Season 2 - Ep 22 - Diablo, A Working Man and Black Creek - a new action showdown! - The After Movie Diner Podcast

Episode Transcript
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Speaker 1 (00:13):
Yes, that's right. It's the inevitably nonsensical, yet hopefully enjoyable
after movie Diner. If you enjoy the show and have
pursued the recommended treatment from your medical providers, why not
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(00:35):
rate and review the show wherever podcasts are found and
rating and reviewing is possible. Even a one star review
provides useful insights on exactly the sort of petty minded
and wretched individual who negatively reviews free entertainment they do
not need to be consuming. So, without further dribbling, please

(00:56):
put down your lenon meranus for the one the only
charm Cross.

Speaker 2 (01:03):
TV is about a thousand years behind the rest of us,
right right, as evidenced by the Glen Powell phenomenon. Right
in nineteen eighty five, You're like, I understand Glen Pale.
I totally get Glen pal Glen Palell in nineteen eighty
five makes sense. In twenty twenty five, another random bland

(01:26):
you know not but minimally talented person with a pretty smile,
white guy of that age group, You're just like, I'm
so done. I'm so bored with the Glen Palell's of
the world and all the Chrises and everyone else, Like,
why are we not looking for someone different? And they go, well,

(01:47):
that we're Pedro Pascal. I mean Pedro Pascal. Like we've
put Pedro Pascal and everything shut up. You can't get
mad about Glen Palow because Pedro Pascal. And you're like, right,
but I have to put up with Powel, Like that's
that's my trade off.

Speaker 3 (02:04):
To your point, we knew what to do with Glenn
Powell in the seventies, eighties, nineties, even in early two thousands. Right,
you put them on a TV show and you let
them do their thing on that TV show.

Speaker 2 (02:15):
He might show up in the sequel to a formally
popular slasher film, Right, and I still know what you
did last summer, you know what I mean, that's.

Speaker 3 (02:24):
The best you're gonna get out of him. Or he's
like David booranis right. You do Angel, you do bones,
you do swat, that's what you do. You know what's
the other Weatherly the guy from NCAS who's like bowl
or something like. Even further back you think of like
the sixties, Martin Milner. I think it's the guys the
actor's name who was in Adam twelve. It's like, that's
what you do with him. You give him Adam twelve,

(02:44):
you give him a Twilight Zone episode. You do a
few things like that with him. You know where you
know Fred Dryer in the eighties, That's what we did
with Glen Powell. Weren't saying like Glen Powell is a
movie star, right, No.

Speaker 2 (02:54):
No, it's it's like macu. It's like Matt Bluecas. I've
told you about Bluecus, right, if you're aware of like Blucas,
Tom Cruise, right, who is also responsible for Glenn Powell
or Glenn Powell's resurrection Because we had all left Glenn
Powell after Expendable three. We were like Glenn, you're done, goodbye, right,

(03:15):
and no one. Then Cruise was like, I want to
make Glenn Powell thing, and everyone was like no, no, no, no,
please don't make him a thing. And then Cruise made
him a thing and then everyone made him.

Speaker 3 (03:23):
Well that in Sidney Sweeney movie, right, the romantic comedy
of Sidney Sweeney.

Speaker 2 (03:27):
She's also an anathema. Like everyone's like, oh Sidney Sweeney,
Sidney Sweeney, I'm like, name one thing anyway.

Speaker 3 (03:34):
It's a video movie with Don the Dragon Wilson before
she got famed, called the Hordes. As I got Paul Logan,
I haven't seen it yet.

Speaker 2 (03:38):
I got to see it, right, No, no, so that I'll
give it to me. I've seen that. I had a
screen of I interviewed Vernon Wells for the Oh No ways.

Speaker 3 (03:47):
Everybody to see that one.

Speaker 2 (03:48):
Okay, excellent, Yeah, that's when I interviewed Vernon Wells back
in the day. Was off the back of the Horde movie.
So I didn't even know that was her. But fine, okay,
good Sidney Sweeney. Fine, I don't care about her. I'm
I'm an adult. She's a she's a adolescents fantasy of
what women might be. And I'm old enough to know that,

(04:09):
you know, point not not not one percent of women
a Sydney Sween. So like it's fine, it's all good.
The Glen Powell aification of everything like that's I just
don't understand it. It's like, well, ever, it's he's to me,
he's like Adam Driver, yet less interesting. And I couldn't

(04:29):
find Adam Driver more tedious than any but Glenn Powell
is even more tedious than Adam Driver, but in the
same way as Adam Driver. Everyone's like, Oh, I'm a
hip director. I'm gonna put Glen Powell in my movie,
and I'm just like the same with Adam Driver. It's like,
you know, one minute he's in a big action movie.
Next minute he's a jar mushing around the place. You

(04:51):
know what I mean.

Speaker 3 (04:52):
You know Lee movie.

Speaker 2 (04:53):
Yeah, he's in a Spike Lee movie. He's in a
Mooche movie. It's only a minute before he shows up
at a Wes Anderson and has a nose off with
Adrian Brodie. Yeah, how did.

Speaker 3 (05:04):
That not happen yet? How is he not? Because there's
a new one coming out, right, like the.

Speaker 2 (05:08):
New one the Phoenician Scheme, and it has Mike, it
has Michael Sarah, which who is sort of the nineties
early two thousand's hipster version of Adam Driver, right kind of,
or like Weedy He's like the Weedy Driver.

Speaker 3 (05:23):
Like r like the Weedy tweet kind of. Yeah.

Speaker 2 (05:25):
Right, So, if if there was a TV show like
Girls before when Superbad came out or whatever, they would
have cast Sarah. But because it was a few years
later and Driver had come on the scene, they're like, well,
he's weedy and hipsterish, but also kind of weirdly sexy
to a certain type of woman. So, like, you know

(05:46):
what I mean. So he's sort of I find Michael
Sarah to be, And I like Michael Sarah, but I
find him to be sort of in terms of the
roles he gets. He's sort of driver light, Yeah, you
know what I mean. So it's only about time before
Habister goes I can I finally get on a driver's schedule?

Speaker 3 (06:04):
He's I think he's It's only a matter of time.
I think Jarmush got to him. I'm trying to think though,
Like I guess, you know, Scorcese, he's done a movie
with him.

Speaker 2 (06:14):
Has done a movie with him. Spike Lee's done a
movie with him. What was the other one? I know
he did Moosh, but he did another one that wasn't Mouche?
Who did the married Arguing married film?

Speaker 3 (06:27):
Oh? Right with with with Scarlett Johansson?

Speaker 2 (06:29):
Yeah, who directed that? Wasn't that a famous.

Speaker 3 (06:33):
I think you're right it was. It was it because
it was direct to Netflix. But yeah, he's gonna be
in a way, He's going to be like Tom Cruise
in that sense that like, yeah, because actually I was realizing.
He also did Megalopolis, so he's also worked with Copla. Yeah, Copla.
So because there was a picture that somebody posted, So,
no Ah, bombback, no a bomb back.

Speaker 2 (06:52):
That's that bound Back. Look at it. That's the change
that you've done, John Mush, you've done bound Back, by
the way. I certainly saw Kicking and Screaming, which is
bound Back's first movie based on And it was so
funny because because a friend of ours, Aaron and Kim
my wife, both were like, You've never seen Kicking and

(07:14):
Screaming And I was like, nope, I've never seen it.
Who's it by? They were like bound Back. I'm like,
well that explains it, Like you know what I mean,
you only have to look at bound Back and go yeah,
me and him are not going to see I do
I on how to make a movie because he's looking
at him. But yeah, he.

Speaker 3 (07:31):
Realized he wrote, he wrote, he's written a couple of
what's his name or he wrote one he wrote Life
Aquatic for h and he wrote, yeah, fantastic, mister Fox.
And I realized that he writes movies for for for
Wes Anderson.

Speaker 2 (07:45):
He yeah, well they're all Anderson bound back go wig
all these ones, they're they're all cut from a similar cloth.
I like, where's Anderson as a rule, but he's also
getting a little up his own cordroid as uh these days.
But yeah, I saw kicking and screaming. There isn't a

(08:06):
more like navel gazing, lack of self awareness. Hipster doesn't
even cover it. It's like in Spaceballs when they go
from like the white like hyper speed or whatever to
plaid right right. Kicking and screaming is like, Noah bound

(08:30):
back took KRDROI and went to plaid. Do you know
what I mean. It's like he It's like he took
hipsterism and a lack of self awareness and naval gazing
and masturbatory backslappering and everything else. It's like he took
that and pushed it to plaid. That's what kicking and

(08:51):
screaming is. Like. I found everyone in that movie to
be utterly insufferable. I wanted them all. I'm like, oh,
at the end of the movie, does the frat explode
and all of these guys bodies you know, fall out
into the quad covered in blood and viscera, And I
was like, no, it's a no Bamdback movie, So everyone
just I don't know, is incredibly referential about stuff and

(09:14):
then fucking twats off in a tweed jacket and and
does nothing and then it ends and everyone goes, oh, oh, marvelous, marvelous.

Speaker 3 (09:26):
Will get Because I meant to click on on that way,
I ended up accidentally clicking on Mister Jealousy, the movie
he did after that. It's got Eric Spolts in it,
So that's like a combination.

Speaker 2 (09:34):
Yeah, no, Staltz isn't kicking and screaming as well. If anything,
Bound Backs right, Bomback's early movies are the Salts of movies,
you know what, right, You know, when you watch Eric
stalt ethan Hawk has a little bit of Stalton as well.
He's a little bit pretentious as well. But like when
you see Stalts right, and he's sort of waxing raapsodic

(09:59):
about some subject, like he's an expert, and people are like, well,
of course he's an expert. Look at him. He's Eric Start,
you know, like, oh, look at him. He exudes expert
and stuff, and yet whatever he's talking about is just
utter twaddle. That's that's Eric Starts in every movie. Ever.
The other thing I wanted in terms while we're shitting

(10:20):
on people, fucking fuck Tarantino. I saw a post today
where Tarantino claimed that Indiana Jones and The Last Crusade
is a boring movie and that Kingdom of the Crystal
Skull is better than it. So fuck Tarantino, because I'm sorry,

(10:42):
the Last Crusade is, by my reckoning, Spielberg's best film. Yes,
and better than Jaws, and I'm not kidding, better than Joe.

Speaker 3 (10:52):
Yeah, I love Last Crusade. He like, wait, he said
the Crystal Schools was better.

Speaker 2 (10:56):
Yes, he said that Last Crusade was boring, he had
no interest in the Sean Connery won, and then feigned
ignorance like he hadn't seen it a thousand times. Such
a cock.

Speaker 3 (11:07):
The thing about Last Crusade was it like that was
just it was like it was like one of those
things where it created this cultural moment where it was like,
you know, the first movie comes out, Ragel was the
Last Stark. Then Temple of Doune comes out, and I
think some people liked it, some didn't. But then I mean, man,
when you know Last Crusade came out, everybody was all
about it.

Speaker 2 (11:27):
Right, Well, it's not just that. I think It's what's
interesting about Last Crusade and why it genuinely makes it
Spielberg's best film is that it completely balances a fun
story based there's a reason for it, exciting action adventure
set pieces. It perfectly balances that were they legitimately touching

(11:52):
and legitimately well written father son's story. The scene like
here is tarantine. I can prove tarantine wrong. In one example,
there is a scene in this in Last Crusade where
Sean Connery and Harrison Ford sit down in the blimp
after he's thrown the guy out and whatever, and they're

(12:12):
actually sitting on the blimp and meant to be flying
home right and Henry seniors reading the newspaper and muttering
about some stuff, and Harrison is like looking at him
and like they're having one of those like awkward father
son things. And at a certain point, Connory slams his

(12:33):
newspaper down, puts it down on the thing, goes okay, then, okay,
what is this thing? What is it what you've always
wanted to say to me? What is it that I
did wrong? Tell me, give me exactly what you are.
And then Harrison Ford does the best bit of acting
I've ever seen anyone ever where he literally tries to
rack his brain, feels like he's been found out, and
then like laughs to be like, well, I can't think

(12:54):
of anything right now. And it's such a realistic, perfectly
like it's so well played, so written, so well, like
Tarantino Canoni dream like on his deathbed of writing a
scene that well and having it acted that well, and
it is. Spielberg allows these incredibly well written, emotional and

(13:16):
incredibly well played scenes to almost go unnoticed unless you're
watching it for the fifth, sixth, seventh time, and while
the action sequences are fun, you're now trying to like
pick out the story bits. It's there for the taking.
It's emotional, it's well written, it's well acted. It's it's
hands down Spielberg's best film.

Speaker 3 (13:37):
Yeah I don't, yeah, I mean, I mean, my my
favorite spiel Works is Shin Little's List, But I can
you know, I still enjoy that one, and I think, yeah,
but Crystal Schools. I saw Crystal Schools and.

Speaker 2 (13:48):
Chrystal Skull sucks.

Speaker 3 (13:50):
It's just like remember this from other movies. Yeah garbage, Yeah, yeah, no,
I yeah, absolute garbage.

Speaker 2 (14:00):
I did that thing where I left it ten years
and went back and tried to watch Crystal Skull and
see if it were had like mellowed over time, and
I preferred it. No, it's it's.

Speaker 3 (14:11):
Yeah, that happens. Like I tried that with Phantom Menace
recently and that one also didn't.

Speaker 2 (14:15):
Yeah. It's like, you know, I'd always hated Hack Snyder
didn't like his Superman film, But about a year and
a half ago, I was like, oh, fuck it, I'll
just watch all the DC movies. I think Marvel was
having a bit of a drought and I was like,
let me just see if I've remembered these wrong and whatever.
And each movie got worse and worse and worse and

(14:39):
worse every like every single movie. The only good movie
is Wonder Woman one. That's the only good movie. All
the others suck.

Speaker 3 (14:47):
Yeah, yeah, I like that one. I kind of liked.
I like that the Suicide Squad when I I kind
of the Birds of Prey one. There's there's elements of
that that kind of grew on me.

Speaker 2 (14:59):
Suicide Squad one, what the Will Smith.

Speaker 3 (15:01):
Won or the the Will Smith one.

Speaker 2 (15:03):
Yeah, I wasn't a big fan of that one, but.

Speaker 3 (15:05):
I didn't hate it, but the Birds of Prey one,
I didn't like the title, the whole fantabulous or whatever.
I don't like that. I don't know why people are
using words like that. But overall that one, and I
guess the other thing is you and McGregor. Yeah he
could have been a better battie.

Speaker 2 (15:16):
But yeah, yeah, I didn't see that one. I don't
think I saw Birds of Prey.

Speaker 3 (15:20):
Yeah, that one's it's not horrible, Okay, it's sort of
like a spin off of the first Suicide Squad where
Margot Robbie comes back to play Harley Quinn.

Speaker 2 (15:28):
Oh, okay, fair enough. Yeah, I mean it's yeah, I
don't know. I don't care about any of those films,
and I certainly don't care about Quentin Tarantino and Funck
that guy. And but anyway, Matt, hello, welcome to the Optomovie. Dinah.
We have been talking things we don't like anymore, like

(15:48):
a paragrum bill Man. And that's all right, because this
is our podcast. If you don't like it, stop listening,
go fuck off, go watch a Hack Snider film and
masturbate into a cop. I have no idea want to
tell you, but don't hang around here. Listening to us
Matt Hellosa for the DTVC podcast Direct to Video of
Kind podcast Sir, what have you been watching and how

(16:12):
has your week been? And tell us all of the
things we want to hear from you. Matt.

Speaker 3 (16:16):
Yeah, I mean in terms of stuff, you know, outside
of the movies that we're talking about here today, I
watched the New Mutants movie. Speaking of comic book movies.
It was not a horrible I didn't I didn't hate it,
you know, but it's it's kind of another sign with
these movies where it's.

Speaker 2 (16:34):
Like, well, I don't know this movie, what is the
New Mutants one?

Speaker 3 (16:37):
So it was it was the last of like the
Fox Mutant movies, and.

Speaker 2 (16:43):
It's they had a new one.

Speaker 3 (16:45):
Yeah, they had one called New Mutants that they released
it in the in like twenty twenty so during the pandemic.

Speaker 2 (16:50):
Oh okay, I don't really yeah.

Speaker 3 (16:53):
So I yeah, And I was just you know, so
I was kind of struck by the fact that, like, yeah,
looking kind of doing an autopsy on the those those
X Men movies that Fox did. And it is one
of those things with these, you know, these comic book movies,
is that you know, I used to read comics in
the in the late eighties early nineties, and so I
you know, follw the X Men and stuff like that.
But it's like, on the one hand, you're hoping you're

(17:15):
getting these you know, you're getting these movies that you enjoy,
or you know, you're they're they're they're doing things with
comic book movies that you know, we never thought was
going to happen before, especially with Marvel. But on the
other hand, there is that corporate side of it, and
it's like, oh, so Disney buys Fox and they're just like, oh,
there's a couple X Men movies left. Just put them
out and you know, you know, whatever happens toom happens,
we don't really care. And you know, now they're figuring

(17:35):
out how they want to get these characters into the
comic books, and you know, it's it's just it's like
that combination of like, oh, you want these movies to
be fun, you want to have a you know, fun
experience in the theater. But then there's this corporate element
of like, oh, well, for're putting two hundred and fifty
million in the movie, it's got to make a billion
and if it doesn't cross like four hundred million. We're
not going to use that character ever again. We're not
going to ever make another movie with that character.

Speaker 2 (17:56):
You know.

Speaker 3 (17:57):
It's like that that kind of thing. It's like, movies
can't just be movies, you know. It's like, we just
want fun comic book movies. We just want to have
a fun time, and we don't really care who else
likes it or doesn't like it. It's more like just
you know, it's my experience and I want it. But
you know, it's the reality with these comic book movies
because they've become this massive global corporate phenomenon thing. It's like,
if you know, well.

Speaker 2 (18:18):
I feel like it's kind of you know, Howard the Duck.
Apart from a few genuine great people who love that
movie as you should, it's a fantastic movie. It's one
of the top five comic movies of all time, is
How the Duck. I aps, And I'm not even kidding.
I love that movie unapologetically and unironically. I genuinely love

(18:39):
that movie except Tim Robins. Tim Robbins fucks the whole
thing up everyone else. I love Tim Robbins. I don't know,
like Tim Robbins is like I'm in a comedy. Look
at me being comic, and you're like, no, you're not
in a comedy. Tone it down. But everyone else is fantastic.
And and I know, I know he's a terrible person,
but Jeffrey Jones being like I want my eggs is

(19:03):
like my favorite fin in the movie when he's like
the interdimensional being and he's sat in the diner. No, no,
he doesn't, EGO, these are not my eggs or something
like that. Anyway, I haven't seen that on it forever.

Speaker 3 (19:19):
I'm gonna see it again.

Speaker 2 (19:20):
He's fantastic, Yeah, yeah, but no, Uh, Howard the Duck's fantastic.
But it has such a stigma, rightly or wrongly, that
they have still never greenlit. And you how the Duck movie,
even with all the whatever, and I know he's been
in Guardians of the Galaxy and you know whatever. It
is shown up as a cameo here and there, but
essentially like, no one's making Howard the Duck movie because

(19:44):
it has such a stink on it based on years
and years of completely unfair narrative about the successful failure
of Howard the Duck. I put it this way, they're
still putting it out on four K steel books, so
some one's watching it, you know what I mean.

Speaker 3 (20:02):
Right, And I believe it's on two B now.

Speaker 2 (20:04):
I think it's like people are still talking about it,
so it's not like, you know, it's not like there's
not an audience out there. But you know, you Hollywood
just has to ruin everything. I just think that once
something gets a a stink on it, it doesn't matter.
It can go forever and ever and ever, and it
doesn't matter how much you prove that it's wrong. It

(20:25):
becomes accepted wisdom. And I think that's that's the problem.

Speaker 3 (20:29):
Yeah, what it is, right is if you get something
like Big Mama's House, you know that like does like
three or four times its budget in the box office,
and they're like, we got a green light three sequels,
you know, or two sequels wherever. It is, like that's
something they can get a legacy sequel twenty years later
because it's like, well, at some point there was a
successful Big Mama's House, and so right.

Speaker 2 (20:51):
It's like we're bound to get a House Party five
at some point at some point because they'll look back
and they go, wait, they made four House Party films. Sure,
someone somewhere must have watched.

Speaker 3 (21:01):
They did the reboot one. They did the reboot one
where these kids were.

Speaker 2 (21:05):
Did they do a reboot house?

Speaker 3 (21:07):
They did? It was like I think there was like
they were like Lebron James. I remember seeing a couple
of commercials for it, And.

Speaker 2 (21:12):
Did that actually come out? I thought I dreamed, Yeah, okay,
fair enough, all.

Speaker 3 (21:15):
Right, yeah, because technically the fourth one is like a
like a seventy five minute direct to video movie. Yeah, yeah,
but I think, yeah, I think there's a new house
party that came out. Yeah, twenty twenty three, it came out.

Speaker 2 (21:29):
Wow, Okay, So I didn't dream it, all right, I
thought I just came up with.

Speaker 3 (21:33):
I don't know how it did.

Speaker 2 (21:34):
I don't know how it clarly didn't go very well
because I've never heard of it.

Speaker 3 (21:38):
Yeah, so it grows nine million in the box office.

Speaker 2 (21:42):
It actually went out into cinemas, it did.

Speaker 3 (21:45):
Yeah, it was a Warner Brothers new line thing, So
I guess they must have put it out in the
box office. And then maybe maybe now it's on Max.
I think I don't know, I'm not seeing let me
see if it shows on the stream. Oh it is
on Max.

Speaker 2 (21:55):
Yeah, Max a kiddn't play in it? They must be
I don't know, though, Yeah, how do you make a
House Party five with that one? By the way, we're
getting we're getting a Harold and Kumar four, right, Yeah,
other things I don't need in twenty twenty six.

Speaker 3 (22:13):
It's the franchise thing. It's this idea that like, somebody
made the point, and I think this is a valid
point that if George Lucas was born in like the
seventies or eighties and he went to Disney or any
of the student Fox whatever with Star Wars, they'd be like,
we can't do this, Like what is this not based
off anything?

Speaker 2 (22:30):
It's almost almost every movie made between you know, nineteen
twenty five and nineteen ninety five would never get Greenland
today because it's not an existing ip, right, you know
what I mean? And it's it's it's very disappointing. It's

(22:51):
very disappointing. However, we are here tonight. We're here tonight. Well,
actually I have I have a couple more things about streaming.
I have a couple more John's rents. There is a
couple more of John's rents about streaming. So first things first,
that thing they do with the end credits, like the
movie just ended, and it goes up into a little

(23:14):
square in the corner, and then a trailer starts running
for some shit you don't want to watch, and then
it's like what did you think of it? Then it's
ask you questions, then there's buttons and things. I fucking
hate that credit passion. I want the credits. Yes, I
was just watching Paddleton. I rewatched Paddleton, the sort of

(23:37):
indie comedy tragedy with Ray Romano and your man from
the Morning show what's his name? Du plus Mark Duplas,
and it's a you know, it's a very sort of
tweet indie dramedy and I quite enjoyed it, and you know,
it's all good, and but I've seen it before and

(23:58):
it has over really emotion finale because it's about Ray
Romano dealing with the fact that Mark Duplaz has cancer
and how he deals with that. Right, so it fit
the movie finished, and I was all ready to like
feel that emotion, you know, like it's like people in
the theater who stand up the moment the credits role,

(24:21):
I want to break their legs. If you're not sitting
for like two minutes and taking a breath at the
end of a movie. Then it's a bad movie then,
or you're a bad person. Right. I like to sit
at the end of a movie and give myself a
minute and go how do I feel about that? The
only times I stand right up and walk out is

(24:42):
when I knew ten minutes in that it was a dud, right,
you know exactly. So when streaming does it and starts
to be like have you seen this, vote for this,
put this thumbs up, blah blah blah, that I'm apoplectic
with anger about that ruins movies. Ruins movies.

Speaker 3 (25:00):
Well, because the other thing too is that, like you know,
we have like review sites and things like that, like
I want to know, like who are the stunt coordinator?
Because one of the things is that IMDb is not
always correct about these things. You know. IMDb will say somebody,
you know, they might not even list a fight coordinator
or stunt you know, but if you go through and
see the credit school, you'll see it. But I also,
like you said, I want to see I want to

(25:20):
know certain things about these movies as well, like I
want to know where it was shot. Again, IMDb only
has so much of that information I want to I
want to get more of that. I want to hear
the end songs and things like that they want And
like you said, there is a point too where there's
a moment of reflection and let you know where you
kind of I want to gather my thoughts on you know,
especially you know, if I'm going to write a review,
but even if I just kind of want to yeah,

(25:42):
like you know, what did I like about that movie?
What did that movie do for me?

Speaker 2 (25:45):
You know? Right? Yeah? And sometimes you just want to
feel the emotion you felt, you know as the credits roll,
and I just yeah, it's it's that that bothers me,
no end. Please send an email to Hello at aftermovie
Dina dot com if it bothers you as well. If
it doesn't bother you and you think it's a great invention,

(26:06):
don't write to me because I already hate you and
I don't care what your opinion is. It is a
terrible thing. If you too, however, think it's a terrible thing,
write to me at Hello at Aftermovie Dina dot com.
Just write, yes, John, it is a terrible thing. To
Hello at aftermovie Dina dot com. And next week, which
will be in a month and a half because I'm

(26:26):
only really releasing these aftermovie diners when I can be bothered.
The next episode, I will read your name out and
you'll get a lollipop. Okay, so that's that bit of business.
I forget what my second rand was, but maybe it'll
come up down the road. So tonight on this episode,
or today, on this episode, or this morning whenever you're
listening to this. That, by the way, is the most

(26:47):
hackneyed podcast thing to say on a podcast. Ever. The
most cliche thing is to be like, good morning, well, actually,
good night, well, actually it could be any time. Oh
you can be listening to this, but anyway, so yeah,
I don't know what I'm talking about. Anyway, we are
talking tonight about well, we're talking mainly about two movies,

(27:08):
but I want to throw a little third movie in there,
because I want this to be a new action showcase.
And we have three new action films by three different
sort of corners of the action market, although arguably Statham
and Atkins kind of fulfill the same space, just at
different levels of the industry. But we should also talk

(27:32):
about that when it comes to a workingman, we should
talk about the fact that Adkins is doing far better
fucking movies, and he deserves the forty million price tag,
not Jason Statham at this point. And I never thought
that I'd be saying that, Matt, because I was Gatham
for Statham my entire life. And then he made that
fucking Operation Rue de Gueur and Meg two and then

(27:57):
fucking what else did he be? A bee keeper? Fucking
beekeeper those three films in a row. I just I'm
sorry you've lost me. You know, it's bad enough that
he was in Home Front, where fucking James Franco was
the bag. Oh, I wonder who's gonna win that fight
Franco versus Statham, all because Franco, that little fucking funk

(28:22):
germ is wanted to you know, I wanted to, ironically
do like a nineties action film. So I, you know,
saddled up my fucking wagon to Stallone's fucking and I
just saddled up my wagon, hitched my wagon to state

(28:43):
them and start. I saddled up my wagon. What are
you talking about.

Speaker 3 (28:46):
Johnny, he says to me.

Speaker 2 (28:47):
Yeah, yeah, everyone understod what I meant. So yeah, I
think Adkins, certainly having seen Diablo, which is Scott Atkins's
latest and one that I'm recommending to everyone who will
listen that I think when you see Diablo, you will
say yep, Scott Atkins has surpassed Stepan in the stakes.

(29:09):
So Matt has not seen yet, but I do want
to talk about it, just as I'll give people just
a little overview and then we can drop it into
the conversation, because I think it is pertinent to both Black,
Greek and working man in terms of the Adkins of
it all and how really Adkins should be in all

(29:31):
of these things because he's fantastic. Diablo very quickly, then
Scott Atkins plays a guy who has just come out
of prison and is sort of on the run a
little bit, but he's trying to get to a certain
person and save a certain person. And there is the
worst assassin to have ever assassined Diablo played by Zero

(29:56):
is it Mark Zero? Marco Zero? Yeah? Played by Marcus
who is a badass, like evil bald, fake metal hand assassin,
like he is a James Bond via a Chuck Norris
movie assassin, you know what I mean. He's like the

(30:17):
thing that can only exist in like a mad nineties
straight to video movie and Atkins as a regular schmo
who happens to know lots of martial arts techniques, has
to save a woman and get her away from this assassin.
There is more to it than that, but I do
want to spoil it. However, it is a fantastic movie.

(30:39):
I've been saying that it is Scott Atkins's John Wick.
It's Scott Atkins's Safe, the one of the best dates
of the movies. It is on par I thought with
Ninja two and considering how long ago he made Ninja
two and the fact that he's forty nine now for
him to be churning these movies out with the regularity
and the skill and the precision and everything else that

(31:02):
he had. And you probably you watch more than I
do lately, but I that Adkins is not a bigger star,
and that Statham is still allowed to shit out things
like the Beekeeper and a working Man. I'm sorry, I
don't care how many fast and furists as you're in Statham,
You're benched well, and I'll tell you what it is, Matt.
He stopped making movies in England. Staithan was always the

(31:25):
guy that would do one Hollywood cheeseball action movie in
order to pay for a passion project filmed in England,
and whether it was Blitz or whether it was Hummingbird,
or whether it was the proposed Layer Cake sequel which
he never got off the ground that was meant to
be whatever, that's what he used to do. And then

(31:45):
somewhere along along the line he lost his way. And
I know he went back with Guy Ritchie and did
a couple of Guy Richie movies, one of which was
was decent and one of which was not in any
way at all. It was terrible. But I don't know, man,
And somewhere along the way we lost, we lost our statum.
And now he's just treading water compared to Scott Atkins,

(32:06):
who just seems to get better and better and better
and better and better and better and better and try
harder and harder and harder and harder, even when he
himself gets frustrated with the lack of budget, lack of time,
lack of energy, all the rest of it. And considering
him and Marcus Row and I reached out to Scott

(32:27):
on his private Facebook channel because I have his private
Facebook channel as opposed to his actor paid and I
told him, you know, this is great. You should do
more of these blah blah blah blah blah, and they
are planning a sequel. Yes, nice, I will take Diablo
being franchised because I would watch the shit out of that.
And when we're talking about end credit sequences, let that

(32:50):
end credit play because the soundtrack dude over the end credits.
Oh yes, I put some of it on Instagram. I
think you you saw do the video?

Speaker 3 (33:01):
Yes, yeah, yes, yeah, it sounds amazing because you were saying,
I mean, I mean, you know, Ninja two I think
is right up there with I mean, it's probably after Avengement. Yeah,
in Savage Dogs, another one of his I really like.
But it sounds like Diablo is one I can slot
right in that top three, you know.

Speaker 2 (33:18):
I mean it is. I would put Diablo in his
top three. I really would. And it's because it's it
does the PM thing, but in the good way. What meaning, Yes,
it does action every six to seven minutes. Yes, very often.
It contrives ways to have action where otherwise it would,
but it keeps that up, It keeps keeps that up

(33:39):
in a good way. But it it concentrates as PM
does in its best movies, both on the cinematography, because
the cinematography and diablo. Even though it's filmed in very
poor industrial like slum type places, the wide screen, the
animalphic that you is absolutely stunning, just fantastic. It's a

(34:04):
really beautiful movie. And secondly, they bother to write characters.
So even though yes there's definitely like a mega evil,
cartoony kind of feel to the bad guy, the character
stuff that they give Scott and the person who's trying
to save and some other people in the movie is

(34:25):
really really, really good. So I equate it to PM,
where PM would be like, well, as long as we
whip some character stuff in it, as long as everyone
has a good character and you care about the people
and blah blah blah blah blah, and as long as
we film it right with great cinematography, and as long
as we kind of have action every six or seven minutes,
people will forgive us the odd low budget thing because

(34:45):
the trains are rolling and everyone's on board and it's
all happy, and you know, it's Jim Belushi and he's
about to fuck a guy dressed as a gorilla. So
isn't that a thing that happens in trading places?

Speaker 3 (34:59):
Oh?

Speaker 2 (34:59):
I met Jim Blue she by the way, that's more.

Speaker 3 (35:02):
We haven't even talked about fantastic.

Speaker 2 (35:06):
Yeah. But yeah, so we're all on the train. We're
rolling along and things are great, and even if there's
a little low budget hiccup on the line, it's fine.
We keep we keep the trainer moving, right. So, uh,
that's what I think Diablo did, and and and and
I applauded for it. I I I couldn't uh. And
I hadn't watched an Atkins movie in a while. I

(35:27):
think the last one i'd seen was one Shot, the
first one, and I hadn't watched it in a while.
And I collected a lot of his older movies, and
I've been watching those, but I really hadn't sat down
and gone, oh, I want to watch an Adkins movie.
I watched Diablo, I immediately wanted to watch four more
Adkins movies. Like that's how That's how pump Tick got me.

(35:49):
I really enjoyed it.

Speaker 3 (35:51):
Yeah, yeah, I did see it. Yeah.

Speaker 2 (35:54):
I think so.

Speaker 3 (35:55):
Usually, like my cable company will do like these deals
where you can get like rentals like one dollar or
things like that. So I'm always like looking for, like
what the movie is I should I mean, I just.

Speaker 2 (36:08):
Because I was just like, that's awesome. But yes, it's
it's it's definitely, it's definitely worth your time. So that said,
two more films that may or may not be worth
your time, but this expert panel of me and Matt
will be deliberating over the next hour as to whether
either of them were worth your time or not. Or
you'll just be listening to us because I don't know.

(36:30):
You're that tired of life. Uh, You're that bored. You're
Quentin Tarantino and the only thing that will quench your
boredom is not a last crusade, but listening to Matt
and I talk about what a massive knob Tarantino is.
If that's you, then these deliberations on these next two
movies are for you, and you should be thrilled about it.

(36:53):
But yes, before we do that, I'm gonna leave. I'm
gonna I'm gonna sidetrack again. I met Jim Belushi. Why
are we not talking about Jim Belushi.

Speaker 3 (37:01):
That's amazing that you met. I saw the picture.

Speaker 2 (37:03):
I mean, he signed a picture of himself and he
signed it, which, by the way, I didn't ask for.
I asked him to sign the two vhs he just
went ahead and kept signing shit. I think if I
I think he was, he was. He was maybe a
little high because I feel like if I'd kept putting
stuff in front of him, he would just be like,

(37:25):
and Who's do I make this out too? John? Okay?
Great because he just kept signing shit. But he wrote
a great quote on the thing was I think it said,
be cool, be funny, be brave. And I was like,
that's some deep ship there, Blush. That is some late

(37:47):
night two am, run that through your mind's eye kind
of thing. That is some deep stuff. Be cool, be funny,
be Brave's whipping into the brave. At the end, You're
just like, is Belushi giving me a call to action?

(38:07):
Is he saying, go out that John, be funny, be cool,
be fucking brave, brother? That's what I think Belushi's saying
to me. That's that's what I heard. It touched my soul.
It saved my life.

Speaker 3 (38:21):
No, I think that is absolutely amazing. I just think that,
you know, the whole thing is fantastic. I you know,
I wish I wish weed was legal here in Pennsylvania.
I man should see if he's going to go to
some of the places in New Jersey.

Speaker 2 (38:32):
You know, I don't know. I know that he started
in Oregon, and I assume because I think the rule
in Massachusetts still and I might be wrong about this,
but if you're selling it there, you have to grow
it there. I think that's right. So I think what
they've done is they've brought a few strains of the
blushy weed the seed mixture to Massachusetts, to the pass

(38:58):
which is the just pencery where he was, and I
believe in they grow tent or whatever they have at
the back. I believe that they're growing some blush exclusive
blush weed, which is which is fantastic. He does pre
He doesn't do edibles, which is why I'm sadly I
have not partaking because I do not smoke, right he does.

(39:22):
He does like a resin of a flower and a
pre roll.

Speaker 3 (39:27):
I think, yeah, yeah, I think it's I think they
all do, like I think all states. You have to
grow it within the stakes. I think that's an issue
in New York right now, is that they've grown too
much and they can't sell it. It's because it's like
so difficult to get a license to build. It's like
a whole big mess. But I think it's how they
get around the fact that weed is illegal on a

(39:47):
country level, on the federal level, but it's it's not
like an interstate commerce deal where the.

Speaker 2 (39:53):
Yeah, it's so dumb. It's like the whole gambling being
illegal except in certain places, and that's just dumb. And
I get I get it that they've used it as
a way to kind of weirdly pay reparations to the
Native American people. By the way, the worst possible way
to pay anyone, right right, what they're owed for stealing

(40:16):
their land outright, yes, is to go here, have a casino,
run a business.

Speaker 3 (40:21):
Go into bed with a billionaire who is going to
builk as much of their share out of it as.

Speaker 2 (40:26):
Possible, right, so they will. I love, like I love,
human beings are so dumb that they invent laws and
then invent like workarounds. Yes, and you just kind of
go and don't have the law, like just then eradicate
the law, right, you know what I mean?

Speaker 3 (40:47):
Yeah, yeah, yeah, yeah, no, I agree, yeah.

Speaker 2 (40:52):
Because if you can do a workaround to something, you
know what I mean, it would be like it would
be like saying, I'm building this jigsaw puzzle, right, But
if you turn the pieces over. They're all numbered, so
you know in what order to put them. What would
be like then then don't have a jigsaw public like

(41:13):
like what is you know what I mean?

Speaker 3 (41:15):
So when I was in college, I was the term
was like supplemental instructor for the athletes, but essentially it
was like I would do these set these review sessions
for anthropology one on one, one O two with the
athletic department. It was my way to get into being
a teaching assistant. But anyway, I remember, I mean anthropology
want to one one O two it was you know,
three or four multiple choice tests for your grade. And

(41:37):
so I mean, if you just pick C every time,
you're guaranteed to probably get a C on the test.
But I remember football players coming to me and wanting
me to smuggle them a copy of the exam before it,
and I'm like, guys, if you just read the book,
if you just read the chapters, you're going to get
a C on this test. Like there's no need for
like all this subterfuge and all this stuff. But I
think it's like wired in them, like it's football players

(41:58):
or whatever. It's wired in people to like want to
get around things as opposed to just doing them because
they're easier. It's just easier to do them.

Speaker 2 (42:04):
You know, right.

Speaker 3 (42:05):
I think there is like a thing of like, I
got to get around stuff as opposed to just being like, well,
the easy thing is just to repeal the law, you know,
It's like.

Speaker 2 (42:11):
Right, The easiest thing is to just admit that everything
we do is made up right. None of it matters
a lick to any greater universal scheme. It is all
just the whims and folly of dumb men, predominantly anyway.
But yes, Scott Atkins is incredible, and I met Jim Belushi.

(42:35):
These are truths, and you can accept them or not,
but I'm telling you they are truths. There is photographic
evidence of me meeting Jim Belushi, and there is filmic
evidence of Scott Atkins being awesome. So they are truths,
as proven by me and a camera. So those are

(42:55):
things that happened. Let us go into, sir. Shall we
go in to either a working Man or Black Creek?

Speaker 4 (43:02):
Now?

Speaker 2 (43:03):
I think we both liked Black Creek a little more
than a working Man. So I don't know, do we
want to go end on a high or end?

Speaker 3 (43:13):
Maybe end on a high.

Speaker 2 (43:14):
Let's start with a working man, And yeah, I was
initially like one of the reasons Matt even agreed to
watch it was that I watched it one night and
somehow really enjoyed it, Like somehow in the middle of it,
it like turned a corner for me, and I really

(43:34):
enjoyed the second half. I have subsequently rewatched it, not
all the way through, but subsequently re watched a lot
of like key actions from it. I've realized I was wrong.
It's not as bad. It's not as bad as The Beekeeper,
which I rewatched as well. I rewatched The Beekeeper. The
Beekeeper is unmitigated horseshit of the highest order. Keeper is

(44:00):
one of the silliest films ever made. And I have
seen some very silly films, However, this one is just
such a weird beast. Like, it's such a weird beast.
I cannot explain the plot because I, like, I'm so
confused as to who everyone is. But Matt, could you try?

Speaker 3 (44:20):
And well, because it's your classic trafficking trope. They're trying
to throw a curveball by instead of having it be
like a rich white girl, she's a rich Latino girl.
But you're still the same idea. She's kidnapped and some
ring of local baddies they you know, sell these girls

(44:40):
to the highest bidder because it's all done right and
you know, it's all that kind of thing, and.

Speaker 2 (44:44):
They still goes to the highest bidder. But then they
like just basically keep her chained up. When she does
come across her so called John who is going to
be you know, doing terrible things to her, she bites
his cheek and they keep her alive, like they keep
like they don't fucking just flat out murder and go

(45:04):
she's too much trouble. She rips his cheek off, this
guy who's supposedly worth you know, millions, thousands whatever.

Speaker 3 (45:12):
Yeah, and.

Speaker 2 (45:15):
Yeah, and then yeah, so yeah, it doesn't make any sense.
I'm sorry.

Speaker 3 (45:21):
Well, and there's like a whole like, well, Stathan's trying
to track down the traffickers. There's this whole meth dealing
thing where he has to go under cover and pretend
to be have a meth dealer to be able to
get closer to them. And it's like it's almost like
Stallone is saying, because I think you know Stallone wrote this,
or it's this part of the story that still.

Speaker 2 (45:37):
He co wrote it with David.

Speaker 3 (45:40):
Yeah, so there's a sense of like, okay, everybody's in
the same fugazy like white identity maga trafficking fantasy, right,
this idea of like you know, usually like they're they're
you know, Mexican crime lords that are kidnapping women and
bringing them across the border. It's a whole like you know,
Facebook chain letter kind of thing of like don't put
if you find a bottle of you know, if you

(46:01):
park YOURKRT the hobby lobby and find a bottle of
water on the hood, somebody's gonna traffick you. Or you know,
if you walk into a club and somebody sprays perfume money,
you're gonna get knocked out and wake up in Juarez
or something like that. It's that kind of fugaziness. And
Stallone is almost it's almost like Stallone was like, well, yes,
we're gonna use that same fugazy trope kind of thing
with the same kind of like you know, you know,

(46:22):
my ideal salt of the Earth male hero character that
I cause play a lot as you know, We're gonna
put that in there, but we've got to add something
more so let's add in this whole drug dealing undercover element. Like,
let's add like you talked about the biker with the
Gang of Thrones, you know, see, you know like that,
Like we'll add in all these elements like the rich
people doing like some nineteen twenties theme party way out
in the woods or something, and some like abandoned mansion

(46:44):
that that's where they do their trafficking and gambling and stuff.
We'll throw that stuff into, give it like some more weight,
and then have the action scenes and that's gonna be
enough different that you're not gonna notice all the same
crap that you're seeing and everything else.

Speaker 2 (46:56):
And right before the other thing. The other thing they
do is they flip it though. Yes, so instead of
it being Hispanic traffickers, it is Russian mob, right, and
the Russians are meant to now be our friends, like
if this was a Maga movie, the Russians would be
our friends, not our animals.

Speaker 3 (47:14):
Well, not quite right, because it's the Russian mob are bad.
It's the Putin Nights and those those cats that are cool.
It's okay, the oligarchs are cool. The mob, you know, right,
you don't like the mob, the Russian mob, they're bad.
You don't like Soviets, you don't like communists, but the
Putin crew, the Oligarchs, those those people, they're they're cool.

Speaker 2 (47:32):
We're good. Okay, Well, either way, the bad guys are Russians.

Speaker 3 (47:35):
Yea.

Speaker 2 (47:36):
The woman who's been kidnapped is Hispanic, right and uh oh,
and the woman who's been kidnapped is not a it's
not a damsel in distress. She causes uh, probably more
ship than they've done to her, Like she's bad ass.
So what I'm saying is, while I totally take your point,

(47:57):
and yes, watching a working man much like Beekeeper, is
a lot like watching It's not it's not Fox News
scare tactic. It's sort of like the New York Post
scare tactic, right, Like it's equally aligned, but it's also
just kind of billy, you know what I mean?

Speaker 3 (48:17):
Yeah?

Speaker 2 (48:17):
Oh yeah. In its presentation in the UK, it would
be like the sun, right, you know what I mean.
You've got you've got like the Daily Mail, that's like
the real right wing hand rigging blah blah blah blah blah,
but then you've got the Sun. It's more just like, Wow,
lads like tits and fish and chips, right, you know
what I mean, it's sort of it's sort of harmless lattery,

(48:38):
but that's underneath the harmless lattery. It's it's us.

Speaker 3 (48:43):
Passions instead of like, instead of lads like fish and chips, right,
this is more like it's kind of a similar but
it's like stalloone saying, you know, like like real men
like ribs and cheap beer, you know, and it's like,
you know.

Speaker 2 (48:59):
The weirdest thing about the movie, and it's totally very
fucking weird. Yes, is the at the beginning of the movie.
I mean, look, first of all, none of it's realistic.
So when I say realistic, I mean realistic for one
of these movies. But like the opening sequence right where
he's on the construction line and you know, he's we

(49:22):
meet the friends of We meet the people who run
the construction site, who are these very well meaning, friendly
Latino family. He's best friends with him, blah blah blah
blah blah, even though he sleeps in their car. He
sleeps in his car, sleeps in his car, but they've
saved his life. They're clearly not paying him very much
if he's sleeping in his car. But okay, he's loyal

(49:44):
to these people who are not paying him. I'm going
to repeat this, who are not paying him enough. Well,
so this is who have an absolute actual residence.

Speaker 3 (49:52):
No, no, no, this is this is still lone salt
of the Earth thing. He's pulling the storyline from over
the top where rob Legi is taking his son away, right,
only in this case it's some other father in law
of Statham's that's taking his daughter grandfather exactly right.

Speaker 2 (50:09):
So to be a hipster velvet wearing like flamcy artists, right,
which is the win? It's fine, I mean, it's just so.

Speaker 3 (50:20):
But the idea is is that for him to pay
for attorneys, because the father in law is rich, So
for him to pay attorneys, he's essentially foregoing a residence.
And uh, and so then his lawyers tell him, no,
if you want to get your daughter back, you kind
of need a house. That's kind of the court's not
going to let you have her back if you don't
have a house. So then he gets in like scummy
apartment or whatever. But yeah, so that's like part of

(50:43):
the salt of the earth thing, right is it to.

Speaker 2 (50:45):
But shouldn't if they've if they've saved his life and
got him off the streets. Why is he sleeping in
his car? And why are they clearly not paying him
any money right at all?

Speaker 3 (50:57):
No, that's what I mean. It's like they don't I
guess they don't know, but I think it's he's he's
he said it like, I don't know what rent is, right,
I mean, but I guess it's no rent, no utilities.
He's saving all that money to pay you know, six
pegs warriors.

Speaker 2 (51:10):
Yeah, which, right. So that's the other bit that we
didn't get to. Right, So state Devins a father who
is you know, has a violent war war record and
also liked got in trouble or whatever when he came
back as a veteran and blah blah blah blah blah.
So his wife's father, his wife who's died. His wife's
father has taken custody of the daughter and is some

(51:35):
sort of weirdo avant garde, you know, pretentious tracksuit wearing
velvet hat, sporting h weird flouncy performance artists, sculptor, I mean, who, Like,
I don't know what was going through David Aaron Stallone's head.
I really don't. But okay, because they were like, well,

(51:56):
we've got to make the grandfather something I don't know,
make him account like who gives the fun? What are you?
But instead instead we have never scene where Stathan pulls
up to get his daughter for his visitation day and
in the background they are like people dressed as pixies
dancing around a giant geardysic dome while someone's flame torturing
a puppy, or he's just like what is going on? Yeah,

(52:19):
but that's it. All million all artists and millionaires, and
they're the ones that we should all be afraid of
or whatever. I guess. They're trying to fuck over the
all the pretentious middle class artists and upper class artists.
They're the ones that are coming for your common working man.

Speaker 3 (52:34):
And right they are not your salt of the earth, right,
which is great as alone, who is an artist himself?
I mean he needs to, you know, he likes the
cosplay as this this salt of the earth guy, but
he's an artist too, you know. The Stathan's character beat
the crap out of him too if he got a
chance to. Yes, he doesn't respect Sta Loan either, but

(52:54):
but either way, that that's that's this whole thing, right,
and of course that that that guy gets the kind
of the embarrassing scene when his house get set on
fire by the Russian mob and Stathan gives them the
fireman's carry out the door, right, you.

Speaker 2 (53:06):
Mean the fire scene where they couldn't even afford to
actually have real fire in the film. So I'm like,
wait a minute. You spend all that money to establish
the fact that the grandfather is some kind of like
wacker do artist by having this big fucking you know,
Alice in Wonderland, mad horseshit going on behind him when
Stathan pulls up for his visitation day, which by the way,

(53:29):
didn't even need to be a scene, but okay, it's
the whole fucking scene. You spend all the money on that.
And then when we get to the fire sequence, where
Statham should really be running through things, knocking down doors
and being a hero, he's got a slight orange glow on.
Someone just flopped an orange plastic over the lens of
the lights and over the lens of lights, over the

(53:52):
you know, flopped an orange gel over the shade of
the light. And then when there we go, that's fire
and David and just went, can you can you kind
of wave the Jela bit so it looks more like
fire there we go, right, right.

Speaker 3 (54:05):
It's you couldn't get Antonio Margarita to make a model
of a house and set it on fire like that.

Speaker 2 (54:10):
You know, if you're that forty million dollars, you get
a lighting guy wafting an orange jellant.

Speaker 3 (54:17):
Right, Yeah, it's and so to your point, though, I
think to your point, like I think when I first
watched this, I had this whole like, you know, I've
seen these tropes so many times before. It's tired, it's old.
But to your point, there's so many of these like
ridiculous elements to it that it does have like a
it's it's it's not like maybe it's not enough to

(54:40):
save it completely, but it is enough to be like,
I don't know what I'm watching here, but I can
maybe yeah, give it a little bit more time or something,
you know, I can.

Speaker 2 (54:48):
So what I was going back to is, yes, tonally,
it's all over the shop, right, So the opening does
its best to try and be quasi realistic slash sort
of glossy corn air style Hollywood action. Right, So like
when he goes to see Michael Pania, like it's all

(55:10):
golden light coming through the curtains, and you know, it's
all very kind of Bruckheimer rasque, but but semi realistic.
Like when you see him working on the construction site,
it looks like a normal construction site. They're not making
it look like a sunny day when it's not a
sunny day. You know, he, you know, Stathan's wearing his
traditional flannel and you know, wax jacket or whatever for

(55:31):
the whatever the common working man wears. And that's what's happening,
and it is one it is and so you have
all that going on, right, and then suddenly out of nowhere,
right because the as you said, in order for them
to get to the point where he's like, this is
who kidnapped her, and this is who I have to

(55:51):
go after, they've decided and I quite like this aspect
to it, even though they tie themselves up in knuts
with it. They decided to have him do a little
bit of detective work. So it's it's one step up
from Taken, where he basically just beats the answer out

(56:12):
of people in every step of thing. It Staythum kind
of goes somewhere and like and you can see, like
David Aaron Stallone being like, yeah, it's gonna be like
a film noir or something like you see them saying
their head, because he'll find like a match book or something,
or he'll find, like, you know me, he'll find like
a flashlight that has a logo on it or something
I forget. But like, the way he gets from one

(56:34):
detective bit to the next detective bit is there's a
great bit where we've already seen him like sit in
the car for hours, and then he literally pulls out
of an envelope the wanted poster or the missing girl
poster on which it literally says last scene in like
Dave's bar or whatever, and he goes, oh, I should

(56:54):
probably go to Dave's bar. I'm like, weren't you sitting
in your car for hours? Like if you'd looked at
that back at the apartment, you could have just driven
straight to Dave's bar and saved us hours of montage
of you sitting in a car, right because apparently on
the fucking poster of the woman you're meant to be
looking for, it says last scene in Dave's bar. But yeah,

(57:17):
he'll go to Dave's bar. He'll see that the guy's dealing.
He'll go like find a drug addict in the barroom.
He talked to them like it's like one thing leads
to another, lead to another, leads to another. But what
it is is it's this weird done like Stathan's Dante's Inferno.
Because each bar he goes to, and each like informant

(57:39):
that he speaks to, it gets more and more and
more like a Vampire Diaries style CuW show from the
mid to late two thousands. With each bar it becomes
more and more Vampire Diaries, to the point where he
then rocks up on a motorbike to like Willie's bar

(57:59):
or whatever the hell it is, or Cynthia's or whatever
it is. I forget who Cynthia's. No, it's Nicky's or something.
It's like a one name like that. Yeah, he pulls
up to the bar. There's like rock me Baby, like
wagon We'll rock me that that song play a ruck
me like some sort of you know, popularized folky hipster

(58:21):
diddy right dance playing. Stethan pulls up at an actual
little like neon biker bar, like something that would be
out of a Robert Rodriguez odds play b movie. You
know what I mean? Where if a bunch of students
from a frat house decided to get together and make
a Robert Rodrigue style movie. This is the biker bar

(58:42):
that it would appear in. And he goes into that,
and then he goes has to go several layers deeper
and meet more and more people, and eventually he comes
to let this guy who what lives out the back
of the biker bar in just what seems to be
a tent with lots of red lights in it, And
then he sat atop a fucking Game of Thrones motorbike

(59:02):
exhaust pipe chair that is surrounded by Stallone's skulls because,
as we all know from The Expendables, Stallone loves skulls.
So what I don't understand him, Matt, right, is what
are the skulls? Then? Like these all the people that
the biker people have killed, These all bike skulls of

(59:23):
bikers who died riding the most dangerous foam of transport,
which is motorbiking. What are the are are they actually
vampires in HBO's early two thousands True Blood series? Like
what is going on? Right? Because he's like he's like
this big black guy with a big leather coat and

(59:44):
a horned helmet and a fucking like what it looked
like Buffy the fucking Vampire Slayer, but with like a
forty million dollar budget.

Speaker 3 (59:51):
That's what I mean, because it's that right, it's there.
And another one that I was thinking is like, if
you made a Blade sequel the late nineties two thousands,
that that's like one of the the middle mid tier
vampire guys that he goes to fight. It's like that,
you know. It's like, so you get all that, right,
you get this crazy Game of Thrones thing, you get
this crazy set, all this stuff, and you know, the
guy sets all of his goons on Statham, and Statham

(01:00:13):
beats the crap out of him, and then suddenly the
guy's like, oh, hey, you know what I served with
the military tool. We're brothers now. And it's like so
suddenly it goes from like this big Game of Thrones
like nineties two thousands, you know, like like over the
top thing to salt of the Earth crap.

Speaker 2 (01:00:29):
Again.

Speaker 3 (01:00:30):
It's like it's and that's what you're right about the
whole total thing where it's like, no, that guy needs
to have like sunglasses on. There needs to be techno
music playing in the background, and it just needs to
always be that.

Speaker 2 (01:00:40):
It looked I tell you what it looks. It looked
like a cut scene from Dracula two thousands, you know,
like the fucking you know, the beginning of Dracular two
thousand where they go into the fucking crypt and every
fucking thing has skulls and crucifixes and garlic and everything,
and they're like, why do you think that they have
all these skulls and crucifixes and golic Like, Ah, it's

(01:01:01):
just to ward people off. I'm sure there's some real
treasure down here, you know what I mean? Like people,
doesn't someone get in, like stabbed on a wooden steak
or something, and they're like, Oh, they're just trying to
scare us. I'm like, someone fucking died. They then they
break out, they kidnap and steal Dracula, right, That's how
that movie begins. And all of them are wearing what

(01:01:23):
I would wear if I was going to a Halloween
party in the late nineties, trying to like coseplay as
tank Girl and or the Matrix. That's like, that's how
they're dressed. Well, that's what this scene is in this movie,
and I was suddenly and so I think this is
what it was for me, is that I got so

(01:01:45):
I got so enamored with the ridiculous horror aesthetic, and
I got so confused by what was going on. But
I really enjoyed the action, Like there are two sequences
in here that the Statham's best action since you know,
probably Crank two or something like that. Like there's definitely
a few action sequences in here that I think beat

(01:02:05):
more of his later stuff. So I genuinely did think that.
But like when you put that together with David Air
making a doubly show, Like there's a bit Matt where
the woman who's been kidnapped this whole time, even before
Stathan can get to her, she escapes Matt. She gets out,
she escapes like they've let her live as well, even

(01:02:26):
though she she attacks the guy with the ponytail. We've
got to get onto him. The twin peaks dude with
her like funny head and the ponytail and the little beard. Ah,
where did David Air pull him from? That was amazing.
So so at one point she escapes and she's running

(01:02:47):
through this like dark wood that's lit only with like
shades of green and gray and things like that, and
lit by an enormous, an enormous fake moon, like the
silliest fake moon you've ever seen. You remember Conan O'Brien
when he had his TVs show and he had an
enormous moon behind him, and he was always taking the
piss out of the fact that it was just ridiculously

(01:03:09):
large and he didn't understand why the set tress put
it there. That's that's what this moon is like. It's
a ridiculous it's it's it's like a you know, the
the what's the Michael Parrey Werewolf movie with by Eric
Red who did The Hitchhiker, Oh, Bad Bad Moon Rising.

(01:03:35):
It's it's like a scene out of Bad Moon Rising.
And at one point she runs out onto this like
plateau in the middle of the woods with this enormous
moon behind her, like she's Buffy the Vampire Stayer, like
runs off into the night. I half expected to hear
an owl hooting, you know what I mean, Like like
she ran off into the night. It was so so
I think what it was was that, in my desire

(01:03:59):
to enjoy us and film again, I got so wrapped
up in the ridiculous cod theatrics of it all that
I sort of just went with it and quite enjoyed it,
and then sort of every ten minutes there was some
ridiculous action scene and I sort of just but I mean,
it was I can fully admit, Matt, it was terrible
and very stupid.

Speaker 4 (01:04:20):
Well because the thing is even like this thing about
the you know, the young woman who's been kidnapped, how
she like you know, escapes and all this thing it
goes to like a similar trope about this whole like
victimization of women, that somehow there's a part to play
and they have a part to play in it, that like, oh, well,
if only you.

Speaker 3 (01:04:36):
Had been stronger, only you had been you know that
stood up, you know, been more capable of standing up
for yourself or you know, fighting this person off you,
you wouldn't have been a victim, right, Like that's you know,
another part of this here that I think it's just
always problematic too that like you know, like you know it,
but the reason why she survives is because she knows

(01:04:56):
karate a little bit and she's like willing to like
bite the guy's cheek or do these other things. And
it's like, no, you know, there's a lot of things
that you know, just that respects me is odd too.
But like you said, in most of these movies, these
things happen like in these gross like cell locations, and
and you're like, your point is, we're getting either this
big moon thing that's just ridiculous, or we're getting this

(01:05:18):
crazy like burnt out mansion thing that these people are.

Speaker 2 (01:05:21):
You know, like, isn't there a point where it zooms
in and some like lankhead villain is playing a piano.

Speaker 3 (01:05:28):
Mysterious, there's a looter or something liar, Yeah, it's like,
what is going on here? Well?

Speaker 2 (01:05:36):
What about the pink cat?

Speaker 3 (01:05:37):
Yeah?

Speaker 2 (01:05:38):
What about the pink cat? What is the pin all about?
Why is he wearing that? Also? I think I need
to point something out as well. This is also another
place where Diablo wins in States and lose it. We
get exactly two obligatory character actic cameos, and yes, we
get Paynia Michael Pania and we why'd you get three?

(01:05:59):
Because I'm gonna Jason Fleming. We get a Paynia, We
get Fleming, and we get oh stranger things, dude Harbor,
David Harbor. So we get Fleming Harbor and Paynia, none
of whom costs more than a few thousand you know
what I mean, like for a day's work or whatever
they were doing. Right, it's another big thing. It is noticeable, however,

(01:06:22):
that obviously Stathan, because he's been doing these big franchise movies,
has started to ask for more and more money. Right,
So what when it used to be a forty million
dollar budget Stathan was making eight a movie or whatever,
then you had a lot more budget to play with.
What I'm noticing here is outside of Paynia, Harbor and Fleming,

(01:06:43):
all the bad guys, which would normally be reserved for
like at least a well known actor to play the
bad guy, or at least a character actor or something,
or maybe another martial artist or something to like play
the bad guy, we just get fucking no name. And
most of this was filmed in England as well, And
that's abundantly obvious because everyone's accent is fucking terrible, like

(01:07:06):
no one, you know, there's a few Americans in Hispanics
during the Chicago sequence that was filmed in Chicago, but
the rest of the movie, and it's why they're weird
ghouls hanging out in a mansion because they're like, well,
we're in England. We can't we can't make anything look
like a New York high rise. So how about I
don't know, a brick mansion in the woods. That's a
bit like American, isn't it. No, not at all, but

(01:07:27):
all right, we'll just go with it. But that's the thing.
It's like all these guys were either no name Middle
Eastern or no sorry, no name Eastern European actors that
they shipped in or no name British actors that they show.
But the guy who plays the supposedly big bad, the

(01:07:48):
like long blonde haired Russian goaatey bearded guy, is seen
in a major sequence in this movie wearing a pink
blouse and a big, ludicrousy, oversized toll pinging act. Yeah,
and he's standing there in a booth trying to look
cool like fucking Sean Penn in Colito's way, when actually

(01:08:11):
he looks like fucking he just looks like a fucking fool.
He looks like a British TV children's show presented from
nineteen sixty eight called Whizzle Me Tibbins. It's what he looks.

Speaker 3 (01:08:28):
Yeah, well, you know, it's what I was talking with
Ty from Corpor's Reviews about this movie because he'd seen it,
and he made a point that you know, these kind
of these wasted character actors, you know, Painia hard or whatever.
It's like Paenia should have been the secret battie the
whole time, Like he should have been the one who
was like doing all this stuff behind the scenes, and
then it's revealed like, oh, Paynya was the baddie like

(01:08:49):
in the last twenty minutes and give him a little
bit more robust apart. But they don't. They don't do
any twists. There's like no real twists at all in
this movie. I don't think that there's anything plot wise
that like you're like, oh, that's the best.

Speaker 2 (01:09:02):
Well, yes, except that they've done the cardinals. Like what
they've done is they've UNPM a PM thing, right, so
a PM thing would be well, because we've got to
get action in every six or seven minutes. He can't
just like go to a place and immediately see the
guy who killed his see the guy who stole the

(01:09:22):
guy's daughter, and then just like get him and run away.
We have to have like a secondary plot in there, right,
So it's you know, they'll, they'll PM would normally figure
out yet another kind of very simplistic b plot that
sort of a side quest that our hero has to
go on in order to then come back around and

(01:09:44):
kill the big bad guy. It's a little similar similar
thing happens in Black Creek, a little bit like where
they have to find a way to like elongate the
movie because Richard Norton's right there. Everyone says to her,
Richard Norton killed your brother, Like why would she waste
any time? You know what I mean? So they have
to figure out a way, well, this movie had to

(01:10:04):
figure out a way to have like a second act
because otherwise he just if he's this good, right, he's
going to find the guy in like five minutes, And
because he's a big flouncy pink blouse top hat wearing
fucking lankhead wanka from probably god knows, well, probably from uh,
you know, Luton or somewhere in England or something, or

(01:10:28):
wherever he's from, you know, Stathan's going to eat him
on toast and then get on with it. So they
have to like do a second act and what's stallone
and air and who's the third guy who did it?
Stallone and Chuck Dixon, who also wrote What else has

(01:10:49):
Chuck Dixon written? Oh, he wrote Harley Quinn the TV series.
He wrote, He's written a bunch of like Batman Lego.
Shit is what he's done. Yeah, Oh, I'm so glad
they got this guy who's written Batman Lego to write

(01:11:12):
fucking this movie. This possibly explains why everyone sat around
in big, glowy red rooms though looking all you know, moody,
But yeah, I don't know why they then they unpmed it.
All they needed to do was be like and by
the way, the Russian mob have a sideline dealing drugs,
and in order to win the confidence of the main

(01:11:34):
bad guy before he killed him, Stathan's gonna go undercover
as a drug dealer or whatever it is. But secretly,
what he's gonna do is throw the drugs away and
tell the kids to drink their milk and you know,
be better people or whatever it is, you know what
I mean. There's a simple second. Instead, it's like, well,
we're gonna give you a phone and you've got to
go to here, and then the drugs are gonna be
taped under your seat, and then there's gonna be this

(01:11:55):
other guy and we're not with the mob, and then
we're gonna fuck up. And then there's gonna be two
guys in ridiculous track suit's wearing furry hats, and he
could be like, the fuck are these guys? You know
what I mean? And they they unpmed it. They sucked
it as well. They took a PM idea and they
fucked it.

Speaker 3 (01:12:09):
Yeah, because this could be an amazing PM movie. So
in the nineties, of course, trafficking was not the thing
that we have now. I don't know what the I
mean for PM. What would have happened in PM, right,
is that that Staithan's kids would have been.

Speaker 2 (01:12:24):
Killed and yeah, they just flat out fucks and killed
the Yeah, and they would kill the girl. He's often
as well, because after she bet the cheek off the
little wolf, Uh, he looks like the little guy looks
like if if David Lynch put Steven Segal in Twin Peaks, Yes,
that's like, that's that's what he looks like that.

Speaker 3 (01:12:44):
But yeah, PM would have been like no, and they
would have had Robert Miano would have been playing at a
character with a Russian accent at some point like that's yeah.
But the things that would all take a place in California,
would open shot in California, and I would have looked beautiful.
And it wouldn't have been Stathan, right, it would have
been Gary Daniels and he would have it. It would
be up there with the Three Rs. Right. It would
have been like one of the greatest PM movies ever made. Right.

Speaker 2 (01:13:05):
And I do, I do believe you could, even with
all the hokey, you know, jinguistic crap that's in the movie,
I do think that you could take this film and
make a really good ninety minute movie. I think there
is a really good ninety minute movie lurking in there, Yes,
and I think it. My problem with it is that

(01:13:25):
it falls prey to its worst demons more than it
manages to pull a rabbit out of a hat. Right,
So there are definitely The one thing we cannot deny
about this movie is that the back of the truck
fight between the three of them is legitimately like a
great set piece. It's like a Raid esque or a

(01:13:45):
john Wick esque set piece. And it was really nice
to see Statham doing shit like that. Again.

Speaker 3 (01:13:51):
Yeah, yeah, I liked that sequence. I mean I liked
it when he goes to the first the bartender's house
and ends up you know him to shootout with him
and the dealers that are coming there. I thought that
was really good. I thought the end was good. I
thought I thought the fight with the guys in the
Game of Thrones back room thing was was good. It's
like the action was good enough. And like you said,

(01:14:12):
for a ninety minute movie, these tropes that I'm talking
about here that are all kind of tired and you know,
warn or whatever, I think they they they they're okay
in a ninety minute movie. I think you you can
manage them. If the actions there which the action quotient
for a ninety minute movie, the action quotion would actually
would have a pretty robust in this film. And so
you know, in that sense, And again I think there
are people that would watch. I think the people that

(01:14:33):
could watch this movie and and and not be as
you know, like like I don't know, because you mentioned
seeing it now in a second time through and not
enjoying it. So I might be wrong about that. I
might be because I was thinking for myself, like you know,
like the things might bother me a lot, but other
people might be able to watch and say, but I
don't know. I think there is a sense of when
these movies get long like this, and I don't I

(01:14:55):
don't think there's an earnestness in the making of this
movie either. I think this is not like some kind
of passion project or something where it's like, really got
the story I want to tell, and that's why the
movie is that long. It's there's a cynicism in Stallone's
writing and in the writing in this movie where it's
just like, let's just throw all these pieces together, like
I'm just gonna grab this piece from over the top
about the father in law. I'm gonna throw that in there,
and I'm gonna throw these these little bits of things

(01:15:17):
from other movies that, you know, other things, and just
put them all together and say there's my movie. I
you know, I think if you're gonna do that, do
it in ninety minutes, like you know, and I'm a
little bit open. I'm better with it. If you're gonna
do it nine minutes and have some good action like
they had in this movie.

Speaker 2 (01:15:33):
Yeah, put a couple of power balance in it. Have
someone on wrestle on the cab of a truck, meet
up Robert Loja and and you've got yourself a win. No,
I think I think the big problem here is this
is that clearly Statham can't. I don't think Statham can
head a blockbuster in the way that The Rock can,

(01:15:57):
or in the way that you know, on his own.
I mean, you know, and when you look at something
like Hobbs and Shore, they had to surround even the
Rock and Statham with you know, Ryan Reynolds and Kevin
Hart and a bunch of like cameos, right and dress
elba is the bad guy like that. You know that
that was stacked. You know, that was like a stacked cart. Similarly,

(01:16:18):
you know, Statham's box office is always like once you
scrap the Fast and Furious franchise and what's the other
big franchise that he was in. Yeah, once you get no,
once you get the expendables and Fast and Furious off
his box office, he himself when he releases a Hummingbird

(01:16:42):
or a Safe or a Killer's Killer Lead or whatever.
You know, those movies they make their money back on
on streaming or on Blu Ray, but they're not even
across the world. They don't make a lot of money,
like you know, his movies are famous for cost forty
and grossing twenty five. Yeah, you know, and then scraping

(01:17:03):
back the rest on. But he gets his credit within
Hollywood because he's in all these big franchises and that's
kind of buoyed his market value, right yeah, And.

Speaker 3 (01:17:14):
I mean that could be a place. I mean, that's
the thing is like, you know, you wonder like like,
for example, is you know with these Marvel movies where
like you know, Kevin fieed Kevin Faig, He's got all
of these these you know, these these Marvel properties have
come back to Marvel recently, and you know, Stathan is
someone who could play some of these kind of bigger
name characters that haven't been really adapted yet. Maybe not

(01:17:37):
bigger name, but like kind of like supporting because.

Speaker 2 (01:17:40):
He's gone on the record, have been I'm running around
wearing toimes. But that's the thing, he's already gone on
the record.

Speaker 3 (01:17:45):
Everybody says that, right, Everyone's like, I'm not doing Marvel movies.
But when they pop down the big contract with the
zeros behind it, suddenly everybody does Marvel movies. I mean,
green you get people like Harrison Ford. Harrison's It's like, yeah,
I heard from my friends that these movies are fun,
so that's why I'm doing them. But I mean something
like a Stephen Dwarf, who did the first Blade movie.
He's like, I would never do these Marble movies. Like, dude,
if Kevin Fied came up to you with it with

(01:18:07):
a script and said like, listen, I want you to
be the next star Lord, he'd be.

Speaker 2 (01:18:10):
Like, love, I love the Dolph has an opinion on this.
No one's Stephen Dorf twenty five years but all of
a sudden, Dolph's like, well, I would never do a
Marvel movie. Oh You've suddenly got some integrity, have you door?

Speaker 3 (01:18:23):
Yeah?

Speaker 2 (01:18:24):
Where was that? Like?

Speaker 3 (01:18:25):
Yeah, I think if people like if Tony Lung can
do you know, Shang Chi, Like Tony Lung is like
like as far as actors go, like modern you know actors,
right now, he's up there. He's like your your DeNiro
level actor you know from you know, from Hong Kong.
He's like one of the best to do it. And
the fact that they got him for Shang Chi, it's
like it's like at that point everybody should be like, Okay,

(01:18:48):
I'll do if Tony one can do a Marble movie,
I'll do a Marble movie.

Speaker 2 (01:18:51):
Stallone did a cameo Andy fucking God in the Galaxy.
Stallone is in the Marvel universe.

Speaker 3 (01:18:56):
Right, Michelle Yeah, yeah, yeah, Michelle Yo did and then
shang cheese she did, so you know, it's like, yeah,
actors at that level. Glenn Close has been in a
Marvel movie, so it's like.

Speaker 2 (01:19:07):
Michelle Piffer was in a Marvel Michael Douglas isn't like,
shut up everybody, yes, but Stephen Dorf is like no,
but I've checked my integrity. And ironically, are they calling you?
Isij is Pich calling you? Going come on, Dorf, come on,
I'll give you ten more million, and Dolf is there
like no, I said publicly, I wouldn't do it. Fij
is banging down doors store.

Speaker 3 (01:19:29):
We want you to be the next Wolverine because actually
wolverine is short in real life and in the context
we want we think you're gonna be the next best Wolverine.
And he's like, no, sorry, I can't do it. I'm
you know.

Speaker 2 (01:19:39):
It's also like, it wasn't Corey Feldman saying something on
a chat show lately where he was he was asked
to be like he was asked to be oh no,
they they really wanted him for like a I know
it was a Marvel movie or so it was a
big movie. Yeah, oh yeah, they were. They really wanted
me for this. He said, I forget what it was,

(01:19:59):
but you know, politics then came into play and blah
blah blah like felled. Listen, I love you, man, but
no one's really wanted you for anything in thirty years.
And listen, I love you and I wish you all
the very best. I genuinely do, and I know that
what Hollywood did to you was atrocious. But again, no
one's come asking. I think he said, was it star Wars?

Speaker 3 (01:20:22):
Was?

Speaker 2 (01:20:22):
He like, oh, they wanted to Star Wars? Not like
can you imagine like Fell Dog and Star Wars. He's
just doing all this business, the fucking fucking Harvardboard, and
he's just like spinning around in a black hord doing
some Michael Jackson shit that would be fucking hilarious. He's like,

(01:20:44):
I'll be in I'll be in Star Wars, but you
have to play one of fucking god awful songs for
the credits. He's like, yeah, you know, I wanted to
have some input into my character. But then they said
fell dog, you have to go away, but nobody, nobody
wanted you in the first place. Well, you're living in
this is.

Speaker 3 (01:21:02):
The thing it phelt I really did that, right, Like
if the IF Star Wars came to him and said,
we've got a wolf for you in this movie, and
he's like, I want some input into my character and
they were like, like, dude, felt like, if they're coming
to you with something like this, you take that and
run like that take the money, run. But I mean, yeah,
I can't think of a similar scenario. But it was yeah,
like you know, like I don't know, it's just yeah,

(01:21:23):
it's you know, it's but I think it's.

Speaker 2 (01:21:26):
Just dumb as. It's just dumb as. But like if
you're this is why I have utmost respect for Bronson Pinchot.
And you're gonna be like, where's he going with whipping
Bronson Pincher and where's Cross? Where's Cross going with Bronson Pincho? Well,
I'll explain why Bronson Pinchot knows full well that they
could make a Beverly Hills Cup film without him, right, However,

(01:21:48):
it would not be the same as a Beverly Hills
Cup film with him. So therefore the tightrope that a
Pinchot has to walk. It's knowing full well that they
want him right, but that he's not worth enough that
they won't get rid of him if he's like, could
you add a couple of zeros unto the end of that, please,

(01:22:09):
mister Murphy. And so Pinchot is that guy, and you
need to be a pincho. You need to realize that, yes,
you you're expendable, though you're ultimately expendable, but you have
this much leverage between how much do we need the
scene where he says Axel accel Foley as ax Well Foley,

(01:22:30):
like how much do we need that funny bit versus
how much money we have in the coffers.

Speaker 3 (01:22:36):
No.

Speaker 2 (01:22:36):
But my only point to bring it up with the
stating thing is that it's very apparent from the workingman
thing that, first of all, I don't know if Paine,
You're and Harbor are on the set for more than
half a day, I'd be surprised. But let's just say
they got let's say they've got a day age, right. Yeah,
it's very apparent to me that that Statham is pricing

(01:22:58):
himself out of these kind of yeah because he probably
took twenty from this movie, like probably twenty million of
the budget of this movie was on Statham. And because
of that, we're you know, we're left with one scene
with Jason Fleming, which is the best scene in the movie,
by the way, to see Fleming and Statham kind of
have a have a you know, Lockstock reunion off between

(01:23:23):
there between their in their scene, like Statham suddenly started
to be a watchable actor in that scene. Like up
until then, he's just doing his stoic mumbling who won't
see nothing, right, you know that guy? And then in
the Fleming scene, suddenly he's like, fucking they're having a
bat nage, you know, back and forth the right word, Yeah, yeah, exactly. Ye.

(01:23:46):
They've got like a good rapport going, right. So you're like,
you're like, great, that's worth Fleming's you know, fifty grand
or whatever they paid Fleming, you know what I mean,
fifty fifty grand in a box of cereal or whoever
they gave Fleming. And then you know, you get pain
here in Harbor. But it was, you know, it was
completely dumb. In any other movie that could afford to

(01:24:09):
have Harbor, And again, Harbor's Marble guy and Stranger Things right,
Harbor might be Yeah, but Harbor's like, I'm just saying
that between stranger things in Marble, maybe Harbor is worth
more money than I'm aware of. Like, maybe Harbor took
a couple of meal just to yeah, to do his Yeah.

(01:24:31):
But the funny thing is is that in any other
movie that could afford it, Harbor would go on the
final Raid with Statham and die during the final Raid,
you know what I mean. Even though it was a course,
he didn't really believe it in the first place. He
wanted to, you know, like in Executive Target with Michael

(01:24:51):
Manson and then the sleazy balld guy who wears a
little wine shirts who's trying to fuck a doll or
whatever in the middle of the movie, who also co
wrote it. I believe that guy is going to show
up to fight the bad guy in the end and
then cock it halfway through saving the hero's life. That's
that's what happens. And this movie literally goes, Oh, we

(01:25:13):
can't afford Harbor for more than half a day.

Speaker 3 (01:25:17):
Afford right, Just put some sunglasses on him, make him blind,
that's it. That's what we're doing. Keep him one location.

Speaker 2 (01:25:24):
Yeah, was he meant to be blind. He was blind.

Speaker 3 (01:25:27):
Yes, character is blind. Yeah, even though shooting a bow
and arrow. He was blind because he's shooting a bow
and arrow too. That's supposed to be part of the thing.

Speaker 2 (01:25:35):
You know, what is he hawk guy or fucking devil
or something exactly?

Speaker 3 (01:25:41):
Yeah, no, but yeah, no to your point, Yeah, it's
like you know they normally You're right, those two would
have been, you know, going it together. It would have
been one of those things where like there's like that
that scene where Statham tries to talk him out of
it and he just won't listen. Yeah.

Speaker 2 (01:25:56):
Do you know who should have directed this? Luke Besson
should have directed this. If Luke Besson had directed this,
this would be like a fantastic film because Besson would
keep all the mad, esoteric Game of Thrones with a bike,
exhaust chair and fucking horned helmets and mad costume parties
in the woods. He would have kept for that, but

(01:26:17):
he would have filled it with industrial drum and bass.
Every other person would have been wall to wall tattoos, piercings, mohawks,
everything like that. Everyone would slink around in like black
in a very kind of Parisian sort of way, and
then state it would just be in the mids of you, you
know what I mean, And there would be lots of
like lens flair and neon lights and it would be great.

(01:26:38):
Air tries to do that. But Air is like a
poor man's Luke Best. He's like a poor man's guy.
The Air is like a poor man's guy. Richie fucked
a very poor man's Luke Besson and produced an incredibly
poor man's David Air. That's what he's like. And he
wants to play with Rodriguez and he wants he and again,

(01:26:59):
I I think we're gonna see this in some action movies.
I think some of the set dressing we have here,
and even some of the tattoo, because there are a
few tattoo piercing mohawks hanging around in the movie. I
think we're seeing that because it's the john wickification of
action where it works in john Wick, because they've built
the world out slowly over for movies, and they've established

(01:27:22):
that there are the hipster waistcoat tight pant beardy assassins,
and then there are the like suicide girl hotline chicks, right,
and then there are the you know, they've established all
these sort of like random gangs that are all dressed
in wacky outfits or whatever, and they come after they've
established and they've built this world up. This movie does

(01:27:43):
nothing to build a world at all. This movie just
goes this is a world in which there are gray
normal construction sites in Chicago and mad neon biker werewolf
bars in the woods that are populated by a Norse
almost seven foot guys who wouldn't look out a place
in a Twilight sequel with their shirt off, howling at

(01:28:06):
a fake moon. This movie wants both those things to exist,
and it just it Air doesn't have the juggling power
to make that work.

Speaker 3 (01:28:15):
No, And I think the dividing line between having fun
with it and saying like it's it's this fun, quirky,
like almost like enjoyable movie in spite of itself and
a clunker is the runtime that's like the that's.

Speaker 2 (01:28:31):
Yes, you're so right, yeah, yeah, and again you're completely right.
I would agree this movie comes so close to being
that first thing you said, I can like it despite
of itself, and then a run time just kicks you
in the team exactly.

Speaker 3 (01:28:47):
And it's interesting because the next thing we're going to
talk about also has a long run time. But it's interesting.
I think when you're doing the kind of an earnest
you know, like like Passion Project or you're an indie
filmmaker or something like that. I would say for indie
filmmakers out there, you know you probably you don't want
to think about the runtime a little bit. But at
least if this is the movie you want to make,
and this is the story you want to tell, then

(01:29:10):
then do it. But this is not you know, the
working Man has no story to tell. It has no
no what.

Speaker 2 (01:29:17):
Working Man is. Mad libs of the movie. I mean
it just exactly you know what I mean. Right, It's
just like, well, give us a give us an international crime, yeah, okay,
people trafficking, all right, give us the people are like
Russian mob all right, great, give us something else. People
are randomly against drugs they don't understand, okay, great, put

(01:29:40):
that in there. And and well, we're having a film
it in England, so give us something that they might
do in England that looks like a mad costume party
and a mansion in the woods. Fantastic. And then what
is one of the biggest selling TV shows of all time,
Game of Thrones? Right, we better whip in a Game
of Thrones reference even though that was about eight years
ago now. And one other thing, one other thing, Oh, yes,

(01:30:04):
make one of the villains a guy who sachets around
in a dressing gown or robe, smoking a cigarette out
of a cigarette holder with a tight ponytail and a
small goatee and a big wide twin peaks dwarf head.
And then he's going to walk around and when asked

(01:30:25):
why this woman, out of all of the women, why
did he want this woman, He's just going to nonchalant.
He goes, she reminded me of a painting in my
brother's house. And I'm like, who wrote that? The entire
so the whole reason she was kidnapped, the whole reason,
the whole point of the movie, right, is because this

(01:30:45):
one little weird creep who looks like someone puts Stephen
Sigal in a meat press for ten ten days and
this is how he came out. He he just saw
a painting in his brother's house and went that one. Yes,
it's just so lazy. It's so lazy, right, because it's again, it's.

Speaker 3 (01:31:07):
This whole thing with not understanding how trafficking works, right,
that like, and you know, people who investigate actual trafficking
say that these kinds of movies don't do them any favors, right,
it just makes something more convoluted. But the number one
thing about trafficking, like the number one key to this
is taking people who aren't going to go to the police. Right.

(01:31:28):
So it's either like you know, young women whose parents
are drug addicted, or they're at a party or something
and maybe they get drugged and they end up in
another state and they end up transported back home and
that's the end of you know, it's it's situations like that.
It's not some random person at a bar who you
don't know who they are, right, You have no idea
what their background is, so you don't know if they're

(01:31:49):
they're rich and they you know that the person you're
kidnapping is going to get the whole way to the
police force to come down on you, that your whole
criminal empire could go down, you know, all that kind
of stuff. It's not this sort of randomized thing of like, oh, well,
rich guy said she looks like a painting, so we're
going to kidnap her, right, Like that's not how that works,
Like nobody's doing that.

Speaker 2 (01:32:06):
But it's like, these are my kidnappers in movies are
the dumbest. It's the same goes for taking right because
the moment he's like I'm an ex Special Forces guy
and I am coming to Brownce and I will kill you,
he'd just be like, this is way too much trouble,
more trouble than it, Like, just give her back, like
I'll steal someone else's kid, we won't have a fucking
sas father and it'll be absolutely fine. But the same

(01:32:28):
thing happens in this movie. You're completely correct, Like just
the moment that like we've sent State them off him
and he's fucking killed one of our head Russian mob guys,
give her back like it's not worth it.

Speaker 3 (01:32:39):
Yes, it's It's like it's like the the you know,
if you've got a back like you know all live
in the city, but you know, if you have a
backyard and there's a bear and the bear starts rummaging
through your backyard, you don't go out to tell the
bear like, hey, bear stop, don't don't you know? No,
you gotta leave the bear there. And then the next
time you say, okay, why did the bear come into
my backyard? Oh, it's because we left our trash cans

(01:33:00):
out here. You know, whatever the reason is, they got
the bear to go there. You change that, you know,
you don't come out and fight the bear or say like, oh,
I'm gonna keep throwing food out to the bear, you know,
or what.

Speaker 2 (01:33:09):
I'm gonna be very clear. I know you're a city
slicker and I'm a country dweller, but don't don't fight
the bear, man, don't do no.

Speaker 3 (01:33:16):
Well, you still have we you know, we never actually
had a bear in our back, but no. But but
it is like this.

Speaker 2 (01:33:21):
Idea that like, never fight the bear.

Speaker 3 (01:33:23):
That's the and Statham here is the bear. You know,
let the bear tear your place apart, let him tear
the everything apart, get whatever he wants, give him whatever
he wants, you know, and get him out of there,
you know. And and you know that that's it. And
and but again these you know, I guess at the
very end of the movie, right, the Russian mob is like, hey,
you know, he did what he needed to do. Leave

(01:33:44):
him alone. And you know, like like somebody at the
very top decides, okay, yes we've had a stathum, you know,
but no, and I.

Speaker 2 (01:33:52):
Think you're right. It is a very cynical mad Libs script.
It is a and I've got to totally re I
clearly watched a completely different movie the other night. When
I first watched this movie, I was just vibing with it.
I think this vibe with that, and I was just like, oh,
I like that. It looks like well, because you see
show from fifteen years ago.

Speaker 3 (01:34:12):
The thing that happened sometimes is like I'll watch like
the Guardians of the Galaxy movies for example, or like
thora Ragnarok, go back to these comic movies, but I'll
watch them like I don't really like this, Like why
is this movie? Like why does everybody like this movie
doesn't make any sense? And then like the last twenty
minutes or so the movie you watched that last twenty
minutes and you're like, oh, okay, everything just came together.
I really like this now. It's such a good last
twenty minutes that I'll give the whole film, you know,

(01:34:34):
three and a half or four stars or whatever.

Speaker 2 (01:34:36):
Right, which is I think what this movie did. I
think the lawst twenty minutes of this movie is great.

Speaker 3 (01:34:40):
Yeah, yeah, And I think that's the key. And I
think it was the way you did it where you
kind of went back and started looking at pieces You're like, hmm, yeah,
I don't know about those. I mean the other thing too,
is I know, depending on the kind of state room
when you're watching the movie too, you know, if you're happier,
you're you're kind of feeling you know. I remember watching
Finding Nemo. Is that the yeah cartoon? We're watching that

(01:35:00):
with some people with him, and I was like, Oh,
this isn't that bad. This isn't you know, this is interesting?
I want to watch it again. I was like, no,
this isn't I'm too old to watch this because I'm
an adult. You know, this is not a good movie.

Speaker 2 (01:35:10):
You know. We literally got to the point of the
podcast where it's like angry, angry old man bothered by
Pixel which, by the way, I love you for it
because not many will speak out against Pixar, but when
someone does, I'm there for it. I'm there for the
speaking out against It's.

Speaker 3 (01:35:26):
Not that I dislike Pixar. It's more that I'm an
adult and this idea that people make Pixar movies for adults,
I think is it's right.

Speaker 2 (01:35:34):
But just I agree with you, Just don't come after
my Muppets because I still love my mom.

Speaker 3 (01:35:39):
Different thing. Muppets they did make for adults.

Speaker 2 (01:35:41):
Yeah, so yeah, yeah, yeah, yeah, the Muppets made by
and for adults. Kids don't know what's going on, they don't,
so yeah, working working Man. I had initially given it
a four because I think I was vibing with it's
more insane impulses. I'm more inclined now having watched it again,
to kind of come more to what you're talking about,

(01:36:03):
which is this is so close to a movie that
you could love despite itself, but it just the runtime
is just too long. And I think it was when
I went back and I was watching it and I
realized that, really by the fight in the back of
the biker bar with the in the red neon and
all that happens at about the forty three minute mark,

(01:36:25):
that's entirely too long for me to care about anything
before Statum beat some people up, you know what I mean.
And in the middle of that you get Jason Fleming sequence,
which is really good, but that almost convinces you that
you've seen more action than you've actually seen, you know
what I mean. And yeah, that bothered me, that broke
That was the first thing that broke the PM rules,

(01:36:47):
and then you have them on pming the second storyline
with this whole drug mule, fake phone, the police are involved,
fuck it, I don't know. I mean, I don't understand
who any of the people are. Yeah, and then then
you've got them suddenly wheeling in the girl in a
suitcase to meet you know, weird pancake looking Steven Segall dwarf,

(01:37:09):
and you're like, I don't like, what is this now?
And then she's you know, I just all of it.
It's too much. They flooded the pudding and I've got However,
I will still prefer it and still watch it again
over The Beekeeper, which is and I know everyone loves
The Beekeeper and everyone hated this film. Well I'm going

(01:37:30):
record of saying you're wrong. The Beekeeper is unmitigating Bilge
and needs to be tossed out. It's so fucking awful.
And they're doing a Beekeeper too. But I will say
this to the Beekeeper. You had Jeremy Irons, right, You
had someone you could hate the moment they came on screen,

(01:37:50):
and I didn't have that in this movie. I mean,
I hated everyone in this movie.

Speaker 3 (01:37:54):
So I use it as a quick as side on
my recent podcast that they did with Scott Murphy, were
we talked about Into the Sun. I mentioned, you're talking
about that, but Jeremy irons looking like John Major's and.

Speaker 2 (01:38:09):
It looks like John John Major's spitting image puppet.

Speaker 3 (01:38:12):
Right and one, it was huge. We want to end
up going this huge tangent about like eighties and nineties
politics in the UK and US, which I kept it in.
I kept the whole thing and.

Speaker 2 (01:38:21):
So I love that. I will listen to it and
alive on the podcast as we speak. I just dropped
my Letterbox rating of A working Man down from four
out of five to three out of five. Yeah, so
that's and I'm gonna I'm gonna end this bit of
the show before we go into Black Creek and then
wrap it up with my review of A working Man

(01:38:45):
from Letterbox, which I'm going to review this movie by
simply copying and pasting the text that I sent to
my friends while watching it, so it says, now I'm
watching a working man. Jesus Christ. It is. It's so
fucking bad, It's hilarious. Stallone loves waterboarding. It's like in
four of his movies. The loone is such a fad

(01:39:07):
of waterboarding. Anytime he wants to do anything hideous to someone,
he waterboards them. This movie is either one notch below
or one notch above parody. It's certainly not meant to
be taken seriously. It's like someone gave someone fifty million
dollars to make Samurai Cop. It's like the director of
Samurai Cup being given fifty million dollars to try and

(01:39:28):
make a bad guy richie movie via Hack Snyder. This
film is like The Beekeeper if the Beekeeper was oiled
up and spunk over by an encorged and out of
touch Sylvester. This movie plays like the paranoid ramblings of
a confused grandfather. After watching twenty minutes of CNN, just

(01:39:49):
when I think it can't get any more fucking bizarre,
it suddenly turns into Roadhouse, with Statham showing up to
a neon lit, dustil dawn style biker bar to the
soundtrack playing wagon with It looks like it was directed
by someone who made Budweiser commercials in the nineteen It's
so weird because I can tell by the accents and

(01:40:10):
some of the locations of vast portions of this were
filmed in England, so I'm always forgetting it's meant to
be in Chicago and thinking things like, there'd never be
a Game of Thrones meets Roadhouse meets Motley Crue video
seat out the back of a bar in England. This
movie is so stupid. And that's the other thing is
this movie was so dumb. I kept forgetting it was
meant to be in America. I kept forgetting it was

(01:40:33):
meant to be just outside Chicago because I kept looking
at it and going, that's Ingland. Oh there's England. Oh
look more England. But actually this movie transcends stupid. There's
literally a non ironic neon sign in this bar that
simply says Schlitz on tap, which is kind of like
having a PAPS blue ribbon sign, but from like fifteen
years ago, because now it would be Schlitz or Genesee

(01:40:56):
is like the kind of nod nod wing wig hipster
be ap was like fifteen years ago, right, okay, And
out the back of this roadhouse as a go since
on a sort of leatheret Game of Thrones chair but
built out of biking sauce and metal skulls. It looks
like Judas Priests ejaculated in it. This movie is getting

(01:41:17):
mad at by the second Okay, but like this film
just totally had like toats the most exciting and well
stayed action sequence Statum has done since the Transporter. That
shit was off the chain. I think that was the
back of the truck fight.

Speaker 3 (01:41:30):
Secret right, Yeah, which is good?

Speaker 2 (01:41:31):
Yeah, yeah, I said this movie is so nineteen ninety five.
It's beautiful in a way I didn't know I needed.
This movie has so many PM movies, sorry, has so
many PM moves. It's quite glorious. I was so wrong
about this movie. This movie is amazing. This is where
it flipped for me when what I was watching it
the first time. It's like Tim Burn and Robert Rodriguez
made an HBO Max version of an early two thousand

(01:41:54):
c W show with Grindhouse meets PM Entertainment, Shenanigans and
State and being legitimately good. I was high or some shit.
This is ridiculous. I mean, I am buying them because
this is not the case. I'm buying the four K
as soon as I have a little spare cash because
it starts off and you think, uh more, old man,
paranoid slightly racist nonsense like The Beekeeper, where all villains

(01:42:14):
are going to be shiny suited young pricks that old
people are intimidated by. But then somewhere after the first
act it goes more and more into a Robert Rodriguez
grindhouse ludicrous vibe, and the action scenes start to be
at the best of Statham, some crank stuff, some transporter stuff,
some expendable stuff. I mean, it's brilliant. Wow, I really
like this movie. Shit. You know, like how john Wick

(01:42:35):
two and three started layering on more and more hipster
man bun tattooed goons and neon lights, and the movies
became more and more unrealistic. Well that's all of this,
But in one two hour movie with Statham kicking us
and taking names almost continuously, it's not continuously. Why did
I think it was continuously? I also said, And there's
no random named bad guy like Jeremy Irons prancing around

(01:42:57):
and slithering his words about. All the bad goes in
this are just random, no names. There's one amazing scene
between Stathum and Jason Fleming which is worth watching just
to see Statham dial up his performance to match Flemings
and David Harmer Harber and Michael Pena are in there,
but they are the worst two things in it. Their
acting is embarrassing, so glad they didn't have more screen time.

(01:43:17):
That's true, though Michael Penia trying to be upset about
his daughter was painful to watch, Yes, painful? Yeah, Oh yeah.
I mean I was high watching it, which definitely heightened
the madness and confusion of it all. But I liked
it a lot more than The Beekeeper, which I rewatched
lately and thought was just awful. So there are some

(01:43:38):
things in there that I still think of, but obviously
based on my review on the podcast now, there are
also things that I would I have done a complete
one eighty.

Speaker 3 (01:43:50):
But I think it is. I think it's it's all
those things that you talk about when the movie turns,
all those things I think are good. I think it's
just the beginning is so long, it doesn't it And
and to be fair, I think when the movie turns
there's still more of that stuff in there as well.
That's sort of bombing it down. It's it's as if
it's like you take something really good and and you know,

(01:44:12):
I don't know, like like a pizza, right, you know,
like it's really nice pizza and then you just load
it up with with stuff that doesn't go on a pizza,
and uh, it's.

Speaker 2 (01:44:20):
Like like to choke. Stop putting fucking art to choke
on fucking rights.

Speaker 3 (01:44:24):
Or like like like you know, like like street corn,
Mexican street corn on the pizza or whatever, but you're
just putting all this stuff on. But it's like artichoke
plus Mexican street corn plus like like I don't know, like.

Speaker 2 (01:44:34):
And I'm sorry, white pies can fuck off. Yeah, these
white pies with art to choke and fucking drizzle of
aoli or some wang on it right off.

Speaker 3 (01:44:44):
That's what that, you know. And it's like PM would
have looked at the movie and said, I'm just gonna
make a straight up cheese pizza or straight up pepperoni pizza.
I'm just gonna do it. And and to be fair,
even if it's PM and it's you gotta make like
like vegan pepperoni on the pizza. They knew how to
make like a vegan pepper pizza tastes like a real
pepperoni pizza, you know what I mean. It's like and

(01:45:04):
it was like it and that's i think more of
these kinds of movies. They should be looking to PM's
stuff to see how they got it right.

Speaker 2 (01:45:12):
David Ayre, on the other hand, would take a cheese
and tomato pizza and you know, he would strip the
tomato off it, put art chokes on it, drizzle some
like hot oil or some shit like, oh, we've taken
we've taken olive oil, but we've put a bunch of
chilis in it, and then we've like heated up and
spread it all over the pizza. And so we're just
gonna call it a fucking artichoke and oil white pizza.

(01:45:36):
And you're like, it's still a pizza and had a
push drunk after after a night at the pub. If
I found it in the fridge, I might be like,
fuck it, heat it up, pour a bit of marin
aarosauce on it, and eat it. That might be a
thing I would do if drunk and needing post pub pizza.

(01:45:56):
But put this on as primo pizza. No, I'm going
back to Executive Target or Rage or you know one
of those great PM Entertainment movies that you can hear
us talking about on the PM Entertainment podcast. Now out
right now, right now, and by the time we listen
to this, the Michael Worth interview will be out there.

(01:46:17):
That's a scope just for you to be the best.
I got an interview with Michael Worth, so our next
our next episode will have an interview with Michael Worth himself.
It is in exactly three PM films, so yeah, great, no,
it's see. I'm going to edit it tomorrow. It'll be
out hopefully by Thursday Friday. I don't know. I'm just
I'm so I'm what I keep doing, Matt, I don't

(01:46:38):
know if you do this, but like what I keep
doing is I keep going, Oh, I must do this,
I must do that, I must do this. I must
do that. I must go on and post socially, I
must go on and write this, I must do this,
I must for whatever. And then I sit down and
go I don't actually have to do any of this,
and like, people will get the podcast when they get
the podcast, and people will get social media posts when
they get social media posts, and like, I don't have

(01:46:59):
to do any of this. I need some mental FuG
insanity and sometimes I just step away. In the last
couple of weeks, I've just stepped away that is what
it is, and people can I like it's summertime. I'm
having a life like whatever it is, what it is,
I don't have enough listeners to care about it. So
I mean I have a good amount of it, but
not enough to run. So saying all that, go watch

(01:47:24):
Diablo instead, because what Diablo knows to do is Diablo
knows to keep it at ninety minutes. It knows to
have a fucking awesome bad guy, and it knows to
keep the action going from frame one all the way
to the end with Atkins doing his best shit since
Ninja two, Shadow of Tear under the watchful guys of

(01:47:44):
Isaac Florentin, who worked with Michael Worth on a movie,
and we actually talked about Isaac Florentine.

Speaker 3 (01:47:51):
Oh nice that too.

Speaker 2 (01:47:54):
All right, on to Black Creek, and Black Creek is
since Rothrock the Lady Dragon herself. It is her long
desired passion project that she wrote, produced, cast, did the
costuming for apparently, and co wrote did I say, co

(01:48:15):
wrote yes, yeah, and stars in This is Cynthia Rothrock
to the power of Rothrock. This is everything she wanted
to do. She had her hand in absolutely everything. I'm
surprised She probably even made the sandwiches for the catering.
She was so involved in this in every single level.

(01:48:36):
And if you follow Cynthia Rothrock on social you will
know that Cynthia Rothrock does not stop moving for five minutes.
The woman is a machine. She's either flying somewhere, traveling
somewhere excepting an award somewhere, setting up a new martial
arts museum, somewhere, going in doing martial arts demos and

(01:48:56):
lessons somewhere, flying halfway around the world to be three
scenes in some movie. She never ever, ever stops. I
often wonder who looks after her dogs, But she's always
off scuba diving. She's scuba diving, or she's hang gliding,
or she's mountain climbing, or she's whatever. She never stops.

(01:49:18):
So this movie she puts blood, sweat, tears, gumption, heart, soul,
and balls. Sheer balls into this film, and it is
Black Creek is She plays the daughter of a sheriff
who is murdered by evil Richard Norton, who is trying

(01:49:39):
to gobble up the land in the town of Black
Creek and who is intimidating everybody into handing signing over
their deeds for their property so that he can own
it and I don't know, turn it into Western style
shopping balls. I have no idea, but that's what he's doing.
He might have even said what he's doing, but I
don't remember. Also, at the same time, in the middle

(01:49:59):
of Black Creek there of course got a makeshift fight
pen where people are fighting and betting on fights. So
that's all going on as well, and then the usual
herring and farming and other stuff that would happen in
the wild West. There's always hers and farmers in the

(01:50:19):
wild West, as well as obviously fancy ladies and casino owners.
So all this is going on in the town Black Greek.
She comes home having been out in the wilderness doing
her thing, to find that her father has been murdered
and a bunch of her the rest of her family
have been either killed or abused by this Richard Norton person,

(01:50:41):
and she is having none of it, and so starts
a Western revenge tale as old as time but as
fresh as a daisy, with our Lady Dragon Rothrock at
the lead and at the helm, quite literally and all
of the time noticeable sorry notable, rather for obviously it's

(01:51:04):
cast we get a cast of Rothrock regulars. Obviously Richard
Norton I've mentioned already, but Don Wilson shows up, Keith
Cook shows up, Keith Vitally shows up, Benny the Jet
of Keydis is in a scene in this movie, all
of her friends show up to do a little bit
of a favor for for Cynthia Rothrock, and why not

(01:51:28):
they all should do so everyone should be supporting this
wonderful woman and everything she wants to do. Uh. It
is also noticeable because we have Mike Mueller or Mueller
or how have you pronounced his last thank Muller, Muller,
Mike Muller. We have Mike Mueller as the fight director,
and of course he is from john Wick, right or

(01:51:51):
a bunch of bunch of things? Is he john Wick
four or something?

Speaker 3 (01:51:54):
John Wick for? I mean, you know he was in
it was in the fourth Expeddles, but he he was
doing a lot of stuff in Germany, and he he's
like five foot three, yeah, but he's just like an
absolute spitfire. And but his fight cort fight choreographer wise,
he's like he's one of the best out there right now.
And so the fact that she got him for this
is amazing.

Speaker 2 (01:52:13):
Yeah, he did Last Kubate, he did Retribution with Nissen,
he did John Wick Chapter four, he did Matrix Resurrections. Uh,
he did what other ones might some people might know.

Speaker 3 (01:52:27):
Well, he started in Ultimate Justice, Mark the Casco's movie.

Speaker 2 (01:52:30):
Right, Ultimate Justice, Yes, uh, and I thought it was
like one other one, like an early one. But anyway,
fantastic guy, German guy. So she manages to back him,
which is fantastic. And who else do we have that's
of any note in this.

Speaker 3 (01:52:50):
Yeah, I was trying to think.

Speaker 2 (01:52:52):
I mean Patrick killed Patrick. Yeah, as a sheriff's yeah, yeah,
he's he's a sheriff. But he's a b actor of
some note, has been for many years. He has one
hundred and fifty four credits.

Speaker 3 (01:53:05):
Yeah, normally he would be the battie in a movie
like this, but right, I mean, Norton is just it's
I mean, it's one of his last performances. But it
is an absolute amazing performance that he gives here.

Speaker 2 (01:53:18):
Yeah. Oh, Norton, Norton and Cynthia Rothrock are the reasons
to watch this movie. I mean, while it's lovely to
see a lot of the other guys, and I did
think that Keith Cook was really good in his role.
I thought he was a really good actor for his piece.
Since it's Cynthia and Richard like they are the two

(01:53:40):
pegs that pin the curling lino of this movie. They
are the two pegs that pin that back down to
the ground and give us enough of a kitchen floor
to dance on. I don't know where I was going
with that, but you know what I'm trying.

Speaker 3 (01:53:59):
I know exactly what you'd be because it is I
mean it. One of the things I said about Norton
when he passed when I reviewed not Another mistake is
it seems like Norton had this uncanny ability to know
what a movie needed from him and how to deliver
it as well as possible. And I think it comes
in really well here where it's like, Okay, this is
Cynthia's movie. I want to be the best I can

(01:54:20):
for this movie. So I'm gonna play this this baddie
who is not just like some steam chewing you or
scenery chewing you know, Alan Rickman, battie. You know, I'm
gonna Cynthia is still gonna be the star of this movie.
I'm gonna make sure she's still stubborn. I'm gonna be
the kind of baddie that people are gonna want to
see her defeat, right, And and like you said, it
is it works so perfectly with her hero, which I

(01:54:43):
think this is her best character since China O'Brien. This
is I really love this character here too. So it's
like like you said, they kind of they're the anchors
that or the you know, the foundation that this movie's
built on. And and so then it allows the rest
of the movie to kind of just flourish.

Speaker 2 (01:54:58):
I think, yeah, and again to its strengths. What Cynthia
has clearly paid a lot of attention to it in fact,
said as much when I spoke to her recently, is
the lighting, the setting, the costumes Like it looks now.
I'm not gonna say the camera work is good, because
I have a problem with the camera work, But the lighting,

(01:55:22):
the sets, the costumes, the era is very well done.
The decision to do a lot of night shoots so
you can have flaming torches and little gas lamps and
flickering lights everywhere is a really really nice touch. And
I know it wasn't easy because it was very freezing
cold when they filmed this. I think they've filmed this

(01:55:44):
in November in the desert, I think, and they do it.
They do fantastically well with what they've got, and with
a small budget, they try and make it really, really,
really look the business. So I've got to give it
very high marks for its setting. It's art direction, if

(01:56:06):
you want to call it that. It's lighting and things
like that are fantastic. The other thing I will give
it credit for is I think you're right, it is
the best acting we've seen from Cynthia, from Keith Cook,
from Richard Norton. I think that they are again giving
it thirty five years of a career knowledge, you know

(01:56:30):
what I mean, and doing their very best with it.
I think also when you think of the fact that
ninety percent of the fighters in this movie are over
the age of sixty five, the fight sequences all be
them a little short, some of them are legitimately great.
I think Cynthia worked very hard to get a couple
of really great set pieces in here. Especially I think

(01:56:53):
of the one where she runs in and runs across
the bar and is doing her weapon twelve and that
whole bar. They didn't go for the traditional Western punch up.
They go literally, oh, she's a weapon ex but we're
gonna have her do some some of her forms and weapons,
right yeah.

Speaker 3 (01:57:11):
And I think, you know, one of the things, I
think if people were gonna bag on this from a
budgetary standpoint, they didn't have the budget to do those
quick edits that a lot of action movies do now
that sort of hide the fact that, you know, it's
like how how action movies get non action stars to
do martial arts that they're not very good at. You know,
you just have the quick edits. This movie didn't have that,

(01:57:32):
so they were trying to speed up the film as
a way to compensate, so they kind of speed up sequences.

Speaker 2 (01:57:37):
There's only a couple of speed ups, though, I think
the Benny Akidas is definitely sped up, just you know,
I think he's only in his early seventies, but he
looks like it's only nineteen, so you know, give him
a break. And I think there's like one quick sequence
where Cynthia is sped up, but I think a lot
of the rest of it is more or less, it

(01:57:59):
looks good.

Speaker 3 (01:57:59):
I think it's just you know that they from a
you know, when you have the money from those those
that ability to edit quicker, do those quick edits. You know,
you can kind of you know, do those things in
a different way. But again, I think there's an earnestness
to even like the fight sequences where it's like, hey,
you know, these are all practitioners who you know, they
know martial arts. Yes, like you said, you said, they're

(01:58:20):
they're up in aid. So maybe they don't have the
ability to do it like they could in the nineties,
but they do it well enough that I think, you know,
it gives fans enough of what they want to see.

Speaker 2 (01:58:31):
I think, right, no, it definitely does. And I'll say this,
you know, yes, obviously to have an editor who can
do uh, you know, make this the ball and ultimatum
or whatever. Yes, you're you're you're spending more money on
an editor like that than the editors they have here.
But I think for my take on it as well,

(01:58:52):
is with these guys also being martial artists, and they'll
talk about this. While they have great respect for the
training that someone like a Matt Damon might do or
Keanu Reeves or whatever, they all of them talk about
the fact that like you can make someone look like
a better fighter. I think one of the points that

(01:59:14):
she might have done. It might be a conscious thing
where she said, no, no, no, let's play these fights
out a bit. Let's and she may have sped them
up a little bit to try and like, oh, actually,
my idea of letting these play out means that they're
not as exciting and I need to give them a
little oomph. But in general, I don't see Cynthia wanting

(01:59:35):
to do you know, Oh, now we're going to shoot
your foot hitting this guy. Now we're going to shoot
your I think she wanted to shoot it quickly. And
shoot it quickly means you have two martial artists get
in a ring, and you cover it with a handheld
floating camera, and you cover it with a camera on
a dolly, and then you just cut between the two.

(01:59:58):
And I in a way, because I'm a fan of
the older movies, in a way, I prefer that decision
than trying to make Cynthia look like she's forty when
she's not, you know what I mean. Yeah, And I
would hate to have had a stunt woman like sobbing
for her when she's you know, and suddenly make Cynthia
be able to do flips and twists and whatever, like, No,

(02:00:19):
I like that it's Cynthia. I like that I'm watching
her do it, and I like that I'm watching Richard Norton.

Speaker 3 (02:00:25):
Yeah, I agree. I mean one of the things I
said in my written review of this was that the
thing about this movie that struck me was that. And
you know, I also from listening to the interview where
she said to you she'd always wanted to play a
Western hero. And so the sense that I got this
is like we should have had these movies in the nineties,
right when she wasn't as old, Like this movie, this

(02:00:45):
movie that we're watching now should be the callback to
those movies from the nineties that made it, you know, right.

Speaker 2 (02:00:51):
Yeah, this is Black Creek the reboot.

Speaker 3 (02:00:53):
Right exactly. And unfortunately we didn't get those movies in
the nineties, and that would have been amazing westerns that
she could have done in the nineties.

Speaker 2 (02:00:59):
Yeah, Black Creek, Black Creekia, Black a Creak, and then
The Blackest Creek and the Black Creek Fall, the Blackest.

Speaker 3 (02:01:14):
Creek, right exactly. But you know, so we're getting it now.
And and to your point, I think you're right, like
it's it's you know, we don't we don't want it
to have the quick edits necessarily either. But and and
I think it's it's it's fun to see her not
only doing the martial arts stuff, but like you know,
the gun slinging stuff as well. I think it's right,
it's it's all. It's it's a kind of hero that,

(02:01:36):
like you know, she said, she's always wanted to play it,
And I get the sense of watching her performance here
that she's she's putting in the performance of somebody who's
getting their chance to play a character they've always wanted
to play.

Speaker 2 (02:01:47):
Oh yeah, A thousand and seven. I mean it oozes
rough rock, and I mean in the most positive way,
from her performance, from her desire to play the character,
from the way that she's made its authentic as she
can possibly make it, to the way that she does
a lot of forms and weapons in this movie in
a way that she doesn't always get to do in

(02:02:09):
movies she didn't have control over. I think she wanted
to get on camera, you know, before she's too old
to do it, or before she doesn't want to do
it anymore, whatever the reason is. As she gets on camera,
her skills and her abilities and her you know, and
gives herself a moment. And I think, you know, I

(02:02:31):
talked about this a little bit with her, but you know,
and I think we may have talked about it a
little bit, but you know, this is someone who had
a couple of opportunities to really be a huge star
and was robbed of those on several occasions by unfortunate
business dealings or whatever it was, or unfortunate decisions by

(02:02:53):
her representatives and stuff. And so this is someone who
when that had happened, when Okay, well I'll just go
back to doing CE movies and B movies, like I
just want to keep making movies. I just want to
keep doing martial arts, you know. And she she grabs
a couple more like little franchises or whatever, like does

(02:03:14):
the honor and not honoring, rage and honor. Right, yeah,
she does the rage and honors. She does a couple
more tiger claws, like you know, she whatever, she keeps
doing what she's doing. And after, you know, we don't
get her in an Expendables movie, which I think was
a massive fucking oversight. It just was a massive fucking oversight.

(02:03:35):
How Ronda Rousey was in a fucking Expendables movie and
Cynthia Rothrock wasn't It's just fucking offensive to me on
levels I kind of even explained.

Speaker 3 (02:03:43):
But so she doesn't like being insulting. It's just all
of being insulted. Glenn Pal Kellen Lutz, It's it's just
about hurting our sensibilities, Kelsey Krammer. They're just you know, Stallone,
Stalone just wanted to eat. It's almost like he was
trolling us, you know what I mean, Like, yeah, that's
what the third movie was.

Speaker 2 (02:04:01):
Yeah, No, exactly it was. It was the worst, and
she should have been in the second one, even like
it's in the second one, they bring in that woman
who's like the uh, she's Liam Ian what's his name for? Yeah, yeah,
she's a bomb expert. And she was like, wasn't she
with is it Liam Hemsworth? No, yes, Liam Hemsworth. She's

(02:04:22):
with Liam Hemsworth at the beginning, and she's a bomb expert.
And I think she comes back in the final action
sequence as well. But like I I would have had
Rothrock in that role, and I would have given her
a lot more to do and I would have had
her own Van Dam fight, you know what I mean,
Like that's what I would have done. I mean, I
would have just basically killed Stallone's character and made it
Rothrock for the next few movies, right, And every every

(02:04:45):
time Statham like like back talks or whatever, she just
Scorpion kicks him in the forehead and he's like, all right, miss, yes,
all right, no, I understand, I've learned my less right. Well,
we didn't.

Speaker 3 (02:04:56):
We didn't have that one. She was in the Asylum version,
and she didn't get to a part in that either.
It was all Zoe Bell, Christiana Locan, Vivica, a Fox
of all people, right, So it was a disappointment that,
you know. So so even the Asylum version couldn't use
her properly, which is too bad.

Speaker 2 (02:05:13):
Right, So we didn't get that, and we didn't get
a lot of other things we would have liked to
have seen. So we get Black Creek. And the thing
is is is that, you know, this is something that
she made with her own money. She then crowdfund crowdsourced
some additional money for some additional secretces she you know,

(02:05:37):
I'll tell you what. It's so low budget that she
announced Billy Blanks was going to be in it, and
then they couldn't afford to put Billy Blanks in it.
Like once the money came through, that's how low budget
it was. They were like, sorry, Billy, you've got to go.
He'll be back for the sequel that folks, Black Creek
two coming soon. But because it's her, because she's worked

(02:05:59):
as hard as she had, because she's been nothing but
decent to the fans and great to the podcasters and
people who want to talk to her and stuff like that,
and she goes all around the world meeting people all
the time. Her patience is exhaustible, inexhaustible. Rather, her patience
is inexhaustible. I have to give her do on this movie. However,

(02:06:19):
just because I'm giving her her do, I want to
be very clear that the lighting is really great, the
sailing is really great, the costume is great, the movie
looks awesome. The fighting I legitimately enjoyed. I really legitimately
enjoyed the fighting. The acting between Norton and roth Rocke especially,
but other people is awesome. There are some really nice

(02:06:44):
little things where like her and don get a whole montage,
which I've you know, we've waited forty five years for
her and Donna Dragon Wilson to have like a montage.
So I love that they have like a train well,
they get a healing montage and then a training montage.
The healing montage is frightful. I mean it's like a
psych I mean that in a good way. It's like

(02:07:05):
a frightening psychedelic trip with a donkey and don the
dragon Wilson coming at me. And it's hilarious. It's got
great humor, it's got great uh, it's weird, it's whacked
out whatever. And the last thing I'll say positive about
the movie is that it is clear that Cynthia is
a lover of the grindhouse gore. She has heads ripped off,

(02:07:29):
scalps pulled down, innards removed. It's beaten people beaten.

Speaker 3 (02:07:36):
On a scepter that they're getting beaten with.

Speaker 2 (02:07:39):
Yes, the fucking Norton sceptter. Man. Norton has like a
sept that's got to have been at least one hundred
bucks to have that custom sceptor made, unless Norton just
had it lying around his palatial Australian apartment. I imagine Norton
lived in like some huge Tony Stark like apartment that

(02:07:59):
overlooked Sydney Opera house. I don't know why.

Speaker 3 (02:08:02):
Imagine it seemed Norton enough, doesn't it.

Speaker 2 (02:08:07):
Yeah.

Speaker 3 (02:08:07):
I remember one of one of Rothwarks because she was
doing these series on YouTube video. She was interviewing him
and he was in Australia and she was in America,
and they were talking about they were talking about some
of the Hong Kong movies theyated together, which was a
lot of fun to like, you know, hear about the
different stories and things like that from them. Of course,
I can't remember any of them except that I think,
you know, Cynthia Brothwark seek she tore her acl I

(02:08:29):
think on Millionaires Express and had to get you know,
do a horse of the movie like that. But yeah, and.

Speaker 2 (02:08:36):
Apparently it didn't. Either it grew back or something else
grew around it and made her knee stronger. And the
surgeon was just like, wait, that's not a thing, and
she's like, well, it is a thing. My knee is
now healed and stronger than ever. And he's like, no, no, no,
but that's not a thing that happens. And she's like,

(02:08:58):
when it happened, it happened, right, it's my leg because
I'm Cynthia Rothrock Motherflabbah.

Speaker 3 (02:09:05):
Yeah, I mean The thing with with with her is
that when you watch her, especially like her her older
stuff in particularly even watching this like a Black Creek,
I mean, she is like a next level athlete. And
I don't know any you know, in terms of young
women doing martial arts nowadays. I'm sure you know, I
know that there's some, but you know, of course, there
are also other sports that you know, athletes at that

(02:09:28):
level can get into now, like you have basketball or this,
you know, professional basketball for women is there. I mean,
tennis was always there, but things like basketball, soccer, things
like that are kind of a little bit more mainstream now,
whereas you know, and I wonder, I mean, with her height,
I don't know if she she would have done basketball,
but you know, I you know, the athlete of her,
her caliber, you wonder, like, you know, had she been born,

(02:09:51):
you know, thirty years later, twenty years later, if she
would have gone into martial arts the way she did.
Because what she gives us on a martial arts score
and the fact that she's still doing at this level,
I think just again testament to the kind of next
level athlete that she is, you know.

Speaker 2 (02:10:07):
Yeah, and you also think about the fact that we
have had to live off scraps of Rothrock cameos over
the last fifteen years to get to get a full
blown Rothrock leading role again, and it to be it
to be this good. I mean, look, we'll get on
to what's wrong with the picture, and we will talk
about that just to be fair, but I want to

(02:10:29):
say for it to be this good, and it's Cinthia's
returned to like leading role status. Like I personally, after
this was done, I thought, she's fucking gone and done
it again. She's gone and left everyone else in the
fucking dust. Is how I felt when this was done.
Even though I take your point on the length of
the movie, even though there are some line readings in

(02:10:50):
it that will make you wins, there are some like
soap opera level line readings that will make you wins.
And the fact that while at the beginning of the
movie the camera is using a dolly and you go, oh,
that's cool. They bother to get a dolly. Most low
budget productions don't. They They don't even have the camera
on a tripod. They just wave the camera around and
think that it fucking causes you know, some kind of

(02:11:14):
meson sand or something. It doesn't. But or you know, well,
it makes everything more exciting if you shake the camera around. No,
it doesn't. It just makes everything look like it's happening
in a you know, tidal way with a thunderstorm or something.
It's just stupid, but we you know, they have a
dolly at the begin of the movie, and it allows
for these great sweeping shots, and it allows for like

(02:11:35):
panning through these locations and things, and at the beginning,
you're like, oh, that's cool. Then there's a point towards
the third act of the movie where every scene starts
with a Dolly track through a room. Every scene's and
it starts to get just a little bit repetitive. And
there are also a couple of like camera mistakes, like

(02:11:56):
literally where you see the camera like shake as if
the eyes like dropped it or you know, it's not
or it's been knocked by an extra or something that
is sort of left in the movie obviously because they
didn't they probably didn't film a lot of coverage, so
it just is what it is, uh. And then there
was some there's some editing. There's a lot of fade
to blacks, which I just wouldn't fucking do. I would

(02:12:19):
just have cut to the next scene, like we get it,
Like all the fad to blacks are a little a
little much. It's sort of faith. At a certain point
in the movie becomes fade to black Dolly across the scene,
fade to black Dolly across the scene, and I'm like, guys,
we've got to have some more ideas. Again, these are
small fry compared to how good the movie is. But
those are some things I noticed.

Speaker 3 (02:12:39):
Well, because these are you know, I think it's I
think it's important to point them out just because I
think there are people that are gonna watch this and
be like, what are these guys talking about? What is
this movie?

Speaker 2 (02:12:46):
Right?

Speaker 3 (02:12:46):
And I think, yeah, Like I mean the faith to Blacks.
I mean, for me, even watching the movie myself, I
was like, every time they do a faith of Black,
I'd be like, next week on Black Creek. You know,
it is because to your point, you know, it's not
like an a novel or a long short story or
something like that where you maybe put in a double
space between paragraphs to show you know, with a movie,
you you really only need one or two of those.

(02:13:09):
If you like the faith the black is, whether it's
like three years later or something, you really don't need
a fate to black. If it's like, you know, ten
minutes after you know or something right exactly what I mean.

Speaker 2 (02:13:20):
If it's the next day, just show a sunrise and
get over right exactly.

Speaker 3 (02:13:24):
Yeah, So I mean, yeah to your point there, And
I think you know the length for me. So it's interesting,
like like the line reading piece of it where I
think the script could have caught probably some cleaning up,
where there's there's a few points where it's like, you know,
instead of somebody saying something, somebody else saying why, then
that other person explained further. Just do the explaining further.
You don't need to go back and forth like that.

(02:13:44):
But the length is an interesting one because unlike the
previous movie we were talking about where the length heard
it because it's like you're just going over the same
tired stuff over and over again. We don't need it
to be that long. With this one, it's like because
of the earnestness of it, and it feels like like this,
this is this is big story that you wanted to tell.
It's almost like, Okay, if that's the story you want
to tell, I'm I'm you know, I'll give it a pass.

(02:14:05):
I mean, yes, I think you know, if you want
your movie to be commercially viable, ninety minutes is probably
a little bit better. It's just gonna work. But I mean,
you know, I, as I said my review, you know,
I was a writing group here Philly where the guy
was running is like, hey, you got to have shorter chapters.
And it's like, you know, like Don's house in the
Mountains book, it's like, you know, two hundred and seventy
pages and it's five chapters. So but that's just the

(02:14:27):
way the book was written. It just that's how I
wrote it. And so if she feels like this is
the movie she needs to make and it needs to
be an hour fifty six minutes and she didn't want
to cut things out because they were important to her,
it's this the earnestness with which this movie was made.
I can accept it.

Speaker 2 (02:14:42):
Yeah, And I would say that unlike something like A
A Working Man, where I could look at it and go, well,
get rid of that scene, get rid of that scene,
get rid of that scene. Don't need that there. Who
are these two pillars? Get rid of them? In this movie,
there's no one I would cut. I would simply trim

(02:15:03):
the existing scene. So I would simply be like, you
can enter the scene here, you don't need that precursor,
and you can end the scene here and whatever, you
know what I mean. But then there are other things
where like for example, where she takes what I assume
is like an ayahuasca kind of trip or whatever, because
don Just to let everyone know earlier, we were talking

(02:15:25):
about this like PM entertainmentification of like films where you
have this like weird b subplot that kind of the
hero has to go on in order for it to
pad out the running time. Well, this movie has it.
You know, she rocks up into town. We already know
Richard Norton. She kills a bunch of Richard Norton's man.
She already knows it's Richard Norton. There's no like discovery

(02:15:47):
that needs to happen. She kills a bunch of people,
and you think, oh, well, this movie's gonna be twenty
five minutes. And I guess because she kills a lot
of bit Like right off the bat, she's not asking
questions or like trying to figure out who anyone is.
If you're at my brother's farm and you're just hanging
around you're dead like everyone is dying, which I appreciated,

(02:16:11):
or I'm kicking you in the nuts. That was the
other great thing was at one point she like walks
into I think is it Norton's lair or whatever. She
walks into his hotel or whatever, and a guy comes
out and goes, who are you and she just like
wallops him right the nuts that keeps walking. It was
just fantastic. So there's no one scene, but sorry, so
she gets beaten up. At about the end of the

(02:16:35):
first act. She gets beaten up, and she is found
by a guy who she actually had beef with earlier
and fought in the ring earlier, a drunken guy kind
of a town simpleton, a town idiot kind of thing,
who is a drunk guy at the bar that she
fought for a bit. Anyway, he finds her left for dead,
decides to take pity on her because she also did

(02:16:59):
not like when she ended him in the ring. She
didn't she let him live or whatever, So he takes
her to medicine man Don the Dragon Wilson living out
in the desert, who has some nifty ayahuasca and loves
to bend the lady's leg over the back of her neck,
which he does in this movie during the training montage

(02:17:21):
where we've got to get First of all, we've got
to get Cynthia healthy, so obviously pump a full of
drugs and have her hallucinate that this Donkey and Done
the Dragon Wilson are doing god knows what to her.
Is all it is is like Donkey's face and Wilson's
face like coming at you as Rothrock's like swirling around,

(02:17:41):
And I'm like, is this meant to imply that like
the Donkey and Donna like doing stuff to Rothrock?

Speaker 4 (02:17:47):
Right?

Speaker 2 (02:17:48):
Because that that was weird. She she wakes up after that,
she's still a bit sore, so there has to be
like a fight training montage and a stretching montage, which
in a lot of Cynthia's showing everyone how bendy she
still is, which I thoroughly appreciated, and letting Don the
Dragon Wilson grab her thigh and her butt and her

(02:18:10):
calf muscle a lot while he helped her bend and whatever.
Like I wouldn't lose any of that. Like the fact
that the ayahuasca trip was as long as it was
actually brought me joy because I was watching the movie,
I'm like, oh, medice Man, she's gonna do an Ayahuascar
trip or something like that. Sure enough, the trip starts,

(02:18:32):
I'm like, oh, wait, are they going here? Like, are
they showing us like a B movie Cynthia Rothrock version
of what an ayahuasca trip would be like with a
comedic donkey, Like, are we doing this right now? And
I got so excited by that that we were doing
this right now. I'm like, she could have had a
twenty minute Willie Wonka style fucking. She could have had

(02:18:54):
weird montages of chickens getting their heads cut off and
center betees crawling over people's faces. Everyone's seen Charlie the
Chocolate Factory right uh where, Literally in a kid's movie
you see a chicken's head being cut clean off. That's
the thing that happened folks in the seventies when we
used to make good children's films. Anyway, Black Creek similarly

(02:19:19):
cuts a lot of heads off. But no, when they
started to do the Iawascot trip, I'm like, oh, I'm
so glad she's going there. Like it gave me such
insight that like Rothrock has this like anarchic nature that
we don't. We know that she's a trailblazer. We know
that she's very dedicated. We know that she's you know,

(02:19:40):
incredibly talented and skillful and pushes and pushes, and I
know that she's probably the healthiest you know, woman of
her rage on the planet in terms of how fin
she is and how flexible she is and all the
rest of it what she's able to do. But to
learn that she's like she loves like gore and viscera
and comedy eye Huasca trips and sort of. The movie

(02:20:03):
has this great like grindhouse ye feel to it because
just under the surface, I'm not saying that it's all out,
you know, it's not full blown planet terror, but like
there's like a few just bits And I'm not just
using that as a grindhouse example, you know, it's it's
a you know, it just has a lot of that
stuff in it that I was just surprised by and

(02:20:25):
thinking to myself, Oh, Cynthia, good for you. You have made
the movie that you wanted to make, like a thousand percent,
because you wouldn't otherwise they wouldn't be beheadings and scalpings
and things in this movie because it doesn't need to be,
but you've put them in there because that's your sensibility.
And I kind of fucking love that.

Speaker 3 (02:20:43):
Mass I totally agree. You know, on The Millionaire's Express
Blu Ray, she did an interview and she talked about
she was growing up when she was getting into martial arts,
that she would go to Chinatown. I think she grew
up in Scrint, so I think it was the New
York Chinatown that she went to. But she would watch
you know, Hong Kong movie there, and so I have
to think that she was watching grindhouse films as well,

(02:21:04):
and you know, watching those in the seventies kind of
just you know, having that that background in those movies.
I mean, she did do a movie called h Fury
Fist in the Golden Fleece, which is a bad like
alms like goofy homage to grindhouse movies that it just
didn't work well. She's in that, also, don the Dragons
in it, Michael Dudakov's in it, but they all have

(02:21:25):
small parts. But it does make me think that she
probably has that that grindhouse sensibility and yet to see
it play out in this movie. I mean, the whole ayahuasca.
Think there's a couple of things. I don't want to
give away some of the plot points in the movie,
but there's some stuff, like, you know, like mention of
the donkey that comes later in the movie, which is
like the most beautiful thing. Uh, it's yeah, she she

(02:21:47):
You're right. Like like, there were probably movie you know, producers,
line produces, whatever that would say you got to cut
some of this stuff out. And I think if these
things ended up on the cutting room floor, wouldn't have
been the movie that we got.

Speaker 2 (02:22:00):
Right, That's the other way to look at it. And again,
I think I could trim certain scenes, but there are
no scenes I would lose wholesale. I generally liked it.
Now just to let people know that there is some
CGI blood in the movie, which is unfortunate. I don't
like it. They haven't been able to perfect it, and
it's certainly not good CGI blood. There is also a

(02:22:23):
CGI explosion, which is almost unforgivable at this point, because
if you can't do an explosion, don't do an explosion.
Like it's just it's a problem. However, if you can
look past that, what is nice is they do marry
the CGI blood with real prosthetic special effects, which I

(02:22:44):
think is a good compromise. So I do like that
they did some of that.

Speaker 3 (02:22:48):
Yeah, I mean the only time I really like CGI,
the time that I think it's the best, is when
it's replacing animals, because I just feel like, you know,
leave the poor animals alone. They don't need to be
doing movies. You know, they're living their lives.

Speaker 2 (02:23:00):
You know, right.

Speaker 3 (02:23:01):
But it is interesting in this movie because normally I
would that would apply to the donkey in this as well.
But I I kind of liked that they had the
real donkey there, that he was just hanging out. I know,
Cynthia took some pictures of her with the donkey. I
mean again, if they had gone CGI with the donkey
and it didn't look as good, I still would have
been okay with it. You know, I'm like, just give
me CGI animals.

Speaker 2 (02:23:22):
I think that's gone CGI with the donkey, and it
had been voiced by Eddie Murphy.

Speaker 3 (02:23:27):
Yes, better, Yes, exactly. But but I geve what you
mean about the explosion. This movie did not need an explosion.
There was no like like like, there's not a point
where I was saying to myself, like, boy, this this
could use it, you know. I mean, I think that's
that to what PM did in the nineties with that
kind of we keep going back to PM, but I
think the stuff that PM was doing with those explosions,

(02:23:49):
where they were setting things off and making things work
in a certain way, I think it was I don't
think that they would have been doing CGI, so I
would hope they wouldn't, but I got I don't think
they would have, and they would have said we're could
do the explosion.

Speaker 2 (02:24:02):
They'd be stealing footage from another movie Explosion, yes, that movie.
And to be honest, if she had paid for like
some stock footage of a western town exploding, like I
would have, that would have been a lot more preferable
than the CGI explosion. But again, the prose of this

(02:24:24):
movie far away that can't yes to me? And are
we being overly generous because it's a Cinta roth Rock
movie by Cincia roth Rock for Cincia roth Rock, and
we kind of love Cintia Rothrock. Yeah. Maybe, But if
when I stack this up against you know, I've said
a lot of the time, like when I watch B
movie action now, unless it's Scott Atkins, like one in

(02:24:50):
four of every Scott Akins movies tends to be really great,
unless it's one of those most straight to video action
films these days mostly pish, And I watch them and
I go, God, can you not just pull your fucking
come out and get a couple of people who know
what they're doing in a room to beat the shit
out of each other for five minutes and film it?

(02:25:11):
Like how fucking hard is that? I get that you
can't have fucking car chases and explosions and gunfights and
everything else. I understand that, but you could get a
bunch of people who know. Like when I used to
go to the Urban Action Showcase in New York and
cover it for the aftermovie diner. One of the things
you would see all of the time, especially in New York,
were either were these groups of people who did martial

(02:25:35):
arts and who would go up on the roofs of
their apartment buildings and edit together little show reels of
them all doing martial arts and seemingly jumping from roof
to roof and shit that you can do very cheaply.
In fact, that they just shut it with like either
a phone or a little camcorder, like they just did
it like people used to do skate videos, but they
were doing like martial arts set pieces and showing it

(02:25:56):
in their booth. Well, I'm sorry, get a bunch of
those guys and film them, Get a couple of people
who do park or and stick them in the movie, Like,
it doesn't have to be this big thing. And yet
I watch these B movies that are attempting to be
A movies and I'm like, no, no, no, just be
a B movie and do that. Well, you don't. No

(02:26:16):
one's ever gonna watch this thing with like Dolph Lungeren
in it or whatever, and go, oh, this is connair, Like,
no one's doing that. So just make a good Dolph
Lungern movie, you know what I mean? Stop making bad ones.
I don't know why I'm picking on Dolph, but you
know what I mean, Like Alan Lucy or fucking whoever,
like Whoever's now the next wave of action, do it better, Nevsky,

(02:26:39):
do it better, Like just fucking do it better. And
I think that therefore I come from that place. I
come from a place and being like most a movie action,
although I keep watching it and I do occasionally find
a good one, I have very low expectations for it.
So going into Black Creek, I was a little bit
like fingers crossed because I'm like, I love Cynthia and
I didn't want to feel and I know that it

(02:27:01):
was a very low budget movie in a West that
is a very difficult thing to pull off on a
low budget, it really is, and I find that kind
of surprising. So the fact that it was as good
as it is, I would stack it up. Is it
as good as Diablou? No? Is it in terms of
being a low budget action No, But it's it's considering

(02:27:22):
them all over sixty five. It's it's kind of close.

Speaker 3 (02:27:26):
It's you know, I think to your point too. I mean,
I know it's maybe it's you know, you're grading on
a curve or or whatever. But I think you know,
if you if you're watching the movie as a fan
of roth Rock, as a fan of you know, you
know the other actors in the film, Wilson, Norton, et cetera.

(02:27:47):
I think if you're a fan of them, you're not
going to go away unhappy with this movie. And I
think that's all you can really ask for with a
movie like this, which a passion project where it's something
that she wants to put together with you know again
out a point where it's been thirty years since they
they're prime for making these movies. If you go away
happy with the movie, if you go away entertained by

(02:28:08):
the movie, I think that's the biggest piece. And I
think for people who are fans of these actors, I
think you're going to go away entertained. I think you're
going to enjoy it. I think you're not going to
look at this and go like, man, this is you know,
this is a waste. They shouldn't shouldn't have done it.
I don't think anybody's gonna come away with that feeling.

Speaker 2 (02:28:24):
But also there's been a long history of martial arts
in Western films, especially spaghetti westerns, with stuff like Lee
van Cleef and low Lely and like The Stranger and
The Gunfighter My Name Is Shanghai Joe, which was a
bit of a franchise Red Sun, with Charles Bronson in
it and a Surandres and Tashira Mafune. You know, these

(02:28:48):
kind of movies have been around a long time, especially
since the sixties and seventies. And while obviously this one's
not on set in film and doesn't have you know,
a grand spaghetti western score to it. I would actually
say this is more exciting than most of those like
Beat for Beat, because a lot of those, like I

(02:29:10):
think people forget that they've been so used to the
Matprix or John Wick or and I like those movies.
I'm not hitting on them, but they're so used to well,
this is what movie fighting is that they forget that.
For like forty years, movie fighting was like two old
guys like slugging each other maybe once or twice and
then being like, all right, Pilgrim, you can go, you
know whatever, and then he rides off into the This

(02:29:32):
is like that was what movie fighting was for the
longest time. So I don't know the fact that this
throws it back to kind of how they used to
do it in the eighties and nineties. It's I love it,
and it's it's definitely a step above all the Godfrey
Hope films exactly maybe Break except maybe um break No.

Speaker 3 (02:29:51):
I mean this is this for her, for for you know,
for for for Cynthia. I mean you talk about like
her her movies, because we were talking about Guardian Angel
being like maybe like a top five for her or
something like that. I mean, you know, this is one
of the better movies that she's done since then. I
was trying to think of what's come out since May
mentioned imb but I was trying to think of what
she's done since Guardian Angel that I would put this above,

(02:30:15):
you know, it's there's not a lot that that, you know,
which I think if there's anything that I want from
from this movie is is to say, like, you know,
this is this is one of her better movies, which
I think. I think at the very least, you know,
I think.

Speaker 2 (02:30:29):
The Undefeatable I said, Unbreakable. Yes, that's yes, Godfree sorry.

Speaker 3 (02:30:35):
Baxactly, yeah, that's it. Well that there's that one, and
there's the other one honoring Glory that she did she
did with Codfree.

Speaker 2 (02:30:41):
Hill and Manhattan two thousand, but I think that was
troubled together from other movies, right. The only one after
Guardian Angel that's sort of worth a dam is probably Sworn.

Speaker 3 (02:30:51):
To Justice one. Yeah, yeah, yeah.

Speaker 2 (02:30:54):
Otherwise, you know, night Vision, she's sort of third fiddled
to the eyes in that movie. Redemption again a good movie,
but not quite the same. Outside the Law should have
been much better than it was. I always think of
Outside the Law as sort of the last of the
true like rough rock leading roles sort of thing. And

(02:31:17):
then you know, and the Martial Arts Kid for what
it is as a sort of PSA. It's fine, but
it's not near this. But you're right this in terms
of movies I would put on, I would put this
on probably the same amount as Guardian Angel or Sworn
to Justice. I would probably put it on as often
as those two movies.

Speaker 3 (02:31:37):
Yeah, I mean, I guess for her recent stuff, I mean,
you know the fact that she did voice work but
it wasn't a lot, but she did voice work in
New York Ninja. Yeah, I mean I would say, you know,
in terms of a movie that's come out recently that
has her in it, that's obviously more of a Don
the Dragon Wilson movie, even though he's also only doing
voice work as well. I mean, that movie is such

(02:31:57):
a fun inspired idea that they on this movie without
a soundtrack, and they said, let's, you know, let's try
to make the movie. It's you know, let's add something
to it and try to make it as much as
we can. I mean, this is probably this is you know,
for me, other than that one. I mean, this is
this is one of her best things to come out
and and and and we're talking about the last twenty
five years or so, you know that that she's had

(02:32:18):
this thing. But this is that I think this is
that enjoyable. I think it's and it came out that
well that and you know the other things we always
talk about this, you know, on here, like supporting indie,
supporting indie artists, and and I think this is one
of those times to do it where you can you know,
I think you can feel good if you're a fan
of Cynthia Rothrock, you're fan of all all the names

(02:32:40):
and here, fan of action like this and wanting to
see more of these kinds of movies come out and
less of the sort of you know, the cynical you
know Randall, Emmett Randall scandal kind of drivel kind of
stuff with you know, Robert de Niro sleepwalking through his scenes.
You know, if you want more of this kind of thing,
you got to support it, and you know, get out there,
you know, rent it, by it whatever. But you know

(02:33:00):
I rented this one. I think you know, and I
think you bought it right, you got.

Speaker 2 (02:33:04):
The I did, I did the pre order.

Speaker 3 (02:33:06):
Yeah, I mean this this is where it's you know,
if you've got you know, four dollars you know, to spare,
this is a good place to put it because you're
you're supporting something that you know, you know that four
dollars that you could put into anything. Right, when you
put it into this movie, you know, it helps her,
right or she's gonna get the joy. So you're gonna

(02:33:28):
enjoy this movie. But then she's also gonna get enjoyment
from seeing another sale, you know, for her movie.

Speaker 2 (02:33:33):
Oh yeah, no, definitely. And look it's only twelve nine
to nine to buy it, so yeah, point too. Yeah,
I mean, you can't even get a McDonald's mail for
twelve nine to nine anymore. So don't tell me that,
you know. And this is sort of something that my
friend always says, my friend Charlie Roxbar always says, and
I always think that he's quite true. You see all
this shit on Instagram, whether it's pottery people or woodworking

(02:33:56):
people or sculptors or artists or painters or whatever. Who say,
you know, when they have their Etsy store whatever, while
it costs so much because it's handmade, you know, and
they'll sell like one mug for two hundred and fifty
dollars you know whatever. Now, look, no begrudging them. I'm
not whatever. But what I don't understand is when you
you know, people will accept that. They'll go, well, it's

(02:34:17):
it's art, and he spent you know, five days painting it,
and you know, blah blah blah blah blah, and I
like the picture. Well, these guys spent like three weeks
making this, or just shive through two and a half
weeks making this. There were hundreds of people involved that
they had to pay feed, you know, put up for
the night, whatever, as well as make an entertaining movie

(02:34:40):
for you. And you're going to bulk at paying twelve nineteen,
twelve ninety nine for it. Like you buy that mug
and have everyone come around your house and be like, oh,
look I own one hundred and fifty dollars mug. It
was handmade by some bearded twazak out in Idaho, and
you know, was lovely filigree, gold leaf or something embedded

(02:35:01):
in the stuff, and look, good, good luck to the
guy selling the fancy mug. And I love the fancy mugs. Whatever,
but let's have some proportion. Don't roll your eyes at
twelve ninety nine. If you look at the one fifty
mug and go no. But he made it by hand. Well,
they made this by fucking hand, blood, sweat, tears, legs, eyes, tits, everything.

(02:35:23):
So you just, you know, pony up the twelve ninety
nine or if you really can't do that, rented for
four bucks and support a movie because you know, Cynthia
has put everything in this film and the least we
can do. And she's done it for the fans. Yes,
she's done it for herself, but she's done it for

(02:35:44):
the fans. This movie is for her fans, one hundred
and ten percent. It is for her fans. And therefore
we owe her, you know, our money. And like I say,
you can't even get a fucking burger and fries and
McDonald's for twelve ninety nine anymore now, and and.

Speaker 3 (02:36:01):
And the other thing is that you know she'll make
a sequel. The thing is, and it's not just that
she'll make a sequel because we put the money in,
But she can sell the idea of a sequel to
backers much better if we're willing to put the money in.
I think that's a big key, is that we we
can vote with our money. And I think all the
times that we complain about, you know, streaming services having

(02:36:22):
you know, too much stuff that we don't want or
removing things, pulling things, all that kind of stuff. This
is the way we vote. This is the way that
this is the only language that distributors and produce you
know whatever, you know that the industry understands is voting
with your dollars, and this is a great way to

(02:36:43):
do it. This is a way that you know, I mean,
to your point twelve ninety nine, I mean, you can't
go see a new release in the theater.

Speaker 2 (02:36:48):
For that much, you know, Well, I've done on Tuesdays, Okay.

Speaker 3 (02:36:53):
See, I do the morning matinees and those are like
twelve or those are like ten I think from me
or eleven. So so even like a morning mattinee. So
if I go at nine thirty in the morning to
see a movie like tweat usually do on a Saturday morning,
it's still only slightly cheaper than buying this movie.

Speaker 2 (02:37:09):
So that's a great point, right, Yeah, no exactly, And
just think of the money you fucking piss away on
things where you're just like, why did I spend five
dollars on that I just did? Oh well whatever, And
you don't think about it because you're just like, what's
five dollars? And someone else has listened to as being
like you privileged. Fuck, I think about every single five dollars,
And I get it, you think about every single five dollars.

(02:37:31):
I'm just saying a lot of the people who are
going to be renting Black Creek and I'm thinking about
every five dollars I spend. So I'm not trying to
be privileged or anything. I'm just saying, like, it's five dollars.

Speaker 3 (02:37:40):
Well, no, But I also think too. I think if
you're thinking about where your money is going, like where
where to put it? You know, four dollars for a
rental for this, it's going because the thing is I
always try to say with my books or you know,
with any any Indian that you support, when you put
the money towards that you're not only getting the thing

(02:38:00):
for yourself, but you're giving something to that other person.
It's one of the few things that you can do
that when you make the purchase, you're giving you know,
you're giving somebody else something.

Speaker 2 (02:38:10):
Do you think Glen Powell and Edgar Wright give two fucks?
How many people shared the fucking Running Man trailer today. No,
I don't give any fucks. They've already made that. Millions
said thank thank you very much, goodbye. Great. They don't
really give a fuck because The Running Man's gonna be
popular anyway, because it's Ben pal Paladin. It's Pal and

(02:38:31):
it's Edgar Wright, and people have a weird hard on
for both those people, despite them being not the talent
that they all think they are. Anyway, everyone was sharing
that trailer today. Every single person was sharing that trailer today.
I have shared almost only Black Creek stuff and Diablo
stuff for like the last few weeks. And again that's

(02:38:53):
the thing is, like we've said it before, but like
share your friends podcast, just share it. Share an indie
movie rather than a Hollywood blockbuster movie. Look, be happy
about a Hollywood blockbuster movie. Be like, yay, I'm really
glad they've remade The Running Man with Glen Powell. Be
really happy about that. I'm not been grudging you being

(02:39:13):
happy about well, actually i am. I hate you just
a little bit for being happy they remade The Running
Man with Glen Powell. There was a little bit of me,
but there's loss and respect in you. But in general,
be happy about uh, the running Man, but support Black Creek.
That's what I mean.

Speaker 3 (02:39:30):
Yeah, And I think you know when I when I
went to the page, you know, so when I put
my review up. One of the things I do whenever
I do my review is, okay, who else that's like
on the pod or that I'm on there, you know, whatever,
you know has sites, you know who else is reviewed it?
And you know it doesn't it's only got the nine
critic reviews. And you know, obviously the guys at Bulletproof

(02:39:50):
they're they're good about making sure they covered it. Was
actually it was Christy Petrollo who did it this time.
But you you also reviewed it on your site and
I did mine. There are a few others out there,
but yeah, it would be nice, you know. I think
we you know, I mean, I think, you know.

Speaker 2 (02:40:06):
On the other hand, did I postmine to so IMDb
takes it?

Speaker 3 (02:40:10):
I don't know how they find it, but they they
get it. So I know, for me, I always post
the IMDb link online. But I think that they just
they just find our reviews. They I don't, I don't
know how they do it, but they do.

Speaker 4 (02:40:24):
So.

Speaker 3 (02:40:25):
But yeah, I mean, you know, I think on the
one hand, I think it would you know it, you know,
like like whore making movies like this. I think if
you go out to the people who are reviewing your
other movies and say, hey, you know, here's the screener,
do you want to review it? You know, on the
other you know, because I think for me, like for example,
if she had sent me a screener, I still would
have made it a point to rent it as well,

(02:40:46):
just to support it. But you know the screener, I
could have maybe reviewed it before it came out or whatever,
but it would be nice. Yeah, I think you know,
you know, I think she probably didn't set out a
lot of screeners because he's only got the nine reviews.
And I think that that always helps to get the
critical reviews on there, because you get the links to
people like us who are big fans of this kind

(02:41:07):
of stuff, and you can get a kind of a
you know, somebody mentioned when I when I posted on
Blue Sky that you know, there was an account point
of impact publishing for you know, action books. They said
that they appreciated that. You know, Okay, there's a fan
perspective here that this is like Okay, you know, as
a fan of these movies, I'm a fan of these movies.

(02:41:28):
It's good to know what a fan thinks of these
movies because that kind of gives the the you know,
as fans of the you get that perspective, so you know,
going in like, Okay, this is not just some like
you said, some twast who's just like, oh, I don't
it's low budget and they've got fake blood, you know whatever. No,
people who appreciate these actors and want to see them
do well. And are you know, like the fact that

(02:41:51):
this is this came out so well.

Speaker 2 (02:41:53):
Yeah, and it has some really decent IMDb user reviews. Yeah,
I mean it needs a lot more ratings and it
needs a lot more, but the reviews that they've got
are really really good, and you know everyone is praising
her and her work as as they should. So yeah,
I mean, contribute to those reviews, you know, do what

(02:42:14):
you can, sharing stuff on social uh and uh yeah,
just just support it. Go go out of your comfort zone,
rent an indie movie, and enjoy it because there's a
lot to enjoy here and and any of the little
things you might uh you know, have niggles with that,
that's not comportant.

Speaker 3 (02:42:35):
No, No, I agree, Yeah, yeah, I think you know,
and the more we vote with our with our money
and our views and our streams and all those things.
The more that we vote with those things, the more
that the industry will will push more more, more more
product in that direction, more more content in that direction.

Speaker 2 (02:42:55):
Yeah. Indeed, indeed, what is this movie Vendetta vet?

Speaker 3 (02:43:02):
Yes, the thing has been floating around for like ten years,
like I think, I want to say, like like she
had that on her IMDb way back that and it's like,
I don't know if that movie's ever coming out. It's's
got this woman in like some like I think it's
like I think her body's almost.

Speaker 2 (02:43:15):
Like AI or like yeah, yeah, all the pictures look
AI old. Yeah shop.

Speaker 3 (02:43:20):
Yeah. This thing has been on her bio for years
and I don't know when it's ever coming out or
anything like that. I want to say, like in the
twenty tens, it was like early twenty tens that you know,
they were talking about this movie coming out. I mean,
it's one of the things that's plagued her kind of
two thousand's career. Is there's I mean, especially recently, like
twenty ten's, in the twenty twenties, there's a lot of

(02:43:42):
stuff that just hasn't been released here in America, right.

Speaker 2 (02:43:46):
Yeah. Also, look at the horrible Ai job on Prey
of Wrath. Yes, that's meant to be Cynthia Rothrock, And
well it looks like Tia Carrera SnO Carrera. It looks
like Ai Rothrock and Ai Ta Carrera. And I'm like,
you couldn't just take a picture of Rothrock. It's so weird.

Speaker 3 (02:44:08):
I mean, it's another reason why again, if we can
show people like Yah, stop giving her these like you know,
you know, five minute cameo scenes or these sort of
like I mean, Darkness the Man. She's in it for
one scene. You know, she's still bankable, and not just
to have her name on the tin as like a
bait and switch kind of thing, but like she's still

(02:44:29):
bankable to like be the lead in a movie and
and and carry the movie.

Speaker 2 (02:44:34):
Yeah.

Speaker 3 (02:44:34):
It's so hopefully they'll they'll, you know, more people will
will go in for this kind of thing.

Speaker 2 (02:44:41):
Yeah, definitely. And I'm glad to see her doing things
like The Last Kumute and Lady Scorpions, because even as
a cameo I feel like they're giving her more to
do than the regular people were.

Speaker 3 (02:44:54):
You know what, I mean, yeah, I agree, Yeah, for sure,
This Pray of Wrath is interesting because I'm looking at
some of the names here year I mean, Lewis Di
Stefano and Chrispinelli. They do a lot of ciner Ridge entertainment,
cinema epoch kind of movies like Gregory Hot Tanaka directly
out of Las Vegas, and so those are like these,

(02:45:15):
they're like like these low budget genre movies, like you know,
seventy five minutes long. There's some of them are a trip.
They're really good. I mean, I enjoy them. So it's interesting.
I don't know if this movie is kind of verging
on that territory. It doesn't say it's Sinnregi Entertainment, so
I don't know, you know, if these guys are just
kind of, you know, working at a different company for
a bit. But seeing those names, those are names I

(02:45:37):
recognize from some of those other movies.

Speaker 2 (02:45:39):
Definitely. No, I mean I want to check out as
many of them as I can. I really do, but
as you say, some of them are hard to find
until they crop up on Tubio Pluto or something. Yeah.
All right, man, well look that was fantastic. We covered
all three movies or certainly the two movies, and then
a bunch of other stuff. So that was great. Thank
you so much for that's a pleasure to to to

(02:46:00):
you this evening. Tell the listening several where they can
find you, what they can purchase, how they should support you,
all that good stuff, and then let us wrap it up.

Speaker 3 (02:46:10):
Yeah, so Dtvconnoisseur dot blogspot dot com that's the place
where you can find everything. So Direct Video Connoisseur that's
the site if you search us online. We've got the site.
We've got the podcast, dtv C podcast, the YouTube channel
starting to post videos up on there as well. And
then my novels, my most recent Nadia and Aiden. You

(02:46:31):
can get that on Kindle, Kindle Unlimited or in paperback.
But I alway appreciate if anyone wants to buy my novels.

Speaker 2 (02:46:38):
That's fantastic, fantastic, Matt, thank you so much, sir for
doing this new action rundown. I don't know when I'll
put it up, probably in the next couple of weeks.
And yeah, thank you ever so much, and we will
talk again soon, and all the best to Jen and
have a good week.

Speaker 3 (02:46:57):
Name all the best of kid, and yeah, have a
great night, and I'll talk to you soon.

Speaker 2 (02:47:00):
Take can every by now see it

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Season 2 - Ep 22 - Diablo, A Working Man and Black Creek - a new action showdown!

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Season 2 - Ep 22 - Diablo, A Working Man and Black Creek - a new action showdown!