear. I didn't like that
because to me, that didn't really coincide with what was
happening on screen. To you shoot a gun, Why are
you shooting air? That felt weird. I also didn't like

(47:32):
the water element because I have glasses and at one
point he man goes into a body of water and
they spray some water in your face, and then I
had all these water dots on my glasses that I
had to clean. Didn't really like that aspect. But you
can actually turn that off with a button on your seat.
But when it came to the flying motions that I
enjoyed because the seats aren't rocking from left to right.

(47:55):
Instead they're kind of going back to ford, so it
kind of feels like you're going up and down. I
wish they would have on back a little bit more
to really let you lean into the flying, But that
part I liked. And also they had a smoke machine,
so whenever there was smoke or fog, some of it
would come from the very bottom steps of the theater
and come up a little bit. I thought that was

(48:16):
really cool. There was one moment towards the end of
the movie where there's a really big fight scene that
the entire theater rumbled, and I started to get a
little bit worried because they have some of the elements
hanging from the roof. I think some of the things
that maybe blow win some big fans on these big
racks on the top of the theater. Whenever that big

(48:38):
rumble happened towards the end of the movie, everything started
shaking and I was worried that we were about to
have a final destination situation in the theater because everything
was going everywhere. So the main reason I did the
forty X experience is because they had the best showtimes.
Right now in the summer they start having nine am showtimes,
which I love because of my job and it's hours

(49:01):
during the week I naturally wake up early. On the weekend,
seven am is sleeping in for me, so if I
can go watch a movie at nine am, I will go.
And the only time they had at nine am was
a forty X showing, so I was like, I've never
done this before. I want to experience it. I don't
think I would do it again, maybe next summer because
the price is pretty expensive. Now I have Regal unlimited,

(49:24):
so whenever I book my movie tickets. If it's a
normal movie, all I have to pay is a fifty
five cent booking fee right now, but because of the
forty X experience, I had to pay ten bucks. It's
normally a twenty five to thirty dollars ticket, depending on
what time of day you go, and it could depend
on where you live in the country. But I just

(49:44):
don't know that it's entirely worth that amount of money
unless you go with a group of friends, because I
think it's something you definitely have to enjoy with other people.
I went by myself, so it felt kind of weird
because there are these moments where it kind of put
the smile on your face because you can't help but
feel happy as you're being all shook up in the seats.
But then I look around and there were literally only

(50:06):
two other people in the theater with me. So I
don't think I had as much fun as I would
have had if I went to this movie with a
group of people. But I think if you have a
group of four friends, because the way they set up
these seats is essentially four of them altogether, if you
have three other people to go with, I think it
would make it a lot more fun, and it would

(50:28):
justify that ticket price a little bit more. I do
think it has to be a movie that has a
lot of flying, because I think that is what was
the most fun to me, and a movie with a
lot more smoke. That was the only thing I wish
it had more of more smoke. But overall, for Masters
of the Universe, I think because I went in with
much lower expectations and was pleasantly surprised. I also think

(50:50):
the forty X experience did make it a little bit
more enjoyable. So maybe if I just saw this in
a normal two D movie, it'd be a three point five.
But I think the fact that it did enhance it,
and I was so glad that Skeletor was not ripped
to shreds by Jared Lettle's performance. I actually think I'm

(51:11):
gonna give Masters of the Universe four out of five.
Castle Gray Skulls. It's time to head down to Movie
Mike trailer Park. I always like to bring a couple
of questions into the trailer park for you that I
want to answer by the end of it, because I'm
about to break down how to rob a bank. Starry
Nicholas Holt. It is about a group of people who

(51:34):
start a YouTube channel of them robbing banks, and they
post all these videos. They go super viral, and then
it turns out that an FBI agent played by John
c Riley wants to take them down. It is directed
by David Leech. But the questions I want to answer
is is that, okay, if good people do bad things,

(51:56):
because it's becoming one of my favorite genres of movies,
not specific genre, but a theme when you have people
who aren't bad to their core, but the things they
are doing in this case robbing banks are bad and
things obviously are going to get out of hand. You
see by the end of this trailer they get into
some hot water, and they are people who don't necessarily

(52:18):
want to use any force. They only have blanks, and
they are doing it for a very specific reason that
we'll learn more about. But they don't seem like just
bad people to me. They aren't killing people for some reason.
If a story is told in the correct way, or
in the most captivating way, you can root for a
person doing things that you would not recommend your kids

(52:41):
to do, your family to do, anybody in your life.
If they were doing these things, you would not look
at them the same way. But for some reason, they're storytelling.
I just feel compelled to root for these people. But
how far can you go doing bad things before you
become a bad person? That is what I want to
know by the end of this trailer park And I
also want to know what is going on with Pete

(53:03):
Davidson's movie career. I feel like he's really been kind
of the next up comedy guy for a while now,
since twenty twenty, but he stars in this movie as
one of the people involved in this YouTuber group. The
movie is coming out on September fourth. Here's just a
little bit of the trailer. Let me break some numbers

(53:23):
down for you.

Speaker 2 (53:24):
Odds of owning your home four out of ten. Odds
of owning a six figure salary two out of ten.
But the success rate of arm robberies is nine out
of ten.

Speaker 1 (53:39):
Welcome to our champ, How do rob a bank? Fifteen?
Thanks nine hundred million views. These clowns are making the
FDI look like Pools. Congratulations here for the college fund.
We have a hacker and her house arrest. We should
use her. Good people are doing bad things. Nicholas Holt
is the leader of this group. Pete Davidson is a

(54:02):
member of this group. John Cilly is the agent trying
to take them down. Zoe Kravitz is the hacker hired
by John c Riley to track these people down because
they have left no traces. They wear these masks animal
mask which I think actually look pretty cool. Nicholas Holt's
mask is like a wolf mask and he kind of
talks differently there that you hurd him in the trailer,

(54:24):
but this is good people doing bad things, and he
makes the claim in this trailer that he is not
the person hurting people. The person ruining people's lives and
taking people's lives are the banks. Because of a few mispayments,
you can leave somebody on the street. So they are
saying that the bad people are really the people inside

(54:45):
these banks. Christian Slater being one of those people where
there's a moment in the trailer where John c Riley
and Zoe Kravitz go to his office and he's being like, Oh,
we're being ripped off by these YouTubers. We need to
find them and stop them, and she makes a point
about him getting a bailout and getting a bunch of
money to this bank that seems a little bit shady.

(55:06):
So it's these stories of people trying to take down
a system that is keeping a lot of people poor,
a system where the rich get richer and the poorer
get poorer, and they are trying to fight back, but
they are going to extreme measures. Are they still bad people?
Do they deserve to be in jail? Yes? Probably? But

(55:28):
don't you kind of root for the vigil anti justice
when you see people standing up for the injustice in
the world and a system that is designed to make
certain people fail and other people who have been in
a position of power for a very long time stay there.
That's where you start to question a little bit. And
Zoe Kravitz, you kind of see her go from being

(55:49):
hired and not wanting to get into any more trouble
with the law because she is a known hacker, start
to kind of root for these guys. I have to
imagine at some point she is going to kind of
throw the authorities off of their trail, maybe allow them
a way to get out. Pete Davidson actually seems kind
of funny in this trailer, especially in the later part

(56:10):
where you see they get into a bit of a
hairy situation. Looks like it's going to be like a
final Showdown type thing where they are on the run
and maybe get to a point where they can't just
be running around with Blakes anymore. But Pete Davidson is
so interesting to me because I have been a fan
of his comedy. I loved him on SNL. But what
is his most successful movie as an actor? That is

(56:32):
what I wanted to know, And if you actually look
by the numbers and by the rating system online between
critics and fans, his most successful movie as a lead
actor is The King of Staaten Island, which is the
Jut Appatow movie that came out back in twenty twenty.
I remember watching this movie and thinking, first of all,
way too long. With any jud Appatow movie, it is

(56:54):
about twenty to thirty minutes too long. Always I think
Judd Apatow has kind of lost his ad. She kind
of really peaked in the twenty tens after having such
a strong two thousands run and The Kingostaaten Island. I
found it was really great to get to know what
I feel like Pete Davidson is actually like I feel

(57:14):
like his real persona and his real story was in
that role as much as it has ever been in
any role. Sometimes I just don't know what he is
going for, because he'll randomly do a movie like Body's
Body's Bodies with his agen Z horror movie that's actually
pretty good. But if you look at just the numbers,
his most successful movie, as far as his highest earning

(57:36):
movie in terms of box office sales, you don't even
see his face. It is twenty twenty three's Transformers Rise
of the Beast, where he plays the autobot mirage, where
he was pretty funny and didn't have that many lines.
His character wasn't that integral to that story. But that
movie made four hundred and thirty nine million dollars worldwide,

(57:57):
so that is his biggest role to date. So he
most successful as a lead actor is The King of
Statten Island. His most successful at the box office, whether
he stars as the main actor or not, is Rise
of the Beasts, and his highestly critically acclaimed movie is
one that he's not even the star role in. It
is set it Up from twenty eighteen, where he plays

(58:17):
one of Glenn Palell's friends, a pretty good rom com
from the twenty tens, but he has also been in
the Suicide Squad. Big Time Adolescence I think was his
biggest sled down for me. I thought that movie kind
of felt like the leftovers of King of Stadtn Island
as far as it was just Pete Davidson playing Pete
Davidson again, and by the time I got to that movie,

(58:40):
I was like, I'm kind of over this. I want
to see him do something a little bit different. A
couple of years ago, he was in a movie called
riff Raff that is one of the best mid budget
movies I've seen in a while, a movie that kind
of reminds me of something I would just watch on
Saturday if I'm just scrolling through the free broadcast channels.
And I know that kind of sounds insulting to the

(59:00):
filmmaker behind that, but it was just a movie that
I enjoyed. By the end of it, I thought, Huh,
they don't really make movies like that anymore. And Pete
Davidson had a pretty decent role in that. I just
don't really see him as being that big comedy actor
that I felt like he was kind of cute up
to be once he left SNL. And maybe it's because

(59:23):
the comedy genre is just what feels impossible right now.
Even if you make the funniest movie ever, will people
even see it. I think it's just the comedy genre
has a really hard time of marketing urgency, which I
think that is what is the driving factor behind movies

(59:44):
having success at the box office right now. They have
to start this conversation that makes you feel that you
are missing out if you do not go to watch it.
It is so hard to make a laugh out loud
comedy that translates when you go see it in theaters
that it is funnier unless you we go to the
best theater setting where you have the best people in
your auditorium who make that a much better experience. It's

(01:00:07):
not guaranteed that if you go watch a comedy movie
in theaters that you're gonna have a much better time.
Even for somebody like Pete Davidson, who is as famous
as he is, I don't think will drive people to
want to go see a comedy in theaters. I just
feel like that genre specifically, it feels like it's one
that you can wait for until it is on streaming,

(01:00:30):
especially with our short attention spans and when it comes
to comedy. We want our laughs quick. We want people
to fall off the building immediately. We want people to
bust their butt so quickly in ten seconds that we
can swipe and go on to the next thing. It
is hard to build a character up. It is hard
to build a story and make it funny and keep

(01:00:50):
people's attention and then also make them want to go
pay money for that. But this comes to us from
director David Leach, who you might know him for movies
like a Timic Blonde, Deadpolled, two, Hobbs and Shaw in
twenty nineteen, Bullet Train, where I think is really where
he started to get his legs and started to get
my attention a little bit more. And then The Fall

(01:01:11):
Guy in twenty twenty four, that I thought was a
movie that was great, just didn't perform that well at
the box office, And maybe because some people thought, oh,
that's just the remake of a TV show. I wasn't
even familiar with this TV show. And I love that
because David Leach was a stunt performer early in his career.

(01:01:31):
Most famously he was Brad Pitt's stunt double. That movie
just felt so personal because it is about a stunt
guy played by Ryan Gosling. I feel like that is
a movie that got burned a little bit and also
proved that just because you have two big names like
Ryan Gosling and Emily Blunt doesn't mean that people are
here to pay money to go see that movie. It
really had me questioning star power, much like we've been

(01:01:53):
talking about here with Pete Davidson, but with How to
Rob a Bank. I know now that this movie is
going to have a lot of great action because his
movie's demanded. If you look back at all the other
movies he has done, I didn't even mention John Wick,
which he co directed back in twenty fourteen. Something else
I loved about this trailer that I feel I might
be the only one who cares about this. It has

(01:02:14):
such great motion graphics, so shout out to the motion
graphics designer in this. I'm gonna get nerdy here for
a second. But sometimes I feel that movie logos become
an afterthought, and I am so particular about text and
the way that words look on a screen that I
feel it is a lost art. I want to go
back to the days of Star Wars Raiders of the
Lost Arc, where you have these really great recognizable fonts

(01:02:39):
that you see that and you know what movie you
were talking about. And at the beginning of this trailer,
they put all the text on the screen and it's
a part of the film. You see it come in
from different ways, you see it go out from different ways.
It's a great font, it's a great color. I feel
like that is a lost art. So I would love
to maybe do an episode sometimes just breaking down my

(01:03:01):
favorite movie title design, because when it comes to fonts
and movie posters, oh man, we are settling for the
bare minimum. When it used to be such great pieces
of art that you would want to put up on
your wall, that you were excited to go look at
all the posters when you'd walk out the movie theater.
And now it just kind of feels like, all right,

(01:03:21):
let's see what thing we have on the computer here
and just type something here and throw it on a
floating Hits poster. I also like that it has this
first person point of view in certain scenes of this.
I wonder how a thriller would play out if you
kind of made it like a horror movie that is
all found footage. Think about paranormal activity. Even Blair witche

(01:03:42):
Project oftentimes the found footage style only lends itself to
horror or maybe movies like Cloverfield. Could you make a
thriller or a crime movie like this that is all
found footage. I think you could probably do it now
because now it is very I'm in to have doorbell cameras,

(01:04:02):
cameras in your car. We are so much more aware
now how much we are being surveyed at any given time.
With CCTVs drones. You have all this technology around us
that could be used to make a found footage criminal
movie where somebody is maybe trying to solve a crime
and they have all this footage and they piece all

(01:04:22):
the pieces together. But again, I'm into it. How to
Rob a Bank comes out in theaters on September fourth,
and that was this week's edition of Movie Mikes Trailer Bars,
and that is going to do it for another episode
here of the podcast. But before I go, I gotta
get my listeners shout out of the week this week,

(01:04:45):
I'm going over to my YouTube channel, which I'm still
trying to hit one thousand followers over there, So if
you don't mind subscribing YouTube dot com slash Mike Distro,
you can always find the links in the episode notes.
But going over to last week's recap with Else and
I with the best and Worst movies of May, and
I'm shouting at Louis who said and commented on that video,

(01:05:07):
I noticed that the Mandalorian and Grogu movie looked more
like an episodic TV show. Plus it was very dark,
with few clean, bright Star Wars shots. That is exactly
how I felt, Louise. The entire movie felt very dull,
aside from maybe one to two sequences tops. But the
more I look back on that, you are right, Louise,

(01:05:27):
it kind of felt like it had these little chapters
inside of it that easily could have been cut to
turn this entire thing into the next season of The Mandalorian.
That is why I felt the movie lacked any kind
of momentum, because it was like, Eh, he's all right,
here's the end of that. Eh, here's the end of that.
Aside from it having those little cliffhangers, it just really

(01:05:50):
felt like one big episode that never really went anywhere
and took no risks. And the sad thing for the
Mandalorian and Grogu it is the first Star Wars movie
to fail to dominate the box office in back to
back weekends. This is ever if a Star Wars movie
comes out, it has always been number one for at
least two weeks. But the movie that shut it down

(01:06:14):
was Back Rooms. But not only that, the hits keep
coming because it didn't fall to number two, it fell
all the way to number three. Obsession took that number
two spot. Mando and Grogu dropped all the way to three,
and Obsession came out the week before Mando and Grogu,

(01:06:36):
so it had already been out much longer and still
dominated it at the box office. Man, what a hit.
The only positive thing I could say, And again, it
wasn't the worst movie I have ever seen, but it
just wasn't up to those Star Wars standards. The only
positive thing that I can think coming out of this

(01:06:57):
is maybe they start to question their approach of taking
these Disney plus projects and putting them out in theaters.
Maybe this ends the experiment. Maybe they see that people
want something different. It's not gonna make them as much
money as they thought they cashed in already That well
as running dry, we crave new stories that don't feel

(01:07:20):
like you're just repackaging content that we would have already
got on your streaming service, and I say that as
one of the live action movie is about to come
out in theaters. Oh boy. I still haven't decided if
I'm gonna go see that or not. I feel like
I need to see it, but I do not want
to see it. If I see it, it's because I
want to talk about it here and report on it.

(01:07:43):
But if I didn't have this podcast and didn't talk
about movies, I just wouldn't see it. I can't. A
movie being remade in live action less than ten years
after the original came out is a wildfeat. But appreciate
that Luis for commenting and watching over on YouTube. And
appreciate you wherever you are listening now and until next time,

(01:08:06):
go out and watch good movies and I will talk
to you later

All Episodes

MOVIE MIKE'S MOVIE PODCAST - Youngest Directors To Create Masterpieces + Movie Review: Masters of the Universe + Trailer Park: How to Rob a Bank

Episode Transcript

Hosts And Creators

Bobby Bones

Amy Brown

Lunchbox

Eddie Garcia

Morgan Huelsman

Raymundo

Mike D

Abby Anderson

Scuba Steve

Popular Podcasts

Hey Jonas!

Stuff You Should Know

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}MOVIE MIKE'S MOVIE PODCAST - Youngest Directors To Create Masterpieces + Movie Review: Masters of the Universe + Trailer Park: How to Rob a Bank