May 13, 2025 • 53 mins
Think you’ve seen every ‘90s slasher? Think again. In this episode, I’m joined by Matt Fulton from the Champagne Comedy Podcast to revisit Cut (2000), Australia’s cult meta-horror that blends Hollywood stars, local flavour, and a killer with oversized garden shears.
We unpack the film’s highs and lows—from Kylie Minogue’s bloody cameo to the cursed movie-within-a-movie plot—and debate whether Cut is an underrated gem or just a curious footnote in Aussie cinema.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Pete (00:00):
Hi everyone.
I just wanted to pop in with abit of housekeeping before we
kick off this episode.
Just know that this episode wasrecorded very late last year I
think it was almost the last dayof the year and it's been quite
some time, which has passedsince I've had the chance to
actually complete edit and getthis podcast out.
I've been on hiatus pretty muchfor the first half of this year
(00:23):
almost and kind of getting backinto it again.
So I hope you understand thedelay and thanks for any
patience.
Also, moving forward, I justwanted to let you know that the
scope of the podcast will changea little bit over the coming
months and going forward, mostlyto occasionally, you know, talk
about some more, I guess,commercial films and films that
(00:46):
are interesting but notnecessarily Ausploitation based.
I think we'll still go back toAusploitation films from time to
time because I love watchingthose films.
So we'll still do that.
But we will start probably fromnext episode looking at some
more popular Australian filmsand I hope you'll enjoy that as
well.
(01:07):
If you have any comments,suggestions, please let me know
and hope you enjoy this episode.
Thank you, the Night Rider,that is his name, the Knight
(01:47):
Rider.
Remember him when you look atthe night sky.
Hey there, and welcome back toA Dingo Ate my Movie, the
podcast where we dive into someof Australia's most memorable
films, from timeless classics,cult favourites and today's hits
(02:08):
.
My name is Pete and I'm yourhost Today.
I'm excited to have Matt Fultonfrom the Champagne Comedy
Podcast with me as we explorethe Australian slasher film Cut.
Film Trailer Narrator (02:24):
It began as a class project.
We have to do a graduation film, right.
What better project than tofinish that film, to resurrect
an old film?
from oblivion.
That movie was a nightmare, sowhat you're saying is there's
some sort of a curse on thisfilm.
Now they've made an unexpecteddiscovery of a mysterious legend
(02:44):
.
Creepier than Friday the 13th.
More blood and guts than TexasChainsaw.
More sex than deep throat.
I'm sorry, I'm sorry you weredead.
That should never.
Who wants to make a mainstreamslasher movie?
See the light of day, don't goplaying with nightmares.
And action.
(03:05):
Who are you?
(03:41):
I never said this before, butI've always found you very
attractive.
Pete (03:45):
Hey , matt, how are you doing mate?
I am going good.
How are you?
Matt (03:50):
I'm good mate.
Yeah, you dragged me into thisone, didn't you?
Yes, I did.
Pete (03:54):
I did.
It was a bit late notice andeverything.
It was like, oh, can we do this?
Matt (04:01):
And yeah, luckily you came back and said sure, why not?
Yeah, and I said sure, and thenplease let go of my arm, yes,
All right.
Pete (04:09):
So Cut is an Australian slasher film with kind of a fun
meta twist.
It follows a horror film calledHot-Blooded, which was shot
down in the 80s when thedirector played by Kylie Minogue
, was brutally murdered on set.
Rumour has it that the film iscursed.
Anyone who tries to finish thefilm meets a violent end.
Decades later, ambitious filmstudent Raffi, played by Jessica
(04:35):
Napier, takes on the challengeconvincing the original star,
vanessa, played by MollyRingwald, to reprise her role.
But Vanessa's attitude and thecurse make things far from easy.
As filming begins, the cast andcrew are picked off one by one
by a masked killer wielding agiant pair of shears.
Is it the curse?
(04:55):
A crazed fan or something muchstranger, with Molly Ringwald as
a Hollywood star slumming it inAustralia, kylie Minogue in a
very brief and bloody cameo anda killer who seems to hate
filmmaking?
Cut is packed with campy fun,some over-the-top gore and a ton
(05:15):
of 90s slasher energy.
Interesting film, I thought.
Matt (05:20):
Well, confession I have never seen this film before
until now.
So I heard about it, read aboutit like every little bit in
peace, but had never actuallysat down and watched it.
Pete (05:34):
Oh, interesting, interesting yeah.
What did you think?
Matt (05:42):
Okay, you know, when things age like a bottle of fine
wine.
Pete (05:47):
Yes.
Matt (05:49):
Well, let's just say it's like, because it's Australian,
it aged like a bottle of Tooey'sNew.
Pete (06:00):
So it didn't really hit with you.
Matt (06:03):
It did and didn't at the same time, because overall like
it was great.
But then I was trying to getlost into the atmosphere, the
fantasy of it all, giving it abenefit of the doubt, because I
love Aussie films, obviously,but when you're trying too hard,
like it goes in and out of, outof.
(06:25):
Okay, we're trying to do ahorror flick, you know, inspired
by scream, um, and then asthey're going into it they've
they end up taking the piss outof themselves, but then it gets
a bit too much, especially whenit comes to certain wording,
when they're in one of themoments that they're doing that
(06:49):
screening in the student theatreand then you can tell how
Aussie it is.
When it's like, oh, you're afuckwit, it kind of like ruins
the illusion.
Pete (06:59):
Yeah, it's pretty fun that way.
There's a few instances I thinkI'll put it as a note for later
, but there's a few instanceswhere someone just says, oh,
fuck off, or something like that, and it kind of I don't know
why.
It made me laugh quite a bit.
Matt (07:14):
It's a very ochre.
It's like trying to do Scream.
But an Australian version ofScream should have been yell.
Pete (07:23):
Yeah, yeah, well, cut was released on the 23rd of February
2000 and was directed byKimball Rendell from a script by
Dave Warner.
More about them later.
It stars Molly Ringwald,jessica Napier, sarah Kantz
we've got to be careful sayingthat name Frank Roberts, stephen
Curry, who was in a few othermovies, one we're going to talk
(07:46):
about a bit later this year, andof course, kylie Minogue in a
bit of a.
I guess it's a cameo really,even though she's in the front
and centre in a lot of theadvertising.
Matt (07:56):
Yeah, it's kind of that misleading type thing where I
guess, when you look at themovies these days, you know the
director, film director videosand say you know, for obvious
circumstances with Bruce Williswhere he's featured front and
centre, but then he's only inthe movies for five minutes.
Pete (08:15):
Yeah, exactly yeah.
So this film, at its heart, islike a meta slasher, I guess,
and it sort of came out threeyears after the release of Wes
Craven's Scream in 1996.
The film is also a film withina film, as well as doling out
all the horror tropes thateveryone's come to love and hate
(08:36):
, whether it's successful in itsexecution is something we
definitely want to be talkingabout Now.
If you want to watch Cut, Ithink it's available to stream
on Brolly in Australia and Ithink it's available to stream
on Broly in Australia, and atthis time it's sadly out of
print in physical media, as faras I know.
I had a look on Umbrella's siteand it's still listed on the
site but it's showing as out ofprint.
But it can also be rendered onApple, google Play and YouTube
(08:58):
as well.
I think you've been watching iton Broly.
I was lucky enough to have theBlu-ray.
Matt (09:03):
Yeah, correct.
I paired up my Broly app to myTV and watched it from there and
had my dog sit next to me.
I saw the photo.
Yeah, that was legit, so I waswatching that.
And then after the first fewminutes, she's like I'm over
this.
Yeah, but I pursued.
Pete (09:24):
Before we get on to the film, I've got a few bits of
facts and trivia and junk.
So there's an acronym in thisfilm on the film cans, and it
says FARTs and it stands forFilm, audiovisual, radio and
Television School.
Did you notice that?
Matt (09:40):
I did not notice that.
No, okay, but I am a the properway of rewording that, which is
obviously taking the piss outof Australian film, television
and radio school.
I am actually a former studentof that school.
Pete (09:54):
Well, it is actually a.
They actually thought itthrough.
It is actually a spoof anagramparody of AFTAs.
Yeah.
Matt (10:03):
The fact that I do remember attending class in the
year 2005 and they were quiteproud of Cut Right.
I see the odd poster floatingaround.
I was in the radio department.
This is when the school was inNorth Wright, right Next to
(10:23):
Macquarie Uni, and yeah, this iswhere they were really
passionate about these thingsand yeah, I can see the parody
of it.
But it's like this is where weget the joke, but you keep
losing your identity.
Are you scary?
Are you meant to?
Pete (10:41):
be yeah.
Matt (10:44):
They were trying too hard.
Pete (10:46):
Again with the two is new yeah, also, as I mentioned
before, kylie minogue basicallyhas just a cameo in this film,
even though she's in theadvertising and her name's
pretty pretty much up there.
She apparently it was a plan tobe a bigger part but she was
having she had a lot of othercommitments and so they kept her
(11:08):
part small and you know, like acameo.
I had a look at her what shewas doing around this time.
So this movie was made around1999, early 2000.
Her seventh album, I think,called Light Years, was released
in September 2000.
So I'd say she was most likelyin pre-production and possibly
recording while they werefilming this.
(11:30):
So I would say that possibly iswhy why she's doesn't have a
big part.
There's actually a lot ofmusical connections in this film
which we'll get to.
But as an aside, that albumcontains spinning around on a
night like this and kids, whichare really big hits for her.
And also this movie came out acouple of years after she did
Street Fighter.
(11:50):
I don't know why I explainedthat one.
Matt (11:53):
I've got a copy of that too, and half of that was filmed
in Queensland.
Pete (11:58):
At Roadshow or whatever it is.
Is it Village?
Matt (12:02):
Yeah, on the Gold Coast.
Of course that I onlyre-watched a couple of weeks ago
, right right.
And I noticed a few of the baysin the area of the Gold Coast.
Pete (12:13):
Okay, you must have known you were going to be watching
this film.
Matt (12:17):
Oh yeah, I think it's just like a double dose of Kylie.
Pete (12:20):
Yeah, it was Molly Ringwald's first, and only maybe
, appearance in an Australianfilm.
It was also her second horrormovie, her first being Office
Killer, which I've never seen in1997.
I get the funny feeling shemight have taken this on because
in the interviews I've seen shesaid she loves Australian film
et cetera, et cetera.
But I'm sure a free trip toAustralia probably wasn't a bad
(12:43):
thing either.
Matt (12:44):
Yeah, and as you could see by the credits at the very
beginning and so forth, whoheavily financed this film being
Michael Gudinski's side.
Mushroom, yep, yeah, themushroom pictures.
Yeah, I think someone hadgreasy palms with that.
Pete (13:02):
They certainly did.
Speaking of music, so thescreenwriter for this, dave
Warner.
He wrote this script duringChristmas break one year.
He's also known for havingwritten the song Suburban Boy.
I don't know if you rememberthat song at all.
No, it was a minor hit in 1978.
I thought I had the single heresomewhere and yesterday I had
(13:22):
my box of singles out lookingfor it.
I went through every single Icouldn't find it.
Took me ages, but anyway, uh.
So Suburban Boy was a minor hitin 78.
Uh reached 31 on the Australiancharts, so not really high, but
a lot of Aussies around thattime know it.
And his album Mugs Game wascertified gold within a month of
release in the same year.
On another musical note, kimballRendell, the director, played
(13:47):
guitar and sang with Sydney bandXL Capris in 1978, and in 1981
was a very early member ofHoodoo Gurus and he left just
prior to the band's first album,stone Age Romeos.
He also worked as a music videodirector with clips for cold
chisel, the angels who do gurus,dragon and boom crash opera if
(14:07):
you've seen the cultures, ormusic video for flame trees and
you've seen his works.
He also worked with kylieminogue on a short film called
hayride to hell.
In 1995 if you have theumbrella blu-ray, the short film
was actually included as extrason the discs.
Actually not bad.
Had a had a look at that theother day as well.
He was also a second unitdirector on the matrix reloaded
(14:29):
and matrix revolutions and in2012 he directed the 3d disaster
shark movie, bait 3d, which I'msure we'll eventually get to on
this podcast.
I haven't seen that one.
Have you seen that?
Matt (14:44):
yeah.
Pete (14:45):
No, I haven't.
I love those movies.
I'm a sucker for those sort ofmovies.
On Rotten Tomatoes the criticsrating for this movie is 20% and
the audience rating is 26.
I'm kind of surprised it's thatlow.
I actually thought it would bea bit higher, because I know you
did.
(15:05):
But I kind of enjoyed it.
But I'm a slasher movie and ahorror aficionado so you know
I'm getting used to enjoyingcrap.
Matt (15:15):
No, but don't get me wrong , this was my first time
watching it.
I went in with sadly highexpectations, which was a big
fault, not a good idea, no, soand this is like years and years
of like knowing about the movieI tend to ignore prestige,
reviewers, critics, yep, andbecause, yeah, sometimes I just
(15:39):
don't gel with their idea of itall.
So I have a bit of an open mind, but this one I definitely will
be revisiting on a regularbasis because it is up there
with pure cheese, and I'mtalking bigger cheese.
So, yeah, it's definitely onethat I'll go back to down the
(15:59):
track and, yeah, I wish Iactually owned a physical
version of it.
Pete (16:05):
Yeah, you probably.
I mean, I imagine, if you keeplurking around, you know,
through stores and stuff likethat, you'll eventually find one
.
Matt (16:14):
I'm a regular now every Saturday morning at my local op
shop.
Pete (16:18):
Yeah so much.
Matt (16:21):
I walk in and there's one lady who volunteers there who
just goes.
Ah, you're back to the usual,are you?
I'm like, hey, I'm donatinghere.
Pete (16:31):
It'll turn up.
It'll turn up.
What's really interesting.
On YouTube I found a review ofthis movie by David Stratton and
Margaret Pomeranz and he gavethe movie a three, I think, out
of five, and she gave the moviea three, I think, out of five,
and she gave the movie a fourout of five.
Wow, she really enjoyed themovie.
Now, caveat in the review onYouTube she does know the
(16:57):
director, so I'm thinking thatthere's a little bit of you know
.
Hey, he's somebody I know.
He's a friend of mine, I'll be,uh, I'll be nice to him, sort
of thing.
But she gave decent reasons forliking the movie, so it was
quite interesting.
Matt (17:12):
Yeah, there is something in it, as I've said, but there
are moments where they lose theillusion.
Pete (17:20):
If we look at this film, if we start looking at the
similarities, I guess isprobably the best way to start
looking the the similaritiesbetween this movie and scream,
which I'm pretty sure it waslike a big influence in making
this film, and actually I thinkthis movie is somewhat more
similar to scream 2.
Right, have you got muchhistory with the Scream movies?
Matt (17:43):
I've seen 1 to 4.
Okay, so, yeah, so I think thisis sorry.
Pete (17:48):
I was just going to say I think this is a little bit
closer to Scream 2 in some ways.
Matt (17:52):
Well, I think it's a combination of both.
So, with the setup of the intro, the way that it's designed,
it's more or less the what'syour favourite scary movie type
thing, or, you know, the DrewBarrymore intro type thing.
It's more like what's yourfavourite pizza, your pineapple.
(18:14):
So it's like, yeah, so it's.
And then once that openingscene, which I'd say is a parody
slash, homage to the Screamopening, because you know, in
Australia we don't do Jiffy Popon the stove.
Yeah, we make two-minutenoodles.
And with that, that's when theyswitch it into that Scream 2 of
(18:37):
.
Pete (18:37):
Ah, it's a movie, yeah a movie within a movie, sort of
thing.
Matt (18:41):
Yeah.
Pete (18:42):
Yeah, the other movie that it reminds me of a little bit,
because it's a little bitdifferent to other movies in the
slasher genre, mainly by virtueof the killer being like some
sort of supernatural entity thattakes their power from the film
itself, right?
So the only other movie I canthink of that is probably
(19:03):
similar is another Wes Cravenfilm called Shocker.
Have you seen that?
Matt (19:07):
No, but I am aware of it.
Pete (19:08):
Yeah, it was in 1989.
So there might be some others.
But I'm just trying to think ifthere were others like this, in
the sort of like the slashergenre.
But it seems sorry, Shockerseems to be the closest I can
think of.
Matt (19:24):
Yeah, and every time I do think of yeah, and like every
time I do think of other moviesthat have a similar trait to it,
where it is attached to thatphysical film type thing.
Yeah, they tend to be a bitmore modern after cut, but every
time I throw it back to it Ithink like there are moments in
it where I do think it's payinga little homage to the style,
(19:47):
the make-up, I guess, ofNightmare on Elm Street with
Freddy Krueger.
Oh yeah, We'll talk about thata bit later.
On.
Yeah yeah, but yeah, there arejust those moments or kind of
like a voodoo doll-typeattachment.
I'm sure there's a Stephen Kingmovie that's like that or where
there is that whole destroy theitem to kill off the spirit.
Pete (20:11):
Yeah, yeah, yeah.
It's one of those things likeit's obviously a curse, right.
Yeah, yeah it's interestingseeing Stephen Curry in this
film.
He plays one of those sort offunny characters you see in a
lot of these sort of movies.
Right, he's the funny guy.
It's really funny seeing him inthis and then seeing him in
something like the Castle.
Matt (20:30):
He's kind of like the Jamie Kennedy of the movie yeah,
that's it, that's it, that'sperfect, yeah.
So he kind of adds that whole,don't take it too seriously.
It's like, oh, you know, getover it, it's fine, it's just a
movie or whatever, especiallythe part where they're filming
outdoors late at night and thenlike he's having a piss and then
(20:51):
that kind of is like he'smaking fun of it.
Pete (20:55):
Man, that piss.
That's a thick stream.
Oh yeah, I'm like someonebehind him with a hose or
something.
Matt (21:04):
Oh, yeah, and, but how he just carries on while he's being
startled by oh, our scary guywhich is Scarman, yeah, and gee,
I wonder where they got thatname from.
But yeah, there are justmoments Stephen Curry is one of
them where he is the comicrelief but also can do a serious
(21:27):
line or two if need be.
Pete (21:30):
Yeah, yeah, that's true, that's true.
Matt (21:32):
I also felt like that his parts were a little bit
improvised A little bit.
Pete (21:38):
Yeah, I think there might have been a little bit of
improvising across the boardmaybe I actually thought the
performances were pretty good onthe whole.
I didn't think.
I think I kind of think MollyRingwald wasn't too bad, but I
still do think she was maybeslumming it a little bit and
(21:58):
just sort of getting a paydayand a trip to Australia, maybe.
Matt (22:01):
Yeah, I'd say it's more or less the going into the theater
to preview the screening of hotblooded, where he, her
character, as she's coming inand straight up, who's smoking
in here.
It's like thinking I'm going ohyeah, you really are acting
like that.
(22:21):
I guess that's the purpose ofthe character, but it was just
too over the top or it wasproper, but then because of the
Ocker Aussie, it's like, oh,she'll be right, mate, type
comparison.
Pete (22:40):
Yeah, she does say there's a whole stack of like small
interviews with a lot of thecast on the Blu-ray and she kind
of says that she enjoyedplaying a part that is nothing
like her in real life, like Ithink she was also trying to say
she's not a bad person.
Matt (22:55):
Yeah, trying to slam it up and be a bit more over the top.
Pete (23:00):
Yeah, absolutely yeah, I thought she was pretty good in
all in all.
Um, yeah, I thought she waspretty good in all in all.
Um, I actually thought the like, uh, the character of is it
raffi?
Um, I kind of liked.
She's the director, I kind ofliked her.
She's probably one of the onlypeople in the movie that have a
(23:22):
little bit of an arc and alittle bit of like a.
You know there's a she herrelationship.
It's spoiling everything, right?
So it turns out that she's thedaughter of hillary jacobs, of
kylie minogue's character at thestart.
Did you pick that up right?
Matt (23:40):
yeah, yeah, they mentioned that.
Pete (23:41):
Yeah, and there's there's a couple of hints.
There's a hit at the startwhere she's said can you hear a
voice, can you hear a voice?
And it's kind of like she'ssaid can you hear a voice, Can
you hear a voice?
And it's kind of like she'sexcited that she's heard a voice
, sort of thing.
And yeah, it's not a bad arcand she's not a bad actor, right
?
I don't think there was anyreally bad performances except,
oh, the guy, what's the actor'sname?
(24:03):
The guy in the screening room,the projectionist.
Matt (24:07):
Oh, I know the real guy's name, yeah he's terry or more,
that's it.
Pete (24:10):
That's it.
He's really good.
I've seen him well.
Matt (24:12):
He's in a lot of stuff yeah, so it just feels like
godinski's just gone.
Uh, oh well, I like the castle.
Oh, you know, I'll get stephencarrey and uh terry or more, to
come on.
It's like, oh yeah, it's cut.
The horror comedy movie that'salso the spirit cousin of the
(24:34):
castle.
Pete (24:37):
But his character is pretty good.
He was like this sleazy kind ofprojectionist kind of guy that
had all these you know says alot of stuff and very, very
clichéd.
You know, up in his projectorroom he's got all the girly
posters and all this sort ofstuff.
Matt (24:53):
You know what would have been brilliant If they
incorporated Bruce Spence astheir projectionist straight out
of Hercules Returns.
That would have been the icingon the cake.
Pete (25:04):
Bruce Spence would have been a good projectionist in
this movie.
Yeah, he would have been a goodprojectionist in this movie.
Yeah, he would have workedreally well.
Matt (25:08):
Use his character in that.
That would be very meta yeah.
Pete (25:13):
But yeah, I thought it was good.
I thought the dialogue, youknow, as I mentioned before, was
funny.
I don't know why, but thosecouple of exclamations of I fuck
off and that sort of stuff kindof made me giggle.
Some of the jokes didn't land.
Yeah, I didn't think.
I thought one part I wanted totalk about was the effects.
I actually think the effectsare good in this and the some of
(25:34):
the kills are quite good,especially like the detective
gets pushed in the back by thekiller and trips down the stairs
and is impaled on the gardenyeah, and scarf man had the
courtesy of you know, turning onthe tap to wash away the blood
but also close her eyes and amouth close her mouth.
(25:55):
Yeah, yeah, yeah.
So that was good to drown.
The beheading was done prettywell.
Matt (26:04):
I thought that was quite good yeah, so that a lot of it,
um, I guess for its budget, um,or just being a low, uh budget
slasher film, it did pretty goodand it has somewhat stood the
test of time.
When you, when you especiallydon't have any major cgi stuff
CGI stuff back then and thereare moments where, when they
(26:28):
eventually explain by theoriginal director of Hot-Blooded
saying that Scarman is thespirit of the film, so it's like
they're just trying to explainoh, this is why he's around.
And then when it's on fire orjust where there's other bits
(26:53):
and pieces going on being shotor coming down jumping down from
like a second story, yeah, butall the blue screen behind it
and everything and I'm going, ohall, right, here we go.
But then when Skyman's talking,it's very, very ochre.
Pete (27:11):
I've got a note about that .
So, like, one of my criticismsof this film is that the killer
Scarman, once he takes the maskoff and everything, should never
have opened his mouth to speak,because they try so hard to
make him like an Aussie FreddyKrueger, yeah and he ends up
(27:32):
sounding like some guy you runinto down the pub an outback pub
or something yes, like that,like you know, and that line
doesn't make sense.
The whole line about, uh, Imight have missed something, uh,
but the whole bit about youknow, I'm just a family man
(27:52):
who's come here with my familyor something like that.
I remember it's stupid.
I didn't make any sense of thatand I just found that every
time he opened his mouth therewas no impact in what he said,
because of his accent, I guess,and maybe the actor, I don't
know, he didn't really sell it.
Matt (28:10):
It was more or less like dialing it in, but it would have
been more impactful if, sayScarman would go aye, you fucked
cunt.
Pete (28:19):
Yeah, something like that right Right.
Something like that.
Matt (28:22):
But they could have distorted his voice a bit more
or make it more deep andimpactful, but it doesn't sound
like that.
They re-recorded it ADR styleor anything where you know out
of screen where they've got theproduction or the EQ on it.
It sounded like really raw onset.
(28:44):
Yeah, it wasn't toointimidating.
Pete (28:46):
No, it was just like you were talking to your mate in the
pub yeah, yeah.
But it would have been great ifhe'd sort of said I've got you
now cunt, or something like that.
Yeah, that would have beenfunnier.
The other thing about this film, I guess, is that I know
there's stakes in this movie,but there's no, doesn't seem to
(29:08):
be, any real suspense in thismovie.
I didn't feel like there wasmuch suspense in this film.
You know, like that really camethrough.
I just feel like the suspensewasn't really there.
The music was good, but I don'tfeel like there was a lot of
suspense.
It didn't feel scary.
You know it was still a slasherfilm, yeah, but it didn't have,
I don't know, a lot of thestuff you would expect yeah, it
(29:30):
was a bit tough.
Matt (29:31):
You know, especially, um, when kylie's character is being
killed off within the first 10minutes.
And then you know when she'sbeing threatened by scar man and
saying if you do anything oryou get too close or whatever,
you know I'm going to scream andhe's going how will you scream
(29:51):
if you don't have a tongue?
So snip, snip with the weapon,which is a bizarre weapon too.
It's like a huge shears orwhatever, with like a circular,
like a loop type thing.
It's just like a combo of twoor three tools in one where it's
(30:13):
like oh, you can't get thatdown at Bunnings, can you?
Pete (30:15):
No, I don't think so.
Matt (30:16):
No, imagine if that's what they should have done.
Well, I guess Bunnings didn'treally exist back in when that
movie came out, so they wouldhave had to do some integration
with bbc hardware might attendhardware house and go where you
can actually click.
You know it'll be.
(30:36):
There'll be an awesome tool toattack your garden with, because
it's guaranteed to kill humansand also the weeds in your
garden.
The tool was quite interestingbecause it was it was a
combination of like a long pairof shears and like a I can't
remember the tools call butthere's like a tool for cutting
thick branches and stuff likethat but that circular part, the
(30:58):
half a circle in it, and yeah,anyway, they could show that
that's part of it is when uhscar man reaches out to stab
someone or slash and just to say, oh, it's like an arm cut or an
abdomen cut, it's like, oh, sothat's the only part it's good
for for that just slightly outof reach attack.
(31:19):
But hey, I'm going to cut you.
Pete (31:22):
Yeah, yeah, it's good.
It's good Trying to think ofmore stuff to talk about with
this film.
Matt (31:27):
I was going to say that tongue that was shown.
Oh, kylie's good, it's good.
Trying to think of more stuffto talk about with this film.
I was going to say that tonguethat was shown.
Pete (31:31):
Oh, Kylie's tongue.
Matt (31:31):
Kylie's tongue had a long future ahead in a Toohey's Extra
Dry commercial.
Pete (31:37):
I remember that ad.
Matt (31:39):
You know that bush me.
Pete (31:40):
Yeah, that's right.
Yeah, that was a great ad.
They should bring that one back.
That was good.
Matt (31:45):
Jessica Napier who plays the daughter.
She was fantastic, so she tookthis role very seriously.
It was just all the murders andthe cast being killed off one
by one, the fact that when theyrevealed that, it's like a
piss-weak excuse, oh, scarmanonly exists because he's the
(32:08):
combination of all the evilspirits behind the making of
Hot-Blooded and you go all right, this is no Amityville
horror-type thing where it'sbeing possessed.
So if it's just Hot-Bloodedimagine listening to Hot-Blooded
by a foreigner so it's got a.
(32:28):
I hate to know the making ofthat song.
If there was any horriblenegativity in the studio In the
studio yeah.
Yeah exactly.
Pete (32:37):
I actually think they got the title all wrong.
This title shouldn't have beencut.
There's twice or three times heuses the term now you die and
I'm like that would have been amuch better title for the movie.
I suppose cut works, but maybenow you die and I'm like that
would have been a much bettertitle for the movie.
I suppose Cut works, but maybeNow you Die would have been
better than Hot-Blooded.
Matt (32:52):
Yeah, because.
Pete (32:52):
Hot-Blooded's a pretty shit title for a horror movie.
Matt (32:55):
Exactly, but then again it is a parody.
Pete (32:58):
It is a parody.
Matt (32:59):
Yeah, and I just love the cheesy 90s font of the
Hot-Blooded stuff that you seeon dirt-cheap DVD covers.
Yeah, and also.
Pete (33:12):
Yeah, that font was terrible.
Matt (33:14):
Yeah, but Molly Ringwald, the American star which just
dialed in from the obviously sheneeded the money had a holiday,
as you mentioned made anappearance on Good News Week to
help promote.
Pete (33:26):
I saw that.
I saw that when I was havingcoffee this morning.
I watched that.
Thank you for sending thatthrough.
Matt (33:30):
That's okay.
But she just knew that, hey,I'm going to be here, I'm
friends with Michael Gudinskiand let's just do a thing.
And you could just tell thatshe knew that it was going to be
bad.
But when there's scenes such aswhen she's driving the car in
the cemetery and the whole onepart trying to get the car to
(33:54):
roll forward and then she keepsbunny hopping and goes oh, the
steering wheel's on the wrongside, whatever, but the fact
that her character was broughtback to continue to finish the
film, she has aged gracefully,because when you got someone who
(34:16):
is like that 10-year gapbetween 10, 12, was it 10 or 12
years later after the original10?
Pete (34:24):
years, I think.
Yeah, so she looks exactly thesame as she did 10 years
beforehand although I think theytried to make her look a lot
younger and my wife picked upmay picked up that the scenes
with her at the start of themovie, when she's playing the
young girl, they're kind of veryfuzzy and and kind of like, oh,
it's a good way of kind ofhiding that she's not as as
(34:46):
young as she's supposed to be inthe movie.
You know, yeah, we've seen thisa lot.
As an aside, we've been workingour way through SVU, you know
that American show, the New Yorkone.
It's really interesting becauseobviously you can't have
children playing a lot of theseolder parts and there's people
in the movie that are supposedto be 17 or 18 years old, that
(35:07):
are obviously about 25 or 26.
Matt (35:09):
it's a bit like all those horror movies right, where
they're supposed to be teenagersbut they're all in their
mid-20s I give them credit forone of the murders of uh, one of
the um cast members um, whenthey're in the shed and there's
the threat of the axe, the woodsplitter.
Pete (35:26):
Oh yeah, that was good.
Matt (35:28):
Yeah, so eventually you just see the gory death off your
off screen, but you just see abig splatter of blood against
the window.
Yeah, okay, cool, that's good.
Pete (35:41):
Yeah, I like that because I'm thinking okay, that effect's
probably too hard for them todo and also might not have got
past the centres right.
So I think that's one of thoseclassic scenes where your brain
fills in all the gaps muchbetter than the film could.
Matt (35:56):
Yeah, Just seeing the splatter of blood, yeah, but
what about in the kitchen,though, where the girl's going?
Oh no, please don't.
You know, running around thekitchen bench type thing, trying
to attack each other with thecast iron pan.
Oh yeah, yeah, you know, scarman cuts her on the arm like a
deep cut but still manages tothrow her arm around without it
(36:18):
falling off, and then getscornered trying to open up the
door but can't escape.
But so, out of being freaked,freaked out, screaming her head
off, and from the other side ofthe kitchen he throws his giant
stabby tool and, you know, getsher right in the.
(36:38):
Yeah, just, it was a hatchet itwas a hatchet right and yeah,
and just impales, oh oh sorry.
Yeah, the hatchet, yeah, butit's like you had that time to
dodge, you know.
You just decide to stand thereand scream and there's a high
chance that he's not going tohit his mark or you might get
(36:58):
hit by the handle.
But it's like, if you know, youdo that natural flinch, it's
like, oh shit, and then swingyour body to the side or
whatever, but that's a horrormovie trope.
So yeah, so I'm now pointingout all the major flaws.
It's all.
It's always good in hindsightit is.
Pete (37:16):
I just don't know how she managed to get impaled on the
door with her feet, leaving theground with a hatchet.
There's no way that hatchetcould have got through her whole
body and then hit the doorstrongly enough that she could
stay impaled.
Matt (37:34):
I'm sure that hatchet was from Demtil.
Yeah, probably.
Wait, there's more steak knivesthan a hatchet.
Pete (37:40):
But it is a good look.
I mean, I always had the samesort of thought, as much as I
love the scene in.
You've seen Halloween right,the original Halloween when
Michael Myers impales I thinkthe actor's name or the
character's name is Bob on thewall in the kitchen with a knife
and I'm like, no, I don't knowif that knife would really hold
his body up, but anyway,whatever, it looks cool.
Matt (38:03):
Go all Mythbusters on it and get a butcher's appraisal on
it.
It's like, yeah, I don't thinkthat's quite right.
Yeah, and then also thedirector of the original,
hot-blooded when he gets impaled, you know, through the neck,
but he's still alive a bit lateron, as Jessica Napier's burning
(38:24):
all the film On the two policeofficers it's perfect to protect
and you're shooting the firstpolice officer you know waste
all the rounds in the body.
It's like go for the head, gofor the legs, do the Ned Kelly
and leg him out.
But no, it's just like ha-ha,I'm about to die.
Pete (38:44):
He just stood there and laughed at it.
Yeah, it's like, oh yeah.
But on the guy, I don't thinkhe was the director, he was like
the he was now.
He was their lecturer orsomething at uni at the film
school.
Yeah, and I think previously hewas Vanessa Molly Ringwald's
(39:05):
character uh, assistant on thefirst film yeah but he gets the
spear through the neck and then,then he actually pulls it out.
Oh yeah, so wow.
So I asked my wife, who's anurse is this possible?
Right now she may not know, butshe was like, well, if it
(39:25):
didn't hit any major arteries orit didn't hit anything major in
there, it's quite possible youcould pull it out and not bleed
to death, right?
Matt (39:34):
Yeah, I can see that because that's the straightaway.
I thought of that.
I actually put my hand to myneck going, you just pulled it
out and your arteries there's afew arteries in there, yeah, and
there have been stories wherepeople have been attacked or
whatever, or had their injuriesimpaled on their neck and then
managed to survive.
Pete (39:52):
Yeah, yeah.
Matt (39:53):
Because it's missed every major artery.
So that's impressive, the factthat he's pulled it out, thrown
it against Scarman.
Then he still has the energyand maintenance to keep throwing
the films into the fire,because the only way Scarman can
be destroyed is destroy thefilm and man.
(40:16):
That stuff takes so long toburn.
Pete (40:18):
Takes so long to burn.
I'm thinking she's throwing itin the car that the guy was in
as well.
Matt (40:24):
Yeah, exactly, exactly so, and yeah, it's just, it's funny
.
Yeah, it just, I guess, iswhere all the rest of the money
they go.
Oh, we better just use up allthe budget and went into a face
melt of Scarman.
So looking like a gone from aFreddy Krueier down to a street
(40:49):
type look of a melting candle ofthe guy in robocop that gets.
Oh, yeah, yeah exactly that'sright I think they're going all
right.
Pete (40:56):
We've got to juice up the horror a little bit, yeah I
thought it was all right, thoughI think there was a bit of
there was a bit of opticaltrickery in there and a bit of
other stuff, but I thought itwas all right.
I thought it kind of worked abit.
It would have been better if,when he was on top of the
director, her character, if hedripped more on her, it would
have been more gross.
Matt (41:17):
Oh yeah, and gets like permanently scarred or whatever.
Pete (41:20):
Yeah, it would have been a bit more, it would have been a
bit better that way, but youknow, it was fine, it was
totally fine.
Matt (41:25):
Yeah exactly.
Pete (41:27):
And then, talking about the end of the film, we've got
this little epilogue at the endwhere you know you get these
stories that come up on thescreen about how Vanessa's, you
know, recovered from this andthis guy's recovered from this,
and they go and visit Vanessashe's only in hospital and you
think it's a happy ending.
And then they have thistagged-on ending where it has to
(41:50):
be in America, because it'slike all these buildings and
there's snow everywhere.
So it's obvious, they make itso obvious that you're not in
Australia anymore.
And they've got another printof this film from God knows
where and that's how the filmends.
They're showing the film andjust as the film starts, the
woman that's presenting it sitsdown and Scarman appears behind
(42:10):
her and we get like a freezeframe ending.
Matt (42:13):
Yeah, but they emphasise oh, it is definitely the only
copy left.
Pete (42:21):
Yeah, but then there's another one.
Yeah, piracy Must have beenpiracy.
Matt (42:26):
Yeah, have you ever bought or rented a film?
Pete (42:29):
it wasn't quite didn't seem quite right.
This film didn't seem quiteright, yeah, so yeah that's what
they should have done withthose.
Matt (42:37):
Uh, the warnings, that's like at least scar man on you.
That's what they should havedone.
Starman would have been moreintimidating if they had Steve
Britton do the voice.
Pete (42:55):
You wouldn't steal a can of film.
Matt (42:57):
Yeah.
Pete (43:01):
The other thing.
I thought the music was okay.
In this there's obviously a lotof rock like heavy rock music,
and I'm assuming that all themusic on this were all Mushroom
artists at the time.
Matt (43:12):
Straight out of Liberation music.
Yes.
Pete (43:14):
Yeah, absolutely and obviously at the start.
We've got a Crowded House songright at the beginning of the
movie and I think they wereMushroom artists, am I right?
Matt (43:22):
Oh, Split Ends, Split Ends not Crowded House.
Pete (43:24):
Split Ends, split Ends.
I forgot how.
Matt (43:25):
Split Ends, sorry.
And then there's a GrooveTerminator song.
Here comes another one.
Pete (43:29):
Yeah, so they're all, obviously, you know, mushroom
artists.
Matt (43:33):
But I do like the way that they wrapped up in the closing
credits where suddenly the moodchanges to Apollo 440 can't stop
the rock.
I'm going oh, there's athrowback.
I'm going, yeah, that doesn'treally suit the style, yeah,
yeah.
Yeah, that doesn't really suitthe style, but yeah, yeah, yeah,
any.
Uh.
Final thoughts on the film purecheese and uh, first time
watching it I actually gave itone and a half stars on my
(43:55):
letterboxd, but I will revisitif I want a good laugh.
So it is a um, it's a niceentry into those cheesy,
osploitation-esque type Likeit's proud, right next to them.
So kind of like oh, what's themovie?
(44:16):
The one that made me laugh wasTurkey Shoot, so I'd say it'll
be right next to that whole thebudget of the animatronics and
the violence, the gore, thegraphics of an 80s film in a 90s
story.
But trying to I was trying towrap it up to the noughties type
(44:41):
thing.
But yeah, I'll watch it againjust for a good old laugh or
something not to take seriously,maybe if I have a few drinks
with it too.
Pete (44:52):
That might help yeah.
Matt (44:53):
Yeah.
Pete (44:53):
For me it's a bit of an underrated slasher.
I think it had an interestingstory.
Oh, hang on, he's going to saysomething else I do apologise
for that clap.
Matt (45:02):
That's all right, I just realised it's on par with
Houseboat Horror.
Pete (45:05):
Oh, there you go it's on par with houseboat horror.
Oh, there you go, there's thelink.
Yeah, there's the link.
Matt (45:10):
Houseboat horror is a little bit worse, yeah, but I'd
say that it's like a 90shouseboat horror when it comes
to the ghoul now.
Pete (45:15):
If they just could have got gavin wood in there.
Oh, he had the connections hecould have been.
Matt (45:21):
He could have been the projectionist yeah, oh, you'll
watch this movie, you'll bar barup You'll bar up.
Anyway, Sorry everyone if everytime I come onto this podcast
and I always drop a Gavin Woodreference.
Pete (45:36):
So yeah.
So, as I was saying, it's a bitof an underrated slasher for me
.
It's got an interesting storycharacters.
You know I'm watching for theduration of the film.
Kills are done well, mollyRingwald rises a little above
phoning it in.
Um, it could be a bit moresuspenseful and have a few more
scares, but overall it's apretty competent slasher that
(45:57):
most fans of the genre willenjoy.
So I gave it three directorstongues out of five.
Oh nice, yeah.
So it's funny because when I Ihad seen this obviously before
and logged on Letterboxd beforeand I had it at two and a half
and when I watched it again Iwas like no, this is a three for
me.
Matt (46:14):
I'd say, once I get more comfortable with the film I'll
probably bump it up to maybe atwo star or two and a half, but
for right now one and a half,until I loosen up a bit about it
.
Pete (46:26):
I also think a lot of these films, like it's always,
if you're a bit of a fan of thegenre, you kind of enjoy them a
little bit more and you kind of,if you're a horror fan, like I
am, in general, you're a littlebit more what's the word not
accepting, I suppose a littlebit more accepting of sort of
(46:47):
stuff that's not done so welland pretty much you know, if you
watch a lot of horror, youwatch a lot of shit and you know
to get to the good stuff you'vegot to watch a lot of shit, and
some of the stuff that lookslike it's a lot of shit is
actually quite good.
So you know it's worth a watch.
Matt (47:08):
You know what I just realised?
The most disappointing thingwhen we're talking about the
music, right while Kylie Minoguewas in it for 10 minutes and
was the main point of the movie,there's not one Kylie Minogue
song in.
Pete (47:27):
Which is interesting because, like she's a mushroom
artist or she was at the timeanyway- yeah, exactly.
Matt (47:33):
So I guess it's like one or the other have me for 10
minutes or have a song, orlicense a song?
Pete (47:39):
Was she even in it for 10 minutes?
Matt (47:40):
really, yeah, I'm clutching at straws there.
Pete (47:44):
I think she's like in maybe three minutes, four
minutes.
Yeah, like not much, but anywayshe has a go.
Matt (47:52):
Yeah, good on her.
Pete (47:54):
Good on her, she did it for Gudinski.
Yeah, exactly, anyway, sothat's cut, matt.
Firstly, what are you up to,and with both your podcast and
your website?
Matt (48:07):
Well, first of all, podcast Champagne Comedy podcast
talk about anything Working Dogrelated, reviewing their
projects and stuff.
When you're listening to this,we're recording it on the final
day of 2024, but we will.
The Champagne Comedy Podcast isreturning for 2025 and we start
(48:30):
reviewing Season 3 of Frontline.
So that starts in February 2025.
And if you're listening to thisway after that time, then we
have reviewed Frontline Season 3and probably more stuff, and
also my Geek Culture.
It's just mygeekculturecomau.
I've got to make sure I plugthat properly.
(48:52):
It's just random content oftrying to be of Australian
content.
Really Recently, I documented atrip to the US, did you?
Pete (49:03):
really.
Matt (49:06):
So it was quite fun bumping into an Aussie as well
who loves his Aussie films there.
So I ran into him in Las Vegasand, yeah, he was from Melbourne
, I can't remember his name.
So yeah, and a few otherpodcasters as well, which I
plugged Dingo, ate my Movie aswell.
So apparently I'm good friendswith Steve Irwin and Paul Hogan.
Pete (49:26):
Oh, really, that's what all Americans think about
Australians.
So yeah, I'm good friends withSteve Irwin and Paul Hogan.
Oh, really, that's what allAmericans think about
Australians.
Matt (49:30):
So yeah, I'm doing that, but this year or the new year
with my Geek Culture, I'm tryingto.
I'm planning to recap some notpodcast form but in written form
some stuff with some Australiancomedy TV shows which are
really popular.
I won't mention the names, butif you go to the website,
(49:50):
bookmark it, you'll start seeingarticles popping up eventually.
Pete (49:54):
Good stuff.
Well, thank you so much foryour time, matt.
It's great to have you back onagain Now.
I know we're working on a bitof a project for the future and
hopefully we'll get thathappening fairly soon.
It was going to be today'sepisode until I forgot that we
had discussed we had discusseddoing it as like a joint venture
kind of thing that we areworking on that.
Let's release it separately,but I forgot about it too.
Matt (50:17):
I just you will do this, and then it's like yeah then I'm
like, oh yeah, that's right,yeah, yeah, so it's usually that
we're keen on doing it.
Pete (50:24):
We'll get it done.
We need to get it done, so, sowe need to do it, because I was
going to put I wanted to put itout this year, so we'll have to
do it this year.
Matt (50:31):
So uh, it's a hint, pete will eventually uh feature on my
podcast for a particular thingso that's, there's a, there's a
hint.
Pete (50:39):
Yes, yeah, telling you dream it yeah anyway.
So thanks so much for coming onand look forward to having you
again in the future.
Might I'll try and find abetter movie besides the one
we're going to do together.
I'll think of a try and find abetter movie.
Matt (50:53):
It wasn't a bad movie, it was so bad, it was good Well
it's good, but then now, themore that I talk about it, the
more I'm really starting toappreciate it a bit more, and
I'll lie if I say I'll try towatch it tonight.
Pete (51:05):
No.
Matt (51:07):
Well, maybe if I start watching it at about 11.30
tonight, New Year's Eve, andthen continue watching it until
the new year, then I've watchedthe movie over two years.
You could say that.
Pete (51:20):
Yeah, or you could do one of those weird things where you
try and time it.
Matt (51:25):
that Kylie Minogue's character gets murdered on the
stroke of midnight or something.
Oh, perfect yeah.
Pete (51:29):
Yeah, excellent.
Thank you so much, matt, forcoming on.
Thank you very much, peter, andwhen we return we'll talk about
what's coming up next.
Matt (51:40):
And now preview time.
Pete (51:47):
When it comes to entertainment, you can't beat a
good film, so let's take a lookat what's coming your way.
In our next episode, I'm joinedagain by Tab and we'll be
talking about 1994'scomedy-drama Muriel's Wedding.
You're terrible, muriel, reallylooking forward to that one.
Thanks for listening to thisepisode of A Dingo Ate, my Movie
(52:12):
.
If you enjoyed this episode,please don't forget to rate and
review the show on ApplePodcasts.
It really helps more peoplefind us.
You can also find more episodesand info over at dingo movie
pod dot com.
We're also on socials Blue Sky,facebook and Instagram under
Dingo movie podcom.
We're also on socials blue skyFacebook and Instagram under
dingo movie pod.
Are you interested to hear themusic from the films we talk
(52:35):
about?
Check out our playlists onSpotify and Apple music.
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Buy me a coffeecom.
Dingo movie pod.
Thanks again and I'll see younext episode.
Cut, cut, cut, cut it cut.
Hi everyone.
I just wanted to pop in with abit of housekeeping before we
kick off this episode.
Just know that this episode wasrecorded very late last year I
think it was almost the last dayof the year and it's been quite
some time, which has passedsince I've had the chance to
actually complete edit and getthis podcast out.
I've been on hiatus pretty muchfor the first half of this year
(00:23):
almost and kind of getting backinto it again.
So I hope you understand thedelay and thanks for any
patience.
Also, moving forward, I justwanted to let you know that the
scope of the podcast will changea little bit over the coming
months and going forward, mostlyto occasionally, you know, talk
about some more, I guess,commercial films and films that
(00:46):
are interesting but notnecessarily Ausploitation based.
I think we'll still go back toAusploitation films from time to
time because I love watchingthose films.
So we'll still do that.
But we will start probably fromnext episode looking at some
more popular Australian filmsand I hope you'll enjoy that as
well.
(01:07):
If you have any comments,suggestions, please let me know
and hope you enjoy this episode.
Thank you, the Night Rider,that is his name, the Knight
(01:47):
Rider.
Remember him when you look atthe night sky.
Hey there, and welcome back toA Dingo Ate my Movie, the
podcast where we dive into someof Australia's most memorable
films, from timeless classics,cult favourites and today's hits
(02:08):
.
My name is Pete and I'm yourhost Today.
I'm excited to have Matt Fultonfrom the Champagne Comedy
Podcast with me as we explorethe Australian slasher film Cut.
Film Trailer Narrator (02:24):
It began as a class project.
We have to do a graduation film, right.
What better project than tofinish that film, to resurrect
an old film?
from oblivion.
That movie was a nightmare, sowhat you're saying is there's
some sort of a curse on thisfilm.
Now they've made an unexpecteddiscovery of a mysterious legend
(02:44):
.
Creepier than Friday the 13th.
More blood and guts than TexasChainsaw.
More sex than deep throat.
I'm sorry, I'm sorry you weredead.
That should never.
Who wants to make a mainstreamslasher movie?
See the light of day, don't goplaying with nightmares.
And action.
(03:05):
Who are you?
(03:41):
I never said this before, butI've always found you very
attractive.
Pete (03:45):
Hey , matt, how are you doing mate?
I am going good.
How are you?
Matt (03:50):
I'm good mate.
Yeah, you dragged me into thisone, didn't you?
Yes, I did.
Pete (03:54):
I did.
It was a bit late notice andeverything.
It was like, oh, can we do this?
Matt (04:01):
And yeah, luckily you came back and said sure, why not?
Yeah, and I said sure, and thenplease let go of my arm, yes,
All right.
Pete (04:09):
So Cut is an Australian slasher film with kind of a fun
meta twist.
It follows a horror film calledHot-Blooded, which was shot
down in the 80s when thedirector played by Kylie Minogue
, was brutally murdered on set.
Rumour has it that the film iscursed.
Anyone who tries to finish thefilm meets a violent end.
Decades later, ambitious filmstudent Raffi, played by Jessica
(04:35):
Napier, takes on the challengeconvincing the original star,
vanessa, played by MollyRingwald, to reprise her role.
But Vanessa's attitude and thecurse make things far from easy.
As filming begins, the cast andcrew are picked off one by one
by a masked killer wielding agiant pair of shears.
Is it the curse?
(04:55):
A crazed fan or something muchstranger, with Molly Ringwald as
a Hollywood star slumming it inAustralia, kylie Minogue in a
very brief and bloody cameo anda killer who seems to hate
filmmaking?
Cut is packed with campy fun,some over-the-top gore and a ton
(05:15):
of 90s slasher energy.
Interesting film, I thought.
Matt (05:20):
Well, confession I have never seen this film before
until now.
So I heard about it, read aboutit like every little bit in
peace, but had never actuallysat down and watched it.
Pete (05:34):
Oh, interesting, interesting yeah.
What did you think?
Matt (05:42):
Okay, you know, when things age like a bottle of fine
wine.
Pete (05:47):
Yes.
Matt (05:49):
Well, let's just say it's like, because it's Australian,
it aged like a bottle of Tooey'sNew.
Pete (06:00):
So it didn't really hit with you.
Matt (06:03):
It did and didn't at the same time, because overall like
it was great.
But then I was trying to getlost into the atmosphere, the
fantasy of it all, giving it abenefit of the doubt, because I
love Aussie films, obviously,but when you're trying too hard,
like it goes in and out of, outof.
(06:25):
Okay, we're trying to do ahorror flick, you know, inspired
by scream, um, and then asthey're going into it they've
they end up taking the piss outof themselves, but then it gets
a bit too much, especially whenit comes to certain wording,
when they're in one of themoments that they're doing that
(06:49):
screening in the student theatreand then you can tell how
Aussie it is.
When it's like, oh, you're afuckwit, it kind of like ruins
the illusion.
Pete (06:59):
Yeah, it's pretty fun that way.
There's a few instances I thinkI'll put it as a note for later
, but there's a few instanceswhere someone just says, oh,
fuck off, or something like that, and it kind of I don't know
why.
It made me laugh quite a bit.
Matt (07:14):
It's a very ochre.
It's like trying to do Scream.
But an Australian version ofScream should have been yell.
Pete (07:23):
Yeah, yeah, well, cut was released on the 23rd of February
2000 and was directed byKimball Rendell from a script by
Dave Warner.
More about them later.
It stars Molly Ringwald,jessica Napier, sarah Kantz
we've got to be careful sayingthat name Frank Roberts, stephen
Curry, who was in a few othermovies, one we're going to talk
(07:46):
about a bit later this year, andof course, kylie Minogue in a
bit of a.
I guess it's a cameo really,even though she's in the front
and centre in a lot of theadvertising.
Matt (07:56):
Yeah, it's kind of that misleading type thing where I
guess, when you look at themovies these days, you know the
director, film director videosand say you know, for obvious
circumstances with Bruce Williswhere he's featured front and
centre, but then he's only inthe movies for five minutes.
Pete (08:15):
Yeah, exactly yeah.
So this film, at its heart, islike a meta slasher, I guess,
and it sort of came out threeyears after the release of Wes
Craven's Scream in 1996.
The film is also a film withina film, as well as doling out
all the horror tropes thateveryone's come to love and hate
(08:36):
, whether it's successful in itsexecution is something we
definitely want to be talkingabout Now.
If you want to watch Cut, Ithink it's available to stream
on Brolly in Australia and Ithink it's available to stream
on Broly in Australia, and atthis time it's sadly out of
print in physical media, as faras I know.
I had a look on Umbrella's siteand it's still listed on the
site but it's showing as out ofprint.
But it can also be rendered onApple, google Play and YouTube
(08:58):
as well.
I think you've been watching iton Broly.
I was lucky enough to have theBlu-ray.
Matt (09:03):
Yeah, correct.
I paired up my Broly app to myTV and watched it from there and
had my dog sit next to me.
I saw the photo.
Yeah, that was legit, so I waswatching that.
And then after the first fewminutes, she's like I'm over
this.
Yeah, but I pursued.
Pete (09:24):
Before we get on to the film, I've got a few bits of
facts and trivia and junk.
So there's an acronym in thisfilm on the film cans, and it
says FARTs and it stands forFilm, audiovisual, radio and
Television School.
Did you notice that?
Matt (09:40):
I did not notice that.
No, okay, but I am a the properway of rewording that, which is
obviously taking the piss outof Australian film, television
and radio school.
I am actually a former studentof that school.
Pete (09:54):
Well, it is actually a.
They actually thought itthrough.
It is actually a spoof anagramparody of AFTAs.
Yeah.
Matt (10:03):
The fact that I do remember attending class in the
year 2005 and they were quiteproud of Cut Right.
I see the odd poster floatingaround.
I was in the radio department.
This is when the school was inNorth Wright, right Next to
(10:23):
Macquarie Uni, and yeah, this iswhere they were really
passionate about these thingsand yeah, I can see the parody
of it.
But it's like this is where weget the joke, but you keep
losing your identity.
Are you scary?
Are you meant to?
Pete (10:41):
be yeah.
Matt (10:44):
They were trying too hard.
Pete (10:46):
Again with the two is new yeah, also, as I mentioned
before, kylie minogue basicallyhas just a cameo in this film,
even though she's in theadvertising and her name's
pretty pretty much up there.
She apparently it was a plan tobe a bigger part but she was
having she had a lot of othercommitments and so they kept her
(11:08):
part small and you know, like acameo.
I had a look at her what shewas doing around this time.
So this movie was made around1999, early 2000.
Her seventh album, I think,called Light Years, was released
in September 2000.
So I'd say she was most likelyin pre-production and possibly
recording while they werefilming this.
(11:30):
So I would say that possibly iswhy why she's doesn't have a
big part.
There's actually a lot ofmusical connections in this film
which we'll get to.
But as an aside, that albumcontains spinning around on a
night like this and kids, whichare really big hits for her.
And also this movie came out acouple of years after she did
Street Fighter.
(11:50):
I don't know why I explainedthat one.
Matt (11:53):
I've got a copy of that too, and half of that was filmed
in Queensland.
Pete (11:58):
At Roadshow or whatever it is.
Is it Village?
Matt (12:02):
Yeah, on the Gold Coast.
Of course that I onlyre-watched a couple of weeks ago
, right right.
And I noticed a few of the baysin the area of the Gold Coast.
Pete (12:13):
Okay, you must have known you were going to be watching
this film.
Matt (12:17):
Oh yeah, I think it's just like a double dose of Kylie.
Pete (12:20):
Yeah, it was Molly Ringwald's first, and only maybe
, appearance in an Australianfilm.
It was also her second horrormovie, her first being Office
Killer, which I've never seen in1997.
I get the funny feeling shemight have taken this on because
in the interviews I've seen shesaid she loves Australian film
et cetera, et cetera.
But I'm sure a free trip toAustralia probably wasn't a bad
(12:43):
thing either.
Matt (12:44):
Yeah, and as you could see by the credits at the very
beginning and so forth, whoheavily financed this film being
Michael Gudinski's side.
Mushroom, yep, yeah, themushroom pictures.
Yeah, I think someone hadgreasy palms with that.
Pete (13:02):
They certainly did.
Speaking of music, so thescreenwriter for this, dave
Warner.
He wrote this script duringChristmas break one year.
He's also known for havingwritten the song Suburban Boy.
I don't know if you rememberthat song at all.
No, it was a minor hit in 1978.
I thought I had the single heresomewhere and yesterday I had
(13:22):
my box of singles out lookingfor it.
I went through every single Icouldn't find it.
Took me ages, but anyway, uh.
So Suburban Boy was a minor hitin 78.
Uh reached 31 on the Australiancharts, so not really high, but
a lot of Aussies around thattime know it.
And his album Mugs Game wascertified gold within a month of
release in the same year.
On another musical note, kimballRendell, the director, played
(13:47):
guitar and sang with Sydney bandXL Capris in 1978, and in 1981
was a very early member ofHoodoo Gurus and he left just
prior to the band's first album,stone Age Romeos.
He also worked as a music videodirector with clips for cold
chisel, the angels who do gurus,dragon and boom crash opera if
(14:07):
you've seen the cultures, ormusic video for flame trees and
you've seen his works.
He also worked with kylieminogue on a short film called
hayride to hell.
In 1995 if you have theumbrella blu-ray, the short film
was actually included as extrason the discs.
Actually not bad.
Had a had a look at that theother day as well.
He was also a second unitdirector on the matrix reloaded
(14:29):
and matrix revolutions and in2012 he directed the 3d disaster
shark movie, bait 3d, which I'msure we'll eventually get to on
this podcast.
I haven't seen that one.
Have you seen that?
Matt (14:44):
yeah.
Pete (14:45):
No, I haven't.
I love those movies.
I'm a sucker for those sort ofmovies.
On Rotten Tomatoes the criticsrating for this movie is 20% and
the audience rating is 26.
I'm kind of surprised it's thatlow.
I actually thought it would bea bit higher, because I know you
did.
(15:05):
But I kind of enjoyed it.
But I'm a slasher movie and ahorror aficionado so you know
I'm getting used to enjoyingcrap.
Matt (15:15):
No, but don't get me wrong , this was my first time
watching it.
I went in with sadly highexpectations, which was a big
fault, not a good idea, no, soand this is like years and years
of like knowing about the movieI tend to ignore prestige,
reviewers, critics, yep, andbecause, yeah, sometimes I just
(15:39):
don't gel with their idea of itall.
So I have a bit of an open mind, but this one I definitely will
be revisiting on a regularbasis because it is up there
with pure cheese, and I'mtalking bigger cheese.
So, yeah, it's definitely onethat I'll go back to down the
(15:59):
track and, yeah, I wish Iactually owned a physical
version of it.
Pete (16:05):
Yeah, you probably.
I mean, I imagine, if you keeplurking around, you know,
through stores and stuff likethat, you'll eventually find one
.
Matt (16:14):
I'm a regular now every Saturday morning at my local op
shop.
Pete (16:18):
Yeah so much.
Matt (16:21):
I walk in and there's one lady who volunteers there who
just goes.
Ah, you're back to the usual,are you?
I'm like, hey, I'm donatinghere.
Pete (16:31):
It'll turn up.
It'll turn up.
What's really interesting.
On YouTube I found a review ofthis movie by David Stratton and
Margaret Pomeranz and he gavethe movie a three, I think, out
of five, and she gave the moviea three, I think, out of five,
and she gave the movie a fourout of five.
Wow, she really enjoyed themovie.
Now, caveat in the review onYouTube she does know the
(16:57):
director, so I'm thinking thatthere's a little bit of you know
.
Hey, he's somebody I know.
He's a friend of mine, I'll be,uh, I'll be nice to him, sort
of thing.
But she gave decent reasons forliking the movie, so it was
quite interesting.
Matt (17:12):
Yeah, there is something in it, as I've said, but there
are moments where they lose theillusion.
Pete (17:20):
If we look at this film, if we start looking at the
similarities, I guess isprobably the best way to start
looking the the similaritiesbetween this movie and scream,
which I'm pretty sure it waslike a big influence in making
this film, and actually I thinkthis movie is somewhat more
similar to scream 2.
Right, have you got muchhistory with the Scream movies?
Matt (17:43):
I've seen 1 to 4.
Okay, so, yeah, so I think thisis sorry.
Pete (17:48):
I was just going to say I think this is a little bit
closer to Scream 2 in some ways.
Matt (17:52):
Well, I think it's a combination of both.
So, with the setup of the intro, the way that it's designed,
it's more or less the what'syour favourite scary movie type
thing, or, you know, the DrewBarrymore intro type thing.
It's more like what's yourfavourite pizza, your pineapple.
(18:14):
So it's like, yeah, so it's.
And then once that openingscene, which I'd say is a parody
slash, homage to the Screamopening, because you know, in
Australia we don't do Jiffy Popon the stove.
Yeah, we make two-minutenoodles.
And with that, that's when theyswitch it into that Scream 2 of
(18:37):
.
Pete (18:37):
Ah, it's a movie, yeah a movie within a movie, sort of
thing.
Matt (18:41):
Yeah.
Pete (18:42):
Yeah, the other movie that it reminds me of a little bit,
because it's a little bitdifferent to other movies in the
slasher genre, mainly by virtueof the killer being like some
sort of supernatural entity thattakes their power from the film
itself, right?
So the only other movie I canthink of that is probably
(19:03):
similar is another Wes Cravenfilm called Shocker.
Have you seen that?
Matt (19:07):
No, but I am aware of it.
Pete (19:08):
Yeah, it was in 1989.
So there might be some others.
But I'm just trying to think ifthere were others like this, in
the sort of like the slashergenre.
But it seems sorry, Shockerseems to be the closest I can
think of.
Matt (19:24):
Yeah, and every time I do think of yeah, and like every
time I do think of other moviesthat have a similar trait to it,
where it is attached to thatphysical film type thing.
Yeah, they tend to be a bitmore modern after cut, but every
time I throw it back to it Ithink like there are moments in
it where I do think it's payinga little homage to the style,
(19:47):
the make-up, I guess, ofNightmare on Elm Street with
Freddy Krueger.
Oh yeah, We'll talk about thata bit later.
On.
Yeah yeah, but yeah, there arejust those moments or kind of
like a voodoo doll-typeattachment.
I'm sure there's a Stephen Kingmovie that's like that or where
there is that whole destroy theitem to kill off the spirit.
Pete (20:11):
Yeah, yeah, yeah.
It's one of those things likeit's obviously a curse, right.
Yeah, yeah it's interestingseeing Stephen Curry in this
film.
He plays one of those sort offunny characters you see in a
lot of these sort of movies.
Right, he's the funny guy.
It's really funny seeing him inthis and then seeing him in
something like the Castle.
Matt (20:30):
He's kind of like the Jamie Kennedy of the movie yeah,
that's it, that's it, that'sperfect, yeah.
So he kind of adds that whole,don't take it too seriously.
It's like, oh, you know, getover it, it's fine, it's just a
movie or whatever, especiallythe part where they're filming
outdoors late at night and thenlike he's having a piss and then
(20:51):
that kind of is like he'smaking fun of it.
Pete (20:55):
Man, that piss.
That's a thick stream.
Oh yeah, I'm like someonebehind him with a hose or
something.
Matt (21:04):
Oh, yeah, and, but how he just carries on while he's being
startled by oh, our scary guywhich is Scarman, yeah, and gee,
I wonder where they got thatname from.
But yeah, there are justmoments Stephen Curry is one of
them where he is the comicrelief but also can do a serious
(21:27):
line or two if need be.
Pete (21:30):
Yeah, yeah, that's true, that's true.
Matt (21:32):
I also felt like that his parts were a little bit
improvised A little bit.
Pete (21:38):
Yeah, I think there might have been a little bit of
improvising across the boardmaybe I actually thought the
performances were pretty good onthe whole.
I didn't think.
I think I kind of think MollyRingwald wasn't too bad, but I
still do think she was maybeslumming it a little bit and
(21:58):
just sort of getting a paydayand a trip to Australia, maybe.
Matt (22:01):
Yeah, I'd say it's more or less the going into the theater
to preview the screening of hotblooded, where he, her
character, as she's coming inand straight up, who's smoking
in here.
It's like thinking I'm going ohyeah, you really are acting
like that.
(22:21):
I guess that's the purpose ofthe character, but it was just
too over the top or it wasproper, but then because of the
Ocker Aussie, it's like, oh,she'll be right, mate, type
comparison.
Pete (22:40):
Yeah, she does say there's a whole stack of like small
interviews with a lot of thecast on the Blu-ray and she kind
of says that she enjoyedplaying a part that is nothing
like her in real life, like Ithink she was also trying to say
she's not a bad person.
Matt (22:55):
Yeah, trying to slam it up and be a bit more over the top.
Pete (23:00):
Yeah, absolutely yeah, I thought she was pretty good in
all in all.
Um, yeah, I thought she waspretty good in all in all.
Um, I actually thought the like, uh, the character of is it
raffi?
Um, I kind of liked.
She's the director, I kind ofliked her.
She's probably one of the onlypeople in the movie that have a
(23:22):
little bit of an arc and alittle bit of like a.
You know there's a she herrelationship.
It's spoiling everything, right?
So it turns out that she's thedaughter of hillary jacobs, of
kylie minogue's character at thestart.
Did you pick that up right?
Matt (23:40):
yeah, yeah, they mentioned that.
Pete (23:41):
Yeah, and there's there's a couple of hints.
There's a hit at the startwhere she's said can you hear a
voice, can you hear a voice?
And it's kind of like she'ssaid can you hear a voice, Can
you hear a voice?
And it's kind of like she'sexcited that she's heard a voice
, sort of thing.
And yeah, it's not a bad arcand she's not a bad actor, right
?
I don't think there was anyreally bad performances except,
oh, the guy, what's the actor'sname?
(24:03):
The guy in the screening room,the projectionist.
Matt (24:07):
Oh, I know the real guy's name, yeah he's terry or more,
that's it.
Pete (24:10):
That's it.
He's really good.
I've seen him well.
Matt (24:12):
He's in a lot of stuff yeah, so it just feels like
godinski's just gone.
Uh, oh well, I like the castle.
Oh, you know, I'll get stephencarrey and uh terry or more, to
come on.
It's like, oh yeah, it's cut.
The horror comedy movie that'salso the spirit cousin of the
(24:34):
castle.
Pete (24:37):
But his character is pretty good.
He was like this sleazy kind ofprojectionist kind of guy that
had all these you know says alot of stuff and very, very
clichéd.
You know, up in his projectorroom he's got all the girly
posters and all this sort ofstuff.
Matt (24:53):
You know what would have been brilliant If they
incorporated Bruce Spence astheir projectionist straight out
of Hercules Returns.
That would have been the icingon the cake.
Pete (25:04):
Bruce Spence would have been a good projectionist in
this movie.
Yeah, he would have been a goodprojectionist in this movie.
Yeah, he would have workedreally well.
Matt (25:08):
Use his character in that.
That would be very meta yeah.
Pete (25:13):
But yeah, I thought it was good.
I thought the dialogue, youknow, as I mentioned before, was
funny.
I don't know why, but thosecouple of exclamations of I fuck
off and that sort of stuff kindof made me giggle.
Some of the jokes didn't land.
Yeah, I didn't think.
I thought one part I wanted totalk about was the effects.
I actually think the effectsare good in this and the some of
(25:34):
the kills are quite good,especially like the detective
gets pushed in the back by thekiller and trips down the stairs
and is impaled on the gardenyeah, and scarf man had the
courtesy of you know, turning onthe tap to wash away the blood
but also close her eyes and amouth close her mouth.
(25:55):
Yeah, yeah, yeah.
So that was good to drown.
The beheading was done prettywell.
Matt (26:04):
I thought that was quite good yeah, so that a lot of it,
um, I guess for its budget, um,or just being a low, uh budget
slasher film, it did pretty goodand it has somewhat stood the
test of time.
When you, when you especiallydon't have any major cgi stuff
CGI stuff back then and thereare moments where, when they
(26:28):
eventually explain by theoriginal director of Hot-Blooded
saying that Scarman is thespirit of the film, so it's like
they're just trying to explainoh, this is why he's around.
And then when it's on fire orjust where there's other bits
(26:53):
and pieces going on being shotor coming down jumping down from
like a second story, yeah, butall the blue screen behind it
and everything and I'm going, ohall, right, here we go.
But then when Skyman's talking,it's very, very ochre.
Pete (27:11):
I've got a note about that .
So, like, one of my criticismsof this film is that the killer
Scarman, once he takes the maskoff and everything, should never
have opened his mouth to speak,because they try so hard to
make him like an Aussie FreddyKrueger, yeah and he ends up
(27:32):
sounding like some guy you runinto down the pub an outback pub
or something yes, like that,like you know, and that line
doesn't make sense.
The whole line about, uh, Imight have missed something, uh,
but the whole bit about youknow, I'm just a family man
(27:52):
who's come here with my familyor something like that.
I remember it's stupid.
I didn't make any sense of thatand I just found that every
time he opened his mouth therewas no impact in what he said,
because of his accent, I guess,and maybe the actor, I don't
know, he didn't really sell it.
Matt (28:10):
It was more or less like dialing it in, but it would have
been more impactful if, sayScarman would go aye, you fucked
cunt.
Pete (28:19):
Yeah, something like that right Right.
Something like that.
Matt (28:22):
But they could have distorted his voice a bit more
or make it more deep andimpactful, but it doesn't sound
like that.
They re-recorded it ADR styleor anything where you know out
of screen where they've got theproduction or the EQ on it.
It sounded like really raw onset.
(28:44):
Yeah, it wasn't toointimidating.
Pete (28:46):
No, it was just like you were talking to your mate in the
pub yeah, yeah.
But it would have been great ifhe'd sort of said I've got you
now cunt, or something like that.
Yeah, that would have beenfunnier.
The other thing about this film, I guess, is that I know
there's stakes in this movie,but there's no, doesn't seem to
(29:08):
be, any real suspense in thismovie.
I didn't feel like there wasmuch suspense in this film.
You know, like that really camethrough.
I just feel like the suspensewasn't really there.
The music was good, but I don'tfeel like there was a lot of
suspense.
It didn't feel scary.
You know it was still a slasherfilm, yeah, but it didn't have,
I don't know, a lot of thestuff you would expect yeah, it
(29:30):
was a bit tough.
Matt (29:31):
You know, especially, um, when kylie's character is being
killed off within the first 10minutes.
And then you know when she'sbeing threatened by scar man and
saying if you do anything oryou get too close or whatever,
you know I'm going to scream andhe's going how will you scream
(29:51):
if you don't have a tongue?
So snip, snip with the weapon,which is a bizarre weapon too.
It's like a huge shears orwhatever, with like a circular,
like a loop type thing.
It's just like a combo of twoor three tools in one where it's
(30:13):
like oh, you can't get thatdown at Bunnings, can you?
Pete (30:15):
No, I don't think so.
Matt (30:16):
No, imagine if that's what they should have done.
Well, I guess Bunnings didn'treally exist back in when that
movie came out, so they wouldhave had to do some integration
with bbc hardware might attendhardware house and go where you
can actually click.
You know it'll be.
(30:36):
There'll be an awesome tool toattack your garden with, because
it's guaranteed to kill humansand also the weeds in your
garden.
The tool was quite interestingbecause it was it was a
combination of like a long pairof shears and like a I can't
remember the tools call butthere's like a tool for cutting
thick branches and stuff likethat but that circular part, the
(30:58):
half a circle in it, and yeah,anyway, they could show that
that's part of it is when uhscar man reaches out to stab
someone or slash and just to say, oh, it's like an arm cut or an
abdomen cut, it's like, oh, sothat's the only part it's good
for for that just slightly outof reach attack.
(31:19):
But hey, I'm going to cut you.
Pete (31:22):
Yeah, yeah, it's good.
It's good Trying to think ofmore stuff to talk about with
this film.
Matt (31:27):
I was going to say that tongue that was shown.
Oh, kylie's good, it's good.
Trying to think of more stuffto talk about with this film.
I was going to say that tonguethat was shown.
Pete (31:31):
Oh, Kylie's tongue.
Matt (31:31):
Kylie's tongue had a long future ahead in a Toohey's Extra
Dry commercial.
Pete (31:37):
I remember that ad.
Matt (31:39):
You know that bush me.
Pete (31:40):
Yeah, that's right.
Yeah, that was a great ad.
They should bring that one back.
That was good.
Matt (31:45):
Jessica Napier who plays the daughter.
She was fantastic, so she tookthis role very seriously.
It was just all the murders andthe cast being killed off one
by one, the fact that when theyrevealed that, it's like a
piss-weak excuse, oh, scarmanonly exists because he's the
(32:08):
combination of all the evilspirits behind the making of
Hot-Blooded and you go all right, this is no Amityville
horror-type thing where it'sbeing possessed.
So if it's just Hot-Bloodedimagine listening to Hot-Blooded
by a foreigner so it's got a.
(32:28):
I hate to know the making ofthat song.
If there was any horriblenegativity in the studio In the
studio yeah.
Yeah exactly.
Pete (32:37):
I actually think they got the title all wrong.
This title shouldn't have beencut.
There's twice or three times heuses the term now you die and
I'm like that would have been amuch better title for the movie.
I suppose cut works, but maybenow you die and I'm like that
would have been a much bettertitle for the movie.
I suppose Cut works, but maybeNow you Die would have been
better than Hot-Blooded.
Matt (32:52):
Yeah, because.
Pete (32:52):
Hot-Blooded's a pretty shit title for a horror movie.
Matt (32:55):
Exactly, but then again it is a parody.
Pete (32:58):
It is a parody.
Matt (32:59):
Yeah, and I just love the cheesy 90s font of the
Hot-Blooded stuff that you seeon dirt-cheap DVD covers.
Yeah, and also.
Pete (33:12):
Yeah, that font was terrible.
Matt (33:14):
Yeah, but Molly Ringwald, the American star which just
dialed in from the obviously sheneeded the money had a holiday,
as you mentioned made anappearance on Good News Week to
help promote.
Pete (33:26):
I saw that.
I saw that when I was havingcoffee this morning.
I watched that.
Thank you for sending thatthrough.
Matt (33:30):
That's okay.
But she just knew that, hey,I'm going to be here, I'm
friends with Michael Gudinskiand let's just do a thing.
And you could just tell thatshe knew that it was going to be
bad.
But when there's scenes such aswhen she's driving the car in
the cemetery and the whole onepart trying to get the car to
(33:54):
roll forward and then she keepsbunny hopping and goes oh, the
steering wheel's on the wrongside, whatever, but the fact
that her character was broughtback to continue to finish the
film, she has aged gracefully,because when you got someone who
(34:16):
is like that 10-year gapbetween 10, 12, was it 10 or 12
years later after the original10?
Pete (34:24):
years, I think.
Yeah, so she looks exactly thesame as she did 10 years
beforehand although I think theytried to make her look a lot
younger and my wife picked upmay picked up that the scenes
with her at the start of themovie, when she's playing the
young girl, they're kind of veryfuzzy and and kind of like, oh,
it's a good way of kind ofhiding that she's not as as
(34:46):
young as she's supposed to be inthe movie.
You know, yeah, we've seen thisa lot.
As an aside, we've been workingour way through SVU, you know
that American show, the New Yorkone.
It's really interesting becauseobviously you can't have
children playing a lot of theseolder parts and there's people
in the movie that are supposedto be 17 or 18 years old, that
(35:07):
are obviously about 25 or 26.
Matt (35:09):
it's a bit like all those horror movies right, where
they're supposed to be teenagersbut they're all in their
mid-20s I give them credit forone of the murders of uh, one of
the um cast members um, whenthey're in the shed and there's
the threat of the axe, the woodsplitter.
Pete (35:26):
Oh yeah, that was good.
Matt (35:28):
Yeah, so eventually you just see the gory death off your
off screen, but you just see abig splatter of blood against
the window.
Yeah, okay, cool, that's good.
Pete (35:41):
Yeah, I like that because I'm thinking okay, that effect's
probably too hard for them todo and also might not have got
past the centres right.
So I think that's one of thoseclassic scenes where your brain
fills in all the gaps muchbetter than the film could.
Matt (35:56):
Yeah, Just seeing the splatter of blood, yeah, but
what about in the kitchen,though, where the girl's going?
Oh no, please don't.
You know, running around thekitchen bench type thing, trying
to attack each other with thecast iron pan.
Oh yeah, yeah, you know, scarman cuts her on the arm like a
deep cut but still manages tothrow her arm around without it
(36:18):
falling off, and then getscornered trying to open up the
door but can't escape.
But so, out of being freaked,freaked out, screaming her head
off, and from the other side ofthe kitchen he throws his giant
stabby tool and, you know, getsher right in the.
(36:38):
Yeah, just, it was a hatchet itwas a hatchet right and yeah,
and just impales, oh oh sorry.
Yeah, the hatchet, yeah, butit's like you had that time to
dodge, you know.
You just decide to stand thereand scream and there's a high
chance that he's not going tohit his mark or you might get
(36:58):
hit by the handle.
But it's like, if you know, youdo that natural flinch, it's
like, oh shit, and then swingyour body to the side or
whatever, but that's a horrormovie trope.
So yeah, so I'm now pointingout all the major flaws.
It's all.
It's always good in hindsightit is.
Pete (37:16):
I just don't know how she managed to get impaled on the
door with her feet, leaving theground with a hatchet.
There's no way that hatchetcould have got through her whole
body and then hit the doorstrongly enough that she could
stay impaled.
Matt (37:34):
I'm sure that hatchet was from Demtil.
Yeah, probably.
Wait, there's more steak knivesthan a hatchet.
Pete (37:40):
But it is a good look.
I mean, I always had the samesort of thought, as much as I
love the scene in.
You've seen Halloween right,the original Halloween when
Michael Myers impales I thinkthe actor's name or the
character's name is Bob on thewall in the kitchen with a knife
and I'm like, no, I don't knowif that knife would really hold
his body up, but anyway,whatever, it looks cool.
Matt (38:03):
Go all Mythbusters on it and get a butcher's appraisal on
it.
It's like, yeah, I don't thinkthat's quite right.
Yeah, and then also thedirector of the original,
hot-blooded when he gets impaled, you know, through the neck,
but he's still alive a bit lateron, as Jessica Napier's burning
(38:24):
all the film On the two policeofficers it's perfect to protect
and you're shooting the firstpolice officer you know waste
all the rounds in the body.
It's like go for the head, gofor the legs, do the Ned Kelly
and leg him out.
But no, it's just like ha-ha,I'm about to die.
Pete (38:44):
He just stood there and laughed at it.
Yeah, it's like, oh yeah.
But on the guy, I don't thinkhe was the director, he was like
the he was now.
He was their lecturer orsomething at uni at the film
school.
Yeah, and I think previously hewas Vanessa Molly Ringwald's
(39:05):
character uh, assistant on thefirst film yeah but he gets the
spear through the neck and then,then he actually pulls it out.
Oh yeah, so wow.
So I asked my wife, who's anurse is this possible?
Right now she may not know, butshe was like, well, if it
(39:25):
didn't hit any major arteries orit didn't hit anything major in
there, it's quite possible youcould pull it out and not bleed
to death, right?
Matt (39:34):
Yeah, I can see that because that's the straightaway.
I thought of that.
I actually put my hand to myneck going, you just pulled it
out and your arteries there's afew arteries in there, yeah, and
there have been stories wherepeople have been attacked or
whatever, or had their injuriesimpaled on their neck and then
managed to survive.
Pete (39:52):
Yeah, yeah.
Matt (39:53):
Because it's missed every major artery.
So that's impressive, the factthat he's pulled it out, thrown
it against Scarman.
Then he still has the energyand maintenance to keep throwing
the films into the fire,because the only way Scarman can
be destroyed is destroy thefilm and man.
(40:16):
That stuff takes so long toburn.
Pete (40:18):
Takes so long to burn.
I'm thinking she's throwing itin the car that the guy was in
as well.
Matt (40:24):
Yeah, exactly, exactly so, and yeah, it's just, it's funny
.
Yeah, it just, I guess, iswhere all the rest of the money
they go.
Oh, we better just use up allthe budget and went into a face
melt of Scarman.
So looking like a gone from aFreddy Krueier down to a street
(40:49):
type look of a melting candle ofthe guy in robocop that gets.
Oh, yeah, yeah exactly that'sright I think they're going all
right.
Pete (40:56):
We've got to juice up the horror a little bit, yeah I
thought it was all right, thoughI think there was a bit of
there was a bit of opticaltrickery in there and a bit of
other stuff, but I thought itwas all right.
I thought it kind of worked abit.
It would have been better if,when he was on top of the
director, her character, if hedripped more on her, it would
have been more gross.
Matt (41:17):
Oh yeah, and gets like permanently scarred or whatever.
Pete (41:20):
Yeah, it would have been a bit more, it would have been a
bit better that way, but youknow, it was fine, it was
totally fine.
Matt (41:25):
Yeah exactly.
Pete (41:27):
And then, talking about the end of the film, we've got
this little epilogue at the endwhere you know you get these
stories that come up on thescreen about how Vanessa's, you
know, recovered from this andthis guy's recovered from this,
and they go and visit Vanessashe's only in hospital and you
think it's a happy ending.
And then they have thistagged-on ending where it has to
(41:50):
be in America, because it'slike all these buildings and
there's snow everywhere.
So it's obvious, they make itso obvious that you're not in
Australia anymore.
And they've got another printof this film from God knows
where and that's how the filmends.
They're showing the film andjust as the film starts, the
woman that's presenting it sitsdown and Scarman appears behind
(42:10):
her and we get like a freezeframe ending.
Matt (42:13):
Yeah, but they emphasise oh, it is definitely the only
copy left.
Pete (42:21):
Yeah, but then there's another one.
Yeah, piracy Must have beenpiracy.
Matt (42:26):
Yeah, have you ever bought or rented a film?
Pete (42:29):
it wasn't quite didn't seem quite right.
This film didn't seem quiteright, yeah, so yeah that's what
they should have done withthose.
Matt (42:37):
Uh, the warnings, that's like at least scar man on you.
That's what they should havedone.
Starman would have been moreintimidating if they had Steve
Britton do the voice.
Pete (42:55):
You wouldn't steal a can of film.
Matt (42:57):
Yeah.
Pete (43:01):
The other thing.
I thought the music was okay.
In this there's obviously a lotof rock like heavy rock music,
and I'm assuming that all themusic on this were all Mushroom
artists at the time.
Matt (43:12):
Straight out of Liberation music.
Yes.
Pete (43:14):
Yeah, absolutely and obviously at the start.
We've got a Crowded House songright at the beginning of the
movie and I think they wereMushroom artists, am I right?
Matt (43:22):
Oh, Split Ends, Split Ends not Crowded House.
Pete (43:24):
Split Ends, split Ends.
I forgot how.
Matt (43:25):
Split Ends, sorry.
And then there's a GrooveTerminator song.
Here comes another one.
Pete (43:29):
Yeah, so they're all, obviously, you know, mushroom
artists.
Matt (43:33):
But I do like the way that they wrapped up in the closing
credits where suddenly the moodchanges to Apollo 440 can't stop
the rock.
I'm going oh, there's athrowback.
I'm going, yeah, that doesn'treally suit the style, yeah,
yeah.
Yeah, that doesn't really suitthe style, but yeah, yeah, yeah,
any.
Uh.
Final thoughts on the film purecheese and uh, first time
watching it I actually gave itone and a half stars on my
(43:55):
letterboxd, but I will revisitif I want a good laugh.
So it is a um, it's a niceentry into those cheesy,
osploitation-esque type Likeit's proud, right next to them.
So kind of like oh, what's themovie?
(44:16):
The one that made me laugh wasTurkey Shoot, so I'd say it'll
be right next to that whole thebudget of the animatronics and
the violence, the gore, thegraphics of an 80s film in a 90s
story.
But trying to I was trying towrap it up to the noughties type
(44:41):
thing.
But yeah, I'll watch it againjust for a good old laugh or
something not to take seriously,maybe if I have a few drinks
with it too.
Pete (44:52):
That might help yeah.
Matt (44:53):
Yeah.
Pete (44:53):
For me it's a bit of an underrated slasher.
I think it had an interestingstory.
Oh, hang on, he's going to saysomething else I do apologise
for that clap.
Matt (45:02):
That's all right, I just realised it's on par with
Houseboat Horror.
Pete (45:05):
Oh, there you go it's on par with houseboat horror.
Oh, there you go, there's thelink.
Yeah, there's the link.
Matt (45:10):
Houseboat horror is a little bit worse, yeah, but I'd
say that it's like a 90shouseboat horror when it comes
to the ghoul now.
Pete (45:15):
If they just could have got gavin wood in there.
Oh, he had the connections hecould have been.
Matt (45:21):
He could have been the projectionist yeah, oh, you'll
watch this movie, you'll bar barup You'll bar up.
Anyway, Sorry everyone if everytime I come onto this podcast
and I always drop a Gavin Woodreference.
Pete (45:36):
So yeah.
So, as I was saying, it's a bitof an underrated slasher for me
.
It's got an interesting storycharacters.
You know I'm watching for theduration of the film.
Kills are done well, mollyRingwald rises a little above
phoning it in.
Um, it could be a bit moresuspenseful and have a few more
scares, but overall it's apretty competent slasher that
(45:57):
most fans of the genre willenjoy.
So I gave it three directorstongues out of five.
Oh nice, yeah.
So it's funny because when I Ihad seen this obviously before
and logged on Letterboxd beforeand I had it at two and a half
and when I watched it again Iwas like no, this is a three for
me.
Matt (46:14):
I'd say, once I get more comfortable with the film I'll
probably bump it up to maybe atwo star or two and a half, but
for right now one and a half,until I loosen up a bit about it
.
Pete (46:26):
I also think a lot of these films, like it's always,
if you're a bit of a fan of thegenre, you kind of enjoy them a
little bit more and you kind of,if you're a horror fan, like I
am, in general, you're a littlebit more what's the word not
accepting, I suppose a littlebit more accepting of sort of
(46:47):
stuff that's not done so welland pretty much you know, if you
watch a lot of horror, youwatch a lot of shit and you know
to get to the good stuff you'vegot to watch a lot of shit, and
some of the stuff that lookslike it's a lot of shit is
actually quite good.
So you know it's worth a watch.
Matt (47:08):
You know what I just realised?
The most disappointing thingwhen we're talking about the
music, right while Kylie Minoguewas in it for 10 minutes and
was the main point of the movie,there's not one Kylie Minogue
song in.
Pete (47:27):
Which is interesting because, like she's a mushroom
artist or she was at the timeanyway- yeah, exactly.
Matt (47:33):
So I guess it's like one or the other have me for 10
minutes or have a song, orlicense a song?
Pete (47:39):
Was she even in it for 10 minutes?
Matt (47:40):
really, yeah, I'm clutching at straws there.
Pete (47:44):
I think she's like in maybe three minutes, four
minutes.
Yeah, like not much, but anywayshe has a go.
Matt (47:52):
Yeah, good on her.
Pete (47:54):
Good on her, she did it for Gudinski.
Yeah, exactly, anyway, sothat's cut, matt.
Firstly, what are you up to,and with both your podcast and
your website?
Matt (48:07):
Well, first of all, podcast Champagne Comedy podcast
talk about anything Working Dogrelated, reviewing their
projects and stuff.
When you're listening to this,we're recording it on the final
day of 2024, but we will.
The Champagne Comedy Podcast isreturning for 2025 and we start
(48:30):
reviewing Season 3 of Frontline.
So that starts in February 2025.
And if you're listening to thisway after that time, then we
have reviewed Frontline Season 3and probably more stuff, and
also my Geek Culture.
It's just mygeekculturecomau.
I've got to make sure I plugthat properly.
(48:52):
It's just random content oftrying to be of Australian
content.
Really Recently, I documented atrip to the US, did you?
Pete (49:03):
really.
Matt (49:06):
So it was quite fun bumping into an Aussie as well
who loves his Aussie films there.
So I ran into him in Las Vegasand, yeah, he was from Melbourne
, I can't remember his name.
So yeah, and a few otherpodcasters as well, which I
plugged Dingo, ate my Movie aswell.
So apparently I'm good friendswith Steve Irwin and Paul Hogan.
Pete (49:26):
Oh, really, that's what all Americans think about
Australians.
So yeah, I'm good friends withSteve Irwin and Paul Hogan.
Oh, really, that's what allAmericans think about
Australians.
Matt (49:30):
So yeah, I'm doing that, but this year or the new year
with my Geek Culture, I'm tryingto.
I'm planning to recap some notpodcast form but in written form
some stuff with some Australiancomedy TV shows which are
really popular.
I won't mention the names, butif you go to the website,
(49:50):
bookmark it, you'll start seeingarticles popping up eventually.
Pete (49:54):
Good stuff.
Well, thank you so much foryour time, matt.
It's great to have you back onagain Now.
I know we're working on a bitof a project for the future and
hopefully we'll get thathappening fairly soon.
It was going to be today'sepisode until I forgot that we
had discussed we had discusseddoing it as like a joint venture
kind of thing that we areworking on that.
Let's release it separately,but I forgot about it too.
Matt (50:17):
I just you will do this, and then it's like yeah then I'm
like, oh yeah, that's right,yeah, yeah, so it's usually that
we're keen on doing it.
Pete (50:24):
We'll get it done.
We need to get it done, so, sowe need to do it, because I was
going to put I wanted to put itout this year, so we'll have to
do it this year.
Matt (50:31):
So uh, it's a hint, pete will eventually uh feature on my
podcast for a particular thingso that's, there's a, there's a
hint.
Pete (50:39):
Yes, yeah, telling you dream it yeah anyway.
So thanks so much for coming onand look forward to having you
again in the future.
Might I'll try and find abetter movie besides the one
we're going to do together.
I'll think of a try and find abetter movie.
Matt (50:53):
It wasn't a bad movie, it was so bad, it was good Well
it's good, but then now, themore that I talk about it, the
more I'm really starting toappreciate it a bit more, and
I'll lie if I say I'll try towatch it tonight.
Pete (51:05):
No.
Matt (51:07):
Well, maybe if I start watching it at about 11.30
tonight, New Year's Eve, andthen continue watching it until
the new year, then I've watchedthe movie over two years.
You could say that.
Pete (51:20):
Yeah, or you could do one of those weird things where you
try and time it.
Matt (51:25):
that Kylie Minogue's character gets murdered on the
stroke of midnight or something.
Oh, perfect yeah.
Pete (51:29):
Yeah, excellent.
Thank you so much, matt, forcoming on.
Thank you very much, peter, andwhen we return we'll talk about
what's coming up next.
Matt (51:40):
And now preview time.
Pete (51:47):
When it comes to entertainment, you can't beat a
good film, so let's take a lookat what's coming your way.
In our next episode, I'm joinedagain by Tab and we'll be
talking about 1994'scomedy-drama Muriel's Wedding.
You're terrible, muriel, reallylooking forward to that one.
Thanks for listening to thisepisode of A Dingo Ate, my Movie
(52:12):
.
If you enjoyed this episode,please don't forget to rate and
review the show on ApplePodcasts.
It really helps more peoplefind us.
You can also find more episodesand info over at dingo movie
pod dot com.
We're also on socials Blue Sky,facebook and Instagram under
Dingo movie podcom.
We're also on socials blue skyFacebook and Instagram under
dingo movie pod.
Are you interested to hear themusic from the films we talk
(52:35):
about?
Check out our playlists onSpotify and Apple music.
Just search a dingo at my movieand if you'd like to support
the show, you can buy me acoffee over a.
Buy me a coffeecom.
Dingo movie pod.
Thanks again and I'll see younext episode.
Cut, cut, cut, cut it cut.
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