September 30, 2024 • 54 mins
This Week the boys are back reviewing recent release of Beetlejuice Beetlejuice, Strange Darling, The Front Room, Megalopolis, Nosferatu with Radiohead: A Silents Synced Film, Eight Eyes, Speak No Evil, Salem's Lot 2024, A Different Man, and The Stepford Children.
Also this episode Jay has dreams about The 100, Correia kicks off his Hooptober with a Critters marathon (Critters 2 rules!!!), Jacob attends the opening Ceremonies for Beyond Fest, and the guys debate what silent films should be set to Charlie XCX. Its all New on EYE ON HORROR!!
Films talked about this week:
https://letterboxd.com/correianbbq/list/eye-on-horror-podcast-sn-7-ep-14/
Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorror
Get more horror movie news at: https://ihorror.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
James Jay Edwards (00:25):
Welcome to eye on horror, the official
podcast of ihorror.com. This isepisode 133 otherwise known as
season seven, Episode 14. Ithink we have those numbers
right. I don't know. It's gets alittle difficult to keep track
these days. I am your host,James Jay Edwards, and with me,
as always, is your other host,Jacob Davison, how you doing?
(00:47):
Jacob? Doing
Jacob Davidson (00:49):
good. Happy that it's, once again, overcasts in
the city.
James Jay Edwards (00:54):
Oh yeah, it's, I actually had to put a
sweater on. It's a little coldtoday, which it has been in the
Jacob Davidson (00:59):
actually feels like fall for one does
James Jay Edwards (01:03):
also with us, as always, is your other, other
host, Jon Correia, how you doingCorreia?
Jonathan Correia (01:08):
Oh, I'm doing fantastic. Just, you know,
getting over my, my, my, thisyear's bout of covid, which was,
which was real fun. Yeah, thatit's, it's, it's great being
immunocompromised, and like,getting covid On the one day you
leave the house that week. So,
James Jay Edwards (01:26):
yeah, it sounds like it hit you hard
when, when I got it earlier thisyear, it just kind of felt like
a bad cold, yeah, but it soundlike it knocked you on your ass,
Jonathan Correia (01:35):
yeah? The first time I got it, it was like
two days of me on my ass, andthen, you know, was downgraded
to a cold. Second time I had,like, no symptoms. But this
time, I don't know what it is,because I'm up on everything. We
were actually just planning ournext bout of vaccines. Anyways,
yeah, it knocked me on my ass. Iwas, like, went Sunday through
(01:57):
Wednesday. I was like, on thefloor of my office, full on,
like in Trainspotting when he'sgetting sober and the baby
scrolling across the screen.
Except my fever dreams weremostly around the movie Bottoms.
For some reason, I think it'sbecause I wanted to watch
Bottoms, and I kept like kind offever tripping that I was
watching Bottoms, but I wasn't.
(02:18):
It was really weird, but I didrewatch Bottoms once I got
better. And God damn, that moviestill so fucking good.
James Jay Edwards (02:24):
You know, I've been having, I mentioned
last time that I've been bingingthrough The 100 and I just, I'm
in the middle of the fourthseason, and let me tell you it.
Or excuse me, I'm in the middleof the fifth season. And the
beginning of the fifth season,FONSI put on his skis. It is
getting real, real close withthis show, but it's gone now to
(02:48):
more like a lost meets Game ofThrones kind of thing. And I
actually have dreams about thisdamn show. You know when because
I watch it, generally I watch afew episodes before I go to
sleep at night, and it, itembeds in my subconscious, I
think because I start dreamingabout it. But we're not going to
talk about the 100 or bottoms.
We're going to talk aboutmovies. It's been a while since
(03:11):
we talked, but I think the bigrelease that we've all seen is
Beetlejuice Beetlejuice, right?
Yeah, probably, yeah. This is itwas a while ago, but what do you
guys think?
Jacob Davidson (03:24):
I thought it was great. You know, I wouldn't have
expected a Beetlejuice sequelafter 30 something years. Would
have been as good as it was. ButTim Burton got his groove back
with this. It was a lot of fun,and Michael Keaton was on point.
Of course, he also loved howpractical effects heavy it was.
(03:44):
You know, they really kind ofwent back to the source, not
James Jay Edwards (03:48):
just Michael Keaton, but Catherine O'Hara. Oh
yes, she is. She kind of stealsthe movie for me. So awesome.
And it's funny because there's awhat is, I don't even remember
the guy's name, the guy thatthey didn't invite back the dad.
Oh, Jeff. Jeffrey Jones, yeah,yeah, because of personal life
(04:08):
stuff. Well, crime, yeah. Well,yeah, that's true more than just
personal life stuff, um, but theway they dealt with him, with
his the way they explained hischaracter's death, was actually
pretty hilarious.
Jonathan Correia (04:22):
Well, actually, I found out that the
explanation for his deathbecause they did a whole They
not only avoided him, they did,like a whole stop motion
claymation thing with him. Andthe whole point, the whole plot
of like, what they did to offhis character, I guess, is
reference or leftovers from backwith the Beetlejuice Goes
(04:44):
Hawaiian script that was aroundin the 90s and whatnot, and
like, that was supposed to be,like, the kind of setup for that
sequel. So I thought that was,that was really fun. But, yeah,
I was a little worried about,like, then possibly doing too
much with that. But I it was, itwas some great bit. Because,
like, how you have to addressthe elephant in the room. And
yeah, Jeffrey Jones is a pieceof shit. So, like, who got
(05:06):
arrested for piece of shitcrime? So yeah, you can't, you
can't have him back. But like
James Jay Edwards (05:10):
you said, they have to, they have to
address the fact that he's notthere. And rather than just kind
of make it a oh, he died, andthen not mention it again, like
you said, they did this wholelittle stop motion thing. It's
kind of funny that they didn'teven, they did do a stop motion
that was obviously him. Theydidn't, they didn't invite him
(05:31):
back to shoot any they did itanimation, rather than, rather
than have the real guy there,which, you know, oh, that's the
best case scenario,
Jonathan Correia (05:41):
and they show him in the afterlife, but he
just, like, doesn't have a head,so it's just like a headless
body walking around the wholetime.
James Jay Edwards (05:49):
I don't know if it's been long enough that we
could spoil that, but basicallyhe gets bitten half by a shark,
and all you see is his body withno head, with like the shark
mouth, which is
Jonathan Correia (06:01):
great,
Unknown (06:02):
which is pretty and
Jacob Davidson (06:03):
he speaks for, like, his esophageal tube just
poking out,
Jonathan Correia (06:07):
yeah, no, I really like Beetlejuice.
Beetlejuice, I had a lot of funwith it. I especially really
like that. It focused on, like,you know, three generations of
women, and it was weird. It feltlike it was there was too much
plot, but there was also notenough plot, but it also like it
was just setting up set piecefor set piece. But like, you
(06:29):
know what they it was a lot offun, so I forgive the shit out
of it. And I think the mainthing that I had issues with was
because one of the plot, one ofthe many plots in it is that
Winona Ryder's character'shusband, who's the father of her
her daughter, died years ago,and that's something that
(06:49):
they're trying to work through.
And like, they don't really doanything. Like, it's such an
important plot point, and thenthey don't really do anything
with him. Like, there's no realcatharsis. There's no real
thing. There's no, I don't know.
It just kind of felt like theydropped the ball on that one.
Jacob Davidson (07:07):
Well, he saves them, yeah, although I think
it's just there was too muchgoing on and, like, the payoffs
didn't really pay off as well asthey could have, because there,
yeah, Is this too much going onand not enough time to really
delve into every plot line.
That's what
James Jay Edwards (07:23):
it was. It felt like, it felt like the next
three Beetlejuice sequels all inone movie, because there was
just so much going on. And thatwas actually my issue with it is
similar to what you're talkingabout. There was so many
subplots that I don't think anyof them really got adequately
(07:43):
resolved. And the one thing thatbothers me is, like, is that the
stepdad, like
Jonathan Correia (07:51):
Justin Thoreau's character? Yeah,
James Jay Edwards (07:53):
I don't really want to go to too much
detail for people who haven'tseen it, but at one point, like,
something happens to him andnobody cares. Like, wait a
minute, this is like, this isher. They actually weren't
married. Part of the, one of theplots is they're gonna get
married on Halloween. He was herfiance. He was Winona Ryder's
(08:16):
character's fiance. But, um, itwas like, okay, nobody's bummed
about this, all right. I mean,he was kind of a douche, but
okay,
Jonathan Correia (08:25):
yeah, I will say, though, there are some
people that say Monica Belluccididn't really have anything and
that she's just in it becauseshe's with Tim Burton. And I
will fight anyone on that,because Monica Bellucci, first
of all, her whole scene comingback and the cameo with her
putting herself together wasamazing because I didn't know he
(08:47):
was in the movie. She she cameto serve, she just came in, she
served mother, she served face,she did her thing and got out.
And I fucking loved it.
James Jay Edwards (08:58):
That was one of the plots that I was like,
okay, you know what you couldhave, and this is what I think
people mean by, you know, Idon't think it's anything
against her, but it's thewriting. You could have pulled
that whole subplot out of themovie, and it wouldn't have
mattered. And I think that thatwould have made, like, a good
that would have made anothersequel. You know, I think that
(09:20):
was just one of the issues with,like, too many subplots crammed
into one movie, because thatone, and that was one of the
ones I feel like didn't really,didn't really pay off.
Jonathan Correia (09:30):
But then again, yeah, it's still a lot of
fun that she
James Jay Edwards (09:33):
was great.
Yeah, she was, she was great.
And, like you said, I love thepart. You know, she's stapling
herself back together. I mean,it was, you know, it was great
visually, and it's a greatcharacter. I just didn't think
they did what they should have.
I don't think they did enoughwith her. I think that I would
rather have seen a third moviewith that being the main plot.
Jacob Davidson (09:56):
So, yeah, also, I hope that Beetlejuice,
Beetlejuice, get. More kids in
Jonathan Correia (10:00):
the Mario Bava, yeah. So I lost it when
they had the poster for Kill,Baby...Kill in the background.
That was great. So good. Another
James Jay Edwards (10:11):
thing that I think all three of us have seen
and this, I really want to talkabout this, because this might
be my new favorite movie of theyear. Strange Darling, yeah,
Jacob Davidson (10:21):
oh, yeah. That was a blast. This
James Jay Edwards (10:23):
movie goes hard. This is so and it's kind
of a funny story about how I sawit, because they didn't screen
it for press at all, and it wason my radar because it's getting
kind of a lot of a lot of chugon the internet. And one of my
friends and colleagues in theFilm Critics Society, he
actually called me when he'sgetting out of it, and he said
(10:44):
he's all, dude, this is up youralley. You have to see this
movie. You have to see it. AndI'm like, Well, yeah, it's on my
radar. I'll see it eventually.
I'll see it eventually. Well,couple of days later, he texts
me, and this was Labor Day, sohe's like, look, it's playing at
320 today. And I was like, Well,you know, I can't do it, you
know, I can't do it, you knowthis afternoon, well, he texts
me a few hours later and goes820 tonight. Let's do he
(11:05):
basically made me go see thismovie, and I went and saw it
with him, and he was 100% right.
He was and I think part of itwhy he wanted me to go see it
with him is because he wantedthe same reason that I saw
hereditary on opening nightafter seeing the press
screening, he wanted to see myreaction to it. With him, he was
(11:28):
known what was gonna happen, andhe wanted to see my reaction.
And he was 100% right. Thismovie is like, Don't research
anything about it if you haven'talready, and just go see it,
because it's gonna it'll knockyour socks off. It is so here's
kind of what you're in for. Itsays at the beginning, it'll say
it's a strange darlings, athriller in six chapters. And
(11:50):
then the next title card sayschapter three. That's how you
know what you're in. It kind ofpulp fictions around the
timeline a little bit, andthat's the only way it works,
because there are things thathappen in chapter two that are
that are better. If you'vealready seen chapter five, you
know it's, oh my god. It'sinsane, though,
Jacob Davidson (12:12):
and it was shot on 35 millimeter, and I was
lucky enough to be able to seeit play on 35 millimeter at the
Hollywood Vista theater while ithad its run there, and it is
just a beautifully shot andcolorful movie. So it was
definitely best to see ittheatrically if you had the
(12:32):
chance.
James Jay Edwards (12:33):
It almost feels like it's like a spiritual
soulmate to In A Violent Nature,in some ways, because it has
that, like Oregon woods. Youknow thing happening for it?
Jacob Davidson (12:44):
Was it Oregon or Oklahoma? I can't remember it.
Oregon
James Jay Edwards (12:49):
is where strange darling is. I don't
remember if Ryland nature wasOregon, but because there's like
a title card at the beginningthat says, you know, this is the
serial killer who went upthrough, I think they started in
Oklahoma, went up through Idaho,and ended Oregon. Yeah, that's
what they said, Yeah. So it doestell you that they end what
(13:09):
you're watching happens inOregon.
Jonathan Correia (13:11):
It's really dope. And I gotta say, the the
Out Of Order Chapter thing mademe kind of not iral, but may put
me on caution, because I'm like,oh, man, is this another?
Because remember in the 90s whenthere was all those Pulp Fiction
knockoffs and like, so a bunchwere good, but a bunch were just
like, us, just stop already. Andso I was a little, I was a
little on edge of just like, ohno. Is this going to be like
(13:33):
that? But I thought it was sowell executed. And the reason
why it's it works so well isbecause of the performances of
Willa Fitzgerald and KyleGallener, especially, will, if
it's shown, who absolutely blewme away in Fall of the House of
Usher last year. And she's justso phenomenal in this movie,
(13:54):
like it really was came down tolike, if she couldn't pull off
the nuances of this final girl,Lady character, then this film
would not have worked, and shewas just so fucking good. Yeah,
this movie,
James Jay Edwards (14:08):
it, it's, I almost don't want to talk about
it, because people need to.
The less you know, the betterExactly, exactly,
yeah. But again, I want to talkabout it because it's so damn
good, yeah,
Jonathan Correia (14:22):
so go see it.
Maybe, maybe, maybe Minisode. Atsome point, I don't,
James Jay Edwards (14:26):
I was gonna say we might need to do a
spoilery minisode, just so wecan, just so we could talk about
some of the fun stuff thathappens in it. But, yeah, versus
So, yeah,
Jonathan Correia (14:37):
well, another new one that just came out. I
don't know. Have you guys seenThe Front Room? No, no,
James Jay Edwards (14:45):
I did see a trailer for it when I was at
Strange Darling with Josh thefront room. That's the only time
I see trailers, is when Iaccidentally see them like that.
So I did see a trailer for it,and it looks like, it looks like
some pretty good hagsploitation.
Jonathan Correia (15:00):
Oh, let me tell you, I love y'all know me.
I love hagsploitation. Yeah,Give me. Give me all your hags,
Whatever Happened to Baby Janesand all the other movies that
are like long sentences that arequestion marks at the end. Oh,
absolutely love it. But TheFront Room is directed by Max
and Sam Edgars, who is RobertEggers. Eggers half brothers.
(15:25):
So, so you get two Eggers forthe price of one, and it stars
Brandy as as like the as thelead wife who, who has her
mother in law, played byCatherine Hunter. Who, Catherine
Hunter is incredible. I stillneed to see The Tragedy of
Macbeth, because I hear sheplays an amazing witch in that
(15:46):
100
Jacob Davidson (15:47):
that's what she was from. Yeah. No, yeah. She,
you know, those were some greatwitches in that movie. Oh
Jonathan Correia (15:54):
yeah. I just saw that one clip where she's,
like, laying down on the sandand is doing a lot of this that.
And I was like, oh, I need tosee this fucking movie. But she
is incredible in The Front Room.
And let me tell you the filmitself. It's, it's, I it's one
of those, I want to say it's anactor's movie, because her and
brandy are just carry thatentire film and their
(16:15):
interactions, and Catherine andHunter just like, Absolutely,
like, bringing such dimensionsto her CAG or her hag character,
while also serving some of thebest one liners in it. Like,
there's, there's whole bitswhere, because it's about the
guy's father dies and he had avery rough childhood with his
(16:36):
stepmother, and like, thecontingency of like them getting
the inherent is letting her movein, and as soon as she moves in,
she's like, you know,pressuring, uh, religion on
them. There's like, subtle hintsof, like, racism with her. I
James Jay Edwards (16:53):
was gonna say it sounds like she's racist
towards brandy too. Yeah,
Jonathan Correia (16:57):
there's no like overt. It's all like subtle
things. So there's a lot of likethings where it's just like, I
shoot fucking with them, andthen, like, yeah, it, of course,
continues to escalate to
James Jay Edwards (17:10):
trailer.
Doesn't make it look subtle atall. It
Jonathan Correia (17:14):
starts subtle and then it doesn't, but it's
really good. There's a but it's,it's very grounded. It doesn't.
I feel like the trailer makes itseem like it's going to become
some, like, Rosemary's Babyfinale or something. But it
really is. It's really justlike, you know, if you've ever
(17:34):
had to deal with, like, elderly,uh, folks with, you know,
declining health, uh, bothmental and physical. It takes
those to the extremes, but like,it's just really good. I highly
recommend it as, like, you knowwhen it comes to because I think
it went to theaters and thenbailed out pretty quick, because
not a lot of people are seeingit, but it's
James Jay Edwards (17:55):
already on VOD. It's you can already see it
at home. So, yeah, they didn'tput it in, and it's A24, right?
Yes, yeah. So it's, it'sinteresting that they didn't
really give it much of atheatrical shot. But yeah,
better for those of us who don'tlike to leave the house, I
guess,
Jonathan Correia (18:12):
yeah, especially as since our our
crowd for it sucked, like therewas people in our road non stop
talking and giving commentary. Idid not need an MST3K style
commentaries throughout thatmovie, but I was given it
against my will. But yes, I do,I do highly recommend it, and I
just can't wait to see what dragshow performances come out of
(18:32):
this, because there's someiconic stuff of like, Catherine
hunter with like, two crutches,just like doing a don't dunk
across the room, and then she'slike, I made a mess, M, E,
Double S, mass, and she's gotshit piss all over. Oh, drag
queens will eat that up.
James Jay Edwards (18:51):
Speaking of Catherine Hunter, and this isn't
really horror, so I don't wantto take a whole lot of time, but
it's definitely something peopleshould keep an eye on.
Megalopolis. Have you guys seenMegalopolis? not
Jacob Davidson (19:01):
yet, but I do want to make my way out to see
it. This is
James Jay Edwards (19:05):
see it on the biggest climax screen you can
find. Because here's the thingwith Megalopolis, if you're not
familiar, it's Francis FordCoppola's new movie, and he has
been making this movie,developing and writing this
movie, since the early 80s. Thisis like a 40 year project for
him. And the thing is, with it,it is Catherine Hunter is
(19:27):
actually, is in it. She's one ofthe central figures mother. But
everybody and their mothers inthis. But Jon Voight is in it.
Shia LaBeouf is in it, with themost amazing mullet wig, I mean,
you thought the Love LiesBleeding mullets were awesome.
Oh, wait until you see ShiaLaBeouf in Megalopolis. But
(19:48):
Aubrey Plaza, our girl is in it,and also Grace Vanderwall is in
it. Their characters. Aubreyplaza's character is Wow
Platinum and Grace Van der Paul.
This is Vesta Sweetwater. It'sOh, it's insane, but Adam
Driver, Giancarlo Esposito andNatalie Emmanuel are the three
(20:10):
main leads. And it's kind of atelling of the fall of Rome,
kind of a thing. It's actuallyset in New Rome, which is a
thinly veiled New York City. Andthis is just this massively
ambitious movie. Story wise, itgets a little messy at times,
but visually, it is a feast, andthat's why you need to see it on
(20:32):
a huge screen. I mean, the setsare just grandiose and the
costumes are lavish and thevisual effects are, I mean, it's
a it's, it feels like asuperhero movie without any
superhero scenes. I mean, it'sjust this, you know, massively
surreal. It's eye candy. It's,you know, and the cast is
(20:54):
something that only Coppolacould throw together. I mean,
for this thing, I mean, likeDustin Hoffman has a bit part.
You're like, what is that DustinHoffman? So anyway, but yeah,
megalopolis. It's a Not, notreally horror, but and very of
its time, considering it's beenin the cooker for 40 years, it
(21:14):
is. There's a lot of what'sgoing on today that you can see
in this movie. There's somethingweird that happened at the
screening I was at. I was at ascreening that there was like a
Q&A with Coppola De Niro andSpike Lee at the beginning. And
I don't know, I don't know ifthey're gonna do this at every
screening of it in theaters, butit was like a, like a preview
screening, and at one point,about halfway through the movie,
(21:36):
there's like a press conferencein the movie, and they had an
actor stand up in the audienceand use a mic and ask the
question, and then Adam Driver,on screen answered it. So it was
like, like, a multimedia kind ofthing, and, you know? And it was
kind of interesting, becausewhere the actor was standing,
Adam driver was like, looking athim, like he was looking at him
(21:59):
through the screen. It wasreally interesting. And I'm
wondering how they're going todo that, if they're going to do
that for every screening. Imean, do they have the budget to
hire an actor to sit into everysingle screening of this damn
movie everywhere, or is therelike, a different cut that
they're going to show? But itwas really, it was, it was kind
of interesting. And it was aboutthe halfway point of the movie
where you're kind of and notreally losing interest, but
(22:20):
settling in, and all of a suddenyou're like, oh, okay, now you
got my attention again. It
Jonathan Correia (22:25):
was kind of cool. That's what I love about
this era of Coppola, becauseCoppola is with his wine
business and everything. He's atthe point where he's like, You
know what? I'm going to continueexperimenting. Like, remember
twist, yeah, Twixt, or Twixt,and how, how he traveled with
that and would do live editingwhile Dan Deacon was live
(22:45):
scoring that like, I love I gotto respect the shit out of
Coppola for still trying to pushthe envelope on like, what the
theatrical experience is. Yeah,
James Jay Edwards (22:57):
and he, he talked about in the Q&A, he sold
one of his wine businesses tofinance Megalopolis, which he
said that he got lucky becausehe sold he basically sold it
because his kids didn't want torun it and he wanted it to keep
running, so he sold it in orderfor it to keep running. But he
ended up getting enough money tomake Megalopolis out of the
deal. So it ended up good onboth fronts. The wine business
(23:22):
keeps going, and he got to makehis passion project,
Jonathan Correia (23:25):
which good for him, because I do remember that
they were going to doMegalopolis in the early 2000s
and then 9/11 happened, and thatkind of, like, threw it, shut it
down. Yeah,
James Jay Edwards (23:38):
this movie has been being developed through
some major life events. It's,you know, it's gone through,
like you said, 9/11 it's gonethrough covid. It's gone through
the Trump presidency. I mean,this, this, and you can see all
these influences in what goeson. But it is a retelling of the
catalinarian rebellion of theRoman Empire, kind of a thing
(24:02):
like the the main characters arenamed Cicero and Catalina. So
you can tell, you know, if youknow your Roman history, okay,
this is where they're going withthis, you know. But it's also
very Shakespearean. In places,it's, it's, it's just a really
ambitious and, in some places,indulgent movie. But, I mean,
(24:25):
he's Coppola. He can get asambitious and indulgent as he
wants. You know, it's his opus.
Yeah, he's one of the fewfilmmakers that will take you
know. I mean, think howambitious and indulgent
Scorsese's been his last fewmovies. You know, again, they
deserve it. Yeah, exactly.
They're one of the few that canpull it off Absolutely.
Jacob Davidson (24:46):
And on my end, I saw a very unique theatrical
screening. There is a new cut ofNosferatu going on, where it's
said entirely to the music ofRadioHead. Have you guys heard
about this? Is this the originalNosferatu, the 19 the original
knows FW murna knows farazu,with a all Radiohead soundtrack.
(25:10):
Okay, it's amazing.
James Jay Edwards (25:11):
Is this existing Radiohead songs or
radio Yes, it is existingRadiohead songs. So Johnny
Greenwoodand Tom York didn't come out of
retirement or, you know, or comeout. They didn't bring the band
back to do this.
Jacob Davidson (25:23):
No, no, no, no.
It's made from two of theiralbums. Kid A and Amnesiac.
Jonathan Correia (25:30):
That's awesome. That sounds like how in
the 80s there was that cut
Jacob Davidson (25:35):
Metropolis score set to like Queen and Freddie
Mercury. Yeah. That was
Jonathan Correia (25:39):
produced by Giorgio Moroders. It's
James Jay Edwards (25:42):
gonna say, didn't, didn't Marauder do that.
I guess maybe he just picked thesongs. Yeah,
Jonathan Correia (25:48):
he, he produced it, and they did, they
did a bunch of, like, coloringand things of that nature. It's
a fun cut. I love when thosetype of projects come about. Is
Radiohead actually like involvedwith it, or is it somebody else
on the rights or,
Jacob Davidson (26:03):
I'm not entirely sure, but there it is, like I
said, from their albums, Kidd aand amnesiac, and it's this new
company, silent synced, wherethey're going to do like silent
movies set to more modern music.
And I think we'll focus on kindof alternate rock, like
(26:23):
Radiohead. I forget some of theother stuff they said they were
going to have lined up, but,yeah, no, the but Nosferatu set
to Radiohead was reallymesmerizing, like, it really
drew me in. And, yeah, and, and,yeah, no, it's those albums.
Kid, amnesiac, so unfortunately,no creep, although that would
(26:44):
have been perfect.
James Jay Edwards (26:47):
No, that's, that's Pablo honey. We so you're
saying we're going to get aBattleship Potemkin set to Rage
Against the Machine. I'd watchthat. I would watch the hell out
of that. Or, even better, Strikeset to Rage Against the Machine.
It
Jonathan Correia (27:02):
could happen.
I just can't wait to hear seesome like Buster Keaton set to
like Billy Eilish or Charlie XCXor something. Think that would
be pretty fucking great.
Jacob Davidson (27:12):
I'd like to see Buster Keaton set to weird. Al,
Jacob, I was
James Jay Edwards (27:15):
just gonna say weird. Al,
Jonathan Correia (27:17):
oh, The General set to Dare to Be
Stupid. I mean, come on,
Jacob Davidson (27:22):
that would be, it's right there.
Jonathan Correia (27:25):
Remember how in Transformers, the animate,
the animated movie, there's likea big action set piece, set to
Dare to Be Stupid.
Jacob Davidson (27:32):
Oh yeah,
Jonathan Correia (27:33):
Autobot, like this big epic battle, fight
scene, and you just hear to bestupid. It's like, what is
happening?
Jacob Davidson (27:41):
What it was a choice,
Jonathan Correia (27:45):
Jacob, I know you said you were thinking about
participating, but Did you areyou participating in Hooptober
this year?
Jacob Davidson (27:51):
Did it already start?
Jonathan Correia (27:53):
Yeah, it starts September 15. Oh, well,
then I missed it. Well, it'sstill well, if you guys don't
know, Hooptober is a 31 moviesin 31 days for Halloween. But
because, you know, we're alladults that have schedules, it
starts. It can, you can startSeptember 15, so you still have
time Jacob, because you cantechnically start it october 1
(28:13):
or wherever. But they have areally great set of rules with
it that include, like, you know,eight different countries,
different decades, things ofthat nature. And so I started a
bit earlier, and my covid about,kind of helped out a little bit
and getting a good rush. But,you know, one of the
requirements was to watch anentire franchise that had more
(28:37):
than four movies. And so I went,you know what? This is a great
opportunity to finally watchCritters, because I never
watched the Critters movies. And
James Jay Edwards (28:44):
you know what's funny? There's, well, not
me, my dog on Instagram. My dogfollows this influencer in
Canada who is also doingHooptober and and she chose
Critters as well. So it's kindof funny that Critters is like
the franchise to choose. Sorry,didn't mean interrupt you. Oh
Jonathan Correia (29:05):
no, you're golden. I had so much fun with
the Critters movies. I gottasay, though, Critters 2, direct
by Mick Garris, is the best ofthe franchise. It truly is the
Gremlins 2 or Ghoulies 2 of theCritters franchise grant,
basically, if you have little ifyour entire movie revolves
around little shit creaturesthat are just, like, causing
(29:26):
chaos, the second one is alwaysgoing to be the best of the
franchise, I think. And it'sreally good. The first four, I
love. I had so much fun withthem. There's such little shits.
But, yeah, that's, there's,there's been a lot of, like,
good revelations with that. Andtiming wise, it worked out
really well because two of myrequirements, uh, ended up
(29:49):
involving Michelle Saovi films,The Sect and The Church, which
are, oh, yeah, those
Jacob Davidson (29:55):
are bangers. Oh,
Jonathan Correia (29:56):
they're such bangers. I mean, he really was,
like, the last. Soldier On theisland that's still fighting a
war that ended a decade prior.
When it comes to Italian horrorfilms in the 90s, like he those
films, they I have to admit,especially with those two, he
really knows how to start amovie, usually with some form of
a massacre, and then he knowshow to end it, and then in
(30:17):
between, that is just weird, andchoices are made, and there's,
there's so much fun. But thosewere perfect leads into watching
Eight Eyes. Have you guys seenEight Eyes?
Jacob Davidson (30:31):
Yeah, Eight Eyes, yeah, not yet, but I've
been mean to I saw they justadded it to Shudder. Yeah.
James Jay Edwards (30:37):
Eight eyes is, is the culmination of two of
our podcast friends, theJustin's, Martell and La
liberty. Yeah,
Jonathan Correia (30:46):
yeah. It's based on a concept by Martell,
who also produced it. It was oneof like three or four films he
produced out in Serbia.
James Jay Edwards (30:54):
I was gonna say he hangs out. He hangs out
in Serbia a lot, because thisone, yeah, does he know Serbian?
Jonathan Correia (31:01):
I you'll have to ask him. I just know he knows
how to get into all thecountries that we don't know
much about
James Jay Edwards (31:08):
but, but it seemed like this one the the
entire crew and some of the castwere all Serbian. And I'm like,
oh yeah. How does hecommunicate? I mean, maybe they
all know English. I wouldimagine that it's more likely
that other countries would knowEnglish than we would know
Serbian. But this is alsoJustin. I can see him known
Serbian.
Jonathan Correia (31:26):
Oh, dude. I mean, he's told me some stories,
and it's always great hearingwhenever he comes from, like,
some Western European country,or that was at one point under
the iron curtains, and hearinglike the stories of like,
generationals. And anyways, it'sreally phenomenal. Like I said,
he produced it. But it's also COproduction with vinegar
syndrome, so it's their first,like, in house, original
(31:49):
production. Original exactly,and it really, it's, it's, it's
just so much fun. It's bright inthose veins of those, like 70s
Italian horror films.
James Jay Edwards (32:02):
It's a complete 70s Italian horror
film. It not really a rip anhomage, because it is, I mean,
it's an original story. It does,it's not, I mean, it's, it
doesn't like, rip off thestories, but it rips off the
look right down to therotoscoping. It's it's, oh, it's
insane, Yeah, completely
Jonathan Correia (32:23):
shot on film on 16 and 35 and all these other
formats. But it's about anAmerican couple that is
vacationing in Serbia, and theymeet this very charming but very
menacing character named StPeter.
James Jay Edwards (32:40):
Was he really charming. He was kind of creepy,
but he charmed them.
Jonathan Correia (32:46):
I'll admit Justin. Justin sent me a cut of
it about a year ago or so, and Iwatched it, and in the second
viewing, like I really wasmesmerized by Bruno, who played,
my apologies, I will butcher ifI try his last name, but the
actor, Bruno, who played StPeter, by his performance,
because he really was, like,there was there was charm. He
(33:08):
really was charming. At times.
He really was, like, had thisunderlying menacingness to him.
He just like, yeah, was verycaptivating. And I can see it
because oftentimes when youwatch movies where it's like,
couple in a foreign land thatit's hard to believe that they
would put themselves in thissituation. But he's just so
like, he does have this charm,but he's very persistent as
(33:30):
well. And so like, youunderstand how, like, they could
kind of get dragged into thisvery weird weird, because it
really does go like, very weirdfamily, like Texas Chainsaw, and
it
James Jay Edwards (33:44):
goes into Hostel territory in places too.
You're like, Yeah, I mean, yeah,but yeah, The Texas Chainsaw
family thing falls into it too.
It's
Jonathan Correia (33:55):
that whole last act is very, very
influenced, like, if you likeThe Beyond. It's very in that
way, if you like a lot of likeFulci's work. And the score is
phenomenal. It's by this groupcalled Mariconne Youth. I
James Jay Edwards (34:11):
hard. I kind of know that one of the dudes
from I don't know him superwell, but this composer is Devin
Goldberg, who he was in a banddown here called creedal and,
and when I saw his name pop up,I'm like, oh, fuck yeah, he's
still doing movie scores,because I hadn't seen one, but
yet, the group he composes foris Moriconne Youth and, and I
(34:31):
was waiting to see if, like,maybe some of the other creedal
guys, or anybody else was in it.
So I waited for the end credits.
And I don't know any of theother guys who played on it, but
the guy who recorded it, I wentto college with, his name's Ben
Moore, and he he's an engineerand a producer now, but he's
also a badass keyboard player.
But anyway, yeah, so I kind ofknow the some of the music
(34:53):
people behind that, but you'reright, the score is like, it has
all these weird. Vocalization,looping and, and it's almost
like at times, it almost seemslike Morricone. Like, like,
like, Western, it's very
Jonathan Correia (35:12):
heavily influenced by Morricone and
Goblin, which, you know, thoseare two of my favorites. So,
like, Yeah, you had me when thatSynth went hard in certain
places. So, yeah, if you lovefilms like The Sect, The Church,
you know, the The Beyond eighteyes. And
James Jay Edwards (35:27):
if you love movies with good scores, is
this, I wonder if the score isgonna hit. I mean, it
Jacob Davidson (35:33):
just got released on vinyl today.
Actually, really,
James Jay Edwards (35:36):
what? Who did it? I was gonna say it won't be
shipped to shore rip, but, um,it's not wax work, though. Is
it?
Jacob Davidson (35:44):
No, hold. Hold on. I just saw it posted
Morricone youth. They're sellingit off of the website.
James Jay Edwards (35:51):
Okay, so did they press it themselves?
Jacob Davidson (35:54):
I guess. Okay, well, yeah, right. Well,
James Jay Edwards (35:57):
that's, hey, that's that. That's awesome
because they because the scoreis great, I need to track that
down. Yeah, well,
Jacob Davidson (36:03):
it's available now, or rather, available for
pre order. Yeah,
Jonathan Correia (36:08):
go get the score. Watch it on shudder.
Vinegar Syndrome also put out agorgeous blu ray with slip cover
case, all that fun jazz, allthose features that you would
expect from Vi Vinegar Syndrome.
And, yeah, check it out. Andalso, don't keep an eye out,
because the next Martell VinegarSyndrome collaboration Black
Eyed Susan is coming soon aswell. They just announced and
(36:30):
released a trailer for that. Soyeah, did
James Jay Edwards (36:36):
you guys see the new Speak No Evil?
Jacob Davidson (36:38):
No, not yet.
Jonathan Correia (36:39):
I feel like I have, because that trailer has
been playing before everyfucking movie over the last
seven months,
Jacob Davidson (36:46):
I think I've seen at least 25 times. I
James Jay Edwards (36:48):
don't watch trailers, but just the number of
times I've accidentally seen itbecause of movies that I've had
to go see in the theater. Like,they played it for Strange
Darling, they played it beforeTrap. They played it before In a
Violent Nature. You know, I'veseen that trailer so many times.
It is a remake of the Danishmovie that is on Shudder from
(37:10):
just a few years ago. But thisis like an English language
version. This isn't just likeMichael hanaki remaking his
movie with an A list cast inEnglish, though the first two
acts is pretty straight forwardwith the Danish one, and this is
James McAvoy and blank onMcKenzie Davis, this one is so
(37:33):
it does have, like an A listcast, and it is in English, but
it is the first two acts followpretty, pretty straight. It's
about these two families thatmeet while they're on vacation,
and one of them invites theother to their farm, and they go
and of course, you know itnothing goes it goes bad. Yeah,
it really goes bad. The thirdact is completely different.
(37:55):
It's complete and it's the guy,I think his name's James
Watkins. He did that DanielRadcliffe movie from like, 10
years ago, The Woman in Black.
He did the woman in black. Ithink he purposely wanted to
make, he basically Hollywoodizedthe ending of this movie.
Because, whereas the original isjust real nihilistic and and
just depressing, this one is alittle more like there's a
(38:20):
little more fight in the thequote victims is so it becomes
more of like a typical it'salmost like a home invasion
movie, but the people beinginvaded are the ones. Are the
guests. It's that kind of athing, but it's it's really
interesting. It's pretty welldone. I was glad that they
didn't just do a straight remakeof it, because, I mean, who
(38:43):
needs that if it's just, I mean,unless you're Michael Hanaki
doing it, no one wants to seethat, but it is different enough
that it's cool. Yeah, I
Jacob Davidson (38:55):
was interested in checking it out, because,
honestly, I wasn't even really abig fan of the original. See No
Evil. But I've had friends whosaid this version was more
interesting, so I'd like to giveit a chance. It
James Jay Edwards (39:07):
was, if your problem with the original Speak
No Evil was the third act,definitely see this because,
yeah, because it
Jacob Davidson (39:13):
wasn't even that. It was nihilistic or
brutal. It's just, I felt likethe characters were undeveloped
and, you know, just the themewas off point what they were
going for in the originalfinished version. So I'd like to
see you have another go withthis American version.
James Jay Edwards (39:29):
You might, you might like this one better,
because it does delve into thecharacters, especially the
guests who in this one. They'reAmericans that moved to London,
but, but, yeah, those ones thatthey are more well developed.
And I was, I was bummed when inthe trailer, it looks like the
(39:52):
trailer, knowing the originalone, it looks like the trailer
gives away a massive spoiler,but it's not really. Really,
it's not as massive of a spoilerin this one as it would have
been in the original. So even ifyou've seen the trailer 20
times, you it won't really spoilwhat the the fun stuff. And
(40:14):
James McAvoy, holy cow, thatguy. Ah, there's nothing he
can't do. He looks like he evenbulked up for this, even more
than, well, even more than forSplit. He looks like, like,
there's points where he'srunning around and just a tank
top, and you're like, is thatCG? He looks like the freaking
(40:35):
Hulk, but yeah, it's, it'spretty crazy. And
Jacob Davidson (40:40):
also, on my end, the best time of year has
finally begun. It's beyond festone and all. Yeah, oh yes. For
those who don't know, BeyondFest is the annual genre based
Film Festival that the AmericanCinematheque does, and it's
going to be, quite literally,the biggest one ever, because
we've got the Aero Egyptian andLos Feliz theaters screening
(41:03):
movies every day for over twoweeks straight. What
James Jay Edwards (41:08):
is because?
Because I feel like almost everyscreening you go to, you say, is
a Beyond Fest screening. Do theydo screenings throughout the
year? But then, yeah, they doscreenings
Jacob Davidson (41:18):
throughout the year. They just, this is the
actual festival. Like BeyondFest as an organization, does do
okay screenings basically atleast once or twice a month,
give or take, especially withnewer releases. But Beyond Fest,
the actual festival is likealways late September and early
(41:39):
October, and they kick thingsoff with a hell of a bang, like
we did a screening of RRR onTuesday with the one of the lead
stars, NTR there, because we'realso screening his new movie,
Devara (41:52):
Part 1 last night. And things really kicked off last
night at the Aero with the worldpremiere, and I think only
theatrical screening of thebrand new Salem's Lot
adaptation. How was it? Did
Jonathan Correia (42:10):
you watch it?
I
Jacob Davidson (42:11):
did watch it, and actually I thought it was
pretty solid. I was surprisedthat they were able to fit it
into one hour and 55 minutemovie.
James Jay Edwards (42:19):
That's my question, is, because the the
original, it was like a miniseries, wasn't it?
Jacob Davidson (42:25):
Yeah, well, the original two parties, and then
it was the 2000s mini series.
And yeah, so it's a lot to do,but they did, I will say they
did take some creative changesto the to the story, especially
in the second half. But theywere, they were, they were fun.
And, you know, kept me on mytoes, because, again, it's been
(42:46):
adapted twice, and there was asequel to the original by Larry
Cohen. And the books, the booksbeen out forever. Oh, that was
the other cool thing, like thefirst 100 people to go to the
screening God a free copy ofStephen King's Salem's Lot the
novel. That's awesome, yeah, andI'm glad I got one, because I've
always wanted to read it. Sofinally I can sit down and do
(43:09):
it. But, yeah, yeah, no, it'sjust, it's a damn shame that
it's only going to be streaming,because, you know, it's a Max
thing, you know, WB, Max,because originally was supposed
to be theatrical, and then,like, there was. So it got
shelfed for God knows how manyyears, and people were afraid it
was going to get axed for a taxbreak. So at the very least, you
know, it's hitting streamingoctober 3, so you can see it,
(43:30):
which, you know, thank God forthat.
Jonathan Correia (43:35):
Oh, I will, don't you, don't you worry. I
fucking love Salem's Lot, andI'm so excited for beyond Fest
this year. We before we gotbefore we got sick, we were
like, first in line online toget tickets. And unfortunately,
the screening of Speed with theoriginal director and Keanu
Reeves and Sandy Bullock soldout like immediately, but we
(43:57):
were able to get tickets totomorrow's screening of the new
Shush, cut of Hush, oh, I'm
Jacob Davidson (44:03):
going to that too.
Jonathan Correia (44:04):
Oh yeah, with Mike Flanagan and Kate Siegel
there. Oh yes, yeah, that'sgoing to be a lot of fun. I
already have the 4k pre ordered,but very excited for that
screening. And then on Sunday, Ididn't even realize these
screenings were happening at thesame place on the same day, so
it's going to be a long ass day,but we got tickets to the Sam
Raimi triple feature, which isprobably the best triple feature
(44:26):
of Sam Raimi you could do. Yougot Darkman, you
Jacob Davidson (44:28):
got The Quick and The Dead. You got Drag Me To
Hell, exactly. And
Jonathan Correia (44:31):
I rarely ever see screenings of any of those
movies, let alone all threetogether. So I'm excited. And
Jacob Davidson (44:38):
Sam Raimi himself is going to be there,
and they're going to play ashort film by his daughter.
Jonathan Correia (44:41):
Oh, really, I didn't know about the short
film. That's also, yeah,
Jacob Davidson (44:44):
it's gonna be, I think either before, in between
the movies,
Jonathan Correia (44:49):
that's a good way to get people to see your
daughter's films. Put three ofyour bangers out. Look.
Jacob Davidson (44:54):
Sam Raimi is a good dad. You know, hey, I
Jonathan Correia (44:57):
this is the year of good dad filmmakers.
But. Between him and Shyamalan,like, just promoting the shit
out of their daughters. I
James Jay Edwards (45:03):
was gonna say Shyamalan basically making a
movie so his daughter can have aconcert film. Sure. Love
Jonathan Correia (45:10):
it. Oh, love it. You'll
Jacob Davidson (45:11):
love to see it.
Yeah. And then also, you'redoing The Fall that night too,
with the new, yeah,
Jonathan Correia (45:18):
yeah, the new 4k restoration of The Fall. So
that's going to be four movie orfive with the short film, yeah,
Jacob Davidson (45:25):
and I'm doing that full run myself. You are,
yeah, I will be there.
Jonathan Correia (45:30):
Can you help keep me awake? Because, like, I
can't really have energy drinksright now. Do
Jacob Davidson (45:34):
I? Can I have permission to poke you with a
stick? Uh,
Jonathan Correia (45:39):
small, yeah.
Sure,
Jacob Davidson (45:41):
okay, because I'll be, I'll be poking you.
Okay, just
Jonathan Correia (45:45):
no tender spots. No tender spots. All
right, wouldn't be the firsttime. Let's, let's not forget
the Beyond Fest screening whereI got shot in the nards at a
Monster Squad screen. You
Jacob Davidson (45:55):
sure did with, with a T shirt cannon. Of
course, it's
Jonathan Correia (45:58):
beyond fest.
Of course it was a t shirtcannon.
Jacob Davidson (46:00):
Oh yeah. Well, for listeners, we got to give
context, because you just saidyou were shot in the nards like,
oh yeah. We need to tell thembeyond we're shot with. Beyond
Jonathan Correia (46:09):
fest is more obsessed with T shirt cannons
than a fucking hockey rink. Theylove their T shirt cannons. They
love shooting T shirts and yeah,at a screening of Wolf Mans Got
nards and Monster thedocumentary about Monster Squad
and Monster Squad, they asked ifanyone wanted to get shot in the
nards with the t shirt cannon.
And I think I was not only thefirst to raise my hand, but the
most enthusiastic. And so, yeah,got Sean shot me in the in the
(46:33):
nards with a T shirt cannon. Andit was great. And I still have
that Cronenberg For Presidentshirt to this day. Me too. I
Jacob Davidson (46:43):
was wearing it last night, mine last night too.
Also, Jonathan's got. Nards Ihad,
Jonathan Correia (46:52):
I don't know about anymore after that, one
James Jay Edwards (46:55):
more thing that I saw that isn't quite
horror, but I still think peoplereally need to see it. You guys
heard about A Different man?
Jacob Davidson (47:04):
Uh, yes, I've heard about it. I've been
interested in seeing it. It
James Jay Edwards (47:07):
is. It's really interesting. It and it
kind of walks the line ofhorror, because, because it, it
kind of walks a lot of lines.
It's sort of a black comedy andlike an intellectual drama. But
it also does kind of go intopsychological horror. It's about
a guy who has this facialdeformity. He's played by
Sebastian Stan, and he he's likea struggling actor, and then he
(47:30):
goes in for this, thisexperimental medical procedure
that basically fixes his face,and he starts looking like
Sebastian Stan, and his neighboris a struggling playwright, and
she, when he gets his new face,he basically starts a new life,
and he changes his name, and hestarts selling real estate
(47:51):
instead of, you know, acting.
And his neighbor, theplaywright, misses her friend,
so she writes a play about theold him, and he goes and
auditions for the part ofhimself. And his big competition
for it is another, another actorwho has that facial bee
(48:11):
formation. It's played by AdamPearson, who is, he was the guy
in under the skin who escapedfrom Scarlett Johansson,
initially, who has the facial Dformations, but he's also been
in a couple of other movies, butthe director, Adam schimberg, he
Adam Pearson, is now his hismuse, kind of because he wrote
(48:34):
this movie for him. And it'sweird, because there's, there's
even a little discussion in itabout exploitation. And where do
you draw the line? You know,because it's ostensibly about
this woman's play. Her name'sIngrid, and she's played by the
woman from the worst person inthe world, and she's discussing,
she's all, you know. Do I Findsomebody with this condition to
(48:56):
play the part of this person, ordo I use makeup? You know, she's
all because would it beexploitational to use a person
with that condition you know, orhire the most talented actor you
know that can pull it off withmakeup, kind of a thing. And
that discussion kind ofparallels what is going on in
the movie, too. But honestly,the Adam Pearson character, his
(49:17):
name's Oswald, he's probably themost redeemable character in the
movie. And I'm really glad thatthat they've given this actor a
role he can chew on, because thecharacter is, like, super
intelligent, super charming,super talented. And the only
thing is he's got this weird,this face thing going on. But
(49:38):
you when you see beyond that,you're like, Oh, this guy has it
going on, you know, and, andthat's kind of the point of the
whole movie, is, like, you know,the this quote, Monster is
really the only relatablecharacter in the movie. But it,
it's a it, honestly, AdamPearson there, there are two
(49:58):
front runners for Oscars in my.
Opinion, Best Supporting AdamPearson for a different man and
Best Actor, Coleman Domingo andSing, sing, those are the front
runners. You heard it herefirst.
Jacob Davidson (50:10):
Oh, yeah, no, Coleman Domingo was amazing in
Sing, sing, so I'd be interestedin
James Jay Edwards (50:14):
comparing.
Well, they'll be in differentcategories, because Sebastian
Stan is the is the lead in adifferent man, right? Adam
Pearson. Adam Pearson steersteals the movie, though.
Jonathan Correia (50:26):
Well, before we head out, I just want to let
everyone know it's okay. I didit so you don't have to. And I
watched all the Stepford Wivessequels this past except for
Husbands. I cannot track down acopy of Husbands outside of
paying $40 for a VHS tape. But Idid, for whatever reason, a
(50:47):
found out that there are madefor TV sequels to the original
Stepford Wives. There's three ofthem. There's Revenge Of, The
Stepford children, and then TheStepford Husbands. And you don't
need to watch them. It's fine.
It's base, like, Revenge Of TheStepford Wives is basically a
made for TV rehash of the firstmovie with, like, maybe a little
bit of continuation. It's fine.
(51:10):
It does kind of end with a lotof The Stepford Wives kind of
just beating the shit out ofpeople, which is fun, but that's
about it. But that's not whatwe're here to talk about. We're
here to talk about The StepfordChildren, because that film you
need to track down and watch. Ibelieve there's a copy on the
Internet Archive, not to promotethat type of viewing. But there
is, seek it out. It's amazing.
It opens, it's, it's, it's thesame plot that you've seen a
(51:35):
bajillion times with TheStepford Wives. But there it's
the teenagers, and the writingfor the teenagers at the
beginning of this movie,they're, you know, typical
angsty teenagers. The dialog isclearly written by someone who's
middle aged to sound like ateenager played by a 20
something year old, and it isincredible. It is after school
(51:56):
special this. This isn't acostume. It's a lifestyle, but
way worse type of angst. But thereal highlight is towards the
end, it just goes off the rails,because the separate wives
always had that weird like,wait, are they fully replacing
people with robots? Are theycloning them? Are they just
(52:17):
reprogramming the bodies? It's alittle confusing. And they kind
of like show in the first moviethat it is, but definitely in
the sequels, they lost their wayof, like, explaining what the
fuck are the Stepford Wives. Butin the third one, they fully
show you what they were doing,and it's they don't fully
explain if it's like full robotor full clone, because there's
(52:37):
some weirdness. But the factthat I did go into some like,
body horror stuff in this 87made for TV movie. It's just
really cool. And then it justabruptly ends. It's, it's great.
It's a fun watch. So yes, highlyrecommend The Stepford Children
James Jay Edwards (52:55):
Cool. Well, with that, let's, let's call
this one an episode. Sorry welied dia about saying we were
going to come back in two weekswith a topic, because it was a
month and we had no topic. Butmaybe next time, I don't know,
you can't trust me. We, exceptyou can trust me when I say that
our theme music is by restlessspirit, so go give them a
(53:17):
listen, and our artwork is byChris Fisher, so go give him a
like, and that you can find uson all of the socials under eye
on horror, or at ihorror.com,which is the site we all call
home. And yeah, that's gonna doit for this episode. So I hope
you like hearing us talk,because that was a lot of what
(53:37):
this was. And we'll see you.
We'll see you next time. I'mjust gonna say that to not make
a liar out of me. So for me,James J Edwards,
Jacob Davidson (53:45):
I'm Jacob Davison
And I'm Jonathan Correia.
James Jay Edwards (53:47):
Keep your eye on horror.
Welcome to eye on horror, the official
podcast of ihorror.com. This isepisode 133 otherwise known as
season seven, Episode 14. Ithink we have those numbers
right. I don't know. It's gets alittle difficult to keep track
these days. I am your host,James Jay Edwards, and with me,
as always, is your other host,Jacob Davison, how you doing?
(00:47):
Jacob? Doing
Jacob Davidson (00:49):
good. Happy that it's, once again, overcasts in
the city.
James Jay Edwards (00:54):
Oh yeah, it's, I actually had to put a
sweater on. It's a little coldtoday, which it has been in the
Jacob Davidson (00:59):
actually feels like fall for one does
James Jay Edwards (01:03):
also with us, as always, is your other, other
host, Jon Correia, how you doingCorreia?
Jonathan Correia (01:08):
Oh, I'm doing fantastic. Just, you know,
getting over my, my, my, thisyear's bout of covid, which was,
which was real fun. Yeah, thatit's, it's, it's great being
immunocompromised, and like,getting covid On the one day you
leave the house that week. So,
James Jay Edwards (01:26):
yeah, it sounds like it hit you hard
when, when I got it earlier thisyear, it just kind of felt like
a bad cold, yeah, but it soundlike it knocked you on your ass,
Jonathan Correia (01:35):
yeah? The first time I got it, it was like
two days of me on my ass, andthen, you know, was downgraded
to a cold. Second time I had,like, no symptoms. But this
time, I don't know what it is,because I'm up on everything. We
were actually just planning ournext bout of vaccines. Anyways,
yeah, it knocked me on my ass. Iwas, like, went Sunday through
(01:57):
Wednesday. I was like, on thefloor of my office, full on,
like in Trainspotting when he'sgetting sober and the baby
scrolling across the screen.
Except my fever dreams weremostly around the movie Bottoms.
For some reason, I think it'sbecause I wanted to watch
Bottoms, and I kept like kind offever tripping that I was
watching Bottoms, but I wasn't.
(02:18):
It was really weird, but I didrewatch Bottoms once I got
better. And God damn, that moviestill so fucking good.
James Jay Edwards (02:24):
You know, I've been having, I mentioned
last time that I've been bingingthrough The 100 and I just, I'm
in the middle of the fourthseason, and let me tell you it.
Or excuse me, I'm in the middleof the fifth season. And the
beginning of the fifth season,FONSI put on his skis. It is
getting real, real close withthis show, but it's gone now to
(02:48):
more like a lost meets Game ofThrones kind of thing. And I
actually have dreams about thisdamn show. You know when because
I watch it, generally I watch afew episodes before I go to
sleep at night, and it, itembeds in my subconscious, I
think because I start dreamingabout it. But we're not going to
talk about the 100 or bottoms.
We're going to talk aboutmovies. It's been a while since
(03:11):
we talked, but I think the bigrelease that we've all seen is
Beetlejuice Beetlejuice, right?
Yeah, probably, yeah. This is itwas a while ago, but what do you
guys think?
Jacob Davidson (03:24):
I thought it was great. You know, I wouldn't have
expected a Beetlejuice sequelafter 30 something years. Would
have been as good as it was. ButTim Burton got his groove back
with this. It was a lot of fun,and Michael Keaton was on point.
Of course, he also loved howpractical effects heavy it was.
(03:44):
You know, they really kind ofwent back to the source, not
James Jay Edwards (03:48):
just Michael Keaton, but Catherine O'Hara. Oh
yes, she is. She kind of stealsthe movie for me. So awesome.
And it's funny because there's awhat is, I don't even remember
the guy's name, the guy thatthey didn't invite back the dad.
Oh, Jeff. Jeffrey Jones, yeah,yeah, because of personal life
(04:08):
stuff. Well, crime, yeah. Well,yeah, that's true more than just
personal life stuff, um, but theway they dealt with him, with
his the way they explained hischaracter's death, was actually
pretty hilarious.
Jonathan Correia (04:22):
Well, actually, I found out that the
explanation for his deathbecause they did a whole They
not only avoided him, they did,like a whole stop motion
claymation thing with him. Andthe whole point, the whole plot
of like, what they did to offhis character, I guess, is
reference or leftovers from backwith the Beetlejuice Goes
(04:44):
Hawaiian script that was aroundin the 90s and whatnot, and
like, that was supposed to be,like, the kind of setup for that
sequel. So I thought that was,that was really fun. But, yeah,
I was a little worried about,like, then possibly doing too
much with that. But I it was, itwas some great bit. Because,
like, how you have to addressthe elephant in the room. And
yeah, Jeffrey Jones is a pieceof shit. So, like, who got
(05:06):
arrested for piece of shitcrime? So yeah, you can't, you
can't have him back. But like
James Jay Edwards (05:10):
you said, they have to, they have to
address the fact that he's notthere. And rather than just kind
of make it a oh, he died, andthen not mention it again, like
you said, they did this wholelittle stop motion thing. It's
kind of funny that they didn'teven, they did do a stop motion
that was obviously him. Theydidn't, they didn't invite him
(05:31):
back to shoot any they did itanimation, rather than, rather
than have the real guy there,which, you know, oh, that's the
best case scenario,
Jonathan Correia (05:41):
and they show him in the afterlife, but he
just, like, doesn't have a head,so it's just like a headless
body walking around the wholetime.
James Jay Edwards (05:49):
I don't know if it's been long enough that we
could spoil that, but basicallyhe gets bitten half by a shark,
and all you see is his body withno head, with like the shark
mouth, which is
Jonathan Correia (06:01):
great,
Unknown (06:02):
which is pretty and
Jacob Davidson (06:03):
he speaks for, like, his esophageal tube just
poking out,
Jonathan Correia (06:07):
yeah, no, I really like Beetlejuice.
Beetlejuice, I had a lot of funwith it. I especially really
like that. It focused on, like,you know, three generations of
women, and it was weird. It feltlike it was there was too much
plot, but there was also notenough plot, but it also like it
was just setting up set piecefor set piece. But like, you
(06:29):
know what they it was a lot offun, so I forgive the shit out
of it. And I think the mainthing that I had issues with was
because one of the plot, one ofthe many plots in it is that
Winona Ryder's character'shusband, who's the father of her
her daughter, died years ago,and that's something that
(06:49):
they're trying to work through.
And like, they don't really doanything. Like, it's such an
important plot point, and thenthey don't really do anything
with him. Like, there's no realcatharsis. There's no real
thing. There's no, I don't know.
It just kind of felt like theydropped the ball on that one.
Jacob Davidson (07:07):
Well, he saves them, yeah, although I think
it's just there was too muchgoing on and, like, the payoffs
didn't really pay off as well asthey could have, because there,
yeah, Is this too much going onand not enough time to really
delve into every plot line.
That's what
James Jay Edwards (07:23):
it was. It felt like, it felt like the next
three Beetlejuice sequels all inone movie, because there was
just so much going on. And thatwas actually my issue with it is
similar to what you're talkingabout. There was so many
subplots that I don't think anyof them really got adequately
(07:43):
resolved. And the one thing thatbothers me is, like, is that the
stepdad, like
Jonathan Correia (07:51):
Justin Thoreau's character? Yeah,
James Jay Edwards (07:53):
I don't really want to go to too much
detail for people who haven'tseen it, but at one point, like,
something happens to him andnobody cares. Like, wait a
minute, this is like, this isher. They actually weren't
married. Part of the, one of theplots is they're gonna get
married on Halloween. He was herfiance. He was Winona Ryder's
(08:16):
character's fiance. But, um, itwas like, okay, nobody's bummed
about this, all right. I mean,he was kind of a douche, but
okay,
Jonathan Correia (08:25):
yeah, I will say, though, there are some
people that say Monica Belluccididn't really have anything and
that she's just in it becauseshe's with Tim Burton. And I
will fight anyone on that,because Monica Bellucci, first
of all, her whole scene comingback and the cameo with her
putting herself together wasamazing because I didn't know he
(08:47):
was in the movie. She she cameto serve, she just came in, she
served mother, she served face,she did her thing and got out.
And I fucking loved it.
James Jay Edwards (08:58):
That was one of the plots that I was like,
okay, you know what you couldhave, and this is what I think
people mean by, you know, Idon't think it's anything
against her, but it's thewriting. You could have pulled
that whole subplot out of themovie, and it wouldn't have
mattered. And I think that thatwould have made, like, a good
that would have made anothersequel. You know, I think that
(09:20):
was just one of the issues with,like, too many subplots crammed
into one movie, because thatone, and that was one of the
ones I feel like didn't really,didn't really pay off.
Jonathan Correia (09:30):
But then again, yeah, it's still a lot of
fun that she
James Jay Edwards (09:33):
was great.
Yeah, she was, she was great.
And, like you said, I love thepart. You know, she's stapling
herself back together. I mean,it was, you know, it was great
visually, and it's a greatcharacter. I just didn't think
they did what they should have.
I don't think they did enoughwith her. I think that I would
rather have seen a third moviewith that being the main plot.
Jacob Davidson (09:56):
So, yeah, also, I hope that Beetlejuice,
Beetlejuice, get. More kids in
Jonathan Correia (10:00):
the Mario Bava, yeah. So I lost it when
they had the poster for Kill,Baby...Kill in the background.
That was great. So good. Another
James Jay Edwards (10:11):
thing that I think all three of us have seen
and this, I really want to talkabout this, because this might
be my new favorite movie of theyear. Strange Darling, yeah,
Jacob Davidson (10:21):
oh, yeah. That was a blast. This
James Jay Edwards (10:23):
movie goes hard. This is so and it's kind
of a funny story about how I sawit, because they didn't screen
it for press at all, and it wason my radar because it's getting
kind of a lot of a lot of chugon the internet. And one of my
friends and colleagues in theFilm Critics Society, he
actually called me when he'sgetting out of it, and he said
(10:44):
he's all, dude, this is up youralley. You have to see this
movie. You have to see it. AndI'm like, Well, yeah, it's on my
radar. I'll see it eventually.
I'll see it eventually. Well,couple of days later, he texts
me, and this was Labor Day, sohe's like, look, it's playing at
320 today. And I was like, Well,you know, I can't do it, you
know, I can't do it, you knowthis afternoon, well, he texts
me a few hours later and goes820 tonight. Let's do he
(11:05):
basically made me go see thismovie, and I went and saw it
with him, and he was 100% right.
He was and I think part of itwhy he wanted me to go see it
with him is because he wantedthe same reason that I saw
hereditary on opening nightafter seeing the press
screening, he wanted to see myreaction to it. With him, he was
(11:28):
known what was gonna happen, andhe wanted to see my reaction.
And he was 100% right. Thismovie is like, Don't research
anything about it if you haven'talready, and just go see it,
because it's gonna it'll knockyour socks off. It is so here's
kind of what you're in for. Itsays at the beginning, it'll say
it's a strange darlings, athriller in six chapters. And
(11:50):
then the next title card sayschapter three. That's how you
know what you're in. It kind ofpulp fictions around the
timeline a little bit, andthat's the only way it works,
because there are things thathappen in chapter two that are
that are better. If you'vealready seen chapter five, you
know it's, oh my god. It'sinsane, though,
Jacob Davidson (12:12):
and it was shot on 35 millimeter, and I was
lucky enough to be able to seeit play on 35 millimeter at the
Hollywood Vista theater while ithad its run there, and it is
just a beautifully shot andcolorful movie. So it was
definitely best to see ittheatrically if you had the
(12:32):
chance.
James Jay Edwards (12:33):
It almost feels like it's like a spiritual
soulmate to In A Violent Nature,in some ways, because it has
that, like Oregon woods. Youknow thing happening for it?
Jacob Davidson (12:44):
Was it Oregon or Oklahoma? I can't remember it.
Oregon
James Jay Edwards (12:49):
is where strange darling is. I don't
remember if Ryland nature wasOregon, but because there's like
a title card at the beginningthat says, you know, this is the
serial killer who went upthrough, I think they started in
Oklahoma, went up through Idaho,and ended Oregon. Yeah, that's
what they said, Yeah. So it doestell you that they end what
(13:09):
you're watching happens inOregon.
Jonathan Correia (13:11):
It's really dope. And I gotta say, the the
Out Of Order Chapter thing mademe kind of not iral, but may put
me on caution, because I'm like,oh, man, is this another?
Because remember in the 90s whenthere was all those Pulp Fiction
knockoffs and like, so a bunchwere good, but a bunch were just
like, us, just stop already. Andso I was a little, I was a
little on edge of just like, ohno. Is this going to be like
(13:33):
that? But I thought it was sowell executed. And the reason
why it's it works so well isbecause of the performances of
Willa Fitzgerald and KyleGallener, especially, will, if
it's shown, who absolutely blewme away in Fall of the House of
Usher last year. And she's justso phenomenal in this movie,
(13:54):
like it really was came down tolike, if she couldn't pull off
the nuances of this final girl,Lady character, then this film
would not have worked, and shewas just so fucking good. Yeah,
this movie,
James Jay Edwards (14:08):
it, it's, I almost don't want to talk about
it, because people need to.
The less you know, the betterExactly, exactly,
yeah. But again, I want to talkabout it because it's so damn
good, yeah,
Jonathan Correia (14:22):
so go see it.
Maybe, maybe, maybe Minisode. Atsome point, I don't,
James Jay Edwards (14:26):
I was gonna say we might need to do a
spoilery minisode, just so wecan, just so we could talk about
some of the fun stuff thathappens in it. But, yeah, versus
So, yeah,
Jonathan Correia (14:37):
well, another new one that just came out. I
don't know. Have you guys seenThe Front Room? No, no,
James Jay Edwards (14:45):
I did see a trailer for it when I was at
Strange Darling with Josh thefront room. That's the only time
I see trailers, is when Iaccidentally see them like that.
So I did see a trailer for it,and it looks like, it looks like
some pretty good hagsploitation.
Jonathan Correia (15:00):
Oh, let me tell you, I love y'all know me.
I love hagsploitation. Yeah,Give me. Give me all your hags,
Whatever Happened to Baby Janesand all the other movies that
are like long sentences that arequestion marks at the end. Oh,
absolutely love it. But TheFront Room is directed by Max
and Sam Edgars, who is RobertEggers. Eggers half brothers.
(15:25):
So, so you get two Eggers forthe price of one, and it stars
Brandy as as like the as thelead wife who, who has her
mother in law, played byCatherine Hunter. Who, Catherine
Hunter is incredible. I stillneed to see The Tragedy of
Macbeth, because I hear sheplays an amazing witch in that
(15:46):
100
Jacob Davidson (15:47):
that's what she was from. Yeah. No, yeah. She,
you know, those were some greatwitches in that movie. Oh
Jonathan Correia (15:54):
yeah. I just saw that one clip where she's,
like, laying down on the sandand is doing a lot of this that.
And I was like, oh, I need tosee this fucking movie. But she
is incredible in The Front Room.
And let me tell you the filmitself. It's, it's, I it's one
of those, I want to say it's anactor's movie, because her and
brandy are just carry thatentire film and their
(16:15):
interactions, and Catherine andHunter just like, Absolutely,
like, bringing such dimensionsto her CAG or her hag character,
while also serving some of thebest one liners in it. Like,
there's, there's whole bitswhere, because it's about the
guy's father dies and he had avery rough childhood with his
(16:36):
stepmother, and like, thecontingency of like them getting
the inherent is letting her movein, and as soon as she moves in,
she's like, you know,pressuring, uh, religion on
them. There's like, subtle hintsof, like, racism with her. I
James Jay Edwards (16:53):
was gonna say it sounds like she's racist
towards brandy too. Yeah,
Jonathan Correia (16:57):
there's no like overt. It's all like subtle
things. So there's a lot of likethings where it's just like, I
shoot fucking with them, andthen, like, yeah, it, of course,
continues to escalate to
James Jay Edwards (17:10):
trailer.
Doesn't make it look subtle atall. It
Jonathan Correia (17:14):
starts subtle and then it doesn't, but it's
really good. There's a but it's,it's very grounded. It doesn't.
I feel like the trailer makes itseem like it's going to become
some, like, Rosemary's Babyfinale or something. But it
really is. It's really justlike, you know, if you've ever
(17:34):
had to deal with, like, elderly,uh, folks with, you know,
declining health, uh, bothmental and physical. It takes
those to the extremes, but like,it's just really good. I highly
recommend it as, like, you knowwhen it comes to because I think
it went to theaters and thenbailed out pretty quick, because
not a lot of people are seeingit, but it's
James Jay Edwards (17:55):
already on VOD. It's you can already see it
at home. So, yeah, they didn'tput it in, and it's A24, right?
Yes, yeah. So it's, it'sinteresting that they didn't
really give it much of atheatrical shot. But yeah,
better for those of us who don'tlike to leave the house, I
guess,
Jonathan Correia (18:12):
yeah, especially as since our our
crowd for it sucked, like therewas people in our road non stop
talking and giving commentary. Idid not need an MST3K style
commentaries throughout thatmovie, but I was given it
against my will. But yes, I do,I do highly recommend it, and I
just can't wait to see what dragshow performances come out of
(18:32):
this, because there's someiconic stuff of like, Catherine
hunter with like, two crutches,just like doing a don't dunk
across the room, and then she'slike, I made a mess, M, E,
Double S, mass, and she's gotshit piss all over. Oh, drag
queens will eat that up.
James Jay Edwards (18:51):
Speaking of Catherine Hunter, and this isn't
really horror, so I don't wantto take a whole lot of time, but
it's definitely something peopleshould keep an eye on.
Megalopolis. Have you guys seenMegalopolis? not
Jacob Davidson (19:01):
yet, but I do want to make my way out to see
it. This is
James Jay Edwards (19:05):
see it on the biggest climax screen you can
find. Because here's the thingwith Megalopolis, if you're not
familiar, it's Francis FordCoppola's new movie, and he has
been making this movie,developing and writing this
movie, since the early 80s. Thisis like a 40 year project for
him. And the thing is, with it,it is Catherine Hunter is
(19:27):
actually, is in it. She's one ofthe central figures mother. But
everybody and their mothers inthis. But Jon Voight is in it.
Shia LaBeouf is in it, with themost amazing mullet wig, I mean,
you thought the Love LiesBleeding mullets were awesome.
Oh, wait until you see ShiaLaBeouf in Megalopolis. But
(19:48):
Aubrey Plaza, our girl is in it,and also Grace Vanderwall is in
it. Their characters. Aubreyplaza's character is Wow
Platinum and Grace Van der Paul.
This is Vesta Sweetwater. It'sOh, it's insane, but Adam
Driver, Giancarlo Esposito andNatalie Emmanuel are the three
(20:10):
main leads. And it's kind of atelling of the fall of Rome,
kind of a thing. It's actuallyset in New Rome, which is a
thinly veiled New York City. Andthis is just this massively
ambitious movie. Story wise, itgets a little messy at times,
but visually, it is a feast, andthat's why you need to see it on
(20:32):
a huge screen. I mean, the setsare just grandiose and the
costumes are lavish and thevisual effects are, I mean, it's
a it's, it feels like asuperhero movie without any
superhero scenes. I mean, it'sjust this, you know, massively
surreal. It's eye candy. It's,you know, and the cast is
(20:54):
something that only Coppolacould throw together. I mean,
for this thing, I mean, likeDustin Hoffman has a bit part.
You're like, what is that DustinHoffman? So anyway, but yeah,
megalopolis. It's a Not, notreally horror, but and very of
its time, considering it's beenin the cooker for 40 years, it
(21:14):
is. There's a lot of what'sgoing on today that you can see
in this movie. There's somethingweird that happened at the
screening I was at. I was at ascreening that there was like a
Q&A with Coppola De Niro andSpike Lee at the beginning. And
I don't know, I don't know ifthey're gonna do this at every
screening of it in theaters, butit was like a, like a preview
screening, and at one point,about halfway through the movie,
(21:36):
there's like a press conferencein the movie, and they had an
actor stand up in the audienceand use a mic and ask the
question, and then Adam Driver,on screen answered it. So it was
like, like, a multimedia kind ofthing, and, you know? And it was
kind of interesting, becausewhere the actor was standing,
Adam driver was like, looking athim, like he was looking at him
(21:59):
through the screen. It wasreally interesting. And I'm
wondering how they're going todo that, if they're going to do
that for every screening. Imean, do they have the budget to
hire an actor to sit into everysingle screening of this damn
movie everywhere, or is therelike, a different cut that
they're going to show? But itwas really, it was, it was kind
of interesting. And it was aboutthe halfway point of the movie
where you're kind of and notreally losing interest, but
(22:20):
settling in, and all of a suddenyou're like, oh, okay, now you
got my attention again. It
Jonathan Correia (22:25):
was kind of cool. That's what I love about
this era of Coppola, becauseCoppola is with his wine
business and everything. He's atthe point where he's like, You
know what? I'm going to continueexperimenting. Like, remember
twist, yeah, Twixt, or Twixt,and how, how he traveled with
that and would do live editingwhile Dan Deacon was live
(22:45):
scoring that like, I love I gotto respect the shit out of
Coppola for still trying to pushthe envelope on like, what the
theatrical experience is. Yeah,
James Jay Edwards (22:57):
and he, he talked about in the Q&A, he sold
one of his wine businesses tofinance Megalopolis, which he
said that he got lucky becausehe sold he basically sold it
because his kids didn't want torun it and he wanted it to keep
running, so he sold it in orderfor it to keep running. But he
ended up getting enough money tomake Megalopolis out of the
deal. So it ended up good onboth fronts. The wine business
(23:22):
keeps going, and he got to makehis passion project,
Jonathan Correia (23:25):
which good for him, because I do remember that
they were going to doMegalopolis in the early 2000s
and then 9/11 happened, and thatkind of, like, threw it, shut it
down. Yeah,
James Jay Edwards (23:38):
this movie has been being developed through
some major life events. It's,you know, it's gone through,
like you said, 9/11 it's gonethrough covid. It's gone through
the Trump presidency. I mean,this, this, and you can see all
these influences in what goeson. But it is a retelling of the
catalinarian rebellion of theRoman Empire, kind of a thing
(24:02):
like the the main characters arenamed Cicero and Catalina. So
you can tell, you know, if youknow your Roman history, okay,
this is where they're going withthis, you know. But it's also
very Shakespearean. In places,it's, it's, it's just a really
ambitious and, in some places,indulgent movie. But, I mean,
(24:25):
he's Coppola. He can get asambitious and indulgent as he
wants. You know, it's his opus.
Yeah, he's one of the fewfilmmakers that will take you
know. I mean, think howambitious and indulgent
Scorsese's been his last fewmovies. You know, again, they
deserve it. Yeah, exactly.
They're one of the few that canpull it off Absolutely.
Jacob Davidson (24:46):
And on my end, I saw a very unique theatrical
screening. There is a new cut ofNosferatu going on, where it's
said entirely to the music ofRadioHead. Have you guys heard
about this? Is this the originalNosferatu, the 19 the original
knows FW murna knows farazu,with a all Radiohead soundtrack.
(25:10):
Okay, it's amazing.
James Jay Edwards (25:11):
Is this existing Radiohead songs or
radio Yes, it is existingRadiohead songs. So Johnny
Greenwoodand Tom York didn't come out of
retirement or, you know, or comeout. They didn't bring the band
back to do this.
Jacob Davidson (25:23):
No, no, no, no.
It's made from two of theiralbums. Kid A and Amnesiac.
Jonathan Correia (25:30):
That's awesome. That sounds like how in
the 80s there was that cut
Jacob Davidson (25:35):
Metropolis score set to like Queen and Freddie
Mercury. Yeah. That was
Jonathan Correia (25:39):
produced by Giorgio Moroders. It's
James Jay Edwards (25:42):
gonna say, didn't, didn't Marauder do that.
I guess maybe he just picked thesongs. Yeah,
Jonathan Correia (25:48):
he, he produced it, and they did, they
did a bunch of, like, coloringand things of that nature. It's
a fun cut. I love when thosetype of projects come about. Is
Radiohead actually like involvedwith it, or is it somebody else
on the rights or,
Jacob Davidson (26:03):
I'm not entirely sure, but there it is, like I
said, from their albums, Kidd aand amnesiac, and it's this new
company, silent synced, wherethey're going to do like silent
movies set to more modern music.
And I think we'll focus on kindof alternate rock, like
(26:23):
Radiohead. I forget some of theother stuff they said they were
going to have lined up, but,yeah, no, the but Nosferatu set
to Radiohead was reallymesmerizing, like, it really
drew me in. And, yeah, and, and,yeah, no, it's those albums.
Kid, amnesiac, so unfortunately,no creep, although that would
(26:44):
have been perfect.
James Jay Edwards (26:47):
No, that's, that's Pablo honey. We so you're
saying we're going to get aBattleship Potemkin set to Rage
Against the Machine. I'd watchthat. I would watch the hell out
of that. Or, even better, Strikeset to Rage Against the Machine.
It
Jonathan Correia (27:02):
could happen.
I just can't wait to hear seesome like Buster Keaton set to
like Billy Eilish or Charlie XCXor something. Think that would
be pretty fucking great.
Jacob Davidson (27:12):
I'd like to see Buster Keaton set to weird. Al,
Jacob, I was
James Jay Edwards (27:15):
just gonna say weird. Al,
Jonathan Correia (27:17):
oh, The General set to Dare to Be
Stupid. I mean, come on,
Jacob Davidson (27:22):
that would be, it's right there.
Jonathan Correia (27:25):
Remember how in Transformers, the animate,
the animated movie, there's likea big action set piece, set to
Dare to Be Stupid.
Jacob Davidson (27:32):
Oh yeah,
Jonathan Correia (27:33):
Autobot, like this big epic battle, fight
scene, and you just hear to bestupid. It's like, what is
happening?
Jacob Davidson (27:41):
What it was a choice,
Jonathan Correia (27:45):
Jacob, I know you said you were thinking about
participating, but Did you areyou participating in Hooptober
this year?
Jacob Davidson (27:51):
Did it already start?
Jonathan Correia (27:53):
Yeah, it starts September 15. Oh, well,
then I missed it. Well, it'sstill well, if you guys don't
know, Hooptober is a 31 moviesin 31 days for Halloween. But
because, you know, we're alladults that have schedules, it
starts. It can, you can startSeptember 15, so you still have
time Jacob, because you cantechnically start it october 1
(28:13):
or wherever. But they have areally great set of rules with
it that include, like, you know,eight different countries,
different decades, things ofthat nature. And so I started a
bit earlier, and my covid about,kind of helped out a little bit
and getting a good rush. But,you know, one of the
requirements was to watch anentire franchise that had more
(28:37):
than four movies. And so I went,you know what? This is a great
opportunity to finally watchCritters, because I never
watched the Critters movies. And
James Jay Edwards (28:44):
you know what's funny? There's, well, not
me, my dog on Instagram. My dogfollows this influencer in
Canada who is also doingHooptober and and she chose
Critters as well. So it's kindof funny that Critters is like
the franchise to choose. Sorry,didn't mean interrupt you. Oh
Jonathan Correia (29:05):
no, you're golden. I had so much fun with
the Critters movies. I gottasay, though, Critters 2, direct
by Mick Garris, is the best ofthe franchise. It truly is the
Gremlins 2 or Ghoulies 2 of theCritters franchise grant,
basically, if you have little ifyour entire movie revolves
around little shit creaturesthat are just, like, causing
(29:26):
chaos, the second one is alwaysgoing to be the best of the
franchise, I think. And it'sreally good. The first four, I
love. I had so much fun withthem. There's such little shits.
But, yeah, that's, there's,there's been a lot of, like,
good revelations with that. Andtiming wise, it worked out
really well because two of myrequirements, uh, ended up
(29:49):
involving Michelle Saovi films,The Sect and The Church, which
are, oh, yeah, those
Jacob Davidson (29:55):
are bangers. Oh,
Jonathan Correia (29:56):
they're such bangers. I mean, he really was,
like, the last. Soldier On theisland that's still fighting a
war that ended a decade prior.
When it comes to Italian horrorfilms in the 90s, like he those
films, they I have to admit,especially with those two, he
really knows how to start amovie, usually with some form of
a massacre, and then he knowshow to end it, and then in
(30:17):
between, that is just weird, andchoices are made, and there's,
there's so much fun. But thosewere perfect leads into watching
Eight Eyes. Have you guys seenEight Eyes?
Jacob Davidson (30:31):
Yeah, Eight Eyes, yeah, not yet, but I've
been mean to I saw they justadded it to Shudder. Yeah.
James Jay Edwards (30:37):
Eight eyes is, is the culmination of two of
our podcast friends, theJustin's, Martell and La
liberty. Yeah,
Jonathan Correia (30:46):
yeah. It's based on a concept by Martell,
who also produced it. It was oneof like three or four films he
produced out in Serbia.
James Jay Edwards (30:54):
I was gonna say he hangs out. He hangs out
in Serbia a lot, because thisone, yeah, does he know Serbian?
Jonathan Correia (31:01):
I you'll have to ask him. I just know he knows
how to get into all thecountries that we don't know
much about
James Jay Edwards (31:08):
but, but it seemed like this one the the
entire crew and some of the castwere all Serbian. And I'm like,
oh yeah. How does hecommunicate? I mean, maybe they
all know English. I wouldimagine that it's more likely
that other countries would knowEnglish than we would know
Serbian. But this is alsoJustin. I can see him known
Serbian.
Jonathan Correia (31:26):
Oh, dude. I mean, he's told me some stories,
and it's always great hearingwhenever he comes from, like,
some Western European country,or that was at one point under
the iron curtains, and hearinglike the stories of like,
generationals. And anyways, it'sreally phenomenal. Like I said,
he produced it. But it's also COproduction with vinegar
syndrome, so it's their first,like, in house, original
(31:49):
production. Original exactly,and it really, it's, it's, it's
just so much fun. It's bright inthose veins of those, like 70s
Italian horror films.
James Jay Edwards (32:02):
It's a complete 70s Italian horror
film. It not really a rip anhomage, because it is, I mean,
it's an original story. It does,it's not, I mean, it's, it
doesn't like, rip off thestories, but it rips off the
look right down to therotoscoping. It's it's, oh, it's
insane, Yeah, completely
Jonathan Correia (32:23):
shot on film on 16 and 35 and all these other
formats. But it's about anAmerican couple that is
vacationing in Serbia, and theymeet this very charming but very
menacing character named StPeter.
James Jay Edwards (32:40):
Was he really charming. He was kind of creepy,
but he charmed them.
Jonathan Correia (32:46):
I'll admit Justin. Justin sent me a cut of
it about a year ago or so, and Iwatched it, and in the second
viewing, like I really wasmesmerized by Bruno, who played,
my apologies, I will butcher ifI try his last name, but the
actor, Bruno, who played StPeter, by his performance,
because he really was, like,there was there was charm. He
(33:08):
really was charming. At times.
He really was, like, had thisunderlying menacingness to him.
He just like, yeah, was verycaptivating. And I can see it
because oftentimes when youwatch movies where it's like,
couple in a foreign land thatit's hard to believe that they
would put themselves in thissituation. But he's just so
like, he does have this charm,but he's very persistent as
(33:30):
well. And so like, youunderstand how, like, they could
kind of get dragged into thisvery weird weird, because it
really does go like, very weirdfamily, like Texas Chainsaw, and
it
James Jay Edwards (33:44):
goes into Hostel territory in places too.
You're like, Yeah, I mean, yeah,but yeah, The Texas Chainsaw
family thing falls into it too.
It's
Jonathan Correia (33:55):
that whole last act is very, very
influenced, like, if you likeThe Beyond. It's very in that
way, if you like a lot of likeFulci's work. And the score is
phenomenal. It's by this groupcalled Mariconne Youth. I
James Jay Edwards (34:11):
hard. I kind of know that one of the dudes
from I don't know him superwell, but this composer is Devin
Goldberg, who he was in a banddown here called creedal and,
and when I saw his name pop up,I'm like, oh, fuck yeah, he's
still doing movie scores,because I hadn't seen one, but
yet, the group he composes foris Moriconne Youth and, and I
(34:31):
was waiting to see if, like,maybe some of the other creedal
guys, or anybody else was in it.
So I waited for the end credits.
And I don't know any of theother guys who played on it, but
the guy who recorded it, I wentto college with, his name's Ben
Moore, and he he's an engineerand a producer now, but he's
also a badass keyboard player.
But anyway, yeah, so I kind ofknow the some of the music
(34:53):
people behind that, but you'reright, the score is like, it has
all these weird. Vocalization,looping and, and it's almost
like at times, it almost seemslike Morricone. Like, like,
like, Western, it's very
Jonathan Correia (35:12):
heavily influenced by Morricone and
Goblin, which, you know, thoseare two of my favorites. So,
like, Yeah, you had me when thatSynth went hard in certain
places. So, yeah, if you lovefilms like The Sect, The Church,
you know, the The Beyond eighteyes. And
James Jay Edwards (35:27):
if you love movies with good scores, is
this, I wonder if the score isgonna hit. I mean, it
Jacob Davidson (35:33):
just got released on vinyl today.
Actually, really,
James Jay Edwards (35:36):
what? Who did it? I was gonna say it won't be
shipped to shore rip, but, um,it's not wax work, though. Is
it?
Jacob Davidson (35:44):
No, hold. Hold on. I just saw it posted
Morricone youth. They're sellingit off of the website.
James Jay Edwards (35:51):
Okay, so did they press it themselves?
Jacob Davidson (35:54):
I guess. Okay, well, yeah, right. Well,
James Jay Edwards (35:57):
that's, hey, that's that. That's awesome
because they because the scoreis great, I need to track that
down. Yeah, well,
Jacob Davidson (36:03):
it's available now, or rather, available for
pre order. Yeah,
Jonathan Correia (36:08):
go get the score. Watch it on shudder.
Vinegar Syndrome also put out agorgeous blu ray with slip cover
case, all that fun jazz, allthose features that you would
expect from Vi Vinegar Syndrome.
And, yeah, check it out. Andalso, don't keep an eye out,
because the next Martell VinegarSyndrome collaboration Black
Eyed Susan is coming soon aswell. They just announced and
(36:30):
released a trailer for that. Soyeah, did
James Jay Edwards (36:36):
you guys see the new Speak No Evil?
Jacob Davidson (36:38):
No, not yet.
Jonathan Correia (36:39):
I feel like I have, because that trailer has
been playing before everyfucking movie over the last
seven months,
Jacob Davidson (36:46):
I think I've seen at least 25 times. I
James Jay Edwards (36:48):
don't watch trailers, but just the number of
times I've accidentally seen itbecause of movies that I've had
to go see in the theater. Like,they played it for Strange
Darling, they played it beforeTrap. They played it before In a
Violent Nature. You know, I'veseen that trailer so many times.
It is a remake of the Danishmovie that is on Shudder from
(37:10):
just a few years ago. But thisis like an English language
version. This isn't just likeMichael hanaki remaking his
movie with an A list cast inEnglish, though the first two
acts is pretty straight forwardwith the Danish one, and this is
James McAvoy and blank onMcKenzie Davis, this one is so
(37:33):
it does have, like an A listcast, and it is in English, but
it is the first two acts followpretty, pretty straight. It's
about these two families thatmeet while they're on vacation,
and one of them invites theother to their farm, and they go
and of course, you know itnothing goes it goes bad. Yeah,
it really goes bad. The thirdact is completely different.
(37:55):
It's complete and it's the guy,I think his name's James
Watkins. He did that DanielRadcliffe movie from like, 10
years ago, The Woman in Black.
He did the woman in black. Ithink he purposely wanted to
make, he basically Hollywoodizedthe ending of this movie.
Because, whereas the original isjust real nihilistic and and
just depressing, this one is alittle more like there's a
(38:20):
little more fight in the thequote victims is so it becomes
more of like a typical it'salmost like a home invasion
movie, but the people beinginvaded are the ones. Are the
guests. It's that kind of athing, but it's it's really
interesting. It's pretty welldone. I was glad that they
didn't just do a straight remakeof it, because, I mean, who
(38:43):
needs that if it's just, I mean,unless you're Michael Hanaki
doing it, no one wants to seethat, but it is different enough
that it's cool. Yeah, I
Jacob Davidson (38:55):
was interested in checking it out, because,
honestly, I wasn't even really abig fan of the original. See No
Evil. But I've had friends whosaid this version was more
interesting, so I'd like to giveit a chance. It
James Jay Edwards (39:07):
was, if your problem with the original Speak
No Evil was the third act,definitely see this because,
yeah, because it
Jacob Davidson (39:13):
wasn't even that. It was nihilistic or
brutal. It's just, I felt likethe characters were undeveloped
and, you know, just the themewas off point what they were
going for in the originalfinished version. So I'd like to
see you have another go withthis American version.
James Jay Edwards (39:29):
You might, you might like this one better,
because it does delve into thecharacters, especially the
guests who in this one. They'reAmericans that moved to London,
but, but, yeah, those ones thatthey are more well developed.
And I was, I was bummed when inthe trailer, it looks like the
(39:52):
trailer, knowing the originalone, it looks like the trailer
gives away a massive spoiler,but it's not really. Really,
it's not as massive of a spoilerin this one as it would have
been in the original. So even ifyou've seen the trailer 20
times, you it won't really spoilwhat the the fun stuff. And
(40:14):
James McAvoy, holy cow, thatguy. Ah, there's nothing he
can't do. He looks like he evenbulked up for this, even more
than, well, even more than forSplit. He looks like, like,
there's points where he'srunning around and just a tank
top, and you're like, is thatCG? He looks like the freaking
(40:35):
Hulk, but yeah, it's, it'spretty crazy. And
Jacob Davidson (40:40):
also, on my end, the best time of year has
finally begun. It's beyond festone and all. Yeah, oh yes. For
those who don't know, BeyondFest is the annual genre based
Film Festival that the AmericanCinematheque does, and it's
going to be, quite literally,the biggest one ever, because
we've got the Aero Egyptian andLos Feliz theaters screening
(41:03):
movies every day for over twoweeks straight. What
James Jay Edwards (41:08):
is because?
Because I feel like almost everyscreening you go to, you say, is
a Beyond Fest screening. Do theydo screenings throughout the
year? But then, yeah, they doscreenings
Jacob Davidson (41:18):
throughout the year. They just, this is the
actual festival. Like BeyondFest as an organization, does do
okay screenings basically atleast once or twice a month,
give or take, especially withnewer releases. But Beyond Fest,
the actual festival is likealways late September and early
(41:39):
October, and they kick thingsoff with a hell of a bang, like
we did a screening of RRR onTuesday with the one of the lead
stars, NTR there, because we'realso screening his new movie,
Devara (41:52):
Part 1 last night. And things really kicked off last
night at the Aero with the worldpremiere, and I think only
theatrical screening of thebrand new Salem's Lot
adaptation. How was it? Did
Jonathan Correia (42:10):
you watch it?
I
Jacob Davidson (42:11):
did watch it, and actually I thought it was
pretty solid. I was surprisedthat they were able to fit it
into one hour and 55 minutemovie.
James Jay Edwards (42:19):
That's my question, is, because the the
original, it was like a miniseries, wasn't it?
Jacob Davidson (42:25):
Yeah, well, the original two parties, and then
it was the 2000s mini series.
And yeah, so it's a lot to do,but they did, I will say they
did take some creative changesto the to the story, especially
in the second half. But theywere, they were, they were fun.
And, you know, kept me on mytoes, because, again, it's been
(42:46):
adapted twice, and there was asequel to the original by Larry
Cohen. And the books, the booksbeen out forever. Oh, that was
the other cool thing, like thefirst 100 people to go to the
screening God a free copy ofStephen King's Salem's Lot the
novel. That's awesome, yeah, andI'm glad I got one, because I've
always wanted to read it. Sofinally I can sit down and do
(43:09):
it. But, yeah, yeah, no, it'sjust, it's a damn shame that
it's only going to be streaming,because, you know, it's a Max
thing, you know, WB, Max,because originally was supposed
to be theatrical, and then,like, there was. So it got
shelfed for God knows how manyyears, and people were afraid it
was going to get axed for a taxbreak. So at the very least, you
know, it's hitting streamingoctober 3, so you can see it,
(43:30):
which, you know, thank God forthat.
Jonathan Correia (43:35):
Oh, I will, don't you, don't you worry. I
fucking love Salem's Lot, andI'm so excited for beyond Fest
this year. We before we gotbefore we got sick, we were
like, first in line online toget tickets. And unfortunately,
the screening of Speed with theoriginal director and Keanu
Reeves and Sandy Bullock soldout like immediately, but we
(43:57):
were able to get tickets totomorrow's screening of the new
Shush, cut of Hush, oh, I'm
Jacob Davidson (44:03):
going to that too.
Jonathan Correia (44:04):
Oh yeah, with Mike Flanagan and Kate Siegel
there. Oh yes, yeah, that'sgoing to be a lot of fun. I
already have the 4k pre ordered,but very excited for that
screening. And then on Sunday, Ididn't even realize these
screenings were happening at thesame place on the same day, so
it's going to be a long ass day,but we got tickets to the Sam
Raimi triple feature, which isprobably the best triple feature
(44:26):
of Sam Raimi you could do. Yougot Darkman, you
Jacob Davidson (44:28):
got The Quick and The Dead. You got Drag Me To
Hell, exactly. And
Jonathan Correia (44:31):
I rarely ever see screenings of any of those
movies, let alone all threetogether. So I'm excited. And
Jacob Davidson (44:38):
Sam Raimi himself is going to be there,
and they're going to play ashort film by his daughter.
Jonathan Correia (44:41):
Oh, really, I didn't know about the short
film. That's also, yeah,
Jacob Davidson (44:44):
it's gonna be, I think either before, in between
the movies,
Jonathan Correia (44:49):
that's a good way to get people to see your
daughter's films. Put three ofyour bangers out. Look.
Jacob Davidson (44:54):
Sam Raimi is a good dad. You know, hey, I
Jonathan Correia (44:57):
this is the year of good dad filmmakers.
But. Between him and Shyamalan,like, just promoting the shit
out of their daughters. I
James Jay Edwards (45:03):
was gonna say Shyamalan basically making a
movie so his daughter can have aconcert film. Sure. Love
Jonathan Correia (45:10):
it. Oh, love it. You'll
Jacob Davidson (45:11):
love to see it.
Yeah. And then also, you'redoing The Fall that night too,
with the new, yeah,
Jonathan Correia (45:18):
yeah, the new 4k restoration of The Fall. So
that's going to be four movie orfive with the short film, yeah,
Jacob Davidson (45:25):
and I'm doing that full run myself. You are,
yeah, I will be there.
Jonathan Correia (45:30):
Can you help keep me awake? Because, like, I
can't really have energy drinksright now. Do
Jacob Davidson (45:34):
I? Can I have permission to poke you with a
stick? Uh,
Jonathan Correia (45:39):
small, yeah.
Sure,
Jacob Davidson (45:41):
okay, because I'll be, I'll be poking you.
Okay, just
Jonathan Correia (45:45):
no tender spots. No tender spots. All
right, wouldn't be the firsttime. Let's, let's not forget
the Beyond Fest screening whereI got shot in the nards at a
Monster Squad screen. You
Jacob Davidson (45:55):
sure did with, with a T shirt cannon. Of
course, it's
Jonathan Correia (45:58):
beyond fest.
Of course it was a t shirtcannon.
Jacob Davidson (46:00):
Oh yeah. Well, for listeners, we got to give
context, because you just saidyou were shot in the nards like,
oh yeah. We need to tell thembeyond we're shot with. Beyond
Jonathan Correia (46:09):
fest is more obsessed with T shirt cannons
than a fucking hockey rink. Theylove their T shirt cannons. They
love shooting T shirts and yeah,at a screening of Wolf Mans Got
nards and Monster thedocumentary about Monster Squad
and Monster Squad, they asked ifanyone wanted to get shot in the
nards with the t shirt cannon.
And I think I was not only thefirst to raise my hand, but the
most enthusiastic. And so, yeah,got Sean shot me in the in the
(46:33):
nards with a T shirt cannon. Andit was great. And I still have
that Cronenberg For Presidentshirt to this day. Me too. I
Jacob Davidson (46:43):
was wearing it last night, mine last night too.
Also, Jonathan's got. Nards Ihad,
Jonathan Correia (46:52):
I don't know about anymore after that, one
James Jay Edwards (46:55):
more thing that I saw that isn't quite
horror, but I still think peoplereally need to see it. You guys
heard about A Different man?
Jacob Davidson (47:04):
Uh, yes, I've heard about it. I've been
interested in seeing it. It
James Jay Edwards (47:07):
is. It's really interesting. It and it
kind of walks the line ofhorror, because, because it, it
kind of walks a lot of lines.
It's sort of a black comedy andlike an intellectual drama. But
it also does kind of go intopsychological horror. It's about
a guy who has this facialdeformity. He's played by
Sebastian Stan, and he he's likea struggling actor, and then he
(47:30):
goes in for this, thisexperimental medical procedure
that basically fixes his face,and he starts looking like
Sebastian Stan, and his neighboris a struggling playwright, and
she, when he gets his new face,he basically starts a new life,
and he changes his name, and hestarts selling real estate
(47:51):
instead of, you know, acting.
And his neighbor, theplaywright, misses her friend,
so she writes a play about theold him, and he goes and
auditions for the part ofhimself. And his big competition
for it is another, another actorwho has that facial bee
(48:11):
formation. It's played by AdamPearson, who is, he was the guy
in under the skin who escapedfrom Scarlett Johansson,
initially, who has the facial Dformations, but he's also been
in a couple of other movies, butthe director, Adam schimberg, he
Adam Pearson, is now his hismuse, kind of because he wrote
(48:34):
this movie for him. And it'sweird, because there's, there's
even a little discussion in itabout exploitation. And where do
you draw the line? You know,because it's ostensibly about
this woman's play. Her name'sIngrid, and she's played by the
woman from the worst person inthe world, and she's discussing,
she's all, you know. Do I Findsomebody with this condition to
(48:56):
play the part of this person, ordo I use makeup? You know, she's
all because would it beexploitational to use a person
with that condition you know, orhire the most talented actor you
know that can pull it off withmakeup, kind of a thing. And
that discussion kind ofparallels what is going on in
the movie, too. But honestly,the Adam Pearson character, his
(49:17):
name's Oswald, he's probably themost redeemable character in the
movie. And I'm really glad thatthat they've given this actor a
role he can chew on, because thecharacter is, like, super
intelligent, super charming,super talented. And the only
thing is he's got this weird,this face thing going on. But
(49:38):
you when you see beyond that,you're like, Oh, this guy has it
going on, you know, and, andthat's kind of the point of the
whole movie, is, like, you know,the this quote, Monster is
really the only relatablecharacter in the movie. But it,
it's a it, honestly, AdamPearson there, there are two
(49:58):
front runners for Oscars in my.
Opinion, Best Supporting AdamPearson for a different man and
Best Actor, Coleman Domingo andSing, sing, those are the front
runners. You heard it herefirst.
Jacob Davidson (50:10):
Oh, yeah, no, Coleman Domingo was amazing in
Sing, sing, so I'd be interestedin
James Jay Edwards (50:14):
comparing.
Well, they'll be in differentcategories, because Sebastian
Stan is the is the lead in adifferent man, right? Adam
Pearson. Adam Pearson steersteals the movie, though.
Jonathan Correia (50:26):
Well, before we head out, I just want to let
everyone know it's okay. I didit so you don't have to. And I
watched all the Stepford Wivessequels this past except for
Husbands. I cannot track down acopy of Husbands outside of
paying $40 for a VHS tape. But Idid, for whatever reason, a
(50:47):
found out that there are madefor TV sequels to the original
Stepford Wives. There's three ofthem. There's Revenge Of, The
Stepford children, and then TheStepford Husbands. And you don't
need to watch them. It's fine.
It's base, like, Revenge Of TheStepford Wives is basically a
made for TV rehash of the firstmovie with, like, maybe a little
bit of continuation. It's fine.
(51:10):
It does kind of end with a lotof The Stepford Wives kind of
just beating the shit out ofpeople, which is fun, but that's
about it. But that's not whatwe're here to talk about. We're
here to talk about The StepfordChildren, because that film you
need to track down and watch. Ibelieve there's a copy on the
Internet Archive, not to promotethat type of viewing. But there
is, seek it out. It's amazing.
It opens, it's, it's, it's thesame plot that you've seen a
(51:35):
bajillion times with TheStepford Wives. But there it's
the teenagers, and the writingfor the teenagers at the
beginning of this movie,they're, you know, typical
angsty teenagers. The dialog isclearly written by someone who's
middle aged to sound like ateenager played by a 20
something year old, and it isincredible. It is after school
(51:56):
special this. This isn't acostume. It's a lifestyle, but
way worse type of angst. But thereal highlight is towards the
end, it just goes off the rails,because the separate wives
always had that weird like,wait, are they fully replacing
people with robots? Are theycloning them? Are they just
(52:17):
reprogramming the bodies? It's alittle confusing. And they kind
of like show in the first moviethat it is, but definitely in
the sequels, they lost their wayof, like, explaining what the
fuck are the Stepford Wives. Butin the third one, they fully
show you what they were doing,and it's they don't fully
explain if it's like full robotor full clone, because there's
(52:37):
some weirdness. But the factthat I did go into some like,
body horror stuff in this 87made for TV movie. It's just
really cool. And then it justabruptly ends. It's, it's great.
It's a fun watch. So yes, highlyrecommend The Stepford Children
James Jay Edwards (52:55):
Cool. Well, with that, let's, let's call
this one an episode. Sorry welied dia about saying we were
going to come back in two weekswith a topic, because it was a
month and we had no topic. Butmaybe next time, I don't know,
you can't trust me. We, exceptyou can trust me when I say that
our theme music is by restlessspirit, so go give them a
(53:17):
listen, and our artwork is byChris Fisher, so go give him a
like, and that you can find uson all of the socials under eye
on horror, or at ihorror.com,which is the site we all call
home. And yeah, that's gonna doit for this episode. So I hope
you like hearing us talk,because that was a lot of what
(53:37):
this was. And we'll see you.
We'll see you next time. I'mjust gonna say that to not make
a liar out of me. So for me,James J Edwards,
Jacob Davidson (53:45):
I'm Jacob Davison
And I'm Jonathan Correia.
James Jay Edwards (53:47):
Keep your eye on horror.
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